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tooneys-russo · 9 months

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I Write Songs About You All The Time

Summary: Wren is the lead singer of a band who happens to serenade Alessia leading to a fun night between the two.

Warning: Smut 18+

Chapter 1

Wren was her family’s biggest disappointment, she was meant to go to Oxford University but refused to go. Instead she and her band, Highland Nightfall, worked hard on their music, they were selling out smaller venues after a year of hard work and their album rocketed to number 1 on the alternative charts. Wren was the lead singer and she also played guitar, it was a given that she was the most popular member of the band. Wren had long brown hair with blonde highlights, she had bright green eyes that had speckles of blue scattered and a large sleeve tattoo on her right arm that had intricate designs of geometric animals, plants and some text scattered through. Girls at shows would throw bras on stage especially when Wren would wear their favourite outfit combination, backwards cap, tank top with an open short sleeve button up shirt, skinny jeans and converse.

She had come back to the UK after a tour in the US, her first show was in Manchester to a sold out crowd of 10,000. “Good evening everyone. We are Highland Nightfall, it’s so lovely to be back in England we have missed home so much. We thought we’d play a few songs for you if that would be alright?” The crowd screamed loud as the first song started. In the crowd were some of the Manchester United women’s players who had taken the night to go enjoy one of the best British acts going around. Alessia was particularly interested more in the lead singer rather than the music itself. She had studied Wren’s setlist making sure she knew the words, during the show the players videoed each other singing along.

Wren could hear the crowd singing back to her, she glanced up and saw a gorgeous group of girls all singing along to her song. She smirked as she continued singing, in a small break Wren spoke to her stage manager about getting the blonde from the upper seating to come down so she could sing to her. Her stage manager Claire immediately headed towards the United group who were clearly having an amazing time. Alessia followed Claire down to the stage nervously, when Claire requested her to come down to the stage she was shocked but couldn’t resist. A chair was placed in the middle of the stage and Wren walked over to the side where Alessia was standing. “Hi, nice to meet you my name is Wren.” She held out the game and the blonde shook it. “Hi I am Alessia.” Wren smirked. “I know. You play for United I’m not the smartest person in the world but I know football.” Alessia blushed at the girl’s words. “So I brought you down because it seemed you knew the words to my songs, which is exactly what I need for my next little bit. I am going to have you sit in the chair and I will sing to you. Two taps on the side of my thigh if it is too much or you want to stop, you are in control okay?” Alessia just nodded. “Alrighty beautiful lets get this going.” Wren grabbed Alessia’s hand and led her out to the stage.

“A lot of you know this next part of my show. Those edits on TikTok are phenomenal. I have with me the gorgeous Alessia Russo, if you have been living under a rock she is a striker for Manchester United.” The crowd roared at the mention of the player and the football team. “Yeah, yeah bloody Manchester United, got nothing on the mighty Arsenal.” The crowd booed and she gave them the finger with a smirk. Wren sat Alessia down and winked at her. “Now Alessia, you and I are going to have a little fun, clothes on princess don’t worry.”

The music started and Wren stood behind Alessia, sliding her hand down the blonde’s arm as she sang in her ear. “Well, come and get it now. Come and get it now” She walked to the front of Alessia and bent over, her hand on her leg holding her up keeping eye contact with the girl. Alessia could feel her heart racing, knowing exactly where this song was leading.

“Baby, show me what you're doing. Come and turn around.” Wren spread Alessia’s jean clad legs and dropped to her knees right in front of her.

'Cause it's not just a figure of speech. You got me down on my knees. It's getting harder to breathe out.” Alessia’s breath caught in her throat looking at the green eyes now between her legs. She couldn’t glance up at the United girls but she knew that there would be many videos of this moment and them laughing about the situation she had found herself in.

'Cause it's not just a figure of speech. You got me down on my knees. It's getting harder to breathe out.” Wren slid her hand up Alessia’s thigh, feeding off the girl’s reaction to her touch. Alessia held back a moan as Wren stood up and straddled the striker’s lap, her hands immediately placing themselves on the singer’s thighs.

“We only met each other just the other day. But you already got me feeling some type of way. Now, if I could figure it out. I'd take you back to my house. So we could meddle about.” Wren smirked at Alessia who bit her lip holding Wren onto her lap.

“We could meddle about. Whoa-oh-oh-oh. We could meddle about. No, whoa-oh-oh-oh-ooh. We could meddle about. Whoa-oh-oh-oh-oh. We could meddle about.” Wren knew that there were other people around but at that moment it felt as though it was just them alone on the stage. Slowly Wren tested the waters with a slow and gentle grind on Alessia’s lap, the striker’s mouth fell open as she moved her hands to Wren’s ass.

“Girl, just scream it out. Tell me what you're thinking. No, I wanna see you undress now. I wanna hear you confess now, oh-oh, oh, whoa.” Wren leant in so only the microphone was keeping their lips from connecting. Wren swallowed as she stared at Alessia in front of her, staring at her lips wanting so badly to know how they taste. Wren missed her next line, hearing the crowd singing the words. “You are distracting me gorgeous.” Wren said into Alessia’s ear as she turned around so her back was on Alessia’s chest.

“We only met each other just the other day. But you already got me feeling some type of way. Now, if I could figure it out. I'd take you back to my house. So we could meddle about.” Wren grabbed Alessia’s hand and moved it from her chest, down her breast, further down her stomach to her inner thigh. Alessia gripped onto Wren’s thigh and moaned into her ear as the singer leant back further against Alessia so her chin could rest on the brunette’s shoulder.

It was easily Wren’s favourite performance for more than one reason. Wren made sure to stay pressed against Alessia for the whole song, once she finished and the band was playing the outro she turned to the girl and smirked. “That was hot. Guess that is why they call you guys the red devils.” Wren grabbed Alessia’s hand and led her to the front of the stage. “A massive thank you to Alessia Russo for putting up with me for that song. Tag me in those TikTok edits too, wouldn’t mind reliving that one.” Wren kissed Alessia’s hand as the crowd screamed, she led the blonde off the stage.

“Thank you for that.” Alessia said with a blush painting her cheeks. “No, thank you. That was better than sex.” Wren kept a hold of Alessia’s hand and ran her thumb over her knuckle. “Come to The Ivy after, I will be there with the band and I want to have a little dance with you.” Alessia could only nod watching Wren’s green eyes. Wren took her chance to kiss Alessia’s cheek as Claire came over. “Wren can you please get back on stage, Alessia I will take you back up to the girls.” Wren groaned and nodded. “Fine. See you later gorgeous, this isn’t over yet.”

Wren rushed off the stage at the end of the show to shower and get ready for The Ivy, and maybe to see a particular blonde who she had unfinished business with. She put on blue skinny jeans, white high top converse, and a black short sleeve button up. Once she entered the club she asked the hostess where the Manchester players were and was shown to a booth where she immediately saw a blonde in black skinny jeans and a white crop top. Wren went up behind the blond and slid her arm around her waist. “Long time no see.” Alessia turned when she heard the voice and smirked. “About time you showed up.” Alessia had already downed two drinks to give herself some liquid courage for when she saw Wren.

Wren wasted no time in catching up to the level of buzz that Alessia had and pulled her onto the dancefloor. There were people all around them pressing them closer to each other, Wren gripped Alessia’s hips making them move in sync. Alessia wrapped her arms around Wren’s neck. “My god you are so hot.” Alessia said in her ear, making the singer smirk. “Have you ever looked at yourself?” Wren slid her hands lower onto Alessia’s ass making the girl moan.

They were both beginning to sweat as they danced, grinding against each other unable to stop themselves needing more contact from the other. Wren gave in and pressed her lips against the blonde’s. There was nothing gentle about the kiss, it was desperate and wanting. Their tongues ran along the other, Alessia’s hands gripping onto Wren’s shirt. “Come back to my place?” Wren moaned into Alessia’s mouth and the girl just nodded. Wren grabbed her hand and led her out the back of the club not bothering to tell each of their groups that they were leaving.

Their make out session continued in the side alley of the club where Alessia was pushed up against the wall, one leg wrapped around Wren and the singer pressing her body against the blonde. Their Uber was a few minutes away which was perfect for Wren to get more of Alessia. The blonde kissed down Wren’s neck and sucked a dark hickey onto her neck. “Fuck Alessia.” Wren gripped onto Alessia tighter, now hungrier for the girl in front of her, she felt her phone buzz as their Uber pulled up. The whole drive to the hotel Wren kissed Alesia a little calmer than what it had been, trying not to piss off the Uber driver with their fun.

They were clumsy all the way up to Wren’s room, using every hard surface as an opportunity to press one another up against. Wren took off her shirt and shoes easily not letting her lips part from Alessia’s once they got into her room. Alessia’s shirt was removed with ease even if Wren hated having to pull from the blonde. She pushed Alessia onto the bed with a smirk and took her spot on top of her, undoing the striker’s jeans and pulling them down to reveal a pink g-string. “You expecting me or something princess?” Wren smirked and Alessia shoved her gently. “They are just comfy.” Wren took off her jeans to expose her Scooby Doo briefs and Alessia put her hand on the girl above her’s chest. “Um were you expecting me?” Wren looked down and groaned. “Fuck.” Alessia laughed and pulled her back on top of her. “Cute as.” Wren rolled her eyes and kissed the girl again.

Their bras were the next casualties of their encounter, they were thrown somewhere in the hotel room as Wren began exploring the Italian English girl under her. Her lips kissed down her collarbones, down the valley of her breasts then across to her right nipple where she wrapped her lips around the bud. Alessia let out a loud moan and tangled her fingers into Wren’s hair, the singer slid her hand up Alessia’s inner thighs to gently rub her covered clit. Wren bit down gently and Alessia gasped and clenched her legs together. “Naughty girl.” Wren looked up at Alessia. She pulled Alessia’s g-string off and threw it across the rom, teasing the girl with her tongue along her wet pussy. “Wren please.” Alesssia begged. “Only because you asked so nicely.” Wren finally gave Alessia what she wanted, she ran her tongue along Alessia’s clit. The blonde girl threw back her head and pushed Wren further into her. Wren gently slid a finger inside Alessia, “Oh oh my god Wren!” Alessia stuttered. Wren moved her finger slowly, curling it to rub along the spot Alessia wanted it the most. Wren kept a steady pace, licking her clit and fingering her in time. Alessia could feel herself getting closer, she pushed against Wren’s mouth and fingers trying to reach her orgasm quicker, desperate for the release. Wren could feel Alessia getting wetter and grinding against her face and finger. She picked up the pace of her fingers and her tongue, Alessia couldn’t hold it in anymore, she screamed out as she came against the singer’s tongue and fingers. Wren slowed down her movements as Alessia came down from her high.

Before she could work out what was happening Wren was on her back and Alessia was straddling her hips. “Now I get to have my turn.” Alessia kissed Wren, tasting herself on the singer’s lips. Alessia pulled at Wren’s briefs and threw them off the bed to land somewhere near her discarded g-string. Alessia began grinding against Wren as she reached back to rub the brunette’s clit slowly. Wren gripped onto Alessia’s ass watching her movements on top of her, she had never seen such an incredibly gorgeous girl before. Alessia’s finger slipped inside Wren making the girl moan loud, she spread her legs wider giving Alessia more access. Her fingers sped up as Wren gripped onto Alessia’s breasts, she moved against Alessia’s fingers quickly. Wren moaned out Alessia’s name, it was the greatest thing Alessia had ever heard in her life. Wren didn’t last long once Alessia curled her fingers and arched her back giving her the perfect view of the striker. “Alessia fuck!” Wren moaned out loud as her orgasm came in waves over her body. She wrapped her arms around Alessia and pulled her down into a bruising kiss, the blonde giggled against her mouth as they kissed. The two laid in each other’s arms, Wren rubbed along Alessia’s back tracing shapes with her fingers.

“You are something else. I would not have expected that from someone as sweet as you.” Wren said and kissed Alessia’s head. “Guess that is what happens when a really gorgeous girl serenades me.” Alessia kissed Wren gently and cuddled more into her. “Goodnight Wren, thank you for tonight.” She said softly. “Goodnight Alessia, sweet dreams.” The two fell asleep cuddled up in each other’s arms.

Chapter 2

#alessia russo #woso #woso community #woso fanfiction #woso fanfics #woso fic

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kaddyssammlung · 9 months

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Sundowning

– Transcript from Revolver Sleep Token Special Edition

Sleep token formed in 2016 in the UK. They self-released their debut EP “One” in December of that year, before signing to Basic Records for their 2017 three-track follow-up “Two”.

From the beginning, there was a mystique about them: The image of four anonymous musicians in cloaks and ornate-looking masks, their exposed chests and arms, daubed in the thick black paint, invited questions. At first, Sleep Token answered those questions if cryptically but soon they would begin declining all interviews. In the early days, it seems, Sleep Token acknowledged that their story required a little exposition. A commonly held misconception among the fandom is that Sleep Token had only ever done one interview with British music magazine Metal Hammer in 2017, around at that time of the “Calcutta” single release. In fact, the band granted another interview in 2018 to Kerrang and in both of those rare press engagements, Vessel underscored the artistic purpose of their concealed identities.

“How we got here is irrelevant,as irrelevant as who we are - what matters is the music and the message” Vessel declared to Metal Hammer. “We are here to serve, Sleep and project his message”. When asked in that same conversation about the band's genre-defying approach, he said, “life is dark, life is bright, life is ugly, life is beautiful. Don't get lost in genres. They will disorient you, music, as for everyone”. In the Kerrang interview, Vessel doubled down on Sleep Token's philosophy of unhinging the art from its makers. “The true identities behind Sleep Token are immaterial and ultimately irrelevant”. As Vessel said at the time, “art has become entangled with identity...our aesthetic is there to fill the void left by that absence. True to those words, Sleep Token have remained anonymous and eschwed interviews ever since. Instead, they have communicated about entirely through their music and its accompanying visuals. Each song is an apparent offering to the primeval deity known as Sleep.

A once powerful being who, according to the band's lore, promised Vessel ultimate glory if he were to devote himself fully to him. He is now known as Sleep because, as background information shared by Basic Records put it, no modern tongue can properly express its name.

His past saw him wield far greater power than in modern age, bestowing ancient civilizations with the gift of dreams and the curse of nightmares. As insightful fans have noted, Sleep bears a wealth of similarities to the shadow archetype in Jungian philosophy, which is part of the unconscious mind and is composed of repressed ideas, weaknesses, and desires, and the aspects of oneself that are seen as not just unacceptable to society but contradictory to one's own personal morals and values. Is Vessel devoting himself to Sleep by offering him this music as a token or is he appeasing him? The consequences among the fans will have poured their free time into unpacking the overarching narrative in the band's music as that it's the story of a toxic power struggle. Vessel oscillates from a love bordering on obsession to frustration, desperation, and anger at Sleep's apparent indifference or even outright resistance towards him explaining the fluctuations on Sleep token's song to the text. This narrative had already been foregrounded in the band's first two EPs, but it was much more fully realized on the 2019 debut album “Sundowning”, which also marked the first release on Spineform Records. Its title refers to a phenomenon experienced by dementia patients regarding a range of behavioral changes that typically, but not necessarily, begin as the sun is setting and resolves themselves by morning. Those who experience it may become agitated or anxious, sometimes feeling like theyare in a wrong place, like they need to go home despite already being at home.

Sundowning, the album title, might then refer to a feeling of disorientation and distress that comes over Vessel whenever Sleep, presumably a creature of the night, arrives. The lyrics of “the night does not belong to God”, seemingly confirms this. You can remember only till the sun recedes once again. Vessel groans before the chanted hooks come in. The night comes down like heaven. “Sundowning” didn't get a typical album rollout. By the time it was released in November 2019, all of its 12 songs were already in fans' hands. Starting on June 21st, the summer solstice, the band dropped a new track every other Thursday at that time of sunset in the native United Kingdom. Beginning with album opener, that night does not belong to God and proceeding along the tracklist order. From both an artist and a marketing perspective, it was an innovative approach. One of many Sleep token were out to buck tradition, but only did the regularity of the world build a sense of anticipation. But it also kept Sleep Token at the front of fans' minds as they outpaced the speed at which most bands could release singles ahead of a new album.

Brilliantly, the campaign also fit into the band's story. Every fortnight as the sun was setting, Vessel presented yet another offering to Sleep. On “Sundowning”, as well as the band's subsequent LPs, each of these offerings had its own visual identity. In a case of Sleep token's first album, every song is represented by a sigil, a series of interconnected shapes, often lines, triangles, and circles that construct some sort of meaning. It is believed that the symbols have various origins. Some reference the Elder Futhark, (the oldest runic alphabet, which is also referenced in the Sleep token's logo,)

and the Enochian letters (an occult language) while others resemble the symbols for demons in the goetic grimoire Ars Goetia (a 17th century book oof sorcery). The aspect of the sigils that has most fascinated the fans, however, is the connection to alchemical symbology. Alchemy is an ancient tradition that is both philosophical and proto-scientific, and fans have latched onto the alchemical meanings of the sigils as meanings of finding hidden significance written within the songs. For instance, the sigil for the offering features the symbol for a callous or crucible and the symbol for fumes or smokes, suggesting the idea of something being burned as a ritual sacrifice. Within the song itself, Vessel makes this notion more explicit. This is a giving, an offering, in your favor, a sacrifice in your name, he sings.

That's one of the simpler examples. For a song like Dark Signs, the symbology becomes a little more complex. One of the individual symbols in the sigil refers to sublimination, a phenomenon in which someone witnesses something that challenges the limits of human understanding and the capabilities of human comprehension. This may well be that Vessel experiences interacting with sleep. In a chemical context, sublimination refers to a substance transformation from the solid to the gas stage or vice versa, which could be interpreted as a metaphor for the transition from being in one's body to being only a spirit. Meanwhile, the symbol for iron, which also appears in the Dark Signs sigil, is traditionally associated with the process of making two opposite chemical components separate from each other. Consequently, it's hardly a coincidence that the song itself establishes a growing sense of the division between Vessel and Sleep. Where we met, there must have been dark signs. Vessel sings while he later contends in the chorus that I hate who I have become, as a result of surrendering himself to Sleep. Vessel's feelings toward Sleep fluctuate so wildly, that the over-aching narrative of “Sundowning” is hard to grasp at first. The album opens by establishing Vessel's devotion toward Sleep in its most straightforward and reverent form. The minimalistic “the night does not belong to God” is practically a modern devotional hymn, presenting Vessel at his most eager to worship Sleep. In contrast, the offering introduces not only heavier riffs but also a fuller picture of the seemingly limitless capacities Vessel believes he has for love. The reoccurring image of biting and feeding is underscored by every repetition of take a bite, suggesting that Vessel is fully willing to lose parts of himself, even violently, to sustain and please sleep.

By the third track, “Levitate”, the foundations begin to wobble with Vessel, now gripped by anxiety over the prospect of being separated from Sleep or of Sleep no longer needing him. I can tell you won't remember my cracking bones. He despairs, eventually asking, will you levitate, where I won't reach you? In the next song, Dark Signs, his fears have come true and he's looking at the wreckage of the relationship, missing the man he was before the first, before the first even again. Yet after the conflict between them intensifies and “Higher”, “Take Aim” finds Vessel so deep in a state of love that he's defiant, almost daring Sleep to come back to him. Make me tear my body, make me yearn for your embrace. He challenges. “Sugar, a couple of tracks later represents the second emotional peak of the album with Vessel in the full throes of desire but with an undertone of darkness and violence. He knows Sleep plays a twisted little game but remains addicted to the pain none of the less. After the romantic dreaminess of “Drag Me Under”,

“Sundowning” ends on a note of frustration with Bloodsport. Once again, everything for Vessel has fallen apart and he's left exhausted by all the sacrifice for limited reward: “I made Loving You a Bloodsport I can't win” he curses, making the second downturn in his mood and fortune on the record. It serves as a lasting reminder, intensified by the singer sobbing over the final thrills of the piano that their bond as a destructive force where Vessel gives and Sleep takes. Musically speaking, “Sundowning” is arguably Sleep Token's softest album. It might be the most pop-oriented as well. Give, for example, has the slickness and the arcing, aerobic shape in the melody of something that might have floated around the mainstream in the mid-2010s while a vibrating synth lands that and trap percussion of “Dark Signs” and “Sugar” evoke the feeling of modern R&B.

On the other hand, there's plenty here that verifies Sleep Token's metal credentials. The bite of the guitars cut through like a surprise attack in the middle of a song, a bait-and switch structure that has become all the more frequent as Sleep Token have evolved. A notable expectation is “The Offering” which melts siren-like synths with noshing guitars and intertwines them tightly rather than handling them as a separate tool. By far the heaviest song on “Sundowning”, however, is called an alternative metal slice of fury that stones and swaggers with greater harshness than anything else on the album. Recalling Death Tones at their angriest as well as Sleep Token's contemporaries in Liverpool metal upstarts “Loathe”. Regardless, it's rare for Sleep Token to stick to just one sound. Even the anger of “God” dissipates for a while with a delicate, twinkling piano bridge. When “Sundowning” was released, Sleep Token were in a promising position. On October 3, 2019, they performed a ritual at the Underworld, a 500-capacity venue in London that often acts as the first rung on the ladder of an up-and-coming band's success.

Plant a flag at the Underworld and it's a sign your band is truly going somewhere.

Later that year, the album brought them to the US for the first time and then they returned to the UK for a headline tour in the early 2020s. Unbeknownst to them, however, the ritual they played at the 900-capacity Islington Assembly Hall on January 31 would be the final one for almost a year and a half. Not even the act of worshiping Sleep could justify gathering during the COVID-19 pandemic. The band did attempt to organize a series of socially distanced shows known as the Isolation Rituals in March 2021, but the virus was still too rampant at the time for them to go ahead. Not even Sleep himself could know how fast Sleep Token might have risen if there hadn't been a pathogen standing in their way. None of the last, when the stacking of ritual was approved by the government again, would neatly coincidence with a whole new chapter for the band. Sleep Token's son was about to rise to another level.

(This text was taken from the Revovler Special Edition Collector's mag; I don't own any of this)

#sleep token #sleep token worship #sleep token revolver

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olympeline · 8 months

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Alfred is usually a big ol’ golden retriever in my headcanon of him, ever trying to be good and do the right thing with his responsibility as the world’s premier superpower. He’s young and brash and has an ego on him the size of Texas but still, his need to be the hero comes from a genuine desire to help. Even if he doesn’t always succeed, his heart is in the right place. That’s how I usually see Alfred F. Jones

HOWEVER, I’d be lying if I said some very dark, one-sided USUK isn’t a delicious indulgence sometimes. A slow build where Arthur can never see Alfred as anything other than his little boy, and that just drives Alfred crazy

Every time Arthur rebuffs him, every time he makes it clear that what Alfred wants will never happen, every time Arthur’s beautiful green eyes pass over Alfred and his gaze wanders to the damn frog, that love gets darker, more twisted. Becomes tinged with obsession, gets tangled up with Alfred’s ego, gradually starts to morph into something terrifying

Arthur wouldn’t budge no matter what Alfred tried: the old man is one of the most stubborn nations to ever live. So, Alfred had to change focus or go mad. In the end he’d start to wonder if Arthur’s cooperation is really necessary at all. Does someone need to give consent when you’re obviously only doing what’s totally best for them? Does like, a firefighter need permission to rescue people? No, of course not! Arthur is so lonely, so unhappy, and he has been for years and years. Centuries, even millenia. Alfred is a hero. He’s the hero. What kind of hero would leave a poor, hurting soul to suffer when he has exactly what they need? When he is exactly what they need?

He’s the greatest country in the world! Everyone loves America. If they don’t, then there’s just something wrong with them

Arthur can will learn to love him! And the way Alfred wants this time. The right way! He just needs persuasion. Just needs to see Alfred is right

Alfred is always right. He’s the strongest, he’s the world’s hero, he’s pure and good. So everything he does is good, right? A hero can’t be bad

And if anyone objects, it won’t matter. Because soon they’ll see how happy Arthur is and they’ll realize it was all a big, silly misunderstanding. And even if they don’t, it still doesn’t matter because Alfred is America. Arthur raised him to be strong, so strong. Arthur was always proud of how strong Alfred became, even if he rarely said it while sober. Now Alfred will use that strength to save Arthur from himself. He’ll be happy, so, so happy with the new life Alfred will give him

Alfred is America. The leader of the free world. America always asks first, America is good and fair. And because he’s good and fair, he doesn’t let unfairness stand in any form. And Arthur was unfair to him. So Alfred is totally justified in his actions. Absolutely, positively. He asks, but also takes when he gets a wrong answer. Arthur gave a wrong answer. So now, Alfred will take

He’s America

Who’s going to stop him?

(Hope you enjoyed my ramblings. This scenario has two potential endings: first, the very dark one where the USA attacks the UK, Arthur is brutally overpowered, body and soul, and all the will to resist is crushed out of him. In the end perhaps even losing his identity as a nation and becoming Alfred’s 51st state. Totally repressed and utterly treasured: America’s pride and joy, the star that shines brightest on his flag. All the other nations were too terrified to object just as predicted, and Alfred now lives a life of ecstasy. Everything turned out perfect, and he gets exactly what he wants. Just like he always knew he would. From sea to shining sea, God bless America

Or, alternatively, a sudden shocking swerve happy ending where the other nations do step up, despite the risk, and give Alfred a big old “fuck you” when he starts his antics. They band together to keep their tantrum throwing superpower neighbor at arm’s length away from Arthur across the Atlantic. Because even Alfred couldn’t fight them all at once. And a narcissistic, unstable nation declaring war on a long held ally just for being romantically scorned has shown Alfred to be a danger to the whole world. Extra salt in the wound when the nightmare pushes Arthur and Francis together and finally gets them to admit their centuries held feelings for each other. From the threat of forced USUK comes sweet, consensual FrUK. As they (absolutely don’t) say in France: le go fuck yourself, America. Also don’t talk to me or my new husband ever again)

#hetalia #usuk #hws america #hws england #aph england #aph america #fruk #aph france #hws france #my posts

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cherrylng · 3 months

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MUSE Trivia and More [INROCK (December 2018)]

Three all the way The three members - Matthew Bellamy (vo./keys./g.), Chris Wolstenholme (b.) and Dominic (Dom) Howard (dr.) - have remained the same since the band formed in the early '90s.

Discography Muse have produced eight albums to date. The eighth is their latest, 'Simulation Theory', due for release on 9th November 2018.

● Debut album 'Showbiz' (1999) Released in '99, it reached a top ranking of 29 in the UK charts and sold 700,000 copies. It did not chart in the USA.

● Second album 'Origin of Symmetry' (2001) Number 3 in the UK, 1.5 million copies sold so far. Top 10 in seven European countries. Not released in the USA until four years later in 2005. This delay was caused by the band's then-owned label in the US, Maverick Records, deciding that Matthew's falsetto was not suitable for radio, and the band parted ways with the label as a result of the discussions at the time. It did not chart on Billboard (#161) until February 2010, another five years after its release in the USA.

● Third album 'Absolution' (2003) Number one in the UK and France. Top 10 in 10 European countries. Has sold 3.5 million copies worldwide to date.

● Fourth album 'Black Holes and Revelations' (2006) Number one in the UK, Australia, Ireland and Switzerland. It was the best-selling album of the year in Europe. It was the band's first ever Top 10 album in the USA. It sold nearly 4.5 million copies worldwide.

● Fifth album 'The Resistance' (2009) First album produced by the band themselves. It reached No. 1 in 14 countries, including the US Billboard Alternative Chart. It also sold around 4.5 million copies worldwide.

● Sixth album 'The 2nd Law' (2012) Sales fell to 2.5 million copies, but it reached number one in more than 10 countries. The stadium tour that accompanied the album recorded the largest attendance in the band's history, generating revenues of $103 million (approx. ¥11.551 billion) from 79 shows. The show at Rome's Stadio Olimpico, which attracted more than 60,000 spectators, was later released as the live album 'Live at Rome Olympic Stadium'.

● Seventh album 'Drones' (2015) The band reached number one in 15 countries and number one in the USA for the first time. The footage from the Drones tour was turned into a film, which was screened for one night only around the world on 12th July this year (note: there was also an encore screening in Japan). No DVD release date has yet been announced.

Funny memories Dom cites the Zepp DiverCity Tokyo show on 13th August 2013 as his funniest memory ever. During the last four songs, a group of people wearing headgear (presumably roadies and friends) stormed onto the stage. The footage was filmed, but the full story has not yet been released. [T/N: It has since been released on Muse's YouTube channel on April 2020. It was for Panic Station, Supermassive Black Hole, Can't Take My Eyes Off of You, and Starlight. You're welcome.]

Father George Bellamy Matthew's father, George Bellamy, is a rhythm guitarist best known for his '60s band The Tornados. He still plays in local Devon bands.

Metallica are also fans of Muse! The band played at the Big Day Out rock festival in Australia and New Zealand in 2004. At the time, there were no rehearsal trucks available, so the main act Metallica set up a rehearsal tent right next to the main stage. As Muse exited the stage after their turn, Metallica were often heard warming up with 'New Born', a song from their second album Origin of Symmetry.

Rise to prominence When they played Glastonbury Festival for the first time on 25th June 2000 [T/N: Technically, this is their second time performing in Glastonbury. Their first time was actually on 25th June 1999], they were ninth out of 11 on the Other Stage. They parked an old Volkswagen van in the guest/artist campsite, pitched a tent next to it and cooked breakfast outside. Four years later, in 2004, they became the headlining artist on the Pyramid Stage. They no longer needed to camp in tents.

Temporary bedroom The songwriting for third album 'Absolution' was done in a warehouse in East London. Chris therefore set up and slept in an air-inflated bed there, which he bought from IKEA.

Where are the first performance recordings!? They are still very embarrassed about their demo tapes 'This is a Muse Demo' ('95) and 'Newton Abbot Demo' ('97) and their first performance as a band when they tried out for the Battle of the Bands contest ('94). Whenever a copy of "This is a Muse Demo'' was put on an auction site, someone would sell it for an unbelievable amount of money. The "someone" is thought by fans to be the band members themselves.

Poker face!? The three of them like to play poker. When they played with Robert Smith (The Cure, vo./g), they won a lot of money. At one point, they played almost every day on tour, and as a result Matthew owed his crew and band members thousands of dollars. He likes to go to the Bellagio Casino in Las Vegas to play poker with betting limits, because it's not so easy with restrictions. He still plays on the tour bus, but there is also alcohol involved, so at the end of the day it's all about throwing chips at each other.

Jetpack For their show at Wembley Stadium in June 2007, the band planned to appear on stage with jet packs, which would allow them to fly using the jets on their backs. However, the stadium's health and safety team refused permission. Matthew's guitar was allowed to be carried onto the stage by a remote-controlled robot. Incidentally, Matthew actually bought and owns the jet pack for £10,000. He was addicted to such gadgets for a while, but woke up one day when he lost his mobile phone and realised he could still live without it.

Avoiding the 9/11 attacks On 10 September 2001, Muse were due to play a showcase gig at the Mercury Lounge in New York. But when that was cancelled, they flew early to their next destination, Boston. If they had stayed another night at a hotel on New York's Lower East Side as planned, they might have been caught up in the attacks on the World Trade Centre.

A row with Celine Dion In 2002, there was a row with Celine Dion. She revealed her plans to name her long-running Las Vegas show Muse. Matthew commented, "I don't want people to think we're Celine Dion's backing band." Celine insisted on the title Muse and proposed an offer to pay them £32,000 (approximately JPY 4.7 million), which Muse refused. Celine's management then pushed to go ahead with the plan anyway, and Muse considered filing a lawsuit. In the end, Céline relented and the title changed to 'A New Day'… and began its extended run the following year in 2003.

Matthew, you're about to get killed! Matthew likes scuba diving, but thinks he was nearly killed by an instructor once. The instructor liked Matthew's girlfriend at the time and tried to kill him by putting only half the oxygen in his oxygen tank when she got in the way. As well as scuba diving, Matthew has also tried squash, but he always ends up crashing into the wall and getting hurt.

Personal life ● Matthew Matthew was engaged to Italian psychologist Gaia Polloni until December 2009 and lived in a mansion in the village of Mortolazio on the western shore of Lake Como in Italy until 2010. The mansion was put on the market last year for just under USD 2 million (approximately JPY 224 million). It is approximately 250 square metres in size. It was built in the late 1820s, when the Italian composer Vincenzo Bellini lived there and Winston Churchill was invited to visit and paint. Neighbours include George Clooney and Sir Richard Branson. Matthew made the album 'The Resistance' here. After his breakup with Gaia, he started dating actress Kate Hudson in the spring of 2010 and got engaged the following year. Their son, Bing, was born in July of the same year. He and Kate ended their engagement in December 2014. He started dating model Elle Evans in 2015 and they became engaged in December 2017. Matthew now lives in the USA and owns at least three mansions in the Los Angeles area. Two of them are in Malibu. One was purchased from radio personality Adam Carolla in late 2014 for $3.6 million. The other house was purchased in 2016 for $2.6 million (JPY 291 million). The third house was bought last year for $7.25 million (approximately JPY 813 million) on a green lot in Brentwood, between Westwood and Santa Monica, from former tennis player Pete Sampras. In addition to this, he also owns mansions in his hometown of Devon and in London. In addition, in Malibu, he is neighbours with Chris Martin (Coldplay, vo./g. / piano), with whom he occasionally exchanges dirty-talking emails. In jest, of course.

● Chris Chris has six children with his wife Kelly, whom he married in 2003. His alcoholism deteriorated to the point of vomiting blood at one point, yet his bass playing skills remained undiminished and those around him were slow to realise the gravity of the situation. However, during the making of The Resistance, he finally entered rehab and underwent treatment. He has been sober ever since.

● Dom There is no mention of Dom getting married. Last autumn, he adopted a dog named Floyd, who appears to be a Boston terrier.

Guitars smashed Matthew entered the Guinness World Records in 2010 for smashing 140 guitars on tour in 2004. But he didn't actually break that many, and the guitars he smashed on stage usually just split the body and neck in half. Even if they look broken, they are actually repaired and returned. He has only broken about four guitars before he really broke them again, and one of them was a Gibson Les Paul that he didn't break on stage, but smashed into a cupboard. Counting his entire career, he has destroyed and replaced roughly 20 necks. But it's not just the guitars that suffer from Matthew's act. Dom is also a good nuisance. He has been injured three times so far because of the guitars Matthew has thrown around.

China tour When the 'Drones' tour visited Beijing on 9th September 2015 and Shanghai on 21st September 2015, 'Uprising' and 'Revolt' were removed from the set list. This was because they were deemed excessively political by the Chinese government.

'Twilight' series of romantic films Stephenie Meyer, author of the popular Twilight novels, is a big fan of Muse. Therefore, the soundtracks of the film trilogy 'Twilight' (2008), 'New Moon/Twilight Saga' (2009) and 'Eclipse/Twilight Saga' (2010) contain the songs 'Supermassive Black Hole', 'I Belong To You (+Mon Coeur S'Ouvre A Ta Voix)' and 'Neutron Star Collision (Love is Forever)', respectively. Neutron Star Collision was written specifically for Eclipse.

Impressions of Kanye West Matthew likes rap music and is a big fan of Kanye West. He describes Kanye's music as "It's already thoroughly me, me, me." However, one time Kanye came to say hello to Muse backstage, and instead of being "me", he just talked about T-shirts and left. Matthew found it so funny that he later named his cats Kanye and Kim (Kanye's wife Kim Kardashian).

Translator's Note: Okay, so I already knew a good majority of these trivia information as a long time fan, but I do acknowledge that some are new to me. Mostly, given that all of this information was up until late 2018, some of the information written in there can be considered as outdated.

#Matt Bellamy #Dom Howard #Chris Wolstenholme #Muse #Simulation Theory era #my scan #translation #INROCK #INROCK December 2018

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scotianostra · 3 months

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youtube

Happy Birthday James William Somerville born 22 June 1961 in Glasgow, better known to us as Jimmy Somerville.

Jimmy co-founded Bronski Beat in 1984 and from the band’s debut single “Smalltown Boy” onward, Somerville’s songs dealt openly with his own homosexuality, a recurring theme which met with surprisingly little commercial resistance as both the record and its follow-up, “Why?,” cracked the UK Top Ten. The much-acclaimed album Age of Consent preceded Bronski Beat’s 1985 cover of Donna Summer’s disco anthem “I Feel Love,”

Jimmy left Bronski Beat in 1985 but shortly after formed The Communards, which topped the British charts in 1986 with a rendition of another disco classic, Thelma Houston’s “Don’t Leave Me This Way.”

After hit albums, however, Somerville opted to go solo in 1988, resurfacing the next year with a cover of Francoise Hardy’s “Comment Te Dire Adieu;” the follow-up, a rendition of the Sylvester club perennial “You Make Me Feel (Mighty Real),” rocketed into the Top Five, and the LP Read My Lips was a Top 40 entry as well.

A reggaefied (is that even a word?) rendition of the Bee Gees chestnut “To Love Somebody” was next. Jimmy took a break in 1991 but returned to recording in 1995 with the album Dare to Love, his sixth solo album, Homage was released in 2015.

Jimmy was saddened to hear,in December 2016, that his friend and former band member of Bronski Beat Larry Steinbachek had died, he posted on his Facebook page "In memory of Larry Steinbachek whose death was announced yesterday. "We were young, brave and determined. Too OUT to stay in! Thank you for that moment Larry."

Smalltown Boy’, Bronski Beat’s classic debut single from 1984, is being reissued as a CD single and a coloured vinyl seven-inch for its 40th anniversary. The song has been reworked by London-based DJ and producer ABSOLUTE. (Ant McGinley)

#scotland #scottish #history #singer songwriter #gay anthem #lgbtq #happy birthday #Youtube

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thisisyourdriverspeaking · 2 months

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Summer break and I'm kinda sorta missing F1 so here are the UK number one songs when drivers got their first Grand Prix win. Enjoy 😊

Giuseppe Farina (1950 British GP - 13th May), Juan Manuel Fangio (1950 Monaco GP - 21st May) & Johnnie Parsons (1950 Indy 500 - 30th May) - Billy Eckstine - My Foolish Heart

Lee Wallard (1951 Indy 500 - 30th May) - Les Paul & Mary Ford - Mockin' Bird Hill

Luigi Fagioli (1951 French GP - 1st July) & Jose Froilan Gonzalez (1951 British GP - 14th July) - Nelson Eddy & Jo Stafford - With These Hands

Alberto Ascari (1951 German GP - 29th July) - Hoagy Carmichael - My Resistance Is Low

Piero Taruffi (1952 Swiss GP - 18th May) - Nat 'King' Cole - Unforgettable

Troy Ruttman (1952 Indy 500 - 30th May) - Jo Stafford - Ay-Round The Corner

Bill Vukovich (1953 Indy 500 - 30th May) & Mike Hawthorn (1953 French GP - 5th July) - Frankie Laine - I Believe

Maurice Trintignant (1955 Monaco GP - 22nd May) - Tony Bennett - Stranger In Paradise

Bob Sweikert (1955 Indy 500 - 30th May) - Eddie Calvert - Cherry Pink And Apple Blossom White

Stirling Moss (1955 British GP - 16th July) - Alma Cogan - Dreamboat

Luigi Musso (1956 Argentine GP - 22nd January) - Tennessee Ernie Ford - Sixteen Tons

Pat Flaherty (1956 Indy 500 - 30th May) & Peter Collins (1956 Belgian GP - 3rd June) - Ronnie Hilton - No Other Love

Sam Hanks (1957 Indy 500 - 30th May) - Andy Williams - Butterfly

Tony Brooks (1957 British GP - 20th July) - Elvis Presley - All Shook Up

Jimmy Bryan (1958 Indy 500 - 30th May) - Connie Francis - Who's Sorry Now

Jack Brabham (1959 Monaco GP - 10th May) - Buddy Holly - It Doesn't Matter Anymore

Rodger Ward (1959 Indy 500 - 30th May) & Jo Bonnier (1959 Dutch GP - 31st May) - Elvis Presley - A Fool Such As I

Bruce McLaren (1959 US GP - 12th December) - Adam Faith - What Do You Want?

Jim Rathmann (1960 Indy 500 - 30th May) - The Everly Brothers - Cathy's Clown

Phil Hill (1960 Italian GP - 4th September) - The Shadows - Apache

Wolfgang Von Trips (1961 Dutch GP - 22nd May) - Floyd Cramer - On The Rebound

Giancarlo Baghetti (1961 French GP - 2nd July) - Del Shannon - Runaway

Innes Ireland (1961 US GP - 8th October) - The Shadows - Kon-Tiki

Graham Hill (1962 Dutch GP - 20th May) - B Bumble & The Stingers - Nut Rocker

Jim Clark (1962 Belgian GP - 17th June) - Elvis Presley - Good Luck Charm

Dan Gurney (1962 French GP - 8th July) - Mike Sarne & Wendy Richard - Come Outside

John Surtees (1963 German GP - 4th August) - Elvis Presley - Devil In Disguise

Lorenzo Bandini (1964 Austrian GP - 23rd August) - Manfred Man - Do Wah Diddy Diddy

Jackie Stewart (1965 Italian GP - 12th September) - The Rolling Stones - (I Can't Get No) Satisfaction

Richie Ginther (1965 Mexican GP - 24th October) - Ken Dodd - Tears

Ludovico Scarfiotti (1966 Italian GP - 4th September) - The Beatles - Yellow Submarine

Pedro Rodriguez (1967 South African GP - 2nd January) - Tom Jones - Green Green Grass Of Home

Denny Hulme (1967 Monaco GP - 7th May) - Sandie Shaw - Puppet On A String

Jacky Ickx (1968 French GP - 7th July) & Jo Siffert (1968 British GP - 20th July) - Equals - Baby Come Back

Jochen Rindt (1969 US GP - 5th October) - Jane Birkin & Serge Gainsbourg - Je T'aime... Mon Non Plus

Clay Regazzoni (1970 Italian GP - 6th September) - Smokey Robinson & The Miracles - Tears Of A Clown

Emerson Fittipaldi (1970 US GP - 4th October) - Freda Payne - Band Of Gold

Mario Andretti (1971 South African GP - 6th March) - Mungo Jerry - Baby Jump

Peter Gethin (1971 Italian GP - 5th September) - Diana Ross - I'm Still Waiting

Francois Cevert (1971 US GP - 3rd October) - Rod Stewart - Maggie May

Jean-Pierre Beltoise (1972 Monaco GP - 14th May) - T-Rex - Metal Guru

Ronnie Peterson (1973 French GP - 1st July) - Donny Osmond - Young Love

Peter Revson (1973 British GP - 14th July) - Slade - Skweeze Me Pleeze Me

Carlos Reutemann (1974 South African GP - 30th March) - Paper Lace - Billy Don't Be A Hero

Niki Lauda (1974 Spanish GP - 28th April) - Abba - Waterloo

Jody Scheckter (1974 Swedish GP - 9th June) - Ray Stevens - The Streak

Jose Carlos Pace (1975 Brazilian GP - 26th January) - Pilot - January

Jochen Mass - (1975 Spanish GP - 27th April) - Mud - Oh Boy

James Hunt (1975 Dutch GP - 22nd June) - 10CC - I'm Not In Love

Vittorio Brambilla (1975 Austrian GP - 17th August) - The Stylistics - I Can't Give You Anything (But My Love)

John Watson (1976 Austrian GP - 15th August) - Elton John & Kiki Dee - Don't Go Breaking My Heart

Gunnar Nilsson (1977 Belgian GP - 5th June) - Rod Stewart - I Don't Want To Talk About It

Jacques Laffite (1977 Swedish GP - 19th June) - The Jacksons - Show You The Way To Go

Alan Jones (1977 Austrian GP - 14th August) - Brotherhood Of Man - Angelo

Patrick Depailler (1978 Monaco GP - 7th May) - Boney M - Rivers Of Babylon

Gilles Villeneuve (1978 Canadian GP - 8th October) - John Travolta & Olivia Newton-John - Summer Nights

Jean-Pierre Jabouille (1979 French GP - 1st July) - Tubeway Army - Are 'Friends' Electric?

Rene Arnoux (1980 Brazilian GP - 27th January) - The Specials - Too Much Too Young

Nelson Piquet (1980 US GP - March 30) - The Jam - Going Underground

Didier Pironi (1980 Belgian GP - 4th May) - Dexy's Midnight Runners - Geno

Alain Prost (1981 French GP - 5th July) - The Specials - Ghost Town

Riccardo Patrese (1982 Monaco GP - 23rd May) - Madness - House Of Fun

Patrick Tambay (1982 German GP - 8th August) & Elio De Angelis (1982 Austrian GP) - Dexy's Midnight Runners - Come On Eileen

Keke Rosberg (1982 Swiss GP - 29th August) & Michele Alboreto (1982 Caesers Palace GP) - Survivor - Eye Of The Tiger

Ayrton Senna (1985 Portuguese GP - 21st April) - USA For Africa - We Are The World

Nigel Mansell (1985 European GP - 6th October) - Jennifer Rush - The Power Of Love

Gerhard Berger (1986 Mexican GP - 12th October) - Nick Berry - Every Loser Wins

Thierry Boutsen (1989 Canadian GP - 18th June) - Soul II Soul - Back To Life (However Do You Want Me)

Alessandro Nannini (1989 Japanese GP - 22nd October) - Jive Bunny & The Mastermixers - That's What I Like

Michael Schumacher (1992 Belgian GP - 30th August) - Snap! - Rhythm Is A Dancer

Damon Hill (1993 Hungarian GP - 15th August) - Freddie Mercury - Living On My Own

Jean Alesi (1995 Canadian GP - 11th June) - Robson & Jerome - Unchained Melody

Johnny Herbert (1995 British GP - 16th July) - Outhere Brothers - Boom Boom Boom

David Coulthard (1995 Portuguese GP - 24th September) - Simply Red - Fairground

Olivier Panis (1996 Monaco GP - 19th May) - Gina G - Ooh Ahh... Just A Little Bit

Jacques Villeneuve (1996 European GP - 28th April) - George Michael - Fastlove

Heinz-Harald Frentzen (1997 San Marino GP) - Michael Jackson - Blood On The Dance Floor

Mika Hakkinen (1997 European GP - 26th October) - Aqua - Barbie Girl

Eddie Irvine (1999 Australian GP - 7th March) - Boyzone - When The Going Gets Tough

Ruben Barrichello (2000 German GP - 30th July) - Craig David - 7 Days

Ralf Schumacher (2001 San Marino GP - 15th April) - Emma Bunton - What Took You So Long?

Juan Pablo Montoya (2001 Italian GP - 16th September) - DJ Otzi - Hey Baby

Kimi Raikkonen (2003 Malaysian GP - 23rd March) - Gareth Gates ft The Kumars - Spirit In The Sky

Giancarlo Fisichella (2003 Brazilian GP - 6th April) - Room 5 ft Oliver Cheatham - Make Luv

Fernando Alonso (2003 Hungarian GP - 24th August) - Blu Cantrell ft Sean Paul - Breathe

Jarno Trulli (2004 Monaco GP - 23rd May) - Frankee - F.U.R.B (F U Right Back

Jenson Button (2006 Hungarian GP - 6th August) - Shakira ft Wyclef Jean - Hips Don't Lie

Felipe Massa (2006 Turkish GP - 27th August) - Beyonce ft Jay-Z - Deja Vu

Lewis Hamilton (2007 Canadian GP - 10th June) - Rihanna ft Jay-Z - Umbrella

Robert Kubica (2008 Canadian GP - 8th June) - Mint Royale - Singin' In The Rain

Heikki Kovalainen (2008 Hungarian GP - 3rd August) - Dizzee Rascal ft Calvin Harris & Chrome - Dance Wiv Me

Sebastian Vettel (2008 Italian GP - 14th September) - Kings Of Leon - Sex On Fire

Mark Webber (2009 German GP - 12th July) - Cascada - Evacuate The Dancefloor

Nico Rosberg (2012 Chinese GP - 15th April) - Carly Rae Jepsen - Call Me Maybe

Pastor Maldonado (2012 Spanish GP - 13th May) - Rita Ora ft Tinie Tempah - R.I.P.

Daniel Ricciardo (2014 Canadian GP - 8th June) - Ed Sheeran - Sing

Max Verstappen (2016 Spanish GP - 15th May) - Drake ft Wizkid & Kyla - One Dance

Valtteri Bottas (2017 Russian GP - 30th April) - Clean Bandit ft Zara Larsson - Symphony

Charles Leclerc (2019 Belgian GP - 1st September) - Ed Sheeran ft Stormzy - Take Me Back To London

Pierre Gasly (2020 Italian GP - 6th September) - Cardi B ft Megan Thee Stallion - WAP

Sergio Perez (2020 Sakhir GP - 6th December) - Ariana Grande - Positions

Esteban Ocon (2021 Hungarian GP - 1st August) - Ed Sheeran - Bad Habits

Carlos Sainz Jr (2022 British GP - 3rd July) - Kate Bush - Running Up That Hill

George Russell (2022 Brazilian GP - 13th November) - Taylor Swift - Anti-Hero

Lando Norris (2024 Miami GP - 5th May) & Oscar Piastri (2024 Hungarian GP - 21st July) - Sabrina Carpenter - Espresso

And yes, I've created a Spotify playlist for these tunes 😊😊

#f1 #formula one #motorsport #f1 2024 #spotify #music #tunes #race winner number ones

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girlreviews · 6 months

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Review #438: Parklife, Blur

In some ways this review is going to be like the antithesis to the one I wrote for Pulp’s Different Class. In that, this album features songs that are so important to British culture, and individually to my formative years, that I can’t ever be mad to hear them. However, unlike my ongoing and steadfast admiration for Pulp as a band, I have way more complicated feelings about Blur, and about this album in particular. Okay, so some context and education first. Blur had success in the UK with their debut album, Leisure, but had really dug themselves into a financial hole through poor management. They owed the taxman a lot of money. As such, they were essentially forced to go on a long, arduous tour of the US to promote their successful album. In theory this would be great. But it wasn’t great. They were touring tiny towns and venues that had never heard of them. The grunge scene had just exploded out of the Pacific Northwest and literally nobody Stateside had any fucks to give about Blur, British Music, or what they were doing on this tour. The band themselves have described the space and time immediately preceding the creation of Parklife as pretty bleak. Miserable. Oppressive. They felt backed into a corner, exhausted, downtrodden, underappreciated, and homesick.

Where they sort of lose me on this is where they express feeling as if they were shamed for being British and they were resistant to just create a record that adhered to the current trend of music. They returned to the UK with a concept in mind: a quintessentially British album, about British culture, that makes a statement: British music is a thing of its own, and it’s worth your time. I mean, I don’t disagree with that. I just fail to see how grunge being a popular genre at the time meant that they weren’t able to be proudly British, and proudly produce whatever music suited them. Artists make art for the art, and if someone likes it, that’s great. But they were young men at the time and I imagine egos and the lures of chart success influenced their feelings about it. You don’t get into a tabloid frenzied ongoing rift with the Gallagher brothers because you’re a really chill bunch of guys that only care about the music. There’s an irritating overtone of testosterone and national pride that has an icky vibe to it. It’s too easy for it to be co-opted. And it was! And it still is!

So let me just get the following points off my chest and then I’ll work my way through them:

1. Parklife is and was an important record in British music

2. It’s also not Blur’s strongest album by a BIG margin, but it’s managed to persist as somewhat of a defining album for them. I’m glad they shook it off, and we didn’t just get record after record of Parklife from them. That’s honestly how a lot of people would have done it and I can respect their commitment to art as a band: we’re going to do something different than what you just loved, and if you don’t like it that’s a you problem. People did like it.

3. Parklife also paved the way for an obnoxious marketing/PR ploy from the music industry surrounding British Indie/Rock artists, that created a ridiculous craze and wave that was surfed by bands ranging from incredible and deserving, to absolute dogshit. Ladies and gentleman, I give you: Britpop. If you were there you know what it was like, and you understand all the nuance and resentment surrounding it as a “genre”. We’ll get into this more later. In hindsight it all worked out okay and we live in a world where – at least to my knowledge – you can appreciate and criticize both Oasis and Blur for their talents and their fuck ups without it representing some massive class and cultural divide. This was absolutely not always the case and it was, for some reason, a really big deal, and it mattered to everyone, a lot. Blur or Oasis? I was 7 turning 8 years old at the height of this manufactured-turned-real rivalry, and it genuinely caused me stress. As a child! I loved them both. But I felt forced to choose. I chose Blur. I understand how ridiculous it sounds, but I wish I could go back in time and refuse to choose. It mattered, and it also really didn’t. They don’t sound similar enough to compare or compete? So why did we have to? But WE DID. It was on the news. It was the biggest thing going on at the time. It dominated the papers. Bookies were taking bets on who would be #1 between the two of them. Blur won that battle with Country House. I don’t think anybody won the war. I think everybody got bored, gave up, and went home.

So Blur kicked off Britpop with their return from this grinding US tour and they made a full blown concept album about being British. And it was good. But all of a sudden there was just this… Overwhelming influx of bands who were banking their success solely on this “being British”, thing. It had a look, it had a sound, it had a style, it had a location. The same thing happened with the Indie wave in the early/mid-2000s. It’s so annoying to me though. You end up just having to sift through a whole bunch of fucking garbage to find the stuff that is legit, and would be legit with or without the “scene”. Parklife is legit. It’s just responsible for the aftermath and onslaught of bullshit. Is that their fault? No, but they definitely participated in it all for a bit. There was a lot of great music that technically fell under the Britpop genre, but essentially looking back most of it isn’t Britpop – because that was just made up. It was just good music from various genres, and they all happened to be British artists. That’s not the same thing. It was just a music industry scheme and boy howdy did everyone buy-in.

The song Parklife, is pretty genius, still. Damon Albarn, unable to commit to the concept with a cockney accent, enlisted well-known British actor, Phil Daniels (of Quadrophenia fame) to deliver the lyrics. This was both creative and super novel. People went pretty nuts about it. They still do. It’s got the same pull as Common People. If you want to see an entire nation lose their shit over a song – you might stick on Parklife. It’s just deeply entrenched into the fabric of British culture and it’s as if it was from the moment it was released. It just is. I actually saw Parklife live at Reading Festival when I was 16 or 17, and they brought Phil Daniels out. The most memorable thing about the whole thing, was that Damon Albarn fell off the stage. I guess the most surprising thing about the wider record, is that you expect it to be more of Parklife the song. And it actually isn’t. It’s just a Blur record, and a not bad one at that.

It's just so weird how a regular album took on this entire life of its own, turned into a cultural phenomenon, and produced this era of music that for better or worse is part of history now. Some of the subsequent singles from subsequent albums honestly seem like they were more “Britpop” than a lot of the tracks on Parklife. Maybe they were running with it for sometime to bank on its success, but ultimately they grew tired of it too and changed directions. I’m glad.

I guess the other thing about Blur, is the individuals its made up of. They’ve been indie darlings forever. Graham Coxon was a nerdy little weirdo, he left and came back. I think Britpop almost killed him if I’m being honest. Damon Albarn was a pretty-faced front man and has gone on to produce some absolutely insane albums for other artists and with other bands. He’s got something, that’s for sure, but it’s not always good. Some ego and misogyny always sort of leaks out and it would make my life easier to enjoy his creative output if he just kept his mouth shut. He seems to have a problem playing nice with successful women and insists on tearing them down publicly, only to be forced to admit that he hasn’t actually worked with them, met them, talked to them, or even listened to the music that he is loudly criticizing. That’s fucking annoying, but, is also par for the course regarding male opinions being inexplicably important and accepted even absent of any actual valid perspective or input. Damon, you have a lot of great things to say with your music. That doesn’t mean you have to say something, about everything, all the time.

Alex James, floppy-haired and handsome bassist, for a time was the biggest darling of them all – attracting praise for being so quirky and unique by establishing a cheese farm. Over the years, I have come to suspect he’s really just hidden in plain sight and really what you get with him is a basic man, with basic opinions, who loves some attention. I can’t ever really quite put my finger on it with him but there’s something deeply off putting about his whole persona. I’ll just say it. Whatever image he puts out and however quirky and cool he makes himself out to be: he’s just a fucking Tory, man. With that comes everything else: classism, racism, misogyny and fucking over everyone worse off than you, so long as you get yours. But hey everyone, who cares right? He makes cheese! Isn’t that so weird and kooky? He’s gotta be a cool guy! It was this exact fucking line of thinking that allowed Boris Johnson to take advantage of the comedy panel show circuit for years and years and years, elevating his reputation among liberal young voters. Everyone thought Boris was a funny joke, so let’s vote for him! He goes from MP, to London Mayor, to high-ranking cabinet member, to the fucking PRIME MINISTER. And it wasn’t a funny joke then, was it? So let’s pay attention to the things people actually say and do, and not just the music that they make and the cheese they produce. The other guy in the band, whose name I can literally never remember – Dave Rowntree – he’s just the drummer, who brought nothing to the band visually, and was just sort of along for the ride. Seems like a nice enough guy, it’s just that nobody cares.

If you’re interested in making more sense of this review, I will recommend that you turn your attention to Netflix series This Is Pop which does a pretty decent overall rundown of Blur, Oasis, and the Britpop era. It’s not perfect, but it’s pretty good, and I appreciate that it gives a voice to the women in that music scene at the time, who were treated like shit and had to deal with all of the masculine national pride shit that came along with it all. It’s pretty clear from listening to them: Oasis, literally didn’t give a shit – about anything – and that was pretty hilarious. Blur, despite being genuine talent with good music to offer, bought into the hype and acted like a bunch of pricks publicly. They were all pricks, it’s just some of them were more authentically pricks than others. Ha.

I guess all I can say is this: I love Blur, and I hate Blur. I don’t know that I’m inclined to agree with Parklife’s inclusion in the Rolling Stone Top 500, but I can also appreciate that I’m talking from the inside and the majority of listeners didn’t also absorb the cultural moment as it was happening. If you happened to be there, you know it was all kind of nonsense. It’s kind of wild watching documentaries or reading write-ups of a particular time in music that you were actually present for in real-time. Like how I imagine people who were at Woodstock, or when Bob Dylan went electric, or the original British Invasion of America with the Beatles. It was a whole thing, and if you were there, you remember.

#album review #music #music review #rolling stone top 500 #blur #parklife #britpop #oasis

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borninwinter81 · 5 months

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Quick and simple t-shirt mod

My Subspecies shirt arrived, and thankfully its a good quality one, not a dropshipper or an Ali Express resell. It actually despatched from the UK in spite of the pricing being in dollars, so I think it might be print to order and they just send the order to a printer in whatever country the customer is in. Link for the site here, they have a few other horror shirts but seem to mostly sell merch for the Australian extreme metal band, Portal - I would highly recommend this band to anyone who likes bizarre, avant-garde, experimental or just fucking weird extreme music.

Anyway, I almost always mod my shirts to make them a little more interesting. I crop them because although I'm pretty slim I have hyperlordosis (a slight inward spinal curvature) that makes certain clothing including long shirts look really unflattering on me. If I crop a shirt to my natural waist it looks way better, though sometimes if the design is large I have to make a decision between losing part of it, or having it look unflattering. Not a problem with this one thankfully, the design is printed pretty high on the shirt.

I also usually cut out the neck and cut the sleeves off. Partially to show more of my tattoos but also because I prefer the way it looks. If I leave the sleeves on it, it tends to be a skinny-fit shirt.

After that I would usually cut and weave the sides or the back (there are many tutorials for different ways to do this online), but for this shirt I had the idea to add eyelets and laces. The shoulder stitching tends to come undone when you cut out the neck and sleeves of a t shirt so I needed some way of securing that part back together anyway, and they're nice and visible there.

Eyelets are cheap, and inserting them is super easy - just make a hole with something sharp. Though I have a leather punch, for this kind of thin stretchy fabric I usually use my scratch awl, but you can easily do it with scissors. Eyelets come in a pack with a tool for setting them in place, and you need a hammer to hit them a few times. Make sure you're on a very sturdy surface as you need plenty of resistance to get them nice and secure. A concrete floor is best.

I just folded the fabric in half to get the middle ones in the right spot but you can measure the spacing if you have more to put in.

I had boot laces to hand because I always save them if I get rid of a pair of old boots, but you could use pretty much anything you have available- ribbon, lace, even long strips of the t shirt fabric that you cut off.

I laced them up, tied them very tightly and then covered the knots in fabric glue to make sure they don't come undone. Then I trimmed them to the right length, and as they're synthetic (so, plastic) I used a lighter to melt the ends slightly to make sure they won't fray.

I had the bright idea to also singe the knots, forgetting of course that the glue would be flammable so the whole knot caught fire, but thankfully I reacted quick and blew it out straight away! At least they're very unlikely to come undone now, but please be extremely careful if you choose to do anything involving a naked flame!

I was going to add more eyelets down the sides to make it tighter, but I don't have enough left, and actually it's fairly tight already. I also may do something to the back as there's no print there and it looks a little plain, but for now I'm very happy with this.

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wub-fur-radio · 11 months

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Appealing Sounds of Confusion & Dismay

Nothing is absolute; everything is possible. – Hassan-i-Sabbah

If you’ve been dismayed to be feeling even more confused than usual of late, Wub-Fur Internet Radio wants you to know you are not alone and wishes to do what we can to help. Toward that end we offer this two part streaming mix of appealing sounds from around the planet and across the multiverses of contemporary psychedelic/stoner/doom/space rock music. Featuring 25 new tunes from 25 of your favorite modern psych combos, including Frankie and the Witch Fingers, Black Sand, Sonic Moon, King Gizzard & The Lizard Wizard, Queens of the Stone Age, Jeffrey Alexander + The Heavy Lidders, Druid Fluids, Dead Feathers, Dead Shaman, Pink Fairies, Gong, Goat, and 13 more bands who are dismayed but not afraid to be confused.

▶︎🎶 Listen on Mixcloud: Part One | Part Two

Running Times: Pt. 1: 1 hour, 14 seconds; Pt. 2: 59 minutes, 52 seconds

Tracklists

Part One

Repeat Transmission (0:55) — Brown Spirits | Coburg, Australia

Just an Illusion (4:29) — Black Sand | New Zealand

Flutter By (4:41) — Druid Fluids | Adelaide, Australia

Let It Out (3:47) — The Wans | Nashville, TN

Give It Time (3:54) — Sonic Moon | Aarhus, Denmark

Gardeners of the Earth (5:20) — White Canyon & The 5th Dimension | MG, Brazil

Gila Monster (4:36) — King Gizzard & The Lizard Wizard | Melbourne, Australia

Mild Davis (4:46) — Frankie and the Witch Fingers | Los Angeles, CA

Negative Space (3:53) — Queens of the Stone Age | Palm Desert, CA

What It Is to Be Free (4:12) — Kind | Boston, MA

Counting Up and Down (3:18) — Jeffrey Alexander + The Heavy Lidders | Philadelphia, PA

Those Disruptors (5:25) — Modoki | Tokyo, Japan

La Storia Dell'Aviditia (4:30) — Futuropaco | Oakland, CA

Trying to Keep Control (6:29) — Dead Shaman | Switzerland

Part Two

Robbery (9:56) — Dead Feathers | Chicago, IL

Another Sailor Who Dies at Midnight (3:06) — Tangerine Stoned | Italy

Join the Resistance (5:35) — Goat | Norrbotten County, Sweden

Montezuma (4:49) — Edena Gardens | Copenhagen, Denmark

Hassan I Sahba (6:02) — Pink Fairies | London, UK

Tiny Galaxies (3:51) — Gong | UK

Something To Fall Back On (3:50) — The Wytches | UK

FTW (7:09) — LSD | Dublin, Ireland

In My Own Dream (8:19) — The Third Mind | Downey, CA

Your Confusion May Now Be Visible (4:50) — DWLVS | San Francisco, CA / Philadelphia, PA

Barely a Season (2:26) — Abronia | Portland, OR

All tracks released in 2023.

#psychedelic rock #neo-psychedelia #space rock #stoner rock #music mixes

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gracefullou · 8 months

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Wait I just saw that you started being a fan of Louis fan because you saw in on XF2018 as a judge now I wanna know more 😭

Hi! Funny that you ask that bc i was just thinking about it earlier today. I had a phase where watching talent shows was my guilty pleasure 😭, i used to watch them every weekend. And one day i stumbled upon the X-factor UK and decided to watch it (especially that it was the one talent show where all those famous bands rose to fame). I watched it till the end, i was rooting for Anthony and after he went home for Dalton (both contestants had Louis as a judge. Huh! What a surprise 😀) and idk how but Louis made his way to my heart without me even noticing it 😭 bc two weeks after the show ended, i found myself still missing the perfectionist blue eyed boybander (sorry for the lame description but that's what the show labeled him as: a memeber of the world famous boyband that came from this very show 😮‍💨). Anyway, you know when they jokingly say someone or something lives in your mind rent free, it was exactly that. Idk but his picture especially his eyes from the initial auditions (with that black shirt and THAT haircut) kept popping in my head at random times during the day. Something about him just kept haunting me i was actually so annoyed at the time 😭 bc ok the man is gorgeous and i found the contrast between that guarded serious look he wore most of the time at the show and that crinkly eyed smile (he has the most beautiful smile i swear 😩) he shows up with at rehearsals interesting but that was it, why did i feel the need to actively look him up and check his music? I watched tens of these shows before and not once did i ever have any urge or interest to know more about any of the judges, so what's so special about this Louis 😭 (a stupid cow i know) so i resisted at first but about two weeks later i've had enough and decided to check him/ his music out and the rest is history. I listened to his solo songs and the ones he wrote for 1D and i remmember really liking them, they got me hooked for future releases from him. Love me a good lyricist 😌 especially a male one bc since i was a teenager i had a hard time finding music that i like since i don't enjoy music with bad lyrics about eating p*ssy . Then two of us happened and it was just so beautiful ❤️‍🩹, it was then that i became a Louis "stan" not just a casual fan. Ngl i wasn't the biggest fan of Kmm when it was first released but i enjoyed it still. When he did that ccmf and performed all those unreleased songs, i knew then and there that this man will never write a bad song and i'll be a fan of his music for a long time. And after the first listen of walls (the album) i knew i'll always be his fan 🫶🏽.

#that was very long and definetely too much for your ask anon #sorry i just love him sm 🥺 and i rent about it all the time

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burningchandelier · 1 year

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How to be Punk; A History

My very talented and wonderful nibling has a birthday coming up and is, perhaps, doing a bit of soulsearching. With that, they wrote to ask me "how to be punk" and I wrote this back. It is longer than they probably bargained for, but anything less would have been a disservice. Please enjoy.

The most important thing about Punk is that it is a frame of mind. A person can be the most teeshirt-and-jeans-wearing, "normal"-looking person on the planet, but if they are devoted to justice for the underdog, anticapitalism, antiracism, feminism, queer rights, and genuinely making the world a better place through action and resistance, then that person is punk as hell.

Punk is about resisting authority, first and foremost. It is about taking labels that are used to hurt us and reclaiming them, turning them into our armor. It is about making your own impact in the world in the way that suits you best, and yes, of course, to a degree it is about fashion and music.

The best way to know where you are going is to know where you have been. You have to understand the history, at least a little, in order to know why things are the way they are.

With that in mind, here is a summary of the past fifty years of Punk. I hope I do okay.

The very word "Punk" itself used to be a slur used against effeminate men perceived to be gay. Back in the early 1970s, a bunch of dudes in England got called punks for wearing tight clothes with lots of safety pins. They turned around and said "Yeah, I am a punk. What are you going to do about it?"

This caught on incredibly fast.

Originally, the punk scene-- that of the early 70s, was a response to the commercialization of Rock and Roll, which had become pretty hack and overproduced, and to Disco, which was just taking off and was not appealing to everyone (I'll get into that another day).

Early punk (Sometimes called "Proto-punk" by people who want to sound like they know a lot, but it's pretentious) is a lot more accessible than people expect it to be!

Check out Iggy Pop and the Stooges, The Velvet Underground, and the New York Dolls for a taste of this era.

But WHAT ABOUT THE SEX PISTOLS!?

Okay. So here's the thing. The sex pistols are garbage. Yes, you have got to listen to Anarchy in the UK and God Save the Queen in order to know anything about anything when it comes to punk, but they were essentially an advertisement for a clothing shop, so they were automatically shills.

The important thing is that they created the Punk Aesthetic that we still know and love. Johnny Rotten was and still is a right-wing piece of shit. Sid Vicious was a garbage human. They wore clothes and made one good album, but I'm willing to admit that they did matter.

So then what happened?

Well, let me introduce you to Joey, Johnny, Dee dee, and Tommy.

The Ramones are where Punk took off and it took off like a bat outta hell.

You still see Ramones logos everywhere and that's for a good reason. It's because they rock. In this era, you also got Black Flag, The Misfits, The Dead Kennedys, The Damned, the list goes on and on (and it's awesome).

The 80s were a tumultuous time, politically and Punk got harder, more intense, more guitar-driven, and the bands had figured out that all you needed to make some incredible music was 4 chords and a message.

Sometimes, that message was awesome. Sometimes that message was total bullshit. Sometimes that message wasn't really a message as much as it was "I want to wreck stuff" but that's still kind of a message, isn't it?

It is worth noting that during this time, Punk was fighting for it's identity and a lot of that fighting included issues of race and gender-- some bands were total fascists and some bands were all about making fun of them. So you have to kind of understand that in order to get what was going on.

This is part of why fashion is SO important in the punk scene. Everything, everything, everything, down to the color of your shoelaces used to mean something specific. A bandana in your pocket could mean how you liked to have sex (and if you were Queer). Your boots could signal if you were a Nazi. Sometimes it wasn't a big deal, but sometimes it was important.

Wait. Nazi Punks?

Oh yeah, honey. There were a lot of Nazi punks in the scene, especially back in the 80s and 90s. That's the whole reason for the song "Nazi Punks Fuck Off."

We had to fight really hard, and continue to fight hard, to keep them out. They have no business in our spaces and in our music.

This sounds bad. I'm not sure if I want to be punk.

That's fair, but here's the thing. Being punk is so so so incredibly worth it (remember that part at the beginning about being anti-authority?) The community and the music and the beliefs are why we do it.

To be fair, if you've made it this far, you're probably in too deep already. Good for you! Keep going!

Okay, so then what happened after the 80s? Well, I know you can count, so you know what's coming next.

Punk took a backseat in the 90s. Grunge happened and Punk became kind of passe. The diehards were out there, slugging it out as always, but things had calmed down. In the West, politics weren't as dire, things seemed kind of hopeful. Punk was still important, but it wasn't what people needed.

That said, there was a rise in more pop-punk sounds that are, let's face it, fucking delightful. This is where we get Greenday, as well as a slew of bands that came into their own a little later on.

This was also the time of Riot Grrrl music, which I will happily tell you all about another time, but for now, we can say that it was the incredibly necessary, fantastic response to the "boys only" sign that alternative music, especially punk, had been hanging for years.

It is also worth noting that Punk, just like most art, is full of hypocrites who don't see their own blind spots. This doesn't make people bad, it just makes them people.

Punk has a long, crappy tradition of ignoring the contributions of women/people perceived as women and people of color even though it would not exist without those individuals.

It is getting much better, but god damn, it has taken a long time.

So then the 2000s happened and shit. went. nuts.

It doesn't really matter if you call it punk, pop-punk, emo, mall-goth, or anything else, but the alternative music scene of the 2000s went off like a bomb and there was no stopping it.

Like the 80s, the political landscape of the West was toxic to self expression, especially for young people who were suffering under the Bush Administration, the culture war against gay marriage, and the real-life wars that America had taken to the Middle East. Punk came back with a vengeance because the kids were not alright.

This punk, though? This punk was a different kind of fun.

This punk was the kind of punk where you were a lot less likely to get beat up and a lot more likely to get a sunburn at Warped Tour.

Making Punk accessible to more people with a broader appeal meant. for some, a watered down message, but for many others it meant being exposed to those messages at all. In my opinion, a net positive.

Did the DIY ethos of anticapitalism that bands like Thursday and My Chemical Romance, and even Fall Out Boy touted in their early days survive being brought to MTV? You have to be the judge of that. I am probably too biased to say, myself.

Into the future we go!

I believe that you need about 15-20 years to reflect on history with a proper degree of distance. It is too hard to pick out trends and important events when you're examining something that happened five to ten years ago, so I won't get into the 2010s or '20s yet.

Just remember that Punk has staying power and adaptability.

So. What makes a person punk? That's up to you.

#punk #punk history #emo #pop-punk

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nannymcpee · 2 years

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I posted 134 times in 2022

That's 134 more posts than 2021!

63 posts created (47%)

71 posts reblogged (53%)

Blogs I reblogged the most:

@little-one-cuddles

@windelstolz

@incoboy-uk

I tagged 55 of my posts in 2022

#caregiver - 54 posts

#ab/dl community - 54 posts

#ab/dl lifestyle - 47 posts

#ab/dl boy - 47 posts

#ab/dl mommy - 46 posts

#cgl little - 46 posts

#ab/dl couple - 46 posts

#ab/dl diaper - 46 posts

#cgl relationship - 45 posts

#abdlmommy - 19 posts

Longest Tag: 20 characters

#mommy dom little boy

My Top Posts in 2022:

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324 notes - Posted July 10, 2022

A little shopping trip….. After a quick breakfast, bottle and nursing cuddles I dressed my boo bear in some cute grey trackies and a pink T-shirt. I’d thought about putting him in a onesie but I just can’t resist that nappy peeking out of his waist band. We had a couple of minutes before we had to head off so popped to the park for a quick play on the swings where I pushed him as high as he could go. Then into the car to try out his new makeshift car seat. He looked so safe and cosy in it. Loaded up with stuffie (Harvey the teddy bear), dummy and sippy cup we set off. We got to the shops early so I nursed my darling boy from the car before we headed into the shopping centre taking Harvey for the trip. As we headed straight to the toy stores holding hands my boo bear suddenly stopped and pulled on my hand then reached out for a cuddle. I snuggled him into me with Harvey between us and rubbed his back for reassurance. Then he nuzzled into my neck and I heard his cute little grunts and felt his tummy muscles contract against me. My heart fluttered with excitement as I realised he was filling his nappy. The warm fuzzy feeling inside me grew bigger and bigger as I cooed and reassured my baby that he was ok and such a good boy for mummy. I held him a little longer enjoying the closeness between us and sharing in our secret together. Eventually we ended the cuddle and carried on to the toy shops. We admired all of the Lego displays in the Lego store. Boo bear requested that one day his nursery be decorated in only Lego Christmas decorations for Christmas time. In Hamleys Toy store we played with the games on display and I caught my cheeky little tyke trying to run off with a Bluey toy set. Once I took it off him I treated him to a Bluey Weeble as a compromise. He was very happy with his toy and practically skipped out of the shop. We stopped to get lunch, a sausage roll and ginger bread man while sitting at a picnic bench by the pond and watched the ducks and had plenty more cuddles. We had time to look in one more shop then visited the disabled toilet for a nappy change before heading back home. Boo bear lay down on the floor while I got him all cleaned up. As I was taping him back up into a clean nappy I watched my darling boy sucking on his dummy and cuddling Harvey. He was looking at the wall above him and tracing the cracks with his finger. He looked so adorable and was completely lost to his little head space. I think time stood still for both of us in that moment. The love I felt for him completely overwhelming me and tears stung at my eyes. Once his trousers were back on I pulled him up into my arms and briefly cradled him before we both got back on to our feet and headed back to the car. Before leaving the toilet I caught my sweet little Prince admiring his nappy bulge in the mirror. Back in the car I nursed him again and he wriggled and thrusted, clearly enjoying the feel of his now warm, soggy nappy against him. I rubbed the front of his nappy to increase his enjoyment. He made the cutest little murmurs and whimpers as he continued to suckle on my nipple. Once he was ready to get back into his car seat I strapped him in and gave his soggy, and now slightly sticky, nappy one last pat and drove toward home. Thank you @mummys-lil-mushbutt for making all my dreams come true and making them so much better than I could ever have imagined.

351 notes - Posted September 12, 2022

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370 notes - Posted July 19, 2022

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477 notes - Posted September 3, 2022

My #1 post of 2022

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485 notes - Posted August 7, 2022

Get your Tumblr 2022 Year in Review →

#tumblr2022 #year in review #my 2022 tumblr year in review #your tumblr year in review

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