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bookishdiary · 3 years

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Great classic Books under 200 pages

1. The turn of the screw by Henry James (108 pages)

One of the must read gothic horror tales: The story begins when a governess arrives at an English country estate to look two young children, Miles and Flora. At first, everything appears normal then one night a ghost appears before the governess.

2. Letters to a young poet by Rilke (80 pages)

A must read for everyone who loves poetry and writing: In 1903, a student at a military academy sent some of his verses to a well-known Austrian poet, requesting an assessment of their value. The older artist, Rainer Maria Rilke, replied to the novice in this series of letters

3. The Aleph and other stories by Borges (200 pages)

A great collectio of magical storys full of phlosophical puzzles and supernatural surprises: "The Aleph is a point in space that contains all other points. Anyone who gazes into it can see everything in the universe from every angle simultaneously, without distortion, overlapping, or confusion."

4. Hunger by Knut Hamsun (180 pages)

Hunger has been hailed as the literary opening of the 20th century and an outstanding example of psychology-driven literature. Set in late 19th-century Kristiania, the novel recounts the adventures of a starving young man whose sense of reality is slowly fading away.

5. The Sandman by E.T.A Hoffmann (40 pages)

A classic short story for every gothic horror lover. Read it and be prepared to get your mind blown.

6. Chess Story by Stefan Zweig (120 pages)

Driven to mental anguish as the result of total isolation by the Nazis, Dr B, a securities expert hiding valuable assets of the nobility from the new regime, maintains his sanity only through the theft of a book of past masters' chess games which he plays endlessly, voraciously learning each one until they overwhelm his imagination to such an extent that he becomes consumed by chess. Chess Story is Zweig's final achievement, completed in Brazilian exile and sent off to his American publisher only days before his suicide in 1942.

7. Bartleby, the scrivener by Herman Melville (70 pages)

Another great short story that will really make you think about capitalism and a man's free will: Set in the mid-19th century on New York City's Wall Street, it is, perhaps, Herman Melville's most prescient story: what if a young man caught up in the rat race of commerce and overworking finally just said, "I would prefer not to"?

8. Giovanni's Room by James Baldwin (160 pages)

This haunting and controversial novel is Baldwin's most sustained treatment of sexuality, and a classic of gay literature. In a 1950s Paris an American finds himself unable to repress his impulses: After proposing to a young woman, he falls into an affair with an Italian bartender and is confounded and tortured by his sexual identity as he oscillates between the two.

9. The Stranger by Albert Camus (123 pages)

Through the story of an ordinary man unwittingly drawn into a senseless murder on an Algerian beach, Camus explored what he termed "the nakedness of man faced with the absurd."

10. We have always lived in the castle by Shirley Jackson (160 pages)

Living in the Blackwood family home with only her sister Constance and her Uncle Julian for company, Merricat just wants to preserve their delicate way of life. But ever since Constance was acquitted of murdering the rest of the family, the world isn't leaving the Blackwoods alone. 'Her greatest book ... ... the deeper we sink, the deeper we want to go' - Donna Tartt

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whipbogard · 3 years

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In the course of 10 minutes you single-handedly made me a bruharvey shipper; I haven’t really processed this new facet of my personality yet but I do want to thank you, my life will never be the same! Any recommendations on any comics to read or any other media to get into for them? best wishes ♥️

Friend, I was just like you - when it hit me, it hit me hard askghaskg I am glad that I managed to convince you though???? Q_Q

Anyhow, here are my recs based on my own journey into the BruHarvey hell

Games

Batman Telltale - I am 10000000000% certain that this verse cemented my feet in the BruHarvey hell earlier this year. Really, really lovely friendship between the two boys. I actually love this Bruce so much and I wish for him to be written like this more often.

Movies/TV

Batman: The Animated Series - my superficial love for Two-Face definitely stemmed from here because he's super cool and stylish in this series ashgkas but as a kid with poor comprehension of English (and also not being able to watch the series in entirety), I may have overlooked the beauty that is the friendship between Bruce and Harvey in here. I still haven't had the time to rewatch this but this scene wrecks my adult ass all the time.

Batman vs Two-Face - Since Harvey was deemed to be too grotesque for TV back in the 1960s (ikr? rude), he was never featured in the Adam West Batman run. This movie set in that verse; really ridiculous and also really, really gay lol

Comics

Batman: Year One - Okay so Harvey was only in 5-6 panels in here but this is by far, still my favourite Harvey ever. This comic was mostly about Jim Gordon trying to fit in GCPD after his transfer. But it's also about Bruce in his earlier days as Batman. I just have so much love for this comic and it's not entirely because they're slapping it to my face that Bruce and Harvey have been working together way before Jim was even in the picture uwu Note: They also made a movie based on this comic but I didn't really like it because there was even lesser Harvey in there LOL

The Long Halloween (followed by Dark Victory) - this is Harvey's most popular origin story as Two-Face and it's supposed to be a year after the event in Batman:Year One so I'm always a lil' heartbroken over that fact because what tragedy ;_; TLH can be a little bit long and confusing but Dark Victory is where all the good shit at with Bruce being all broody and shit because of Harvey. Note: The Long Halloween movie will be released next month! :'D IM EXCITE

Two-Face: Year One - This is another version of Harvey's origin story. Unlike the previous two comics where it was never implied that Harvey was ever friends with Bruce Wayne, they're actually good pals in here and had known each other since their college days.

Batman: Black & White #5 - This short story was actually from Gilda (Harvey's wife) POV but my lizard brain keep insisting that everything in here is about Gilda, her husband Harvey and their husband Bruce LOL

A Lonely Place of Dying - I actually haven't read this comic yet but it's about Bruce trying to cope with Jason's death. There's also some parallel of him losing Harvey in here (and I think Harvey was the main villain in here too?). Bruce moping over my two favs? Maybe I should go read it ASAP.

These recs are those that I feel had some really prominent BruHarvey moments. With 70+ years of history and Two-Face being one of Batman's main villains, there were obviously more stuff between the two so if you want the crumbs, do let me know akhgksag

#bruharvey #I feel like I have forgotten something but what HMM #wppyrec #bruce wayne #harvey dent

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passionate-reply · 3 years

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This week on Great Albums: a stupendously underrated classic of queer punk meets synth sophistication, and an album without which we wouldn’t have Dare by the Human League: Homosapien, the 1981 solo opus of Buzzcocks frontman Pete Shelley. Find out more by watching the video, or reading the transcript below!

Welcome to Passionate Reply, and welcome to Great Albums! Today, I’ll be talking about one of those albums that isn’t necessarily the most acclaimed or best remembered work of its period, but nonetheless played an important role in history, and remains unrivaled for its uniqueness: Pete Shelley’s Homosapien, first released in 1981.

Shelley has historically been chiefly remembered as the frontman of the punk act, Buzzcocks. But, despite punk’s reputation for simplicity to the point of obnoxiousness, Shelley was one of many musicians to come from the punk scene with a penchant for experimental or otherwise ground-breaking music. His very first solo release, 1980’s Sky Yen, features little more than a brash wall of oscillating electronic noise, not unlike the earliest provocations of industrial artists like Cabaret Voltaire.

Music: “Sky Yen (Part One)”

Subsequent generations of critics have gone great lengths to coin and define terminology, in the hopes of breaking this period down into constituent parts, but the more I study it, the more I’m inclined to view it as just a huge soup. There was, quite simply, a lot going on in Britain’s underground in the late 70s and early 80s, and in practice, the lines between punk, post-punk, industrial, synth, noise, and other avant-garde miscellany are frequently illegible. As an artifact of this era, Homosapien resonates with all of the contradictions this melting pot would imply, fusing emotional rawness and pristine production in a way that never quite settles down and feels comfortable.

Music: “I Don’t Know What It Is”

“I Don’t Know What It Is” served as the opening track of the album’s second side, as well as its lead single. With a bona fide guitar solo as well as a propulsive, and truly soaring, chorus, it somewhat resembles that most 1980s of art forms, the power ballad. It is, ostensibly, a love song, and is revealed to be one quickly enough, but its portrayal of love is far from kind. While a real power ballad might take the concept of love for granted, “I Don’t Know What It Is” seems to portray it as something mysterious, inscrutable, and dangerous. And I can’t forget to mention just how much Pete Shelley stands out as a vocalist--his high-pitched, perhaps even fried or shrill vocals add a great deal to the song’s sense of unease, and really sell the idea of someone who’s being overtaken by an uncontrollable and dominating force.

Of course, perhaps the most noteworthy thing about Homosapien’s sound is its fusion of the hard, driving acoustic guitar of punk with the electronic sensibilities of its producer, Martin Rushent. I wouldn’t say this combination is ever terribly cohesive in its sound, but I think that’s why I find this album so interesting: there’s a tension that permeates each track, a feeling that things don’t fit together. While Homosapien is a pioneering work of electronic-centered production, enough of the pieces are still in place that you can certainly hear the shape of music to come as you listen to it. It’s not just the synthesisers, but also the use of electronic percussion here--it’s difficult to overstate the impact that so-called “drum machines” had around this time. While reviled by many, both then and now, rhythm machines were undeniably “instrumental” in changing what popular music sounded like. Even synthesiser-based electronic acts like Gary Numan, OMD, and Kraftwerk often relied on traditional percussion, so this genuinely was pretty shocking at the time.

Perhaps the most important element of the legacy of Homosapien is the fact that Martin Rushent would go on to use the skills he honed here to produce one of the most influential albums of the 1980s, and perhaps of all time: The Human League’s Dare, which would go on to cast an enormous shadow on nearly all popular music to come, after playing an enormous role in instigating an era of popular dominance of synth-pop. In that sense at least, Homosapien is certainly a very historically important album, and for that reason alone, I think it deserves a fair bit more attention than it gets. Still, for as much as the electronics might be the most forward-looking element of this album, one also can’t deny that it remains full of aggressive and perfectly punk overtones, as on the crass or perhaps dismissive screed of “Guess I Must Have Been In Love With Myself.”

Music: “Guess I Must Have Been In Love With Myself”

While Homosapien has many moments of seemingly being too thorny to get a good grip on, that doesn’t mean that there aren’t also times in which it can feel like a bit more than the sum of its apparent parts, as on its most narrative-driven track, “Pusher Man.”

Music: “Pusher Man”

“Pusher Man” is one of, if not the, most synth-centered compositions to be had on Homosapien, but its insistent pacing and neurotic portrayal of the “low life” theme of buying illicit drugs mean you’ll never confuse it for run of the mill synth-pop. Moreso than anything else the album offers, this track reminds me of the sort of “synth-punk” that American acts like the Units and Crash Course In Science would put forward at around the same time. “Pusher Man” was, at the very least, a sufficiently experimental track to earn the honour of being cut from the US release of the album in order to make room for some non-album A-sides, as happened to many albums at the time. But hey, that’s enough beating around the bush. Let’s talk about the real crown jewel of this album.

Music: “Homosapien”

If you’ve heard anything from this album before, chances are, it was probably the title track, which proved to be quite the commercial success--despite being banned by the BBC on account of its homoerotic content. Given that this very same year, they also came after OMD’s “Enola Gay” for its obviously nonexistent reference to homosexuality, one might be forgiven for thinking that a tune called “Homosapien” was simply misinterpreted. The title track isn’t terribly explicit material, but its clever wordplay nonetheless deals quite deftly with issues of sexuality and personal identity. In the earlier verses, Shelley introduces us to typified roles of gay male sexuality--the “cruiser,” the “shy boy”--only to seemingly doff them with the tune’s defiant refrain, asserting that the only truly important identity a human being has is that of “Homosapien.” Far from being an unfortunate coincidence, the similarity of “Homosapien” to “homosexual” is being employed here completely deliberately, particularly with it being mashed into a single word and thus gaining a greater resemblance to the word “homosexual” in print. It not only allows Shelley to belt out a borderline dirty word, but also creates a sort of unconscious syllogism, suggesting, in a sense, that homosexuals are people too.

With elements of both unapologetic pride in one’s own queerness, as well as the uncompromising assertion that humanity is something much deeper than that, the title track of Homosapien is one of the most fascinating and inspiring queer anthems of its time. Its artsy slipperiness has prevented it from feeling more shallow with time, and its straightforward or raw quality, intensified by that constant acoustic guitar, has kept it sounding equally sharp. It genuinely does surprise me that this album isn’t at least a little bit better remembered than it is. Outside of the title track, most of this album is currently not available on services like Spotify and YouTube Music at the time of this writing, and I actually struggled to present musical examples here. That’s really a pretty high level of neglect in this day and age, and I hope it can be rectified in the relatively near future.

It would be no exaggeration for me to say that Homosapien features some of my very favourite cover art of any album. Homosapien’s sleeve design sees Shelley occupy some sort of sleek, but hollow hyper-modernist office. Geometric forms suggest the world of the artificial or ideal. An Egyptian statue beside Shelley is a reminder of history, and the idea that even the greatest empires must eventually fall. Likewise, the telescope and early computer positioned nearer to Shelley are evocative symbols of science and technology--but in context they seem more sinister, being juxtaposed against a phrenology bust, which evokes the ways in which our attempts at science have caused misunderstanding and great human misery in the past. The central scene is framed in with large areas of black, which make the space feel even more claustrophobic and uninviting, and Shelley appears to be pushed into the background, almost belittled by the inanimate objects. Overall, I think it’s sort of funny that this album’s cover is perhaps more iconally “New Wave” than the music itself ended up being, particularly with Shelley clad in this somewhat foppish white suit and bow tie--certainly a big change of attire for a former punk!

Given the experimental nature of the collaboration between Shelley and Rushent, you might be surprised to learn that Homosapien actually wasn’t a one-off. Just two years later, Shelley would release a follow-up LP, XL-1, which was also produced by Rushent and largely continues the same ideas. While Shelley would never see the success of “Homosapien” again, the XL-1 single “Telephone Operator” would also chart to a lesser degree.

Music: “Telephone Operator”

My favourite track on Homosapien is “Qu’est-ce que c’est que ça,” which closes out the first side of the album. If you’re familiar with my other work, you probably already know that I’m coming at this as someone chiefly interested in the electronic side of things, and I think that of everything on this album, “Qu’est-ce que c’est que ça” is the closest to being convincing as a synth-pop tune. With a bubbly, synth-dominant sound and lyrics that are more contemplative than aggressive, it’s much closer to the mould of what I usually listen to for fun than a lot of the other tracks are. That’s everything for today--thanks for listening!

Music: “Qu’est-ce que c’est que ça”

#music #great albums #album review #album reviews #pete shelley #buzzcocks

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spookymultimedia · 3 years

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A Summer to Remember Ch4

CW: internalized homophobia

the f slur and queer used as a slur

[Ned Pov]

My eyes fluttered open to the sound of birds early in the morning. It was still dark outside. I looked down at Maude who was spooned into my arms. I recalled the conversation we had last night. As much as I wanted to hide from it, it was clear that I was homosexual. . .a queer. The word queer made me wince for some reason. I was gay, I was a gay man. It made too much sense. I bit my lip suddenly remembering something that happened in my youth. I remembered being in a group of. . . secular non-Christian people. It was the early 70s and no one knew where I was. They didn't have to know. It was simple teen curiosity; there was a desire to explore the world that was kept away from me. Again, I always had an innate curiosity to understand. It's impossible for a person to be perfectly free from sin. It was only human nature to have sinful tendencies. What I'm trying to say is I tried marijuana. It wasn't that bad. I actually felt less stressed than I usually was but let's not focus on that. There was this boy. This boy who was good with the guitar. He had long hair and wore blush from time to time. He called himself bisexual. I remembered how comfortable I had gotten with him one afternoon where we all were hanging out by a river. I remember the smoke and the lesbians who had made love in the shallow water. There were s'mores and homemade tea. By all logic I should have felt scared I was there; I wasn't.

I got up close to him by my own will, I remember. He asked me if I had ever kissed a boy before. I hadn't. He asked if I wanted to. Despite the quiet guilt in my soul I nodded. We kissed and kissed again and again until I got a hang of the rhythm. I liked it. The more I reflected on the memory, I remembered how much I enjoyed it. I stared at the window thinking while watching the warm glow of sunrise touch the curtains. I really am gay aren't I?

I looked down when I felt Maude move and wake up. She stretched her arms and legs and blinked awake. She smiled at me, "Good morning."

"Mornin."

She pressed a small kiss on my cheek and sat up.

"You don't have to do that kind of stuff to me if you're not comfortable."

"Hm? Oh. .I'm sorry it just felt natural I don't know. Are you uncomfortable?"

"No, not at all. . .shouldn't I be uncomfortable?"She shrugged. "It doesn't mean anything inherently romantic to me. . .does that sound silly?"

I shook my head, "I don't think so. .but I get what you mean."

She rubbed her eyes and played with her hair.

"So. . when you said you where gay last night do you mean. .?"

"That I'm a. . . lesbian? Yeah, yeah I think I'm a lesbian. Sounds right."

"That's just lovely Maude."

She frowned, "Is it? I. .thought it wasn't right to be. .-"

I laid there thinking for a minute, "Is it really wrong?"

"I'm not sure. . "

"It's just love. I can't see what's so wrong about it. . . Maude I. .I kissed a boy when I was younger." Why did I suddenly feel ashamed? It was just a kiss. Imagine what my uncle would say. He'd probably call me a f*gg*t or something. What would Reverend Lovejoy say? I suddenly felt sick to my stomach.

"Oh? Hm. . . was it nice?"

"Yeah. ." I stared at the wall again.

"Are you going to tell them?"

"Me?"

She nodded.

"I'm not sure. You?"

"I'm too scared."

"I understand." I pet her upper back to comfort her.

[Maude pov]

After breakfast we followed Tim and Helen led us to the Rock climbing area. There was this gigantic wall in front of us. It had multicolored rubber rocks that I adored. It wasn't my first rodeo with rock climbing. I had climbed with Ned plenty of times. I smiled up at them with anticipation. I had on some white tee from a church event and

jean shorts that reached my knees.

"Now this exercise is supposed to encourage teamwork and support in each other. When this world brings you down you need to have someone to encourage you." Helen explained as Timothy put on a harness. Helen looked at me puzzled as I put on one myself.

"What? It's not on backwards is it?"

"Oh, no it's just that. . ." She trailed off looking at my harness. She bit her lip lightly for a second before her concentration quickly returned. "Well I was going to have Ned climbing the wall but that's fine that works. . .Maude, are you sure you can?"

"I've done this many times." I smiled and laughed.

"Oh. Okay." She said a bit surprised.

Was it just me or did she blush? Was she checking me out. . .? No, no it had to be my imagination. I dismissed any other possibility of why she looked at me like that.

Once me and Tim were set up we started our climb. I made a speedy start grabbing onto each rock I saw available. It was fairly easy. I made a mental note of the colors. I loved them. Red pink yellow pink orange red blue green red turquoise. I focused on the rocks and moving.

"You got this Maude!" Ned cheered. I smiled and kept on climbing. I glanced over at Timothy who was only a couple feet from the ground. It seemed I had more upper arm strength than him. I wouldn't have guessed.

"I believe in you Timothy! You're doing great. One at a time." Helen cheered, encouraging him. God bless her, she's so sweet. He nodded and slowly found himself a bit higher. At some point I got stuck.

"Go left, use your legs!" Ned coached. I nodded and did as he advised. Tim had caught up with me before I made my way ahead of him again. Before I knew it I was at the very top.

I sat on the wall and smiled as Ned clapped for me. Helen was clapping too. So cute of her. I stared out at the trees and the shimmering lake as Tim was making the rest of his way up. Do I like Helen? I asked myself. Of course I did, she's been my best friend for years. But, Ned was also mine for longer. Yet, something in her sparkled that hadn't in Ned. Every time I had saw her, things we're better. I felt . .giddy. Oh. . .oh. I do love her. I love her more than anything. My chest had ached. Oh God, I love her.

"I'm so proud of you!" I looked down at Helen who was cheering at her husband who loved her too. She loved him. She loves him, not me. She's straight, I think. It didn't matter anyways. I sighed. Still I couldn't help but smile. I was in love and couldn't do anything about it. I wonder how Ned was coping with this yearning. I then faced the wall and quickly leaped my way down. With gravity and my emotions taking over me I couldn't help but laugh. I landed on the ground giggling. "That was fun." I snorted and covered my mouth blushing. But then she laughed too. "Oh Maude, that's adorable." She put an arm around my shoulder. Oh God I could kiss her right now. She's so close yet so far from reach. So I just stood there blushing and smiling. Tim slowly but surely came down with a bit of a dizzy stumble. Ned was close and caught him. For a moment the two men were arm in arm. Tim smiled bashfully and a tad embarrassed.

"Thanks."

Ned stared at him a moment before helping him stand-up straight. "You did great, Reverend." Neddy said smiling. The poor thing. He must feel the same ache in his soul. He has to.

[Ned pov]

Later that day I found Timothy by the river. He was just sitting there watching it flow. I had to ask. I needed to know what he thought on the matter. Despite everything, I felt in my soul it was right and only natural. But I just needed to know. You always need to know, it'll be death of you, Ned. I sighed and walked up to him before sitting by him on the grass by the sore. "Hi Reverend."

"Ned, we're friends, you can just call me Timothy. Really I insist."

"Of course. Timothy," his name was so intense. Calling him by his name was so tender and intimate it almost felt wrong. "I wanted to talk to you about something. Well, I at least wanted to hear your thoughts on the matter."

"What is it?" He looked at me slightly exhausted. I felt a pang of guilt. He probably wanted a break from being asked things everyday. It had to be exhausting. But I needed to know. I knew it was important.

"What do you think about homosexuality?"

"Hmm. . ." He hummed and looked out on the lake. "Sexual deviance isn't a good thing."

"Deviance?" I felt a bit hurt. Was it really cheating if my wife knew how I felt. I mean, it would be if I kissed a married man. I wanted to kiss a married man. Am I lusting? Is this sin? The homosexuality couldn't be though. "Is it really deviance??"

Tim paused to think again. "Well. Hm. There are some verses-"

"I know, I've heard about them. But I don't think they're talking about homosexuality. It could be just an error. It could be referring to a completely different sin. But if you don't mind my boldness Reverend, I really don't think it's a sin at all."

He nodded slowly, pensive.

"There are verses that have forbidden the consumption of some meats that were unsafe at the time. . .hmm. That's not a sin at all anymore. Perhaps there was a misunderstanding. Prophets are still human after all." He stared at the water. "I suppose homosexuality isn't so bad. Why, it's not bad at all. I mean everyone feels sexuality . . .right?" He looked a bit confused. I wasn't sure why. Was he gay? No. . . was he?

"I believe so."

He stared at the water thinking, I assume. I looked at those hands that tempted me. Guilt was burning me alive.

"Timothy I've been sinning!"

He looked at me startled at my outburst.

"Ned. . Ned, why are you asking me about this? Is. .this why you and Maude are having issues? Are you gay?"

I froze.

"Ned you said it yourself and I agree, I don't think homosexuality is a legit sin."

"No. I mean, no that's not the issue." I felt my eyes water.

"Ned. ."

"I've been lusting after a married man! That's a sin!"

"Ned. . .are you talking about me? Do you like me that way?" His eyes were wide.

"I do." I started to cry.

"Why are you crying?"

I looked at him like he was absurd.

"It's lusting!"

"Eh, well. You're not acting on it. I'm sure the Lord understands your intentions and will forgive them."

I shrugged, "I understand if you're uncomfortable. ."

"Not really. Don't worry about it."

"I just don't want to ruin anything."

"I understand."

"How long have you felt like this?"

"I . .I don't know. Maybe I was born like this."

"Born??" He looked confused.

"Well not literally. I mean. I've just always liked men." I rubbed my arm anxiously. I was still trying to make peace with myself.

Timothy stared at the ground, his eyes furrowed.

"Like them?"

"Yeah. Like I've just always wanted to. . .kiss them and stuff. You know?"

He slowly shook his head looking a bit lost.

"I don't understand."

I suddenly felt sick. Did he think my attraction was that weird?

"It's just the same feeling that you get with women."

He fiddled with his hands. He looked really uncomfortable.

"What's wrong? Is it me?"

"No it's not you. You're fine Ned I promise. I'm glad you decided to come to me about this." He closed his eyes and bit at his finger gingerly. I had seen him do this a couple times. It was usually when he got stressed or something. "Does Maude know?"

"Yeah. She took it well."

"Good." He stood up and walked off.

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marvelficrec · 6 years

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do you have any 100k stony?¿

Massive list of 100k+ stevetony fics for your slow burn needs (under the cut cause there’s 20+ fics!!)

REBIRTH SERIES - 300k - i love

If you think of life and death on a continuum, finding the point where it tips is complicated. It cuts across all political lines and gets to the root of our humanity. It requires faith informed by years of intimacy that you’re doing what’s right for your loved one.

But Tony is just a man. And there’s only so much he can do.

(Or that time when Tony does what is necessary to survive just so that he can continue to fix things and makes extremely rash decisions; because even if Steve may have left him behind, doesn’t mean Tony would do the same. Kind of.)

Deep in the Heart of Me - 256k

Veteran single dad Steve runs a tattoo shop. For his 40th birthday, Pepper arranges for Tony to get that tattoo he always wanted, and he winds up with the mother of all crushes instead. Jumping out of airplanes is one thing, but falling in love is something else entirely. Steve struggles with the idea of actually letting someone into his life. Tony is left trying to keep his heart from being broken while Steve figures things out.

I Said “I Love You,” What Does it Matter if I Lie to You? - 96k (its almost 100k, I love it too much to not rec)

18 year old Tony Stark is your typical teenager. Well, except for how he’s the playboy billionaire heir to Stark Industries and working on two PhDs. Oh, and 6 months ago he was kidnapped by - well, no one really knows who. Since his rescue (excuse you, Tony liberated himself), he’s also been keeping a pretty big secret. Here’s a hint: it’s shiny, red and gold, and flies. Tony’s had a productive couple of months, but the fact that his grandfather keeps trying to hire bodyguards for his “safety” is really putting a cramp in his ability to keep his secret superhero identity, well, a secret.

Steve Rogers wakes up in 2015 and finds out that he’s missed 70 years (Oh god, does this mean he’s 94?), a revelation that he handles with much less grace than usual. Mostly, Steve just wants to be Captain America again, but on his own terms and without a lot of fanfare. To fill the time while Steve tries to figure out the best way to resurrect a dead superhero, his good friend Isaac Stark offers him a job: bodyguard to Isaac’s grandson, Tony Stark - who seems to get into a surprising amount of trouble for a teenager. “There’s no better introduction to the 21st century than through Tony,” says Isaac. Somehow, Steve is not reassured.

Paved With Good Intentions (I’m on the road to hell) - 194k

When the mysterious group of vigilante assassins known only as ‘The Avengers’ are tipped off about the dirty secrets that lie within Stark Industries, Steve Rogers has his heart set on taking out Tony Stark for good in order to protect the rest of the world from his evil. He’s seen the footage, after all- Stark is a man who fights only for himself. And of course, when a job arises as chief bodyguard for Stark, to protect him from the growing threat of an ominously infatuated stalker, the opportunity is way too good for him to miss out on. It’s the perfect placement, and the perfect way to find out whether or not their tipoff is genuine.

But as Steve falls into rank as the new bodyguard for Mr. Stark and he spends time getting to know and protect him, his initial hatred begins to falter and merge into something different, something far more terrifying than the prospect of killing the face of Stark Industries.

Steve Rogers may just be falling in love with him instead.

America Isn’t Chicken - 130k - eh.

After a Civil War, death, rebirth, a takeover by Osborn, brain deletion, and the fall of Asgard, Steve and Tony might just be starting to get back on solid ground with one another. Things aren’t perfect, not yet, but they can be in the same room as each other without resorting to violence, and they’ve even managed to share a smile or two.Seems like the perfect time, then, for Tony to try and fuck it all up with a stupid game of gay chicken.

Meanwhile, as if he didn’t have enough to worry about, Tony realizes some kind of supervillainous trouble is brewing when increasingly advanced armors start popping up all over Manhattan, looking strangely reminiscent of his tech. On the other side of the world, Steve gets news that Zola is on the move in Russia, with some sort of nefarious plan at work.

Which will ruin them first? Will it be this unknown armored villain who is after Tony’s tech? Or will it be Zola unleashing his mysterious plan on the world? Or will Steve and Tony prove to be their own worst enemies, destroying the tentative truce they managed to forge with their own stubbornness?

Blue Lips, Blue Veins verse - 307k

Tony Stark is Iron Man.

Before that, he was an man with bigger heart than brain. Before that, he was an asshole with a bigger mouth than sense. And before that, he was was a scared little boy. Not that it matters. Stark’s always have had iron in their backbone.

Scatterlings and Orphans - 210k

It’s really got to say something about a guy when you can defeat Doombots, AIM, Interdimentional Yeti, SHIELD’s systemic obfuscation, Asgardian Gods, Fox News, and also kick some serious Alien ass with a guy, and still want to punch him in the head over dinner, hasn’t it? Tony’s sure that means something.

Wipe Your Tears Away - 121k

Steve likes taking care of his team. It gives him focus in a confusing new world. But one member of the team never learned that it’s okay to be taken care of. Until the night Tony gets a concussion, and his deepest secret - that, when he’s absolutely sure he’s alone, he likes to role play being a toddler - comes out into the open and affords Steve the perfect opportunity.

Sixpence In His Shoe - 103k

Steve and Tony should really read the fine print on what they’re signing. Then again, some mistakes are not really mistakes.

almeno tu nell'universo - 114k - good! nice!

Tony drives off.

Well, he wants to.

But he can’t.

Because.

Steve Rogers is in front of his car.

Steve fucking Rogers. Is in front of Tony’s fucking car.

Double Time - 123k

Cassino, Italy, December 1943. Special Agent Tony Stark, former Marvels adventurer, is sent to investigate a Cosmic Cube found by the Invaders – and it’s the perfect opportunity for him to rekindle his secret romance with Steve Rogers. But when Hydra attempts to steal the Cube, an inadvertent wish for help leads to the appearance of a Tony from the future of another world: Director Stark of SHIELD. This Tony is a man with a lot on his mind. He refuses to tell them anything about the future, but he seems to know much more than he should about Captain America. And something’s happened that’s clearly killing him inside, but he’s not talking. When Director Stark’s failed attempt to return home leads to the unexpected appearance of another visitor from his universe, all the lies come undone. Now there are two wars to fight, and the second one could ruin all of them.

Irreparable - 131k - WIP but good

Forgiveness is a journey, or so Tony was maybe told a long time ago. He doesn’t know about any of that and doesn’t particularly care to. In the wake of civil war, the Avengers remain, as do their enemies. And Tony Stark rebuilds, as always.

He destroys the phone, he burns the letter. But he can’t (he won’t) eliminate Steve Rogers from his mind.

Blank Space - 113k

During a fight with Doom, Steve is hit with a spell that takes all of his memories from his time as a Super Soldier. The last thing he remembers is going in for the Project Rebirth experiment. Now he’s being told it is 80 years later, he’s a Super Soldier called Captain America, and he leads a team of other super powered people.

One week earlier Tony finally takes the leap and makes a move on Steve. It works out great and they start dating, without telling anyone. Now Steve doesn’t even remember ever knowing him and Tony doesn’t know how to tell the guy from the 1940’s that they are in a relationship.

Sins of Omission - 155k - another WIP but good

A Post-Civil War, Pre-Secret Invasion AU where Steve is dead, Tony’s a mess, and everything sucks.

In which Tony deals poorly with Steve’s death, falls off the wagon, sees ghosts, and misses a lot.

Oh, and the Skrulls are about to invade.

Resurrection Verse - 338k

Doom brings Steve back from the dead. Hijinks ensue, some of which might vaugely be considered plot.

Even the Light is an Illusion - 102k

Death threats are an unfortunate side-effect of being Tony Stark, so he’s learned to ignore them. The problem is, when someone really wants you dead, hiding your head in the sand just kinda exposes your ass.

But it’s not just Tony’s behind on the line. Whoever wants him dead wants him to suffer first, and they’re willing to do anything to make that happen. Tony knows there’s only one way out. To save Steve, the Avengers, and the general public, Tony has to die. Of course, death isn’t always the end, and Tony does what any other self-disrespecting scientist would do: he finds a way to fake his death and avenge his own murder.

The trouble is, terrible decisions usually have a terrible price, and this one is no different. Tony has a chance to save the day, but the cost may be more than Tony was ever expecting to pay…

In Which Tony Stark Builds Himself Some Friends (But His Family Was Assigned by Nick Fury) - 343k

Steve takes things like personal responsibility and respect seriously. Tony’s got people he pays to take care of that kind of thing, and anyway, he’s pretty sure that he’s going to die of some exotic disease in his workshop, because Dummy’s still a little spotty about what is 'clean’ enough to put on an open wound. The rest of the Avengers are in this for personal gain, except for Clint, he just enjoys being a dick.

And some things shouldn’t be a chore.

Earth-1796 - 619k

Captain America respectfully requests that all complaints be addressed to him in writing. On paper, the nice old-fashioned way, because the computer screen hurts his eyes.

Put your phone down, Tony.

Road To War verse - 177k

Tony rebuilds, modifies. Takes fragments and gives them new order. He does not create. He can’t, not anymore. Not after this.

Or: After the events of Ultron, Tony rebuilds the tower by himself and shuts everything out to the point that Pepper takes desperate measures and asks Steve to come and help.

Pulse, Beat, and Measure verse - 134k

You should always meet your heroes. (Or: Tony Stark, formerly of Marvels magazine, encounters Captain America, formerly nobody special, at a party in 1942.)

Tales of the Bots - 514k

When Tony Stark was seventeen years old, he built his first AI. On that day, he ceased to be his father’s creation, and became a creating force in his own right.

That one act likely saved his life, and not always in the most obvious ways.

Truth Behind Masks - 98k - close enough, and its good so

Steve Rogers has plenty of friends. He just doesn’t know two of them are the same man.

That’s just how Tony Stark/Iron Man likes it. Until he comes to regret it.

#ope thats a lot #asks #long #stevetony #tony stark #stony #tonysteve #Steve Rogers #fic rec #stony fic rec

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morganbelarus · 5 years

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The Don’t Call Me Angel Video Is A Chaotic Mess

2019 is obviously supposed to be the year I die. On Friday, my gay brain almost exploded when Lana Del Rey, Ariana Grande, and Miley Cyrus dropped their new song “Don’t Call Me Angel” and video, from the soundtrack of the upcoming Charlie’s Angels reboot. Let me repeat: Lana. Ariana. Miley. All in the same place. Wearing Victoria’s Secret Angel costumes. It’s really too much to handle, but after a few minutes of deep breathing exercises, I’ve formed some thoughts.

“Don’t Call Me Angel” is a chaotic mess. But don’t come for me in the comments, because that’s exactly what it needed to be. I mean, you have three icons with completely different vibes in a heavily themed music video that’s glorified promo for a movie that none of them are actually in, so there’s no way this wasn’t going to be a little messy. Ariana Grande looks completely at home in her baby prostitute outfit, but Lana Del Rey seems confused why she’s not riding down the freeway in a car from the 70s. Miley seems right at home with her entire torso exposed, because I don’t think she’s worn a full shirt since 2016.

But before I dive deeper into the music video, let’s talk about the song. It’s super catchy, which makes sense, because it was written and produced by some of Ariana’s favorite collaborators, Max Martin, ILYA, and Savan Kotecha. The beat that pounds throughout the entire song kind of sounds like church bells on speed, which is a vibe. Really, it sounds like an Ariana Grande song that Miley Cyrus hopped on, and then Lana Del Rey just Airdropped them a verse from something else she had already recorded. Lana Del Rey is literally my queen, but her part of the song sounds like it was recorded on a different planet. Whatever, it’s a mood.

I don’t think the song is a masterpiece, but I like it enough that I’ll probably mindlessly listen to it on repeat for my whole commute today. It is, as the kids say, a bop. Good job, ladies. But let’s get back to the video.

I would love to know the budget for this, because it was definitely more than I will make in the next 40 years. They got helicopters and everything!! While I already kind of addressed their parts together, we need to talk about their separate segments.

Ariana’s scenes could honestly just be outtakes from her video for “Boyfriend,” which I already forgot existed, oops! She doesn’t really have a storyline here, and is mostly just twirling around in her angel costume. That’s mostly what she does anyway, so this is not really a change.

For her parts, Miley gets to be in a cool boxing ring wearing a bunch of gold chain, fighting with a guy who is the hottest man I’ve ever seen. It seems dangerous to fight with so many necklaces on, but that’s not my problem. I don’t know if this was filmed pre- or post-divorce news, but Miley really looks incredible here. Like, she’s glowing, and it’s not just the sweat from her boxing match. Maybe she’s imagining that the guy she’s beating up is Liam? Just a thought.

Lana Del Rey gets my favorite storyline, as a stealthy assassin who loves looking at hidden camera footage and throwing knives into outlines of a dude’s crotch. This is THE mood. And when she’s in her den of fire in that little red dress, OH MY GOD. I have never been more turned on, honestly.

By the time the three ladies prance into a banquet hall and start ripping grapes off a vine, the strategy here has become clear: throw absolutely everything at the wall and hope that people lose their minds. And honestly? Here I am writing an article about it, and I’ve already seen it memed approximately 500 times. I guess the strategy worked! Will this song be winning Grammys a year from now? Probs not, but I’ve streamed it 12 times this morning, so who really cares?

Images: Ariana Grande / YouTube; Giphy (2)

Original Article : HERE ;

The post The Don’t Call Me Angel Video Is A Chaotic Mess appeared first on MetNews.

The Don’t Call Me Angel Video Is A Chaotic Mess was originally posted by MetNews

#MetNews

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captusmomentum · 7 years

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Excessively detailed asks: 1-19 odds only for Inan, 20-38 evens only for Tace plz :D

fuck me running this is a lot OKAY HERE WE GOOOOOO

INANALLAS

(heads up the pronouns are gonna jump around here bc inan uses they//them and she/her so hopefully doesn’t get too confusing rip)

1. What does their bedroom look like?

Surprisingly Clean. They’re exactly the type you’d expect to be super messy but thanks to living in such small spaces like aravals all their life they’re very good about keeping things in come kind of order. This stands even for modern verses, they’re very good about it. In verses they’re inquisitor they actually rearrange the room a lot, putting their bed on the balcony and making the main floor more of an office/living room as well as creating panels to help block out some of that sun bc HOLY SHIT WINDOWS, they also have a panel set to block the view of the bed which is really just wedged between it and the railing. The little bed alcove is very cozy and the main floor is much more functional and better for have friends up :D In modern aus, like say amd, they’re one of those people who’re like ‘ live in an apartment that’s only 90ft big :D’ and when they show you how it’s like part science miracle and part acrobatics bonanza. Like look at any tiny home or tiny apartment type show/place/thing and thats’ how they Roll. Mainly bc they’re fucking Broke AF, creative/innovative and well trained by dalish life for it. So bedrooms are usually like, lofts and shit like that which can mean it’s not much more than the essentials of Snoozing.

3. Do they exercise, and if so, what do they do? How often?They do! Inan works out pm everyday in pm every verse. Their style of magic is very, very very physical so it requires a lot of working out and training even in verses where they’re not constantly murdering ppl like canon ones they gotta get diesel for magic. In most verses they primarily do a variety of martial arts (or just one elf/dalish one? depends on how deep into worldbuilding you wanna get here honestly) and then things like running, weight lifting general kinda fitness exercise things. I imagine in modern verses and such (maybe more canon ones too tf do i know) that places like Arlathvhen’s there’s like, a sort of pow wow/olympics type event that goes on and clans have people representing them and Lath was disqualified for cheating bc she’s Weak in the temptation of Victory so Inan is the Obligatory Contender in at least some of the mage events, usually like, dueling bc it’s ironically her specialty. So she really does have to stay sharp when in verses where there’s no fighting bc she’s gotta bring home gold for clan Lavellan.

(if u wanna get a sense of how inan fights it’s a LOT like pm anyone from avatar the last airbender/Legend of Korra especially Korra and Katara(atla) )(apologies about the katara vid and that shit music there’s So Little out there sobs)5. Cleanliness habits (personal, workspace, etc.)

Inan isn’t the most organized or together person which is combined w/ their dalish upbringing is why they’re Hyper Organized. Things have places and they go there ALWAYS otherwise they’ll never be found again ever. Also lots of labels. Their own living spaces are more organized than their work spaces, generally bc other ppl touch things or put things on their desk. Every time someone touches their things they have a small heart attack bc it means that something CRITICAL might have been moved and will never be found again. Seriously they are held together only by the power of their aesthetically pleasing organization and labeling. So school is Really Fun in modern aus (read: i’ve considered having them be a high school dropout for Various Reasons).7. Favorite way to waste time and feelings surrounding wasting time

They Dream of wasting time. They Long to waste time. Everyday they pray they can waste time. Usually a lot of her time goes into things like Clan Stuff, Magic Stuff and Work Stuff so any chance they get to dick off they do. They fave method in modern verses is tv or youtube but in canon-y verses its Tavern w/ Bull or Tavern w/ Sera, the 2 people most likely 2 not call her out for Ditching Shit. Drinking w/ Dorian and/or Varric is very high on the list in all verses.9.Makeup?

Naaaahhhhhhhhhh. Generally too lazy for it and doesn’t like feeling of it on her face. Also it’s a real Bitch bc she’s always got tats on like 70-90% of her face and freckles (which she actually likes) so like foundation’s a Nah but you can’t do things like cover her dark circles w/o foundation otherwise the difference is Too Obvious like it’s just a Disaster. She can be convinced to wear it at special events and things but someone else has gotta do it.

11. Intellectual pursuits?Some and very disorganized. Generally answering any Burning Mystical Questions they have regardless of worth or importance, debating (fighting) about topics involving analysis in books and things, Fade Stuff, Learning Elvhen. They don’t really actively pursue a lot of things bc they’re doing so much shit normally, they really only pursue it when the interest strikes. Also, proving that the occult is Real and Valid.13.Sexual Orientation? And, regardless of own orientation, thoughts on sexual orientation in general?hoooooooooo boy dksjlgjfdsgfk, pansexual demisexual/grey-asexual is probably the best description. they don’t know they just like people and they don’t think about it they don’t think about Sex Stuff or ppls orientations it’s all W/E IDK and while they’re not prudish or squeamish about it they will run screaming for the hills things get too raunchy. Sex –especially sex involving them– has them looking for the nearest exit, not necessarily bc they’re sex repulsed but they are Extremely Anxious and Scared of interpersonal interaction so kissing is yiKESSSSSSSSSSSSS15.Biggest and smallest short term goal?Hmmmmm that’s really hard. Biggest is usually like: Not Die. Smallest is something like: whatever is next on to do list. They live a life of unnecessary extremes. 17.Preferred mode of dress and rituals surrounding dressGoth mori/strega fashion vibes. Lots of skirts and layers and looking very much like a peasant wizard. Usually they just dress for the weather and put on as many layers as they can to feel safe and protected (and snuggly). There’s a lot of similarities in their logic about it with Uthvir but with miles of soft fabrics instead of spikes. Usually darker colors with an emphasis on blues. There’s not too much in the way of ritual around it since they’ve tailored their wardrobe so they can grab things put them on, and look good w/o any real effort.

here’s the for inan fashion stuff

19.What do they think about before falling asleep at night?

Usually they go through a very specific ritual when going to sleep since they’re a dreamer to help keep that shit on lock which involves a lot of emptying of the mind and relaxing and preparing to deal with Fade Shit. If they don’t it’s just existential dread, anxiety and depression shit and panic. So they don’t not do the thing…….

TACE

20.Childhood illnesses? Any interesting stories behind them?Tace wasn’t really sick much more than the normal amount and kinds as a kid and was the kind who conks out the whole time and doesn’t say, try to get up and play. As he got older and his dreamer abilities started to kick in he reacted to it like someone who was very sick, fevers, hot and cold, sweating. slept too much or not enough. He began to have trouble keeping food down and lacking an appetite which he still has problems with to this day along with sleep trouble and exhaustion. 22.Given a blank piece of paper, a pencil, and nothing to do, what would happen?either doodles of dicks and such or a rude, raunchy or somehow unacceptable letter to someone whether he knew them or not he wrote for a laugh with no intention of sending. He’s very mature24.Is there one subject of study that they excel at? Or do they even care about intellectual pursuits at all?He actually excels in a lot of things, he’s a pretty gifted mage. He just Hates the Circle and all that academia type shit so regardless of his skill in them he doesn’t want to do them. He thinks intellectual pursuits are on a whole a waste of time because they’re mainly just there to make people feel more important and fancy.26.Do they have any plans for the future? Any contingency plans if things don’t workout?NOPE. NONE. past maybe ‘consult with that statue of Eleni Zinovia back in Ferelden about what to do w/ my life’ and ‘get a boyfriend’. 28.Who do they see as their best friend? Their worst enemy?hoooooo that’s Rough. Probably Banal though he’s more a father figure. He wasn’t very close to his other mages and hated the templars. Later when he meets Keshet and Shalev I guess they become his best friends which is...... very gay and lame.

Worst Enemy is Cullen and Meredith but Meredith is dead so fuck youuuuuuuu Culllleeennnnnnnn.30.Reaction to sudden intrapersonal disaster (eg close family member suddenly dies)Boy This Sucks [Drinks like a monster even more than usual]

he’s pretty desensitized to tragedy but also a shambling mess so it’s really just his usual self but like 1000000000000000% worse for a while

32.Thoughts on material possessions in general?

MORE PLEASE. he loves shit give him all the stuff he wants to lounge in a gaudy parlor on a opulent chaise. He never got to have much in the way of possessions in the circle so he lots shit now. also he’s just a material little shit.

34.Thoughts on privacy? (Are they a private person, or are they prone to ‘TMI’?)He doesn’t care about other people’s privacy pretty much at all and loves getting into people’s shit but he’s VERY intense about his own privacy. He’s deeply protective of himself and his things and privacy. So he’s a wildly hypocritical guy.36.What makes them feel guilty?Not fucking much. He occasionally feels bad about how he’s treated someone but it’s not often and he’d never say it out loud. just kinda adds it to the pile of fuel for self-loathing.38.Would they consider themselves a Type A or Type B personality?

He’d be a Type A if it weren’t how his life has gone so I guess he’s like, a burnout Type A.

#theladypirate #answered #answered meme #inan hcs #tace hcs #inanallas #tace #i feel bad i didn't put ass much time in on tace but i'm battling a headache so RIP

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deadcactuswalking · 5 years

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REVIEWING THE CHARTS: 7th April 2019 (Billie Eilish, Lil Nas X, Ariana Grande)

We actually have a pretty busy week to cover today, with five new arrivals, one of which is in the top five, another of which is a total meme that just hit #1 in the States. There’s also a tragedy less lighthearted we’ll have to talk about, but for now, let’s discuss the top 10, because there’s been somewhat of a shake up.

Top 10

That shake-up isn’t going to affect Lewis Capaldi still at the top of the charts for a sixth week, as “Someone You Loved” continues its reign. I hope it gets overthrown pretty quickly because the song is pretty painful on its own and it does not bear well with me after the overplay.

Our shake-up starts just at the runner-up spot, however, as from her worldwide #1 album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, debuting at number-two is “bad guy”, her fourth UK Top 40 hit, second Top 10 and first ever top five. We’ll talk more about it later.

This means that Rag ‘n’ Bone Man and Calvin Harris’ “Giant” is down one space to number-three.

Tom Walker was hit with an identical loss, with “Just You and I” down to number-four...

...as was “Sucker” by Jonas Brothers, also down to number-five.

Thanks to the album, “bury a friend” by Billie Eilish had a large boost up 14 positions to number-six, which is a new peak after its debut at number-seven.

Speaking of number-seven, Dave’s “Location” featuring Burna Boy is down one spot this week.

Steel Banglez’s “Fashion Week” with AJ Tracey and Mo Stack doesn’t suffer nearly as much as I thought it would this week, just moving down one position to number-eight off the debut.

Ariana Grande, the only real competition for Billie Eilish within the top 10, seems to have been hit more than anything else here, as her song “break up with your girlfriend, i’m bored” has been pushed down four spots to number-nine.

Finally, we have “Piece of Your Heart” by MEDUZA and Goodboys rapidly moves up the charts, up a whopping 22 spaces this week to #10, becoming each artists’ first top 10. I don’t know why, but I’m not necessarily complaining, it’s a good song, I’m just kind of confused about its incredible boost in popularity this week, maybe a commercial placement. That seems to help a lot of these EDM tracks from relative nobodies rack up chart points.

Climbers

There are literally no climbers outside of the two already discussed in the top 10.

Fallers

On the other hand... sigh, let’s sort this by genre as I try to do whenever we have a massive amount of losses.

In pop and dance, “Walk Me Home” by P!nk was walked down five hills to its home at #14, “Don’t Feel Like Crying” by Sigrid is also down five to #18, as is “Don’t Call Me Up” by Mabel at #21, while “Dancing with a Stranger” by Sam Smith and Normani is down six to #27. Ariana Grande’s “7 rings” also continues its fall down nine to #38.

In hip-hop and R&B, NSG and Tion Wayne’s “Options” is down seven to #17, “Wow.” by Post Malone exits the top 20 finally, down five to #22, “Disaster” by Dave featuring J Hus loses album release steam down eight to #23 (as does “Streatham”, also by Dave, down 11 to #33), “Keisha & Becky” by Russ splash and Tion Wayne is down six to #25 off the debut and “Please Me” by Bruno Mars and Cardi B is down seven to #32.

Dropouts & Returning Entries

“Nights Like This” by Kehlani featuring Ty Dolla $ign is out from #33, “Kitchen Kings” by D-Block Europe is out from #34, “Think About Us” by Little Mix featuring Ty Dolla $ign is out from #35, “MIDDLE CHILD” by J. Cole is out from #36 due to cuts to its streams’ importance on its chart placement, “Sunflower” by Post Malone and Swae Lee is out from #37 and “How it Is” by Roddy Ricch, Chip and Yxng Bane featuring the Plug is out from #40. Good riddance.

Also, Billie Eilish’s “wish you were gay” returned to #13, reaching the top 20 at a new peak. Since this is the lowest Eilish song on the chart and it was released prior, that means there is no album bomb from Eilish; this, “bury a friend” and “bad guy” are the highest-performing songs and that’s all the UK chart allows.

IN MEMORIAM

On March 31st, 2019, a man named Ermias Joseph Asghedom was shot six times in the parking lot of his own clothing store, once in the head. Approximately 30 minutes after he was transported to the hospital, he was pronounced dead. That man was Grammy-nominated rapper Nipsey Hussle, murdered fresh off of the release of both his single “Racks in the Middle” with Roddy Ricch and Hit-Boy as well as his album, Victory Lap, which had failed to grab the Best Rap Album Grammy Award the month prior, having his life at the peak of his career cut short unjustly by gang violence which he had since made incredible efforts to put in the past and distance himself from, making positive and charitable contributions to his hometown ever since, to the point where the Crenshaw and Slauson intersection has been named Nipsey Hussle Square in his honour. His memorial service has been held today, April 11th, and he’s since been buried, at only 33 years old, leaving two children from a long-term relationship with Lauren London behind to carry his legacy. While I was not amazed with Victory Lap, I thought I’d discuss one of my favourite tracks from his last ever record released in his lifetime.

“Dedication” – Nipsey Hussle featuring Kendrick Lamar

Produced by Mike & Keys, Rance and MyGuyMars – Peaked at #93 in the US

First off, this oily beat is pretty beautiful, with reversed and manipulated soulful vocal samples backing some really slick keys and piano loops, giving off a great West Coast vibe that was Nipsey’s signature style. Nipsey’s first verse is an intense way of introducing the listener to the subject matter, with an intricate depiction of Nipsey’s life as a youth trapped in the ghetto, with a nice beat switch-up in the last few bars. The short chorus is barely a hook, but Nipsey gives a surprisingly great singing performance on the track, and it has a drop of sorts where Alexandria Dopson and Garren Edwards show off some vocal power in the midst of Nipsey’s frustrated grunt-screams, which I like to think are representative of how he felt when he thought he could never make it out of the streets, but the chorus is about how he finally broke himself free of its chains – dedication, hard work plus patience, invoking imagery of the abolishment of slavery used as wordplay throughout Nipsey’s third verse. Kendrick’s great albeit oddly-mixed verse references his come-up as well, but also the death of his grandmother how when he was suggested to make a song with Nipsey Hussle because of how they were both Crips, he responded by emphasising how he’s not just a gang member, but a man too, and after his death and some of the negative comments I have seen about Nipsey mentioning his past, is a stronger message than ever. The best part of the track is when Kendrick’s verse is interrupted by some 808 stabs, and the instrumental transforms into a semi-chopped and screwed shell of what it was, with echoing vocals from Dopson fading out before Kenny comes and sings in a janky flow that is trippy yet also pretty elegant and makes sense considering how it transitions from Nipsey and Kendrick talking about their history in gangs and Nipsey’s final verse about how satisfied he is with how his music, or what he says are is spirituals, have brought him into fame and luxurious life after about 30 years of barely making it by. I love the line where he references not only his friend YG’s album but the popular local saying, “Stay dangerous”, as he was educated by the hood into believing that he had to be feared to be safe, as well as his bars about how him owning his own masters is his way of abolishing what had shackled him as a teenager and as a young adult. The song ends with another repetition of the anthemic hook as a book-end, as we are treated to a relaxed instrumental featuring piano melodies layered on top of each other and Nipsey laughing in joy as he’s finally “Made it out”, with sound effects of dogs barking and general civilian life surrounding the melodic finish to a fantastic song.

This the remedy, the separation / 2Pac of my generation, blue pill in the f***in’ Matrix / Red rose in the grey pavement / Young black n***a trapped and he can’t change it

RIP Nipsey Hussle, August 15th 1985 – March 31st, 2019.

Now, on a lighter note...

NEW ARRIVALS

#40 – “MONOPOLY” – Ariana Grande and Victoria Monét

Produced by Social House and Tim Suby – Peaked at #6 in New Zealand and #70 in the US

Why Ariana Grande seemed it fit to release this song as a non-album single on Monday, I’ll never know, but I’m not going to blag on about that as Grande released this single and its amateurish video as seemingly a joke, right? It was on April Fools, and was coined “a treat for the fans”, with a video that had a budget of less than $10, as well as being both sonically and visually meme-heavy, so I don’t think it should be taken any seriously and rather just as a fun celebration of Grande’s success, featuring rap verses from her lead songwriter and best friend for some reason. It’s Grande’s 20th Top 40 hit over here and Victoria Monét’s first ever credited appearance on the Top 40, and you can tell their level of success by just their performances on this song, as Grande gets to show off the vocal prowess and is provided with both the intro and outro as well as all the multi-layering, while Monét’s expressions of her personality are relegated to the singular actual rap verse (Which she still shares with Grande) and Auto-Tuned ad-libs that are literally just sped-up sentences, as well as a messy Nutty Professor reference. The beat is pretty lightweight, with a couple vocal samples and cloudy synths hidden behind a trap skitter, but it’s fitting to back the nonsensical lyrics here, all of which only work because of the charisma the girls ooze from their vocals, despite the imbalanced vocal production. And, yeah, the lyrics here are awful, as expected. First of all, the refrain/pre-chorus rhymes “Where you been?” with itself three times, barely fitting the lyrics into the meter by scrambling the word “GPS” into a Twista-like chopper flow for like a second until going back to the droning, saccharine delivery. Let’s look at some highlights.

Bad vibes, get off of me / Outta here with that f***ery

Sorry, I just love the visual in the music video of Monét and Grande literally swatting away the “F***ery”, it’s pretty cute.

I swerve both ways, dichotomy / I like women and men

This painful, forced reference to Monét’s bisexuality is so blunt and to the point that when Grande says it, it’s hilarious. Imagine coming out in a loosie trap single that barely counts as a song and not an interlude. I do kind of like how straightforward the line is, to be honest, it’s almost anthemic... maybe I’m thinking too much into this.

Then we hit the bank, making dumb investments, for the win

“For the win”? I didn’t expect a song saying, “For the win” to make the Top 40 ever, but, sure, let’s roll with it. What does Ari say?

And if they try come stopping me, I’ll show them my discography (Yeah, yeah)

Okay, that’s kinda clever—

Even though we gave up that 90%, for the win, go!

Nevermind, they said, “For the win”, again.

This been buildin’ up, I guess this friendship like Home Depot

Yeah, nope. Next song.

#39 – “Old Town Road” – Lil Nas X

Produced by YoungKio, Trent Reznor and Atticus Ross – Peaked at #1 in the US

Oh, great, another meme song. Well, at least I can say this – where were you when a country-trap fusion from a former Twitter comedian turned rapper that samples a Nine Inch Nails guitar loop and was later remixed by Billy Ray Friggin’ Cyrus became the most popular song in the entirety of Northern America thanks to TikTok memes and a racism scandal? The whole situation is so loony to me, but I respect Lil Nas X and YoungKio for being so relaxed and chill about the whole fiasco, especially when it started getting bigger and bigger, becoming the shortest number-one song in America since 1963, with a runtime of only one minute and 54 seconds, disregarding the remix of course. Is it a country song? I mean, obviously, it’s a country rap song, nobody’s arguing that, and that’s got country in its name so yeah, in my opinion, if Nelly and Tim McGraw count when they released what was essentially an R&B song, this counts, even if it’s essentially just a trap song about horses. It actually paints a pretty interesting lone cowboy story inspired by Red Dead Redemption 2 but, who cares? It’s a meme, alright, and for now it’s pretty funny. It’s got a really catchy hook/intro, with an effective refrain as well as verses that much like “MONOPOLY”, were probably written in less than five minutes but they work, and that’s all that really matters. I like how his voice sounds in the muffled outro, but really, there’s not much to it. It’s a fun beat with a great sample that Billy Ray Cyrus takes advantage of entirely and bodies. His flow is stiff but so is the stunted beat so it fits together quite nicely, and the additional choruses add some needed meat to the track, as does the banjo and the whistling at the tail-end of the outro... but we’re not judging the remix just yet, and on its own merits, “Old Town Road” is nothing all too special.

#26 – “Better Man” – Westlife

Produced by Steve Mac – Peaked at #2 in Scotland

Westlife released a second single in 2019, after their last single three months back debuted in the Top 20 and did insanely well in radio and sales... in 2019. This new single, produced by Steve Mac, has an orchestral version, and is set to be on their new album Spectrum which was announced to be released on 6th September, 2019. This new single is their second to reach the Top 40 in 2019. It nearly peaked at the top spot in Scotland, in 2019, and has had success all over Britain in the week of release, which may I add, was in March 2019. I refuse to believe Westlife will have a resurgence in 2019, and although I mostly believe that charts are ran by impressionable teenagers, this proves that Mom-pop is safe in the midst of the new British trap-rappers who talk about murder and drug trafficking, and of course Gothic art pop starlets that aren’t even old enough to drink yet... and I’m not here for it. No, the orchestral version is not better, get this manufactured waste of time off the charts.

#19 – “Your Mrs” – JAY1

Produced by Coolie

So, just as I was actually starting to lighten up on British trap-rap – seriously, Tion Wayne’s stuff, especially “Options”, has been growing on me immensely and I loved Dave’s debut studio album – this comes out and debuts in the top 20, and it’s bloody awful. It’s literally one piano chord. It’s literally ONE. FREAKING. PIANO CHORD. Through the whole song. There’s a trap skitter as well after the beat doesn’t transition to the drop after its intro and instead just fades out with a cheap pitch-shift effect, until we get to a developed version of the beat, and by that I mean it has two annoying high-pitched beep sounds and a bass that clips through the mix thanks to the vocals that are louder than everything else. For the most part it feels like it’s just JAY1 rapping over a hi-hat, and to be fair, that’s what most of it is. It’s not menacing, of course, because even if it was, literally in the first bar of the song, he’s joking. He won’t actually be luxurious enough to take your missus, as he says, and would rather just let the women watch him, I guess. He’s not interesting, and although there switch-ups to the instrumental that help make it more interesting, the more stretched-out flows he uses are absolutely painful. The subject matter is nonexistent, apparently he has an Australian side chick and NAV helps transport his cocaine. Oh, but do you hear that? There’s a flute... no, seriously, can you hear it? Because I can’t, really, I mean it’s just a pathetic loop probably stolen from some Creative Commons musician that somehow ended up in an official release, and it doesn’t last long. It comes back in the third chorus, where he’s multi-tracked with a pitched-down vocal and this would actually be menacing if he wasn’t just talking about how his girl has a big butt. If that voice was whispering about cold-blooded murder, then this song would be awesome... but it’s not. It’s weak flexing and bragging with a nonexistent beat from an incredibly uninteresting dude who doesn’t know to mix his bass properly. I hope to see this gone quickly, because this is dreadful.

#2 – “bad guy” – Billie Eilish

Produced by FINNEAS – Peaked at #1 in Australia, Canada, Czech Republic, New Zealand, Norway and Slovakia, and #7 in the US

This is the big #2 debut, the one I’m supposed to care about most, but mostly I’m just feeling lukewarm on both the big single and Eilish’s album as a whole, which felt structure-less and lacking of much substance as she gets wrapped in her own metaphors. This new song has got a vivid, shocking and quirky video, but Dave Meyers stole it from an indie magazine called Toilet Paper’s photo shoot so I suppose that has helped this song increase in popularity – nothing like some good controversy. The dark, bass-heavy and reverb-drowned groove here is actually really nice, and I love Billie’s vocal melody, especially when it’s multi-tracked with the fake finger-snaps in the background that are incredibly flat, and that bassline when it hits in the chorus is insane. The lyrics are kind of funny if anything, as Eilish references her melodramatic, emo image as she claims herself to be a “make-your-momma-sad, might-seduce-your-dad type”, priding herself in the cynical bad guy personality among pop music’s cutesy stylings we’ve been accustomed to. The eerie flute-like synth melody is pretty creepy and I love how it takes itself way too seriously despite the lyrics that are basically just Eilish being an edgy teenager, even with a post-chorus where she says, “Duh”, in a deadbeat manner followed by high-pitched gliding chopped-up vocal samples, and it’s all good, right? But then there’s a beat switch that just doesn’t freaking work. The pause from the original beat lasts way too long, so the transition feels incredibly forced, and the trap breakdown/drop means the song loses all momentum, especially with that annoying bird chirping sound that starts it off. There’s no real transition here, so Eilish’s offbeat delivery isn’t interesting and endearing, just kind of janky, with the whispering not being creepy but forced and tryhard. Without the drop, this’d be pretty cool though.

Conclusion

Wow, what a mixed week. Sadly, I can’t give Best of the Week to “Dedication”, so it goes to Lil Nas X for “Old Town Road” because it’s probably the most fun song here, with Ariana Grande and Victoria Monét snatching Honourable Mention for the so-bad-it’s-good mess, “MONOPOLY”. Worst of the Week should be obvious as it goes to JAY1 for “Your Mrs”, but Dishonourable Mention is harder, so I’ll give it to Westlife for the sake of tradition. See you next week!

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savheinz-blog · 6 years

Text

Essay 2

Pagan groups were created to allow for others to have freedom. Women in the late 60s and 70s wanted to join the Wiccan and Pagan groups to escape their lives of being the typical housewife with no power or voice. They wanted to be able to express themselves in a way they were never allowed to previously. However, when men began to join the groups, they became the minority. And then when LGBT people started joining, they became even more of a minority.

When women began creating and joining Wiccan and Pagan groups, they did so to escape the patriarchal word they were living in. Since they wanted their own rights and freedoms, many people assumed that the groups they were creating were radical. It was against the societal norms to even consider doing something like this. The idea of women being able to hold their own and take care of themselves was crazy during these times. Women were meant to stay at home, take care of the kids, cook, clean and wait hand and foot on her husband. She was not meant to get a real job, support herself or have rights like voting. These groups were created to shelter and home the minority.

After some time, men began joining. These men felt like the craft was too focused on women and there was not enough male involvement. Seeing as how these groups were created to allow for freedom and acceptance they began adding more male verses and “god” references. One man, Gary Lingen, said that he “hears the pain of brothers who are aimlessly searching for alternatives and whose confused and oppressed natures need yet to be challenged and healed,” (Adler 355). Eventually they began accepting more and more maleness into their rituals until it was more balanced. Even though, in today’s culture most witches are portrayed as women, being conniving and dangerous.

Eventually, LGBT members wanted to become a part of these covens. They wanted to believe in something that did not force them into anything specific. They did not fit into the traditional Christian Church, the way most others did. So, they came to the Pagans and Wiccans looking for some type of conformity. However, it turned out that many gay people still felt outcasted in these groups. They felt the need to continue covering themselves up and not being able to be their true selves. This was incredibly hypocritical of the covens to make them feel this way, since they were created for the purpose of freedom of self. It was felt that they were still outcasts and did not belong. Everything was still focused on the heterosexual norm.

These groups were supposed to be radical. They were the most extreme people had gone to get away from the church and the members were just crazy and had no idea what they were doing. Yet, they did. They knew exactly what they wanted and they went out and got it. With the exception of LGBT people. They were still not allowed the complete freedom they seemed from societal norms. According to Sparky, “focusing on lesbians and gay men in religious ceremonies is part of a radical agenda,” (Adler 366). So, if the group was a “radical” group then why were they not performing “radical” activities and ceremonies?

It was believed by some that the pagans focus too much on gender identity. They assign gender to specific words and believe that you must fit into one or the other. However, “queer people…are called ‘unmasculine’ or ‘unfeminine’ because they do not fit into the rigid categories of the dominant culture’s story,” (Adler 369). These people were being excluded because they did not fit the mold created by people who did not fit the mold. How were they supposed to feel free and safe when they could not even be accepted in their entirety?

As of now, it is thought that queer pagans offer much more than a straight pagan. They have healing powers and are great artists. The transgender pagans have the ability to spiritually walk between men

and women, being able to help and understand both sides. Today the pagans and Wiccans represent “breathing room. Sanctuary. A place to belong. Community. Acceptance. And a way to connect with all kinds of people…in a way that is hard to do in greater society,” (Adler 371).

#ils4180battistaspring18

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soundofawesomeblog · 7 years

Photo

This Fall, we are counting down the 100 best tracks of the 2000s with a new article every Monday. To learn more about the project and why the 2000s were amazing for music, click here.

This week, we keep the countdown going strong with positions 40 to 31. This means that 70 tracks have been revealed from the list so far, 69 of which are available at the bottom of the article in a Spotify playlist.

Navigation

Intro 100-91 90-81 80-71 70-61 60-51 50-41 40-31 30-21 20-11 10-1

40. Radiohead - Reckoner

Like many songs released by Radiohead in its later era, Reckoner started as a completely different song, years before being first put down on wax. The single, which helped to cement In Rainbows as yet another masterpiece in the grand family of Radiohead albums, mixes a freezing cold performance by drummer Phil Selway with gentle guitar strums and Thom Yorke’s velvet-like delivery to create one of the band’s most quietly danceable tracks.

39. Interpol - Obstacle 1

With interlocking guitars reminiscent of Marquee Moon, Interpol tore its way out of post-9/11 New York into the rock stardom world with Obstacle 1. All dressed in black, the band’s members had a dark, yet grand single in their hands that would shake alternative rock and push it into a new direction. Yet, no matter how angular and mathematics the instruments worked, the emotions conveyed were pure, thanks in no small part to Paul Banks’ irresistible presence.

38. LCD Soundsystem - Someone Great

Written after the death of his therapist, Someone Great showed that James Murphy was more than ready to slack off the self-conscious centric lyrics of his début and to open up about other people. Here, LCD Soundsystem gives a touching attention to details both with the light glockenspiel-like touches that help sweeten the pill of the tragic story of the lyrics. And somehow, the whole number is still easily danceable. Go figure.

37. Kanye West feat. Jamie Foxx - Gold Digger

Arguably his biggest hit, Gold Digger made Kanye West a reference for party music in the 2000’s and helped to show that he was not gonna suffer the sophomore album slump. As always with Ye, the track is built upon a vocal sample, this time by Jamie Foxx soulfully covering Ray Charles. Add to the mix some seriously bouncing production from A-Trak and a handful of humorous wordplay from West and you’ve got a guaranteed dancefloor filler.

36. Jimmy Eat World - The Middle

The Middle sends a message of hope in its chorus to confused teenagers. But, after being dropped by their label two years before its release, no one needed it more than the members of Jimmy Eat World themselves. With a hook as big as the house party in its music video, The Middle became an anthem to grasp on when on the edge of falling apart. In 2001, no other band could give a better advice to teenagers than “Live right now/Just be yourself/It doesn’t matter if it’s good enough for someone else”.

35. Bat For Lashes - Daniel

On her most straightforward pop moment ever, Natasha Khan goes back to her early teenage years and sings to her first crush - who also happens to be a fictional character from Karate Kid. But with her velvety voice and ghost-like presence, Bat For Lashes seems to be taken from an even more fantastic world, creating with Daniel a dreamlike landscape of innocence that she can call home.

34. Sufjan Stevens - Chicago

The city of Chicago offered Sufjan Stevens many breaks from his hometown in his youth, which is the main inspiration to this road trip essential single. Chicago finds Sufjan reflecting on his past trips and adventures that found him leaving for Illinois and New York with peace and serenity, helped by a folk orchestra for a joyous six minutes runtime.

33. Santogold - L.E.S. Artistes

It’s easy to be pretentious when you’re trying to be an indie artist, something Santigold vowed to never do as early as on her second single. With L.E.S. Artistes, the singer then known as “Santogold” blasts the Lower East Side gang of New York and its wannabe hipsters, all while being hip as fuck. By crushing those who tried too hard to be cool, Santigold ended up reigning as the coolest chick in New York for a hot minute.

32. Gossip - Standing In The Way Of Control

Alternating between funky bass lines in its verses and aggressive, discordant chords in its chorus, Standing In The Way Of Control shares as much with disco than with punk. The mix makes sense after all: the song was written in reaction to an amendment the Bush administration tried to pass that could render same-sex marriage unconstitutional. With one style being iconic in gay communities and another being a symbol of defiance and anti-establishment, Gossip had every right to be proud of the bomb they were holding in their hands.

31. The Killers - Mr Brightside

The Killers were more than ready to shake shit up when they came to the music scene in 2003 with their timeless Mr Brightside. The band’s début single introduced them with an emotional buildup of a verse filled with regrets and frustration, leading to one of the catchiest, biggest choruses of the century. More than a decade later, it remains a go-to crowd pleaser, as exemplified by the fact the song is still charting in the UK in 2017.

Navigation

Intro 100-91 90-81 80-71 70-61 60-51 50-41 40-31 30-21 20-11 10-1

#Sound of Awesome #List #Decade #top tracks of the 2000s #LCD Soundsystem #Kanye West #Jamie Foxx #Jimmy Eat World #Bat For Lashes #Sufjan Stevens #Santigold #Gossip #The Killers #Santogold #Estelle

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janetoconnerfl · 7 years

Text

John Ashbery, celebrated and challenging poet, dies at 90

NEW YORK — John Ashbery, an enigmatic genius of modern poetry whose energy, daring and boundless command of language raised American verse to brilliant and baffling heights, died early Sunday at age 90.

Bebeto Matthews, Associated Press file

In this Sept. 29, 2008, file photo, poet John Ashbery interviewed at his apartment in New York. Ashbery, widely regarded as one of the world’s greatest poets, died Sunday, Sept. 3, 2017, at home in Hudson, New York, of natural causes, according to husband, David Kermani. He was 90. (AP Photo/Bebeto Matthews, File)

Ashbery, winner of the Pulitzer Prize and often mentioned as a Nobel candidate, died at his home in Hudson, New York. His husband, David Kermani, said his death was from natural causes.

Few poets were so exalted in their lifetimes. Ashbery was the first living poet to have a volume published by the Library of America dedicated exclusively to his work. His 1975 collection, “Self-Portrait in a Convex Mirror,” was the rare winner of the book world’s unofficial triple crown: the Pulitzer Prize, the National Book Award and the National Book Critics Circle prize. In 2011, he was given a National Humanities Medal and credited with changing “how we read poetry.”

Among a generation that included Richard Wilbur, W.S. Merwin and Adrienne Rich, Ashbery stood out for his audacity and for his wordplay, for his modernist shifts between high oratory and everyday chatter, for his humor and wisdom and dazzling runs of allusions and sense impressions.

“No figure looms so large in American poetry over the past 50 years as John Ashbery,” Langdon Hammer wrote in The New York Times in 2008. “Ashbery’s phrases always feel newly minted; his poems emphasize verbal surprise and delight, not the ways that linguistic patterns restrict us. ”

But to love Ashbery, it helped to make sense of Ashbery, or least get caught up enough in such refrains as “You are freed/including barrels/heads of the swan/forestry/the night and stars fork” not to worry about their meaning. Writing for Slate, the critic and poet Meghan O’Rourke advised readers “not to try to understand the poems but to try to take pleasure from their arrangement, the way you listen to music.” Writer Joan Didion once attended an Ashbery reading simply because she wanted to determine what the poet was writing about.

“I don’t find any direct statements in life,” Ashbery once explained to the Times in London. “My poetry imitates or reproduces the way knowledge or awareness comes to me, which is by fits and starts and by indirection. I don’t think poetry arranged in neat patterns would reflect that situation.”

Interviewed by The Associated Press in 2008, Ashbery joked that if he could turn his name into a verb, “to Ashbery,” it would mean “to confuse the hell out of people.”

Ashbery also was a highly regarded translator and critic. At various times, he was the art critic for The New York Herald-Tribune in Europe, New York magazine and Newsweek and the poetry critic for Partisan Review. He translated works by Arthur Rimbaud, Raymond Roussel and numerous other French writers. He was a teacher for many years, including at Brooklyn College, Harvard University and Bard College.

Starting at boarding school, when a classmate submitted his work (without his knowledge) to Poetry magazine, Ashbery enjoyed a long and productive career, so fully accumulating words in his mind that he once told the AP that he rarely revised a poem once he wrote it down. More than 30 Ashbery books were published after the 1950s, including poetry, essays, translations and a novel, “A Nest of Ninnies,” co-written with poet James Schuyler.

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His masterpiece was likely the title poem of “Self-Portrait in a Convex Mirror,” a densely written epic about art, time and consciousness that was inspired by a 16th century Italian painting of the same name. In 400-plus lines, Ashbery shifted from a critique of Parmigianino’s painting to a meditation on the besieged 20th century mind.

____

I feel the carousel starting slowly

And going faster and faster: desk, papers, books,

Photographs of friends, the window and the trees

Merging in one neutral band that surrounds

Me on all sides, everywhere I look.

And I cannot explain the action of leveling,

Why it should all boil down to one

Uniform substance, a magma of interiors.

____

Ashbery was born in Rochester, New York, in 1927 and remembered himself as a lonely and bookish child, haunted by the early death of his younger brother, Richard, and conflicted by his attraction to other boys. Ashbery grew up on an apple farm in the nearby village of Sodus, where it snowed often enough to help inspire his first poem, “The Battle,” written at age 8 and a fantasy about a fight between bunnies and snowflakes. He would claim to be so satisfied with the poem and so intimidated by the praise of loved ones that he didn’t write another until boarding school, the Deerfield Academy, when his work was published in the school paper.

Meanwhile, he took painting lessons and found new meaning in Life, the magazine. An article about a surrealist exhibit at the Museum of Modern Art so impressed him that he kept rereading it for years. At Harvard University, he read W.H. Auden and Marianne Moore and met fellow poet and longtime comrade, Kenneth Koch, along with Wilbur, Donald Hall, Robert Bly, Frank O’Hara and Robert Creeley. He would be grouped with O’Hara and Koch as part of the avant-garde “New York Poets” movement, although Ashbery believed what they really had in common was living in New York.

His first book, “Some Trees,” was a relatively conventional collection that came out in 1956, with a preface from Auden and the praise of O’Hara, who likened Ashbery to Wallace Stevens. But in 1962, he unleashed “The Tennis Court Oath,” poems so abstract that critic John Simon accused him of crafting verse without “sensibility, sensuality or sentences.” Ashbery later told the AP that parts of the book “were written in a period of almost desperation” and because he was living in France at the time, he had fallen “out of touch with American speech, which is really the kind of fountainhead of my poetry.”

“I actually went through a period after ‘The Tennis Court Oath’ wondering whether I was really going to go on writing poetry, since nobody seemed interested in it,” he said. “And then I must have said to myself, ‘Well, this is what I enjoy. I might as well go on doing it, since I’m not going to get the same pleasure anywhere else.'”

His 1966 collection, “Rivers and Mountains,” was a National Book Award finalist that helped restore his standing and “Self-Portrait in a Convex Mirror” raised him to the pantheon. In 2011, he was given an honorary National Book Award for lifetime achievement and declared he was “quite pleased” with his “status in the world of writers.”

His style ranged from rhyming couplets to haiku to blank verse, and his interests were as vast as his gifts for expressing them. He wrote of love, music, movies, the seasons, the city and the country, and was surely the greatest poet ever to compose a hymn to President Warren Harding. As he aged, he became ever more sensitive to mortality and reputation. “How to Continue” was an elegy for the sexual revolution among gays in the 1960s and ’70s, a party turned tragic by the deadly arrival of AIDS, “a gale (that) came and said/it is time to take all of you away.”

Reflecting on his work, Ashbery boasted about “strutted opinion doomed to wilt in oblivion,” but acknowledged that “I grew/To feel I was beyond criticism, until I flew/Those few paces from the best.” In the poem “In a Wonderful Place,” published in the 2009 collection “Planisphere,” he offered a brief, bittersweet look back.

____

I spent years exhausting my good works

on the public, all for seconds

Time to shut down colored alphabets

flutter in the fresh breeze of autumn. It

draws like a rout. Or a treat.

____

from Latest Information http://www.denverpost.com/2017/09/03/john-ashbery-dies-at-90/

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jimblanceusa · 7 years

Text

John Ashbery, celebrated and challenging poet, dies at 90

Bebeto Matthews, Associated Press file

Ashbery, winner of the Pulitzer Prize and often mentioned as a Nobel candidate, died at his home in Hudson, New York. His husband, David Kermani, said his death was from natural causes.

Interviewed by The Associated Press in 2008, Ashbery joked that if he could turn his name into a verb, “to Ashbery,” it would mean “to confuse the hell out of people.”

September 3, 2017 Steely Dan co-founder, guitarist, Walter Becker dies at 67

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September 3, 2017 PHOTOS: A Taste of Colorado 2017

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____

I feel the carousel starting slowly

And going faster and faster: desk, papers, books,

Photographs of friends, the window and the trees

Merging in one neutral band that surrounds

Me on all sides, everywhere I look.

And I cannot explain the action of leveling,

Why it should all boil down to one

Uniform substance, a magma of interiors.

____

I spent years exhausting my good works

on the public, all for seconds

Time to shut down colored alphabets

flutter in the fresh breeze of autumn. It

draws like a rout. Or a treat.

____

from Latest Information http://www.denverpost.com/2017/09/03/john-ashbery-dies-at-90/

0 notes

jackdoakstx · 7 years

Text

John Ashbery, celebrated and challenging poet, dies at 90

Bebeto Matthews, Associated Press file

Ashbery, winner of the Pulitzer Prize and often mentioned as a Nobel candidate, died at his home in Hudson, New York. His husband, David Kermani, said his death was from natural causes.

Interviewed by The Associated Press in 2008, Ashbery joked that if he could turn his name into a verb, “to Ashbery,” it would mean “to confuse the hell out of people.”

September 3, 2017 Steely Dan co-founder, guitarist, Walter Becker dies at 67

September 3, 2017 7 sensational fine arts events around Denver to check out this fall

September 3, 2017 PHOTOS: A Taste of Colorado 2017

September 2, 2017 Anxiety about politics, hurricanes and nuclear war adds extra spark to annual burning of marionette in Santa Fe

September 2, 2017 Your dance studio’s biggest problem? Needing foreign workers

____

I feel the carousel starting slowly

And going faster and faster: desk, papers, books,

Photographs of friends, the window and the trees

Merging in one neutral band that surrounds

Me on all sides, everywhere I look.

And I cannot explain the action of leveling,

Why it should all boil down to one

Uniform substance, a magma of interiors.

____

I spent years exhausting my good works

on the public, all for seconds

Time to shut down colored alphabets

flutter in the fresh breeze of autumn. It

draws like a rout. Or a treat.

____

from News And Updates http://www.denverpost.com/2017/09/03/john-ashbery-dies-at-90/

0 notes

laurendzim · 7 years

Text

John Ashbery, celebrated and challenging poet, dies at 90

Bebeto Matthews, Associated Press file

Ashbery, winner of the Pulitzer Prize and often mentioned as a Nobel candidate, died at his home in Hudson, New York. His husband, David Kermani, said his death was from natural causes.

Interviewed by The Associated Press in 2008, Ashbery joked that if he could turn his name into a verb, “to Ashbery,” it would mean “to confuse the hell out of people.”

September 3, 2017 Steely Dan co-founder, guitarist, Walter Becker dies at 67

September 3, 2017 7 sensational fine arts events around Denver to check out this fall

September 3, 2017 PHOTOS: A Taste of Colorado 2017

September 2, 2017 Anxiety about politics, hurricanes and nuclear war adds extra spark to annual burning of marionette in Santa Fe

September 2, 2017 Your dance studio’s biggest problem? Needing foreign workers

____

I feel the carousel starting slowly

And going faster and faster: desk, papers, books,

Photographs of friends, the window and the trees

Merging in one neutral band that surrounds

Me on all sides, everywhere I look.

And I cannot explain the action of leveling,

Why it should all boil down to one

Uniform substance, a magma of interiors.

____

I spent years exhausting my good works

on the public, all for seconds

Time to shut down colored alphabets

flutter in the fresh breeze of autumn. It

draws like a rout. Or a treat.

____

from News And Updates http://www.denverpost.com/2017/09/03/john-ashbery-dies-at-90/

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