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car seat headrest

@carseatheadrest / carseatheadrest.tumblr.com

Teens of denialmay 20th 2016PRE-ORDER: Matador | iTunes | Bandcamp | Amazon | Google Play
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puppygirlsrituals asked:

this is really silly, I've sent asks before, I'm just thinking again about how your work means a lot to me. i first read drop-out when i was *fifteen* and thats insane to me. I'm 21 now and your art influenced my growing brain in.. oh so many ways. drop-out was especially important because. here's someone who truly believes she's so fucked in the brain that there's no hope, it looks like her and lola are GOING to kill themselves with no other option.. and then they just dont. they just keep moving along. no promise of a perfect life, because that's not how it is when you're pulled back from the edge. but they keep moving forward and hope to make something new.

i don't know. I'm just another person who might never be NOT depressed and your work was one that showed me you can work with that if you simply keep moving. please do not feel pressure to answer this - i just wanted to tell you again. thanks for sticking around. i look forward to getting into idletry

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pluralthey answered:

thank you. i don't usually answer asks like this one, but i've been thinking about drop-out's ending lately. nothing in particular -- it's just been coming to mind as i start a new comic. i wrote drop-out 9 years ago. i cannot even feel guilt about the story anymore, because i'm at a point in my life now where i know that the confusion and bravado of your early 20s doesn't last forever. i haven't had a suicidal thought in a couple of years now. i have less energy, no partner, and more pain, but when i make art, i have things to say that no one else can, and i want to keep saying those things. i cannot say that it's gotten better for me, but you can touch so many people by just saying something. i'm glad that drop-out still helps people. i get messages here or there about it to this day. i know that idletry won't touch people in the same way; it isn't meant to.

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#drop-out#keep on trucking along
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I went to see a performance of the Nutcracker on Dec 24th, and this has got me thinking about the style that I write in. MADLO was the first album where I was really consciously trying to fit lyrics into the phrases of the song, so something like da DAH, dah DAH, dah dadada dah dah dah, just slowly whittling it into words: “I crawl, I crawl, an animal to ya…” When I was younger, this would have either been a total gibberish phrase, or I would have abandoned the melody for a lyric written just as text. With MADLO I wanted a certain incantatory quality to it, where I didn’t have to give up a certain melody for something that scanned logically, but the words still pointing towards a meaning, not just being placeholder or roundabout expressions. So this was a major challenge of the record, filling in these lines word by word, waiting for the right word that sharpened the meaning without derailing the melodic line of thought. 

But now as I get more into writing for a new album, I’m realizing that to the extent that I have any sort of natural style, a large part of that is having lyrical phrases that don’t fit into the melodic momentum, that jut out oddly into the room. This is why when I was finishing the MADLO songs, I felt they were in some sense folk songs, because a folk song needs to adhere to that tight rhythm and meter, so it can be retained and passed along from one singer to another easily. It’s much easier to remember a repeating melody than it is to remember a string of words - not only easier to remember but to participate in, to have the song be a group activity. The farther it deviates from these standard, simple rhythms, the more it turns into a sort of solo display, away from folk dances and towards a practiced, virtuoso display of emotion, like the dancers in a ballet or singers in an opera. Instead of equal participation we get observation, reflection, meditation; instead of the thrill of the dance we get a richer and more nuanced taste of a particular emotion. 

I’m excited now to use what I learned in writing MADLO - having clear melodic lines as anchor points, perceiving those lines clearly and developing the song from them - and start to stray from that towards my natural tendency to complicate and obscure simple shapes into something more gnarled. What I am always most opposed to is straying into territory that feels random, arbitrary, lacking any connective tissue that makes it feel like art. What is laid out in the track should always feel like the tip of the iceberg, not a scattering of flakes melting in a glass. The structure of a song should feel ordained by ghosts, not produced by the composer’s whims but bowing to unseen, ancient guideposts. If we could not see the trees but we could see the wind, then the wind would tell the story of the trees. That’s what a song should be, a wind that lets you see those invisible branches of life; so a writer has to sense what those trees are like, and they have to understand how wind works. The former is done by living, meditating, experiencing, developing your connection with the unseen; the latter is done by study, by pulling apart songs like a mechanic pulls apart cars. The last few years I feel I have really learned a lot, learning how to put a song together so it does what I want it to do rather than fighting against it, like a pilot fighting against a poorly-constructed airplane. Now I perhaps know at least the basics of flying, and I can have some clarity when I’m circling around these big subjects, hoping to return with a little piece of it in song form.

#writing journal#csh
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A Leap Of Faith: Analyzing gray Folie’s Drop Out

CW: This article discusses themes of suicide, drug use, child abuse, transphobia, homophobia, and ableism. It also includes some spoilers, but I avoided the biggest ones.This comic is one of my all time favorites and is truly something special, so if you read on, I hope you enjoy my analysis!

There’s simply nothing else out there quite like @pluralthey’s bracing webcomic Drop Out. In their debut story about two girlfriends on a suicide-pact road trip to the Grand Canyon, gray utilizes a limited cast, set, and props and an expressive cartoony style to full, powerfully emotional effect. Drop Out plunges deep into gender, mental illness, addiction, and the legacy of abuse, and asks hard questions about what it means to love a person and make yourself vulnerable to them.  

Keep reading

Source: drop-out.thecomicseries.com
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fuckoffteens-deactivated2018062

then i shall know fully, even as i am fully known

(i am but a humble sportswriter. i don’t know anything about art. will toledo do not flame this post)

the biblical passages that close out famous prophets (minds) and famous prophets (stars) are vital moments in the twin fantasies: these are the final thoughts the narrator leaves us with before he wakes up from/ends the fantasy, when he steps outside and looks at the sun for the first time in memory. these verses sum up the story. they are what the narrator, and we, are taking from the way the fantasy unfolded; the language of the bible lends a certain universality and cosmic importance to the story we have just been told; and, importantly, will changes the last line of each, making the final thought of the fantasy his own, turning back at the last moment to the personal and specific. 

these are all similarities in the function these verses serve on their respective albums, but, obviously, mirror to mirror and face to face are not quite the same story – they are inversions of each other, they cannot exist without each other, they complicate and fulfill each other – and the verses chosen reflect that. under the cut i’m going to talk about why the context and content and the final alteration made to each of these verses feels so interesting and important to me 

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so today rolling stone published a feature on will and the making of twin fantasy which, among other things, contained a lot of inappropriate and hurtful speculation about his personal life. will just responded via twitter, and i just wanted to share his tweets here as well.

i don’t have much more to add, except that i would urge fans as well as journalists to think critically about the ways they interact with art inspired by personal experiences. the mere fact of somebody writing a song (or a book, or a film) about their own life does not give the audience license to probe for private context. it’s possible and necessary to enjoy art without demanding that artists volunteer personal information at every turn.

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i really wanted to draw the twin fantasy dog-thing in moody poses because im excited for the new release (click for better view)

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even when I dream of you: q&a with peyton thomas

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Hangouts

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Hangout with Peyton Thomas

Friday, January 12, 2018 11:01 AM

#thanks peyton#car seat headrest#twin fantasy#face to face
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Happy Public Domain day! Here are the works entering the public domain in Canada and the EU, but not the USA, where the public domain is stagnant

When the USA decided to retroactively extend the term of copyright, it deprived itself of free, open access to important cultural treasures that new creators could build upon as creators have done since time immemorial.

Luckily, Canada and the EU were not so foolish, and so today, there is a raft of work entering the public domain elsewhere in the world that US creators and audiences will not be able to freely use.

A selection of works that could have entered the public domain in the USA this year: works from 1961 including Catch-22, Stranger in a Strange Land, The Soft Machine, The Phantom Tollbooth, Franny and Zooey, Breakfast at Tiffany’s, West Side Story (the movie)… all copyrighted until 2057. And, yes, scientific articles from 1961 are still behind paywalls.

Works that Canadians and Europeans can freely use, as of tomorrow: in Canada, the works of René Magritte, Langston Hughes, Dorothy Parker, and many more. In the EU, the works of Hugh Lofting (the Doctor DoLittle books) and William Moulton Marston (creator of Wonder Woman!).

https://boingboing.net/2017/12/31/life-plus-70.html

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