I stumbled upon this re-imagined look for Demon Slayer in the ornate style of 1980’s and 1990’s anime, and it’s a dream. I enjoy Demon Slayer fine, but younger generations really have no idea what beauty they missed from old anime. Producers should really really look into making OVAs in this style.
According to GlitchVerse comment, the song used in the video was done with AI and it’s titled Endless Struggle; featured on their channel. It is not mentioned what tools they used for generating the graphics.
I figured I should post this music video that I discovered about a month ago while working on data for this year’s Annecy =D
Set to French composer Arnold Turboust’s Lettres de Krakovie, it’s a stunning animation done by French collective Clavel, formed by Antoine Dahan, Clément Delaby and Rayan Takhedmit; who did this equally gorgeous short for Annecy 2023.
From what I could find, it doesn’t seem to be a single from any current Arnold Turboust album, though it might be the first single of a yet-to-be announced one.
Music by Arnold Turboust Music video directed by Antoine Dahan, Clement Delaby, Rayan Takhedmit Produced by : Les Monstres (Nicolas Mongin, Hélène Orjebin)
Storyboard : Rayan Takhedmit Concept Art : Antoine Dahan, Clement Delaby, Rayan Takhedmit Character design : Antoine Dahan Layout Posing : Antoine Dahan, Clement Delaby, Étienne Faivre Layout Background : Rayan Rayan Takhedmit Colorscript and Layout painting : Clement Delaby Animation : Antoine Dahan, Sixtine Dano, Clément Delaby, Étienne Faivre, Camille Lherminier, Juliette Navarro, Chloé Niquet, Pierre Rougemont, Rayan Takhedmit, Nicolas Verdier Clean / Colo : Sam Bellanger, Amy Calohard, Antoine Dahan, Chloé Niquet, Rayan Takhedmit Compositing / Edit : Clément Delaby, Rayan Takhedmit
Lyrics : Edith Fambuena Music PRoducer : Nicolas Borne Music mastering : Louis Mc Guire Publishing : Adelaide Pop Music
~ el arroz zambito, la mazamorra de cochino y la mazamorra morada ~
Todos hemos comido una buena mazamorra morada hecha, no necesariamente por tu propia abuela, por una tía, la amiga de la familia o la señora del barrio. Menos hemos comido una mazamorra de cochino o un buen arroz zambito. La textura de un arroz zambito es muy parecida a un arroz con leche, que todos en América Latina y cualquier hispanohablante posiblemente sí ha probado. Pero la textura de una mazamorra es solo propia de los países andinos— desde emolientes con mucha linaza o sábila en Perú y Ecuador o los apis en el sur peruano o Bolivia. Una textura pegajosa, no masticable, solamente absorbible; no necesariamente del agrado de todo el mundo. Ésta es solo comparable a lo que se consigue en Japón y, a veces China, con una planta conocida como Kudzu/Kuzu (葛) que además de ser de uso medicinal, su raíz tuberosa se utiliza como almidón en diversos postres y para espesar sopas y otros platillos.
Las supuestas raíces pre-colombinas de la mazamorra nos lleva al Ishkupcha, una mezcla de maíz con cal, según los detallado en el blog de Gloria Hinostroza donde escribe Historia de la Gastronomía Peruana – Parte 6 notando antiguas palabras quechua, seleccionadas por Horkheimer de antiguas crónicas de Garcilaso, Domingo de Santo Tomás, Middendorf y Varcárcel. Por otro lado, Mazamorra morada: historia, evolución y receta del postre peruano más popular publicado en el 2024 en El Comercio indica que en el libro La Cocina en el Virreinato del Perú de Rosario Olivas Weston se señala que durante la época incaica se cocinaba el champú (otro postre de textura similar a la mazamorra) y que al fermentarse, éste adquiría un color morado, y que finalmente se le terminó llamando “api.“
Con la llegada de los españoles, que ya habían sido influenciados por los árabes, el boom del comercio de especias como la canela y el clavo de olor chocan con la fécula de camote y el maíz morado (¿y la piña?), y así nace la mazamorra morada moderna. Según el historiador peruano Juan José Vegas se cree que los españoles trajeron al Virreinato del Perú unas concubinas moras, que muchas veces se convertían en domésticas y cocineras por lo que se creo el término “masa mora” para referirse a uno de sus platos. Sin embargo, según Larousse de la Gastronomía Peruana de Gastón Acurio, el origen del nombre nos lleva al ámbito de marinos mediterráneos que “quizá conocieron un dulce similar en los viajes que realizaban hacia el Oriente.” Este Oriente puede ser la zona del Maghreb en la actual Marruecos, Argelia, Túnez y Libia, donde supuestamente existe algo llamado “matmora” que nadie encuentra. Sin embargo los tunecinos tienen un postre tipo natilla llamado Bouza, aunque parece estar preparado con sorgo, avellanas, semillas de sésamo, leche y azúcar.
En la búsqueda de un postre muy similar a la mazamorra que sea de origen árabe, me encontré docenas de versiones de arroz con leche, y versiones de éstos hechos con semolina, no obstante me encontré con un postre libanés y zona de influencia cerca al norte de África que se llama Meghli (مغلي, incluído en la foto) o Karawiyah. Considerado un “pudding de arroz” por el uso de harina de arroz en lugar del grano entero, azucarado, especiado y espesado, y adornado con una millonada de nueces, pasas y coco. Su color acaramelado proviene de las especias utilizadas en lugar de la chancaca o panela.
Diferentes, pero también muy parecidos.
Y así pues es la Ruta (de bajo presupuesto) de la Mazamorra.
They don’t even need to be crowd shots, even. It would be perfectly fine to use concert art. I remember blogging about the concert art and vcrs done for one of Faye Wong’s concerts of the last 15 years. I can’t remember if they were either done by Hi-Organic or Grass Jelly (it was Grass Jelly!), but imagine being surrounded by clouds and mountains while Faye does her electropop sutras.
Bjork’s Cornucopia felt >small< and constrained in comparison. I always enjoy Bjork’s vocals, however. Technically always there, emotionally present. I will always remember that Hunter moment.
However, most shocking and most improved was the unexpected collaboration between Chinese vocalist Zhou Shen (周深), Peruvian opera singer Juan Diego Flores and Peruvian multi-instrumentalist Lucho Quequezana for a remix of Lan Hua Hua (兰花花) and the lyric version of El Condor Pasa for The Condor and the Orchid Flower (山鹰和兰花花).
After much mysterious drama, Marit and Marion have decided to come back together to make M2M a thing once again. You have no idea about the adrenaline rush I got when I saw Marit’s post, after missing the original posting on- “September 22nd, Sunday, twenty-five after nine.“
I love them. I hope they saw A*Teens performing together for their reunion at Melodifestivalen back in February this year and were washed by a feeling of nostalgia that they couldn’t resist. In fact, M2M has already announced The Better Endings Tour (to change the ending of The Day You Went Away, dorks), visiting a number of places in South East Asia were much of their fandom was concentrated, especially in Manila where they are already selling tickets.
My hope is that maybe, if they would like to increase touring chances in Latin America, they could get together with A*Teens and make it a Scandinavian thing. [Jokes on you! Who’s the dork now?] Thought I wouldn’t mind at all getting the chance to see Marit and Marion up close in more intimate venues, which are my preferred form of performances to witness live, anyway.
In the meantime, M2M have set up a website where you can join their mailing list, and follow them on their main socials Facebook and Instagram, Tik Tok, and a kinda left over YouTube channel.
I never really bothered with Halsey before (I’m old, this blog is old. This is a self-hosted blog.), but her sampling of Britney’s Lucky was really well done, and the music video directed by Gia Coppola took it home. It pains me to read whether Britney gave her consent for the sample, but then felt the music video somehow violated some unspoken deal, but then took it all back and called it fake news. The whole project made me nostalgic and blue.
I often think (a lot lately) about how audiences (and now fervent fandoms) literally live off and suck the life out of our supposed favorite stars. Tear them to pieces while they’re up on the spotlight and kick them when they’re down, only to regret having forgotten them in time when they’re gone. Whichever the way— tragic death or slow and lonely. “I wonder what happened to them?“
It’s sad that she seems to regret making a comeback due to mean comments from her own fans, because her whole vibe has really taken me back to the late 90s early 2000s, especially in this “stripped” version of the song where she wears baggie jeans and hot pink glasses. The colored glasses really really took me back in time.
Thank you for this beautiful, yet sad, homage to pop stars.
It’s been about a month or so since the first reports of Nicole Kidman’s AFI Lifetime Achievement Award started trickling. I had already read that she was thanking the audience that had stuck by her doing some of her weird little films, but it was still different watching the video and hearing her say it.
the audiences that have stuck by me through everything — I just want to say thank you because there’s so many little weird films I’ve done and I know there’s people out there that go and find them and watch them. You’ve stood by me and stuck up for my weird, weird choices and I’m so grateful for that.”
I was obviously to young to watch To Die For or Portrait of a Lady in the mid-90s, but it is no wonder I’m thought of as one of those odd ones when I had dragged friends from school to watch things like Birthday Girl or Steven Shainberg’s Fur, which I have rewatched this past weekend. Reese’s speech about Kidman’s passion for cinema just reaffirms my love for Nicole and her body of work throughout these past two decades, in which she has been resurrected by the press more than once with so-called “comebacks.”
Here’s to two more decades of amazing films (and series). *Cheers*
