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newsies-of-corona · 4 years

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Corona’s Easter Extravaganza!

It was a beautiful, sunny Sunday morning in Corona. Pastel streamers and banners were hung up everywhere, and everyone was bustling about making preparations and packing eggs for Princess Rapunzel’s Easter Celebration!

Rapunzel was walking around town, admiring the decorations that she and the kingdom had made the day before and saying hello to all of her subjects.

“Isn’t this great Pascal?” Rapunzel said excitedly to the chameleon on her shoulder. “We’ve never celebrated Easter this big before, and I’m so excited! I have to say, painting some of those eggs and banners was hard work, but I’m so glad we could get everyone together to do something fun!”

Eugene walked beside her and gave her a kiss on the cheek. “You did great, Sunshine. The place looks amazing!”

“Aww. Thanks Eugene,” Rapunzel said, smiling. “That reminds me, I have a surprise for you!”

“Great! I love surprises! Is it another portrait of me? That last one you did really brought out my eyes.”

“Yeah, they looked even more horrifying than they normally do,” Cassandra said coming up behind Eugene and making him jump.

“Agh! Great. The witch has returned! Blondie, no offense, but that’s the worst surprise ever,” He said glaring at Cassandra.

Rapunzel laughed.

“Come on, Eugene. You haven’t seen each other in months! Can’t my two favorite people at least pretend to like each other? Just for today?”

“Raps, I just traveled for 3 days to be here in time for your celebration and now you’re telling me that I can’t do the one thing that brings me joy?” Cassandra said punching Eugene on the arm.

“Ow!”

Rapunzel looked at both of them and sighed. “Fine. I’ll give you an hour. Hash it out all you want, but then you need to be nice to each other. Please? For me?” Rapunzel said smiling sweetly.

“Anything for you, Sunshine,” Eugene said. “But just to be clear, we have an hour? Because I have been dying to use some of these insults.”

Rapunzel nodded and laughed.

Eugene pumped his fist in victory and ran over to Cassandra.

“I know that Eugene doesn’t like to admit it, Pascal, but deep down I know he misses Cass,”

Rapunzel was cut off by yelling behind her.

“No wonder crime is running rampant in Corona! They chose an idiot to be captain of the guard!” Cassandra laughed.

“Oh you want to play it that way, huh? As I recall, you were half of the problem!” Eugene fired back.

“Ooo touché.”

“Ah. There’s the arguments I’ve always missed,” Rapunzel sighed.

The princess continued walking around until she was nearly knocked over by her Royal Engineer.

“Rapunzel!”

Varian skidded to a stop, dropping half of his compounds and solutions in the process.

Rapunzel laughed and knelt down to help him pick them up.

“Varian! What’s the rush?”

“Oh n-nothing. I’m so glad I found you! I was just wondering if I could borrow Pascal for a thing...” Varian said, putting his hand behind his neck.

“A thing? Varian you’re going to have to be more specific.”

“Haha...uh...well you see Ruddiger was-was lonely! So I was hoping I could borrow Pascal to keep him some company?” Varian laughed awkwardly and looked up at Rapunzel.

“Well..okay,” Rapunzel said slowly.

“Thanks Princess!” Varian said taking Pascal and starting to run off.

“Well that was weird,” Rapunzel said to herself.

———————————————————————

Varian ran back to his lab in the palace as fast as he could, Pascal hanging on to the stripe in his hair so that he didn’t fall.

“Okay,” Varian gasped, “Let’s get to work.”

He tried to find Pascal, looking on his shoulders and on the ground to see if he dropped him while he was running. After a few minutes Varian noticed the little chameleon clinging on to his hair and gasping for breath.

“Woah! Sorry Pascal, I probably shouldn’t have run so fast, heh. I just had to get this done before the competition starts.” Varian said, setting Pascal down on his desk that was cluttered open science books and a basket full of blue, handpainted eggs made by Rapunzel.

Pascal eyed Varian suspiciously. “Okay, so technically I didn’t need you for Ruddiger, but he’s over there if you guys want to catch up?”

Pascal looked at Ruddiger who was chewing an apple and then looked back at Varian.

“Fine. Yes, I lied to the princess, but it’s for the sake of science! I’ve been studying chameleons and how your species is able to blend into your surroundings, and I believe I can develop a serum that can make anything, for my sake, eggs, blend in to their surroundings! I’m almost finished, but I just need to examine how you’re able to do it so I can find a compound that might react the same way.”

Pascal still looked unconvinced.

“Okay, so you know the princess is having an egg hiding competition? The prize is being able to design the lanterns for Rapunzel’s next birthday! I’ve been working on some lantern designs using Flynnolium and other chemicals, but I won’t be permitted to use them unless I win. With this formula, no one will be able to find my eggs! It’s genius! And...I had to lie to her because it doesn’t exactly say in the rules that there isn’t any science or alchemy allowed, but she might think it’s cheating...” Varian trailed off.

“But just for the record, I don’t think it is.” He said quickly crossing his arms.

“Come on, Pascal. We’re buddies right? Can you please do this for me?”

Pascal thought about it, and then chirped reluctantly in agreement.

“Thanks Pascal! I owe you one. Now don’t worry, all I need you to do is that thing where you blend in to your surroundings,” Varian said taking out a magnifying glass.

Pascal chirped and then faded into the background.

“Fascinating,” Varian said examining the reptile.

He rifled through his bag and took out a vial of green-ish solution.

“I believe this should do the trick!”

He poured it in to the existing the solution on his desk and Ruddiger and Pascal backed up and covered their ears, waiting for an explosion. The solution bubbled for a minute, and then settled down and almost seemed to turn invisible.

“Yes! It worked!”

A bell chimed in the distance meaning that the competition was about to start.

“And just in time too. Come on Pascal! Let’s go hide some eggs.”

Varian poured the solution on top of the eggs giving the illusion that the basket was empty, and ran outside, Pascal in tow, dropping invisible eggs along the way.

He met up with the rest of the crowd surrounding Rapunzel just as the bell stopped ringing.

He ran up to Rapunzel and gave her back Pascal, who chirped, happy to be back with his owner.

“Thanks, Varian! I hope Ruddiger had fun!”

“Oh..y-yeah. Definitely!” Varian said smiling awkwardly and running to join the rest of the crowd.

“Welcome everyone to Corona’s first Easter Extravaganza!!”

The crowd applauded as Rapunzel went on.

“This year we decided it would be fun to have a kingdom-wide Easter egg hunt! To add on to the fun, we’re making it a competition! Kids 12 and under will compete in trying to find eggs hidden by our adults! Whoever gets the most eggs will win a huge candy bar provided by Monty’s Sweet Shoppe!”

There was a resounding applause as Rapunzel unveiled the candy bar.

“But the fun isn’t over! Our egg-hiders will also compete on who can hide their eggs the best! The eggs will be color coded, and whoever has the least amount of their color eggs found at the end wins an opportunity to design the next floating lanterns!”

There was another set of applause and murmuring in the crowd.

“If you signed up to hide the eggs, you already have your eggs and your color, and you can start hiding them! You have 1 hour to pick some hard to find spots! All the other kids participating in egg-finding, meet me in the palace for some more Easter-y fun! Good luck everyone! Ready, Set, Go!”

———————————————————————

Eugene grabbed his egg basket filled with green painted eggs and ran to the outskirts of the castle. He went around the back and climbed up the castle wall, being careful to not spill any of his eggs.

“Didn’t think I’d be doing this again. Haha man, the nostalgia!”

When he was on the palace roof, he walked around placing 2 to 3 eggs on the tops of the towers and putting the rest of them on different places of the roof.

“There’s no way that anyone’s gonna find these. Lanterns with me and Blondie’s face on them? Check!”

———————————————————————

Once Rapunzel finished her speech, she went into the palace to make sure the kids were occupied, then grabbed her baskets of lavender and pink eggs and headed outside.

“Knowing our friends Pascal, they’ll definitely be hiding their eggs so that no one can find them, and since I can’t win the prize, I figured I should put some eggs in easy places so that the kids can actually win,” Rapunzel said placing a pink egg in the plain sight by a bush.

Rapunzel laughed, “I just hope Eugene doesn’t go as far as putting them on a roof or something.”

Rapunzel put one of the baskets of eggs on the ground so that Pascal could help her, and 30 minutes later the streets were littered with beautiful lavender and pink eggs.

Cassandra walked up and examined Rapunzel’s handiwork.

“Raps, I’m not sure if you understand the whole hiding concept of hiding eggs.”

“Hey Cass! Did you and Eugene have a good time fighting?”

Cassandra laughed, “As much as I hate to admit it, I missed making fun of that over-confident, egocentric husband of yours.”

“Aww I’m glad you guys had fun! Oh I almost forgot,” Rapunzel reached into her purse and pulled out 5 sets of pastel bunny ears. She handed 2 to Cassandra.

“Can you give these to Eugene and Varian if you see them? I just think they’re so cute and festive and they’d look so adorable in them.” Rapunzel said excitedly.

“Oh I can definitely do that,” Cassandra said with a laugh.

———————————————————————

Eugene climbed down the roof and came face to face with Cassandra holding 2 pairs of bunny ears.

“Oh no. Don’t tell me Blondie wants me to wear these?”

“Oh yeah. It wasn’t even my idea! This day just keeps getting better.” Cassandra said holding out some blue fluffy ears to Eugene.

Eugene put them on, grumbling something under his breath.

Cassandra bursted out laughing, “Now your ears are even bigger than before, Fitzherbert!”

“Oh yeah, laugh it up. You’re probably next.” Eugene grumbled.

Just then, Rapunzel ran by wearing a pair of lavender bunny ears, with Pascal wearing tiny white ones, and handed an extra pair to Cassandra.

“I forgot to give you yours Cass!” Rapunzel said. “And awww look at my little Eubunny! Eu...rabbit? Eu...”

Eugene cut her off .

“No, we are not making that a thing.”

“Awe, Okay,” Rapunzel said giving him a kiss on the cheek.

“Bye guys!”

Cassandra put on the ears, frowning, then looked at Eugene.

“Eubunny,” she said under her breath.

“Cassandrabbit.” Eugene said back.

———————————————————————

Varian was busy hiding his invisible eggs when he saw Cassandra standing in front of him wearing purple bunny ears.

Varian started laughing until she held out a light teal pair to him.

“Join the squad, kid.”

Varian took the ears and then looked at Cassandra.

“Did Rapunzel-”

“Yep.”

“Do I have to?”

“Yep.”

He put the ears on and try to ignore all of the laughter coming his way, eventually giving in and laughing with Cassandra.

“So Varian, how have you been? It’s been a while.”

“It has,” he laughed nervously. “I’ve been good, how about you?”

“Same here. It’s been different, not having all of my friends around and not hearing explosions every two seconds.”

They both laughed.

“I’ve missed you, kid.”

“I’ve missed you too, Cassie. Varian said smiling. “I’m glad we’re still friends after...everything, heh.”

“Me too, Varian. So tell me, why does it look like you’re hiding a basket full of nothing?”

“Haha, um well... I guess I can tell you. But you have to promise to not tell anyone else.”

“You got it,” Cassandra told him.

Varian looked around frantically, making sure no one was listening and then told Cassandra his whole plan.

“Wow, Varian. That’s pretty intense for just an egg hunt,” She laughed. “Don’t worry though. You’re not the only one doing shady things to win. I just saw Eugene on the palace roof earlier.”

“Heh. Well I admire his creativity but it is no match for the power of science!”

Varian pumped his fist in the air, breaking open 3 eggs he forgot he was holding which splattered all over him.

Cassandra laughed, “Well hopefully the ‘power of science’ will help you clean up this mess. See ya later kid!”

“Ew. Why did she have to paint them raw?” Varian said to himself. “It’s okay I can just use this cleaning formula I made and...”

Varian poured the formula on himself which cleaned up the eggs, but also burnt holes through his shirt.

“Great,” he said sarcastically.

The bell sounded in the distance that it was time to stop hiding the eggs, and Varian quickly placed his remaining 5 eggs by a bush and ran back to join the crowd of people starting to gather.

———————————————————————-

Eugene saw Varian in the crowd and walked up to him.

“Hey Var- woah! What happened to you?”

“Oh you know,” Varian laughed nervously, “eggs.”

“You hid eggs too? Well sorry kid but you’re looking at the winner right here.” Eugene said, cockily, pointing to himself.

“Haha, I don’t think so. There’s no way you can outwit my alchemical methods,” Varian said.

“Well make sure to be using your ‘alchemical methods’ when you see lanterns with my finely crafted face in the sky.” Eugene taunted.

“And make sure to be using that ‘finely crafted face’ to look up and see my alchemy lanterns when I win the competition.” Varian smirked.

“Well we’ll find out won’t we?” Eugene said staring down Varian.

“Yes. We. Will.” Varian said with a glare in his eye.

———————————————————————

After the bell stopped ringing, kids started running out of the castle, and scrambling to find eggs. All of Rapunzel’s purple and pink ones were in plain sight, but Angry wanted more of a challenge. She ran around the back of the castle where she saw Eugene climbing when he was hiding eggs, and started climbing up the roof herself.

Catalina decided she wanted more of a challenge as well, but not as much as Angry. She looked up and found orange eggs in the trees, which she quickly grabbed.

———————————————————————

Eugene was walking around when he saw Lance placing one last egg in a tree.

“Lance! You’re hiding eggs too? Good spot, but unfortunately you’re not going to win.”

“Oh really Eugene? Nice ears by the way. Who’s going to think to look for an egg in a tree? It’s a hard to reach spot and what kid’s going to climb a tree anyways?” Lance looked down at Eugene with a triumphant look.

“Lance. You do realize you live in a tree house with two little girls who adore climbing things, right?” Eugene said with a smirk.

“Thank you!” Catalina said grabbing the egg next to Lance and jumping to the next tree.

“Fair point. Well where did you hide yours Eugene?”

“Only the most hard to reach place in all of Corona!” Eugene said, gesturing to the castle roof which now contained a 12 year old girl holding up a green egg.

“Found it!” Angry shouted down.

“Oh come on!” Eugene shouted.

“Kiera!! You get down from there!” Lance scolded her.

“Come up and get me, why don’t ya?” Angry taunted, laughing.

“Ughhh! What is the matter with you Eugene!” Lance yelled running after Angry.

“Don’t worry buddy, it’s good exercise!” Eugene shouted back, laughing.

He started walking back until he realized he was going to lose and started running after Lance.

“Wait! Don’t take all my eggs!”

————————————————————————

The bell rang again symbolizing the end of the hunt, and the kids flocked to the throne room to turn in their baskets full of eggs to be counted.

When the counting was over, Rapunzel called everyone out to the courtyard to announce the winners.

“Hi everyone! Great job to all of our egg hunters and egg hiders! The results were very close but I have our winners right here!”

Rapunzel pulled out a paper and the crowd went silent as she read it.

“Our winner for most eggs is...Catalina Schitz! Come on up and get your prize!”

Catalina and Angry both went up to pick up the chocolate bar because it was bigger than both of them. The audience cheered but Lance yelled the loudest making the girls blush.

“Everyone else did a great job as well! There’s candy for all of you in the throne room!” Rapunzel said.

“And now for the winner of the best egg hiders, give it up for Varian with 0 eggs found!”

“What?!” Eugene yelled.

“Yes!” Varian shouted.

“None found? How does that even happen?”

Varian leaned over to Eugene and whispered “alchemy.”

“But we’re not done yet!” Rapunzel went on. “We have a runner up for this competition! Give it up for Eugene Fitzherbert with 2 eggs found!”

“Only because they caught me before I grabbed the rest.” Angry said.

“And their prize is they will be working together to design the next lanterns!”

“What?!” Eugene and Varian shouted in unison.

“Great job boys!” Rapunzel said, “and Happy Easter to everyone!”

Rapunzel went up to Varian and Eugene to congratulate them on winning.

“I can’t wait to see what you two come up with together!” Rapunzel said.

“Yay...” Varian trailed off, pretending to be excited.

“I mean you two are so creative!” Rapunzel went on. “Sneaking off and lying to me so you could hide the eggs in impossible places and even disguising them using Pascal’s abilities! I have to say I’m impressed.”

“But how did you-” Eugene started.

“Eugene, I saw you on the roof from miles away and I stepped on at least 5 of Varian’s eggs.”

Eugene and Varian looked down and mumbled “sorry.”

“I forgive you. And this should be punishment enough for you. Plus the rabbit ears,” Rapunzel laughed.

Eugene and Varian looked at each other and eventually started laughing.

“Team Awesome?” Eugene asked, holding out his fist.

“Team Awesome.” Varian replied bumping Eugene’s fist.

“Oh and Varian, good luck finding all of your other eggs!” Rapunzel said handing him a basket.

“Yeah, I guess I deserved that,” Varian said laughing nervously.

“With my help, of course,” She said smiling at him.

“Don’t worry, kid. I’ll help you too,” Cassandra said coming up next to him.

“I’ll help you too, Goggles. We both cheated after all.” Eugene said.

“Thanks guys. I promise, Rapunze,l to make it up to you Eugene and I will make the best lanterns ever.” Varian told her.

“Awe. I bet they’ll be great, Varian!” Rapunzel said, hugging him.

The princess looked at the kingdom splattered with eggs.

“Wow what a mess. But it was a great Easter with all you guys! I believe our first Corona Easter Extravaganza was a success!”

———————————————————————

The group spent the rest of the day cleaning up eggs until the courtyard was clean again, and then raided the throne room for the rest of the candy. Varian had a massive sugar crash and passed out on the ground and Cassandra woke him up and put him to bed. Eugene and Rapunzel had a boat date where Eugene got rid of the bunny ears once and for all by throwing them in the water. Lance, Angry and Catalina spent the rest of the day eating their giant chocolate bar at their treehouse.

It was a great Easter for everyone.

———————————————————————

Hi guys!!! Thank you so much for reading! This was originally supposed to be a short oneshot but I think I accidentally wrote an entire episode 😅😅😅

A special thanks to everyone in the Just Varian Things chat for giving me ideas! Especially @tangled-lover-165, @princess-pathetic-112898 , @letthemsayfuck, and @panpervinca!!!

Happy Easter Everyone!

One more thing before I go, as much as we all love the eggs and the bunnies and the pastel colors, behind all that is a Savior that really died a brutal death for our sins and rose again on Easter morning so that we can live in paradise with Him. Whatever you’re going through, He’s always there and He loves you more than anything else. 💙

#lissa’s stories #tts fanfic #easter #varian tts #eugene tts #rapunzel tts #cassandra tts #angry tts #catalina tts #lance tts #tangled the series #he is risen

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dansedan · 4 years

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💕💞 for Lupita AU!

aaa thank you for the ask. whomp whomp everything for this AU has been mostly brain bunnies for a while and not a lot of writing but I’m excited to sit down and write over November holidays heheh So. I am sorry this is stupidly long

💕 what has your favorite scene been?

Oh man. I don’t even know jajaja I suppose the one that I had the most sort of RABIDLY MUST DO THIS feelings over was Blondie and Lupe meeting in the third chapter of ttyplo but the easiest to write was definitely the tucoeyes chapter? And maybe my soppy favorite is writing the backstory for how Tuco met each one of them in the final one because. I like meetcutes but I’m bad at writing them so I don’t JAJAJA.

💞: which future scene are you looking forward to writing?

ANGST ANGST ANGST I am very excited to. work on the OG universe fic I have a lot of ideas that I kind of accidentally buried in the comments of a post instead of actually posting them lol here is a quote from that rant which is conveniently about a scene I really wanna write!!

“I have this really vivid scene of them just right after they've met again and Tuco needs an excuse to see her (+ as a parallel to the portraits in the modern AU) he asks her to paint a retablo to thank the saints for Blondie deciding to let him live and like. that's how the subject of Gay is introduced dsjafk It's a whole thing I suppose”

onto which I would like to add like... I just love Tuco’s vaguely desperate extraversion and how easily that can get fucky after he gets the money so he’s just sort of having to buy people off and feeling shitty about it and here’s a scenario where, after being rejected by his brother within the events of the OG film he’s trying to see if it’ll work for the specific realm of family but ends up just. Forming an actual connection and even getting a new context through which to evaluate his preexisting connection w Blondie and yeah. That.

I’m also tooling around with whether or not to have some language shenanigans between them? bc I love projecting hardcore on Tuco and having him kinda suck at spanish might be interesting but I don’t think that’s gonna make it in lol

for the modern AU fic I’m excited to write Blondie being a decently-adjusted smartass! I only got a moment in from the first chapter of ttyplo so. I’m very excited. And also I really wanna add a stupid joke into the epilogue but I’m starting to realize it’s gonna need a translation note because it’s kind of a weirdly nuanced latam dick joke that isn’t really a dick joke but it is a dick joke? so that’s fun.

YEAH THATS THAT JAJA soz this was long

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oilbun · 5 years

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wait.. you thought I wasnt gonna write book shelf nook fluff?

Rapunzel loves a lot about Corona, it's her home. She loves the sunny days, gloomy days, snow days, but her favorite are the rainy days. She favors these days because it's usually a good time to sneak in an at home date with Eugene. Rainy days are usually the quieter days of Corona, there's not too much hustle and bustle in town because no one wants to go outside unless they absolutely have to. Today was one of those days, the sky had a thick layer of dark gray clouds and a thick sheet of rain coated the kingdom. Rapunzel was hidden away in the top shelf of her bookshelf, that she had made into a nook. Pillows, and blankets were laid in among the books, it's also where she kept her various journals. Today she was sketching and writing in her most current journal, she was so lost in thought she didn't hear her bedroom door open and hear Eugene walk in.

"Rapunzel, let down your hair," Eugene joked standing at the foot of the latter at the bottom of the book case. Rapunzel jumped a little in surprise and looked over the edge, eyeing her boyfriend, she laughed at his joke.

"I'm just kidding, that's why the latter's here," Eugene laughed as he began to climb, once he reached the top, he crawled in and sat down next to her.

"How did you know I'd be up here?" She asked, closing her journal and shelving it.

"Because it's raining outside and because I know you, Blondie." Eugene said as he took her hand in his and kissed her knuckles. Rapunzel beamed at the gesture, scooting closer to him and resting her head on his arm.

"You got me there," she told him, "has our inside date already started?" Eugene smiled, wrapping an arm around her waist as they both looked out at the rain.

"It can start whenever you want it to, no rush Sunshine," he told her. "But.. yeah it's pretty much begun." They both laughed, it would probably be better to get as much as they could before some royal duty would whisk them apart for the remainder of the day. Eugene looked at Rapunzel with a tender gaze, pushing some blonde locks behind her ear.

"How are you today?" He asked her gently.

"Better now," She sighed.

"Oh ho ho! Rapunzel pulling the sweet talk now? I'm gonna lose my job," Eugene chuckled. She beamed at his laughter, gently tugging his collar to bring him in for a kiss. Of course, he'd never turn down a kiss from her (the lantern date doesn't count.. to him anyway). He put one hand on her waist, and one on her hip as she released his jacket collar and snaked her arms around his neck, gently playing with the hair she could reach. Normally, Eugene's hair would be off limits from touching, but he couldn't say no to Rapunzel playing with it. They parted from their kiss after a moment, Rapunzel getting up as best she could and sitting in between Eugene's legs as she leaned her back against his chest. He wrapped his arms around her, and gingerly kissed her cheek.

"Well, I'm glad your doing better," he said, running his fingers through the loose strands of blonde that has escaped her braid. Rapunzel found chances to lean into Eugene's touch before looking up at him. He looked down at her and smiled, giving her a quick wink. She blushed and leaned back against him, shyly tucking a loose strand behind her ear.

"Such a tease," she sighed.

"Who, me?" Eugene asked, raising an eyebrow.

"Yeah, you." Rapunzel giggled. He chuckled with her and continued stroking her hair.

"Hey, Sunshine?"

"Yeah?" She asked, glancing up at him.

"What were you journaling about? Before I came up here?" He asked, out of pure curiosity. Rapunzel began to blush, pulling her braid over her shoulder and playing with it nervously.

"Oh! Um… nothing really.." she lied, as her boyfriend looked at her in a way that said he didn't believe a single word she said. Eugene was good at reading Rapunzel like a book he'd read over and over. You also can't lie to a professional thief cause they've told every lie that probably exists, especially Eugene Fitzherbert.

"Let me see," he said teasingly reaching for her book.

"Eugene!" She squeaked, trying to beat him to the book. But he being the former thief, he swiped it before could touch it and held it over her head in a teasing manner. "Give it!"

"Why won't you let me see what you've done so far?" He asked, holding it higher as she tried to reach it. Rapunzel pouted cutely, blush still painting her cheeks.

"Because it's embarrassing!"

"So you did write stuff today," He said coyly, leaning closer to her face, putting his free hand under her chin and still holding the journal away from her.

"Oh...be quiet," she said, pulling him by the jacket collar again and kissing him softly, and he returned it back with a smile.

"So.. can I see?" He mumbled on her lips, still playing keep away with the book as he pulled her close with one smooth swoop of his arm around her waist. Raps always crumbled at Eugene's smooth moves and sweetness with her, she finally caved.

"Fine," she replied on his lips, parting from him, defeated again by the charming Eugene Fitzherbert. He sat back against the back of the shelf and flipped through the book, carefully inspecting the pages leading up to today. She knelt beside him, the anticipation of him finding today's entries killing her. She doodled the two them, doodled portraits of him from many angles, and basically wrote a bunch of sappy stuff about him and how much she cared and loved him. She could tell he found it when his cheeks burst into a pink hue as he read...and re-read, before flipping to the next page.

"Rapunzel.." he started with a tender tone in his voice.

"Ugh, it's so silly.." she blushed, watching him read. When he reached the end of the entries, he looked at her with the most love filled look in his eyes and his cheeks still pink.

"Blondie…" he cooed, "it's not silly at all.. Geez, I literally fall for you more and more everyday." He said, closing the book and covering his flushed face with his hands for a moment before brushing back his hair with his fingers. He looked at her again, wandering her big, emerald gaze.

"One day Rapunzel.. I'm gonna fall for you so hard for you I'm gonna get hurt," he joked with an airy laugh. Rapunzel blushed bright red, blinking a few times at his words, she tried to open her mouth to say something but nothing came out. He handed her back the journal, and she looked down at it, holding it in her hands. She looked back up at him, biting her bottom lip ever so slightly. Eugene raised an eyebrow at her and before he could say anything, she threw the book over her shoulder and tackled him into a kiss. Even though it caught him by surprise, he held her close, entangling his fingers in her hair. She held onto the collar of his jacket as she dipped her head to deepen the kiss, and Eugene gladly followed. They parted after a moment and they both broke into a smile.

"That's my girl," he said, making her roll her eyes at him playfully.

"C'mere you," she purred, pulling him back in for another deep kiss.

#tangled #rapunzels tangled adventure #tangled tv show #tangled the movie #tangled the series #eugene x rapunzel #rapunzel x eugene #rapunzel x flynn #rapunzel #eugene fitzherbert #writing #fluff #the softest fluff #yeah yeah i know #im trash for this ship

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chromolume · 5 years

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for the music ask: all of them. MOOHAHAH

gah!

1. your favorite album opener

found this hard to come up with for some reason but i’ll go with Prologue from Follies

2. a song starting w/ the same first letter of your first name

Rapture - Blondie

3. a song outside of your usual genre

Be Careful - Cardi B

4. a song that reminds you of your favorite season

this whole album: 矢野顕子の長月神無月 / Nagatsuki Kannadsuki by Akiko Yano

the title is the ninth and tenth months of the old lunar calendar, roughly september and october. my favourite song is 達者でな (which you might translate as... Fare Thee Well?) at 22:16 in the album. maybe my favourite album by her.

5. a song from a lifelong favorite artist

Colour and Light by Stephen Sondheim

for the charlies out there it’s from a weird conceptual biomusical about georges seurat. there are more epic and tear jerky songs in this musical which i love as well but the way this song works as a mini-play in itself and presents a mundane moment between two great characters makes it enduring for me.

“and he burns you with his eyes / and you’re studied like the light”

your current “on repeat” song

tbh Ständchen by Schubert

a song your friend introduced you to that you ended up loving

Rumbar - Missfits ;)

a song that speaks the words you couldn’t say

Fuck the Pain Away - Peaches

a song that captures your aesthetic (can be ideal!)

Alabama Song ...I love this recordings creepiness and also the rare high-voiced lenya. anyway. brechtsthetic.

a song about the place where you live

i hate this song

a song from an international artist

Pitbull?

a song you can scream all the words to

Der Erlkönig

MEIN VAAAAAAATER MEIN VAAAATER

a reboot of a song/songs you already loved (remix, mashup, acoustic, etc.)

this killer killer strings arrangement of 気球に乗って / Riding a Balloon

a song with the name of a place in the title

My Lagan Love

a song that reminds you of travelling

The Rocky Road to Dublin

your favorite childhood song

Just Like A Pill - P!nk

it holds up!

a song that reminds you of a good time

Get This Party Started - P!nk

a song that reminds you of a bad time

Family Portrait - P!nk

a song from an artist whose old music you enjoy more than their new music

So What - P!nk

a song that empowers you

Worship - Lizzo

a song from a local artist

the closest i can think of is The Cranberries from Limerick

a song you related to in the past and present, but for different reasons

hmm.... too hard

your favorite cheesy pop song

Mädchen - Lucilectric

a song from a soundtrack (musical, movie, video game, etc.)

2046 Theme

the song currently stuck in your head OR the song you are listening to right now

currently listening to 2046 theme ^

a song that taught you a lesson

Ballade vom angenehmen Leben (Ballad of the Comfortable Life)

it really wants to teach you a lesson

an instrumental song

Tibetan Dance - Ryuichi Sakamoto

a song you always skipped, but ended up loving once you listened to it

the only song i consistently skip is i don’t know how to love him from jcs and i still hate it

your favorite album closer

ふなまち唄 / Funamachi Uta

OBVIOUSLY

your all-time favorite song

Fuck the Pain Away - Peaches

dam.... what a solid list of songs

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laurenashleybulka-blog · 6 years

Photo

All of these pictures were taken of rock and roll legends, Queen, Debbie Harry (from Blondie), and David Bowie, done by photographer Mick Rock. These pieces all immediately grabbed my interest by capturing the lives of legendary rockstars in an enticing light. Many of these works show an emphasis on the private lives of mysterious stars, especially Bowie. All of these works use color as their main focus, as well as an importance on the contrast between the figure and their surroundings.

My favorite picture is the portrait of David Bowie making eye contact with the camera through the mirror. The work reminds me of the Rococo painting The Toilet of Venus, by Simon Vouet, creating a sense of intimacy between Bowie and the viewer. The colors of the work are warm and enticing, contributing to this sense of closeness and informality that exudes from the work as a whole. As a fan of all of these musicians, these works capture them all in a different light, and are all iconic pictures that can be easily recognizable.

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toyahinterviews · 3 years

Text

TOYAH TALKS SOLO

This interview was released with the SOLO box set in 2020

THIS BOX SET KICKS OFF IN 1985 WHEN YOU HAD OFFICIALLY GONE SOLO. HOW DID THAT FEEL AT THE TIME? TOYAH: It's quite terrifying becoming a solo artist, even though up until 1985 for seven, eight years the band was called Toyah. But we were a band and we all composed together as a band, and eventually as what happens with everything where you've got a very dominant lead singer - happened with Debbie Harry and Blondie, it's the record labels only wanted me. And it was kind of heartbreaking at the time because not only did I have writing bonds with my musicians, they were my friends as well and they were long friendships but I think there was an inevitability about me going solo. I’d done five incredibly successful albums. I was the main top line writer and the lyricist. So I was creating melody lines as well as the lyrics. So it felt natural as well as quietly terrifying to go solo. And the first solo album was "MINX". I was signed to CBS Portrait label. I was working with Christopher Neil, the legendary record producer, and he allowed me to continue writing with people I knew and trusted. My long-term collaborator Simon Darlow was also involved on that album.

And it was the beginning for me of a very long creative period in my life where I managed to walk away from the predictable, from formulaic writing and go into more experimental areas as well. Christopher Neil was absolutely adamant that I was going to do two covers. He was in love with two songs – “Sympathy” and the other one was “America For Beginners” and “World In Action” - there were three. I'm not sure if they all made it onto the album, but they were fantastic songs. Absolutely brilliant, ahead of their time songs.

“Sympathy” allowed me to really express myself as a adult serious vocalist, who started in the punk movement, who started as an expressionist vocalist and it allowed me to be the musician vocalist. And what I mean by that is interpret the song note by note, stave by stave. There was not room for Toyah to be expressionistic in that performance. I had to be how I'd be in the West End, say, if I was starring in “Cabaret”, which I've done, is you are following someone else's notation. "Sympathy" worked beautifully and is a magnificent piece. And we had an orchestra. It was relatively hard to sing emotionally because I get very emotionally effected by music and sometimes I just can't stop crying. It's caused numerous problems in the past, we just had to kind of approach the song daily until I could stop being over emotional and could just get on and do the job and sing it. "Sympathy" was one of those experiences. "America For Beginners" - it was such a gift to do because I literally only was required to virtually whisper it. And it has this huge explosive chorus where we employed backing singers, which was new to me because in most of my solo work and with the Toyah band I did every voice. I did all the backing vocal layering as well as the main vocals but Christopher Neil likes to work with backing singers and on "America For Beginners" all I had to do was control my breath and literally whisper the song.

It was a really satisfying thing to do, which kind of led to me taking that further with the albums "Prostitute" and the "Ophelia’s Shadow" and “World In Action” which is just a really great middle of the road, very eighties song but I'm glad I did them. They didn't feel like cover of versions to me because I was singing them.

My voice is very unique. It's obviously my voice and I was grateful for the experience. "School's Out" was one of my all time favorite songs. "School’s Out" kept me sane when I was at school. I was such a big Alice Cooper fan. "School's Out", "Billion Dollar Babies", "Second Coming". Those are the first albums I bought. I absolutely have always been in love with Alice Cooper and everything he represented. So "School's Out" was with my choice. THE VISUALS ON THIS ALBUM WERE VERY STRIKING. WHAT WAS IT LIKE TO CREATE THE VIDEOS AND PHOTOS?

TOYAH: I think it was Morris Oberstein who came up with the idea of pairing me with Terrence Donovan and I think Terence Donovan wanted to work with me. Now, Terence Donovan created the iconic supermodel. He, for me, was the one that created that term later on ... while I'm barely five foot tall and here he was stuck working with me when he was used to working with women over six foot. But my favorite designer was Issey Miyake. Issey Miyake agreed to let me wear his structures. Now, there's this bamboo structure on the front cover of "MINX", which is basically a jacket, but it's made out of bamboo, there (on the cover) with the fiberglass breast plates which he made for Grace Jones. And the one I was wearing believe was modelled on Grace Jones.

It was fabulous being able to use his creations and work with Terrence Donovan as with all iconic fashion photographers and I've worked with them all briefly or many times over. They're very irreverent to you. They swear at you, it's an experience - you got to be tough. And Terrence Donovan liked me enough to want to shoot the video to “Love’s Unkind” (sic) (EDIT: She means “Don’t Fall In Love”) and I discovered the rubber dress (above), which was a relatively new thing back then. I just said "I want to be wearing this" because I'd never been particularly feminine in my work up until then and I felt that this really feminised me for “Don't Fall In Love” and it was just an absolute dream come true to wear it. THE FOLLOW-UP ALBUM "DESIRE" HAD SOME REALLY FRESH SOUNDS SUCH AS A STICK GUITAR ON "REVIVE THE WORLD". HOW DID THIS COME ABOUT? TOYAH: When we made "Desire" I'd been married to Robert (Fripp) (below with Toyah) since May of that particular year. And the first thing I did when I met Robert was start to learn his tuning. Robert works on a guitar, but all the strings are a fifth higher than normal tuning. So I had to re-learn all that tuning to write and play guitar. And that really changes the whole emotional approach of the music. It makes it much tenser and it kind of heightens the emotion of the songs. So most of the songs for "Desire" were written in that tuning and that was the way I wanted to go. If I've done something once, I then move on. So the albums prior to "Desire" they're done, they're done and dusted. They sit there in their moment in their time. I'm not interested in making a formula from the last album. So the writing on "Desire", which was mainly me, with things like "Revive The World", "Sun Up", "Moonlight Dancing", they were all done with this specific kind of tuning that Robert invented. And then I would take the riffs to Robert and his team of Crafty Guitarists, which is a guitar orchestra and I'd say "let's take this somewhere". And we went into Abbey Road and had all these guitarists in a circle and put the backing tracks down.

Originally for "Desire" I wanted to go back to the producer Steve James (who produced "Sheep Farming In Barnet" and "The Blue Meaning") because we had a particular relationship that was very anarchic in the studio. It was very organic. We would just take something and use it in a way I'd never been used before. And he understood how I like to build banks of vocals. But Steve James by this time was working in and living in Australia and was working in the dance movement. So it was just wildly inconvenient for him to get to England.

And Mike Hedges, who has a fabulous pedigree of working with Sioxsie and The Banshees was available and agreed to come and produce the album, which was for me, you know, big pedigree stuff. That was fantastic. And Mike was very sympathetic towards what I wanted to do with "Desire". I wanted to move into a place that I had never worked in before, a complete audio spectrum I'd never placed my voice in thus all the guitars we were using, all the layering we were using. It was to be not to take Toyah in a new direction, but for Toyah to experience a new direction. And we recorded many songs in this style and Mike Hedges and Haydn Bendall completely supported this and it may not have been super commercial, but it was representative of the artist.

So we were working in Abbey Road and it was a very exciting place to be. I mean, Abbey Road is the centre of the universe when it comes to music. And we were in the Beatles studio, we had the Beatles four track machines, (they) were actually in the studio next to me as I sang. So the history there was just fantastic. But slowly A&R men started to sneak in and also the album and I think the label I was assigned to then got signed to Virgin and Virgin only wanted super commercial hits. And that wasn't the place I was mentally at. I was too interested in taking writing in a new direction, but what we tried to do with the box set is introduce the songs or re-introduce the songs that the record label took off, which I think give continuity back to the album. THERE IS A TRACK IN THIS BOX SET CALLED "MESMERISED" THAT FANS MIGHT NOT KNOW ABOUT. CAN YOU TELL US ABOUT THIS TRACK? TOYAH: I wrote "Mesmerized" with Nicky Graham just after he was writing with Bros. And I I've always had a good relationship with Nicky and I love this track. I absolutely love it. And we could only find it on a cassette. The record label we think destroyed the tapes because I was just adamant that this was the single and we managed to find this rough mix and to re-treat it. And when I heard it for the first time, after 20 odd years ... it just broke my heart because it's so right, it is such a great song full of potential, which I was not allowed to complete.

And I think it's a great story for women to know and for young artist’s to know about whether you stand your ground and have a record label refuse to release your album, or you go with the record label. I went with them record label and … that bitter taste never goes. But that said, there are for me magical things on the album "Desire", like the opening track "Desire" and "Revive The World" and "Mesmerized", which I think are astonishing songs that I will be proud of on my death bed. But I was made to feel like a criminal for not liking "Love’s Unkind". I mean why pair someone like me with a song like "Love’s Unkind". I'm extreme feminist. I don't like gender specification and you've given me a song called "Love’s, Unkind". I mean, we were at war over that, war, but I went with it because I knew if I didn't release this album ... obscurity was waiting. It was tricky. It was very, very tricky.

Ironically, when I was making "Desire", I got cast by Gillian Lynne, the world famous choreographer, to star as Sally Bowles in "Cabaret" in the West End (below), which was a completely new departure for me. And I felt … there’s moments in the music world and your career where you need to just step off, off the spinning wheel and say "I need a bit of time somewhere else to re-evaluate everything" and "Love's Unkind" was proving one of those moments. And I agreed to go into the West End and play Sally Bowles. It was a phenomenal experience for me because even though I am a trained dancer, it doesn't mean I am a dancer and here I was starring alongside Wayne Sleep - world famous Wayne Sleep as his leading lady.

And it was the kind of control and confines that I needed to have a bit of solid ground to stand on after a very bad experience with the record label that had become a bit dictorial. And I think it also helped the industry focus on who I was as well, because I've always been a bit mercurial and a bit off the wall and I think that still remains, but I think by doing Sally Bowles it just helped the entertainment industry see me in one place for a while. It worked on that level. And then I went onto the National Theatre to do “Three Men On A Horse, then went on to make a movie called "Midnight Breaks". And all of this while "Desire" was released to the world with "Echo Beach" as the main single off it. It was not commercially a bad time at all, but inside I was rebelling big time. IS THAT WHAT INSPIRED THE NEXT ALBUM "PROSTITUTE"?

TOYAH: On "Prostitute" I was raging. Absolutely raging and to put "Prostitute" into context it wasn’t just about what happened on "Desire". I mean, we are talking about 33 years ago. Robert and I kind of eloped and got married and we were both managed by the same management and we were both on the same label and both management and label utterly were outraged. So outraged that the only time they'd ever talk to me again was to ask am I going to have babies? And am I going to settle down and be a housewife? Thus "Prostitute" came about. Now, the big irony about "Prostitute" is it's my biggest seller as a solo artist. And it was my biggest critically acclaimed album of my whole career. So let's put that in context first. Biggest earner as well. So I just thought I need to work with a small budget, I had £10 000, I didn't want anyone telling me what to do. I had worked with Steve Sidelnyc on a project. He a drummer programmer who went on to do all Madonna's programming. I talked to him. This was after a meeting with Alex Patterson of The Orb, where Alex was helping me move house. It's a bizarre world when you're not in front of the camera. And we came up with the conclusion of doing this experimental sound. He went on to do "Pink Fluffy Clouds" (sic) (EDIT: She means "Little Fluffy Clouds") and I went on to do "Prostitute". So I'd been working with Steve Sidelnyc. I said "would you come and do this album with me? It's not gonna be like anything you've done before - we are literally going to program sequences and drums for a set amount of bars, I will set the precedent of what those bars are, and then I'm just going to build vocals on top of it."

So we went away to a small studio in Dorset for two weeks, and we just heads down program, program program. I wrote on the spot. I wrote as we recorded and did all the layering and did the additional instruments and came up with "Prostitute". And it was a really angry album about the fact that just because I got married I was supposed to give up this really illustrious and brilliant career. Supposed to put my talent on a shelf along with all the awards, having made people a lot of money and forget who I was. I was raging. "Prostitute" is my is creative machine gun. It's a metaphor for the absolute fucking anger I was experiencing. WHY DIDN’T YOU FEATURE ON THE COVER OR DO ANY VIDEOS? TOYAH: I did the artwork for the album. I drew it myself. I set it up, sent it to the record label. And it was a Victorian representation of a naked woman being dissected in the lab. It was very heavy. So you had the basic kind of outline of the woman. She was opened up, completely dissected and each organ had a different name. And that's what I wanted it to be. I wanted it to be a woman that had been taken apart metaphorically by men and by the industry. When this album was presented to the sellers and the bookers, there were mass protests. People got up and walked out and they refused to touch it, but ironically as soon as it was presented around the world … I mean, America went bonkers for it.

I could have had a career in America being an angry woman. But I always feel an album sits alone in its space at its time. And I just didn't want to continue with that amount of anger in me and after "Prostitute" I just moved on. Also the record label did not tell me how well it sold and how well it was received. I mean, Billboard Magazine gave it five stars and they said this is the most innovative album any artist has ever released. They said it was an antidote to Madonna, which for me is a pile of bollocks because I'm a big Madonna fan and it's nothing like Madonna but it sold in its tens and tens of thousands. And I had sack loads of fan mail mainly from professors in universities saying that this is one of the most cohesive and precise things they've ever heard a woman do. I mean, it was just astonishing, but people didn't ever tell me about my successes. "MINX" apparently was hugely successful. No one told me and "Prostitute" was hugely successful and no one ever bothered to pick the phone up and tell me.

"OPHELIA’S SHADOW" MARKED YET ANOTHER SHIFT IN DIRECTION. HOW DID THAT COME ABOUT? TOYAH: Well, "Ophelia’s Shadow" – after "Prostitute" I felt I didn't want to be so angry. I felt I wanted to be more poetic and descriptive. And I was again working with musicians who trained with Robert. So we were again working in … we weren't working in open chord keys. We weren't in standard E tuning and we were using cello tuning, which again, changes the tension of the songwriting. And I was left alone to write this album. I was working with Trey Gunn, who went on to being in King Crimson, Tony Geballe, who went on to run a theater in New York as a musical director, Paul Beavis, who I believe was in The Lemon Trees at one point. And that was the team. And we again would get together in the studio. We would write in an afternoon, I'd go away and that evening I would construct the song. I would piece it together. I would then do the lyrics and the next day we'd record it. Very organic. I believed in and I still do using that first voice that comes into your head. So rather than sit down and write a piece and go away and just meditate over it for months on end, which is slightly what Simon Darlow and I did with the (In The Court Of The) "Crimson Queen" …

With these solo albums in particular I would listen to that first instinctive voice as the truth of what that song should be, which why some of them are quite off the wall and go in quite strange directions because that's the internal voice and that's very much how "Ophelia’s Shadow" came about. I really do feel that "Ophelia’s Shadow" truly represents me because I was completely at the helm. The writers I worked with were very respectful of me and my ideas and they broadened the ideas rather than negated them. So they said, "well, we could take this in that direction". And I would sing the guitar lines or the baselines to them and they would pick that up and go with it. So they were very respectful of what I was trying to do and what I wanted to build. So I do think this is a very true Toyah album. "Kiss Of Reality", they asked me to guest - they all lived in Berlin and I just got a letter saying, would I come and sing on two or three of songs of an album they were making? They didn't have a band name at the time and I was up for an adventure. I felt a bit nomadic at this time. We're talking about around 1991-92. I just finished touring a play called "Amadeus", which was a huge critical success for me.

I'd been working with Peter Shaffer, the playwright and in the daytimes I was performing in prisons around the UK, doing a one woman show about Janis Joplin. And then in the evenings I was starring with an actor called Richard McCabe in "Amadeus" and I was playing Constanze, his wife, and I got this letter saying, would I go to Berlin and just record a few songs? And I said, well, I'm going to pack my suitcase and let's see what happens and I stayed a year.

We wrote a whole album, and I became one of the shared writers on the album and the very interesting thing about living in Berlin was the night culture, because we slept from seven in the morning till about four in the afternoon. Then we'd drive to a nuclear bunker, go underground and work all night, which I found really oppressive and very hard - I'm not night person - and then record. And we did a few gigs, which were very unusual for me because people listened in a way I wasn't used to. So we played a few gigs on the outskirts of Berlin and then we went to Warsaw where Chick Corea was hosting a jazz festival. And we played in Warsaw where people were absolutely fascinated by me and I was doing lots of TV and explaining about the Janice Joplin show, that I'd been into Northern Ireland and performed in the Maze (a prison) in front of all the political prisoners. And the extraordinary situation I was in there where I was only allowed to be face to face with the male prisoners. Yet the female prisoners in the Maze were kept separate from me and I could only communicate with them by camera. Oh yeah. We're talking about a different time and a different world. And the intellects who were interviewing me in Warsaw on TV picked up on this, they saw this immediately and the inequalities of it and they were fascinated that I was playing Janis Joplin, that I was married to Robert Fripp, but I was in this band from Berlin.

And when I was introduced on stage that night, having done this wonderful interview where they really saw me, I was introduced as Roberta Fripper and I grabbed the mic and I said "I'm Toyah Willcox". You know, it's just something I have fought for so long - the identity of the person. I just found all my career is … just see the bloody person - I've won enough awards. I mean, this is going to put the interview in the context of this week, but Lily Allen txting, you know, "misogyny is still in the world". It's been there for a long, long time.

"Sunday All Over The World" happened around the same time as "Ophelia’s Shadow". In fact it crossed over and because Robert and I were managed by the same people and we're on the same label at this particular time they were only interested in - how can I put this ... investing and touring anything with them ... Robert, but not me. They were determined I was going to become a housewife and have babies. They just didn't ... I was invisible, completely invisible. And even though "Prostitute" had sold so well and made them hundreds of thousands of pounds … they said, okay, "well, Robert come form a new band called "Sunday All Over The World" - Toyah happens to be in in" … Happens to be the key writer. That's what it was and it's just very interesting having married an internationally renowned musician but I instantly put myself in the corner with the dunce hat on it's as simple as that

"TAKE THE LEAP!" SAW YOU EMBRACE YOUR EARLY PUNK ROOTS AT A TIME WHEN GRUNGE AND NIRVANA WERE BIG. HOW DID THIS COME ABOUT? TOYAH: In the 1990’s I was approached by what was known at the time as an "über agent", a wonderful man called John Roseman who was the director for the video "Bohemian Rhapsody", did all of the Eurythmics videos as well. He approached me and he said "you you've got a future in television. I want to be your agent". And I was living in Berlin doing "Kiss Of Reality". And he said, "come on over, I have to see you" and within a year I was presenting BBC "Holiday". I was going on "Songs Of Praise". I was doing BBC2 documentaries about art, stuff like that. He absolutely lifted me into the A-list stratosphere of TV presenting. And I stayed up there for 10 years.

And it was just, I mean, you could not second guess that would happen. And that was all thanks to him. So even though I was working every single day, traveling the world, I realized I'm still a singer and a writer. And around 1993 - 94 as well as doing all that presenting, I was actually starting at the Chichester Theatre and getting awards for that. I thought I've got to sing. I have to sing, you know, and in the nineties artists like me were told to re-record the hits. And if we did re-record the hits then we could put new material on that. So I had been making a documentary about a young band called Friday Forever in Salisbuiry, which is where I was living and they were phenomenal. They were so good. And I said to this band "could I borrow you? And could we record an album, a double album of new material and old material". And I love their sound. It was really thrashy, really nineties. Their playing was astonishing considering they were teenagers.

And we hired a farmhouse. The drums went in one room. I did all the vocals in a barn and we put each musician in a different room in the farmhouse, and then we mixed and recorded live. And I think it has a beautiful sound this album, it's just the instrumentation, their arrangements, everything is gorgeous.

And I did some writing with Nick Beggs (of Kajagoogoo fame), Cris Bonacci (from) Girlschool and we did these new songs. We did the hits, I got signed to a label in Japan and that's the story of that and that allowed me to get back on the road. I mainly toured theatres and that kept me going kind of through the nineties. But the big change came for me in 2002 when I got an email off of promoter saying would I consider doing an arena tour?

And at this point I thought, you know, everything was over. I was just being an actress. And I've not looked back since it's just grown and grown and grown since then. And the last 17 years have just been blissful, absolutely blissful because my audience are really young now. Now they're kind of students and 25 year olds. And obviously there's those that are my age group in their sixties who know who I am, but I could not second guess the pathway that my career has taken me on.

IN 2001 YOU MET TIM ELSENBERG. HOW DID THIS HELP YOU REIGNITE YOUR LOVE OF SONGWRITING?

TOYAH: My husband, Robert Fripp and I've always been very close to Brian Eno. And that kind of introduced us to Brian Eno’s circle. And I can remember I went to the Victoria and Albert Museum to see a show with a band headed by Tim Elsenberg who's just a phenomenal songwriter. And I just loved his music and he agreed to meet up with me and do some writing. And I hadn't been writing for myself for quite a while. I've been writing for other people like Trey Gunn and I've been writing with Tony Banks of Genesis and I'd been writing for TV and movies. But Tim Elsenberg said, "well, let’s write for you".

We worked for a couple of weeks and I just absolutely love working with him. He was young and he was vibrant and his musical vocabulary was just infinite.Real, real star and beautiful kind of adult sensibility about what he did. And I love what we wrote together and I loved his voice. So we took his band. We booked a studio in Moseley in Birmingham and we recorded four tracks and decided to release them. And they came out for my arena tour in 2002, which allowed me to kind of sell them directly to the audience. And when you're playing arenas you're doing lots of very big sales. So it became a fan base EP ("Little Tears Of Love")

THIS BOX SET FEATURES QUITE A FEW OF YOUR OTHER COLLABORATIONS, SUCH AS TONY BANKS. CAN YOU EXPLAIN HOW THAT HAPPENED?

TOYAH: Tony Banks and myself were both working on a movie called "Lorca And The Outlaws", which I believe I had Johnny Hallyday starring in, but I only was shooting for a couple of days at Pinewood (Studios) because I was playing a hologram in it. And Tony Banks contacted me and said would I come over to his studios and write a song with him? And I just jumped at that. That was wow, fabulous! What an opportunity

And I came up with a lyric called "Lion Of Symmetry" and it, I don't know why, because it was Tony Banks, I felt it just really allowed me to tap into my youthful inspirations. And I first saw bands like Hawkwind, Black Sabbath, Led Zeppelin when I was 11 years old, I used to break into venues in Birmingham and just go and see these bands. You know, people never stopped me. I'd get in through the fire exit.

So to suddenly be working with Tony Banks and that kind of musical background, I realized that that kind of creativity was in my DNA. And came up with "Lion Of Symmetry" which allowed me to just create layers and layers of vocals over this slightly African themed song. And I had a fabulous time with Tony and in the studios. It ran so smoothly.

We got the vocal on the first take. He even had me singing in keys that were completely against the original key just to see if I could do it. And I could.And he said, "well, we can't use it, but I really loved doing it". It was a very, very good creative experience. I think Tony has said it's one of his favorites.

THE LAST TRACK OF THE WHOLE BOX SET IS CALLED STEP INTO THE NEW WORLD. TELL US ABOUT THAT?

TOYAH: Well, as an actress I'm in about five independent movies a year. I just go from movie to movie. I'm also a bit of a fixer on these movies. I help raise funding for small British movies. And I'm probably what's known as an "angel" because I'm never credited and that's fine. That's never agreed for credits anyway but I always help people out because I have really, really good contacts. With this particular film that "Step Into The New World" is from, it was originally called "The Kaleidoscope Man". It's now called "Invasion Planet Earth" because that title puts it in a genre and it's just gone crazy.

Small, independent movie made for under £50 000 getting huge reviews. It looks absolutely astonishing. The computer generated effects are breathtaking. And I play a doctor in it and as always the directors come to me when they need some advice or they need kind of helper producers, and they said "we need to broaden this. We need you to sing on it". And I said yeah, that's fine. I don't have time to write anything because I've just done so many movies this year, and I'm still in the middle of a movie now. I said "if you can present me with a song, I'll come and do it."

So Simon Cox and Alan Snelling came up with this wonderful song. That's like Vangelis meets Gloria Gaynor or something like that. It's just sowonderful. And I went into the studio in Chipping Norton and just put it down - first take. And then Alan Snelling added these wonderful Vangelis type keyboards. I think it's really lovely. It's so lovely.And they recorded me as I was singing it. And that's part of the video and stuff like that.

But I think what I love about "Invasion Planet Earth" it's part of who and what I am, and I'm in no way an underdog, but I'm someone that isn't mainstream. And I just connect with those people that are tenacious, who never let go, who keep true to their voice. And they just remain creative without relying on the bedrock of the super commercial. We just keep going. And this particular film and me were made for each other.

TELL US ABOUT THIS FRAGILE MOMENT?

TOYAH: Oh boy, I loved doing "This Fragile Moment"! I absolutely loved it. I've had a long relationship with Estonia. In 1992 when Estonia became independent I was a leading actress in the first ever movie to be made there in the year of its independence. Everyone involved on that movie was treated like royalty. People were so grateful for us being there. And then I managed to get Robert to work again after his long retirement by going over there and doing soundscapes. I contacted the embassy and I said, look, if you approach Robert this way, I can get him to Estonia.

Then Robert wasn't available to play at the President's birthday. I then contacted the embassy again and said "I’ll put a band together to play at the birthday of the President" and they said yes. So myself, Bill Rieflin, the drummer of REM, and my MD, Chris Wong (bwloe with Toyah, peforming as The Humans in 2011) went over to Estonia. We wrote 50 minutes of music in Estonia, recorded it, and then performed it live to the President. While I was working quite a lot in Estonia Robert Jürjendal got in contact with me and said would I come and do an improvised album with him?

This was such an easy thing for me to do because my source of inspiration internally comes from Estonian literature, which is like no other literature in the world. They have short story writers that have such poetry and such depth of colour in the composition of the stories that I always refer back to Estonian writers for my inspiration.

So I went over to Estonia with my MD Chris Wong and I had a bible of words, which is usually how I start an album. I just listened to that instinctive voice and I write and write and write, and I never stop myself and I come up with a bible and that is always a point of reference to leap frog into the actual song. So I arrived in Estonia with some of the best words I have ever written and we went into the studio and we improvise for a week.

And unbeknownst to me, the headphone mix I was working to only had me and Chris Wong, my guitarist, and they deliberately didn't put the other instruments in. And I thought, you know, this is pretty bare stuff, but I just kept going. And then I realized that they were all kind of tuning and they were all working in a set key. And I was moving keys because I would suddenly get to a natural point to progress into a chorus.

So Chris Wong, who has kind of ESP (extrasensory perception) with me was moving into new chord structures for choruses. And I was too, and the others were remaining in the same key, but what was absolutely wonderful is it worked. It's bizarre, but it works. And that for me was possibly the most natural progression from "Prostitute" in that it's purely instinctive . And we just allowed it to happen in the moment.

AND HOW DOES IT FEEL TO FINALLY RELEASE YOUR FIRST EVER BOX SET?

TOYAH: I am so grateful for this box set and I'm so grateful to Demon Music for seeing me as an artist, because Demon have been for me what the majors (record labels) should have been for me. They've never questioned me. They've always talked to me with such respect as an artist and believe me, that's rare. It's rare. I'm grateful. Eternal gratitude.

And I think what is lovely about these solo albums is they are very much Toyah genre. They don't work ... Can't put "Prostitute" next to an ABC album or a Tony Hadley album. You just can't do it.

This is Toyah Wilcox, the punk rocker, growing into a woman maturing into an adult artist and Demon have allowed it by putting this box set together. And I think the audience for this box set are the true Toyah fans who really liked the fact that I'm off the wall and anarchic in my creative process. And that's who it's for. These are the ones that turn up to my punk gigs and it's purely experimental, but it is who and what I am.

LISTEN TO THE SONGS & ALBUMS

MINX (1985)

Lion Of Symmetry (1985)

Desire (1987)

Prostitute (1988)

Ophelia's Shadow (1991)

Sunday All Over The World (1991) A selection of songs on Youtube

Kiss Of Reality (1993)

Take The Leap! (1993)

Velvet Lined Shell (2003)

This Fragile Moment (2009)

Step Into The New World (2019)

Solo A Selection Of Songs by Official Toyah (2020)

#toyah #toyahwillcox #toyah willcox #toyah solo #toyahsolo #boxset #box set #toyah interview #toyahinterview #toyah2020 #toyah 2020 #thetoyahwillcoxinterviewrachive #the toyah willcos interview archive

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bleederziine · 7 years

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“I’m Compelled To Do It”; an Interview w/Lisa Jane Persky, Photographer, Writer, and Artist

In high school I was going to move to New York and grab the city by its throat. I was going to have at least 500 friends, own a punky couture boutique, and hold gothic open mics there every night and maybe date a Stroke for a few months. My imagination was like an entire universe of different identities, with tiny planets for NYC, Paris, 90s Seattle, 20s Greenwich Village. My favorite magazine was Pitchfork Review, and when I read Lisa Jane Persky’s piece, “X Offenders: A Typical Day in the Life of an NYC Proto Punk”, I got really jealous of her and then I got over that and wanted to know more. So I sent her a pouring my heart out email about how boring my neighborhood was, and how her story gave me hope for my own “New York story.” Sappy, right? Also, it was likely the truest thing I had ever written, before or since. As an over emotional messy artist, I’ve learned that the only way for me to get anything done is to rip open my heart and be as (healthily!) vulnerable as I can. In my experience, this has led me to knit a sweater for my favorite lead singer (Luke of the Walters) throw pads at Mario of the Orwells, and interview one of the coolest people I know.

Hi Lisa! How are you?

Lisa Jane Persky: I’m fine, just doing so many things at once! How are you?

I’m good! What are you working on right now?

LJP: I’m going to do a ten-day residency in London in June with my friends at Underground, a subculture inspired brand that makes some cool favorite stuff of mine. We found each other in 2015 and have been plotting something to do together ever since. June is Music Month in the UK and the residency will first of all be a show of my early photography, mostly of the Blondie days, and CBGB's time, really early, like 74-75. Along with that I’m programming various events, so different artists will come, DJs, musicians, underground comic book illustrators, all along the lines of subculture and music.

What made you want to photograph Blondie, since you were already familiar with them as friends?

LJP: Mostly it was access to a camera! I had a camera my dad used to use, and the band was just so cool looking, and I was going out with Gary Valentine at the time. Chris and Debbie were living in my friends loft, which is now known as the Blondie loft on the Bowery, where the band also rehearsed, and up there on the fourth floor was a big, torn white backdrop for portraits. It all started with an *official* session where I took 5 rolls of film in the loft, and those were pretty cool so I just kept going.

What is a good picture to you?

LJP: I like looking at people, studying them and observing what they do. When I shoot portraits we create an atmosphere together. I try to make a comfortable space for the subject to play, to be who they are with me, in spite of my lens I really enjoy seeing that, and the collaboration of it. It has to mean

something to me and I try to frame in the camera, and not edit it later. My eyes really were the frame then. Everyone looks so beautiful, was so young. When you’re young, you think, “we’re all so that!” And they were. Debbie’s a beautiful woman. She makes a picture look good, without much effort. I’m all

about making Instagram a place for my work right now. I like the shooting for that square shape. I love seeing other people’s photography evolve there.

Who were some of your other musical subjects?

LJP: I photographed Martin Rev of Suicide, I did a series on keyboard players, Cherry Vanilla’s, Zecca, and Richard Sohl, Patti Smith’s keyboard player, Kristian Hoffman of the Mumps, Lance Loud and the other Mumps, The Fast, mostly my friends and mostly portraits. I prefer to see live music rather than photograph it.

Yeah! I photograph shows sometimes and I prefer to ask to take pictures of the band after because I feel like the subject will give me more than when they’re thinking I’m just an anonymous photographer. What motivates you as an artist?

LJP: I’m compelled to do it, I want to do it. That said, writing is harder for me than all the other things I do. I’m not really sure why. I think it’s because there’s a loneliness to it that the others don’t have. Even when I’m out photographing my landscapes, which I call Lonescapes because there are no people in them, I never feel lonely. But there’s some kind of foreboding loneliness in writing that keeps me away from it. But I love having written, which is how most people probably feel.

”The picture of me is a photo booth pic. I’m wearing an Eagle’s Nest T-Shirt. The Eagle’s Nest was a gay hardcore leather bar in the Meatpacking District (no girls allowed) and their symbol was that Eagle on the shirt, which is the eagle that in part inspired Arturo Vega to design the Ramones Eagle. There are all kinds of other stories out there about Arturo's art but he loved America and being in it, had a great sense of humor about its hypocrisies. The Bicentennial was coming up and that was a very big deal in New York City with sailors from the fancy wooden Tall Ships arriving and all. Anyway, I thought you might like to see that and know about it. The Eagle's Nest is now called The Eagle and it has moved uptown from its old location.”

What do you get out of making art?

LJP: The most important thing is what connects me to different people. I like being able to be in the world with others to share stories with people who aren’t necessarily like myself. Each of these things I do connects me to others in different ways. I value that, making and having friends and exploring the world through art and music together more than anything. But I also have no idea what else I’d do. I really don’t.

So the way we met online was through me reading your piece in Pitchfork; what made you want to write that?

LJP: Every year my husband and I go to a conference that highlights music writing of all types, a very eclectic mix of people and papers, and I one year presented a paper on my interview with the Ramones, which I did the day after their first record came out. And then I wanted to write another paper, since everyone had been asking me, “what was it like back then?” And I had read something Tommy Dean (Mills), who owned Max’s at that time in the 70s had said in an interview. He said that all the girls who came to the club with or to see the bands back then were either hookers or groupies. And I read that and it made me really mad, because all of us had been working our tails off, we were not hookers or groupies! Not that there is anything wrong with being a hooker or groupie, it’s just that way he characterized all the women. It said more about him than us but that quote coupled with people asking what it was like, made me decide to write what it was like for me. So I wrote that and presented it at the conference, and used photos I had or had taken or found that went with the text, so people could get a three dimensional look at what a day in the life in downtown New York back then was like.

What was writing for the New York Rocker like?

LJP: Well, that is why I was interested in what you’re doing, because it’s very similar. It was just a bunch of us going to these shows. Early on there was hardly anyone going, just us, the people in the bands and the neighborhood, other artists, our friends and then Alan Betrock. He was older and always a superfan of rock music, especially pop and girl groups. He had a zine before there were zines. I don't know what you'd call them but it was amateur publishing by smart people and he and others like Greg Shaw would

write to each other about records newsletter style sometimes on mimeograph paper because they didn’t even have Xerox machines then and they’d snail-mail it around because it was the only way. So he showed up and we knew he was a kind of force and then it was like “Lets have a newspaper!” and he gave birth to New York Rocker with us as his staff and we wrote about each other and it was much more representative of the downtown music scene in the early '70s than PUNK magazine was. PUNK magazine was great but was its own more specific world.

What do you think was the most interesting thing one of these musicians said to you?

LJP: One of my favorite answers, when I asked the Ramones in July of 1976 what they liked to do when they weren’t making music, they all agreed, and I think it was Johnny who said it, “we like to hang out in stairwells.” And he wasn’t kidding; they liked to hang out in stairwells in Queens. One of the things that was good about being there and these early interviews was you got an idea of who everyone was in an unguarded way except for Patti Smith who always seemed strategic and cautious. It was before anyone else there was famous or known, and no one knew whether they were going to be anyone or not. We were all hanging out with our pants down, there was no hiding going on.

What do you think were punk’s biggest inspirations back then?

LJP: In the beginning, they were all pop bands, really. Everyone really liked pop, and everyone was a fan of real rock n roll, and what we heard on the radio was more like Bread and yacht rock before it was called that, and it didn’t feel like what we grew up with and times were tough and a lot of us were just furious, had a ton of energy that needed an outlet. And then, too, we all liked glam. These things, the pop sensibility, the love of glam and the performative aspects of that and the furious energy was the most visible, in many of the Max's and CBGB'S bands 74-76. In 76 the Sex Pistols who had been influenced by The Ramones but had their own kind of fury and other UK bands started to have an effect. There was a lot of discussion, which I wrote about in the New York Rocker and the LA Weekly, about whether our New York music was punk. And we didn’t think so. We were, most of us, a bunch of punk kids but Punk wasn’t a good moniker for most NY bands.

A lot of your Pitchfork article was also about your acting career. How did you get into acting?

LJP: Yeah, that article was about the time when you could still get an apartment for $65 a month in Greenwich Village. There was a lot of experimental theater in the neighborhood, and this guy who lived in my building was a wonderful, known playwright and all around character in The Village named Harry (H.M. Koutoukas), and he came up to me on the street one day and said, “Darling I've written a play for you. Rehearsals start on Sunday. The pay is $25 a week. I’m sending someone to pick you up.” And I didn’t really have anything better to do, I wasn’t sure what I was doing. It was right after I graduated from high school. The guy he sent to pick me up, came to my apartment, walked me from there to the East Village to La Mama Experimental Theater Club and we started rehearsals, and that got my career started. I was enthusiastic and had a passion for it and even more important, I got laughs. The guy who picked me up and walked me to the first rehearsal of the play was the same person who let Chris and Debbie move into the loft on the Bowery with him. The theaters I worked in were right around the corner from CBGB’s so it was convenient to go to shows after I’d perform. The acting part of my career went on until about 2005. I haven’t done much of it since then but I'd welcome the opportunity to play some juicy part with fun people.

What was your favorite acting role? LJP: Well, that’s a hard question to answer because I’d almost always think, “this is the best job, this is the most fun I’ve ever had!” I loved the film The Big Easy, because I had worked with the director Jim McBride before, and we knew each other pretty well. And there was a preponderance of male characters in that script and I said to him, “you should make one of these detectives a woman. It would be so much more interesting.” We had to convince the producer, and we did, and I basically got to write my own role. And you were in the Golden Girls! What was that like? LJP: Well, those ladies are pretty amazing and admirable, as you might imagine. Bea didn’t like to talk very much. She would come in every morning and say “good morning everyone” and not really talk to anyone all day, unless she had a note for you about your performance. It was quite odd. It was fun, but there were more fun jobs. It was more fun to watch them work. What music/art/other stuff do you like today? LJP: Theres a band called Shame that’s from the UK, and they just put out a record called Songs of Praise. I’ve seen them live and they’re fantastic. They have the spirit that I saw back then, in the mid 70s from all the punk bands that we didn’t call punk. I love Mary Epworth who is putting her own unique ethereal spin on psychedelia. She has a beautiful voice. I love so many artists and musicians that I don’t know where to start listing but I’ll tell you this, at any given time you might find me listening to Rhys Chatham’s Guitar Trio Is My Life! I’ve been listening to Simple Minds again lately. I like Orwells, who I learned about from you. When I was growing up I was the only girl that I knew who had a record player and records. My father worked at a newspaper, so I got a lot of free records. My stepfather was a violinist and he would buy me more experimental music. I always liked noise and I was the only girl I knew who liked prog, and I still like prog. I love Steven Wilson, from Porcupine Tree--but not Porcupine Tree. I like his prog band which goes by his name. I like his work in part because he writes interesting songs about women. No one’s really paid enough attention to that. Prog is leaving behind it’s reputation as a masculine ghetto. Someone needs to write about it. Maybe me, but I haven’t gotten around to that.

Interview by Chloe Graham

All Images Courtesy of Lisa Jane Persky

#blondie #lisa jane persky #punk #70s new york #70s punk #film photography #70s #interview

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mydarlingl0ve · 7 years

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Another update! I’m going to try uploading a chapter a day before I move. I hope ya’ll are enjoying the rewrite so far!

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Nestled deep in the mountains lies a small village at the top of an almost tower like structure. At the center of this village stands a grand castle; Soranotou Castle. The current king, Akuma Senji lives with his daughter Haruno Sakura, his new wife, Yamanaka Muku ,and her daughter, Yamanaka Ino. King Akuma came into power after marrying the Queen, whose husband had been poisoned. He had stumbled across her while visiting Soranotou during a festival being held for the Queen’s birthday with Sakura almost a decade ago. Muku had recognized Senji from when they were younger and she immediately invited him and Sakura to stay in the castle after he told her he was raising Sakura on his own after Mei died. Not even a year later, they were to be married. At first, the villagers were weary of a nonnative stranger becoming King, but their minds were quickly changed when rumor of war spread throughout Soranotou by the neighboring village, Tuchiyama.

It was said that the war was supposed to last for years, but thanks to Senji’s negotiation skills, little to no blood was spilled. No one knows how or why the war rumors came to be, but the villagers were grateful to their new King for settling matters before they got out of hand. Senji became known throughout other villages as “Peacekeeper Akuma”.

All the while, Sakura is left with maids and attending knights. After Senji assumes the crown, sakura never sees him. Up until Sakura was in her late teens, he’d only see her on holidays and special occasions. Not that she minded. She adored the maids and the knights who looked after her. She even befriended the knights’ captain, Neji. When Sakura was younger, he’d sneak her midnight snacks while the rest of the castle slept and bring her trinkets when he accompanied the King to the village for his monthly inspections of the businesses. Muku thought it was strange Senji insisted on doing down himself, but only shrugged when questioned about it.

Muku and Ino both adored Sakura and welcomed her as if she had lived there her whole life. Ino looked up to Sakura and spent as much time as she could with her. Ino was younger then Sakura, being thirteen to Sakura’s now twenty one. Sakura’s life in the castle grew boring as she finished her studies. Neji brought her books on crystals and fantasy worlds as a gift and she read them constantly, but wanted to do more. So, after much begging and convincing, she managed to talk Neji into training her self defence and how to wield a sword. Unbeknownst to Senji and the rest of the palace staff, Sakura snuck out of her room quite often so she could practice with Neji.

During one evenings spar, a new knight sauntered over to them with a smirk.

“Captain,” He nodded at Neji before turning to face Sakura and kneel in front of her. “Princess.”

Sakura’s face flushed slightly as she scoffed and tightened her grip on her sword. “What is your business here? I’m in the middle of something.”

“Fiesty,” The knight mumbled before rising to his feet, earning him a smack with the handle of Neji’s sword on his shoulder.

“Bite your tongue.” Neji scolded before bowing his head to Sakura in apology. “My apologies, Princess. He’s still in training.”

Sakura shook her head as she rolled her eyes. “No matter. Can we get back to our spar now? I almost got you.” She added with a smirk of her own.

“Oh, I like her.” Sasuke smiled and dodged Neji’s sword handle, jumping behind Sakura, who in turn, raised an eyebrow and looked over her shoulder at him.

“What?” He questioned with a chuckle. “Can’t take a compliment, Blondie?”

“Blondie?” Sakura hissed, eyes narrowed. She hated her blonde hair. She cursed her father everyday for her hair color. She hated that it was the only trait she got from him.

“That’s enough!” Neji shouted as he grabbed Sasuke by the shoulders and lead him away. He paused to again bow his head to Sakura and ushered Sasuke away from the training field. With a sigh, Sakura sheathed her sword and turned on her heel, walking back into the castle.

After taking a long, hot shower, Sakura put on her favorite green night dress and sat on the lush leather sofa holding a steaming cup of tea in her hand, while looking out her window at the setting sun, the open curtains allowing the dimming light to paint her room a soft orange. She sighed to herself as she glanced around her massive bedroom. The king sized bed took up little space despite being nestled on an extravagant dark cherry wood bed frame, tall pillars rose from each corner with a white and gold lace canopy curtain flowed down to the floor like a silk waterfall. Next to the bed were matching nightstands of the same dark cherry wood, along with her wardrobe, desk, and table set. Her walls were a soft white with pale cherry blossoms seeming to float down the wall from the vaulted ceiling. The chandelier that hung low from the ceiling had rose quartz crystals over almost every inch of the white gold. The only thing in the room that her eyes lingered on was an old family portrait taken when she was a baby.

The soft smile on her mother’s face always made her heart hurt. Sakura barely remembered her mother. Senji never talked about her. The last time she brought her mother up, Senji scoffed at her and said, “Muku is your mother, Sakura.” with a small smile on his lips that didn’t reach his eyes.

Sakura set her teacup on the table and walked over to her desk and reached for the photo. The cold of the metal frame on her fingertips made her want to clutch it to her chest and cry, but she didn’t. She looked at her mother’s face and smiled a teary smile. She had memorized her mother’s face long ago, but never got tired of looking at the photo. Her long pink hair was in a braid that she had pulled over her shoulder so she could hold Sakura on her arms. The purple diamond on her mother’s forehead always made Sakura wonder when and if she was going to get one of her own. With a sigh, she placed the photo back on her desk and sat back down on the couch with her tea. Feeling down, she reached up to her chest and pulled on the thin chain around her neck and pulled it up from under her dress, revealing a small silver oval with her mother’s name engraved on it, the only momento she had of her mother. She had found it among Senji’s things before they moved into the castle and she’s kept it hidden ever since, telling him it was stolen when he had left her alone in the cabin he found while they were traveling.

Bringing the oval to her lips, she mumbled a small prayer that she’d be able to meet her mother again someday. Sighing to herself again, she rose from the couch and set it back on the tray by her door and sat on her bed. She pulled her hair out of the bun she had put it in and ran her fingers through it. It was almost at her waist at this point, it was the only thing she loved about her hair. It was the length of her mother’s in the photo. Smiling to herself, she pulled her blankets back and nestled into the mattress, lulling herself to sleep with thoughts of being in her mother’s arms once more.

#Fateful Dreams rewrite #ari writes #eventual kakasaku #neji hyuga #sasuke

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fantasticwritingandwheretoreadit · 7 years

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Draco Malfoy Loving Musicals Would Include...

Idea from @hiccuplover92 :) I’m a HUGE Broadway geek, so this was right up my alley!

He had never heard about this magical place called “Broadway” until one day you brought it up

“Stories told on a stage with people acting like completely different people with spontaneous song and dance numbers? Sounds ridiculous.”

His entire perspective on musicals changes when you took him with you to see Wicked

He felt so connected to Elphaba

“She just wanted to fit in at school and find love... why couldn’t people just accept that she was different? Instead of letting Glinda help her she went to the bad side... wHY DID THEY HAVE TO MAKE ELPHABA FEEL BAD ABOUT HERSELF PEOPLE SUCK!”

He has “Defying Gravity” on repeat for the next week

Of course, you don’t mind.

I mean, it got annoying when the sixth day rolled around but hEY you were happy your lil blondie had found a love for Broadway

Once you cuddled in your bed and watched Sweeney Todd: The Demon Barber of Fleet Street

Brits, murder, meat pies, a confusing love triangle, what’s not to love?

“Does it freak you out at all that Professor Snape looks like Judge Turpin, that Pettigrew guy looks like Beadle Bamford, and my aunt looks like Mrs. Lovett??”

The next morning in the kitchen you both do an entire rendition of “A Little Priest:

(Don’t worry, he never threw you in a furnace)

Toby is his favorite character

When you both finally save up enough money, you go to Broadway to see Hamilton

Draco was very confused with American history

I mean, the show is about Hamilton’s part during the American Revolution where the colonies defeated and broke free of British control

“Two gits pointing guns at each other isn’t going to get either of them anywhere.” - Draco Malfoy, 2017

“Who throws boxes of tea into the ocean?? It was perfectly good tea!”

“Draco, the British taxed tea so buying it was extremely difficult for Americans. They protested by dumping it off the ships.”

“Oh.”

Watching him try to rap Guns and Ships is one of the best things you’ve ever gotten to witness

Also, he felt really bad for poor Eliza

Dear Evan Hansen is next on your list

Draco didn’t completely understand it, but he understood enough

“What’s an e-mail?”

That takes a while to explain

This show was the first one that really made Draco cry

He loves having you sing “You Will Be Found” to him

You’re swooning over Connor the entire sho--wait

^im so sorry

Since it closed on Broadway, you have another cuddle session in your room and watch Les Miserables

Draco makes a shocking discovery

“Hey, that Marius guy looks just like the old portrait of the author Newt Scamander hanging in the Hogwarts library!”

“Why did literally everybody have to die...?”

He compared his father to Monsieur Thenardier quite a lot

“Monsieur Thenardier looks just like Pirelli from Sweeney Todd?”

“Babe, it’s the same actor.”

“Then why does Madame Thenardier look just like my aunt...?”

He comes up with a theory that Bellatrix is actually still alive and is now starring in a bunch of musical films

He really loves the Les Mis soundtrack

You two love to sing “A Heart Full of Love” together

Absolutely no musical could confuse Draco more than Cats did.

“Draco, what do you mean it’s weird!? It’s incredible! It’s the fourth longest-running Broadway musical, in fact.”

His only response was: “anTHROPOMORPHIC CAT PEOPLE!”

Ah, Draco. Our adorable little Broadway nerd.

I hope my fellow Broadway geeks loved this!

Tags: @amazing-fandom-freak @imthedrappleapple @allyadarth

#draco #malfoy #harry potter #potter #head canon #draco malfoy headcanon #draco malfoy oneshot #draco x reader #draco malfoy imagine #draco malfoy x reader #hogwarts #slytherin #fanfiction #fanfic

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tsukinobherzhoka12 · 7 years

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The Sass Squad chapter 1

The Sassy Squad

The awkward drunk

Disclaimer: I don't own naruto and any of the characters here if I did they would meet each other and have an unlikely alliance

AU: In this AU it is where the Akatsuki is just a mercenary group who where doing odd jobs and confidential missions for the sake of the shinobi nations,Kakashi,Yamato and Sai is the same, Itachi is like in the Au in the road of ninja but Sasuke is still in his Emo mode like in the canon even Itachi is in the village side even though, and Ino is still the same attitude but sometimes gambles for money when needed and only a member of the Yamanaka clan on her mother's side Inoichi is her uncle in her mother's side. she always travels from konoha to the capital of the shinobi nations, every half of the year. back and forth, unless she had mission that she needs to travel from places.

At the Himitsunoe Manor

*Evening*

''Sharky what is the theme of the portraits in the hallway today?"Ino asked him while watching her favorite TV series alongside with him

"It's aesthetic of the things that makes us peaceful ,like Portrait of Sai with his creations in the field, Mine half naked in the waterfall,with samehada while meditating, Kakashi lying in the field with his ninkens, Yamato with trees shading himself from one of them.

While you lie in a field of pastel flowers surrounding you as you lie with it like in a sleeping beauty position,also you wear a flower crown in your head'' Kisame informed her

"Also our group picture is like in a Gothic Victorian period, like in the crimson peak kinda vibe, Kakashi was the center this time, sitting like a boss while we surrounded him like we are his henchman,we are so very formal"

Kisame sigh"Its a stunning portrait actually,we really like we had the pictorial for a magazine realistic even I,need to have another look"

Ino's favorite place to wander in the manor was the hallway of expressions where portraits of the occupants in the manor always changes ever week, there are different themes being shown in the portraits that describes themselves either joyful until to their darkest moments that really symbolizes the six of them. While it was Ino's favorite,it was Kakashi's least favorite part of the house.

Because its too personal, it even shows every symbolism in his past,depends on the theme every week. and it was located in the big hallway entrance.

But like Kakashi, she would also be nervous if Shikamaru and Chouji would be able to find and locate this place,she would come here if those two are in mission or they are spending the day with only the two of them . she would not imagine their faces when they found out about this place and secrets she intended to keep only for herself. not to mention The team seven are the last persons to be the one who will enter and saw their pictures in the hallway.

Itachi is also worried if Sasuke was able to find this manor. even if it’s lot was really big, there is a seal for the intruders not to find this place. He really needs to have time for himself so that is why he was here for his inner peace (even though this place is really big for six occupants and very noisy )

" Piglet, does your father know that your not staying at your home right now?"Kisame asked while watching his most awaited television series now on Blue-ray DVD, 'Game of Thrones' he just watch it on DVD because he cannot watch it in the Tv since he and Itachi would likely had a mission when the series would air he watch the pilot episode so he is now interested to the show. He currently munching his popcorn right now.

"He is currently in a mission with the Ino-Shika-Cho, something about stopping an enemy to assassinate a nobleman or something" Ino Yamanaka answered while also eating her popcorn she sat beside Kisame as they watch Game of thrones. She sneered while they watch Cersei and Jaime scene

" Ugh Kami-sama pls... I know its forbidden love or something, I hate Incest especially those two,they pushed Bran out to the tower,The things we do for love my ass!"

Kisame just laughed" Oh come on we already know Cersei is just manipulating him ever since they where children" he snickered" and besides, we already know that she was also fucking her cousin Lancel and because of that King Bobby B (Robert Baratheon) is dead,being gorged by a boar" he grinned " So offensive for you since they used your animal sign to kill him"

"Well if you make a boar as your prey, kill it at once ,no second chances, When you leave a boar alive, no hunter will be safe, Where do we inherit our name and stubbornness from?" she let out a chuckle and goes back on watching the series. she let out a shocked expression when they saw Joffrey Ordered Ned Stark to be beheaded while Sansa and Arya watched and also much to everyone's surprise. While Kisame was also in disbelief.

"OHHH NONOONONOO YOU LITTLE VICIOUS SHIT!!! YOU FUCKIN INBRED!! I HATE YOU! KAMI-SAMA NO!!!!"Then she watch Arya's expression" Poor Arya you little small bean, Poor Sansa for being such a sheltered brat. FUCK JOFFREY!!"

"The world was really full of lies, but to kill the most honorable people on the seven kingdoms? Mind blown!, I will now watch this series really! Not your ordinary TV show! Still terrified of the white walkers though"

" It's because your a sadistic fuck Kisame!" Ino mocked him" and besides why are you terrified of them, you had the same color"

" Well Your the one to talk, your terrifying when your tantrums are shown, your prone to irrationality"Kisame smack her head playfully "Your racist by the way"

"Ouch why you-"

Suddenly Yamato appeared and he appears to be drunk. He was walking funnily and landed on the other couch, he let out a laugh and a few hiccups. He also had look them and giggled

"What was he thinking right now?" The two thought in unison while looking to their drunk companion. Then Yamato let out a smirk

"Hey, do you want to see my wood?"

Ino and Kisame watched him in disbelief while staring at him for a second.

"WTF! WTF was that Yamato!?" Kisame roared in laughter he never really thought that a serious,uptight person like Yamato would say that when he is sober 'Man, he must be wishing for a one night stand, Unfortunately he just wandered to the house where everyone would laughed at his drunk stupor Like the Blondie rolling in the floor right now and banging her fist in the floor. '

Kisame, realizing that he has the mood to take advantage of Yamato's drunk state, he turns off the tv and join the two who was still in the same position as he last leave them

"Well, I can assure you ladies my wood is longer than you anticipated"

Ino burst out an unladylike like laugh with tears in her eyes while Kisame holds his stomach to prevent it from hurting

"Oh Kami, normally I would punch you right now senpai if your just like the others, creepy and disgusting" she wiped her tears of laughter "But when those words comes to your uptight mouth its just pure hilarious!"she finally recovered and turns to Kisame while he tries to recover himself from laughing

" Lucky for you, Kakashi is on a mission, Itachi is sleeping or maybe in his Batman mode, and Sai is with Kakashi, and We are the only one to laugh you right now,"Kisame snickered in a good way and goes to the kitchen to get an aspirin and water.

" The sharky is right, Yamato-senpai. Good thing Kakashi-sensei is not here or else he would record it into himself and use it to blackmail you to pay for his expenses, You know how expensive those Icha-Icha books,especially those best sellers! " Ino help Yamato to his drunken state and laid him down in the sofa "Kami-sama, Your heavy!"

"You know your flower can be satisfied if it is finally connected to my-Ouch!"Yamato was smacked in the face by a thick book that Ino must have randomly take Yamato stop slurring and became unconscious.

"Okay, lay low,stop now, Two jokes about your 'wood' is enough just don't include the badly covered term for the female organ."Ino sigh while adjusting the pillow for his head.

"Hey,Piglet, I brought the things needed, I will put it at his bedroom"Kisame shouted from Yamato's room ''You can carry him now!"

'OI!Help me here sharky! what do you think what we are carrying here? a sack of rice?"Ino retorted while she can see Kisame approach her with a mocking grin

"awww weak little piggy need some help"

"Shut it Sharky! It would be awkward if I drag him to the bed, besides its to heavy for me you and you can carry him by one hand!"Ino reason out while glaring at him

"Fine,fine you got a point for that"then the shark nin carried the wood user towards the latter's bedroom then they started adjusting the pillows, helping him undress half naked and Ino used a wet clothed to clean his upper torso while Kisame get some of the clothes from the cabinet and help Ino dress the unconscious man and set him to bed. finally when they are done they sat on Yamato's mini living room. his room was a suitable room for a environmentalist like him. Clean,green and fresh in the eye.

"When he woke up, I swear I'm going to attack him with questions! Woodman never easily get drunk like this,and about his wood jokes, man this is hilarious!"Kisame can't help but chuckle while Ino sat in front on the other couch let out a sigh " Don't torture him like that, he is the mother of this mansion and Kakashi is the lazy bum father who threatens us to eat sashimi"

"Piglet, you're the only one who hate eating sashimi and kakashi is acting as a father figure because you're a rebellious and pigheaded girl"Kisame casually commented while Ino let out a pout. but she let out a chuckle

"Do you remembered the day that we met here in this mansion, how this mysterious mansion appeared and had a convenient interior for us hired people like me and itachi, a runaway royal outcast like you, men without past identities about their heritage like sai and yamato and a self-loathing and a mystery called kakashi?" Kisame casually remembering the past

"Duh, we always fought all the time, You on your mockery on my height and eating tendencies and how it suited my name and me mocking you for your height and how will you never get laid because no one will lay down on a shark because your harsh and too honest, your habits and etc."Ino snickered

"But I realize that your one of the people who I can follow my shenanigans and always with me on casinos when I needed money, and heck you became a drag queen because of me and of course you treated me an equal, my virtues as a woman"She concluded and let out a giggle" Your a huge slap of reality to my face so I appreciated your honesty since you can't really stand flowery words. Thank you"

"hmmn? you have womanly virtues? where?"Kisame feign innocence "I can't see it"

"Can you please kill yourself ,like right now!"Ino throws a pillow from the couch and Kisame easily dodge it while laughing

"Piglet, you're a good person, not just appearance and not your temperamental mode

I hope someone can see that beyond skin deep"Kisame commented

"So anyway,midnight marathon ,we will watch K-drama?"Ino suggested

"ooh, Legend of the blue sea?"Kisame suggested

"That was last time ,and we watched it twenty times!"Ino complained

"how about Goblin!"Ino suggested

"We watch that for 25 times Piggy! and it's just that you like older men, I always knew you like daddy kink"

"Hey no kink shaming here! At least I’m not prone to bestiality!"

"You and your weird accusations piglet! Fuck you"

"No thank you, I will decline the offer"

they stare at each other and laugh at each others faces

"Hey ladies, can I have you beautiful flower?" Yamato suddenly talk in his sleep, mumbling about his lame pick-up lines to his sleep

"I swear I will use it as a blackmail when I needed something to him"Ino tried to hold her laughter

"Likewise Piglet, Likewise "Kisame had tried to hold his laughter before it burst out and silently exited from the room and went to their respected rooms to rest for a day.

AU: I hope you like the first chapter, please review if you want another prompt. and this story will not be a reverse harem, this is a friendship between people who will unlikely to be allies in canon except to Yamato ,Kakashi and Sai. and in the side of Itachi and Kisame. They are called to fabulous to die squad after all

#Naruto fanfiction #Naruto #Ino Yamanaka #hoshigaki kisame #Not a pairing #hatake kakashi #uchiha itachi #yamato naruto #Sai Naruto #secret lives

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thick-thighs-and-sharp-eyes · 7 years

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NPR’s “150 Greatest Albums Made By Women”

“This list, of the greatest albums made by women between 1964 and the present, is an intervention, a remedy, a correction of the historical record and hopefully the start of a new conversation. Compiled by nearly 50 women from across NPR and the public radio system and produced in partnership with Lincoln Center, it rethinks popular music to put women at the center.”

Joni Mitchell - Blue (Reprise, 1971)

Lauryn Hill - The Miseducation of Lauryn Hill (Ruffhouse/Columbia, 1998)

Nina Simone - I Put A Spell on You (Philips, 1965)

Aretha Franklin - I Never Loved a Man The Way I Love You (Atlantic, 1967)

Missy Elliott - Supa Dupa Fly (The Goldmind/Elektra, 1997)

Beyoncé - Lemonade (Parkwood/Columbia, 2016)

Patti Smith - Horses (Arista, 1975)

Janis Joplin - Pearl (Columbia, 1971)

Amy Winehouse - Back To Black (Island, 2006)

Carole King - Tapestry (Ode, 1971)

Dolly Parton - Coat Of Many Colors (RCA Records, 1971)

Erykah Badu - Baduizm (Universal, 1997)

Madonna - Like a Prayer (Sire, 1989)

Whitney Houston - Whitney Houston (Arista, 1985)

Diana Ross and the Supremes - Where Did Our Love Go (Motown, 1964)

Fleetwood Mac - Rumours (Warner Bros., 1977)

Janet Jackson - Control (A&M, 1986)

Lucinda Williams - Car Wheels On A Gravel Road (Mercury, 1998)

Selena - Amor Prohibido (EMI Latin, 1994)

The Ronettes - Presenting the Fabulous Ronettes Featuring Veronica (Philles Records, 1964)

PJ Harvey - Rid Of Me (Island Records, 1993)

Sade - Diamond Life (Sony, 1984)

Aretha Franklin - Amazing Grace (Atlantic, 1972)

Loretta Lynn - Coal Miner's Daughter (Decca, 1970)

Ani Difranco - Little Plastic Castle (Righteous Babe Records, 1998)

TLC - CrazySexyCool (LaFace, 1994)

Tori Amos - Little Earthquakes (Atlantic, 1992)

Nina Simone - Nina Simone Sings the Blues (RCA Victor, 1967)

Alanis Morissette - Jagged Little Pill (Maverick, 1995)

Adele - 21 (Columbia/XL, 2011)

Liz Phair - Exile In Guyville (Capitol/EMI/Matador, 1993)

Björk - Post (Elektra, 1995)

Queen Latifah - All Hail The Queen (Tommy Boy, 1989)

Tina Turner - Private Dancer (Capitol, 1984)

Blondie - Parallel Lines (Chrysalis, 1978)

Grace Jones - Nightclubbing (Island Records, 1981)

Kate Bush - Hounds Of Love (EMI, 1985)

Odetta - It's a Mighty World (RCA Victor, 1964)

Gillian Welch - Time (The Revelator) (Acony Records, 2001)

The Staple Singers - Be Altitude: Respect Yourself (Stax, 1972)

Tracy Chapman - Tracy Chapman (Elektra, 1988)

Ella Fitzgerald - Ella Fitzgerald Sings the Johnny Mercer Song Book (Verve, 1964)

M.I.A. - Kala (XL/Interscope, 2007)

Heart - Dreamboat Annie (Mushroom, 1976)

Dusty Springfield - Dusty in Memphis (Atlantic, 1969)

Emmylou Harris - Wrecking Ball (Elektra, 1995)

Celia Cruz - Son con Guaguanco (Emusica/Fania, 1966)

Etta James - Rocks The House (Argo, 1964)

Rickie Lee Jones - Pirates (Warner Bros., 1981)

Hole - Live Through This (DGC, 1994)

Sarah Vaughan - Sassy Swings Again (Mercury, 1967)

Bonnie Raitt - Nick Of Time (Capitol/EMI, 1989)

Linda Ronstadt - Heart Like A Wheel (Capitol, 1974)

Nico - Chelsea Girl (Verve, 1967)

The Go-Gos - Beauty And The Beat (I.R.S., 1981)

X-Ray Spex - Germfree Adolescents (EMI, 1978)

Mary J. Blige - What's the 411? (Uptown/MCA, 1992)

Labelle - Nightbirds (Epic, 1974)

Indigo Girls - Indigo Girls (Epic, 1989)

The Pretenders - Pretenders (Sire, 1980)

Destiny's Child - The Writing's on the Wall (Columbia, 1999)

Dixie Chicks - Wide Open Spaces (BMG/Sony, 1998)

Madonna - Like a Virgin (Sire, 1984)

Spice Girls - Spice (Virgin, 1996)

Cassandra Wilson - Blue Light 'Til Dawn (Blue Note, 1993)

Miriam Makeba - Pata Pata (Reprise, 1967)

Sinead O'Connor - I Do Not Want What I Haven't Got (Chrysalis Records, 1990)

Rosanne Cash - King's Record Shop (Columbia, 1987)

Cyndi Lauper - She's So Unusual (Portrait/Sony 1983)

Stevie Nicks - Bella Donna (Modern, 1981)

Salt-N-Pepa - Blacks' Magic (London, 1990)

The Runaways - The Runaways (Mercury, 1976)

Astrud Gilberto - The Astrud Gilberto Album (Verve Records, 1965)

The Raincoats - The Raincoats (Rough Trade, 1979)

Donna Summer - Bad Girls (Casablanca, 1979)

Tammy Wynette - Stand By Your Man (Epic, 1969)

Aaliyah - Aaliyah (Blackground/Virgin America 2001)

The Bulgarian State Radio & Television Choir - Le Mystère Des Voix Bulgares (Nonesuch, 1987)

Portishead - Dummy (Go! Beat, 1994)

Laurie Anderson - Big Science (Warner Bros., 1982)

Sleater-Kinney - Dig Me Out (Kill Rock Stars, 1997)

Laura Nyro - New York Tendaberry (Columbia, 1969)

Bobbie Gentry - Ode To Billie Joe (Capitol Records, 1967)

Roberta Flack - First Take (Atlantic, 1969)

Joan Baez - Diamonds & Rust (A&M, 1975)

Alice Coltrane - Journey in Satchidananda (GRP/Impulse!, 1971)

X - Los Angeles (Slash/Rhino, 1980)

k. d. lang - Ingénue (Sire, 1992)

Shania Twain - Come On Over (Mercury Records, 1997)

Barbra Streisand - Funny Girl, Broadway Cast Album (Capitol Records, 1964)

Alison Krauss And Union Station - New Favorite (Rounder, 2001)

Meshell Ndegeocello - Peace Beyond Passion (Maverick, 1996)

Britney Spears - ...Baby One More Time (Jive Records, 1999)

Sheryl Crow - Tuesday Night Music Club (A&M, 1993)

Shakira - ¿Dónde Están los Ladrones? (Sony, 1998)

Lil' Kim - Hard Core (Big Beat/Undeas Recordings, 1996)

Mariah Carey - Daydream (Columbia Records, 1995)

Bikini Kill - Yeah Yeah Yeah Yeah (Kill Rock Stars, 1993)

Taylor Swift - Fearless (Big Machine Records, 2008)

Buffy Sainte-Marie - It's My Way! (Vanguard Records, 1964)

Eurythmics - Touch (RCA, 1983)

Alabama Shakes - Sound & Color (ATO, 2015)

Umm Kulthum - Enta Omri (You Are My Life)(Sono, 1964)

ESG - Come Away With ESG (99 Records, 1983)

Sheila E. - The Glamorous Life (Warner Bros., 1984)

No Doubt - Tragic Kingdom (Interscope, 1995)

The Shangri-Las - Leader of the Pack (Red Bird Records, 1965)

Gladys Knight and the Pips - Imagination (Buddah Records, 1973)

Against Me! - Transgender Dysphoria Blues (Total Treble, 2014)

Miranda Lambert - Platinum (RCA Nashville, 2014)

Diamanda Galás - The Litanies of Satan (Y, 1982)

Mercedes Sosa - Mercedes Sosa en Argentina (Universal Distribution/Philips, 1982)

Aretha Franklin - Young, Gifted and Black (Atlantic Records, 1972)

Reba McEntire - Rumor Has It (MCA, 1990)

La Lupe & Tito Puente - La Pareja (Fania/Tico Records, 1978)

Macy Gray - On How Life Is (Epic, 1999)

Joan Jett - I Love Rock 'n' Roll (Boardwalk, 1981)

Chaka Khan - I Feel for You (Warner Bros., 1984)

The Slits - Cut (Island Records, 1979)

Anita Baker - Rapture (Elektra, 1986)

Joni Mitchell - Hejira (Asylum, 1976)

Siouxsie and the Banshees - The Scream (Polydor, 1978)

Cris Williamson - The Changer and the Changed: A Record of the Times (Olivia Records, 1975)

Carly Simon - No Secrets (Elektra, 1972)

Fiona Apple - Tidal (Work Group/Clean Slate/Columbia, 1996)

The Carpenters - A Song for You (A&M Records, 1972)

Sonic Youth - Sister (SST, 1987)

Pauline Oliveros, Stuart Dempster, Panaiotis - Deep Listening (New Albion, 1989)

Marianne Faithfull - Broken English (Island, 1979)

Teena Marie - Wild and Peaceful (Motown Records, 1979)

Shirley Horn - I Thought About You — Live At Vine St. (Verve Records, 1987)

Shelby Lynne - I Am Shelby Lynne (Island/Mercury, 2000)

Fanny - Fanny Hill (Reprise, 1972)

Solange - A Seat at the Table (Saint/Columbia 2016)

The B-52's - The B-52's (Warner Bros., 1979)

Yoko Ono/Plastic Ono Band - Yoko Ono/Plastic Ono Band (Apple Records, 1970)

Ofra Haza - 50 Gates Of Wisdom (Yemenite Songs) (Shanachie, 1987)

Cocteau Twins - Heaven or Las Vegas (4AD, 1990)

The Bangles - All Over the Place (Columbia, 1984)

Norah Jones - Come Away with Me (Blue Note, 2002)

Joanna Newsom - Ys (Drag City, 2006)

Iris DeMent - My Life (Warner Bros., 1993)

Robyn - Body Talk (Konichiwa Records, 2010)

The Breeders - Last Splash (4AD/Elektra, 1993)

Oumou Sangare - Moussolou (Women) (Kartell/World Circuit, 1989)

Patty Griffin - Flaming Red (A&M, 1998)

Meredith Monk - Dolmen Music (ECM, 1981)

Terri Lyne Carrington - The Mosaic Project (Concord Jazz, 2011)

Alicia Keys - Songs In A Minor (J Records, 2001)

The Roches - The Roches (Warner Bros., 1979)

Starting here: http://www.npr.org/2017/07/20/538307314/turning-the-tables-150-greatest-albums-made-by-women-page-15

#music #feminism #awesome women #NPR #public radio #Aretha Franklin

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