#except for that come home song post that's new n relevant

[msommers]

ocs + character study ↳ Lucinda Armitage

[hihellogoodbyebruh]

Is She the Reason?

Pairing: Angel Reyes x Black!Reader

Summary: Angel has been distant lately and Y/N discovers the reason why.

Warning(s): Foul language, angst, cheating :(

Word count: 1,831

Author’s Note: I’ve been in a sad mood so this kind of came out of that. Plus of course the Destiny’s Child song of the same title was inspiration. There is kind of a prequel in my docs that may get posted in the future. We shall see. Also the text in the gif isn’t relevant, I just needed sad Angel. Questions, comments, and concerns are always welcome. My inbox is open. Enjoy!

Part 2

The MC was dealing with a very busy couple of weeks. With the Galindos now working with Rebels, the Mayans were needed to help facilitate the relationship incognito. Angel had a position now so his responsibilities were even greater and you’d seen him less and less. He used to call and text frequently, but you stopped receiving those all the time as well. Something felt wrong, but you chalked it up to him just being busy. You missed just being in his arms and seeing that annoyingly sexy smile on his face. You knew the guys were running day in and day out so you wanted to do something for them. With the help of Chucky, you organized a special dinner for everyone. You knew it could get interrupted with urgent club news, but you had to try.

With meat provided by Pops and sides prepared by you, the boys practically had a feast laid out in the middle of the clubhouse. You had come to really care about all members of the club. Your father was a retired police captain who always had a soft spot for the club. He was actually friends with Bishop and Marcus. You’d known them all your life. Of course EZ, Coco, and Gilly had a special place in your heart because of their closeness to Angel. They became like brothers to you quickly. EZ was the baby brother with the gentle soul, Coco was the wild one, and Gilly was just so damn lovable. They were the perfect balances for Angel and you were so happy he had them in his life.

As you finished making sure everything was laid out to perfection, you heard the rumblings of engines outside.

“They’re here!” Chucky excitedly declared and you couldn’t help but laugh.

“Yes I can hear that Chucky. Start opening some beers up, yeah?” You suggested and he nodded his head as he followed instructions. You had just made your way from behind the bar when the doors opened.

“Something smells good as fuck in here. No way Chucky cooked.” Bishop stated as he walked in with Taza and Loza behind him.

“Absolutely not. I love y’all too much for that. I figured you busy men deserved a nice home cooked meal. Dig in, Jefe.” You announced, smiling at them. Obispo was like a second father to you. Your father and him had developed a highly unlikely friendship that was still strong after all these years. They played cards every week.

“Gracias, chica.” Bishop replied, placing a paternal kiss on the side of your head before walking towards where Chucky had beers lined out.

You were greeted and hugged by the rest of the gang, with Coco and Gilly pulling up the rear.

“You cooked, Y/N? Please tell me you made mac and cheese.” Coco asked, with the closest thing to a pout on his face that you’d ever see.

“Nope. Not this time.” You lied, just to see his and Gilly’s faces dropped. It was so funny.

“I’m just playing. Of course I-” You couldn’t even finish your sentence because Gilly and Coco were racing each other to get to the pan first. 

“Y’all better share!” You yelled after them, laughing and shaking your head before heading towards the door. Angel hadn’t been inside yet so you figured he was outside talking to EZ. You had on your favorite pair of jeans that hugged your ass just how he liked it and you had recently taken down your braids to let your natural hair breathe. You had a fresh twist out and you knew your tight curls bouncy and shining in the sunlight.

As you stepped outside, you spotted Angel immediately. He was leaning against the side of the opened van door speaking with a woman sitting down on the van’s floor. You tried not to let yourself be the jealous type. Angel was a very attractive man that often had girls trying to holla at him. He never seemed to entertain them. Nah, it wasn’t the fact that he was talking to a woman that bothered you. It’s the way he was talking to her.

He was completely engrossed by her. You could only see his profile but you recognized the softness in his face. It’s the same look he would give to you. The look that had you feeling like you were the center of his universe. Your breath caught in your throat as you watched the genuine smile that spread across his face as he became amused at something the woman said. You watched his hand run up her forearm and give it a gentle squeeze. There was nothing overtly sexual happening, but the intimacy of it all broke your heart.

The woman wasn’t someone familiar to you. At first. But then you spotted the unique tattoo on her neck. You had heard that tattoo described before. Adelita. The rebel leader. She was beautiful. There was a quiet power to her that almost pulled you in. All of the dots began connecting in your head. All those times he mentioned Adelita and how smart she was, how brave she was, what a badass she was. You thought it was just respect, but now you see it’s more than that. Something was going on between them.

Noise caught your attention and from your peripheral you spotted EZ coming out from his RV. You watched him assess the situation in seconds flat. You turned your head to make eye contact with him and the sad smile on his face, the apology written clear as day there, took your breath away. You felt a tear slide down your face and you turned around to quickly wipe it away.

When you turned back around, EZ had walked over and broken up the conversation. Angel finally turned around and saw you there. You could have swore you saw a quick flash of guilt cross his face before he walked over to you.

“Hey querida.” He kissed your forehead and pulled you into a hug.

Even with your confusion, heartbreak, and anger you couldn’t help completely folding into the hug. Your arms wrapped tightly around his waist and you found yourself inhaling his scent. “Hi.” You breathed out as you finally pulled back from the hug.

“Hey Y/N/N, what are you doing here?” EZ asked, giving you a one armed squeeze.

“I cooked dinner for y’all. There’s plenty inside. Even for your friend here.” You mentioned, with a nod in the woman’s direction. “Except maybe the mac and cheese if someone didn’t stop Coco and Gilly from being hogs.”

“Gracias,” Adelita told you before walking inside the clubhouse with EZ. You watched as Angel watched her for a second before dragging his eyes back to you. There was a silence between y’all before you broke it.

“Is she the reason?” You quietly asked Angel.

“What?”

You scrubbed your hands over your face, trying to hold yourself together. “Is she the reason? The reason you don’t call like you used to? Come around my place like you used to? Or put it on me hard like you used to do?”

“Y/N, it’s not like that.”

“I didn’t ask what it’s like. I asked if she’s the reason that my calls didn't reach you? The deepest of my love couldn’t please you? Tell me the truth right fucking now. I deserve to know.”

There was another silence between y’all as you just stared in his eyes. You were begging, practically pleading with him to tell you that you were wrong. You were putting too much on nothing. That there was no one else… “It wasn’t supposed to be like this.” Angel sighed, and you felt your heart drop into your stomach

“No..no, no, NO fucking dammit Angel!” You shoved him hard, your heartbreak manifesting as anger. “You promised me…”

He stumbled back a little at your push. “I’m so sorry Y/N. We were just working together, but something about her I-”

You cut him off with an angry hiss, “Shut up!” You didn’t want to hear all the things he found so wonderful about her. They didn’t matter. You just started pacing back and forth in front of him. You guys were lucky the yard was closed today and that EZ probably told everyone to stay inside and give y’all space. But honestly, you didn’t even care if you made a scene right now.

“You told me that before you stepped, you’d let me know. You promised you’d tell me if anything changed. You promised to be honest. You promised not to embarrass me. You promised, Angel, you promised…” Your voice broke as the full realization hit you. He’d been carrying out this affair for however long and he didn’t have the decency to tell you. You’ve been worried about him this whole time, but he’s been having himself a great time. You couldn’t stop the tears that flowed.

His eyes closed in guilt and sadness as you started to cry. He never wanted to hurt you. He just got into a situation that spiraled out of control. “Lo siento mucho cariño.” 

You just shook your head, unable to believe his words. Unable to believe what was happening. “Before you let me see you with her, you could have told me a change was gonna come. Told me something, anything...but no. How could you let it go this far if you had doubts that I wasn’t the one?”

“I didn’t have any doubts. It didn’t happen like that. I love you, but I just….I can’t explain it.”

“Love? You love me?” You repeated, your voice hoarse and breaking with the word. This wasn’t love. Love should never have so much confusion. Your mind was spinning and you needed to leave. Immediately. “I can’t do this.” You try to walk away but he grabs you.

“Y/N wait, please…” He pleaded, taking your hand and that physical contact caused you to snap.

“GET OFF ME!” You yelled at him, snatching your hand back. All thoughts of not making a scene left your mind. You were reacting from pure hurt. Your scream brought out the men from the clubhouse. “And don’t ever touch me again. We’re done, Angel. We’re so fucking over. You need to get your shit together, but I’m not gonna wait around until you do.”

And then you were rushing to your car and speeding out of the scrap yard. Angel tried his best to keep himself together even as he felt like his heart was beat out of his chest. He wanted to race after you but all he could do was watch you go. He felt someone step up beside him.

“I thought I told you not to be stupid, Angel.” Bishop told him, eyes still on the road your car sped down. He was pissed.

“Bish, I-” Angel started, but was interrupted by Bishop’s fist meeting his mouth. He fell to the ground, wiping at his busted lip.

“Just stay away from her.”

[jomalley-ferrisbueller-final]

A Closer Look at Ferris Bueller’s Day Off (John Hughes, 1986)

The 1980s was the time of the teen film, with a number of iconic teen films coming out during that decade. One that has become a staple of the classic teen film is Ferris Bueller’s Day Off (John Hughes, 1986). Ferris’ legendary day off has become a dream for teens then and now still being quoted today within the halls of high schools around the country.

Bueller didn’t hit the big screen in the summer of 1986 without its fair share of long and tedious production issues. Director John Hughes took a lot of his inspiration from his own life growing up. Raised in Chicago, this city becomes the setting for a majority of his films. In fact, there are even websites that pinpoint exact locations all throughout Illinois where Hughes shot classic movies such as Bueller, The Breakfast Club (John Hughes, 1985), and Home Alone (John Hughes, 1990). Looking at Buller specifically, a lot of aspects of the film reflect John Hughes. Ferris’s bedroom is created to look very similar to how Hughes’ room looked when he was a teenager, scenes for the film were shot in the hallways of his former high school, Glenbrook North and the character Ferris Bueller is actually based one of Hughes’ friends from his childhood with the same name. Edward McNally, a childhood friend of Hughes wrote an article for The Washington Post honoring the late director. As far as being named “the inspiration” for Bueller he is quoted as saying:

“…for years I was relentlessly pursued by a remarkably humorless Glenbrook dean about attendance, pranks and off-campus excursions -- and because my best friend was in fact named Buehler -- I've spent an inordinate amount of my life being unfairly accused of serving among the inspirations for Ferris Bueller.”

Looking at the production of the film, there were many different things that went into its creation. It only took three months to shoot the film between September 9, 1985, and November 22, 1985 which might not seem like a lot compared to how long shows or movies take to shoot today, but since a lot of their filming locations existed within miles of each other it was pretty easy to get everything shot in a short time. During the filming, John Hughes took some inspiration from Ferris on his impressive way to get the impossible done. The parade scene was shot during Chicago’s annual Von Steuben Day Parade. The float that Ferris is on was actually created for the film and was put in the parade route without the parade officials being aware of what was going on. With there being a real parade Hughes was able to get genuine footage of thousands of people enjoying a beautiful day in Chicago. When they needed to shoot more of the parade scene a week later, around 10,000 people showed up for the filming answering the call made on radio stations for extras to appear in a John Hughes film. In this scene, Ferris is featured lip-syncing the famous Beatles song “Twist and Shout” which came with its own set of issues. Paul McCarthy did not like the fact that Hughes had added the brass element to the song to make it seem as though the band was playing it at the parade. When John Hughes insisted on the Beatles song be used in the film, they ended up having to pay EMI $100,000 for the rights and allowance to change the song. While Hughes was adamant about some of the production decisions, they all proved successful in skyrocketing the film to one of the most fondly remembered films today.

The marketing for the film was very straight forward. There were a couple of articles written about the film in both the Daily News and well as The New York Times talking about the movie, giving an unbiased explanation of the film to promote it. There were also several 30-second commercials giving hints at Ferris’ crazy day off. Appealing to the teen audiences that Hughes is trying to relate to, the announcer narrates over scenes of the film saying, “it’s about life, it’s about liberty, it’s about the pursuit of recreation”. This phrasing attracts teenagers to the film because that is what they are looking for – freedom from the norm. 

Looking at the posters for the film it features many different slogans such as “One man’s struggle to take it easy”, “Because life is too beautiful a thing to waste”, “Leisure rules”, “While the rest of us were just thinking about it…Ferris borrowed a Ferrari and did it…all in a day”. Similar to the commercials, these phrases draw the teenager in because that type of thinking is really appealing to them. 

A teenager stuck in the rut of high school wants nothing more than to skip school and live out an amazing day with their best friends. This mentality is what brought teens to the theaters to live through Ferris.

The summer of 1986 saw a lot of hit films. Buller had some tough competition seeing films such as Top Gun (Tony Scott, 1986), Aliens (James Cameron, 1986), Star Trek IV: The Voyage Home (Leonard Nimoy, 1986), and The Karate Kid Part II (John Avildsen, 1986) all hitting theaters in 1986. In the United States and Worldwide Box offices, Bueller placed in the top 10 of both lists sitting in the number 10 spot for all 1986 films. The budget for the film was an estimated $6,000,000 and not only broke even but made money-generating $6,275,647 during their opening weekend of June 15, 1986. Bueller, made nearly all of its money from domestic box offices bringing it $70,136,369 and only $1,469 in international box offices. Looking at the reception of the film it is easy to see how it was in the top 10 films of 1986.

Roger Ebert was one of the top movie reviewers of his time up until his death in 2013 after losing an eleven-year battle with cancer. Writing reviews for The Chicago Sun-Times for over 40 years, he became the first film critic to receive a Pulitzer Prize in Criticism. In 1986 he gave a review of Bueller and is quoted as saying “Here is one of the most innocent movies in a long time, a sweet, warm-hearted comedy about a teenager who skips school so he can help his best friend win some self-respect.” He talks about the plot of the film and ends his review by saying “…the film's heart is in the right place, and "Ferris Bueller" is slight, whimsical and sweet.” With Ebert’s review coming out on June 11, 1986, it’s easy to see that Bueller won over the hearts of teens and adults alike wishing that they were able to have a day off like Ferris did.

The non-critical reviews of this film are all pretty similar, it is regarded as a film of the generation that holds against the test of time. On Rotten Tomatoes, of the 728,405 user ratings, the average audience score is a high 92%. One “super reviewer”, Brendan N. is quoted as saying

“Classic cult film and a must-see for all generations. John Hughes created a lot of the teenage angst or coming of age films in the 80s and Ferris was quite possibly his greatest creation. Watching this on the big screen last night was a dream come true but having a film like this remaining so timeless does not hurt. The film is full of heart and the charm of Matthew Broderick is what elevates this from becoming just your average teenage comedy. I wish they would make more fun and creative films like this; no one tackles such a fun concept without falling into clichés and crude jokes. John Hughes created something truly special here. 12/11/2018.”

Since its release in 1986, Bueller, has remained a pivotal teen film for multiple generations. In 2016, Bueller turned 30 years old and Chicago celebrated the only way they knew how to: with a Ferris Fest. People were able to visit his heavily decorated bedroom, recreate the scene where Ferris pretends to be Sloan’s father picking her up from school, and of course a recreation of the famous parade scene featuring Twist and Shout. While this is more of a high scale remembrance of the 1986 film, you can see other companies paying homage to Bueller. During the 2017 Superbowl, Dominos aired a commercial where they recreated the infamous scene of Ferris racing home to get there before his parents find out he skipped school. Stranger Things (Matt Duffer, Ross Duffer, 2016—) actor Joe Keery plays Ferris but this time he is racing home because his Domino’s pizza tracker just sent a notification to his smartwatch informing him that his pizza is about to arrive. When asked about the commercial the executive vice president of creative direction at CP&B said "This being an iconic movie we knew we had to pay homage to it and not deviate, not change it and put our own kind of spin on it outside of using Joe Keery and maybe making it a modern adaptation,".

Below you can see the original scene and then Joe Keery version. 

It can be agreed that this film has been relevant way past its release date. But why is that? Frances Smith looks to understand teen films as a whole and why they become so iconic. In her book Rethinking the Hollywood Teen Movie: Gender, Genre, and Identity, she explores this question and more. In Easy A (Will Gluck, 2010), the main character Olivia (Emma Stone) struggles to identify with the “hook up culture” happening around her within the high school hallways. She looks to the eighties to fantasize about a better life. 

Whatever happened to chivalry? Did it only exist in Eighties movies? I want John Cusack holding a boom-box outside my window. I want to ride off on a lawnmower with Patrick Dempsey. I want Jake from Sixteen Candles waiting outside the church for me. I want Judd Nelson thrusting his fist in the air because he knows he got me just once. I want my life to be like an eighties movie.” (138-139) 

To this Smith says:

This voiceover and the corresponding images reference Say Anything (Cameron Crowe, 1989), Can’t Buy Me Love (Steve Rash, 1987), Sixteen Candles, The Breakfast Club and Ferris Bueller’s Day Off, which is presented for its musical number. With the exception of Sixteen Candles, all of these films center on male characters who, though cheeky, are portrayed as sexually innocent. The gestures to which Olive refers are particularly telling. Having her life ‘directed by John Hughes’ appears to involve her engaging in ostentatious courtship rituals in which the female partner is the grateful recipient of male affection, however dubious the circumstances in which it is bestowed.

Olivia dreams of having the production that teen heartthrobs would perform for their love interests. This is one reason that Bueller has remained so relevant today. No matter how the culture changes, everyone wants someone who would be willing to show the world how much they love them.

Another reason that this film has remained so relevant today is because of the underlying theme within the film is something that will never go away. The drive to find yourself and get out of your small town to explore is something that will always be a shared feeling among teenagers. In Kimberly M. Miller’s Clueless Times at the Ferris Bueller Club: A Critical Analysis of the Directional Works of Amy Heckerling and John Hughes she says 

A fine example can be found in the response to the film Ferris Bueller’s Day Off, which received criticism for being too similar to Risky Business (Paul Brickman, 1983), as well as “lacking in irony,”10 and yet Ferris has become ingrained in the popular culture—even being ranked number ten on Entertainment Weekly’s “Fifty Best High School Movies” list (2012),11 in addition to being quoted by teens who see Ferris as a role model of “cool” despite the nearly thirty years that have passed since he took his day off.

Teens idolize him for doing what they have always wanted to do so they are able to live through him and his amazing day off.

Overall, Hughes has delivered a number of teen films that lasted well past their release date and will continue to be relatable in the future. Bueller is the perfect example of this because its underlying themes will never go out of style. Everyone wants to be a “righteous dude” and live their lives with the carefree regard for the rules that Ferris showed us back in 1986.

[inawickedlittletown]

Walking The Wire (129/?)

Summary: Tony Stark always knew about Peter Parker. He didn’t know that Peter was going to get superpowers and become Spider-Man, but he always knew about Peter because Peter was his son.

This will span from pre-Iron Man up through the rest of the MCU (eventually including Infinity War) and will be for the most part canon compliant except where I’ve taken some liberties and interpreted canon a certain way.

Pairings: Pepper/Tony, Tony/Steve (endgame), Tony/Mary (past)

A/N: If you want me to tag you when I post new chapters let me know. This fic is also on AO3

I used Collider’s MCU timeline to stay canon and the title of this fic is an Imagine Dragons song that is just so fitting for Peter and Tony

@findmeinthestarss

Masterpost

Chapter One Hundred Twenty Eight

If he were being honest, Tony hadn’t expected to be rescued. Nebula seemed to be of the same mind even if she tried not to show it to Tony. With the ship just drifting and their oxygen getting down to dangerous levels, he and Nebula weren’t doing much but sitting around. Nebula told him about space and wormholes and how much there was to see. She told him about the Guardians of the Galaxy even while making it clear that she wasn’t one of them but how her sister despite all her past misdeeds had found a place there. She had found love.

“Starlord,” Tony said.

Nebula scoffed at the name. “Quill. He named himself that. It’s ridiculous.”

Everyone one of them was gone now -- dusted. All but two whose whereabouts she didn’t know.

“They must have taken the emergency pod,” she said.

Things might have been different if they had that pod. They might have been able to make it to Earth on it. He remembered when she discovered it was gone and how angry she’d been.

“Do you think they got your message?” Nebula asked.

“I connected to the satellite. My guess is that Friday delivered it. It’s a matter of them coming to find us now and doing it before…” He waved his hand.

Nebula nodded.

By Tony’s estimation he had sent the message about an hour earlier. Even if there was a delay with the message arriving to the satellite or the satellite and Friday’s communication and then the delivery of the message to whoever was left, Tony didn’t expect that the delay would be more than ten or fifteen minutes. But then there was them figuring out how to find them and get to them and that would take more time.

Space was kind of beautiful in a way -- it was still scary, but there was a beauty to it. It was dark and so so huge but Tony could understand why it had such an appeal for so many. There were probably countless people down on Earth who would have loved to have the view they had. Maybe they wouldn’t have wanted to be in their situation exactly, but they would liked the view of the stars.

Tony stood up to look from the front of the ship, taking it all in and trying to come to peace with it. He was going to die in space. It was kind of poetic in a way, to think that he’d die in the place he had always sort of expected to. The last thing he expected was to see was one of his quinjets. He gasped and laughed in quick succession.

“What happened?”

“I guess they got my message,” Tony said.

Peter didn’t feel hungry or tired or much of anything at all. He just kind of was. It didn’t really seem to matter. They existed without existing in the weird orange space.

“Who was that guy?” Bucky asked, motioning back towards Strange.

“He’s a wizard,” Peter said. “Doctor Strange. He looked at all possible realities and whatever ended up happening -- it’s supposed to lead us to beating Thanos.”

“Big purple guy,” Bucky said and then shook his head.

Peter nodded. “That one. So, Doctor Strange had the Time Stone and he got captured by an alien so we went after him. Didn’t really matter because he gave him the stone in exchange for my dad’s life.”

“And then he came and took the stone from Vision,” Bucky said. “He won. So, what does this wizard think is going to happen next?”

“He gave it to Thanos after seeing the possible futures,” Peter said.

“Right. That makes a lick of sense. I’m not sure I trust him.”

Peter shrugged. All he knew was that Strange had seen the future so he must have known exactly how it was all going to pan out including this -- them being in this weird orange limbo and his dad left behind on Titan with all of them gone. But if Strange had known that he himself was going to turn to dust then it was likely that it wasn’t going to be permanent.

When he told Bucky, Bucky just grunted. “Hope so.”

“Me too. My dad was -- Thanos stabbed him. I hope he’s okay.”

“He’s Tony Stark. Of course he will be,” Bucky said.

“Yeah,” Peter said and sighed.

It felt like hours before Rocket started a video call with them. Steve had been rooted to the couch since Tony’s message had arrived. He’d listened to it too many times to count while waiting just because it meant hearing Tony’s voice.

Slowly, the others had all gotten back to what they were doing. Bruce had gone to the lab and Steve didn’t know if he was keeping busy or actually working on something. Natasha had mumbled something about calling Pepper and then Rhodey had prepared Steve a sandwich, excusing himself as he suited up and left for the compound. Thor had given him a pat on the back before he wandered off. Steve just stayed on the couch with K-9 at his side and he didn’t know what to do. Or if he could do anything. Mostly he felt useless and despondent and waiting on Rocket was almost painful. He had lost Bucky and Peter and that was enough to send him into a depressed spiral but then there was Tony. Tony who was in space and who may or may not make it back home.

When the video feed finally came up, Steve could see just the inside of the quinjet and then a few seconds later Rocket came into view.

“I have him and my ship,” Rocket said without preamble. “I’m going to tow them down to Earth. I’ll need a place to land. That tower of yours won’t do.”

“He’s -- Tony’s okay?”

Rocket nodded. He seemed more distant than before and it was then that Steve realized he’d mentioned his ship.

“Is -- are your friends with him?”

“Only one,” Rocket said and left it at that. Steve bowed his head.  “We’ll be there in an hour or two, Captain. Where am I going?”

“The Avengers facility. The coordinates should already be on the GPS. I -- thank you. Thank you.”

Rocket gave a nod and without a goodbye just shut off the video feed and Steve didn’t know what to think or feel. Tony was coming home. Rocket had found him. For the first time since realizing that Thanos won, Steve began to feel some hope. Tony was alive. He was coming home.

He had Friday send a message to everyone with the news and it began to feel more and more real. Rocket had said an hour or two. He needed to get to the compound.

“Rocket found him?”

Steve found Bruce was back. He was wearing a lab coat and he looked a little messy, but he seemed just as hopeful as Steve.

“Yes,” Steve said and couldn’t help his smile. Bruce returned it.

It was a rocky entrance into Earth’s atmosphere and Tony kept himself strapped to one of the seats as they went but even then it felt like he could go flying at any moment. His knuckles were turning white from how hard he held onto the armrests.

When the quinjet had called into the ship earlier, Tony had expected a familiar voice of a fellow Avenger. Instead, the voice was gruff and belonging to someone that Tony didn’t know. His excitement had deflated a little until Nebula perked up.

“Rocket?” she’d asked. “Is that you?”

“Yeah. It’s me. Anybody else aboard? Some guy named Tony Stark perhaps? Or...or the others?”

Nebula’s lips were pressed together hard and she winced before answering. “Stark is here. The rest of them -- they’re gone. Turned to dust.”

“Oh,” Rocket said. “So is Groot. Not that you probably care.”

“I liked the tree,” Nebula answered.

Tony let Nebula deal with Rocket. It took a while to attach the Benatar to the quinjet but somehow, Rocket managed it and when they heard from him again he told them to strap in and then they began to move. Their oxygen levels were still quite low and it seemed like they were being rescued just in time. Tony had no idea how they had managed it so quickly or how Rocket had ended up with one of his quinjets but he wasn’t complaining.

After they crossed Earth’s atmosphere and the ship stopped shaking as much, Tony finally felt like he was going to be safe and that only intensified with how much he could see of his home planet.

“Your planet is very odd,” Nebula said. “Very green.”

Tony laughed. “It’s gorgeous is what it is,” Tony said.

The ship had enough power that Nebula could control their landing to an extent which meant that it was smoother than it could have been if they were just tugged along by the quinjet. Tony still felt a bit jostled when they landed.

“We made it,” he whispered as soon as they stopped moving.

“We did,” Nebula said.

Tony groaned. His chest hurt and his lungs burned and he was parched. None of that really mattered and he hadn’t been paying it much mind while they were in space but now it was almost like he could feel all of it again. It felt relevant. He unstrapped himself with shaking hands, but Nebula was there to help him to his feet and then she wrapped an arm around his waist and together they made it to the back of the ship.

The wait was sort of killing him. He and Bruce had gathered anyone that was still in the tower and flown a quinjet to the compound. The others they had sent messages to. Steve had called Pepper directly, letting her know what was happening. He was sure she’d want to see Tony herself and Tony would want to see her as well. It had been surreal to get the message and then to have Rocket out there actually find Tony and now to know that they were coming home.

Thor boarded the quinjet slightly more uplift but still there was an aura of regret and grief about him that wouldn’t leave. It probably surrounded all of them. Steve knew he wasn’t faring much better. Knowing he’d be seeing Tony soon made him lighter but it didn’t change what had happened. It didn’t change that Peter was gone.

Steve couldn’t stop touching his ring. For a while he hadn’t been able to look at it. He’d been tempted to take it off even to save him the grief of not knowing if that was the last piece of Tony he would ever have. Now, it was a promise of the future again. His eyes wouldn’t leave it. Their future was so uncertain, but for Steve the ring and Tony -- those were the things he could hold on to.

The compound was still in need of some cleanup from the last time they were there and the fight with the aliens. It was a worry for another day. It was lucky that the main building was still in tact. Rhodey was waiting for them when they arrived, looking just on the side of anxious. He clapped Steve’s back when he reached him.

“Friday is keeping an eye on the skies,” Rhodey said.

“Good,” Steve said.

Rhodey looked relieved and anxious all at once. They couldn’t be sure that everything would go well. They didn’t know what state Tony might be in but he was coming home and that mattered more. Everything else could be dealt with.

“Do we have a medical wing?” Bruce asked. “He’s at the very least dehydrated. If there is no one else available then I’ll have to--”

“We do, and you’re right we don’t have anyone else,” Rhodey said. “Anyone left was sent to help at hospitals. Lots of missing doctors and a lot of casualties.”

“Right,” Bruce said. “I -- I want to be prepared.”

They were all hoping that a lot of medical assistance wouldn’t be needed, but none of them knew what had happened in space. Steve and Rhodey went with him to the medical wing but Thor stayed outside, looking up at the sky. Inside, Bruce prepared what he could. He was ready for anything.

It was almost an hour before Natasha and Pepper arrived.

“Thank you for the call,” Pepper said to Steve.

“Of course,” Steve said and hugged her. Her eyes looked rimmed red.

“I -- you said it was only Tony? I didn’t -- I didn’t want to ask over the phone…”

“He -- he was dusted,” Steve said. It was hard to get the words out and Pepper gasped and sobbed.

“No,” she said.

Steve gave a short nod. Pepper gripped his hand and the next few moments felt like they were going on and on forever.

When Friday alerted them to the quinjet coming in through the atmosphere, Steve felt both relieved and worried. He almost couldn’t believe it. They headed back outside and Steve had no idea how much time passed until the quinjet and the Benatar came into view and both ships landed just a little harder than necessary but unscathed.

Steve’s focus was on the alien ship and as the dust began to settle around it and the quinjet, the ship opened at the back. Steve rushed forward and he was the first to see Tony leaning on a blue alien woman but walking off the ship.

“Tony,” Steve said and Tony looked up. His brown eyes met Steve’s and his lips quirked up. Steve’s heart skipped a beat. Tony was home.

Chapter One Hundred Thirty

[stunudo]

That Got Away: A Criminal Minds Fan-fiction Part 6

Inspiration: Katy Perry’s “The One That Got Away”

 Union Pulse’s Better Days

Rating: Teen   Featuring: Spencer x Reader 

A/N: I am getting too caught up in this guys, thanks for all the love! You may notice something different about this bit… (The other song is from an old friend of mine’s old band, check them out on Spotify if you get a chance.) Oops this was supposed to be up tonight/ tomorrow. Still figuring out the delayed posts. I do not own any of the characters/ images/ lyrics. xoxo Stu

Part 1   Part 2   Part 3   Part 4   Part 5

After Rossi and Prentiss had headed over to the campus, Hotch was going over the list of expected attendees to the late Dr. Y/L/N’s funeral. Garcia was on speaker, attempting to cross reference who was also in attendance at the gala the unsub had alluded to in their note to Spencer and Y/N.

“I can tell you everyone who was invited to the re-dedication ceremony initially,” Spencer interjected.

“Reid,” Hotch clarified, “This was over ten years ago. You would be able to remember the entire guest list?”

Morgan shook his head, amused. Spencer sat down with a yellow legal pad and began transcribing the original invite list that he helped develop in 1999. Morgan and Hotch just sat back, proud of their Boy Wonder, like always.

“Hotch, once I finish up with Y/N’s cognitive. What’s the play?”

“I’m planning on keeping some locals on her until we get our unsub,” Hotch admitted.”But we need to keep an eye on Reid. This is way more complicated than he had let on.”

Derek nodded in agreement, “I feel for the kid, Hotch.”

“We all do, but this unsub is cocky and organized. Reid is now a target and his emotions are involved.” Hotch leaned in and continued whispering, “Morgan we can’t have him putting himself or the team in danger.”

“Whoa, Hotch, enough,” Derek emphasized, his dark eyes boring into his supervisor’s cold stare.

Spencer timidly approached the pair, clearly at a stand off. He set the notepad down with a light thwack. “Let’s get this to Garcia, so she can narrow it down further. But this is everyone who was on the list.”

JJ woke up in a cement room. There was sunlight streaming through small windows on two of the walls, high above her head. She had lost her gun, cell, and consciousness, apparently. She tried to remember what happened before she blacked out, but she only recalled entering Y/N’s penthouse suite. She looked around for the professor. The room was a perfect square, twenty paces by twenty paces. The heavy metal door was locked from the outside without any sight glass or windows to investigate. JJ was furious she had been blindsided, endangering Y/N in the process.  Where was she now?

Once in the rain with a real pretty girl I was so high that I thought I owned the world But I’m not a king, and she’s not around So that summer high is coming down It’s funny how we’re older every time I’m leaning on the shoulders that I once was Lifting high

Seeing Spencer had calmed your worry, but it hadn’t stopped your mind from wandering to him. After two more days, your dad mentioned that Spencer had made it back into the department after his “family emergency”. Yes, your goofy dad actually used the air quotes, not realizing it made it seem sarcastic. His social faux pas made you giggle in hindsight. After you had cleaned up from dinner and your dad had beat you in Backgammon. You sneaked into the study to call Spencer.

The pause between rings seemed to be a living taunt. Your thoughts a swirl of anticipation and concern. On the fourth ring you prepared yourself for the inevitable mechanical buzzing of the answering machine, but the ring came to an abrupt stop as a faint cracking voice, “Hello?”

“Hello, may I please speak to Spencer?” You asked snarkily.

“Y/N/N?,” Spencer answered surprised. “Hi, wow, hi.”

“Sir-sir, can I ask you a favor?” You whispered hastily into the phone, pacing through the empty room.

“Sure?” He seemed suspicious. “I mean, I can try to help.”

“Meet me outside your house in twenty minutes.” You told him, there was no possibility of refusal when you put your mind to it. After a moment of listening to each other breathe, Spencer resurfaced.

“Do I need to bring anything?” He asked concerned.

“A flashlight?” You guessed, you were winging it after all. “Oh, and a blanket.”

“Y/N, I don’t think this is a well thought out plan…” Spencer chided.

“You’re not wrong, but it is a very good idea.” You smiled smugly at yourself, picturing his judgemental face.

A knock to the conference room door distracted the remaining BAU agents.

“Come in,” Hotch bade. The head of security appeared winded, burst in.

“Sir?” He peeked inside the room, not wanting to waste time. “You need to come up to the Penthouse floor, there has been some kind of break-in. We think it is the room that Dr. Y/L/N was staying in.”

“Show me!” Spencer barked at the useless man as he led the way to the elevators.

“We got a call about a door being left open, routine stuff.” Security Guy explained, jamming the door close button behind Morgan and Hotch. “But when one of my guys checks it out, the door is broken down. Like police raid style. There was no one inside, but there is potential signs of struggle. And this.“ He hands a flip wallet to Hotch from his pocket. It was JJ credentials.

“You touched this?” Hotch amazed at the man, using a handkerchief to take it from the security guard.

“Sorry, sir, not used to real crime scenes.” The Security Guy mumbled.

Morgan was already on his phone, calling Detective Chang. Spencer was twitching with frustration at the man. ‘Don’t kill the messenger, Spencer’ he kept telling himself. The elevator ride to Y/N’s suite was a dirge through a bog in winter.

Finally the professionals were on the scene. “Alright, everybody, I need you to stop whatever it is you think you are doing right now!” Morgan barked at the two security guards waiting for their boss and the FBI. “Back out of the room, this is now a federal crime scene and you have tampered with evidence.”

Hotch tipped his head in annoyance and entered the room. It was grandiose, a kitchenette, walk in closet, a dinning room table which could seat four, despite the only one king sized bed. It had the air of a room someone had just popped out of, nothing stood out as being signs of a struggle. Well, except the broken chair, but that was neatly set aside.

“What’s with the chair?” Morgan asked, “It seems too obvious to be relevant.”

“That’s because it didn’t happen today.” Spencer confided, coolly.

“Now, how do you….” Morgan looked at the young doctor and back at the chair, shaking his bald head in disbelief. “Never mind, I don’t want to know.” He raised his hands denying involvement. “Do you guys smell that?”

Spencer eyed Morgan suspiciously, expecting a bad joke. But he did catch something off about the air quality in the room. Hotch crossed the room back to where Morgan and Reid were talking. “It’s ether.”

Garcia was working her magic back home in Virginia, the clicking of her keyboard drowning out all the fans she had to keep her and her equipment cool. The searches she was running were going to take awhile, so she kept busy watching the security footage in front of her team’s hallway the night before the mystery letter arrived.

She saw Derek escorting a smartly dressed woman up to a door, but left her there to wait. “Good,” Penelope thought, “He doesn’t need to be distracted while on a case.” Slowly the door opened to reveal Reid who was very awkwardly inviting the vixen in to his room for the night, who Garcia finally realized must be Dr. Y/L/N, the daughter.

The footage was clear the rest of the night. JJ was up ungodly early, Garcia attributed it to the time change and baby routines. About ten minutes after JJ passed, a bellhop dropped off the envelope in front of Reid’s door. He left a gentle knock and returned to the elevator. Using her mad skills, she zoomed in on the name tag “Kurt”. Within minutes she had everything she could possible need to know about “Kurt”, such as he had nothing to do with the new threatening letter.

“What?” Rossi barked into his phone. He made a grim face at Emily from across the office of Olivia Madison.

“Dr. Madison,” Emily continued, nodding at Rossi’s concerned face. “Do you know if Dr. Y/L/N was having anyone over on Friday night? It appears that he knew his attacker.”

“Graham hadn’t said anything about having plans” the youngish professor answered calmly, “Other than wanting to grab lunch once his daughter was in town. We were going to meet yesterday, but that of course didn’t happen.”

“Do you know Y/N well?” Prentiss continued.

“Yes, I have known her almost as long as I have known Graham.” Olivia smiled.”She still lived at home when I began my doctoral studies here.”

“Do you know of anyone who would want to hurt her?” Emily pressed.

“Y/N?” Dr. Madison asked surprised. “No, why?”

“We are just covering all our bases here,” Emily brushed off the concern. “Please let us know if you hear or see anything that might involve Graham’s death.” Prentiss handed the Mathematics professor her card, smiling without teeth. After closing the uninformative interview, Emily approached Rossi.

“JJ and Dr. Y/L/N are missing.” The senior agent intimated discreetly.

“What?!” Emily’s face turned. “When? How?”

“It appears the unsub blindsided them in Y/N’s suite.” Rossi continued. “Hotch says he could still smell the ether.”

“How’s Reid?” Emily wondered out loud.

“How would you be?” Rossi countered.

All this money can’t buy me a time machine Can’t replace you with a million rings I should’ve told you what you meant to me ‘Cause now I pay the price

Spencer Reid was wearing sweat pants. You did not know the man-child owned anything besides pressed khaki and slacks. When you pulled up to the curb in front of his apartment building, it was just after 9 o’clock. He was waiting with a rolled up quilt and two, count them, two flashlights. What a boy scout, you thought, honking at your boyfriend.

He tried the door, but his hands were full. He dropped one of the flashlights and it rolled beneath the idling Volkswagen. You shook your head, this was going to be a longer night than your whimsy indicated. You unbuckled your seat belt and got out of the driver’s side.

“Need a hand, Spencer?” You asked over the hood. He dropped his entire bundle and laid down on his stomach to retrieve the first torch. His long arms were up to the task, deftly reaching the rolling beacon. After all the preparations were thrown in the backseat, you and Spencer buckled in for your evening of adventure.

You drove down to the beach, but not to be cliche. You wanted to distract Spencer for awhile, so you made him get into the driver’s seat. “I know you are amazing on your bike, but eventually you will need to use one of these beasts.” You patted the dashboard affectionately.

“I understand the mechanics of driving, Y/N/N.” Spencer muttered underneath his breath. “I just don’t like the idea of controlling something with such momentous force.”

“Hey,” You cooed, “You’ve got this! Besides, I am practically a professional driving as far as I do every semester.” You placed your hand on his, explaining each gear shift. After a few kills of the engine and squeals of the transmission, Spencer moved between gears fairly fluidly. You were pleased with your pupil and he was gaining confidence with you as well.

The night was growing cloudy when you drove down to the pier. You stole Spencer’s blanket and wore it like Little Red Riding Hood. He was on flashlight duty, since you refused to carry one. The lights of the city were enough. Finally you found a pylon to push Spencer into, kissing him with abandon. His shocked mouth still open once you found it. His arms held you to his warm torso, his soft clothing leaving little to your imagination. 

The surf splashed around your feet as you found a comfortable kissing pace. After three very brief interactions with Spencer’s mouth, you had discovered another teenage rite of passage: the make out session. You could get used to this, even if it was a bit sloppy.

Part 7

@reid-my-fortune

@sparkle-dinosaur

@reiding-and-writing

@dontshootmespence

@holagubler

@imagicana

@speedreiding

@criminal-minds-fanfiction

@hotchnerfuckmeup

@lookingforgalifrey @cherry-loves-fanfic

[sheilacwall]

Velvet Negroni is Trying to Make Music That’s Built to Last in an Ethereal Digital Age

When we chat his most recent record, NEON BROWN (via 4AD), has been out for less than a full week. But it’s already beginning to add layers to an increasingly mythological narrative. It’s not just Nutzman’s background being gradually woven together with each new review and published blurb, but it’s also the behind-the-scenes contributions that penetrate larger swaths of popular culture. The track “Waves” from Velvet Negroni’s previous release T.C.O.D. was played by Justin Vernon at Kanye West’s famously rural writing camp in Wyoming, resulting in a contribution to opening track “Feel the Love” on Kanye and Kid Cudi’s collaboration album, Kids See Ghosts. More recently, he’s lent vocals on both “iMi” and “Sh’Diah” from Bon Iver’s new album, i,i.

READ: First Look Friday: Meet Donavon — the Soul of the Algorithm & Disciple of D’Angelo

These high-profile contributions aren’t just Wiki-friendly Easter eggs and fine print liner notes; they’re a clear indicator that both Nutzman’s voice and creative direction possess a unique resonance that is parting the seas of an oft-impenetrable musical kingdom.

NEON BROWN offers an accessible entry-point to hear Jeremy Nutzman’s evolving artistry at work. Album highlight “Wine Green” is an instantly recitable, dancehall-esque anthem awash in peppy adlibs and ascending jabs of bass. “Poster Child” showcases a catchy, iridescent love-song-hook that glows vividly while the downtempo “Feel Let” spins out soft, palatable utterances that feel as if they’re being belted from a woozy, late-night cab ride home.

We talked with Velvet Negroni to explore the album, his creative inspiration, and a rapidly changing music landscape.

Title: Girboix Carmelo Artist: Velvet Negroni

Can you walk me through your contributions on Bon Iver’s album and Kids See Ghosts?

Justin Vernon played [Kanye West and Kid Cudi] “Waves” and it was the first thing that perked their ears that day so they got into it a little bit. There’s a part of the song that goes, “I can feel it in my bones!” I think it was basically just that little snippet that they just took that energy and vibe into “Feel the Love.”

So the inspiration was more cadence than lyrics or production? 

Yeah, there wasn’t a sample. While Justin was in Wyoming, I was at his crib working, I was there rehearsing to perform a couple of dates with him. He had helped to work on the record a little bit previously.

How did you two originally link?

I play in a band with a couple of cats that he grew up with essentially and so that’s how that intro went long ago. It was kind of fun. We were just around sometimes, and we got to know each other a little bit. And then my friend Ryan Olsen had played what I had so far of the record for him, he was really excited by it and the next time he saw me he kind of just opened up his place as a base, like “If you need somewhere to finish this or work on it you should come out.”

Source: Artist

Can you tell me about the recording process and what went into your new album, NEON BROWN? 

A lot of different things but mostly just good vibes, a good schedule and good hours. We would at least kind of sketch out one or two tracks, at least two things every day. Then after a little bit of that, circle back to one that we had worked on previously. The ones with real potential kind of just flowed out of the fucking mess and felt kind of obvious-ish, I guess. It’s like sifting for gold, eventually you keep whittling it down into a body of work that’s ready.

How do you feel now that it’s out? 

It’s just exciting that people are listening to it. The album has been done for a pretty sizable chunk of time, that happened long ago it feels like, but now it’s just, knowing that people can listen to it…that’s exciting.

There’s a wide range of sounds on the album, some heady and stirring but also lighter notes. It’s interesting to see you do both.

It’s a natural thing in the songwriting process. Especially when I’m working with Elliott (Tickle Torture) and Simon (Psymun), there’s no off-limits. There’s that many more influences, like each person has a toolbox. Then there’s that added onto the writing process. So, we’re taking from a pretty wide range of shit just in everybody’s own mind and then putting them together. I don’t think any of us think about the style of the song as it relates to the album until after the fact.

What new artists inspire you right now?

I’ve been excited about Yves Tumor on Warp and listening to this cat Mk.Gee. I can’t think of anything else off the top of my head that I’ve really been jacked on. I’m kind of just stepping back into remembering that I can listen to other people’s music you know, like on my own, really just listen to music. Usually, I’m just in such a creative mode in my headspace, or I’m not listening to anything, or I’m working on my shit.

When you were first discovering music at an early age, finding discarded records on a neighbor’s lawn, which albums were especially formative for you?

In that pack of CDs that I found, I remember some 311, Soundgarden, some Metallica, Lords of Acid. I think there was a Crime Mob CD, some Tupac and even Marilyn Manson. Those were my youngest memories of having music that wasn’t church music. 

That was huge for me. But I was so young that when I was playing music, I wasn’t coming at it from a composing aspect at all. It was beyond me how you could even make something like that. I didn’t have any of the experiences that I have now to desensitize me to the wonderment of music in general.

Photo Credit: Rachel Kauffman for Okayplayer

What was the original intention of keeping you from being exposed to that music?

I mean those were just my parents’ rules. They were religious and didn’t think that anything else was worthwhile except for Christian music. I was practicing playing piano for at least one hour every single day and my mom would sit on the bench next to me, there was no getting out of it really.

We’re now living in a totally digital age. How do you feel the streaming era is changing music?

Oversaturation is a real thing, but there’s also so much more of a platform. I think that, eventually, for the most part, good stuff will be discovered. Like there’s too many people listening, seeing and talking amongst themselves deep in the Internet at all times that I think that the good stuff, the truth will prevail. It’s just a different style with music in general, because it used to be the furthest thing away to just go to a bedroom somewhere and record. Most people couldn’t afford to even rent studio time, let alone rent a studio and then then take their time writing songs in the studio as they go. People used to write a song, arrange a song, figure it out, get really good at it and then go record it. Now, it’s pretty much the norm to write a song as you’re playing and then you have the ability to manipulate audio. It changed the format.

When I first got into recording on my own, an amazing feature of it was that it moved so fast and I found myself making a couple of happy accidents. It was really exciting. Like, wow, what happened there? It went from writing songs and then finding happy accidents to just showing up and relying on happy accidents, rather than really spending time with the chord progression of the arrangement ahead of time.

I think from the critic or audience’s perspective, you also have less time to win over an audience with a shrinking attention span. Not everyone is even really around for a full album to listen from front to back.

That’s huge, yes. You can grab your albums out of thin air. There was no way to pirate an album unless you stole it from a store. So, it was physical, and I think it meant more just inherently then. It meant more on a tangible level. Like, I paid eleven bucks for this album, I’m not sure if I like it yet, but I’m gonna listen to it and keep listening.

The attention span is so fast that I think there’s more people trying to just jump on a wave or catch a wave and make stuff that’s relevant right then, instead of thinking like a whole album. Instead of maybe making a piece of work that is supposed to stand the test of time.

What’s it like to be a musician in 2019? Especially considering it’s increasingly rare to make a living off your art.

You’re correct with that being a rarity, it also depends on what one person’s definition of living and what you’re satisfied with. I’ve been making music for a real long time, but only recently have I even taken into consideration, oh yeah, I guess there’s a chance I could make some money from this. Really. I can only try and imagine what it was like doing what I’m trying to do right now when the Internet wasn’t the Supreme Being.

Photo Credit: Tim Saccenti

__

Adam Isaac Itkoff is a freelance writer living in New York City. You can follow him (and us!) on Twitter.

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[happymetalgeek]

After a sensational day 2 at HRH XII it was into the final day we all headed with plenty of mouth watering acts to whet the appetite and a few surprises thrown in for good measure.

  Kaleb McKane

Kaleb McKane

Kaleb McKane

Kaleb McKane

Kaleb McKane

Kaleb McKane

Kaleb McKane

First surprise of the day and opening the main stage was this young gifted singer/guitarist currently residing from London UK. Backed with a further 4 musicians Kaleb McKane made the most of his 45 minutes in the spotlight by treating us to his amazing mix of rock, blues, psychedelia with hints of Bowie, Bolan, and even a smattering of Hendrix sounding reverb. “The Great Anti Climax” with its haunting intro and soaring vocals and quiet breath-taking guitar work, takes on a life of its own with other songs such as “The Life I Chose Myself” and “Time Is An Illusion” almost becoming a free form jam session with extended solos but all the while each band member knew where Kaleb was going with his thoughts.

Anyone that’s curious should really check out his 3 track EP “Universal In Reverse” to get a better picture of what he’s all about. News must have filtered back to guitar wizard Uli Jon Roth because he has roped Kaleb into his support act on his current tour. Not just sounding good but also totally at home under the lights on a big stage I predict a bright future ahead.

  The Rising Souls

This Scottish 4 piece from the capitol City Edinburgh have been making quiet a stir lately so with no persuading required I decided to see what all the fuss was about, and these men really can make a fuss. Songs such as “Walk on” with its crushing riff that reminded me of “Montrose’s” Rock Candy was huge and filled the stage 2 and surrounding metal market stalls with its unrelenting groove. Vocalist “Dave Archibald” proved to be the ultimate showman while the band knuckled down to deliver musical influences such as “Canned Heat” “Blue Cheer” and “Zeppelin” whilst adding plenty of blues and soul.

With so many different styles and genres running through their veins and the ease in which they deliver its not surprising the band are turning a few heads.

  Tygers of Pan Tang

Tygers Of Pan Tang

Tygers Of Pan Tang

Tygers Of Pan Tang

Tygers Of Pan Tang

Tygers Of Pan Tang

Tygers Of Pan Tang

Tygers Of Pan Tang

Tygers Of Pan Tang

HRH certainly know how to spoil the audience !! How fortunate we are to experience one of the major players from yesteryear and still thankfully very relevant today. Formed way back in 1978 in Whitley Bay UK and featuring original guitarist Robb Weir this outfit is tight and note perfect. Vocalist Jacopo Meille did a sterling job on the older numbers, mixing it up with fresh sounding new material worked a treat, “Suzie Smiled”, “Hellbound” and the ageless “Euthanasia” with Robb Weirs fellow guitarist Micky Crystal boosting the sound into the stratosphere.

The highest compliment I can place on a band of a certain vintage is that Tygers Of Pan Tang are still such an important part of 2018 and the future with this line up looks just as important as their past. It would be great to have the band document their currant live gigs with a official release because if it sounds as good as what they produced at HRH XII it will be fantastic.

  John Coghlan’s Quo

John Coghlan’s Quo

John Coghlan’s Quo

John Coghlan’s Quo

John Coghlan’s Quo

John Coghlan’s Quo

John Coghlan’s Quo

As soon as the Coghlan was announced for this years event I had a sneaky feeling he was going to be one of the highlights and its not often I find myself saying that I was right. When I walked into the venue I could not get to the VIP area where I had been doing my reviews from. such was the mass of people, instead I had to stand on a ledge at the back of the hall and admire from a distance. If like me you prefer the classic frantic four Quo as opposed to the wimpy pap that’s currently doing the rounds then coghlans outfit should leave you teary eyed and longing for yesteryear. Cut to the chase this is what we were treated to, “Caroline”, “Roll Over”, “April Summer”, “Break The Rules”, “Matchstick Men”, “Paper Plane”, “Rain”, “Big Fat Mama”, “Rockin All Over The World” and “Down Down”. Songs etched in our memory from when we young. Songs we have heard a million times before. Songs we never tire off.

Everyone was singing and I believe everyone at some point was thinking of the sadly missed Rick Parfitt who when John walked to the lip of the stage for a chat got us to raise a glass to his old mate. The band produced nothing extraordinary no pyro, no lasers, no stripping girls, just honest rock music which produced many happy memories from North Wales.

  Femme Fatale

Femme Fatale

Femme Fatale

Femme Fatale

Femme Fatale

Femme Fatale

Femme Fatale

Femme Fatale

Femme Fatale

If ever a group had a mountain to climb then it was Femme Fatale, front woman Lorraine Lewis and Athena,Janis, Katt, Nikki,Courtney, had to follow a British Institution in John Coghlan, and proceed the monster act which is the Dead Daises. Hitting the ground running with “Fortune and Fame” and into the classic “Falling In And Out Of Love” The band wasn’t deterred but with a few people now heading to the exit it became apparent that many people were there to see the previous act and many never returned even for the Daises. ”Cradle’s Rockin” “If” and the stand out song “Big One” rounded of a highly energetic set from a group that is always welcome on these shores with the ever bubbly Lorraine working the crowd with her enthusiasm and “Nikki Stringfield” cutting some fret work on guitar.

All in all through no fault of the group maybe a little bit more thought could have gone into where the group were placed because being sandwiched between those 2 acts was almost impossible for the incredible “Femme Fatale” to live up to.

  The Dead Daisies

The Dead Daisies

The Dead Daisies

The Dead Daisies

The Dead Daisies

The Dead Daisies

The Dead Daisies

The Dead Daisies

The Dead Daisies

The Dead Daisies

So final band on the main stage is the juggernaut formed by guitarist David Lowy with a ever rotating door with musicians coming and going it certainly hasn’t affected the groups popularity. The individual talent on the stage in front of us is there for all to see, with members also being in previous bands such as. Whitesnake, Dio, Motley Crue, Thin Lizzy, Journey to name but a few. The machine that runs the dead daises must be one of the best in the world, Take one listen to the production on the LPs, take one look at the impressive website, and take another look at the impressive merchandise, everything about the group is huge and colourful. When it comes to the show well that,s a bit like painting by numbers except its rock n roll by numbers, with Doug Aldrich cutting the guitar shapes and Corabi working the crowd with the spot on banter, and bassist Mendoza being the animal that he is.

Opening song “Evil” see’s the group entering the stage to a barrage of lights, with ”Make Some Noise” getting Deen Castronova smashing out his huge drum kit and producing tribal sounding drums. Obviously a Daises show would not be complete without a splattering of cover songs again a very clever ploy from the group because everyone enjoys a cover version when they have a belly full of booze. Tonight we get “Highway Star” by Deep Purple “Join Together” By The Who, “Bitch” By the Rolling Stones, and “Helter Skelter” By The Beatles. Also included when Corabi weaves his magic when introducing the band members is snippets of, AC/DC, Joan Jett,Alice Cooper,Rolling Stones and Rainbow. Taking nothing away from their own material we get a colossal version of “Long Way To Go” and one of their best tracks “Mexico” so there you have it no surprises from the glorious Daises simply put one of the best acts that could be chosen to close a festival superbly and professionally executed.

  So after 3 days of the most intense rain we also got 3 days of fantastic music to make the weather seem unimportant. What festival gives you up and coming groups such as the exciting “Voodoo Blood” and “The Dust Coda” to bands from our youth such as “Rock Goddess” “Girlschool” “Tygers Of Pan Tang” to relevant established acts like “The Dead Daises” and “Saxon” with great catering on site and plenty of watering holes and even a market place selling all things metal including 2 Vinyl stalls it was a music lovers idea of paradise.

Review by Steve Bruty Photographs by Edyta Krzesak Originally posted on Metal Planet Music

GIG REVIEW: Final day at HRH 12 Delivers @TheDeadDaisies @femmefatalerock, @JohnCoghlansQuo @tygersofpantang @TheRisingSouls & @kalebmckanerock @MetalPlanet72 @CentralpressPR After a sensational day 2 at HRH XII it was into the final day we all headed with plenty of mouth watering acts to whet the appetite and a few surprises thrown in for good measure.

[hottytoddynews]

I often get the question, what was Mose like at home? My answer to that is, the man you see performing and the man you hear singing those lyrics, that is the man he is was at home.

My dad had no hobbies, did not golf, did not play tennis and did not spend money on a single hobby that I can recall. He spent his time listening to music of all sorts, the stranger the better. He did some yoga stretching in the morning and some Tai Chi that sometimes embarrassed us kids when we had company over. He liked to run at the track in his younger days, then switched to swimming and actually had a schedule of high and low tides for the Long Island Sound; the beach was just a couple miles from home.

Other than that, in his free time, he liked to cook and read books – many books. He made lists of “to read” books on small pieces of paper. Mose read esoteric type books with content about the cosmos, the human brain, books with titles like, “The Fabric of Reality,” “A Field Guide to the Invisible” and “The Nature of the Universe.” And yes, he did play the piano at home, but he only played repetitive hypnotic runs to keep his mind sharp and his fingers limber.

Mose was one of the least material persons I have ever known. He was not one to ever be seen shopping with the exception of grocery shopping. His entire wardrobe took up five feet of space in his closet, most clothing purchases being made by my mom. He called me long distance one time to tell me his luggage was missing and in his luggage contained his only belt. He described the belt to me in detail, hoping I could assist him in finding an exact replacement. I also recall the time my mom replaced our 20-year-old couch with a new one. My dad’s space in the den was at one end of this old couch. The new couch was placed in the den, and the old couch was placed in our foyer by the door awaiting a ride to the local thrift store. When I walked in the door, Dad was sitting on the old couch at his usual space reading his book. Mose eventually warmed to the new couch.

My dad never had much of a record collection. I started buying records when I was 9 years old. I could play a song over 40 times and each time feel a sense of elation. Dad was different, he listened to a song once and it made a connection in his brain, like a mathematical equation, and that was all he needed – that one time. That, to me, is very strange. To this day, I have many favorite songs I still play over and over. With Dad, one listen was all it took.

About receiving awards, I know Mose always has appreciated praise but never let it get to his head. He did not believe in the show off, “look at me,” “I’m great,” attitudes that run so prevalent through the entertainment world. I was with him in Sedona, Arizona when he received a beautiful Lifetime Achievement Award. He smiled and thanked those responsible then handed the award to me and said, “I am not carrying that on the plane.” When I asked him why he did not want to go to the Grammy Awards after he was nominated, he replied, “I don’t believe in renting shoes.” In reality, he may have already been booked at a small club in Des Moines, Ohio, and Mose, after 65 years of what he called, “On the Job Training,” never missed a single gig.

Mose preferred the setting and intimacy of a jazz club, and that is where he really earned a living. The record companies all tried to cash in and make Mose a commercial success. Mose wanted nothing to do with backup girl singers and A&R men arrangements. He wanted to sing his songs his way at the places he liked best. Atlantic tried to get him to Muscle Shoals, Mose declined. Burger King offered him a huge payday for one day’s work. He told me, “I ain’t singing about no hamburger.” Mom was not happy.

I knew a club owner and promoter that told me, “After 35 years of promoting shows, Mose was the only performer to ever to give me money back.” The promoter had paid Mose but lost money on the show. Dad gave him some money back. Why? Because Mose was also interested in keeping his club going so he could keep coming back to play.

In 1989, I accepted a Mississippi Musicians Hall of Fame award on his behalf. Mose had a gig somewhere else that date, so Dad wrote a little something for me to read to the crowd after accepting his award. It read:

There are very few places in the world where a person could have heard as many different kinds of music as I was able to hear growing up in Tippo, Mississippi. Also, the aphorisms, the ironies, the speech patterns with their exaggerations and understatements have served me well and are still a part of my dialogues with myself.

If it takes a village to raise a child, then I was certainly raised by Tippo, Mississippi.

Ten years before Elvis got to Beale Street, Mose had already been there. Getting Zoot suites made for him and performing on keyboards with the BB King Orchestra at Mitchell’s Hotel, a black only club on Beale Street in 1947. Dad told me years ago that he first heard Rock’ n Roll on Beale Street in 1942 from the band Tuff Green and the Rockettes. Mose also remembered hearing a matinee solo performance at the Orpheum Theater by Harmonic legend Sonny Boy Williamson that made a huge impression on him.

Mose was in New York City in 1956 playing piano with the giants of jazz, Jerry Mulligan, Al Cohn, Zoot Simms, Stan Getz and others. After a short time, Mose presented a cassette tape to Prestige Records. The executives at Prestige loved what they heard and immediately had Mose in the studio recording. What Mose gave them was a suite of sketches, songs, evoking the atmosphere of his hometown – Tippo, Mississippi. Mose called it his Cotton Country Suite. The record company renamed it Back Country Suite. Songs from that era included: “Parchman Farm,” “Blues,” “One Room Country Shack,” “Highway 49,” “The Hills,” “Mojo Woman,” “Devil in the Cane Field” and “Creek Bank.”

From that first record, Mose was receiving critical acclaim from audiences and critics alike. Mose went on to record two more albums that same year. It was 1957. Today there are over 50 albums to choose from. My dad wrote over 220 songs. Most folks know four or five. My advice: listen to more Mose!

One of my favorites from Grammy Nominated Album on Blue Note Records, Ever Since The World Ended, is titled “Top Forty.” This song to me represents the way my dad looked at the business of the recording industry.

Top Forty By Mose Allison

When I make my Top 40 Smash hit Rock ‘n’ roll record Everything is gonna be just fine When I make my Top 40 Smash hit Rock ‘n’ roll disc I’ll be the record company’s valentine No more philosophic melancholia Eight hundred pounds of electric genitalia When I make my Top 40 Smash hit Rock ‘n’ roll record Everything’s gonna be just fine When I make my fuzz tone Wah-wah Synthesized record Everything is gonna be just grand When I make my fuzz tone Wah-wah Synthesized disc I’ll have to get myself a moving van Costume, hairdo, made up cute A personal connection in a business suit When I make my fuzz tone Wah-wah Synthesized record Everything is gonna be just grand When I make my dynamite Heavy soul Freaked out record Everything is gonna be just swell When I make my dynamite Heavy soul Freaked out disc I’ll be living it up pell mell Mountain top hide away Three-car garage Out there hustlin’ that sonic massage When I make my Top 40 Big beat Heavy soul Freaked out Solid gold Synthesized Rock ‘n’ roll record Everything is gonna be just fine

When my dad passed, he was comfortable and with family. We each got to kiss him, tell him we love him and that it was okay to let go, go home. So he did. No one gets out alive. Dad was 89 and his was a life well lived. I only feel very fortunate and grateful to have had such a cool dad. I get to ride the turnrows of Mississippi and listen to Mose and I can do that till the day I “go home.”

Finally, a reporter once asked Dad, “You were socially relevant before Dylan, satirical before Newman and rude before Jagger. How come you are not a big star?” Dad simply and honestly replied, “Just lucky I guess.”

WAS by Mose Allison

When I become was and we become were Will there be any sign or a trace of the lovely contour of your face And will there be someone around With essentially my kinda sound When am turns to was and now is back when Will someone have moments like this Moments of unspoken bliss And will there be heroes and saints Or just a dark new age of complaints When I become was and we become were Will there be any Susans and Ralphs Lookin’ at old photographs And wondering aloud to a friend What was it like to be then

By John Allison

For questions, comments, or if you would like to contribute your own Reflections story, send it (along with photos) to hottytoddynews@gmail.com.

The post Reflections: A Few Words About My Dad, Mose Allison appeared first on HottyToddy.com.

[nothingneverforever]

music albums of my 2017

Saturation (2017), Brockhampton ice cream or ......... (2017), Various Artists (compiled by me, Gen & Jade) Déjà Vu (1970), Crosby, Stills, Nash & Young Scenery (1976), Ryo Fukui Hardcore Will Never Die, but You Will (2011), Mogwai Trouble Will Find Me (2013), The National Face Your Fear (2017), Curtis Harding Can't Buy a Thrill (1972), Steely Dan Stardust (1978), Willie Nelson Happy Songs for Happy People (2003), Mogwai Metaphorical Music (2003), Nujabes Desire (2017), Hurts Atomic Bomb (1997), Rivermaya The Best of Van Morrison (1990), Van Morrison Nine Treasures (2014), Nine Treasures Plastic Beach (2010), Gorillaz The MHC EP (2015), Mediocre Haircut Crew American Boyfriend: A Suburban Love Story (2016), Kevin Abstract

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Start date: December 26th 2017 I’m finally sitting at my desk, for the first time in a very long while. With a YouTube selection of Pink Floyd’s greatest hits playing, I finally understand some things about 2017 that I thought were beyond me.

When I was a child

I caught a fleeting glimpse

Out of the corner of my eye

I turned to look but it was gone

I cannot put my finger on it now

The child is grown

The dream is gone

(Comfortably Numb)

When I was a child, I did catch glimpses of what feeling fulfilled was supposed to be, glimpses of what shape I thought I wanted my future to take. Out of the corner of my eye I saw cafes with hodgepodge furniture that could have been more inviting, wallpaper that tried, but could have been a lot nicer, cutlery that could have retained its generic nature with just a little more colour and style, and I thought that was my niche to fill. I had dreams (and a scrapbook full of ideas) of creating my own space that was beautiful and open and warm and giving, and these dreams stayed for long. This year, this tiny slippery speeding blip of a year, I turned to look for that self and those images in my head but they were mostly gone. I can’t put my finger on what changed the romantic café visions into practical social work agency determinations, but the child is grown and the old dreams are gone. New ones stay in the dream realm only for a small while, before being plucked straight from the branch and living their days out over here with me, by my side and not above me. I’m living some of my new, concrete dreams and 2017 was a good home for them. If 2016 was the never-ending year of laborious depression and idle aloneness, 2017 ebbed so away from confusion and brought me to effortfully glowing shores from which I turned back and saw no pain.

On the 31st of December and the 1st of January I cried in public, untriggered for the most part, or if anything then triggered by stimulants completely irrational. They are now far away but I remember in the moment the crumbling of my stability being very scarily familiar, and I worried whether my 2017-is-the-best-year-ever! chant I repeated throughout the days of the year was prophetically accurate in that 2018 shall not be the same. It’s now the middle of January and I feel good again. There are things I need to clear and relationships I will have to redefine but 2018 is set to be a different kind of best year ever.

This post will be different from the last, because a couple of these albums are ones that reached my ears long before 2017, whereas my 2016 roundup was for music that I had only been introduced to in the same year. I guess it is appropriate, for in 2017 I did enjoy more than before turning to, … idk, to old stuffz I guess. So Déjà Vu and The Best of Van Morrison are things I definitely heard playing at home even before I could speak, but I also have Saturation, Face Your Fear and Desire that are new releases from the year. How these albums were consumed is also very different from before, because in 2017 I stopped bringing my iPod out with me, and started driving more. At some point I realized I much preferred listening to my own breathing and footsteps while on my runs, and after a while listening to my own very-much-me music while I was on the bus or train too became quite an uncomfortably fake experience, like I was reaffirming my selfhood in a place where a relinquishing of it would perhaps have been more appropriate. I think from March onward I started only listening to music in my room, which also meant I wanted to turn to different things. Heavier music doesn’t vibrate so comfortably in the dusty mellowness on my blue room, and that’s why cute soft trash like Willie Nelson, The National and Ryo Fukui sat well. In the year I also finally learnt how to properly control my car and drive it well and confidently, and found that during my journeys (short or long) I preferred having the radio on. (for various reasons that are unrelated to anything that is relevant to this post so I will not waste my time). Thank you to Nabil who taught me best how to drive smart and with whom I have nice memories of radio pop songs which shall come to play a big part in my remembrance of the entire year (like Selena Gomez’s It Ain’t Me, for example). Also Jade, with whom I enjoyed at great volumes Daniel Bedingfield’s If You’re Not The One, and Gen who appreciated with me that one line (Who do you think you are? Dreaming 'bout being a big star) from Thunder by Imagine Dragons. I love all my friends :’-) Anyway! The point I am making is that in 2017, unlike the year before, music that meant a lot to me came from other places too besides my own chosen albums and iPod playlists.

BUT ANYWAY

OKAY LET’S START

Saturation (2017), Brockhampton

Aaaah I don’t remember exactly how I came to know of Brockhampton, it could have been an article in the Sunday Times Magazine that my dad puts on my bed every Tuesday night or maybe something I’d read online…? Anyway I remember immediately telling Jade about them, how I liked that they were a seemingly diverse group of very young boys, that they were very LGBTQ-representative and -friendly, that they had formed over a chatroom on the internet, and how genuine and warm their friendships with each other were, rare for a group of males. I’ve since cooled somewhat, maybe because a lot of gross and annoying people have found love for them too, I don’t know, is it stupid of me to feel like that takes away from their genius, having people I don’t respect respect them?

Anyway, I first listened to Star (track 3 on the album), because it was the first thing I saw on their soundcloud page I think, and I loved so much about it. I loved the NBA references (Chris Paul, I'm assistin'/ Ameer going Blake Griffin / Give me forty-eight minutes / We go '04 Pistons), which are much richer and more interesting than the usual LeBron or DWade or Melo namedrop that other less imaginative rappers favour. Maybe I’m biased, because Blake Griffin is #2 in my basketball-heart forever, and because the 04 Pistons are culturally significant, with Rip Hamilton’s face guard and Chauncey Billup’s niceness and, again, its nice how they’re not the first team people talk about today. I also laughed at Bruh, I don't fuck with no white boys/ unless the n***a Shawn Mendes, it’s so typical of assumed-lead singer Kevin Abstract’s humour, and I also just love how Shawn Mendes, the most mediocre and vanilla of celebrity white guys out there would be the exception to his sexual attraction rule.

Having loved Star and how each group member brought a very different energy, not just vocally but lyrical-content wise, to the song, I listened to Saturation in full and got the entire cake when before I had only licked the surface icing. And it was a fuckin nice cake!!!

The first track, Heat, was quite novel to me, especially the verse that screams, unflinching, scarily genuine:

I’ll break your neck so you can watch your back

Fuck you!

I’ll break your neck so you can watch your back

I’ll break your neck so you can watch your back

Fuck you!

I’ll break your neck so you can watch your back

Fuck you!

I don’t know why, but it was the first time I’d thought about someone with a broken neck having visual eyeline with their own back. And it was a cool image to have, heh. I mean, if nothing else it’s very innovative, don’t you think? I was impressed with the creativity, I mean it. Maybe it’s a common saying and I’ve just been missing out on such threats? Either way, it gets me in a vibe and makes me think maybe I too can inject warranted fear into someone someday.

Next to strike my heart was 2pac, track 5. Of course, titled as such, I was bound to pay it more attention than the others, but since I first listened to the album as an unbroken whole, when I first heard it I didn’t know what it was named, the lyrics don’t mention his name at all, but musically it stood out immediately for its mellowed softness and watery sadness. I love it so, so much. The main verse is by Ameer Vann, and I would quote it in full but I think it should be listened to first [here it is – click]. Some lines, like I know there's angels on me /All my dead homies, I know they waiting on me are classic in evoking emotion, predictable in its honesty and reflection, but then Ameer comes up with: I know you used to trust me, I miss the chicken nuggets / And the kisses from her, damn I miss you momma. Can you feel it, the quiet brilliance in wielding different worlds and synthesizing all that stirs the soul? At once you feel the weight of its personalness, the seeming-randomness in fact not at all so, and all that means something to our own selves come to mind. The narrative modes, not just of 2pac but of so many other songs on the album, shift from verse to verse , and the jumpy, stream of consciousness tone from just this line adds so much. It reminded me in fact of one of my own creative pieces, from the final film I had to produce for my 2015 Film Studies final project for the International Baccalaureate. In my script, which was very hodgepodge and unfocused, there was a scene with this voice-over narration (by me):

Think before you move, and think while you move.

一旦我们感到满意，我们可以回去里��了。小时候，我的妈妈喜欢讲：太多太阳也不好。啊。好想我的妈妈哦。

Heh, it’s very pseudo philosophical, my entire 7-minute film was grossly so, and here the Chinese reads: once we feel satisfied, we may go back in. when I was young, my mother used to say: too much sun isn’t good either.  Ooh… How I miss my mother. Is it not reminiscent of Ameer’s 2pac? I remember feeling the need to inject some cheap, immediate emotion into the scene that was otherwise contrived in its trying to relate to earthly universality. And I thought, how better than to invoke the Mother? (not that this was Ameer’s intention, his 2pac seems entirely genuine and beautiful). But you know what I mean, it is an imagery that works, no exceptions. 2pac endeared me a lot to Ameer, and I sought out the first solo song of his that I could find, and loved it immediately too. Besides the momma reference once more, one line in 2pac,  I do some shit I shouldn't seems like it would fit right into this solo song of his, titled I’m Sorry: Then I text them other bitches / I know I'm not supposed to say that / You know my momma taught me better/ I wish I had it all together / But I'm tearing at the seams. Again, the simple frankness is so …. Nice. Nice guy, nice song(s)!

Okay, I don’t want to drone on about the individual songs, this is an album review post, so let me say that this album was fucking huge. Literally, because there are 17 songs, and it was their first full album, and they released 2 more within the same year. These bros are all under … 24/5, so their existence is really, really important. They’re cognitive in ways other boybands aren’t, they’re honest in ways rap used to avoid, they dismiss boundaries and tread both with careful softness and undaunted hard-knuckles, they talk about racism, homophobia, depression/general sadness, rape culture; these just sound like stupid catchphrases but they add a lot to the discourse, especially for their fans who may not be fully conscious of the injustice that swirls around. This is a stupid sounding paragraph that I am not proud of but I think there is importance in noting their specialness. Thank u

Brockhampton is the self-made, self-aware, self-improving hero of the internet hip hop scene. I don’t know what I’m saying, but they’re big and important, thank you.

[brieflyprofoundsandwich]

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Velvet Negroni is Trying to Make Music That’s Built to Last in an Ethereal Digital Age

When we chat his most recent record, NEON BROWN (via 4AD), has been out for less than a full week. But it’s already beginning to add layers to an increasingly mythological narrative. It’s not just Nutzman’s background being gradually woven together with each new review and published blurb, but it’s also the behind-the-scenes contributions that penetrate larger swaths of popular culture. The track “Waves” from Velvet Negroni’s previous release T.C.O.D. was played by Justin Vernon at Kanye West’s famously rural writing camp in Wyoming, resulting in a contribution to opening track “Feel the Love” on Kanye and Kid Cudi’s collaboration album, Kids See Ghosts. More recently, he’s lent vocals on both “iMi” and “Sh’Diah” from Bon Iver’s new album, i,i.

READ: First Look Friday: Meet Donavon — the Soul of the Algorithm & Disciple of D’Angelo

These high-profile contributions aren’t just Wiki-friendly Easter eggs and fine print liner notes; they’re a clear indicator that both Nutzman’s voice and creative direction possess a unique resonance that is parting the seas of an oft-impenetrable musical kingdom.

NEON BROWN offers an accessible entry-point to hear Jeremy Nutzman’s evolving artistry at work. Album highlight “Wine Green” is an instantly recitable, dancehall-esque anthem awash in peppy adlibs and ascending jabs of bass. “Poster Child” showcases a catchy, iridescent love-song-hook that glows vividly while the downtempo “Feel Let” spins out soft, palatable utterances that feel as if they’re being belted from a woozy, late-night cab ride home.

We talked with Velvet Negroni to explore the album, his creative inspiration, and a rapidly changing music landscape.

Title: Girboix Carmelo Artist: Velvet Negroni

Can you walk me through your contributions on Bon Iver’s album and Kids See Ghosts?

Justin Vernon played [Kanye West and Kid Cudi] “Waves” and it was the first thing that perked their ears that day so they got into it a little bit. There’s a part of the song that goes, “I can feel it in my bones!” I think it was basically just that little snippet that they just took that energy and vibe into “Feel the Love.”

So the inspiration was more cadence than lyrics or production? 

Yeah, there wasn’t a sample. While Justin was in Wyoming, I was at his crib working, I was there rehearsing to perform a couple of dates with him. He had helped to work on the record a little bit previously.

How did you two originally link?

I play in a band with a couple of cats that he grew up with essentially and so that’s how that intro went long ago. It was kind of fun. We were just around sometimes, and we got to know each other a little bit. And then my friend Ryan Olsen had played what I had so far of the record for him, he was really excited by it and the next time he saw me he kind of just opened up his place as a base, like “If you need somewhere to finish this or work on it you should come out.”

Source: Artist

Can you tell me about the recording process and what went into your new album, NEON BROWN? 

A lot of different things but mostly just good vibes, a good schedule and good hours. We would at least kind of sketch out one or two tracks, at least two things every day. Then after a little bit of that, circle back to one that we had worked on previously. The ones with real potential kind of just flowed out of the fucking mess and felt kind of obvious-ish, I guess. It’s like sifting for gold, eventually you keep whittling it down into a body of work that’s ready.

How do you feel now that it’s out? 

It’s just exciting that people are listening to it. The album has been done for a pretty sizable chunk of time, that happened long ago it feels like, but now it’s just, knowing that people can listen to it…that’s exciting.

There’s a wide range of sounds on the album, some heady and stirring but also lighter notes. It’s interesting to see you do both.

It’s a natural thing in the songwriting process. Especially when I’m working with Elliott (Tickle Torture) and Simon (Psymun), there’s no off-limits. There’s that many more influences, like each person has a toolbox. Then there’s that added onto the writing process. So, we’re taking from a pretty wide range of shit just in everybody’s own mind and then putting them together. I don’t think any of us think about the style of the song as it relates to the album until after the fact.

What new artists inspire you right now?

I’ve been excited about Yves Tumor on Warp and listening to this cat Mk.Gee. I can’t think of anything else off the top of my head that I’ve really been jacked on. I’m kind of just stepping back into remembering that I can listen to other people’s music you know, like on my own, really just listen to music. Usually, I’m just in such a creative mode in my headspace, or I’m not listening to anything, or I’m working on my shit.

When you were first discovering music at an early age, finding discarded records on a neighbor’s lawn, which albums were especially formative for you?

In that pack of CDs that I found, I remember some 311, Soundgarden, some Metallica, Lords of Acid. I think there was a Crime Mob CD, some Tupac and even Marilyn Manson. Those were my youngest memories of having music that wasn’t church music. 

That was huge for me. But I was so young that when I was playing music, I wasn’t coming at it from a composing aspect at all. It was beyond me how you could even make something like that. I didn’t have any of the experiences that I have now to desensitize me to the wonderment of music in general.

Photo Credit: Rachel Kauffman for Okayplayer

What was the original intention of keeping you from being exposed to that music?

I mean those were just my parents’ rules. They were religious and didn’t think that anything else was worthwhile except for Christian music. I was practicing playing piano for at least one hour every single day and my mom would sit on the bench next to me, there was no getting out of it really.

We’re now living in a totally digital age. How do you feel the streaming era is changing music?

Oversaturation is a real thing, but there’s also so much more of a platform. I think that, eventually, for the most part, good stuff will be discovered. Like there’s too many people listening, seeing and talking amongst themselves deep in the Internet at all times that I think that the good stuff, the truth will prevail. It’s just a different style with music in general, because it used to be the furthest thing away to just go to a bedroom somewhere and record. Most people couldn’t afford to even rent studio time, let alone rent a studio and then then take their time writing songs in the studio as they go. People used to write a song, arrange a song, figure it out, get really good at it and then go record it. Now, it’s pretty much the norm to write a song as you’re playing and then you have the ability to manipulate audio. It changed the format.

When I first got into recording on my own, an amazing feature of it was that it moved so fast and I found myself making a couple of happy accidents. It was really exciting. Like, wow, what happened there? It went from writing songs and then finding happy accidents to just showing up and relying on happy accidents, rather than really spending time with the chord progression of the arrangement ahead of time.

I think from the critic or audience’s perspective, you also have less time to win over an audience with a shrinking attention span. Not everyone is even really around for a full album to listen from front to back.

That’s huge, yes. You can grab your albums out of thin air. There was no way to pirate an album unless you stole it from a store. So, it was physical, and I think it meant more just inherently then. It meant more on a tangible level. Like, I paid eleven bucks for this album, I’m not sure if I like it yet, but I’m gonna listen to it and keep listening.

The attention span is so fast that I think there’s more people trying to just jump on a wave or catch a wave and make stuff that’s relevant right then, instead of thinking like a whole album. Instead of maybe making a piece of work that is supposed to stand the test of time.

What’s it like to be a musician in 2019? Especially considering it’s increasingly rare to make a living off your art.

You’re correct with that being a rarity, it also depends on what one person’s definition of living and what you’re satisfied with. I’ve been making music for a real long time, but only recently have I even taken into consideration, oh yeah, I guess there’s a chance I could make some money from this. Really. I can only try and imagine what it was like doing what I’m trying to do right now when the Internet wasn’t the Supreme Being.

Photo Credit: Tim Saccenti

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Adam Isaac Itkoff is a freelance writer living in New York City. You can follow him (and us!) on Twitter.

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