Backlog of these two travelling together around the fallen ships area which I'd like to keep revisiting (plus a panel redraw in a way).
Boat owners moving a large floating island out of the way on Wisconsin's Lake Chippewa https://twitter.com/gunsnrosesgirl3/status/1752933191344615440
Sorry, I don't make the rules: over-emphasis on religious celibacy is always going to make a man a little bit more desirable. Playing hard to get on an institutional scale.
The Rick Roll 20 for weird dice Wednesday
Judgement
Rolling up to the knight's guild in a chainmail brayette and low-cut mail chausses watching my fellow knights visibly fluster under their helmets as their gaze follows up to my maille voider scandalously worn without a breastplate
Glossary of Terms:
Brayette
Chausses
Voider
An actual title I just saw: A Windsor photographer was shooting a romantic couple when three Medieval warriors photobombed the set
I have a downright pavlovian response to seeing him but instead of drooling I weep and wail and cry
Realized my vision through the dark arts (painting)
@trecciolinoooooo lmao
here's one from the backlog for you about my time in boy scouts
there’s a website where you put in two musicians/artists and it makes a playlist that slowly transitions from one musician’s style of music to the other’s
lady gaga -> napalm death takes a weird detour through epic rap battles of history
This is actually really useful for finding music that’s in between genres that I wouldn’t know to look for.
This has nothing to do with books but it’s COOL
I feel like this could be useful for trying to slowly pull yourself away from your depression music to something more uplifting without it being jarring…
Link above is broken, so here:
GREGORY HINES & MIKHAIL BARYSHNIKOV White Nights (1985) dir. Taylor Hackford
Masters of their craft.
My favorite thing about this sequence is that if you don’t know who Hines and Baryshnikov are, and I tell you one is a ballet dancer and one taps, you should be able to figure out who’s who based on their specific movements, even though the choreography is the same.
ABSOLUTELY. It’s so obvious in the way they move, and things like the positioning of the hips as they do the same step. Where the weight is in the leg. All those things. It’s one of the things that makes the sequence such a pleasure to watch – you can see that both of them are amazing dancers and you can also learn a lot about their specific disciplines and the differences between them watching it.
OK OK I am actually going to go through those gifs one by one to talk about the things that really strike me in each one as demonstrating the two styles of dance. I’m sure I am missing some things, this is just what is obvious to me.
1. Look how they lead the movement as they step back. Baryshnikov moves his leg following a hip/torso movement. Hines comes very close to leading with his knee. You’ll see that knee-leading motion in a later step, too. You can probably do this yourself: stand with your feet and hips square to the front, then turn your hips towards the left and use the pull of it to lead your leg into the step. Then go back to square, and take a step back by letting your knee open to the side and go backwards. You should be able to feel the muscles working pretty differently – the first movement engages a lot more of your core, the second relies more on your various thigh muscles.
2. The leg extension in the air – that perfect straight leg is ballet to the core – and look at how differently their hips and feet are when they land! Baryshnikov’s hips are squared to the side and his feet are aligned; Hines’s hips are angled and his back foot faces the front and is flat. If a ballet dancer had his foot like that – and he might – his hips wouldn’t be doing that angle.
3. This is a tap sequence and it’s where that knee-lead comes in again. Hines’s hips are loose and his knees seem to be leading the movement – almost like they are pulling both his hips and his ankles along for the ride. You can see where his feet will strike by watching the knees. Baryshnikov is not a tap dancer and it really shows here! Once again you can see that he moves his hips in order to shift his knees and weight.
4. There are a few things here but the biggest to me is how they land out of that jump. Hines lands…well, like a tap dancer. He comes down hard and flat – you can see the little jolt as he hits – like he’s slammin’ that tap shoe down to make a big ol’ noise. Baryshnikov’s landing foot isn’t as easy to see, but he comes down toe-first, as is correct for ballet.
5. Again there are a few, but what I find most striking is the looseness/rigidness of posture. Both of them have immense body control, but Hines is letting his joints flex more in the air. It looks to me like again he brings his heel down harder, as well, on both back and front legs – in fact I kind of wonder if the heeled boots Baryshnikov has on are to make it easier for him to match Hines’s foot movements in certain sequences, since he won’t have to bring his foot down as far. (They’re both in shoes with some degree of heel, but Hines’s are much less so.)
6. Aaah both of these are lovely spins. Again with the rigidity vs looseness in the joints, but also, Hines traces MUCH more of his foot on the ground, which is common in tap spins but uncommon in ballet. His weight is slightly less centered over the support leg, and you also can see the knee-lead vs hip-lead here as well – look how Baryshnikov shifts his weight, then look how Hines does it. And as they come out of it, Baryshnikov has his toe pointed and his heel up, while Hines snaps his heel down against the floor.