#no sun set countries

[silvadour]

[shawnshawcowboy]

Gorgeous Oklahoma sunset

[neurotypical-sonic]

sonic can alway tell about what time it is in the mystic ruins. he doesn't really do the whole time thing, he doesn't have a consistent sleeping schedule because his circadian rhythm is permanently fucked due to him constantly travelling all around globe. time zones mean nothing to him now. but he can always estimate when abouts in the day mystic ruins is in. he will get a text from tails, and depsite it being midday for sonic, he'll immediately go "hey. isnt it like. 3am there. what are you doing up." and tails will grumble about it's not THAT late, it's only 2am. sonic's internal mystic ruins clock does not take daylight savings into account

[lilacxquartz]

any news on the sequel for the gojo geto reader fic ?❣️

it’s in the works! i’m planning to make it as detailed and as high quality as possible, so that’ll take some time. i have about 5 chapters out of a possible 20 done so far

[honeycombhank]

1/2/24

[vesselforsale]

1990s SUN COUNTRY SUMMER FROST PLASTIC SET | LISTING 

[todays-just-a-daydream]

Beyond all the noise about chart battles, sibling rivalry and Cool Britannia, the Oasis narrative was such a powerful one because it pointed to how a valuable new form of “oceanic feeling” – Sigmund Freud’s term for an all-embracing mass consciousness – might emerge in Britain in the dying days of the 20th century. For all its broadness and frequent crudeness, the collective mood that Oasis inspired was at heart an inclusive one, based on the desire to advocate a more demotic, more democratic way of national being, rooted in the lived reality of working-class experience.

Indeed, it is class more than anything else that shaped who Oasis were and what they meant to the wider public. While they were nothing like a definitive summary of working-class culture in its entirety (how could they have been?), Oasis summarised and celebrated a specific modern British working-class culture based on traditions of collectivity and uncovering the extraordinary in the everyday. The best early Oasis songs (Rock ’n’ Roll Star, Cigarettes & Alcohol, Don’t Look Back in Anger, Champagne Supernova) channelled the sense of communitarian empowerment that had been embodied in the best working-class pop music of post-60s Britain: the jukebox idealism of glam rock, the expressive howl of punk, the “chase the sun” euphoria of rave and, yes, the melodic humanism and collective scope of the Beatles.

But the Oasis sound and identity was also provoked into being by more antagonistic influences. Living in south Manchester in the Thatcherite 80s, the teenage Gallagher brothers would build up a deep store of anger at the savagely anti-working-class policies of a Conservative government intent on dismantling the welfare state and restoring the power of British elites who had been disenfranchised in the postwar years. Hence the angry, accusatory tone in so many of the best early Oasis songs, from the raging “outcast” and “underclass” of Bring It on Down to the “they” who will never see the things “we” see in Live Forever. This more melancholic, oppositional form of commonality is embodied in Noel Gallagher’s recollection that the Thatcher years were defined by the image of everyone he knew going to the dole office with their dads. Gallagher’s response, as Oasis biographer Paolo Hewitt once put it, was to create the sound of a council estate singing its heart out.

The great genius – some might say the great fortune – of Oasis was that they were able, in the heady, possibility-filled mid-90s, to take this combined experience of working-class pride and rage and suggest that it might become the dominant cultural influence in British society. Though the band are often shoehorned into discussions of Britpop (with an image of Noel Gallagher’s rarely used union jack guitar as convenient illustration), we should be clear that the kind of Britishness they embodied was – before the cliches and the branding took over – very much an alternative or outsider variation. This was a sensibility based mainly on loathing for the Tory establishment, a love of football and pop music, and, crucially, the fact that the Gallagher brothers were the children of immigrants and felt themselves to be Irish in any case.

[koravelliumavast]

There’s just something about songs about murder and vengeance that just clicks with me

[whyshedisappeared]

.

[wonder-worker]

Alice Perrers as Icarus and the sun

[melit0n]

I think seasonal depression has officially caught up to me

[nellasbookplanet]

I'm gonna start keeping a running list of historical france-inspired fantasy books, ranked by how well they handle themes of colonialism and othering;

1. A+ aka very well but you'll probably be uncomfortable reading it because it shows it all from the inside

The Unbroken

The Moon and the Sun

2. Colonialism? What’s that? aka we're just going to pretend that’s all Not A Thing so we can focus on romance and won’t have to think about the uncomfortable implications of the setting

The Misadventures of an Amateur Naturalist

3. Yikes

Serpent & Dove

[spindrifters]

if the british royal family is theoretically in camps then this opens such a wormhole … what is happening in australia i wonder

whatever the opposite of mad max is, probably

[cinematicnomad]

maybe the best part of vacation is that i’ve read 2 books in the past week alone

[midnight-star-world]

#CountryMusic

Dierks Bentley - Gravel & Gold

So today on the MSR (Midnight Star Review), I would like to talk about the latest album from Country Music Superstar Dierks Bentley. His new project is titled "Gravel & Gold" and was released on Friday February 24th, 2023. But before we dive into the new Cd, let's talk a little bit about the career of Dierks so far.

Dierks has had a lot of success on the Country Music Charts with such hits like "Drunk on a plane", "What was I thinkin'", & "Beers on me" with his buddies Hardy & Breland. Other hits from Dierks are songs like "5-1-5-0", "Somewhere on a beach", & "I hold on". Dierks has scored 7 number ones on my weekly list. My weekly list is called MSR (Midnight Star Report), which combines both CMT (Country Music Television), the Billboard Country Music Airplay Charts, & even myself. And the list also used to include GAC (Great American Country) until the list retired at the end of 2018. But let's get back to this new 14 track album before we dive too far off track.

Dierks co-wrote 10 out of 14 tracks with some co-writting help from Michael Hardy (Hardy), & Charlie Worsham. The lead single from the project is titled "Gold" which is almost a top 10 hit on the Billboard Country Music Airplay Charts as we speak. And that song mentions the title of the album, and probably one of his singles from the project will be "Same ol' me". Other songs you should check out are "Heartbreak drinking tour", "Still", & "All the right places". The stand out track in my opinion is titled "Something real" and you should also check out his tracks with Ashley McBryde titled "Cowboy boots", & "High note" featuring Billy Strings. Here is the rest of the track list now.

Track list.

Same ol' me.

Sun sets in Colorado.

Heartbreak drinking tour.

Something real.

Still.

Beer at my funeral.

Cowboy boots (Featuring Ashley McBryde).

Gold.

Walking each other home.

Roll on.

All the right places.

Ain't all bad.

Old pickup.

High note (Featuring Billy Strings).

And that's a wrap for the track list. And on the MSR (Midnight Star Review), I would give this album a 5 out of 5 stars. Dierks has really upped his game and is a regular on the top of the Country Music Charts for obvious reasons. There were a lot of tracks to talk about on this new CD. And so I rewarded him a 5 out of 5 stars. Thanks for taking the time to read this review. See ya all next time.

[aroaessidhe]

2022 reads // twitter thread

If You Could See The Sun 

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academic stress, academic rivals romance