#folksinger punk

[jobanjobanjo]

Psssssssst who thinks we can get it to 150? If you haven't heard it yet you should check out my new song and see what all the fuss is about #folkpunk #folksinger #folkmusic #punk #banjo #jobanjobanjo #guitar #ukulele #newmusic #indierock #indiefolk #indiepunk #singersongwriter #softpunk #soloartist #washboard #folkrock #acoustic #electricukulele #guitarsolo #independentartist https://www.instagram.com/p/Cn5Nx-rpgJU/?igshid=NGJjMDIxMWI=

[mackmp3]

i want to learn banjo really bad.... a guy in my music class has one though he says he's just transferred over guitar technique & not learned anything specifically banjo-ey but stillll augh i love how banjos sound........... i really really think that if lived in a time before punk rock i would have been a folksinger like to a degree i still am but yeagh

[thislovintime]

Peter’s application picture to Carleton College, 1959 (courtesy of Carleton College Archives).

“When I was in junior high school, I was a punk. I wanted people to love and admire me for my gentle wit, my talented music-making and my beauty of personality. Instead I was loathsome and irritating and quarrelsome and I didn’t know why people didn’t like me. But I began to think and meditate on it. Meditation is the only way the personality can be improved, and gradually I began to work things out and better myself. I like to give someone as many ‘different sheets of music paper’ as I can — behave differently toward him each time I see him. That is the only way someone can know what the real me is like. You can’t know the real me by only talking to me. I believe that you can tell more about people by the way they looking walking away from you than you can by what they say.” - Peter Tork, Seventeen, August 1967 (x)

“‘All of my early life was spent feeling out of whack. Physically I matured late and never was very athletic and always found myself on the short end of the stick. I was raised in a liberal family in the middle of the McCarthy era.’ Against those odds, Tork inevitably developed an inferiority complex that he carried into adulthood and his musical career. When he became one of four young men chosen out of 437 applicants to become what were supposed to be the ‘American Beatles,’ his self-doubt grew to mammoth proportions. ‘Half of the time I would think I didn’t deserve it and the other half I would think I was God’s gift to the children. I got my head turned around. It was the “arrogant doormat” syndrome low self-esteem combined with arrogance.’” - The Daily Oklahoman, November 7, 1983 (x)

“‘My life between then [moving from Wisconsin to Connecticut] and my senior year of high school was a total disaster,’ says Peter. ‘In fifth grade I started going downhill because I was unhappy. I was constantly trying to make friends and trying to be funny but never succeeding because I was so much younger. I did have a small circle of friends but that was at home, it didn’t have much to do with school.’ […] ‘When I was little I wanted to be an orchestra conductor. I remember a time when I was in Germany, I was about four years old, we went to a restaurant where they had an orchestra and the leader let me get up and conduct it. As I got older I began to love folk music, particularly the Weavers stuff.’ Around 1956, as rock ‘n’ roll was beginning to make its impact, Peter was pursuing rather different musical interests. Folksinger Tom Glazer […] became a friend of the family and presented fourteen-year-old Peter with a ukulele, which he mastered with disarming ease. ‘Then I took up the guitar and later I learned to play the five string banjo. Learning to play musical instruments always came easy to me. Other things I couldn’t learn no matter how hard I studied.’ Peter’s adolescence took a turn for the better around the time of high school senior year, when he was moved to the newly-opened University of Connecticut High School. ‘It was much more comfortable. The age difference ceased to matter and I finally got a chance to make some real friends. This is when I guess you could say I blossomed out. There were all kinds of amateur societies I could join, like drama and rifle shooting. I even started going to football and baseball games. […] I was very interested in drama but I was a late grower and because I was so short I never got any big romantic leads. My acting debut, at age sixteen and a half, was as a thirteen-year-old paper boy in Our Town. This was a bit degrading; it reminded me of the age problem, that had dogged me all through school.’ Peter also contributed to the school newspaper, submitting bizarre humor pieces illustrated by his younger brother Nick. Buoyed up by new confidence and security, Peter took a crash course in the French horn and was invited to join the University (not high school) of Connecticut Orchestra, as fourth chair French horn. ‘I really began to love music, just about every kind except opera. Sometimes I liked listening to classical music better than anything. My favorites were Prokofiev, Bach, Rachmaninov and Stravinsky. Pop music seemed kinda drab around that time. The hard core rock ’n’ roll era had ended and most of the excitement had gone. I was hung up on the orchestral music we played at school. About the only popular stuff I used to really listen to was Ray Charles.’” - Monkeemania (1997)

“A friend of the family, Tom Glazer, a folk singer, is the one who started it all for me. He gave me my ukulele. I had been taking piano lessons but when I got the uke, I found I could go plunk, plunk, and it was a sound I really dug. My mother wanted me to keep studying the piano, but I couldn’t make that plunk-plunk sound on it even after practicing. Knowing the piano helped a lot, though. I played other instruments too, like the French horn. I played that as a senior in high school in Connecticut and in a university band.” - Peter Tork, Seventeen, August 1967 (x)

[ttexed]

Tim Buckey - I Can't See You 

Happy Birthday to Timothy Charles Buckley III, born on February 14, 1947. "I Can't See You" is the first song off his first album from 1966. From this album sleeve, he may look like just some random folksinger. The latest in a never-ending line of folkies at the time. But from the first crashing notes it becomes evident that no, this isn't your average 1960s folkie. Yes, it's semi-electric folk, but there's also jazz, punk, & avant-garde  elements here, in a tenor singing (his high school friend) Larry Beckett's  beautiful poetic lyrics. And as he did for the rest of his life, Tim Buckley broke the rules. Leading off this, his very first Elektra Records release with not the most commercial radio-friendly tune of the collection, but the least. Here is a youtube of “I Can’t See You” here: https://youtu.be/xDeE7TtoF1Q

I first heard Buckley at 13 years old, early in 1968, when my local Dallas "underground rock" station KNUS, the first of it's kind in Big D on the FM side of the dial that played at least one album cut from almost every new LP release of the time, & practically none of the Top 40, that dominated AM radio back then. It was where I first heard The Velvet Underground, The Jeff Beck Group, The Red Crayola, Elmer Gantry's Velvet Opera, Condello, The Ill Wind, & on & on. I'd save up my lunch money allowance all week, & on the weekend head over to Preston Record Center & pick out an album by the coverart & what I'd heard on KNUS radio. One week they were playing Tim Buckley's long epic, "Goodbye & Hello", the title song from his more psychedelic second album. So that was what I picked out to purchase with my hard-hoarded cash & was introduced to the varied music of Tim. For some reason I never went back to this first album until much later in the 1970s. Maybe it was that folksinger cover. After the obviously drug-induced cover photos of "Happy Sad" & the likes, that first album coverart never struck my fancy until I later realized just how brilliant & different Tim Buckley was. But once I finally did investigate further, Wow!

But on to my own musical career. When I was finally putting together my last & possibly final musical project in 2017, my damaged hearing required a lower volume, different approach that started out as just a trio with my pals Eric Hisaw & Dan Hoekstra on guitars, & turned into a combo simply called The T. Tex Edwards Group, when we later added JJ Barrera on bass & Shawn Peters on drums. It had started out as a songwriting project with Hisaw. After years of mainly playing covers of semi-obscure 60s Brit & off-kilter C&W nuggets, I wanted to see if I could still write some meaningful songs like I had years ago with Mike Haskins in The Nervebreakers & Click Mort in The Loafin' Hyenas. I had started writing things down during a month-long rehab torture at Austin Recovery, & upon my release, contacted Eric about possibly getting together & putting some music to my scribblings. We cranked out a few songs & added a Tim Harden tune, a Bob Dylan song, along with some reworkings of some of my earlier Nervebreakers & Loafin' Hyenas originals. Plus this song from Tim Buckley, that I absolutely fell in love with upon my first listening all those years ago. When we later recorded our batch of originals, this song, (along with Gary Stewart's "Single Again"), were the only two cover songs that we recorded at those sessions. Hopefully sometime soon, those recordings will see the light of day...

[syrinxhmd]

Megadeth (monografia) Pt. 1

Dopo essere stato espulso dai Metallica, Dave Mustaine fonda i Megadeth, siamo nel 1985 quando viene pubblicato Killing Is My Business… and Business Is Good, album dal titolo chilometrico quanto programmatico. Mustaine ha giurato di essere più veloce, e più assetato di sangue dei Metallica, ed è riuscito in entrambe le cose. Killing Is My Business, è un disco ineccepibile perché pur partendo da una produzione travagliata e a basso budget, riesce a confezionare un’opera prima di tutto rispetto che presenta questo nuovo artista alla scena. Parlo al singolare perché i Megadeth sono Dave Mustaine, David Ellefson, Chris Poland e Gar Samuelson, ma i collaboratori alla chitarra e alla batteria cambieranno spessissimo nella loro storia, e poi sanno tutti che a casa Megadeth solo Dave è il vero capo. Il disco è innovativo perché fonde alcune istanze gotiche/occulte, con il thrash metal che sta spopolando nella scena. Mustaine ha un’idea diversa della musica da quella che può essere la base dei Metallica o degli Slayer (per dire), egli intende infatti il metal come il discendente più recente della musica blues e rock. Anche molti suoi colleghi tracciano questa eredità, ma i Megadeth sono abituati a pensare al metal come qualcosa di ribelle, non dissimile dal punk o dall’hard rock, insomma sono più figli dei Led Zeppelin che dei Black Sabbath. La voce di Mustaine non è particolarmente piacevole o virtuosa, nondimeno il mondo interiore del frontman che è pure un virtuoso del suo strumento (la chitarra), ci proietta nelle sue angosce quasi come un folksinger che scrive canzoni di protesta. L’attenzione di Dave per la società in cui vive è maniacale, e questo è in fondo uno dei compiti del thrash metal (tutti i grandi di questo genere sono alla fin fine ottimi imbonitori politici, nel senso buono del termine). Tuttavia nel gruppo vige ancora un po’ di confusione, e per quanto Peace Sells… but Who’s Buying?, il loro secondo album sia rimasto nella storia, non c’è da ritenerlo altrettanto innovativo rispetto al suo predecessore. Ancora peggio fa So Far, So Good… So What!, una terza opera del 1988 abbastanza anonima (Peace Sells era uscito nel 1986). La verità è che la visione prestazionale della musica che ha Dave Mustaine, si nutre dei musicisti con cui suona, è per questo che giusto in tempo Rust in Peace nel 1990, rilancia i Megadeth ai massimi livelli del metal suonato, ovvero perché le new entry alla chitarra e alla batteria - Marty Friedman, e Nick Menza, conferiscono nuova potenza di fuoco al quartetto.

~~~

[ilcovodelbikersgrunf]

Ottant’anni. Strana età per una rockstar, se non addirittura incongrua rispetto allo stereotipo che vorrebbe eroi sempre giovani, freschi, esuberanti. Ma il signor Bob Dylan non è tipo da farsi condizionare da così banali dettagli anagrafici. I suoi ottant’anni li dimostra tutti, fino in fondo, con segni profondi e cicatrici dell’anima. Ha un volto autentico, da nobile superstite, da sopravvissuto impegnato in una sua particolare forma di resistenza umana. È scontroso, arcigno, irsuto, un nugolo di capelli sgraziati su quel naso adunco che da sei decenni simboleggia il suo spigoloso rapporto con il mondo. Che poi è il suo grande fascino, la sua irresistibile forza.

Poeta laureato, profeta in giaccone da motociclista. Napoleone vestito di stracci. Inafferrabile, come un sasso rotolante. È stato analizzato, classificato, crocifisso, sezionato, ispezionato e respinto, ma mai capito abbastanza.

Entrò nella mitologia nel 1961, con chitarra, armonica e berretto di velluto a coste, metà Woody Guthrie, metà Little Richard. Era il primo folksinger punk. Introdusse la canzone di protesta nel rock. Rese le parole più importanti della melodia e del ritmo. La sua voce, nasale e rauca, che suona «come sabbia e colla», come disse David Bowie, e il suo fraseggio sensuale sono unici. Può scrivere canzoni surreali con una logica interna – come un dipinto di James Rosenquist o come una poesia di Rimbaud – e semplici ballate che piovono dritte dal cuore con la stessa semplicità. Può tirar fuori le tenebre dalla notte e dipingere di nero il giorno.

Definirlo un eroe dei nostri tempi potrebbe essere riduttivo. Più passa il tempo, più la storia della musica popolare si ingarbuglia in miriadi di confusi intrecci, e più la sua figura rifulge, cresce d’importanza.

Oggi possiamo dire che l’opera di Bob Dylan sembra centrale, una sorta di straordinaria e irripetibile sintesi di valori poetici e musicali, di processi sociologici e artistici. Il menestrello di Duluth, infatti, non è stato soltanto il pifferaio della contestazione pacifista. È stato anche questo, non c’è dubbio, ma è stato molto di più. In quegli stessi anni, la stagione della protesta giovanile, in quel decennio infuocato in cui la sua figura e alcune sue canzoni (Blowin in the wind su tutte) si saldarono in modo inestricabile con le vicende sociali e politiche del tempo, Dylan riuscì anche a essere il cantore del lato oscuro del sogno americano. Più che cantare la speranza, e l’ottimismo adolescenziale, creò una galleria di eroi perdenti, amari, maciullati dall’“american way of life”. È una vera e propria galleria di antieroi, da Emmett Till a John Brown, da George Jackson fino al pugile Hurricane.

Più in generale si può dire che Dylan è stato il primo intellettuale della storia del rock. Prima di lui non si era abituati a conferire ai musicisti popolari, se non ai folksinger più impegnati, un rilevante valore intellettuale. Prima di lui Elvis Presley e gli altri eroi degli anni Cinquanta erano dei grandi talenti, dotati di intuito, di un selvaggio e contagioso istinto. Ma non c’era ancora la coscienza e la consapevolezza del proprio ruolo. Elementi che irrompono impetuosamente, invece, con l’avvento di Dylan, l’artista che ha portato la musica rock dall’innocenza primitiva delle origini alla profonda coscienza dei decenni successivi.

Robert Allen Zimmerman, che nel 1962 ha legalmente cambiato il suo nome in Bob Dylan, ha anche un altro enorme merito. Un po’ come a Louis Armstrong viene riconosciuto il grande pregio di aver in qualche modo portato a una prima compiuta definizione il linguaggio del jazz, che certamente non ha inventato, ma che ha rafforzato, evoluto, sintetizzato. Dylan ha compiuto qualcosa di analogo, prendendo il materiale folk ereditato dalla grande stagione degli hobo e lo ha velocemente condotto a maturazione, estendendo la portata, gli orizzonti e la potenza della canzone popolare tradizionale. Al di là delle apparenze, è lui il più grande innovatore, come dimostrò a più riprese con tutti i suoi capolavori elettrici degli anni Sessanta e Settanta.

Fin dai primi album, Dylan introduce un linguaggio complesso, preso in prestito dalla letteratura, dal cinema, dalla lingua quotidiana, da visioni sempre più surreali e audaci. Con lui la canzone diventa un prodotto artistico maturo, del tutto autonomo, capace anche di creare per la prima volta nella storia un alto livello di massa. Realtà che qualcuno comprese anche all’epoca, come John Lennon che nel 1965 dichiarò che a mostrare la strada era proprio Bob Dylan. Altri, come i membri dell’Accademia Reale Svedese, che gli assegneranno il Premio Nobel per la Letteratura, ci arriveranno molto più tardi, precisamente nel 2016.

Il mistero Dylan, grazie a una irripetibile coincidenza di valori artistici ed epocali, significò anche che, per la prima volta, musiche dichiaratamente non commerciali divennero incontenibili successi di vendita. Da quel momento l’industria discografica, costretta dagli eventi, aprì le porte al nuovo, senza più temere l’originalità e l’innovazione, consentendo l’afflusso di forze e di idee completamente nuove. Da allora la musica rock è cambiata, ma da allora è costantemente cambiato anche Bob Dylan, il primo nemico del suo stesso mito, deciso sempre a metterlo in discussione, ad osteggiarlo, a concedere poco alla platea.

Questo gli ha consentito di sopravvivere al suo tempo, di raggiungere il traguardo degli ottant’anni in modo vitale, inquieto, come un artista al quale la maturità non è servita da alibi per smettere di interrogarsi e provocare domande. Segno di una coscienza che il rock di oggi farebbe bene a recuperare. Per progredire e ritornare al passo con i tempi.

Intanto si preparano i festeggiamenti: Patti Smith, che nel 2016 andò a Stoccolma a ritirare il Nobel a suo nome – e si impappinò, commossa, mentre cantava A hard’s rain a-gonna fall – celebrerà Dylan il 22 maggio allo Spring Festival del Kaatsbaan Cultural Park nello stato di New York. Festa anche a Duluth, dove Dylan nacque il 24 maggio 1941, mentre nella vicina Hibbing, dove la famiglia si trasferì dopo che il padre Abram Zimmermann, colpito dalla polio, aveva perso il lavoro, i piani per un monumento nel cortile del liceo dove Bob (“Zimmy”) si diplomò nel 1959 sono tuttora “caduti nel vento”. Al centro delle celebrazioni anche la pubblicazione di tre nuovi libri e una riedizione: “You Lose Yourself You Reappear” di Morley, mentre il biografo Clinton Heylin tornerà a esaminare gli anni formativi in “The Double Life of Bob Dylan” e “Bob Dylan: No Direction Home” del 1986 del giornalista del New York Times e amico Robert Shelton (che nel frattempo è morto) verrà aggiornata e ripubblicata.

Elusivo come sempre, Dylan è bloccato nella casa di Point Dume a Malibu da quando un anno fa il Covid gli ha impedito di andare in Giappone per una nuova tappa del “Never ending tour”, ma non di fermarsi nel suo lavoro. Durante il lockdown ha composto un nuovo album e venduto per 300 milioni di dollari il suo catalogo musicale a Universal Music. Tra un anno poi l’apertura dell’archivio segreto affidato al miliardario del petrolio George Kaiser: il Bob Dylan Center sorgerà a Tulsa, Oklahoma, dove già, in un gemellaggio simbolico, sono custodite le carte del suo idolo Woody Guthrie. E, nel frattempo, il “grande vecchio” del rock prepara il suo ritorno sul palco nel 2022.

[jesuscramp66670]

🎶You’ll never be lonely at the bottom, feeding the worms🎶 #killinkind #paulycreepo #murderfolk #voodoogospel #folkpunk #cadaverinedreams #dontgetstigmatainthebiblebelt #spotify #spotifyplaylist #spotifyplaylists #punk #avesatanas #hailsatan #folksinger #singersongwriter #bandcamp (at Seattle, Washington) https://www.instagram.com/p/B3NdwoIhzyc/?igshid=2nftciesrmc5

[outweek30]

(I Enjoy Being a Girl cover image, not printed in OutWeek.)

Self-styled "average, all-American Jewish lesbian folksinger" Phranc (born Susie Gottlieb) goes a step further in exploiting the inherent unfunniness of folk. "I Enjoy Being a Girl" (Island Records) is her second album and a classic — perhaps the first classic — of lesbian camp on vinyl. The cover is a flawless pastiche of a Ricky Nelson publicity still, featuring Phranc, her trademark flat-top fiercely backlit and a tumbler of milk in hand. Inside, she glorifies Martina Navratilova, complete with a neat summary of all the places the Czech pro has lived and the women she's loved. As a comic, Phranc herself's a pro.

Phranc's serious side is less accessible, partly because of the alto deadpan that makes her funny songs sound mightily self-righteous when delivering a lyric like: "Bloodbath in the land of Zola Budd/Murder in the land of the Kruggerand." Far more convincing is "Take Off Your Swastika," in which Phranc, to whom patterns of dress are of more than passing importance, takes a swipe at the recklessness of Nazi chic. "Wearing swastikas was very popular with punks," Phranc says. "Because I was Jewish, it really disturbed me, so I wrote the song and performed it on acoustic guitar so the audience could hear the words." She lashes out with pounding guitar, her voice ragged and edged with vulnerability, and takes her leave with the haunting coda: "Fascism isn't anarchy/And if it were you in those ovens you wouldn't think it was so cool."

Able both to horrify and amuse, Phranc has a musical gift ideally suited to our times. Using humor as a weapon, she is able to convince where plain old earnestness might fail.

— Patrick Rogers, “Pop,” OutWeek Magazine No. 1, June 26, 1989, p. 51.

Phranc is on Bandcamp.

[daily-rayless]

And then I thought, why not sketch even more Red?

This lil project was partially inspired by a lovely steampunk Red design. Given that Transistor’s aesthetic borrows from a number of different decades, I thought it would be fun to filter Red’s performance gown and jacket through the past twelve decades. Because... that’s the sort of thing that strikes me as fun.

Thoughts and justifications below the cut. Click for larger images. And curious to know people’s favorites.

No decade has just one defining look, but here are some thoughts on why I went with whatever.

1900s: Red’s performance gown has a lot of Edwardian references, from the loose shape of the bodice to the small waist to the fluted skirt. During this time, evening gowns were all about S-bend corsets, flowing hourglass lines, sweeping skirts, and of course flowy art nouveau everything. I sort of designed Red as I’d imagine a touring singer would look at the time, plume, boa and all.

1910s: People tend to think of classy flowing evening gowns like you see in Titanic or Downtown Abbey, but the teens had a theatrical side with copious embellishments, competing layers, and fashionable asymmetry. So under Red’s big minimalist coat her gown gathers on the ribs, floops down in big folds, has a marabou trim, and yet a second sheer hem falling around her ankles, much more loose and eccentric than the previous decade.

1920s: The flapper ideal, with its loose straight lines and relatively high hem, is the opposite of Red’s original design, but I think it shifted nicely. Big feather collar, bobbed hair, artificially shaped mouth, bold graphic gown, and of course heels.

1930s: In this decade, embellished collars, sleeves, and bodices were emphasized, meaning I could’ve preserved a lot of her original design, including that feather collar. But I decided to take things in a different direction by giving her a feather-print bolero, a favorite evening accessory of the time. Her hair is sleek, her skirt is long and relaxed and minimalist. The ideal of the 30s was to create an impression of tall, sinuous elegance instead of an obvious hourglass.

1940s: WW2-era gowns were edgier and took cues from men’s fashion, like shoulder pads. So I put Red in one of those short, square, shouldery fur coats you see from this time, but of course for her it has to be feathers. Her gown, however, has a proper torch singer vibe with its gathered hip wrap and showy slit. There’s a strange color-themed foursome following her around, and after tonight’s show, she’s going to take her peep-toe platform heels down to the nearest detective’s office and hire him to be her bodyguard.

1950s: I veered away from Marilyn hair and a big New Look skirt and instead went with an “Italian” cut and a hostess skirt. Granted, I don’t think her shorts would’ve been that short yet, but Red’s an artist; she can be daring and eccentric. As in the 1900s, clothing was used to create curves that were exaggerated for many women. Some of the hallmarks of an elegantly dressed woman included her heels, her coral lipstick, and of course her pearls.

1960s: When it comes to clothes, the two halves of the 60s are wildly different, so I went with the latter half. In the mod era, figured stockings ruled, peacoats abounded, flats reveled in their flatness, and minidresses were acceptable evening wear. Like the 20s before them, the 60s loved their eye-catching graphic designs and experimental shapes. Red’s original boots show up, but with mod cutouts, and her layered skirt now runs down the sides of her dress. The feathers are shorter and downier so as not to mess with the blocky silhouette of her outfit. And of course nude lips and super heavy eyeliner.

1970s: I decided on a glam late-70s disco look (though in retrospect, maybe Red would’ve been an earnest folksinger?) So we have a long feather-lined trench coat, a simple low-cut disco gown, big pendant, hoop earrings, and strappy high-heeled sandals. And of course some swoopy hair. 70s Red frequents a disco where the floor is covered in flashing triangles and the mirror ball is shaped like Sybil’s hat.

1980s: Of all the decades, Red’s canonical ripped-gown outfit is probably closest to the 80s. I made her a little punk here (maybe she tours with Pat Benatar) with her leather motorcycle jacket (bedazzled with big silver feather charms) and a tight minidress. I also did a version of this with opaque black stockings, but in the end I like the bare legs better.

1990s: So I could’ve just drawn her as Surfacing-era Sarah McLachlan, but I decided not to be lazy. This sort of flat-lined, side-slitted slipdress was everywhere. Her duster has a fluffy collar and cuffs, her lipstick is named Aubergine, and she is unironically wearing platform high-heeled Mary Janes. In the 90s, Red didn’t actually tour with Lilith Fair, but everyone always remembers her as having done so.

2000s: Sparkles, pointy boots, and asymmetry ruled the early to mid-2000s. That specific triangular neckline was everywhere and fits so thematically with Red that I had to go with it. Loose decorated belts went with every outfit. Her bell-sleeved shrug is embellished with shiny feather appliques. And her hem is torn and uneven, except that unlike in the game, it’s supposed to be like that. And she hasn’t forgotten her ultra-shiny nude lipgloss.

2010s: I was a little stumped, because it’s hard to know what the definitive looks of your current decade are, even when it’s almost over. So I went with one of those high-necked, long-sleeved, highly ornamented gowns that were big in the mid 2010s. We also have this decade’s love of sheer skirts and long bobs. Her gold beaded heels are based on a Valentino design, and her collar has rings of painted feathers for a somewhat Egyptian vibe. This time, she’s ditched the jacket, letting the black design elements come through in her ombre skirt.

[jobanjobanjo]

Oh what great company to be in 🥰🥰🥰 @skeletondrive @happyhappytheband @apesofthestate @mattpless . . . . . . #folkpunk #folk #punk #folksinger #soloartist #queermusician #transmusician #Americana #acoustic #banjo #indiefolk #diymusic #colorado #originalmusic #newmusic #singersongwriter #denvermusicians #indiepunk #softpunk #happycore #uplifting #therapy #jobanjobanjo #punkmusic #folkmusic #guitar #ukulele #washboard #transgirl https://www.instagram.com/p/CnjF5zTuQHn/?igshid=NGJjMDIxMWI=

[welovelofi]

Something strange about this track that feels like 20years ago today, as a strange homage to times past!

The first single from Powell's "Skeleton Party" LP churns surf-punk guitars in a tangled nest of byzantine riffs beneath vocals that can't be bother to wake up from the dream. "You caught me talking with goats, slinking around in a thick black coat--I suppose that you've noticed I have ghost writers." Furious in their baptism, the folksinger dissolves and the rock band is transfigured on the mountain.

[randomrecordreview]

“This album has a one-sentence review on Allmusic.com. A travesty, but sadly not surprising, for a lesbian folksinger. But Phranc is so much more than a niche genre. She has a gorgeous voice, pure and strong, and unadorned yet effective acoustic guitar playing. . Most of the songs on this album, her third from 1991, are just her with simple guitar accompaniment, a combination that often automatically pigeonholes someone as a ‘folksinger’. Indeed, as if to emphasise this, her first album was called Folksinger, although she started off in the late 70s in a number of punk bands that read more like a psychiatry assessment rather than a music CV: Catholic Discipline, Nervous Gender and Castration Squad. By the mid ‘80s she had restyled herself as the “All-American Jewish Lesbian Folksinger.” . This sort of tongue-in-cheek playfulness is ever-present in her songs. Not least in those she chooses to cover here, Surfer Girl by The Beach Boys and a queering of Jonathan Richman’s Pablo Picasso, retitled Gertrude Stein. No doubt Alice did indeed occasionally call her ‘asshole’. David Bowie also covered this song on his Reality album. . I was introduced to Phranc in 1994 via her song, I Like You, the opening track on this album, and one of her best. It was included quite adorably in a mixtape from my lover at the time and is quite the most endearing song of smittenhood I’ve ever heard. Other highlights on here are Dress Code, which is a rallying cry for non-binary non-heteronormative personhoods everywhere; and Tipton, a song for Billy Tipton the jazz pianist who, when he died in 1989, it was discovered – by family, friends and fans – that he had been born female. In fact, he had never transitioned as such, but had assumed a male identity from his early 20s onwards. . I still have that mixtape. As for my lover, who also happened to adopt the name Billy, she’s now a drag king in Barcelona...” . #phranc #allamericanjewishlesbianfolksinger #ilikeyou #dresscode #gertrudestein #billytipton #transrightsarehumanrights #recordcollection #randomrecordreview https://www.instagram.com/p/B9ixoS3JM8Q/?igshid=1hn559sxpl1rn

[brawmusic]

Braw Gigs Presents: Serious Sam Barrett / Ian Humberstone / Burnt Paw @ The Waverley Bar, 16th February!

An accomplished skateboarder who founded a punk-style D.I.Y. label to document his local folk scene, "Serious" Sam Barrett combined American Delta blues and country with English traditional music in a direct, heartfelt fashion. Born and raised in the tiny village of Addingham in the Yorkshire Dales, Barrett was son to a folksinger father and a mother who loved Dylan, Guthrie, and Lead Belly.

Performing a mixture of traditional and self-penned material - Barrett developed a twangy, rootsy fingerpicked style making extensive use of 12-string guitar, while his nasal delivery recalled his childhood heroes. As a young man he moved to nearby Leeds, where, with a number of friends, he formed the D.I.Y. collective YaDig? to release music by the best folk and roots artists in Leeds and West Yorkshire. He will touring in support of his soon to be released record “Where the White Roses Grow”, the title track has gone down a storm already!

“This track just demonstrates an amazing musical ability. The sustained brilliance of this playing is really something to behold” – Bob Harris, BBC Radio 2

“Songs that rattle with the ghosts of Appalachian folk, and southern blues, yet sound emphatically English” – Uncut Magazine

“Old before his years country-folk fellow who mixes intricate John Fahey finger-picking with confessional tales of dirty old Leeds” – The Guardian

“Serious Sam Barrett, from Addingham, splendid folk blues from the West Yorkshire hills” - Gideon Coe, BBC Radio 6

With support from:

Ian Humberstone falls neatly into a close knit circle of Edinburgh musicians and songwriters who have been meticulously honing their craft for a number of years, having collaborated and performed with the likes of Rob St. John and Eagleowl and is also the co-founder of the excellent Folklore Tapes.

Burnt Paw is a songwriter, fingerstyle guitarist, oral historian and loafer. Paw’s music also pays homage to many revisionist U.K. folk schools, from 70’s psychedelic folk to contemporary new/dark folk. His songs and lyrics unwind from oral histories, dream-fragments, mythic stories and tales he’s encountered while roaming the streets.

£6 on the door Saturday 16th February 8pm upstairs at The Waverley Bar, Edinburgh

[adrianomontanaroalessandria]

Robyn Hitchcock al Circolo della Musica di Torino

Serata speciale, quella di venerdì, al Circolo della Musica di Rivoli, con Robyn Hitchcock. Quasi quarant’anni, di carriera. dagli esordi con i Soft Boys, Hitchcock si è guadagnato comunque una fama più che meritata,artista che è diventato una sorta di trait d’union fra John Lennon e Syd Barrett, vero folksinger punk e poeta della canzone … Leggi tutto L'articolo Robyn Hitchcock al Circolo... Per il contenuto completo visitate il sito https://ift.tt/1tIiUMZ

da Quotidiano Piemontese - Home Page https://ift.tt/2HckOjX via Adriano Montanaro - Alessandria

[madeinpop]

Made In PoP™ ǁ eventi Rock in Veneto dal 22 al 28 Novembre 2018 ǁ stagione 16

Ciao Made-In-PoPpers, come al solito con i tempi stretti, ma ancora qui per raccontarvi una settimana di ROCK in VENETO, questa settimana torna pure One Shot lo storico party LAMETTE. CHECcO & LoRIS «Sostenete la Musica, Andate ai Concerti» ► Made In PoP segnala ◄ Ω SABATO 24 NOVEMBRE 2018 Ω VINILE Club via Capitano Alessio 94 ROSÀ (Vi) torna l'evento YOUNG & SAVAGE per eccellenza, torna one-shot il LAMETTE PARTY la festa rock'n'roll che più festa non c'è. come al solito protagonisti i live infatti sul palco saliranno di giovani e fresche band, i CACTUS? indierock suonata con attitudine punk, che presenteranno il nuovo singolo e i BORDERLINE energico rock con attitudine detroitiana a-là MC5. dopo i concerti ci si schiaffa in pista allo svenimento, con i djset di ANGIE BlueEyes, Albert SHEPHERD e CHECcO MERDeZ (Lamette/Shyrec/MadeInPoP). https://www.facebook.com/events/289670225207969/ ► SETTIMANA ◄ ► GIOVEDÌ 22 Novembre ᴥ TIPOTECA ITALIANA via Canapificio 3 CORNUDA (Tv) qui stasera, dalle 20:45, si esibirà il TRIO BOBO ovvero la sezione ritmica di ELIO & Le Storie Tese, Christian MEYER e FASO accompagnati dall'artista jazz Alessio MENCONI. ᴥ CA’ SANA Cibo Arte Cultura via SS. Fabiano e Sebastiano 13 PADOVA l'ospite del live del giovedì sarà il cantautore siciliano Cesare LIVRIZZI, in giro a presentare il suo secondo disco prodotto da Marco Parente. ᴥ BOSKETTO Ristorante viale fratelli Bandiera 8 TREVISO per la serata Live & Grill ospite il cantautore Francesco DAL POZ pop cantautorale. ᴥ HOCH HOLLE via S.Andrea PADERNO del Grappa (Tv) rumba gitana e world music per LUMAKALÈ. ᴥ VIAROMA17 via Roma 17 DUEVILLE (Vi) tornano in Veneto i grandiosi MOVIE STAR JUNKKIES e il loro blues-punk, presentaranno il nuovo disco in uscita via Voodoo Rhythm records. ᴥ BOCCIODROMO via A.Rossi 198 VICENZA dalle 21 triplo live per prepararsi al weekend con le local band REGARDE emopunk e REDIMEN ambient-folk più ospiti i cagliaritani QUERCIA emo/postrock. ᴥ Club IL GIARDINO via Cao di Prà 82 LUGAGNANO di Sona (Vr) il virtuoso chitarrista americano VINNIE MOORE (già membro degli UFO) con la sua band in concerto qui. ᴥ COHEN Pub via Scarsellini 9 VERONA concerto intimo ed acustico per il talento JESSE MALIN, accompagnato per l'occasione dal pianista Derek CRUZ. ► VENERDÌ 23 Novembre ᴥ FISHMARKET Club via Frà Paolo Sarpi 37 PADOVA in collaborazione con Schiavetti Rec e Iguana Eventi l'ottimo live degli HD HOLDEN band di blues moderno e psichedelico a seguire djset del duo CASTE & ORDINARY NOISE (Last Nite Party). ᴥ PIRAGO Birroteca via Pirago 17 LONGARONE (Bl) doppio live nel bellunese per i DIRTY BULLET heavyrock e i RUDHEN stoner/sludge. ᴥ RICKY’s Pub via Commerciale 12 ABBAZIA PISANI di Villa del Conte (Pd) festa di presentazione EP per i MITROPA EXPRESS punk/powerpop accompagnati dai MAYBE WONDERS poppunk lookout-style + Barbarella djset. ᴥ Circolo NADIR piazza Gasparotto 10 PADOVA blues rabbioso per la cantautrice palermitana SIMONA NORATO che presenterà le canzoni del nuovo album. ᴥ SHERWOOD Open Live vicolo Pontecorvo PADOVA serata musical-teatrale con il bravissimo collettivo FRALESTEDA che propone lo spettacolo "E che la fuga non sia l'unica via" dedicato alla guerra in Siria. ᴥ BISTROCK via Rometta 13/L San MARTINO di Lupari (Pd) serata dedicata all'etichetta Dischi Soviet Studio con live per i BOB BALERA indiepop. ᴥ BARABBA Osteria via Vicenza 47 PADOVA live blues rock con la BLUEJSIDE ospite il grande Tolo MARTON. ᴥ Ai DARDI ristococktail via Badaloni 27 ROVIGO serata fifties/sixties con il trio I NEGRONI (già HOME) che coinvolgeranno con le loro scatenate canzoni. ᴥ Cso DJANGO via Monterumici 11 TREVISO serata SISMA mvmnt che ospita il Miranda Tour de LE ALTRE DI B indierock band bolognese, in apertura l'interessante duo JACQUES The GIANT alt/emo/rock. ᴥ CORNER LIVE via Ungheresca Nord 115 RAMERA di Mareno di Piave (Tv) primo di due appuntamenti con gli inizatori del movimento Paisley Underground, ovvero i celeberrimi STEVE WYNN & CHRIS CACAVAS dei DREAM SYNDACATE. ᴥ EDEN Cafè via XV Luglio TREVISO folk-tronico dal Belgio per il duo COFFEE or NOT. ᴥ HOCH HOLLE via S.Andrea PADERNO del Grappa (Tv) storie sgangherate per la gang neo-rockabilly dei RAPINA BROS. ᴥ KRACH Club via Madonna 3 MONASTIER (Tv) serata black metal con ospiti gli storici NECRODEATH, in apertura i NECROFILIA. ᴥ OUTSIDER Pub via S.Cassiano 72 QUINTO di Treviso (Tv) il sound raffinato dell'ottimo CARLO COLOMBO e il suo quartetto. ᴥ HOME Rock Bar via Fonderia 73 TREVISO pop cantautorale per il duo LA MUNICIPàL (Galatina) accompagnati dai MEDITERRANEA NADIR (Pd). ᴥ Radio VANESSA sestriere Castello 1923 VENEZIA ore 20:00 live radiofonico aperto al pubblico per Matthew Paul BUTLER e Adam FAUCETT folksinger americani, alla radio FM 101.800, streaming http://www.radiovanessa.it/ ᴥ LIGHTHOUSE Pub via Noalese Sud 2 NOALE (Ve) JETGLOW Records organizza i live per le band The WANKERSS punkglam/rock/Padova e The BROKENDOLLS fast&furious r'n'r dalla bassa veronese. ᴥ MORION Laboratorio Occupato salizada S.Francesco de la Vigna VENEZIA questa sera afrobeat con i BANDANERA collettivo formato da saxofonista Guglielmo Pagnozzi. ᴥ HARD ROCK Cafè bacino Orseolo San Marco VENEZIA showcase elettro-acustico per i TWO MAN in BLACK, ovvero parte della band di LU SILVER, folk blues rock. ᴥ CENTRO STABILE di CULTURA via Leogra 4 S.VITO di Leguzzano (Vi) balkan-gipsy night con la BABBUTZI Orkestar post-balkan-beat-rock bsnd. ᴥ TERZO PONTE via Ceramica 7 BASSANO del Grappa (Vi) questa sera ospite uno dei più grandi artisti veneti, PHIL REYNOLDS tra folk e country in chiave cantautorale. ᴥ AL BARCO via Basilio Dalla Scola 255 VICENZA al bar della Cooperativa Insieme evento all'interno del progetto Interreg Suface con il concerto per A FOREST MIGHTY BLACK stoner/psych/rock. ᴥ LABI ROOM via del Lavoro 3 ROSÀ (Vi) ultimo live in vista della pubblicazioe del nuovo disco per i MAD FELLAZ rock/prog. ᴥ MAMALOCA strada Pasubio 421 VICENZA dopo diec'anni di carriera chiude l'avventura dei RED CADILLAC rockabilly, questo sarà il loro ultimo concerto. ᴥ JACK the RIPPER via Nuova 9 RONCÀ (Vr) purissimo rock'n'roll/rockabilly per The BOPPIN' WOLVES. ᴥ COHEN Pub via Scarsellini 9 VERONA qui a presentare il nuovo disco sarà il TEASPOON Quartet in acustico tra fingerstyle e rag-time. ᴥ Colorificio KROEN via Pacinotti 19 Zai VERONA dal Libano via Canada il progetto audiovisivo JERUSALEM in my HEART (Constellation rec) tra tradizione araba e elettronica moderna. ᴥ TIME OUT Live Pub via Campofiore VERONA musica indipendente in zona universitaria, suoneranno ULTRAVIOLET crossover/alt/prog e WE ARE NOT ALONE alternative/post-space-rock. ► SABATO 24 Novembre ᴥ BAHNOHF Live via Sant'Antonio 34 MONTAGNANA (Pd) presentazione disco per i NOT YET FALLEN metal/hc in loro compagnia FORLORN SEAS prog/postmetal. ᴥ GOTO STORTO via Villanova 8 TREBASELEGHE (Pd) serata alternative rock/sludge metal con le band The NIGHT SUNS da Londra per la prima volta in Italia e NO MORE HEAD TRIPS. ᴥ BRUS Bar via Roma 162 FOSSONA di Cervarese Santa Croce (Pd) doppio concerto per BLIND MARMOTS stoner/alternative e CENTO SCIMMIE alternative/post Metal. ᴥ GRIND HOUSE via Longhin 37 PADOVA Padova Estrema organizza la serata con i concerti dei gruppi CATHECON (Ve-Tv) APOCRYPHAL (Vr) ADES NUMEN (Pd) e headliner i comaschi KULT. ᴥ CORNER LIVE via Ungheresca Nord 115 RAMERA di Mareno di Piave (Tv) secondo appuntamento con gli inizatori del movimento Paisley Underground, ovvero i celeberrimi STEVE WYNN & CHRIS CACAVAS dei DREAM SYNDACATE. ᴥ ALTROQUANDO Osteria Musicale via Corniani 32 SANT'ALBERTO di Zero Branco (Tv) serata Lizard records con i toscani The FORTY DAYS neo prog psychedelico, con loro il TRIO da Genova jazz-fusion. ᴥ Osteria da TOCCHETTO via Risorgimento 27 MONTEBELLUNA (Tv) festival del duo con CORMAC noiserock/Pd-Vi, VERDWALL progfunky/Pd e QQQØQQQ electrodoom/Ve. ᴥ IMPROVE via Sile 24 CASTELFRANCO Veneto (Tv) ore 21 concerto nei locali delle sale prove con i REVINE (post-hc/Cittadella) e MOTION SICKNESS (pop-punk/Castelfranco). ᴥ Birreria ZUITA via Zapparè BARCON di Trevignano (Tv) serata rock con derive country con la COUNTRY STRONG BAND. ᴥ Spazio MAVV via Gelsolino 43 VITTORIO Veneto (Tv) serata folk-metal con i MANAM che presentano il loro primo disco e a seguire gli ormai conosciutissimi KANSEIL. ᴥ NASTY BOYS via Pellicciao 4 TREVISO dopo il grande festival della settimana scorsa, tornano i live del sabato, stasera i RED MALDERA band capitanata dal grande Carlo DE BEI. ᴥ MATTOROSSO via Piave 108 MONTEBELLUNA (Tv) il nuovo astro europeo JOAKIM TINDERHOLT jump-blues da Oslo. ᴥ Centro Civico MUNERATTI via Roma 58 FOSSÒ (Ve) ore 20:30 il Comune di Fossò in collaborazione con OttoEventi presenta la serata WAV Women Against Violence con la rappresentanza delle artiste ROMINA SALVADORI e Elisa ERIN Bonomo, per dare voce alle Donne vittime di violenza e stalking. ᴥ ARGO 16 via delle Industrie 27 MARGHERA (Ve) in collaborazione con LAGOONAR saliranno sul palco ORCHESTRA of SPHERES (NZ) i grandi HALLEY DNA (Pd) e i mitici piemontesi MOVIE STAR JUNKIES (bluespunk/VooDoo Rhythms). ᴥ VIAROMA17 via Roma 17 DUEVILLE (Vi) jazzcore d'improvvisazione per JOOKLO DUO per l'occasione trio con la presenza di Brandon LOPEZ. ᴥ Circolo MESA via L.Da Vinci 50 ALTE di Montecchio Maggiore (Vi) musica strumentale e sperimentale per le giovani band JESIFE (Vi) e TROMPE le MONDE (Ve). ᴥ Csa ARDACIA via Lago Tovel 18 ZI SCHIO (Vi) a presentare il nuovo disco uscito da poco, qui stasera ANY OTHER (Alice Nigro) e il suo alternative pop, in apertura l'eore locale PHIL REYNOLDS con la giovane MARION MORODER. ᴥ GROOVE via Martiri Libertà 8 LUGO di Vicenza (Vi) non un semplice djset ma una performance live per i due producer kings dell'altopiano ROB RAGE & PEANUKE rock ed elettronica alternative sapientemente miscelata. ᴥ CICLONE Cafè viale Martiri Libertà 20 CASALEONE (Vr) extravaganza pop-rock per il power trio ravvenate FIVE TO TEN. ᴥ Club IL GIARDINO via Cao di Prà 82 LUGAGNANO di Sona (Vr) una band di 11 elementi per un viaggio attraverso il folk americano, BOUND FOR GLORY. ᴥ Bar the BROTHERS via Olimpia GREZZANA (Vr) a presentare le canzoni del loro secondo fortuna disco, saranno qua i cesenati LENNON KELLY irish folkpunk. ᴥ Colorificio KROEN via Pacinotti 19 Zai VERONA grande evento con ospite la band di Chicago JOAN OF ARC indie/rock sperimentale, in apertura la cantautrice modenese HER SKIN. ► DOMENICA 25 Novembre ᴥ PUNKY REGGAE Pub via Barbarigo 15 LIEDOLO di S.Zenone degli Ezzelini (Tv) dalle 17:00 aperitivo hardcore con le band I BREATHE YOU DIE (Trieste) e KHOY (Torino). ᴥ LIGHTHOUSE Pub via Noalese Sud 2 NOALE (Ve) dalle 17:30 LAGOONAR vi aspetta per il live per The MARSHMALLOWS da Praga garage-rock revival di matrice eighties su etichetta GetHip records + Lagoonar djset. ᴥ KRACH Club via Madonna 3 MONASTIER (Tv) aperitivo rock'n'roll con il nuovo astro europeo JOAKIM TINDERHOLT jump-blues da Oslo. ᴥ BOCCIODROMO via A.Rossi 198 VICENZA aperitivo musicale con esibizione dal vivo di Diego BASSIGNANA che presenterà il suo nuovo disco. ᴥ NOVAK Club via Castellana 59/f SCORZÈ (Ve) aperitivo deathmetal con presentazione del disco "Aphotik" per i PSYCHOTOMY, a supportare la presentazione i DOMINHATE. ᴥ Cantina CENCI vicolo dei Pini 1 TARZO (Tv) dalle 18:30 aperitivo armonizzato con il noise/punk/jazz sperimentale dei JOOKLO Trio. ᴥ Cso DJANGO via Monterumici 11 TREVISO dal mattino Genuino Clandestino esposizione artigiani e produttori locali, alle 18:30 concerto acustico per il duo JUEKBOX ATOMICO. ᴥ Circolo CATAI ponte San Leonardo 1 PADOVA aperitivo cantautorale dalle 19 in compagnia di FRANCESCO PINTUS.   ᴥ HOME Rock Bar via Fonderia 73 TREVISO aperitivo acustico con LA BOTTEGA del COMPENASATO folk reggaeggiante. ᴥ ARGO 16 via delle Industrie 27 MARGHERA (Ve) dalle 19 doppio concerto per il jazz quartet guidato da ELENA CAMERIN (IT/US). ᴥ Osteria AL CASTELLO via Rossi A. 15 CHIUPPANO (Vi) aperitivo e concerto come consuetudine qua, suonano i RAÌSE alt/rock/experimental/strumentale. ᴥ DUMP galleria Bailo 7 TREVISO dopocena indietronico con la performance del duo YOOP alternatine/indie/pop. ᴥ COHEN Pub via Scarsellini 9 VERONA serie di incontri di musica contemporanea, si parte con Leonardo SAPERE violoncello solo. ᴥ Club IL GIARDINO via Cao di Prà 82 LUGAGNANO di Sona (Vr) fa tappa qui il tour degli inizatori del movimento Paisley Underground, ovvero i celeberrimi STEVE WYNN & CHRIS CACAVAS dei DREAM SYNDACATE. ► LUNEDÌ 26 Novembre ᴥ OUTSIDER Pub via S.Cassiano 72 QUINTO di Treviso (Tv) sul palco il trio DIECI CORDE e DUE TAMBURI. ► MARTEDÌ 27 Novembre ᴥ vuoi vedere che. ► MERCOLEDÌ 28 Novembre ᴥ LIGHTHOUSE Pub via Noalese Sud 2 NOALE (Ve) country folk nord europeo questa sera in compagnia dei teutonici TORPUS & the ART DIRECTORS (Amburgo). ᴥ BEERIOT via Tassello 3 MONSELICE (Pd) showcase acustico in duo per il cantautore MATT WALDON. ᴥ SHERWOOD Open Live vicolo Pontecorvo PADOVA live hip-Pop per MERIO, ex compare di Frah Quintale. • https://telegram.me/madeinpop/ • https://www.facebook.com/Shyrec/ • https://www.facebook.com/threeblackbirdsfree/ • https://www.facebook.com/NewsletterMadeinpop/ • http://shyrec.bandcamp.com/

[cyberstabbing]

Other Careers/AUs

The Florist - The one where Ryan is a florist and Brendon is horribly in love with him. 6k

look i normally don’t like florist!aus at all but this was so so so so sweet and perfect <3 And not to spoil anything but there’s a twist in this fic. Not anything dark, just something unexpected (if you skip the tags, that is). But yeah, it’s what made me interested in a florist fic. 

Also, the version on AO3 (above) is without any italics, which the original posted fic had plenty of. Link to fic with italics here (LJ)

No Use in Turnin’ on Your Light - The neighbouring farm got sold to a Mr. Wentz from New York, but Brendon didn’t think twice about it, not even when his fiancée excitedly told him that Ryan Ross, the folksinger, was to stay there. The summer of 1963 was expected to be rainy and hot. They were right. 9k

look. anna green. her name ALONE should be reason enough for y’all to click the link as fast as your little cursor can take you. no? okay then how ‘bout this: ANNA GREEN ANNA GREEN ANNA GREEN ANNA GREEN ANNA GREEN!!! also if someone could send me some fanart that would be great

Take Center Stage And Step Up to Save The Last Dance (He Was A Sk8er Boi) - ficbyzee: ......and then my mind tried to construct a scenario where Brendon was a ballerina and Ryan was a b-boy from the inner city and they had star-crossed love, and I had to emergency abort my own brain.

gigantic: hahaha oh MAN. Ryan as an inner city b-boy would be hilarious. hmm. Ryan was a skate punk kid, though, so, uh. maybe as a skater kid with absolutely no dance background at all? and then instead of being a sheltered mormon kid, Brendon's that dude who's studied dance since he was little and is used to kids like Ryan giving him and his friends a hard time. omg, this sounds like some of the most terrible aus out there. i don't care! it brings me wretched joy. 10k

Here’s what someone else wrote about this fic: GOD, YES. I want all the fic in the WORLD that is based on awful teen movies and romance novels! I could read well-executed clichéfic for the rest of my life, exclusively, and I'm not even ashamed.

Doctor Knows Best - Ryan has severe insomnia and goes with Brendon to Dr. House to find a solution. While helping Ryan, House can’t help but notice something interesting about his patient. 1k?

I can’t remember reading this, but hey it was probably a good read. Here’s someone else’s description: House crossover and just hysterical. Ryan can't sleep. House finds the cause in about 15 minutes. Incredibly sarcastic and just so very funny.

Dear Catastrophe Waiter - 21 year old Brendon moves to San Francisco, home of gay coffee bars, free donuts, and Ryan the prettiest waiter Brendon's ever seen. 

“Ryan, the prettiest waiter in all of San Francisco glances down at his name tag, then back at Brendon. "I'm not actually on the menu," Ryan says.” Maybe 5k?