#re-imagined folk music

[versesinmotion]

Verses In Motion with Cecily [EP 4]

“Heart-born omens and organic conversations with creative minds.” In this episode @LauraLME talks to Cecily, DC-based vocalist and songwriter known for her agile soprano and  honest lyrics. This enchanting conversation is a true soul promenade that touches on unconditional love, vulnerability as strength and her new single out now “I Am Love”. Cecily’s sound, as soothing as it is rich, is rooted…

[thejoyofviolentmovement]

New Audio: Tiphanie Doucet Shares a Synth Pop cover of Julien Doré

New Audio: Tiphanie Doucet Shares a Synth Pop cover of Julien Doré @TiphanieDoucet @jdoreofficiel @HeyGroover @romainpalmieri @DorianPerron

Tiphanie Doucet is a French-born singer/songwriter and multi-instrumentalist, who currently splits her time between New York and Los Angeles. Doucet can trace her love of performing to her childhood: She was a child actor, who appeared on French TV. After earning a merit scholarship, the French-born, Los Angeles-based artist, relocated to New York, where she studied acting and musical theater at…

[wildfloweronwheels]

the more I sit with the tortured poets department, the more it makes perfect sense as a body of work taylor would create/release especially when you consider the fact she operates much more closely to an indie artist artistically than a lot of her contemporaries.

so honest it's catching people off guard? she's been doing that her whole career from the minute she put people's real names in her songs. lyrically sharp and slightly alarming? may I present "and you come away with a great little story about a mess of a dreamer to adore you" or "you made a rebel of a careless man's careful daughter." bold and sonically strange? she's been blurring the lines of genre since her earliest albums, regularly blending country, pop, folk and even rock. 1989 has been her only traditionally dare I say 'sonically cohesive' album and the only reason its palate is so clean is because of the risk a pure pop album posed to her successful country career. if she hadn't nailed the landing then, she wouldn't be where she is now. *it also feels worth noting her most adventurous 'weird' but music has come AFTER she thought she'd had her last chance at mainstream success (lover) and as a result, thrown away the checklist because she thought she had nothing to lose. she was just making music for herself with no expectation of success*

'there's too many metaphors and characters/the muses are murky and I can't tell what's real. does she have to write so much fiction now?' this is the girl who immortalised her neighbours love story, who rewrote romeo and juliet, dreamed about crashing a wedding and was inspired by bob + ethel kennedy for god's sake. she's always written stories and imagined.

'I just can't understand why she'd make this and take this risk when we all liked her so much?' my friend, have we been paying attention to the same artist all these years? taylor swift not taking creative and honestly quite punk career risks would be like christopher nolan films without cillian murphy. she walked away from a development deal at age 14, took a chance on an independent label she built from the ground up and then bet on her future when they held her past hostage. took a genre they said wasn't for teenage girls and transformed it. wrote an album on her own after her songwriting was questioned. took a 10 minute song to #1, directed music videos and a short film worthy of oscar buzz, stretched her muscles and is directing a feature film AND re-recorded all her old work in arguably the biggest potential interruption to her career not for any perceived gain but for the statement of an artist's worth. but the world doesn't view them as risks because they worked

tldr; the tortured poets department is the most taylor swift thing taylor swift has ever made.

[stardust-sunset]

“Boys will be boys” headcannons, you say?

Well speaking as a teenage boy who’s done a few dumb things, here’s a couple:

-Soda definitely doesn’t wear a shirt in the summer. Any time it’s hot out, he’s ditched it (genuinely dunno how folks survive summer WITHOUT doing this tbh)

-Steve gets real pissy when he doesn’t win at things. Like if you beat him at poker he’ll tackle you. He sees this as re-establishing dominance. Everyone else sees it as Steve being a dumbass.

-Speaking of Steve, he seems like the sort to punch things when he’s mad. So does Dally. Just like…random walls and whatever. Throwing things too. I imagine it would scare Pony a bit at first, although by the time the book takes place, he’d be relatively unphased

-(movie!steve, ‘cuz in the movie he’s like 5’7) Steve used to be tall as a kid, like taller than Soda, Two-Bit, and Dally, and he’d make fun of them for being short. Then in like sophomore year of high school Soda and Dally get tall and Steve stays the same height. Soda is nice about it- but Dally mocks him for it non-stop

(Huh okay that’s a lot of Steve. I’ll shut up about him lol)

-Dally and Johnny once tried to make chocolate cake out of boredom. Somehow it turned into trying to light fireworks in the Curtis’s kitchen sink. Mrs. Curtis was pissed

-Sodapop and Darry tried to build a treehouse in the backyard as kids. It was just a piece of wood that they taped to a branch. Pony was still really impressed and bragged about it to his friends at school even though it was really lousy

-Two-Bit likes to say he’s won “every game of pool he’s ever played”, because he played once years ago and won due to a stroke of beginner’s luck. He refuses to play again now because he’ll “lose his perfect winning streak”

-Steve and Sodapop used to talk about hopping onto a freight train and going on adventures together “out in the Wild West”. Both of them low key still kinda want to

-Dally secretly wants to be a cowboy. Not like Buck, but like a Clint Eastwood type cowboy. Would die before saying so out loud

-Soda and Ponyboy have saved a few injured animals, like raccoons and whatever, and every time they do they try to convince Darry to let them keep it as a pet. Soda came real close once, and hid an injured lizard in his room for a month, but eventually Darry found it and forced him to free it

-Johnny was bored once and built a fort in the old lot, and him and Pony and Dally hung out in it until the cops made them take it down

-Sodapop, Two-Bit, and Steve once tried to start a band. It was terrible, because Soda and Two-Bit are too lazy to bother learning an instrument. Steve was okay because he could sing pretty well, but he sucked at the guitar he was trying to play too, and it all fell apart. Dally told them he’d pay them money to never play music again

okay, that’s probably enough for now- but yeah, there’s a few. Idk how much they stuck to the prompt, but whatever lol

all of these are biblically accurate, congrats 😭😭 especially johnny and sally making fireworks like that’s the only time mrs curtis yelled at any of the gang-dally is such a bitch in the last one tho like i know they were all like ten and he was twelve and he was just like “yeah never open your mouths again here’s ten bucks for each of ya buy yourself sonethin’ nice” like ok dally 😭😭soda and pong have straight up come home with a baby bobcat and darry was like “PUT THAT BACK ITS MOM IS LOOKING FOR IT 😡”

these are all canon trust

[notafraidofredyellowandblue]

To all the fans crying about upcoming hiatus, all I can say is - would you not get bored playing the same song for the 112th time in 5 years?

Rammstein are not some new band that needs to play as much as they can to get themselves out there. They do it purely because they want to. And guess what?! They're old men! They're tired and achy and have no desire to to pla year after year after year.

Quality over quality, folks! I'm sure they'll have a rest, recharge their batteries and creativity and if something comes after that, we'll just have to wait and see.

They have families, children, grandchildren, sideprojects and other interests, and time is fleeting. They cannot and should not be giving their entire 100% to just music anymore.

It's fine. We've been fed very generously and with the documentary coming out soon, we'll enjoy that for many months.

Have a good time off, peepaws! ♥️🖤

Weeeelll.... i can imagine fans who mainly love Rammstein for the live shows would have loved another year of touring...and some fans may have had to save a bit of money first (figuring they'd spend it next year) now miss out; i'm sure other bands would have announced up front that it would be the final year in the current tour cycle, if nothing else, because commerce-wise, it would sell more tickets; but when does Rammstein ever do anything the way other bands do, or the way would be commercially sensible 😊 (and i love them for it)

But touring isn't the only thing they do, Rammstein have always taking a few years after a tour cycle to work on new things, Paul even dropped some ideas they are working on, it always has been about finding the balance between being creative and coming up with new things, versus going out to re-play what is already there. I bet the current tourcycle would not have lasted 6 years without Covid happening and i'm glad the didn't stop playing live after last year's dark cloud looming over everything.

As much as I love waking up each day after a show and seeing all the fun stuff on social media, I don't miss the anxiety of 2023 waking up and hoping there were no new allegations showing up...

Also i'm very excited to see what new things they will publish, will the documentary pass the Rammstein quality board, will there maybe some other things appearing in the future, like some of those elusive making of's, live dvd's etc

I think we still have great things coming from Rammstein in the future to look forward too, and seeing how much fun they have working together on stage right now, i hope that also transfers to their studio, hanging around together, yapping and coming up with something we haven't seen yet 🌺

But first: a little well-deserved vacation with their loved ones ❤️

[paperclipninja]

Ok, we know that deliberate choices and references are made in Good Omens, often hinting at what's to come, and I'm sure this has been picked up by someone before but it wasn't for me until now and well, MIND BLOWN.

Just rewatching s2e4 and the opening sequence when Shax pops into the Bentley to remind us all that Aziraphale really is a very bad liar sometimes ('I don't even know a Gabriel!' straight after, ''Gabriel would never go to Crowley!' lol, but I digress...) and yes we get the seed planted that there have been rumours of Aziraphale and Crowley being an item since, oh roughly 1941, but before all that, Aziraphale asks Bentley for some music, 'something modern, but not bebop'. So Bentley obligingly plays 'Moonlight Serenede' by the Glen Miller Orchestra.

The song was recorded in 1939 and was top of the charts and that recording was released by the U.S War Department as Army Theme Song in 1943 (also released as by Navy and Marine Corp) and was re-recorded in 1944 by Glen Miller and the American Band of the Allied Expeditionary Forces - needless to say, it was a very significant wartime tune, so the fact Bentley chooses it is a wonderful nod to the minisode that's about to unfold, set smack bang in the middle of that time. Aziraphale's delight at the choice too, 'oh, perfect', helps reinforce the significance of the flashbacks to WWII in s1 and in this episode.

But that's not all folks. I think it's safe to say that Aziraphale and Crowley's experiences during this period (that we've seen so far -the Blitz and Nazi zombies) seem to coincide with pretty significant moment(s) in their relationship, moments that indicate a shift they are both aware of. So it got me thinking about that song choice at the very start of the episode again. It makes sense that we get a tune that indicates what's to come but also, knowing how layered and clever this show is, what if there's more to it? Spoiler alert: there is!

Turns out, lyricist Mitchell Parish was asked to write lyrics to 'Moonlight Serenade' in 1939, but Glen Miller decided to record it as an instrumental track and it wasn't until 1959 that a version with the lyrics was recorded and became popular. And do you know what the lyrics are about? Friends, this is what they are about:

Look, it could be just me, but WHAT?!!! Are you kidding me?! I mean, it's sublime.

So here's the thing. This could be a nod to the evening we see Crowley and Aziraphale sharing after the magical switcharoo OR, there has been much speculation about a third wartime flashback minisode in season 3 that will provide even more insight into what exactly happened between these two during that time. Either way, it just blows my mind how intentional it all is, how thoughtful. And whether it was a reference to the beautiful shades of grey scene in ep 4 or planting a seed for what's yet to come*, all I can hear right now is - TWO LOVERS. 'nough said.

*can you IMAGINE Crowley seducing Aziraphale with a song or vice versa *dead*

[buckets-and-trees]

haunting thoughts on Silent Screams

read it here: SILENT SCREAMS IN WILDEST DREAMS

Fandom: MCU Characters/Pairings: Bucky x Reader, side of Steve Word Count: 8k Content Warnings: dark dark DARK tale, smut, main character death, rough sex, fingering, oral (f receiving), unprotected p in v sex, creampie, talk of wounds, slight dub/con, elements of somnophilia

RECAP: A dark tale with an unhappy ending. Just when you’ve married the man of your dreams, only just closed the chapter of your honeymoon, happily ever after is wrenched away, and you’re met with a nightmare you never could have imagined.

I published this in late November 2022, but I worked on it on and off between other projects for about six weeks from concept to research to writing. I wrote it for @darkficsyouneveraskedfor's Hallo-Cream Extravaganza, which was a cool challenge because there was a collection of numbered images you could choose from, and then when my image was confirmed, there was a prompt to go along with it.

It was also my first time participating in a challenge since getting back into writing fanfic. When I thought I was getting the sun alone, I was thinking vampires, but when I got the phrase along with the image, it halted the vampire idea I thought I would go with, and since I was already going to re-evaluate, it got my mind going even more. At the time I was also redefining a lot of pieces in my life and I had signed up to go solo on this 5-day retreat to a cabin in the woods... I ended up talking about some of the research and concept ideas for this fic on the six-hour drive to and from that cabin with a girl I carpooled with (we talked about so many things as you do with a stranger you just met when you're both going to the same retreat and want to save on gas). But I'll put the rest under a cut so as not to spoil for those who haven't read it.

When I realized it wasn't going to be vampires, I really wanted to then get totally outside of the box of things we see all the time. I decided I wanted to look up Scandinavian folklore as I was also trying to throw off some of the USAmerican culture I'd just been sitting in my whole life and explore some of my ancestral heritage. I figured there had to be a ton of stuff I'd just never learned about or heard of before and of course there was. One of the ideas I have buried for another day is to do kind of a Grimm or Phillip Pullman thing and do an anthology retelling of some of Scandinavian folktales because they were fascinating, and there were elements I was familiar with alongside very new pieces. It was so cool to begin to uncover the stories there...

But I was looking for a story that would also fit my prompt and lend itself to Bucky x Reader application.

I found the Gengångare. The lore is that they're a revenant/walker, and particularly in the Swedish tradition they're a corporeal form of a spirit that comes back after death. The spirit would have been murdered or killed and came back for mixes of revenge or unfinished business. That I could give Bucky - going on a mission, being killed, and having both revenge he could seek (against still living HYDRA folks who tormented and used him) and unfinished business in a promise that he makes to you, his reader newlywed bride, to come back to you.

And so the story begins with what I was hoping to be this blissful newlywed haze - the first morning after your honeymoon. Bucky is leaving for a mission - he'd said they were leaving later than he's actually going to leave because he didn't want you to get up hours before you needed to in order to send him off, but he does wake you up to share some kisses and say goodbye, it gets a little more heated, but there's no time for smut since he has to go, but he promises to pick up where you to left off when he returns, and there we have the tie he makes to come back to you.

I listen to music heavily throughout the day, but I wrote this fic with some very specific music through different sections. And for the opening, I was listening to This Love by Taylor Swift because its very romantically evocative for me, but some of the lyrics I knew could also be ripped into the horrific elements of this story, and so I truly loved it for that even more! - this love is good/this love is bad/this love is alive back from the dead

Then there are some other deep musical cues that when I was writing the rest of the fic, I was literally listening to these songs on repeat - a track from Black Panther: Wakanda Forever, two tracks from Netflix's The Empress series, etc - and so I actually embedded the Spotify players for them at particular parts for the particular songs. That's the only fic where I've so heavily "scored" it.

I put into the narrative that they didn't recover a body from Bucky for what I never specifically defined but figure was an explosion or an accident of some sort where not finding a body would be believable - but it's the Gengångare Bucky escaping. His undead soul seeks some revenge first, then he's pulled back to your door, but I wanted/tried to imply that he moves by these motivations and doesn't really remember much until he encounters something. So he shows up back on your doorstep, and it's as he interacts with you that he remembers more and more pieces of himself that are added back into the primal gengångare motivations.

The sex after he returns is frequently more rough and desperate, but since you're just as desperate for him, you don't question that it's the fact that his nature has changed - no longer human, but a creature that needs to leech the energy of another living thing to survive. He doesn't realize it at first either. But the first night he returns, his body is very cold, and he gets warmer the longer he's with you.

His bruises haven't healed, and you notice that, but he brushes it off. There's an inadvertent pinching on your back that's the beginning of the marks he can't help consuming you. He's truly insatiable, but since you were so consumed with grief and so deeply and desperately in love, you don't question it. When you finally do bring up having Bruce examine him or bringing Steve into things, he doesn't want that and presents good reasons - not wanting to be a body poked and prodded, and not wanting to worry Steve until he has more of his memory cleared up.

There's only a little bit of Alpine in this fic, but Alpine can tell that something is wrong with Bucky and so she is not around when he is at all after he comes back. The sex is exhausting, but it's because it's with this creature form of Bucky taking more and more of your life.

And then the spill of the story/the reveal. And it's all discovered when you're basically doomed by your love. And he literally makes love and fucks you to death, and is still so in love with you while doing it. Very sad. And his goodbye is the same goodbye he said to you in the first scenes of the story.

This was the darkest thing I'd written up to this point, and I really just wanted it to feel gothic and doomed, but twisted up in this all-consuming love. As I knew where the story was headed, I sort of just took deep breaths and steadied myself to dive into letting it have its dark ending. And I loved taking it there even though it was kind of scary for my first time. It was very haunting to write and I really tried to convey that feeling and have it bleed through.

↠ Masterlist | Aspen's Ask Box | Field Guide to the Forest

read more from the Dark Forest Fest

[nataly-gt]

borrowers in music venues

building off my last post, i love love love the idea of borrowers being involved in human music spaces! here's a little story about it that i've had rotating in my head for a while -

a tight knit community of borrowers lives at a venue, n maybe it's a local place, smaller, offers them more leniency to mess around. they survive by collecting food scraps and extra concert items, either left behind by the audience or prepared in the kitchen / bar area.

so many bands and musicians cycle through the place, though most of them tend to be indie/ folk shows. even so, the huge crowds that they attract are seen as dangerous (rightfully so), and it's strictly prohibited for borrower folk to leave the walls during showtimes. but the constant noise into the late night makes it difficult for those living in the walls to rest - so of course, during those hours, a team of younger borrowers break the rules to venture out and see what it's all about. the only difference is that instead of an ideal laid back performance happening that night, there's a metal, hardcore band playing. this only excites the borrowers more, because- wow! all the noise, the aggression! it's so dangerous yet alluring to them.

one of them has a spot in the rafters, right over the stage, that they dare the others to go out onto. all their borrowing equipment is left behind, so in true teenager fashion they climb onto it without any regard for safety, eager to see the show unfold below them.

when the band starts playing something heavy, and the vocalist is roaring with an animalistic intensity, the swarms of people in the crowd moshing and shouting along, the borrowers realize - maybe their parents are right about humans being dangerous, evil creatures. as worried excitement begins to claim them, they realize this may be more than what they bargained for. one of them tries to leave, but is knocked off balance by a burst of noise from below. they fall the perilous height, landing next to the band's equipment in the center of the stage, injuring a leg but staying conscious. angst ensues!

it's so enthralling to imagine how the sensory aspect of a concert would be elevated at such a larger scale, the booming music engulfing the borrower completely, then the terrifying display of hundreds of giants, illuminated by flashing lights, brawling in front of them. immobilized by fear, the borrower would see the crowd ebb and flow with the music, controlled by the few humans on stage whose instruments now vibrate through their smaller form with an unbelievable intensity. they would attribute so much power to the band, especially the vocalist, whose voice becomes something out of their nightmares, their towering form commanding the mobs below the stage. guitars and drums clash around them as they lie motionless and wait for it to end, trying desperately to stay calm.

finally, when the set is finished, the borrower feels relief, hopeful that the band would leave and they might go unnoticed, but then the vocalist turns back to get their water or coat, and -oh no- they see the borrower! there's that initial phase of shock and disbelief, until they realize it's not just a tiny person, it's a kid, injured and gaping up at them with watery eyes. eager to leave, they scoop the borrower up, shielding them from all the noise and prying eyes until they find privacy backstage. their earnest attempts at reassurance have the opposite effect due to the immensity of their voice.

but following the trope of (most) metal bands being the nicest ppl ever- i imagine that they'd be so concerned for the borrower, putting aside their bewilderment to treat them with care and kindness, because obviously this tiny person is hurt and completely terrified of them. there would be so much fear to overcome, but eventually the borrower would trust them, grateful to be offered so much help by the (still very intimidating) humans who they thought would be their end. later on the borrower reunites with their friends - who were in the middle of planning a rescue mission - and they all hurry back to the settlement before the adults find out.

i like to think that both the borrowers and the band would agree to say nothing about the incident, and then part ways as if it never happened - leaving it as an ephemeral moment in time. eventually the humans file out and the venue is silent again, though an unlucky borrower's ears end up ringing for a few days after.

[be-the-glenn-to-my-maggie]

You know what, I've seen plenty of people throw their Spider origins tales into the ring so let me add my outlandish idea to the mix. For some reason in my mind I have created an elaborate au where the RDA are funded by some 1%-er back on Earth and create a test batch in order to perfect their recoms, only for the test batch they use random people's memories from throughout all of their memory research (no point in tampering with any important memories, after all) and these people eventually create their own sort of society in this cove and in order to remember parts of their human culture they put a heavy emphasis on, like, music and oral stories that range from classics like Lord of the Flies and Homer's Illiad and Odyssey to things like Peter Rabbit and the hungry hungry caterpillar and fairytales and basic nursery rhymes and other children's stories for the little kids to just fun folktales and whatnot to just everyday books we would read today (Twilight and Harry Potter, anyone?) and even poetry and comics. And the music is even more varied. Pop songs and lullabies and folk songs and hip-hop and way more, and as they get more adept at crafting they begin to try and make instruments from back on Earth (I just like to imagine the trail and error going on there) and eventually they get the hang of it.

I like to think all of these stories and songs and genres would just mesh together in the funnest ways possible (Peter Rabbit becomes Little Jack Rabbit, for example; this naughty rabbit who spends his time doing crazy shit like stealing a giant fox's golden goose and narrowly avoiding being beaten by a farmer when he's caught trying to steal his vegetables---instead of "Jack be nimble, Jack be quick, Jack jump over the candle stick" it becomes "Jack is nimble, Jack is quick, Jack can dodge the Farmer's stick") and maybe even begin to evolve into their own new stories and whatnot with some Na'vi influence but that's an ask for another time because rn I want to get to the point lol. So a little before Spider is born (in this au Paz is one of these experimental driverless avatars, but unlike the others she remained stationed at Hell's Gate; and Quaritch has an avatar because I said so) Paz flees to these people and Spider is raised there and this brings me to the whole reason I've created this elaborate thing: so Jake is aware of these people and is on good terms with them after the war. They're a direct link to his past and much like him in the sense that they were once human and now walk in a 2nd body, so he often visits them when time permits it but never brings the kids along. Think of this group like Jake's one indulgence after doing his best to fully commit to the Na'vi way. He wants his kids raised in this way and knows he's already pushing it with allowing the scientists back at Hell's Gate re-opening Grace's school.

Now, all of this being said, Norm and the scientists are very interested in the society that has formed. It's not very often a scientist gets to witness the creation of a unique culture first-hand (and on an entirely different planet, no less) and they're curious to learn more about these people. The only problem is that Jake is really the only outsider they trust after all they experienced gaining their independence. Due to this Norm and Max invite some of these people's children to the school as a way to hopefully begin building a friendly relationship that will one day lead to them in turn being invited to their settlement.

This is how the Sullies meet Spider, who is the son of Paz, the lead "Priestess of Songs". Spider is next in line to carry on the entirety of all of the songs and stories both maintained and created by their people, and as such he is sort of the child who sets an example for all of the others and so him attending basically decides if any others will attend the school as well. I imagine this story to go one of two ways: nocorro or locorro, though either way I know he and Kiri will end up besties.

Will I end up writing this? Will I not? Idk tbh, inspiration is to me like a breeze is to summer. Short-lived and often weak. I just felt like telling someone and you're always super nice about this stuff. Anyways there's a lot more I feel should be said about my thoughts but I've already hit you with a lot so if you want to hear more just say the word lol, but I'll stop here.

What an interesting idea! I'm really glad you guys think I'm nice about your ideas, why wouldn't I be! They're always super cool! I love sharing ideas and working on the concepts and headcanons with you guys, shoot me whatever! I know I keep saying it, but we'll be able to go back and forth much faster in a couple weeks lol.

I am very intrigued by the idea of how fast this culture formed if Paz is one of the original test subjects. I know Grace herself has been on Pandora for like, thirty years, so it has been a while, but not long enough for them to forget songs and stories to the point they have melded yet. I'm also curious as to how they gained their independence! Also how did Paz become their leader if she joined later?

Nocorro is of course, fun in this because Neteyam and Spider are both young leaders. They can bond over that pressure and hopefully let loose a little together. It also creates an interesting tragedy, of who is going to sacrifice their place if they are going to be together forever. Damn nocorro always ends up a little tragic.

Locorro would be like, Lo'ak totally being annoyed by this perfect guy Spider coming in and being a perfect role model. Then idk, he tries to get him to crack that image by teasing him or trying to get him to laugh, annoying him until he breaks. Kiri and Neteyam are all "stop flirting with Spider" and Lo'ak is like 👀. Lol poor Spider, he's never had such a hard time being serious he wants to laugh and tease back and be equally as annoying. This is his kryptonite.

[folk-enjoyer]

Suggested Song

"900 Miles" Terry Callier, 1968

origins under the cut

the origins of this song are a bit unclear. No one knows who first wrote it or some specifics with its origins. 900 miles is related to the traditional southern song, "Reuben's train," written sometime after 1860, based on the Reuben Wells Locomotive.

the earliest example of the song in print (that i could find anyway) was in 1913, from the journal of American folklore. somewhat similar to the song that Terry Callier covers. I've seen some references to the song being dated to the very early 1900s and late 1800s, so this song is older than 1913.

the first recording of the song (that i could find) was in 1924 by Fiddlin' John Carson "I'm Nine Hundred miles from home"

and in 1927 by Henry Whitter and G. B. Grayson "train No.45"

a common title for this song is Train No. 45 (which is usually just the instrumental version for the reuben train song), which is confusing because the reuben wells is actually referred to as no. 35, but maybe they changed it in the 20s because that was when the California Western Railroad No. 45 was built. I'm not really sure.

Many of the folk artists who covered this song and the music anthologists who collected have credited to hearing it from black singers originally like woody guthrie and Alan Lomax (p.245). Alan Lomax talks about its different versions in different southern states and its history as a labor song for Sharecroppers and convicts who were both white and black.

and Folklorist Norm Cohen talks about its use and connections to black folklife here (p. 502-518).

and it's featured here in the album, "Before The Blues Vol. 2 (The Early American Black Music Scene) 2016"

based on Alan Lomax's account, it seems that the 900 mile version was popularized because of Woody Guthrie's version in 1944

This song is incredibly famous and has been covered by many other traditional and revival folk artists, including: Cisco Houston (1950-1953), Odetta (1963), Barbara Dane (1961), Richie Havens (late 1960s?) and Bob Dylan (1967).

one of the most popular versions of the song "500 miles" was written in 1961 by Hedy west and is a much newer adaptation of the traditional song, it also has a much more cheery melody and fast tempo compared to the somewhat sullen "900 miles". it has been covered many times by country and folk revival artists like: the journeymen (1961), The Kingston Trio (1962), Peter Paul, and Mary (1962), and the Brothers four (1963).

the version by Terry Callier was recorded in 1965, but his folk album wasn't released until 3 years later in 1968. when he released his first album, "The New Folk Sound of Terry Callier." 900 miles was the first song on the tracklist and the album combined elements of traditional folk/blues as well as jazz. he takes traditional songs and re-imagines them with a fresh pair of eyes that makes this folk album stand out from the multitude of others at the time. While it's considered a cult classic today, it seems like it may have not performed very well monetarily considering how long it took to release and how every other Terry Callier release is completely different.

still, even though this was only his first album, and his genre and style diverged pretty heavily from this first album, it remains to me, one of the best things to come out of the folk revival scene, and 900 miles by Terry Callier will remain the best cover of the traditional labor song.

for user @paulkleefishmagic

[sweetdreamsjeff]

Tied for First: 'If You Knew' by Jeff Buckley

By: Stefan Lizarzaburu

Pub: UWIRE

February 20, 2020

It's been raining recently. Lots of grey, lots of splash. In the past few weeks, I've done what any other rational twenty-something would do in these conditions -- listen to sad music without feeling remorseful about my actions. It's because it's raining, okay? But in this drizzle-laden stupor, I quickly re-discovered a hidden gem -- one of the uncut variety. It's "If You Knew," live, by Jeff Buckley, off of his "Live at Sin-é - Legacy Edition" album recorded in 1993. And it's the best song of all time.

For context -- this "Live at Sin-é" album is pretty tight, tubular, terrific. Sin-é was a small coffee shop in New York City, East Village. It was this teensy tiny venue where young, aspiring New York musicians could come and showcase their talents. The last rendition of the original Sin-é shop closed in 2007, but its legacy lives on here with Jeff Buckley. At the time of recording, Buckley was a relatively unknown artist, mostly recognized as the son of folk-legend Tim Buckley. Jeff, however, wanted to pave the way for his own legacy -- a legacy removed from the father he barely knew. He would begin this legacy at Sin-é.

The set-up at this coffee shop was, well, a coffee shop. The stage wasn't even a stage -- it was just a space against the wall where the waitstaff cleared tables out of the way. So when I first listened to the album, I was astonished -- it sounds like Jeff Buckley's performance took place in Luray Caverns. Or like, I don't know, inside a sinkhole. It sounds immense, important, gripping and immediate. It's a voluntary moment of solitary confinement for your ears for about 4 minutes or so. It encases the listener in feeling. But mostly, it stirs. This song literally made me buy a Fender Telecaster -- Buckley's electric guitar of choice. You think I'm kidding? I wish I was. This song, this album -- they're just that good.

Buckley, at this point in his musical canon, had amassed a small following, mostly from fans of his performances at Sin-é. They knew what to expect when he performed -- some haunting falsettos, some shredding on a Telecaster, some original material and some covers. On this special summer's night in 1993, the crowd was special enough to bare witness to a cover of legendary proportions -- Nina Simone's "If You Knew."

Hats off to Simone for an absolutely impeccable original rendition. Goodness, this song is something. Reading the lyrics off a piece of paper might leave you partially shaken, but overall OK. But by golly goodness, the vocal performance can have you from zero-to-fetal in 2.5 seconds. Missing someone and longing for their presence can't always be said eloquently, even if you might want to say it eloquently. In longing and absence, sometimes there's complexity in simplicity. Simone's delivery is wrought with a passionate fire -- a short and flickering flame that burns hot at its center. She gets it.

So thank you, Nina Simone. The original version is spectacular and without a doubt deserves its own article. But here we are, going with the lanky Cali boy over the high priestess of soul. It'll make sense when you listen to the song because the feeling lingers with you. Buckley gets it too.

It's actually shocking to imagine that there are people just sitting in a coffee shop. Just casually sipping on their spiced lattes -- or whatever people in New York drank in the '90s -- listening to this angelic serenade. If I were there, I would no doubt have to take a breather outside after that out-of-body experience and pinch my skin to see if I'm still there. The lyrics, the performance, Buckley's tear-drop croon, the gently twanging guitar -- they all metamorphosize into a really somber, grayscale butterfly. It hurts. He hurts. He might as well be weeping like a little baby into the microphone -- but weeping in a poignant, emotionally-mature manner.

What is so incredibly compelling about this live performance is you hear absolute radio silence in the background -- no clinking, no clanking, no footsteps, no tea cups clattering, no silverware. They're in a coffee shop, with so many available stimuli, and yet all you can hear in the background is the reverb of the Telecaster's amplifier. The first thing you hear from the crowd after the performance is over, after some time where the air sits still, is a man. A man who so eloquently, with simplistic poise, says -- "Yeah." Imagine being so dumbfounded by a performance that all you can muster up in response is a quick, airy, "yeah." It seems like this mystery yes man gets it too.

Listen to this song when it rains. Listen when you miss someone. Listen when you kick up puddles on a spring morning. Listen to pay attention and to reflect. But whatever you do, for your own well-being, do not listen when you're actually already sad. It's just the rain, I promise. I get it too.

[sag-dab-sar]

The Need to Recognize Christmas' Preferential Treatment 🎄

Christmas is seen as "stolen" from pre-Christian traditions or described as "not really Christian". Some of it is legitimate (e.g with specific local or national folk traditions), a lot of it is pseudo-history (e.g Mithras birthday, an entire Christmas tree, lights) but frankly neither actually matter. Because, in our modern world, Christmas holds a prestigious place due to Christianity.

.🔹.

Here are examples that showcase Christmas' ubiquitous, unquestioned place in many Culturally Christian nations and why we need to recognized its ubiquity:

Appropriation of Judaism, re-imagined for Christmas exists like this. @/koshercosplay has basically an infinite amount of examples to use for these posts and even gets sent asks of more examples.

There is no Jewish, Islamic, Buddhist, Hindu or other religions' holidays reserved as an official federal holiday in the US. So all non-Christian religious holidays are labeled as "accommodations" while Christmas is a given.

While my post targets the US because thats were I am from, this isn't US only. Christmas is a public holiday in a large protion of countries around the world (see map).

Hallmark Christmas movies, that are made by the dozens at this point and are a US Christmas staple, are propaganda longing for a better ""family friendly"" white washed Christian version of America that never existed.

Hallmark has added anti-semitism into it's Christmas movies.

A Hanukkah presentation was banned in a Florida school meanwhile the same school was celebrating Christmas activities and decorations. Justified by Florida's Parental Rights Bill ("Don't say gay" bill) "obligating us to follow the 5th grade standards [...] At this time, a Chanukah presentation is not in our standards." It was only reversed to to social media outcry.

Something similar also happened in a Vancouver school where Christmas decorations were allowed because they "aren't religious" while Hanukkah ones were explicitly denied.

Fasting and breaking for prayer during Ramadan is seen as an inconvenience to employers, who need "guidance" on how to "accommodate" their Muslim employees. And has led to Muslims being straight up fired. Whereas Christmas decorations, events, or music in a work setting is fine.

Universities won't hold classes on Christmas but will reverse their practice of not holding classes on Yom Kippur & Rosh Hashanah because not holding classes on those holidays is "intended to insure greater continuity in the academic schedule and minimize course disruption for students." Those two holidays are a debate at the university— Christmas is never a debate.

Not holding classes on Eid al-Adha is also controversial! This also included reversing the decision to not have classes. The decisions to not hold classes on the holiday is a debate at the school board— Christmas is never a debate.

To make it all worse in the US: Christian Nationalism is dramaticlly increasing x x x

.🔹.

No matter what pagan-ness or secular aspects can be found in Christmas it has a privileged special place in our culture— that is afforded to no other religion— specifically because it is Christian. There are a few examples where this isn't the case (e.g Japan) but those are very few and far between

In my strong opinion: if you choose to celebrate the holiday, as a Christian or non-Christian, you should recognize the special spot & privilege it has.

You shouldn't dismiss that fact and the above examples because "pagan origins" or "celebrating it in a secular way"

Maybe next time when your classmate, your child's classmates, or you sibling's friend want to put up Hanukkah decorations in school next to the Christmas ones you can speak against the school administration that bans it, or against the teacher who gets upset at the idea.

Or perhaps you can be the person at the school board meeting who points out that Christmas isn't any more special than Yom Kippur or Eid al-Adha so why are those debatable when Christmas isn't.

Recognizing these things is not raining on Christmas' parade nor does it mean you should feel guilty for celebrating, its simply a matter of expanding you view of the world and learning the obstacles other people face.

.🔹.

P.S

Recognizing its preferential spot is paramount imo but if you'd also like to touch on the history of the matter:

Here is some info on the "Christmas is stolen" argument, as well as tracing secular and religious history of the holiday.

The origins of Christmas and its traditions are marred with psudeo-history plastered all over news websites, blogs, and supposedly reputable sources. But many of this comes down to secondary sources citing each other in a loop without primary sourcing. Here is an example of how that can happen (not xmas related).

-

-Dyslexic, not audio proof read- | -repost-

[rabbitechoes]

so i'm doing these songs posts weekly now instead of monthly to hopefully, 1. make things feel a bit more fresh and relevant and 2. cover more songs!! chose a pretty uneventful week to start doing this tho!! i also threw in two songs from the tail-end of last month at the start of this because they rule and i wanted to shout them out. anyways, enjoy!!! also feel free to follow me on rate your music and twitter <3

"HEATDEATH" - NOISE ARTIFACT

◇ released: June 28, 2024 ◇ genres: electronica, indietronica

I was going to add this to my post from last month, but I hit the image limit!!! I had to shout this out somewhere on here though, so I'm doing it now. I found out about this song and NOISE ARTIFACT on Twitter. This is some really solid, furry, indietronica with some incredible synth-work. Also some really raw and confessional songwriting which sounds suffocating under all of the electronic instrumentation. Really digging this song, definitely gonna keep an eye out for more of her stuff in the future!

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"Lift You Up" - Jessie Ware & Romy

◇ released: June 30, 2024 ◇ genres: diva house, dance-pop

This was also released at the tail-end of June, but I'm counting it here! Jessie Ware teams up with The xx's Romy for a sleek diva house cut. I've loved Ware's last two records and I've recently been going through The xx's catalog - in which Romy is always a highlight. These two just have such a fun dynamic. That chorus is also electric. This just makes you want to move!!!

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"Ever Seen" - beabadoobee

◇ released: July 1, 2024 ◇ featured on This is How Tomorrow Moves (not yet released) ◇ genres: indie pop, folk pop

This is fine! Nothing too exciting about this track unfortunately. This shift into more folk stylings has kinda proven to be a bit of a detriment to beabadoobee, although I did enjoy "Take a Bite" a good bit. These songs just sort of make her feel like another face in the crowd. The unique presence she had across her last album isn't here on a lot of these new tracks. Guess we'll just have to wait and see how the album plays out!

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"Lithonia" - Childish Gambino

◇ released: July 2, 2024 ◇ featured on Bando Stone & the New World (not yet released) ◇ genres: psychedelic rock, alternative rock, psychedelic soul

I'm of two minds on this new Childish Gambino single. In one mind, I feel like this song is overdramatic and suffocating to its detriment. In the other, imagining this in the context of his new album and film on the way it could be a very climactic high. I guess we will see, but for now I'll just say I like it. I never really dove into his last album, nor its re-release, but I've been waiting for Donald Glover to make more wild, psychedelic stuff like Awaken, My Love so this is definitely a step in the direction I want.

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"Tobey" - Eminem, Big Sean, & Babytron

◇ released: July 2, 2024 ◇ featured on The Death of Slim Shady (not yet released) ◇ genre: pop rap

Irritating in different, a bit more tolerable ways, than "Houdini," which had all of the millennials doing cartwheels, but I'm still not really wowed by this. Eminem is usually the worst thing about an Eminem song so having him obscured by both Big Sean and Babytron, two other Detroit rappers, does make this a better listen. Still nothing remarkable, they sound awkward as hell over this beat. My hopes for this album are not high at all, but such is the case for Eminem past the 2000s.

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"HUMBLE ME" - Killer Mike

◇ released: July 2, 2024 ◇ genre: southern hip hop

Killer Mike is frustrating. He's a good rapper and a razor-sharp writer who occasionally has precision many of his contemporaries do not - but then he'll do something totally contradictory and dumb. Anyways, this new song has him tackling his arrest at the Grammy Awards a few months ago after he won Rap Album of the Year among other things, it's just a general hype-up song. It's fine, nothing too special.

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"Tough" - Quavo & Lana Del Rey

◇ released: July 3, 2024 ◇ genres: trap, alt-pop, alternative r&b

Quavo and Lana Del Rey collab for the second time in their careers, the first time being on Lana's Lust for Life record, for a song that is pretty decent. Lana has been teasing her country era following her wonderful album from last year, which was my second favorite album of the year, leaving me with a lot of trepidation. She slides on this track, cowgirl boots and all, to do her thing - or maybe "thang" depending on how country she goes from here. Quavo also delivers a decent performance and the two have better chemistry than you would expect. The bridge and the chorus towards the end are easily the highlight of the song, I love that part even if the song on the whole doesn't fully grab me. Not sure where this leads for either artist, this could just be a fun one-off!

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"Overture" - The Voidz

◇ released: July 4, 2024 ◇ featured on Like All Before You (not yet released) ◇ genres: ambient, neo-psychedelia, chillsynth

Not much to say about this song, it's basically a minute-long teaser, but The Voidz are returning for a new album soon! This single is kinda pointless so I hope we get something a bit more substantial in the weeks to come. Reminds me that I also need to revisit their last album, I remember liking a good bit of it.

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"JOYRIDE" - Kesha

◇ released: July 4, 2024 ◇ genres: romanian popcorn?, dance-pop, dutch house

Kesha has been embroiled, unfortunately, in more drama surrounding her and Dr. Luke as he seems to have produced a washed-up popstar's comeback single about women empowerment that is set to drop in a few weeks. Sorry, didn't mean to get involved myself. Kesha cuts through all the noise with this crazy dance-pop, house cut with accordions and whatnot. It's ... a lot. I'm not sure if everything works, but it certainly sounds interesting. She carries herself like a diva here, but it's over this goofy house beat. Y'know what? It kinda rules. You go girl!!! The accordion is making a comeback!!! Be on the lookout!!

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"Worldwid3" - femtanyl feat. zombAe

◇ released: July 4, 2024 ◇ genres: industrial hip hop, digital hardcore

In celebration of hitting 100k subscribers on her YouTube channel, rising digital hardcore artist femtanyl dropped a new song with zombAe. This is a fun little song with some cool production moments, which is to be expected given her past work. The main focus is zombAe's rapping and she does a good job, although I do wish there was a better balance between the two artists. This mostly just feels like a fun one-off.

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psssst. i made a discord server called COSMIACORD ... if u wanna join and have fun, talk about music, play fortnite, or whatever here's the invite :3 https://discord.gg/rsHMenTU

[glimeres]

Hey, Joel and Ethan Coen: when are you guys going to produce an O Brother, Where Art Thou? (2000) stage adaptation?

There is no way they aren't closeted musical enthusiasts, not with having made movies like Inside Llewyn Davis, Hail Cesar! or the first 20 minutes of The Ballad of Buster Scruggs.

Why not ride the movie-to-musical wave, then?

OBWAT is already just much of a ""musical"" as the movie version of Cabaret - with most of the songs being diegetic.

If there is one thing I'm certain if is that the youth loves a musical re-imagining of ancient greek mythology and literature.

And OBWAT is a (very loose) re-telling of an ancient greek tale, now set in America at the beginning of the 20th Century - with its cast of characters trying to survive the harsh realities of the late 30's and the world Post Great Depression by any means necessary.

Wait a minute...

Yes, this movie IS Tony Award™ Winner Hadestown's older, more character actor-y cousin! Just swap the New Orleans setting for rural Mississipi and the folk/jazz score with country/bluegrass/gospel.

There are others examples of ancient greek mythology/literature-inspired musicals in the last couple of years - like the indie musical role-playing game Stray Gods, the Lighting Thief adaptation to stage or the Disney's Hercules production in Germany set to debut later this year.

Watch out, though, because the team behind Epic: The Musical already got the ball running when it comes to making musicals re-imagining Homer's Odyssey!

I gues the whole point of this post...

Is that the reprise of Man of Constant Sorrow would look so cool on stage. Like, so cool.

[scotianostra]

Happy Birthday singer Maggie Reilly, born in Glasgow September 15th 1956.

Maggie’s professional career began in 1970 when she recorded her first single ‘Imagine Me’. Shortly after, she met keyboard player Stuart MacKillop and formed the band “Joe Cool” and later "Cado Belle". In the mid-seventies they swiftly transformed from an insider act into a Scottish pop phenomenon.

After a time living and working in Ireland, Maggie Reilly formed her much acclaimed partnership with Mike Oldfield in 1980, producing such great songs as ‘Moonlight Shadow’, ‘To France’ . "Foreign Affair" and the Hall & Oates hit ‘Family Man’ for which she received an ASCAP writers-award in 1984. Worldwide hit albums include "QE2", "Five Miles Out", "Crises", "Discovery" and "Earth Moving"

After parting with Oldfield and taking time out to start a family, Maggie Reilly resumed her solo career and awards came with increasing frequency. She joined forces with the major German publishing house Mambo, producing the Album ‘Echoes’ in 1991 for which she wrote the massive worldwide hit ‘Everytime we Touch’ alongside the European hits ‘Wait’ and ‘Tears in the Rain’. The album went gold in several countries.

1996 saw the first of three albums for EMI, ‘Elena’ was a move away from the breezy pop songs of the Mambo period towards a more insightful songwriting style as shown on the atmospheric title track.

There and Back Again in 1998 gave Maggie a chance to re-record a selection of her best known songs to that date, including ‘Everytime We Touch’ & ‘Foreign Affair’.

The release of ‘Starcrossed’ two years later picked up the threads from Elena and provided more evidence of her subtle songwriting skills, particularly on the stunning single ‘Adelena’ (including an electrifying guitar solo by Chris Rea) and the beautiful ‘Half-light’

In 2003 Maggie Reilly took the opportunity to record an album of songs she’d long wanted to sing. ‘Save it for a Rainy Day’ was the first album recorded by Maggie to provide a download hit with the achingly beautiful Cyndi Lauper song ‘True Colors’ as well as other great classic songs by James Taylor, Chicago, Dusty Springfield, Neil Young and Heart.

2006 saw the return to her Scottish roots with the release of ‘Rowan’. This is an album of original songs, mixed seamlessly with traditional Scottish and English folk songs with the Reilly twist. The album won her much praise.

Maggie has had the opportunity of working with some fantastic musicians including her longstanding musical collaborator, Stuart Mackillop, who has now contributed to all of her albums since that first Cado Belle album in 1976.

2013 saw Maggie Reilly releasing her 10th album “Heaven Sent” to great success. Both singles “Juliette” and “Cold The Snow Clad Mountain” hit the airplay Top 20 in Germany while the album itself is hailed to be her best so far. A tour followed where Maggie played at sold out venues and festivals.

Maggie is due to perform a gig onight in Noventa di Piave a town in the Venice area of Italy, she is alos lined up for a 7 night tour of Germany, where she remains popular, the tour is in the last week in Fbruary.

Here she is at Dino Top Festival in Poland earlier this year

[pielove123clan]

assuming you are reblogging the f/o ask memes because you would like to talk about your f/os :3c very sorry if u r not :c

🦷💌🖇️ -the horror one

🎒🍒 -the misc one

Yeah your right. I do want to. I don't know who this is but my f/o is Ryoshu. Answers are under the cut, nothing nsfw, I just felt like it. Thank you for reading!

🦷 does your f/o bite?

Absolutly. Yeah she does. I bite too. I bite more.

💌 would your f/o stalk you? what would be the gut dropping signs that you're being stalked? how would your special freak let you know? OR, would you stalk your f/o and how would they find out?

No, Id try to stalk her but she'd notice immeditely because she's really perceptive when it comes to that sort of thing. When I get very excited, I stomp and make loud foot steps. She'd give me the stink eye and if she was in a particularly bad mood, I bet Ryoshu would directly walk up to me and either take the odachi to my neck or slap me. Or threaten violence. Or maybe just grab me and then expose that I am there, in the area and then I would get very embarrassed for making a scene.

🖇️ how did you and your f/o meet if you've thought about it?

I've thought about this and I've told some of my friends but I've been thinking of doing a project moon au of my general self insert oc Lily. It's not the best explanation but yeah. The au version is an abnormality based off the Aztec god Huēhuecoyōtl. The explanations are either:

Found in the Mirror Dungeon and the abnormality somehow follows the Limbus crew out of the Mirror Dungeon and she simply (im thinking of playing around with the gender of the abnormality but im just using she for now because that's my gender) won't go back so it's agreed to store the abnormality in some other room within the corridor and for some reason, it has a particular liking to Ryoshu?

The abnormality was found outside an old Lobotomy facility wandering around and the bus crew has to deal with it.

In the Mirror Dungeon, specifically Ryoshu gets an EGO gift and it doesn't go away outside the Mirror Dungeon but the abnormality is within the EGO gift

Any interaction with the two exist inside a void and seperate reality with no context.

🎒- What is your f/o’s ideal pet? Would you want to take care of that type of animal together?

I have no idea. Cats or raccoons maybe? Actually, it can depend on the ID. Me, I don't want animals (birds are tempting but message me directly, any of you, if you want a bird rant. TLDR: Their an exotic animal that shouldn't be pets. Any bird ownner worth their salt would tell you DO NOT GET A BIRD.) I mean, Ryoshu cannonically tried to get a bird both in the book and in Limbus. I can at least confidently say I am the best bet with taking care of a bird but at the same time, If she doesn't want to put any work on the birds, I will do my best to re-home them. Birds are a lot of work. I'm already kind of stressed of inhereting my parrots when my mom dies. They hate my guts.

🍒- What is your f/o’s music taste like? How does it differ from your own?

Hmm. Her music taste feels rough, metalic. Its easy to say she'd be into metal music but I think she'd also be to some slower songs. I'm bad at describing music. Experimental music might be something she'd look into. What Ryoshu wouldn't be into would be things country music, not much into rap, or songs with non-sense lyrics like that Yummy song by Justin Beaver?

I have some random person on tumblr's Ryoshu playlist and they put Ghost Busters and, yeah. Yeah, I can see Ryoshu listening to Ghost Busters. It's got that flavor, that funk, that style. Time For Love is also in the same playlist and I've imagined Ryoshu listening to that, not for the message but the timbre of the vocalist. For a fact, her standards for music are high.

My music taste is all over the place. Some songs she'd like, some she wouldn't. Whenever I listen to folk music, she'd think it to be boring. I think we can both enjoy PinocchioP and Pinkshift together. IDKHTFM and Bear Ghost might be too prep-y for her. Touhou Arrangements are natually a mixed bag and so are Mili songs.

The moment Ghost Busters plays and her ears hear Vinesauce Joel go, "I AM THE RAT MAN" any device being used to play music will get cut in two. She doesn't appreciate Vinesauce Joel's magnum opus of the same shitty midi of the Ghostbuster's theme uttilized over and over. It's ruined the song for her.