#complete jack johnson sessions

[jt1674]

[fuzzkaizer]

Conn - Multi-Vider

"All the way back in 1967, C.G. Conn wanted in on the decidedly nascent effects scene, and they wanted to do so with a bang. The company partnered with Jordan Electronics of Alhambra, CA to release an octave effect for wind instruments. The resulting circuit is a truly interesting piece of gear history. It needs to be said that Conn went into manufacturing, thereby ending its partnership with Jordan (at least according to all the paperwork) and the result was two different MultiViders. The differences on the surface are minute: the first model is grey and looks like a piece of dictation equipment, offering “bright” and “dark” input modes, a top-mounted Sensitivity control, and a plethora of battery gadgets. By contrast, the much cooler-looking model “914” did away with the frequency selector, opting for a switch called Unison and a power supply input.

Both models contain “Soprano,” “Bass” and “Sub Bass” switches, and corresponding volume for each. The 914’s Unison mode is essentially a dry signal control. The “grey box” model is a little more convoluted about it but the job is effectively identical. However, the way these two models go about these identical tasks in different—yet similar—ways.

This original “grey box” model contains a duo of ersatz flip-flop circuits, which the unit relies on for its octave down effects. The circuit utilizes some rather intense gain staging to convert the signal to a crude square wave and then use the flip-flops to divide the frequency in half and then in half again. In the later 914 model, much of this circuit is switched to a CD4013 chip, an all-in-one CMOS device. It’s interesting that the first draft of the MultiVider contains what amounts to a discrete imagining of the CD4013, and what it all adds up to is the first-ever octave effect for an electronic instrument. There’s also a wah inductor on the 914, which is connected to the sub-octave circuit somehow; I dare not remove the board due to extreme rocker switch fragility. I love stuff like this.

For as cool as this whole thing sounds, there are some drawbacks, as one might expect with the first pedal of any type. As previously stated, the MultiVider is a horns-only instrument, as is to be used with Conn’s proprietary woodwind pickup. While the “grey box” model serves up a battery option, the 914 is adapter-only, and it’s a doozy—only a 12-volt eighth-inch style phone plug will do. Thankfully there are workarounds for both; if you can solder, the power situation is a cinch and the microphone issue can be circumnavigated by hitting the MultiVider with a hotter input signal. Even then, a large belt clip on the back of the unit dictates its preferred method of implementation. With all that said, synth players are at an automatic advantage with modernizing the MultiVider.

Of course, the MultiVider was an advanced device for its time, and so it was used by artists that had explored brass instruments to their fullest. In particular, the MultiVider was used by Zappa’s band, the Mothers of Invention. It was also used by Miles Davis on 1970’s The Complete Jack Johnson Sessions. Of course there are others, but with a resume like that, stick to your strengths."

cred: catalinbread.com/blogs/kulas-cabinet/conn-multivider

[eddy25960]

Miles Davis from The Complete Jack Johnson Sessions

[therecordchanger62279]

MY 200 FAVORITE ALBUMS OF ALL-TIME

(Revised 2024 Edition)

To my way of thinking, a list of favorite albums changes over time. At any moment, there might be as many as 300 or 400 albums that are good enough to make a favorites list of 200. Where and how to cut is the question. I do a new list whenever the old one feels outdated to me. The criteria I use is pretty basic. I choose my favorite records to listen to, and those that get played more often are ranked higher. But my listening habits change from time to time, so when an album I love doesn't get played as often because I'm getting tired of it, it falls to a lower spot on the list, or disappears altogether. If I haven't played it in awhile, and it sound fresh to me, it goes back into regular rotation, and subsequently climbs higher on the list. I go through periods when I listen to one genre more than another, and that can also affect where the album lands on the list. Playability is the most important factor. That's why an album that has one great side that gets played all the time while the other side is ignored, won't rank as high as one that I enjoy playing from start to finish. And critics lists are things I often read, but completely ignore when it comes to doing my own. My list reflects my tastes, and my biases only.

This is my first revision since March of 2023. There are 28 new additions to the list this time marked with an asterisk. And, in case you're wondering, there were five artists that placed at least five albums on the list. They were The Rolling Stones (13), The Beatles (8), and The Beach Boys, Steely Dan, and Tom Petty each had five (though four of Petty's were with The Heartbreakers, and the fifth was a solo album). Here's my list, and I hope it encourages you to explore something you might not have heard, or to pull something out you may not have played in awhile.

    1. All Things Must Pass – George Harrison (1970)

    2. Revolver (UK) – The Beatles (1966)

    3. The Wild, The Innocent & The E Street Shuffle – Bruce Springsteen (1973)

    4. Blood on the Tracks – Bob Dylan (1975)

    5. Sticky Fingers – The Rolling Stones (1971)

    6. Close to the Edge – Yes (1972)

    7. The Dark Side of the Moon – Pink Floyd (1973)

    8. L.A. Woman – The Doors (1971)

    9. Surrealistic Pillow – Jefferson Airplane (1967)

  10. The Who by Numbers – The Who (1975)

  11. Help (UK) – The Beatles (1965)

  12. A1A – Jimmy Buffet (1974)

  13. Bitches Brew – Miles Davis (1970)

  14. Kind of Blue – Miles Davis (1959)

  15. Pet Sounds – The Beach Boys (1966)

  16. A Tribute to Jack Johnson – Miles Davis (1971)

  17. Pat Metheny Group (1978)

  18. A Hard Day’s Night (UK) – The Beatles (1964)

  19. Aftermath (US) – The Rolling Stones (1966)

  20. The Division Bell – Pink Floyd (1994)

  21. Heavy Weather – Weather Report (1977)

  22. Bridge Over Troubled Water – Simon & Garfunkel (1970)

  23. Sweet Baby James – James Taylor (1970)

  24. Surf’s Up – The Beach Boys (1971)

  25. Exile on Main St. – The Rolling Stones (1972)

  26. At Fillmore East – The Allman Brothers Band (1971)

  27. Born to Run – Bruce Springsteen (1975)

  28. The Hissing of Summer Lawns – Joni Mitchell (1975)

  29. The Doors (1967)

  30. Highway 61 Revisited – Bob Dylan (1965)

  31. Rust Never Sleeps – Neil Young & Crazy Horse (1979)

  32. Let It Bleed – The Rolling Stones (1969)

  33. Astral Weeks – Van Morrison (1969)

  34. (Untitled) (4th) – Led Zeppelin (1971)

  35. Teaser & the Firecat – Cat Stevens (1971)

  36. The Velvet Underground & Nico (1967)

  37. On the Road to Freedom – Alvin Lee & Mylon LeFevre (1973)

  38. Tea for the Tillerman – Cat Stevens (1970)

  39. The Complete Africa Brass Sessions – John Coltrane (1961)

  40. Holland – The Beach Boys (1973)

  41. Layla and Other Assorted Love Songs – Derek & the Dominos (1970)

  42. Heartbreaker – Free (1972)

  43. Pisces, Aquarius, Capricorn, Jones, Ltd. – The Monkees (1967)

  44. Beggar’s Banquet – The Rolling Stones (1968)

  45. III – Led Zeppelin (1970)

  46. Seventh Sojourn – Moody Blues (1972)

  47. Forever Changes – Love (1967)

  48. My Favorite Things – John Coltrane (1961)

  49. Meet The Beatles – The Beatles (1964)

  50. Can’t Buy a Thrill – Steely Dan (1972)

  51. Beautiful Vision – Van Morrison (1982)

  52. Days of Future Passed – Moody Blues (1967)

  53. Setting Sons (US) – The Jam (1979)

  54. The Captain & Me – Doobie Brothers (1973)

  55. The Dream of the Blue Turtles – Sting (1985)

  56. Willy & the Poor Boys – Creedence Clearwater Revival (1969)

  57. The Way It Is – Bruce Hornsby & The Range (1986)

  58. One Fair Summer Evening – Nanci Griffith (1988)

  59. The Beatles Second Album -The Beatles (1964)

  60. Who’s Next – The Who (1971)

  61. Idlewild South – The Allman Brothers Band (1970)

  62. Beatles ’65 – The Beatles (1964)

  63. Presenting the Fabulous Ronettes featuring Veronica - The Ronettes (1964)

  64. Chuck Berry is On Top – Chuck Berry (1959)

  65. First Circle – Pat Metheny Group (1984)

  66. The Allman Brothers Band (1969)

  67. Young Americans – David Bowie (1975)

  68. The End of the Day – The Reivers (1989)*

  69. Visions of the Emerald Beyond – Mahavishnu Orchestra (1975)

  70. Will O’ The Wisp – Leon Russell (1975)

  71. 461 Ocean Boulevard – Eric Clapton (1974)

  72. Band on the Run – Paul McCartney & Wings (1973)

  73. It’s Only Rock ‘N’ Roll – The Rolling Stones (1974)

  74. Manassas – Stephen Stills & Manassas (1972)

  75. Pretzel Logic – Steely Dan (1974)

  76. Peter Gabriel (3rd/Melt) (1980)

  77. Made in Japan – Deep Purple (1973)

  78. Where Have I Known You Before – Return to Forever (1974)

  79. Green River – Creedence Clearwater Revival (1969)

  80. Making Movies – Dire Straits (1980)

  81. Rock ‘N’ Roll Animal – Lou Reed (1974)

  82. Selling England by the Pound – Genesis (1973)

  83. Heroes – David Bowie (1977)

  84. Afro Blue Impressions – John Coltrane (1963)

  85. Some Girls – The Rolling Stones (1978)

  86. Diesel & Dust – Midnight Oil (1987)

  87. Mysterious Traveler – Weather Report (1974)

  88. Blues from Big Bill’s Copacabana – Various Artists (1968)

  89. Modern Times – Jefferson Starship (1981)

  90. Blow Your Cool – Hoodoo Gurus (1987)

  91. Ram – Paul & Linda McCartney (1971)

  92. Caravanserai – Santana (1972)

  93. Odessey & Oracle – The Zombies (1968)

  94. Black Market – Weather Report (1976)

  95. Heart Like a Wheel – Linda Ronstadt (1974)

  96. 12X5 – The Rolling Stones (1964)

  97. Santana (1969)

  98. In Concert: Live at Philharmonic Hall – Miles Davis (1973)

  99. Bridge of Sighs – Robin Trower (1974)

100. Pirates – Rickie Lee Jones (1981)

101. Benefit – Jethro Tull (1970)

102. Madman Across the Water – Elton John (1971)

103. Countdown to Ecstasy – Steely Dan (1973)

104. McCartney – Paul McCartney (1970)

105. Yesterday’s Wine – Willie Nelson (1971)

106. Howlin’ Wind – Graham Parker & The Rumour (1976)

107. Voice of America – Little Steven (1984)

108. Out of Our Heads (US) – The Rolling Stones (1965)

109. Blow by Blow – Jeff Beck (1975)

110. Robbie Robertson (1987)

111. Gaucho – Steely Dan (1980)

112. Desire – Bob Dylan (1976)

113. Vol. 4 – Black Sabbath (1972)

114. Abbey Road – The Beatles (1969)

115. Aja – Steely Dan (1977)

116. Yessongs – Yes (1973)

117. Rickie Lee Jones (1979)

118. Bare Trees – Fleetwood Mac (1972)

119. Something/ Anything? – Todd Rundgren (1972)

120. After the Gold Rush – Neil Young (1970)

121. Physical Graffiti – Led Zeppelin (1975)

122. Rock ‘N’ Roll – John Lennon (1975)

123. Abraxas – Santana (1970)

124. Hard Promises – Tom Petty & The Heartbreakers (1981)

125. A New World Record – Electric Light Orchestra (1976)

126. Ghost in the Machine – The Police (1981)

127. The Low Spark of High-Heeled Boys – Traffic (1971)

128. Dreaming My Dreams – Waylon Jennings (1975)

129. We’re an American Band – Grand Funk Railroad (1973)

130. Chicago Transit Authority – Chicago (1969)

131. What’s Goin’ On – Marvin Gaye (1971)

132. Don’t Cry Now – Linda Ronstadt (1973)

133. Goodbye Yellow Brick Road – Elton John (1973)

134. Jaco – Jaco Pastorius (1976)

135. Peter Frampton (1975)

136. Prisoner in Disguise – Linda Ronstadt (1975)

137. El Mocambo 1977 – The Rolling Stones (2022)

138. Document – R.E.M. (1987)

139. Harbor – America (1977)*

140. Love’s Melodies – The Searchers (1981)*

141. Doll Revolution – Bangles (2003)*

142. Learning to Crawl – Pretenders (1984)

143. Black & Blue – The Rolling Stones (1976)

144. The Yardbirds (Roger the Engineer) (1966)*

145. Lifes Rich Pageant – R.E.M. (1986)*

146. America (1971)*

147. Wildflowers – Tom Petty (1994)*

148. Aladdin Sane – David Bowie (1973)

149. Dusty in Memphis – Dusty Springfield (1969)

150. Everything – Bangles (1988)*

151. That’s Why God Made the Radio – The Beach Boys (2012)

152. Stephen Stills (1970)*

153. On the Border – Eagles (1974)

154. Baron Von Tollbooth & The Chrome Nun – Kantner, Slick & Freiberg (1973)

155. The Pretender – Jackson Browne (1976)

156. Under the Big Black Sun – X (1982)*

157. Stand Up – Jethro Tull (1969)

158. Let Me Up (I’ve Had Enough) – Tom Petty & The Heartbreakers (1987)*

159. London Calling – The Clash (1979)*

160. Live at The Star Club – The Beatles (1977)

161. The Joshua Tree – U2 (1987)

162. Eat to The Beat – Blondie (1979)*

163. One of These Nights – Eagles (1975)*

164. Scarecrow – John Mellencamp (1985)*

165. Live – Bob Marley & The Wailers (1975)

166. Tattoo – Rory Gallagher (1973)

167. Orange Crate Art – Brian Wilson & Van Dyke Parks (1995)

168. Damn the Torpedoes – Tom Petty & The Heartbreakers (1979)*

169. Hard Again – Muddy Waters (1977)

170. Valley Hi – Ian Matthews (1973)

171. In the Court of the Crimson King – King Crimson (1969)

172. One Live Badger – Badger (1972)

173. Automatic for the People – R.E.M. (1991)*

174. Trilogy – Emerson, Lake & Palmer (1972)

175. Sunflower – The Beach Boys (1970)

176. 80/81 – Pat Metheny (1980)

177. Moving Pictures – Rush (1981)

178. Blue and Lonesome – The Rolling Stones (2016)

179. You Broke My Heart So I Busted Your Jaw – Spooky Tooth (1972)

180. Quadrophenia – The Who (1973)

181. Go for Your Guns – Isley Brothers (1977)

182. Hearts of Stone – Southside Johnny & The Asbury Jukes (1978)

183. Get Happy! – Elvis Costello & The Attractions (1980)*

184. Long After Dark – Tom Petty & The Heartbreakers (1982)*

185. Master of Reality – Black Sabbath (1971)

186. Led Zeppelin (1969)

187. Sign O’ The Times – Prince (1987)

188. Ambient 1: Music for Airports – Brian Eno (1978)

189. Liars – Todd Rundgren (2004)*

190. Electric Ladyland – Jimi Hendrix Experience (1968)

191. Blonde on Blonde – Bob Dylan (1966)

192. Tattoo You – The Rolling Stones (1981)*

193. My Generation – The Who (1965)*

194. Going For The One – Yes (1977)*

195. The Tortured Poets Society: The Anthology – Taylor Swift (2024)*

196. Bloodletting – Concrete Blonde (1990)*

197. Fear of Music – Talking Heads (1979)*

198. English Settlement – XTC (1982)*

199. Brain Salad Surgery – Emerson, Lake & Palmer (1973)

200. Never Mind the Bollocks, Here’s The Sex Pistols – Sex Pistols (1977)

[gerogerigaogaigar]

Yeah Yeah Yeah - Fever To Tell

A perfect trio. Karen O's fuck me or go fuck yourself attitude, Brian Chase's frenetic drumming, and Nick Zimmer's nasty riffs make for the exact album that the burgeoning post punk revival scene of the 00s needed to stay fresh. If only other bands had followed their lead 😑 I digress though. The willingness to delve into the territory of noise rock only to always pull it back into more palatable garage rock/post punk territory is masterful. Like musical edging they keep it tastelessly sexual for almost too long. Up until the last few tracks which allows for an emotional release that helps pull the whole album together thematically.

Neutral Milk Hotel - In The Aeroplane Over The Sea

If it were me, hear me out now. See, if it were me, I would keep my Anne Frank sex dream to myself. I wouldn't write one of the most cryptic and beautiful albums of all time about it. I would not have combined indie folk and alt rock into a psychedelic melange of dreamlike wandering. I would have just kept that to myself. But I've made exactly zero of the greatest albums of all time so what the fuck do I know? This album is so completely sincere so please treat it gently. And ignore it's status as hipster holy grail. Listen to it on its own merits, for me, please?

Green Day - Dookie

Pop punk is maybe not the most well respected genre, and I get why. I don't think a lot of adults want to hear nasally privileged teens singing about jacking off. If Dookie, or any album like it, was a part of your childhood then you probably already know if you'll like this album. And if it wasn't then you probably already know you won't. But if you are at all curious where the 90s pop punk scene started then you have to listen to this, at least for the historical significance.

Robert Johnson - King Of The Delta Blues Singers

Robert Johnson, by god how am I supposed to review Robert Johnson! There were other earlier bluesmen but they didn't have the exact influence on rock music that Robert Johnson did. Not only did his blues stylings influence the original.batch of rock n rollers of the 50s but this very compilation reintroduced him to the artists of the 60s. It's not hard to see why he was so influential. Despite, or most likely due to, the stripped down performances Johnson's guitar work never overshadows his haunting vocals and vice versa. And that guitar work! Johnson may not have been the first blues musician to have supposedly sold his soul in exchange for musical talent (he isn't even the only blues musician with the last name Johnson to have that rumor attached to him) but it's easy to see why it stuck to him. He bounces around the fretboard effortlessly and lays down harmony and counterpoint all in one take while singing to boot!

Isaac Hayes - Hot Buttered Soul

In the wake of Otis Redding's untimely death Stax Records had to do something quick. They pushed for a slew of new albums to be completed quick including a follow up to an unsuccessful debut by up and coming session musician Isaac Hayes. Hayes demanded full creative control over and the Stax execs were in no place to argue. The result is a four sing album with three out of four track passing the ten minute mark. It's also really horny. Hayes has one of those voices where everything he sings just becomes sensual. I mean that was the entire joke of him being in South Park. On this masterpiece of a record though, oh man do the instrumentals know how to match his energy. Sloppy, funky bass and lush orchestral arrangements perfectly match Hayes's soulful, lonesome longing. This is such a perfect fuck album that I think it would be too on the nose to actually put on during sex.

Big Brother & The Holding Company - Cheap Thrills

Janis Joplin's voice is probably the most irreplaceable loss that the music world ever suffered. Wait nah I'll save this bit for when I review Pearl. They better put Pearl in this fucking list.

Janis Joplin was active for four years put out four studio albums had three bands and two distinct phases to her career and then dropped dead at the age of 27. She currently holds the 100% completion speedrun for being a rock star. And Cheap Thrills is definitely the most 'rock star' of all her albums.

The Temptations - Anthology

Hitsville USA: The Motown Singles Collection 1959-1971 is exactly what it says in the tin. A collection of every single released by Motown during their golden era. And looking at the track listing it's easy to see why the studio was nicknamed Hitsville USA. Five hours of runtime and nearly every song on here is an instantly recognizable classic. Even some of the deeper cuts are still just amazing. You would think that sitting through five hours of this might get tiring but I've seriously put this on and by the time it ends I'm like "wtf that wasn't five hours?" If you only have room for one comp in your collection make it this one. And if you want recs for a fucking Temptations record then listen to The Temptations Sing Smokey, Cloud Nine, or All Directions instead of another unnecessary compilation.

[ulkaralakbarova]

In the upscale Toronto strip club Exotica, dancer Christina is visited nightly by the obsessive Francis, a depressed tax auditor. Her ex-boyfriend, the club’s MC, Eric, still jealously pines for her even as he introduces her onstage, but Eric is having his own relationship problems with the club’s female owner. Thomas, a mysterious pet-shop owner, is about to become unexpectedly involved in their lives. Credits: TheMovieDb. Film Cast: Francis: Bruce Greenwood Christina: Mia Kirshner Eric: Elias Koteas Thomas: Don McKellar Tracey Brown: Sarah Polley Zoe: Arsinée Khanjian Harold: Victor Garber Inspector: David Hemblen Customs Officer: Calvin Green Man in Taxi: Peter Krantz Scalper: Jack Blum Man at opera: Billy Merasty Doorman: Ken McDougall Man at Opera: Damon D’Oliveira …: Maury Chaykin …: C.J. Lusby …: Nadine Ramkisson Film Crew: Screenplay: Atom Egoyan Editor: Susan Shipton Producer: Camelia Frieberg Set Dresser: Linda Del Rosario Set Dresser: Richard Paris Costume Design: Linda Muir Director of Photography: Paul Sarossy Assistant Director: David Webb Production Manager: Sandra Cunningham Assistant Production Manager: Roberta Pazdro Production Coordinator: Roland Schlimme Second Assistant Director: Fergus Barnes Third Assistant Director: Michele Rakich Other: Simone Urdl Other: Hussain Amarshi Assistant Production Coordinator: Carolynne Bell Extras Casting: Scott Mansfield Camera Trainee: Joseph Micomonaco Other: Mark Willis Focus Puller: Paul Boucher Steadicam Operator: David Crone Gaffer: David Owen Electrician: George Kerr Script Supervisor: Joanne T. Harwood Grip: Harper Forbes Boom Operator: Peter Melnychuk Set Dresser: Garth Brunt Makeup Artist: Nicole Demers Hair Designer: Debra Johnson Original Music Composer: Mychael Danna Sound Designer: Steve Munro Movie Reviews: badelf: The best psychological drama I’ve seen in a long time. I can’t even remember anything that comes close. Filipe Manuel Neto: **Something abstract and disconnected, not worth seeing more than once in our life.** This is one of those films that puts such a huge barrier between the audience and the screen that it seems like we’re not even being taken into consideration by the producers. Despite the attempts, there is not a single sympathetic or palatable character, the script does not help and the feeling that hangs in the air is of a lack of connection and solidity in the final product that can only be explained if we think about the way the director wanted to be. abstract by force. Everything takes place around a chic striptease club, Exotica, in Toronto. There is a dancer who enchants not only a client who goes to see her every day, but also the presenter, who is her ex-boyfriend and one of the most possessive and unhappy people we can imagine. Add to this an animal trafficker with problems admitting homosexuality who is forced to participate in a revenge plan, and we have a film that we probably won’t want to see more than once. Atom Egoyan gives us firm direction, but a much less secure and solid script. I like the way it addresses loss, trauma, the feeling of denial of reality and grief. However, to believe that a woman would set up an elegant strip club and her daughter would have the courage to take over the “family business” is to completely ignore the realities of these commercial establishments, where legality and illegality sometimes go hand in hand. A real luxury house would never hold private sessions on tables in the main room for a low price, but in separate rooms for a much higher price, and real strippers don’t usually dance to the same music and use the same stage number constantly. There are also huge holes that the script never explains and that are left hanging. For example, why did Christina decide to become a stripper if it is clear, from the characters’ words, that that is not the place she deserved to be. Bruce Greenwood is the actor who deserves the most praise for his work here. He is the only one trying to break the ice and reach out to the public in some way, and that deserv...

[1001albumsrated]

#19: Ella Fitzgerald w/ arrangements by Nelson Riddle - Ella Fitzgerald Sings the George & Ira Gershwin Song Book (1958)

Genre(s): Jazz Vocals, Pop, Showtunes

There are a couple elephants in the room here, so let's just lay them out.

1: Ella Fitzgerald is one of the greatest vocalists of all time, no questions asked.

2: The Gershwin brothers are responsible for damn near every classic showtune of the era, many of which became pop and jazz standards, but they sure are the showtune-iest showtunes (they really wrote the book on composing for Broadway).

3: Nelson Riddle is the king of schmaltz, again, no questions asked.

4: A 3.5 hour box set of songs from different musicals is not a fucking album. I'm sorry, but it just isn't.

Those facts leave me conflicted. But let's add some opinions:

1: I hate musicals, any by extension showtunes. Take away my queer license, I don't care. Not a musicals guy, never have been, never will be, no not Hamilton or Rocky Horror or Repo or any other "offbeat" musical. I just don't like 'em. I enjoy a good play, just don't start singing in the middle of it and we're gucci.

2: Nelson Riddle is one of my least favorite arrangers, and this project has made me listen to more of his work in a short period of time than I've ever wanted to. If I hear another sentimental string crescendo I'm going to shit.

3: I love Ella Fitzgerald. Just a spectacular vocalist. Like I've said before, I don't listen to a lot of vocal jazz. But if I have to I'm always happy to hear her.

This all puts me in a strange place. I actually left the "yes/no" cell on my nerdy 1001 Albums spreadsheet blank for about a week while I percolated on this one. The influence of the Gershwins is undeniable, and I think Ella sings what I'd consider to be the definitive versions of these songs (at least while staying true to their original forms; there are plenty of jazzier instrumental versions of the standards here that I'd much rather hear). As previously stated, not a fan of the Riddler, but I think his style is authentic to the spirit of the original compositions so I can't be too mad at the choice to work with him.

On the other hand, what an absolute slog of a listen. I had to break this up over two sessions, both for logistical reasons and because 3.5 hours of this is just too fucking much. I don't feel like this qualifies as an album, not just because of length, but on account of the content. Don't get me wrong, there are some incredibly long albums I love (for example: the atmospheric black metal epic Shards of Silver Fade by Midnight Odyssey clocks in at almost 2.5 hours, and Matmos' 99 artist collaborative experimental electronic epic The Consuming Flame: Open Exercises in Group Form clocks in right under 3 hours, or even Anthony Braxton's mind-obliterating 4 hour free jazz epic Quartet (New Haven) 2014), but I think the difference is that those are intended to be single, coherent experiences. This is, to me, more of a traditional box set compilation than an album. Even though these are new recordings recorded at the same sessions, I don't feel like I'm supposed to be listening all the way through. I was feeling positive but also like I'd had enough after 1 disc, and the next 3 really did me in. This, to me, is diedard material, much in the same vein as the various Miles Davis complete sessions box sets. I wouldn't tell someone "oh, my favorite Miles record is The Complete Jack Johnson Sessions", it's just asinine. I love it, but it's still not an album.

I've meandered here, so let's get to the point. Is Ella Fitzgerald Sings the George & Ira Gershwin Song Book an album you MUST hear before you die? I don't think it's an album, and even if you want to say it is, I don't think it stands on its own two legs enough to say anything but No to that question. I love Ella, and I think she has recorded plenty of great albums we could pick here, but I really don't see the need to listen to this unless you're a diehard Ella fan, a diehard theater kid (grown or otherwise), or a diehard jazz fan who wants to hear the best original versions of these classic tunes. I hate to say that, because I tend to take a historic lens to these sorts of things and I don't think you can understate the historical significance of these songs, but this just doesn't make the cut for me. It is, however, where I suspect many listeners' 1001 Albums journeys met their untimely demise. Great album art though, they nailed that.

For the nerds: I listened to this in hi-res on Qobuz. The track order there seems to vary from some of the other lists I've seen. Of note is that it puts the Ella-less instrumental cuts at the end where they belong instead of the beginning (or even better, maybe they could have stayed on the cutting room floor).

Next up: The Genius of Ray Charles by, you guessed it, Ray Charles!

[lucy-godzooky]

Top 20 Favorite Albums

Good Old Boys (Randy Newman, 1974)

The Hot Rock (Sleater-Kinney, 1999)

Trout Mask Replica (Captain Beefheart & His Magic Band, 1969)

Ghetto Blaster (Red Aunts, 1998)

The Band (The Band, 1969)

Judgment! (Andrew Hill, 1964)

Come Out, Come Out (Cub, 1995)

Mode For Joe (Joe Henderson, 1966)

The Idler Wheel (Fiona Apple, 2012)

The Complete Recordings (Kleenex/Liliput, 1993, COMP)

Portrait of the Artist as a Young Man (Louis Armstrong, 1994, COMP)

The Beach Boys - Wild Honey (1967)

Sonny Rollins - Way Out West (1957)

Monolake - Gobi. The Desert (1999)

Shiny Beast (Bat Chain Puller) (Captain Beefheart & The Magic Band, 1978)

Sleater-Kinney - Dig Me Out (1997)

autechre - NTS Sessions 1-4 (2018)

Miles Davis - A Tribute to Jack Johnson (1971)

Greg Ward - Touch My Beloved's Thought (2016)

Thelonious Monk - Big Band and Quartet (1964)

[robinfrinjs]

INDYCAR OPEN TEST WEEK

All 13 hours of track action can be viewed live in the U.S. on Peacock Premium, NBC’s live streaming service. International fans can view the test on IndyCar Live

Each car-and-driver combination will have nine sets of tires to use. Rookie drivers will have three additional sets; drivers taking refreshers will have two additional sets.

The Rookie Orientation Program is a three-step acclimation session. Drivers must complete 10 laps in the 205-210 mph bracket followed by 15 in the 210-215 mph range and 15 more above 215 mph. Johnson and Grosjean completed their sessions in the fall, making them eligible to participate with the veteran drivers from the outset of the test.

SCHEDULE ET

Open Test Day 1, Wednesday, 20 April 2022 11:00–18:00 Veterans-only, 11:00 Rookie Orientation & Refresher tests, 13:00 Full-field, 15:00 Open Test Day 2, Thursday, 21 April 2022 10:00–16:00

SCHEDULE CEST Open Test Day 1, Wednesday, 20 April 2022 17:00–00:00 Veterans-only, 17:00 Rookie Orientation & Refresher tests, 19:00 Full-field, 21:00 Open Test Day 2, Thursday, 21 April 2022 16:00–22:00

(Linked under the two days are the IndyCar Live Streams)

ENTRY LIST

HONDA TEAMS:

Andretti Autosport: Alexander Rossi (W), Romain Grosjean (R)

Andretti Autosport w/Curb-Agajanian: Colton Herta

Andretti Herta Autosport w/Marco & Curb-Agajanian: Marco Andretti

Andretti Steinbrenner Autosport: Devlin DeFrancesco (R)

Chip Ganassi Racing: Tony Kanaan (W), Marcus Ericsson, Scott Dixon (W), Alex Palou, Jimmie Johnson (R)

Dale Coyne Racing with RWR: Takuma Sato (W)

Dale Coyne Racing with HMD: David Malukas (R)

Meyer Shank Racing: Helio Castroneves (W), Simon Pagenaud (W)

Rahal Letterman Lanigan: Graham Rahal, Jack Harvey, Christian Lundgaard (R)

CHEVROLET TEAMS:

AJ Foyt Racing: JR Hildebrand, Dalton Kellett, Kyle Kirkwood (R)

Arrow McLaren SP: Pato O’Ward, Felix Rosenqvist, Juan Pablo Montoya (W)

Dreyer & Reinbold Racing: Sage Karam, Santino Ferrucci

Ed Carpenter Racing: Ed Carpenter, Rinus VeeKay, Conor Daly

Juncos Hollinger Racing: Callum Ilott (R)

Team Penske: Josef Newgarden, Will Power (W), Scott McLaughlin

[ruknowhere]

Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody.

The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don't begin until almost ten minutes into the piece.

It's Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in. The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea's solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, "Shhh/Peaceful," is even more so.

With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul's organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it's his turn to solo.

But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock.

Miles picks up on another riff created by Corea and slips in to bring back the ostinato "theme" of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul's organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era.

https://youtu.be/YHesqaMhh34

[jt1674]

[asimovsideburns]

The Archipelago: Adventures at Heaven’s Rim, session summary 14, once again being written friday morning before I go to sleep so I’ll be awake during session friday afternoon. I am a functional human being and my sleep schedule is totally fine, don’t worry about it.

In my defense, it’s been thursday since like sunday or monday, and then actual thursday ticked over into being friday around like… 7pm? 8pm? something like that

also life stuff

this is probably going to be a fairly short one? I’m pretty tired. Gonna be more utilitarian than my usual style, probably.

1) Shrimp gathers the party for the promised conversation. Explains what happened. Mason is, understandably, upset. Nim is experiencing an emotion hangover. Wane explains that they are, in fact, going to head out.

2) Nim and Sennin have some alone time to talk. Sennin calls Nim out on their bullshit, and Nim does what they always do: stonewall him. Nim decides to lay down for a nap in the middle of this conversation, maybe half an hour after waking up. Sennin decides to get a divorce.

3) While this is happening, Mason heads to the Sending office to return to sender the letter and package she received. Or have them burned, or thrown away, or put in a room to never see the light of day again, as long as they’re no longer her problem. Joseph takes them. Mason then goes for a few laps around the town.

4) Shrimp also heads over to the Sending office, after Mason leaves. Once there he has a heart to heart with Joseph, sends a letter home, and inquires about the game Joseph was playing with Edric a while back. Joseph informs them that it’s a game called dragonchess, and is happy to teach her the basics. They start with a simplified form of the game, and spend the rest of the day playing together.

5) Over the next several days, lawyers and representatives arrive for the legal proceedings—Sennin doesn’t think he’ll get Nim to come to the city, so best to get it done now while he knows where they are. Rather than a divorce, the two decide to get an annulment, which is more complex but also more complete—the lawyers will go over every asset, every obligation, every transaction made over the course of their marriage, and assign it to one or the other, either individually or to their families, and then the two will have never been married to each other, in the eyes of the law. This is by far the most interesting non-dangerous thing that has happened in Mountainsgate for a while, so there’s a bit of a festival air over the town, with people making small bets over which family will get which assets.

I do fee that I should note that two of these lawyers get names, and they are 1) a gnome in a business suit absolutely buried under a large scarf and mittens wearing two-foot-tall platform shoes named Gnathan George Withagee (the G in Gnathan is silent) and 2) a large orc with the skinniest glasses you’ve ever seen, wearing a business suit without the winter gear but with a shirt that has a floral pattern peeking out from under the jacked named Georg Nathan Johnson.

6) The aforementioned lawyers actually get described as part of setting the scene for this next bit, which is that Chantry’s back!!! And he brought someone with him!!!! The someone is a dragon!!!!! (Not that dragon, though.) Chantry has returned from the mission he was put on because James has made contact with someone sent from Dragon Country to the north to help deal with the dragon terrorizing the countryside, one Kendril Glitterscale, a white dragonborn; Chantry is the most familiar with the situation as it stands, in addition to James wanting as few people to know about the mission as possible, so it falls to him to take her there to meet up with the party.

7) The two of them travel together a few days, with Kendril telling Chantry much about her own life and him telling her a little about the party (although his information is unfortunately out of date). They check in with Joseph, who thanks Kendril for being willing to work with them and directs them towards the others. Nim is involved with annulment proceedings, and Shrimp is teaching Mason the basics of dragonchess using objects from their satchel as stand-ins for the actual pieces.

8) <- happy little guy emoticon (contractually obligated to do this with any list that gets to eight)

9) Mason, Shrimp, Chantry, and Kendril retire to the tavern and wait for Nim to be free.

10) Nim speaks with Gnathan, who informs them that they are almost free to leave; he just needs their signature on a few more pieces of paperwork—and did they want to complete the other paperwork, now, also? They do. Nim releases all rights, responsibilities, and relationship to their old family, and changes their name. Animesh Moonwhisper is no more. At the edge of town, they burn the original copy of the journal—the one that contains everybody’s personal information—and their jeans with their full name embroidered across the ass like juicy on yoga pants. The jeans don’t burn super well so now they have kind of burnt jorts that have scorch marks across the ass like juicy on yoga pants. They put the jorts back on under their sari, which means that nobody else can tell that there has been a change with regards to the Jeans Situation.

11) No-Longer-Nim heads to the tavern and to the bar where, in an attention-grabbing scene, Kendril is able to determine that they are now named Vratya and persuade them to join the rest for a discussion. The party decides to have the discussion privately in their rooms. Vratya agrees to stay with the party, mostly because they have literally nowhere else to go. Mason calls Vratya out for continuing to never reciprocate on relationships. The party fills in Chantry on everything that has happened.

12) Chantry is at first angry, disbelieving, but eventually accepts what the party says as the truth.

13) Chantry excuses himself, and then goes directly to the Sending office to fill James in on the whole situation—something the party has neglected to do, although not necessarily out of deliberate secrecy.

That’s about it, I think! An important session, if not an action-packed one. Also one that helped me identify again some of my strengths and weaknesses as a DM, which is good because I’m always looking to improve; this is the first game I’ve run that’s gone on for more than a few sessions, and the first that’s not an unedited module, and I’m really learning a lot.

[written-in-flowers]

The Candyman Can

Pairing: Minjoon

Genre: smut/ AU: criminal!au, crime!au

Word Count: 3k

Summary: "...The candyman can 'cause he mixes it with love and makes the world taste good./ And the world tastes good 'cause the candyman thinks it should." Namjoon gets a visit from The Candyman on the naughtiest night of the year.

Disclaimer: These works are completely fictitious and for entertainment purposes only. They are not meant to reflect or label the members of BTS in any way. The events within never took place. Thank you

Tags: mentions of death, serial killer, patient/doctor relationship, slight roleplay, light bondage, blowjobs, anal sex, sex toys, slight roleplay. 

A/N: this is for the bingo square “Halloween Candy” for the @btsholidaybingo event! and wanted to thank @voiceswithoutlips​ for the mood board!

****

The papers called him ‘The Candyman’ despite how cliche and unoriginal it sounds. Two years ago, he’d been Park Jimin, owner of Chimmy’s Confectionary outside the local farmer’s market. He sold handmade hard candies, chocolates, milk shakes, and all kinds of other sweets. He charmed customers with his bright personality and said candy made everything better. Namjoon learned his shop sold what he called ‘Candy Delights’. Multi-colored hard candies inside an acrylic plastic box, they were the shop’s most popular product. Especially for Halloween. Little hard and gummy candies shaped like jack-o-lanterns, ghosts, witches and spiders came in boxes of various sizes and themes. People could order specialty ones ahead of time or buy them in the store. Police said it’s how Jimin found his victims. 

Lawrence Stein ordered the ‘Witch Mix’ for his wife. 

Amanda Fernandez bought her best friend the ‘Boo-Berry Box’ as part of a congratulatory gift. 

Daniel Johnson purchased the special ‘Monster Delight’ for his teen daughter’s halloween party. 

Normal people. Normal purchases. Jimin poisoned dozens and dozens of people with his special Candy Delights. Police tried finding some reason for it. Nothing connected the victims beyond their purchases at his store. They supposed financial, political, or religious reasons, but Jimin scoffed at them all. Namjoon knew why Jimin did it once he read the file: the thrill. It’s the thrill of knowing a secret and not telling anyone. He imagined Jimin, smiling in his yellow apron, as an unsuspecting customer walked off with another Monster Delight or Witch Mix. He’d see people eat them in the store and wait. Will they get sick? Will they die? The candies came in varying degrees of toxicity, if the batch had any poison at all. It isn’t about the killing or death for him. It’s all about chance and luck. 

Two things Namjoon did not have tonight. 

He groaned as the world came back to him. His mind tried putting the pieces together immediately, working out where he was for a few seconds. Namjoon recalled coming home after a long day of having therapy sessions and filing paperwork. He’d changed into his clothes, yes, and sat down for a movie and dinner. Staring around, he felt grateful he was still in his living room. Namjoon wiggled, but found himself stuck in place. Several lengths of rope bound his torso and ankles to a dining chair. Someone had also done away with the shirt and pants he’d been wearing, leaving him in his boxers only. His heart beat thumped loudly in his ears; the panic finally set in with a million horrible scenarios flashing before him. 

“Oh good, you’re awake! I was worried I gave you a lethal dose by accident.”

He came out from behind him. Namjoon tried keeping his jaw from dropping at the sight of him. His tunic made of white sheer fabric, it ended far too high on his strong thighs. If he turned the right way, Namjoon could see glimpses of his slim, toned body underneath. The angel wings he wore were short and made of fake feathers; his silver halo stayed pinned to his black hair. He’s much more radiant and bright outside of his dreary hospital clothes. This is always the difficult part when it came to Jimin: so much sweetness and beauty hid the evil within him. Namjoon built up a tolerance to it over the years, but he’d caught Jimin charming his way through everything and everyone. Guards, nurses, orderlies, and other doctors fell victim to Jimin’s looks. Namjoon will admit he wavered from time to time, but always caught himself. Jimin is his patient at a psychiatric hospital. He cannot let his guard down...not even when he’s strapped to a chair half naked with Jimin so close by.

“How are you feeling?” he leaned to examine Namjoon closely, “Any nausea or trouble breathing?”

“Jimin, how did you-”

“-Escape? It was easy actually,” he smiled. “I found this opening in the fence a few days ago and it leads straight on through to the lake behind the hospital. I realized if you made a few more turns, you ended up in the front of the building, and well, why miss that chance, right?” 

“And then you found my car…”

He nodded, “I knew it was yours from the times I’ve seen you leave at night. My room does face the entrance, you know.”

“So, you snuck into my car, hid there, and then broke in here?”

“Yup. Really clever, huh?”

Namjoon knew better than to say ‘no’. “It is,” he said instead, “that requires a lot of stealth and chance. It’s very fitting for you.”

It unnerved him. He pictured himself moving through his house completely unaware that he had an uninvited guest. Namjoon had a thousand questions for the younger, but he kept them to himself. He needed to keep Jimin occupied until help could come. Surely, someone at the hospital will notice Jimin missing at lights out. They’ll be rounding up police forces to search for the Candyman, but for a flicker of a second, Namjoon worried they might not. Jimin isn’t violent or physical. He killed his victims without laying a finger on them. Bloodshed sickens him, from what he told Namjoon. In an altercation with another patient, Jimin let the man beat him. Then he heard the man suffered severe sickness in his cell later that night. Jimin will not stab or hit him, but his eyes shift to a bowl of candy sitting on his coffee table. He’d bought it for trick-or-treaters tonight...who knows what Jimin did to it within that time? 

“I found this costume in your closet, by the way,” he gestured to his outfit. “Did you plan on giving it to someone?”

“I did.”

“Who?”

“My...my boyfriend...well,” he shrugged, “Ex-boyfriend, anyways.” 

Jimin slipped onto his lap, which made Namjoon’s breath catch in his throat. Namjoon preferred not talking about Hoseok. They’d met a few months ago at Jungkook’s birthday party and they hit it off right away. The pair went through their honeymoon phase before the reality set in for them. They proved only compatible in bed and nowhere else. Namjoon bought him the angel costume before the latter broke up with him...over text no less. Seeing Jimin in it, noticing now he’d altered the length, he tried keeping himself composed. He can’t let Jimin see-or feel-how tempted Namjoon felt. Gosh, he’s always been weak for pretty faces and Jimin’s is the prettiest he’s ever seen. 

“Aw,” Jimin pouted, slipping his arms over Namjoon’s shoulders, “That sucks. He dumped you?”

“Yeah.”

“Well that’s stupid of him. You’re so…” he leaned in until their lips were inches away from each other, “Handsome. You’re very smart and caring too. You have to be if you became a psychologist at a prestigious hospital right out of college.”

“How did you-”

“-I looked it up,” he shrugged. “I’ve always had a thing for nerdy guys. You wouldn’t believe how lucky I felt when I saw you at our first session. I thought I’d get one of those old creepy doctors who like to cop feels during talks. But instead, I walk in,” he grinded his hips once over Namjoon’s lap, “And I see this super hot doctor sitting behind the desk. You were wearing the white shirt that day with the purple tie. I love how broad,” he slipped his hands down his shoulders, “and big you are.” He gave Namjoon’s arms a slight squeeze. “I hope you don’t mind me getting you like this,” he rolled his hips around and Namjoon shut his eyes tightly. He can’t give in. He can’t. “I couldn’t help but see what you had under those clothes. You’re much fitter than I thought you’d be.” 

His short fingers trailed gently down his front, tracing small circles until he reached his navel. The touch sent fire burning through him. It’s as if Jimin knew all the buttons to press. Namjoon coughed once those petit hips rolled on him again. He kept himself from looking at where their bodies met; he might lose himself if he saw his bulge pressing into Jimin’s. “It’s okay, Doctor,” Jimin whispered, “It’s okay to enjoy yourself once in a while. And what better night than Halloween, the Devil’s Night, huh? It’s the perfect time for nice guys to get a little naughty.” He finally pressed himself to Namjoon, resting right on top of his groin. In his ear, Jimin’s hot breath sent shivers down his spine. “How about just for tonight we pretend we’re a couple celebrating Halloween together?” He grinded himself again, his pert cheeks brushing over Namjoon now. “You know...You’re my boyfriend and I wanted to give you a little surprise? Of course, I’d never wear this cheap little thing.” He pecked right under Namjoon’s ear, a total weak spot. “I used to have this lacey one-piece I bought a few years ago. I’d wear that just for you,” he continued kissing down his neck until he reached his collarbone, “And be your pretty little angel.” 

“You’re far an angel, Jimin.” 

He giggled, “I guess I’m not.” Jimin peppered kisses to his jaw, “But I think you’d like that about me. I’m certainly more fun.”

Namjoon twitched,which didn’t go unnoticed. This time Jimin didn’t stop his grinding. Their eyes met and Namjoon almost fell for him. Pretty brown eyes looked back into his lustfully, full of need and desire for him. Never in a million years did he imagine a beauty like Jimin in his lap. He honestly wished Jimin untied him so he could feel every inch of his slim body. Finally, their lips pressed together. Namjoon recognized the candy on Jimin’s lips and slipped his tongue past them. Jimin’s soft moan broke their kiss for a moment, then he swiped his tongue over Namjoon’s lower lip. 

“You had some candy already?” Namjoon teased, desperately wanting to play along. The cops will show up eventually and haul Jimin back to the hospital. He might as well enjoy himself until then. 

“I couldn’t help it,” he smiled. “I love candy. I have loved it since I was a little kid.” He pecked Namjoon a few more times, then said, “But there’s another type of candy I like even more.” He pressed his hips down on Namjoon, who groaned in his mouth, “And I’d love to taste yours. Can I, Joonie? Please?” 

Namjoon didn’t object when Jimin sunk down to his knees in front of him. His breath heaving his chest, muscles tensed from the pressure in his crotch, the anticipation aroused him. Jimin started off kissing down his chest, running his hands over Namjoon’s arms as he did so. The rope left Namjoon enough room for Jimin to easily pull down his boxers. Once he reached the tent between his thighs, he grabbed hold and gingerly stroked through the fabric. The pleasure boiled deep inside Namjoon. He could do nothing but watch Jimin kiss and lick him through the thin boxers; he added to the pleasure squeezing his inner thighs and sliding his hand underneath the shorts. The contact brought out a long groan Namjoon couldn’t keep back. Jimin waited until his cock became rock hard before finally tugging them down. 

“Jimin…”

The younger sucked the leaking tip tenderly at first. He let Namjoon feel his lush lips and warm tongue before sinking himself further down. “You’re so big, Joonie,” he moaned, licking the underside up and down. “I love sucking and licking you every day.” 

“So do I.”

Jimin grinned seeing Namjoon join his pretense. He slipped his mouth all the way to the base; he made sure Namjoon heard his slight gagging when he hit the back. He sucked harder now and held Namjoon in his mouth longer. Jimin pulled away any time he pushed his hips forward; he’ll have all the control tonight and Namjoon willingly gave it to him. His eyes fell on the clock under the television; it shouldn’t take this long. Was it wrong that Namjoon hoped they never came? Jimin broke his thoughts when he started stroking while sucking hard on him. The pressure took him by surprise and his head tilted back. 

“Do you want my candy too?” Jimin asked sweetly, licking the spit and precum dripping off him. “I made it extra special for you.”

“Yes,” he breathed, “Yes, yes, yes.” 

Jimin pulled off his tunic easily. When he moved to take off his wings, Namjoon stopped him. “Keep those on,” he said, “I’ve never fucked an angel before.”

Namjoon admired him for a moment. The hospital left him with little opportunities to work out, but the nurses told him he did so in his bedroom. He’s softness and lean muscles put together. Namjoon wished he could caress and kiss every inch of him. He'd never seen someone so beautiful before. He envied anyone who had Jimin before him; the man inside him wanted to keep Jimin for himself. He wished he could run his hands over the fair skin and kiss each curve.  But, the ropes made that impossible. All Namjoon could do is lean forward so Jimin’s head slipped into his mouth. He instantly rolled and flicked his tongue over the sensitive bulb; he felt it pulse on his tongue. Jimin's soft moans became louder when Namjoon licked in time with each throb almost following the thick vein underneath. The teasing made him push his hips further into his mouth, which Namjoon took easily. Obscene sounds of slurping and gagging filled the space between them as Jimin took advantage of his position. Drool pooled around his lips and dripped from his lips, but Namjoon didn't care. Jimin's moans became a melody he fell in love with. He'd suck the man dry if it meant hearing more. 

Hastily, Jimin withdrew from him and turned around on his lap. “I want you in me, Joonie,” he said breathily. “I want you all the way in me.” 

“Shouldn’t we open you up…” 

Namjoon looked down to see Jimin’s ‘surprise’. A deep red plug sat nestled between his cheeks. He must’ve found it in the bedroom and slipped it inside. He whimpered, feeling Jimin push the toy against his member, so they both felt it. Were he free, he’d be abusing that toy entirely. “Jimin,” he sighed, admiring how his tight ring stretched around the base of the plug, “How long have you been hiding that from me?”

“Since you came home.” Carefully, Jimin pulled the toy out and held it to Namjoon’s mouth. “Open.” 

Namjoon eagerly opened and let Jimin slide the plug inside. Teeth biting down on the plug to keep it from slipping out, he braced himself for the upcoming relief. Jimin prepared himself a bit more to Namjoon’s enjoyment before finally sliding himself down on him. They both groaned feeling the satisfaction coming through them. Jimin worked gradually to a steady pace that tortured Namjoon. His moans muffled by the toy in his mouth, Namjoon once again felt helpless to stop him. He didn’t want him to stop. Jimin kept his thighs open as he backed up onto his cock; Namjoon occasionally pushed back into him just so it never slipped out. The need for release crept up on him the longer Jimin used him. He’d gladly give this to him every night if he could. He no longer bothered looking at the clock or worrying about police. Namjoon needed to fill him. He thought of the dozens of dirty things he can do were he not tied up and gagged. Yet, something about the helplessness aroused him; being able to do nothing while Jimin toyed with him kept his toes curling and fingers gripping the chair’s back. 

His heart skipped a beat when Jimin grabbed a knife from the coffee table. However, rather than slash at Namjoon, he stood and easily cut the ties holding him back. Neither of them had to say anything. Finally free of his bindings and gag, Namjoon lifted Jimin up and put him on the nearby couch. He settled both legs over his shoulders, pushed down on his thighs and reentered him. Namjoon became relentless. Their collective moans became louder at the fast pace. He didn’t care if his thighs and legs burned. 

“Such a dirty angel,” he murmured to Jimin, kissing up and down his neck freely. “Leaving the hospital just for some cock. How desperate you must be if you’re...you’re willing to-to risk it.”

“I just need you, Joonie,” he whined. “I need all of you and I wanted this on my favorite day of the year.”

“Then let me make it worth the trouble.” 

A few more pushes and the ball inside Namjoon exploded in fireworks. His grip on Jimin’s knees was the only thing keeping him grounded. Wave after wave of pleasure came out in each thick stream of cum. He could feel it coating his cock in every thrust. He watched Jimin covering his stomach and chest with his own in awe. Cheeks flushed, lips parted and both halo and hair disheveled, he looked beautiful. Namjoon wanted to savor this moment. The both of them didn’t stop until they’d drained themselves dry, then collapsed on the sofa. 

“Oh Namjoon,” Jimin panted, “that was incredible.” 

“Yes, it was.” 

The shame only started flooding into him when a loud banging came to the door. Namjoon looked around drowsily, but Jimin sprung to his feet immediately. 

“Shit, shit, shit! Fuck, fuck! Where’s my-”

The door burst open, bringing Namjoon to his senses. He watched Jimin hurriedly pull his tunic over his head; he tossed the halo into one of Namjoon’s potted plants, and faced him. “I’m sorry to cut this short, Joonie, but I need to go.” 

“You know they’re going to catch you, Jimin. Just go back with them,” he said.

“Fuck that,” he hissed. “I’m not going back to that prison!” 

“Park Jimin!” a voice said from behind the door, pounding on the wood again. “We know you’re in there! Open up!”

Jimin gave Namjoon one last kiss, then bolted for the back door in the kitchen. He’d gotten right to it when the front door burst open. Police dressed in uniform with bulletproof vests rushed through his living room with guns drawn. Namjoon instantly covered himself with a throw cover, but none of them noticed him except for one. 

“Namjoon, are you alright?” 

Kim Seokjin, lead detective in Jimin’s case, is a clear choice for hunting him down. It’d explain how he knew where to go. 

“I’m-I’m fine,” he breathed, pushing hair from his hot forehead. “He went out the back.” 

“Alright, you…” he noticed Namjoon’s tousled state and looked away, “You stay here.” 

The police went through his house to the backyard. Namjoon put his face in his hands. Shame fell over him. He broke one of the most important rules as a doctor; he also did this with a criminal. This can completely ruin everything. They could revoke his license to practice. The board already suspended it after the Louis incident. Once they heard this, they’d be even more reluctant to give it back. He won’t lie and tell them Jimin took advantage of him. Namjoon took a deep breath as he admitted he wanted it. Another side of him definitely wanted it. His eyes moved to the coffee table where the bowl of candies sat ready to be eaten. He’d never see candy the same way after tonight. 

Never. 

[oldshowbiz]

[365days365movies]

February 1, 2021: Dirty Dancing (1987)

There are two people to credit for the beginning of this month. The first is my girlfriend, who asked that I represent her with this GIF.

Thank you, dear. Anyway, this is one of her favorite romance films, and she’s also not a big romance movie person. She was shocked that I hadn’t seen it, and that’s because of the second person to credit here: my Mom.

That is my Mom in the late ‘80s with her Pomeranian, Pugsley. Yup. This is just the GODDAMN SURFACE of my Mom, who’s quirky as shit. Love her for it, though. But, OK, why is my Mom involved here? Because this is also one of her favorite films. My Dad’s, too, but I’ll talk more about him in April.

However, if you read the Romance February introduction from yesterday, you might be wondering something. If my Mom’s taste in romance movies was so prevalent in my early life, how in the hell have I never seen this movie, one of her favorites? Especially considering the fact that, TMI here, but I WAS BORN TO THE FILM’S SOUNDTRACK. YES. REALLY. HOW HAVE I ESCAPED THIS MOVIE?

Yup. No clue. Shall we remedy that? SPOILERS AHEAD!!!

Recap

It’s 1963 in the Catskills, where Frances “Baby” Houseman (Jennifer Grey), a politically conscious young woman on her way into the Peace Corps, is going on vacation with her parents, Jake and Majorie Houseman (Jerry Orbach and Kelly Bishop), and her sister, Lisa (Jane Brucker). The owner, Max Kellerman (Jack Weston), who’s a friend of the Housemans, welcomes them to the resort.

Later that night, Max is briefing the young male waiters and entertainment, all of whom are hired from Ivy League universities. Well...except for the intriguing young dance instructor in the sunglasses. THAT...would be Johnny Castle (Patrick Swayze).

I wanna just say before I forget, I miss Patrick Swayze. He’s awesome, and he left far too soon.

The next night, during dinner, Max introduces Baby to his grandson, Neil (Lonny Price), who’s just graduated from Cornell’s Hotel Management school. A school which, for the record, is the best hotel school in the USA, and second or third in the world. Also, hotelies (that’s what we called them) are CRAZY. They’re an interesting...bunch...

I, uh... I went to CornellMOVING ON

As Neil awkwardly hits on Baby, everybody encourages them having a relationship, despite her CLEARLY not wanting any of this. She instead watches Johnny skillfully mambo with another girl on center floor. After being roped into a magic act by Neil, and given a chicken by Stan (Wayne Knight, which I’m a fan of), she leaves, annoyed and irritated.

On her way back, she sees Johnny’s cousin, Billy (Neal Jones) struggling with a few GIGANTIC watermelons. She offers to help him, and he brings her to a secret house party, where some dancing’s happening. Some...dirty dancing.

Interesting side note here: racial integration! In 1963, remember, so that’s interesting. I mean, if anybody’s a fan of that, it’s gonna be me. At the party, Johnny arrives with Penny Johnson (Cynthia Rhodes), his dance partner from the mambo floor. Johnny sees her there, and questions her presence, to which she makes an adorably awkward comment. And then...they do a dance of their own.

The next day, Lisa makes a love connection with one of the waiters, and asks Baby to cover for her. Baby also speaks to Penny, who doesn’t come from the best background. That night, Penny’s missing, and Neil gives Cornell students just the WORST goddamn name as he very awkwardly hits on Baby. He takes her to the kitchen, and that’s where Baby sees Penny.

Yeah, Penny’s not OK. Baby goes to Billy and Johnny, who go to get her. Turns out Penny’s pregnant, but Johnny’s not the father. They’re obviously quite close, although they aren’t romantically tangled. Baby, coming from a place of much higher privilege, doesn’t quite understand how difficult this is. Penny berates her for this, and it’s revealed that the father is Robbie Gould (Max Cantor), one of the waiters, who’s also the guy that’s been hanging around Lisa.

Baby confronts him the following day, where he states that “Some people count, some people don’t.” He also offers her a copy of The Fountainhead, a well-known book for complete and utter douchenozzles. She warns him to stay away from her sister, then goes to ask her father for money for the abortion. Which, by the way, was very illegal in 1963. She gets the money from her dad, who gives it without asking many questions.

However, there’s an issue; Johnny and Penny have to dance on the only night she can get the abortion. And there’s nobody to replace her...except maybe Baby? Johnny’s entirely against it, they end up convincing him, for Penny’s sake. And now, we get a hallmark of ‘80s cinema: the training montage.

This is a pretty good time to note three things. One, Jennifer Grey is the daughter of Joel Grey, one of the GREATEST actor/dancers ever to grace Hollywood and Broadway. Dude was one of the main characters in Cabaret, for which he won an Oscar, and originated the role of the Wizard of Oz in Wicked. So, yeah, she’s got dancing blood. Secondly, Patrick Swayze and Jennifer Grey apparently HATED each other. Yeah, kind of a bummer. But their chemistry was SO GODDAMN POWERFUL, that they were able to push through their feelings and do this as well as they are. And third...THIS SOUNDTRACK BOPS. 

I get it. I GET IT.

Something else I get, too. The chemistry between Grey and Swayze really does sizzle, GODDAMN. Over the course of the montage, they clearly get closer emotionally...and physically. And yeah, it’s definitely there. Although, given the fact that they’re from different class backgrounds, it’s probably gonna be one of those stories. Well, OK. Let’s do it.

After a little too much time practicing, the two take a break. And yet, while on a nature excursion, they continue their training in different environments. Most iconically, they practice lifts in the lake.

Yeah...yeah, I get it.

The day approaches, and Baby and Penny have a bit of a heart-to-heart. Penny asks Lisa to cover for her (and I’m betting that she won’t, LIKE AN ASSHOLE), and she heads to the dance gig. It mostly goes OK, but the lift is aborted at the last second. However, the performance is still received well. They leave JUST before an elderly couple from the resort sees them. 

Johnny gives her a pep-talk, telling her that she did well, and the music on the car radio hints at their growing mutual attraction. But once they get there, tragedy’s struck. Turns out that the abortion doctor was a dangerous quack, and Penny’s now dangerous injured, in pain and possibly dying. Panicking, Baby does THE RIGHT THING, I can’t stress that enough, THE RIGHT GODDAMN THING, and gets her doctor father.

Understandably upset (and yeah, it is understandable, all things considered), Dr. Houseman forbids Baby from seeing Johnny or any of the others ever again. This situation...sucks. Damn. And Baby agrees, as she sneaks off to see Johnny anyway. She apologizes to Johnny for how her father treated her, but Johnny blames his own social status for it, rather than her father.

Their conversation becomes very real, and eventually turns into Baby declaring her love for Johnny. As a song comes on the radio, she asks him to dance with her. Giving in to his own feelings, he agrees. And together they engage in some...Dirty Dancing.

As the two dirty dance horizontally, the night turns to day. That morning, things are definitely awkward between Baby and her father, who almost takes his family away that night. But, his wife and Lisa convince him to stay. He even comes back to visit Penny, checking in to make sure she’s alright, which Baby finds out once she does the same.

Things are also a little awkward between Baby and Johnny, interestingly. Wonder how last night ended. Well, Penny figures it out, and warns Johnny about the risks off getting involved with the upper class. Which, remember, is how she ended up this way. The two have a tense-but-intimate exchange. Which just preludes this IMMEDIATELY happening.

Yeah, that’s not a surprise. Well, more heart-to-heart proceeds, and they continue to learn about each other’s lives. That night, Lisa tells Baby that she wants to go all the way with Robbie. Despite Baby’s warnings, Lisa simply tells her off, and is generally, I’ll be honest, a bitch. The next morning, though, Baby and Johnny have another dance session. And it’s THAT session. You know the one.

Neil interrupts, and proceeds to give a bad name to Cornellians everywhere (I’m not like that putz, I SWEAR), and pisses off Johnny in the process. She asks why he didn’t stand up for himself, and then immediately hides Johnny from her father, who’s walking with Robbie and Lisa. Rightfully calling her a hypocrite, he storms off.

And then they immediately resolve it. Which, GODDAMN, do I appreciate. Robbie strolls by, makes a typical crass comment about Baby, and then Johnny BEATS THE EVER-LOVING SHIT OUT OF HIM

OH FUCK YES. And if that wasn’t enough catharsis, Lisa catches Robbie with one of the high society wives from earlier, as they sleep together in a cabin. OH. YES. THAT’S SOME GOOOOOOOOOOOOD SHIT.

Baby and Johnny, in the actual good and fully-developed relationship of this movie, spend the night together. And are seen the next morning by the high society wife, who had the hots for Johnny.

The wife, Vivian (Miranda Garrison), implicates Johnny in stealing a wallet. Johnny’s about to be fired, and then BABY ADMITS THAT THEY WERE TOGETHER IN FRONT OF HER FATHER HOLY FUCK

She did it. She actually did it. Goddamn. And then, AND THEN, she TELLS HER FATHER OFF AND CALLS HER OUT FOR HIS ELITISM HOLY FUCKING SHIT I AM IN LOVE WITH THIS MOVIE. And then, Jerry Orbach fuckin’ starts tearing up, and I AM SHOOK MOTHERFUCKER

And yet, even though the wallets were actually stolen by an elderly couple that Baby actually implicated, Johnny gets fired anyway. GODDAMN. After Baby completely loses heart, Johnny confronts her father, and learns that he believes that he was the one who got Penny pregnant. Johnny semi-tells him off, then walks away.

At his car, Johnny and Baby say goodbye with a kiss, and Johnny heads off forever. I mean, probably not, there’s a good 16 minutes left, and we haven’t gotten to the most iconic scene of the film yet. But anyway, Baby mourns her lost relationship, and her sister actually bonds with her over this whole thing. Hot damn.

I want to punch Neil in the goddamn face. Mostly just because he’s on screen, but also because he LITERALLY ruins the goddamn anthem of Cornell University, by setting the anthem for the resort against its melody. Goddamn you, Neil. GODDAMN YOU. Also, fuck Robbie, because he LITERALLY OUTS HIMSELF to Dr. Houseman as Penny’s former deadbeat partner. As the anthem continues (to my rage), who shows up but Johnny, who comes to stick up for Baby and all she’s done.

He brings her up on stage, and interrupts the anthem (THANK YOU CHRIST) to perform the last dance of the season, as he always does. Despite Dr. Houseman’s would-be objections (prevented by his wife, who has moved up on my list of favorite characters), the two are left alone on stage. And that...is when the song plays. YOU KNOW THE GODDAMN SONG

Y’know, it’s funny, because this song is definitely an ‘80s song, making this whole sequence pretty goddamn anachronistic, but WHO CARES!? It’s one of the most iconic sequences in film history, especially of the era, and I love the hell out of it. The crowd cheers, the rest of the kids join in, the lift happens, father and daughter make up, everybody dances, I dance with my girlfriend, I LOVE IT! They kiss, they dance and the film fades to black.

Dirty Dancing! See you in the Review! Oh, I’m changing the name of that section, by the way. Alongside a few more things. You’ll see.

[howaminotinthestrokesyet]

Behind The Album: Sticky Fingers

In April 1971, the Rolling Stones released their 12th studio album, Sticky Fingers. The recording of this album would mark new territory for the band in a lot of ways. Sticky Fingers would be the first album that had absolutely no participation from the late Brian Jones. This would be the first album released on their new label, Rolling Stones Records. The record would be the first major effort from new guitarist,Mick Taylor. He had participated on the previous album, but on a limited basis. The timing of the album was important as well because it would be the first major work from the band since the disaster at Altamont Speedway. Many things had changed in music since the new decade began.

An important factor that played a large part in the recording of the album was the fact that the band had tremendous tax issues at the time. They had learned that their manager Allen Klein had not been paying their taxes, even though he told them he was doing so. This meant that each member of the band owed quite a bit of money in back taxes to the government. Mick Jagger would later say, “I just didn’t think about taxes and no manager I ever had thought about it, even though they said they were going to make sure my taxes were paid. So after working for seven years I discovered nothing had been paid and I owed a fortune.” One of the first steps came in the band firing Allen Klein. Yet, this did little to minimize their money issues because unbeknownst to the band they had signed over copyrights in America to all their 1960’s material. Klein’s company Abkco Records now held ownership and received all royalties for their music. This financial catastrophe meant that they needed to release new music in order to make any money from the recordings. For this reason, Rolling Stones records was created to begin the process of getting the band out of debt. They needed to retain ownership of their music in order to maximize any kind of profit. After detaching themselves from Allen Klein, Prince Rupert Loewenstein was hired as the group's new financial manager. Looking back now, they finally found someone that would not rob them blind. Atlantic Records was hired to license all of their music, while Marshall Chess of Chess Records would handle the business side of the label. They seemed to trust his background as the president of a hardworking blues label more than anything else. There was a lot riding on this album financially for the band because if it did not sell, then things would go from bad to worse for each member personally.

The recording of Sticky Fingers actually began during their tour of the United States in 1969. They made a visit two muscle Shoals in Alabama because some of their favorite music was recorded there. During this time, the band recorded three songs, “Brown Sugar,” “Wild Horses,” and “You Gotta Move.” Keith Richards with later talk about those sessions in an interview. “The session] one of the easiest and rockingest sessions we’d ever done. I don’t think we’ve been quite so prolific… ever. Those sessions were as vital to me as any I’ve ever done. I mean, all the other stuff we did – ‘Beggars Banquet’, ‘Gimme Shelter’, ‘Street Fighting Man’, ‘Jumpin’ Jack Flash’ – I’ve always wondered that if we had cut them at Muscle Shoals, if they might have been a little bit funkier.” Yet, the recording of the album would take more than a year. The band did not reconvene for more tracks until March 1970 at Mick Jagger‘s estate, Stargroves. He did not have a studio in his house, but instead they used a mobile recording unit. They would use the same thing on the next album, which essentially carried around in a van all the equipment in the sound booth at a recording studio. This unit also allowed the band to record any musicians that just stopped by for a visit. One reason the album took so long was because the material they made during this period was so outstanding. If a song did not end up on Sticky Fingers, then they decided to use it for Exile on Main Street.

Unlike their other releases, this album embodied straight rock and roll. They did not experiment with country, gospel, or anything else for this record. Looking at it in hindsight, this is precisely why people love this album, while critics had mixed reactions about it. The one thing the band did introduce with this album was their new guitarist Mick Taylor. He became a revelation musically because Taylor stood out as the most technically skilled guitarist in the band's history. Keith Richards even said in an interview that the guitar part on “Can’t You Hear Me Knocking” could not be played by him. The guitarist also brought a much more melodic guitar as opposed to Brian Jones previously. This would not be the Rolling Stones, if they did not have any issues at all in the recording of the album. During this time, Keith Richards began to gradually descend into complete and utter heroin addiction. At times, he was so intoxicated during recording they had to abandon completely certain takes. The delay of the album probably had much more to do with his heroin addiction, rather than the amount of material they were producing. Richards would later comment on why he began using the drug. “It was] the periods with nothing to do that got me into heroin. It was more of an adrenaline imbalance. You have to be an athlete out there, but when the tour stops, suddenly your body don’t know there ain’t a show the next night. The body is saying, ‘What am I gonna do, leap out in the street?’ It was a very hard readjustment. And I found smack made it much easier for me to slow down very smoothly and gradually.” At one point during the recording, things got so bad that Mick Jagger filled in for him on the song “Moonlight Mile.” At no point previously would that have even been imagined. This would become quite the conundrum for the band considering the fact that they had just fired Brian Jones for this exact reason. Another interesting aspect of Sticky Fingers was the fact that Gram Parsons did a country version of “Wild Horses” one year before the album was even released for his band. There exist differing accounts on how it all transpired. Jagger and Richards were totally fine with the release of the song. Before his death, Parsons would say in interviews that the song was a gift to him for helping them with country rock songs like “Country Honk” on Sticky Fingers and Let It Bleed. The track is very different from the one the band released, and some critics even argue that the Parsons version is better.

One of the things about Sticky Fingers is that the art associated with the album became just as important as the music. Andy Warhol designed the cover of the album, which was a pair of pants with a working zipper. The first albums had the zipper pull all the way down to reveal white underwear. These albums are collectors items today because they eventually had to switch to a plain photograph. The metal from the zippers was damaging the records when they were stacked in trucks to be delivered. Unfortunately, nobody really knows for sure who the model is on the cover of the album. Some have suspected that it is Joe Johnson, the brother of Warhol's lover at the time. The other iconic piece of art released with this album came in the introduction of the Rolling Stones signature tongue. This has become the most recognizable image for their brand. You probably cannot live in this country without having seen it at least once. The inspiration for it came to Jagger via calendar he owned about Indian culture. “I was looking for a logo when we started Rolling Stones Records. I had this calendar on my wall, it was an Indian calendar, which you’ll see in Indian grocery stores, and it’s the goddess Kali, which is the very serious goddess of carnage and so forth. And she has, apart from her body, this tongue that sticks out. So I took that to John Pasche and he ‘modernized’ it somewhat.”

Upon its release, critics had very mixed reactions towards the album. The main flaw that some found it possessing came in the fact that it underwhelmed. This issue represented what these critics have come to love about the band's more recent efforts. On Beggars Banquet and Let It Bleed, the Stones had experimented quite a bit with their sound venturing off into new areas. Yet, Sticky Fingers did not go in those places, but instead stayed fairly close to basic rock and roll. This emerges as an age old story with a lot of bands. You must do something different in order to impress the critics because they will often say I have already listened to that. The album became the band's most popular one to date as it went number one in both England and America. That fact should actually be the true testament on how good the band's album is overall.