I have been quiet. This is still not a reason to worry.
I’m actually enjoying this shift of focus towards some of the other things I want to do. My life would be an imbalanced mess if it wasn’t for the regular Glee hiatuses.
But I’m still all over Glee, just in a different way. Because I can now see the deadline for my Glee-themed presentation very clearly, which compels me to become very active about this project all of a sudden.
lady gaga’s outfits is silver ? I don’t know how to draw a color looks like silver or golden , so sad . Any way , this week outfits of season 1 wil all be done ! YEAH ! And I change the theme of my blog , set a contents named “kurt’s outfits drawing of S1” to put all those link in , so you can see them more easier . Plz check it .
Most of all , next week I’ll start season 2 , and after EP5 , there will have blaine’s drawing ,but he just had a Dalton Academy uniform or with a scarf or a coat or sth . just few of them . So what do you want to see , kurt and blaine in two different pic (blaine’s will not much ) , or they be together in one pic with some cute pose but I need more time to draw them .
If you understand what I say , please let me know which you want to see before I start S2E06 . THX : D
I really have to rewatch Season 1 because I still barely remember any of the outfits.
It also seems as if it’s about here when the series of white or white-and-black shoes started.
The golden pants are too hard to draw ! And NOOOOO ! He just have another golden pants in NYADA audition .
Even those outfits in 1.18 are not so much kurt’s , they look awsome when they be wore on Chris .
I finally figure out how to see this outfits more clearly when screencaps are too dark ………….just change the luminosity……..HOW STUPID I AM !
outfits 1.16
“Laryngitis” is one of my favorite episodes of early Glee. (But why is he so sad in the “Rose’s Turn” outfit?)
And the golden pants look great!
They have already reached their Kickstarter funding goal but this is too gorgeous not to share.
This new work, The Firebird, a Ballez is a Ballez version of Mikhail Fokine and Igor Stravinsky’s eponymous 1910 ballet. Pyle introduces a yearning Lesbian Princess and a Tranimal (part bird, part Prince) as they seek liberation in a magically perverse landscape of Polyamorous Princes and their Dominant Sorceress. Using Fokine’s journals to shape her narrative structure and aesthetic choices, Pyle found herself moved by his idea that “each ballet’s movements should be specific to the culture it represents.”
Accompanied by the Queer Urban Orchestra, a simulated landscape by Hedia Maron, costumes by Mikki Olson, and a cast of 15 queer performers, including Pyle, the work deconstructs balletic elements and reconstitutes them into a community-oriented, gender-fluid, queer utopian vision of what is possible in dance. Says BOMBLOG, “This piece is magnificent in its representations of gender, as a court of genderqueer princes dance gallantly in a garden—playing catch and packing their pants with apples—while a dominatrix-style sorceress in leopard-print controls them all.”
Here’s some more info about the project, as well as a bunch of photos of the performance (which already had its premiere).
Ruby Rhod is one of my favorite characters in sci-fi ever because he is Luc Besson’s vision of the hetero sex symbol of the future: a flamboyant, emotionally labile man who wears skin-tight leopard print or decks himself in roses, a man who accessorizes with big jewelry and dabbles in cosmetics. And the ladies love him. Everything about him screams “gay” according to our stereotypes, but he’s portrayed as a 100% straight sexual dynamo.
Besson is one of the few directors I’ve seen who actually recognizes that our ideas of sexuality and gender performance might have changed drastically in the future.
what is this from and why aren’t i watching it now and forever
L.Fifth Element. It’s one of the better weird sci-fi films from the 90s. Proper sci-fi, I mean to say, with ‘what if’s and philosophy and so on.
In glorious future, no one gives a shit about your gender roles.
God this fandom needs to watch this.
Oh gods, the memories this brings up! (I still occasionally quote that “BZZZZZZZ,” complete with the accompanying gesture.)
Season 4 Moments We Got the Most Thinky About
This is the start of a little series I’m putting together, thinking back to all the conversation we’d generated out here during season 4. Maybe there’s something new to add on to these moments and themes, now that the season is over …
First Up: Images of Childhood
There are other images to add to this set, from the cups used in “It’s Time” to all the cosplay, and even the new New Direction’s penchant for freeform choreography where the gang is spinning, running, and simply having fun. Growing up—and in particular the divide between the kids in Lima versus the “adults” in New York was a huge season 4 theme.
That said, we found that at times, the adults in New York had a lot of learning left to do, and the kids in Lima handled a lot of their drama with great maturity.
Too, there was a lot to think about regarding the idea of being childlike (as Blaine so often was) versus being childish, which raises some questions about what maturity even means and how the various characters might define that term. Creative play, for instance, is seen most often in a healthy light and stands in contrast to so-called moments of “mature, adult conversations.” The only exception to that might be Finn and Puck’s college “play.” For Puck, it’s definitely play, but for Finn, it seems more like a place to hide from his fear of moving forward with his goals.
Kurt also got to come back and be childlike in “You Are the Sunshine of My Life.” None of the other graduates really did, though, did they? Mercedes and Mike were back for “work,” and Rachel didn’t have any childlike moments (though I’d say she had some childish ones, particularly in Diva. Neither Quinn nor Santana got to do anything particularly childlike, so far as I remember.
Oh I love that observation about Kurt! Yes, and we talked about that so much—he was SO playful! And that’s after a season of more or less taking that same line as Rachel often did about being a mature adult. That he could play like that, so freely, is really significant.
And right about the others … all work and no play I guess.
Oh, but Santana did get to play! She got her girlfriend pillow and then she had pigtails and danced around with Kurt and Rachel and hula hoops for “Mamma Mia” and that was a thing of immense beauty.
Even for Rachel, this was a remarkably relaxed and silly moment (although she still kept up way more of her adult facade than any of the other two). Rachel’s biggest “return to childhood” moment for me this season was “Torn,” after which she integrated the younger, “uncool” part of herself a little more into her adult persona. Still, I’m wondering if she ever actually HAD a truly childlike time in her life, because all we ever hear of her childhood is dance classes, competitions and schooling herself to be Barbra Streisand. So I’m not very surprised that she doesn’t seem to know how to play (= act childlike). However, she has been the most childish of the graduates (with the possible exception of Finn) with her refusal to do any actual work and to own up to her mistakes and learn from them.
Finn actually doesn’t do anything BUT play.
Puck plays hard and then switches back to being a responsible, if slightly wacky, adult.
Quinn got to play during her one-night-stand with Santana, although this wasn’t childlike play in any way.
The only ones of the graduates whom I really didn’t see play at all were Mercedes and Mike (but I’d be okay with counting Mike’s dancing at least as part play, just because he seems to have so much fun doing it).
Yay! Reblogging because of more examples—I’d forgotten about how much Santana, Rachel and Kurt had with “Mamma Mia” (and so did New Directions in that number, but they did that a lot in their performances anyway). And interesting comments on Rachel, too.
Great discussion! I also thought Kurt’s outfit’s after his Dad’s appointment in Wonder-ful were very playful, as well as his attitude when singing. Mike, Mercedes, Kurt and even Will were all very playful when they joined ‘For Once In My Life’. Although Kurt and Blaine’s gallop across the stage possibly the most playful.
I’d agree Rachel does not really have these childlike play moments ever, even if she bought her clothes from Kids R Us. Oh wait! Much as it was flirty, the whole ice cream and running around NYC with Brody thing had a large childlike fun element.
I would argue Finn’s against Finn doing nothing but play. His time as sole leader of ND was not just him playing, he generally took the role very seriously; even when dressed as The Almighty Treble Clef it was about him taking his role as an adult seriously and responding.
I need to revise what I said about Finn because I agree that he was trying hard to be super grown-up as the leader of ND (mostly by imitating Will, who really isn’t the greatest role model for an adult, especially not when you have Burt Hummel right at home in your living room). I still think, however, that he never really grasped what adulthood and/or being a teacher really means, so sadly he was best as a teacher the more he got out of the way.
His seriousness in Season 4 was a lot like Rachel’s, who also overreached and tried to embody her IDEA of an adult woman rather than actually behaving like one (her role models for “an adult woman” seem to have been Cassandra, whose style of dress she appropriated, the version of Barbra Streisand that lives in Rachel’s head - note the tokens to symbolize relationship success along with career success during Rachel’s fangirl narration-, and anything that young!Rachel from “Torn” was NOT: “uncool,” insecure, inexperienced, sexually shy).
When Finn joined the army, when he beat up Brody, when he did his “endgame” speech for Rachel in “I Do,” and every time he tried to be either his dad 2.0 or Will 2.0, he was acting out his IDEA of an adult man, all of which made him seem anything but. And when Will abandoned him for kissing Emma, Finn signed up for college, only to let all his constructions of adulthood break down, and to let go of any and all responsibility he ever had (including responsibility for himself).
I probably could make a similar argument for him as I made for Rachel: he never really got to be an actual kid because he felt responsible to “be the man in the house” for his mother and because he got pushed into a leadership role over and over again by teachers and peers alike, whether he wanted that role or was good at it or not, simply because he looked the part. So he started believing that this was who he was supposed to be.
In summary, Finn only started doing nothing BUT play when he started college. And perhaps that will turn out to be a necessary phase for him to have gone through since he hasn’t been able to let go of all expectations so much ever before. We’ll see where we find him in Season 5 and how that story continues then.
Season 4 Moments We Got the Most Thinky About
This is the start of a little series I’m putting together, thinking back to all the conversation we’d generated out here during season 4. Maybe there’s something new to add on to these moments and themes, now that the season is over …
First Up: Images of Childhood
There are other images to add to this set, from the cups used in “It’s Time” to all the cosplay, and even the new New Direction’s penchant for freeform choreography where the gang is spinning, running, and simply having fun. Growing up—and in particular the divide between the kids in Lima versus the “adults” in New York was a huge season 4 theme.
That said, we found that at times, the adults in New York had a lot of learning left to do, and the kids in Lima handled a lot of their drama with great maturity.
Too, there was a lot to think about regarding the idea of being childlike (as Blaine so often was) versus being childish, which raises some questions about what maturity even means and how the various characters might define that term. Creative play, for instance, is seen most often in a healthy light and stands in contrast to so-called moments of “mature, adult conversations.” The only exception to that might be Finn and Puck’s college “play.” For Puck, it’s definitely play, but for Finn, it seems more like a place to hide from his fear of moving forward with his goals.
Kurt also got to come back and be childlike in “You Are the Sunshine of My Life.” None of the other graduates really did, though, did they? Mercedes and Mike were back for “work,” and Rachel didn’t have any childlike moments (though I’d say she had some childish ones, particularly in Diva. Neither Quinn nor Santana got to do anything particularly childlike, so far as I remember.
Oh I love that observation about Kurt! Yes, and we talked about that so much—he was SO playful! And that’s after a season of more or less taking that same line as Rachel often did about being a mature adult. That he could play like that, so freely, is really significant.
And right about the others … all work and no play I guess.
Oh, but Santana did get to play! She got her girlfriend pillow and then she had pigtails and danced around with Kurt and Rachel and hula hoops for “Mamma Mia” and that was a thing of immense beauty.
Even for Rachel, this was a remarkably relaxed and silly moment (although she still kept up way more of her adult facade than any of the other two). Rachel’s biggest “return to childhood” moment for me this season was “Torn,” after which she integrated the younger, “uncool” part of herself a little more into her adult persona. Still, I’m wondering if she ever actually HAD a truly childlike time in her life, because all we ever hear of her childhood is dance classes, competitions and schooling herself to be Barbra Streisand. So I’m not very surprised that she doesn’t seem to know how to play (= act childlike). However, she has been the most childish of the graduates (with the possible exception of Finn) with her refusal to do any actual work and to own up to her mistakes and learn from them.
Finn actually doesn’t do anything BUT play.
Puck plays hard and then switches back to being a responsible, if slightly wacky, adult.
Quinn got to play during her one-night-stand with Santana, although this wasn’t childlike play in any way.
The only ones of the graduates whom I really didn’t see play at all were Mercedes and Mike (but I’d be okay with counting Mike’s dancing at least as part play, just because he seems to have so much fun doing it).
So, I know this Onion article is trying to be cheeky and funny, but it does something that I see quite often — the diminishment and dismissal of something because it is important to/created by/maintained by someone both young and female.
You’ll notice the article doesn’t discuss the blogs of teenage boys (and those are rarely mentioned in other commentaries on and about tumblr). So, I think it says and shows something far more insidious about OUR culture. It says that young girls (and women, by extension) have no worth.
That’s not only sad, it’s dangerous.
This post isn’t meant to knock on The Onion — we all know what it does.
It just struck me as something that is thrown out there by many (and not just in speaking of tumblr). Think about what you are saying and its implications.
Speech has power.
It’s a new form of “Men write about ideas and women write about their lives” which is something I heard as everything from a “why you should stop writing” to a breakup line when I was writing a lot of memoir-style content on the Internet in the 90s.
One of the things we talked about at Girls Write now was Darmok and Jalad at Tanagra. I got the impression most of the girls in the room had never seen that episode of ST:TNG, but I used it to illustrate the importance of story as a way of communicating non-fictional and even non-narrative culture and ideas.
What we do as fans (regardless of gender) and what we are dismissed as doing because it’s supposedly-female is this incredibly cool, complicated thing where we’re able to move back and forth across the concrete and the abstract to delineate, criticize, and explode our world. It’s really cool.
TL;DR: Tumblr content matters, not in spite of who’s creating it, but because of who is creating it and how.
I may be an odd exception, but I have honestly never understood where the difference between “talking about our lives” and “talking about ideas” even is, nor have I understood why it’s supposed to be wrong to talk about our lives. After all, what’s the use of an idea if it isn’t somehow relevant to our lives? Where do we get our ideas if not from our lives (and the lives of those we get insight into, for example because they talk about their lives)?
The writers I admire most, and whose ideas have been most relevant to my life are nearly exclusively writers who write about their own lives, whether they do so in a fictionalized way or not. They have shared their feelings in their writing, their anger, their fear, their confusion, their grief, their love, their pride, their amusement, their joy. It’s probably no coincidence that most of these writers are overwhelmingly women and/or members of marginalized groups. These are my heroes and my role models. This is how I want to write.
And it’s mostly because I find so much of this kind of writing here on Tumblr, emotion-filled writing, writing about their/our lives, writing about fictional things that deeply touch our non-fictional lives (and vice versa), writing by teenage girls, former teenage girls, and other human beings, that I spend so much of my time here, reading (and occasionally writing).
Alex Newell performs, “I Know Where I’ve Been”, from Hairspray at Aids Walk New York on May 19, 2013
Whoa. The more I see of Alex Newell, the more intrigued I am with him as a performer and a gendered being. So many layers!
Also: Where’s my dramatic Unique solo, Glee?
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You know, cats, this actually looks like a really good plan. You just drop by and refuse to leave again. Everything else will probably work out from there. You know my address, I assume?](http://24.media.tumblr.com/9fbd3d503130f866300711b5cf848a88/tumblr_mmd1by6HLz1qewacoo1_500.jpg)
[via]
You know, cats, this actually looks like a really good plan. You just drop by and refuse to leave again. Everything else will probably work out from there. You know my address, I assume?
