#the song released when i was 5 so i was a decade late to the party

[gollancz]

Why I'm Not Allowed On Twitter Unsupervised Any More: A Photo Essay

Key Notes:

Since this was posted I discovered that the books had briefly been available in the UK under the name Peter Beagle rather than Peter S. Beagle in the mid-90s, which is why they didn't show up on the British Library search

The article by Tor.com @torbooks: Peter S. Beagle Has Finally Regained the Rights to His Body of Work

If you want our gorgeous limited edition, I believe there are still a handful left (except for the US and Canada, sorry lads), and you can get it here. I'm not kidding when I say I got a little teary-eyed when these showed up.

[Image Description: A tweet thread from the Gollancz twitter dated 20th July 2022, which goes as follows -

Tweet 1: You may have seen that we're printing a Brand New Edition of The Last Unicorn. We're very excited! I was asked to tweet about it. I wasn't asked to do it quite like this, but I also wasn't asked NOT to do it like this, and I have the twitter login so whose fault is that? (Thread emoji, and gif from the film Scream reading 'The Call is coming from inside the house!')

Tweet 2: Imagine, if you will, you are a small child in the UK during the late 80s/early 90s. You might look a bit like this, or you might have had parents who didn't choose suffering (ask my mum about The Saga of the Hat) (an image of a small girl approximately 3 years old wearing a blue dress and a big white hat)

Tweet 3: Imagine you have a cool older cousin, one who, as you get age, introduces you to fantasy films like Ladyhawk and The Princess Bride and has a post the whole family knows as 'the vampire and the naked lady'. She's extremely responsible for the way you turn out as an adult.

Tweet 4: One year, for your birthday, this cousin buys you a video. It's the first video that is yours, not to share. It has a bright yellow cover. The butterfly scares you. But you watch it on a loop. You don't realise how special it is, but it's a seed that burrows into your brain. (An image of a VHS of The Last Unicorn)

Tweet 5: A decade or so later, in your teens, you rediscover it. None of your friends have heard of it, despite also being fantasy-inclined. That's odd, you think. Is this an outlandishly weird title? Then you get older and you realise: no, it isn't. (Principal Skinner meme reading 'Am I out of touch? No, it's the people who don't know about The Last Unicorn who are wrong')

Tweet 6: Time and tech march on, you get a DVD of the film. You realise it's got Christopher Lee in it! And Angela Lansbury! Your mum tries to get you to listen to songs by America other than the soundtrack, but the only one that really sticks is the other one they did about a horse. (Gif of Walter White from Breaking Bad singing along to Horse With No Name)

Tweet 7: You realise that the film is based on a book. Like The Princess Bride, which you've also read (after spending longer than you're proud of trying to find an unabridged edition). 'Neat,' you think, 'I'll have to read that!'

Tweet 8: And then you can't find it. Because, as mentioned previously, you're in the UK. The Last Unicorn was published for the first time in 1968. But, if you look at the British Library's National Bibliography (super neat resource btw), that was, uh, about it. (screenshot of the search results from the National Bibliography showing four editions of The Last Unicorn by Peter S. Beagle, one from Gollancz in 2022, one from IDW in 2019, one from Tachyon Publications in 2018, and one from Bodley Head in 1968)

Tweet 9: The Tachyon edition is the unfinished first draft of the story. The IDW edition is a gorgeous graphic novel. But in terms of the novel? I don't know how many reprints it had (if anyone knows, I'd love to find out), but there's a good chance it went out of print in the 70s.

Tweet 10: The film, however, was released in 1982. Although it didn't make it to the UK until 1986. Conservative estimates could put that between 10 and 15 years since the book was last available in the UK. This gives you a generation in the UK who only know the story through the film! (A screenshot of the IMDB page showing the different release dates for The Last Unicorn around the world)

Tweet 11: The screenplay was written by Peter S. Beagle, and made by the legendary animation directors Arthur Rankin Jr. and Jules Bass. That's right, the guys behind Thundercats and 2 out of the 3 films based on The Hobbit and The Lord of the Rings.

Tweet 12: The Book has been in print in the USA (and possibly all of North America) constantly since its publication, so it seems baffling that people in the UK haven't heard of it. As the internet became more prominent, however, it became easier to just... import a copy of the book.

Tweet 13: But! This also isn't quite as simple as you think. You see, until last year the rights to The Last Unicorn were tied up in legal limbo. And the US edition of the book contained changes that Peter wasn't happy with. (Link to the Tor.com article about the rights)

Tweet 14: Back to you, the 80s/90s kid, who is now an adult, happy that unicorns are A Thing again and you're living your best life. You're very easy to buy presents for. Your partner despairs of unicorns. You get a job working in books about magic and space. (unicorn emoji and photograph of a collection of unicorn memorabilia, including three different versions of The Last Unicorn)

Tweet 15: You mention that one day you would like to publish The Last Unicorn. That if you did, you would like to do a really beautiful edition of it. And you would like it to be purple. Because since the film is what you know, you associate it with purple.

Tweet 16: And, after taking a very circuitous route, here we are! This is the original text, that was first published in 1968. Reading it after you have only seen the film is the strangest experience - like being introduced to a very dear friend that you have never met before.

Tweet 17: Peter's screenplay kept the voice of the story so well, you can hear the characters when you read the book. But now there's so much more depth, softness and warmth to it. The butterfly doesn't seem so scary any more. And, it's beautiful. And it's purple. (Image of a hardback edition of The Last Unicorn, with a black base, purple background, and a linocut image of the unicorn in her wood. On the black cover underneath is a foiled unicorn with the moon and butterfly, the page edges are sprayed purple, and the endpapers are black with silver butterflies)

Tweet 18: Anyway, I've taken you on a three day trip that could have been done in a single tweet, but that's what happens when you let me drive. This edition is the limited exclusive one only available through the Gollancz Emporium and you can preorder here: (link to Gollancz Emporium)

Tweet 19: But there is also a standard edition available through all booksellers! You'll be getting the author's preferred text, with an introduction from Patrick Rothfuss. There's also a brand new audiobook and it will be available in eBook for the first time ever.

Tweet 20: It's like going from famine to feast, and I wasn't able to talk about this for months so now I am able to talk about it, I'm going to make the social media team cry. UNICORNS. SPECIAL EDITION. PURPLE. The End.

Tweet 21: Additional behind the scenes bonus detail - I did take this cover to the art meaning while wearing a unicorn onesie.

Tweet 22: The comms team wrestling me away from the twitter account: (gif of Ross from Friends shouting 'Stop typing! Stop typing!')

End ID]

[yoonkinii]

Yoonkinii's Masterlist

Baldurs Gate:

Astarion

We Were Human

Synopsis: Astarion died as soon as he became something the world has never seen before. No one noticed the damage before it was too late and the Astarion everyone loved was lost to the new one. No one could notice when the turn was slow and silent. He slowly lost the playful glint in his eyes. Lost the love he gaze upon me with. Lost everything that made him the man I loved. Oh, how I would give anything to get him back. I would gladly give up my damned soul for him.

(Aka you are transported back to the past in order to prevent Astarion from losing himself once more. The only problem? You don't have a lot of time.)

Theme Song: Vore - Sleep Token

"You have become the voice in my head Only recourse we're left after death Your viscera welcome me in, welcome me in My life is torn, my bones, they bleed My metaphors fall short in the end Your flesh and bone welcome me in, welcome me in Are you in pain like I am?"

Pairing(s): Ascended!AstarionxReader

Warning(s): Gore, blood, cruelty, cursing, death/murder, mentions of using oneself unwillingly, abuse. Its ascended astarion, prepare for the worst. (Will be updated as more parts are released)

Part 1 | 2 | 3 | 4 | 5 | 6 | ...

Note(s):

For the sake of the plot- Astarion will not automatically be damned from the start. In this world, Astarion becomes lost to the ascension overtime until he becomes the ascended vampire we know him to be in the game. Another note that should be highlighted is that this story will be told from the first person perspective since it benefits the story more than any other perspective.

You will also notice various things being different from the game. For example, Karlach will be able to stay in the ‘human’ world and she fixed her heart. (I love my girl, I’m not sending her back), Szaars palace has a different layout cause the one in the game was stupid. There will be more that you will notice in the future so beware. You notice many things that were not included in the game but it I ensure that it is on purpose and isn't just there randomly. It should also be noted that when I post, I post the raw draft before I go back and edit the story. I do this so I am able to post consistently without having readers wait. I will go back and edit once I am able so if you notice spelling mistakes, I apologize.

Soulless Soul

Spawn!AstarionxAbsolute!VampyreReader

 Synopsis: There he stands, eyes downcast and shoulders caving in on himself. He does not look weary as he was pricked and prodded to fit the standards of his master. He has no idea why he is here- lined up amongst his siblings in the dining hall. His back aches, scars he knows that have not healed properly catching onto the rough fabric of his shirt. He watched the floor, he knew better not to meet the eyes of the predators that lurked before. He doesn’t even look up when the hem of an emerald green dress stands before him.

“This one. I want this one.” 

He does not allow himself the privilege of hope to blossom in his chest at those words. 

Theme Song: Soulless Creatures - Aurora

All the pieces of my body's gone Look at me now and tell me how I feel inside Every pieces that I lost, I have loved

Warning(s):  mentions of sexual trauma, Physical assault, gore, death, panic attacks, cursing, (more will be added as the story progresses if needed)

Note(s): Redacted in case of spoilers. I will upload notes with the first chapter

Part ...coming soon

Jujutsu Kaisen:

Gojo Satoru

Perfectly Imperfect

Synopsis: Everyone is born with a soulmate. Everyone knows by the time they hit age 18, a different kind of soulmate mark will appear. Some are unable to see color until they meet their soulmates gaze, others have matching tattoos. These are the more common ones; ones that can be tracked down in history but others are rare. So rare that there’s rarely any information available about it. Rare like yours and the only case of this soulmarking was dated decades ago with only two lines describing it.

"Person A and Person B afflicted by this marking will discover themselves to be covered in string-like tattoo markings in certain areas. These areas are what the soulmate A or B deem unworthy of themselves; or rather, what they hate about themself."

This wouldn't be a problem for you if it wasnt for the fact that everything from the collarbone to your ankles was decorated in white string-like lines.

Pairing: Gojo Satoru x Reader

Theme song: Bonfire - wave to earth

What color is my sky painted? What color is your emotion? Close your eyes slowly and feel the wind. The bonfire is fading out. Maybe we are falling Falling down with the rain.

amore mio aiutami- Piero Piccioni (literally the song that plays when M/C looks at him)

Warning(s):

18+, Sub!Gojo (gasp!), cursing, mentions of self-hate, discussion of Self-hate, mentions of minor character death- Will be added as chapters progress but if you see something that I didn’t include here, please let me know!

Note(s):

Expect this to be a short fic. I do not plan on having this over 6 parts and even then it could be less or couple chapters more. Depends on how I write everything.

Part(s): TBA

Ryomen Sukuna

Snippets of Love

Synopsis: Glimpses of your relationship with Sukuna through prompts/questions.

Paring: Sukuna x Reader

Theme Song: Heart To Heart - Mac DeMarco

So I had a late Arrival So, we never saw the start of each others lives heart to heart

Notable tags: ModernAU, slight age gap, Canon/Fanon implements, Sukuna still has his tattoos, tattoo artist Sukuna, college student reader, pierced Sukuna.

Note(s): Inspired to do this series based on Kyarrcha fanart of Sukuna on Instagram! I want this to be mostly based on requests about certain moments such as when Sukuna and you first met, first date, and things like that. This can also include certain scenarios or environments. Feel free to send in requests but I will also add in my own takes.

Requests: Open.

Warnings: will be listed in the sections.

How y♡u first met Sukuna!

[fluffytheocelot]

Carmen Week Day 5: AU

AWW YE HERE WE GO BOIS I HAVE BEEN SO HYPED FOR THIS ONE! Sorry its a bit late lol

Anyways--

Last Wolf is very near and dear to me, it was the first fic I actually had the confidence to write, but Thief's Guide is almost completely my own. It's not based off of another series, pretty much all the worldbuilding and plot is mine. Last Wolf still follows the timeline and plot of the original show (changed and added to of course, but the original show is the backbone.

A Thief's Guide to the Zombie Apocalypse is exactly what it sounds like lol. Carmen and her friends surviving in an apocalypse while on the run from VILE and ACME, complete with a dope soundtrack.

And Julethief of course :) because i love them

This is definitely an AU I wanna write down, I promise. Uhh maybe when I get this chapter of Last Wolf out I'll start??? Maybe. We'll see lol.

Feel free to drop me an ask about it! or last wolf too lol.

Dope soundtrack:

if the song came out during or before 1986ish, then its probably something the characters would listen to (namely Carmen, jamming to cassettes she scavenges on her Walkman). anything after that would just be soundtrack/credits music if it was a show.

uhhh story info under the cut lol

Around the mid 1980s, Dr. Bellum's unnamed predecessor was experimenting with a virus that, well, turned people into zombies. The test run soon got out of hand, however, and the virus quickly spread to the entire world.

Technology pretty much stays the same. Radios, paper maps, Walkmans, stuff like that. Music and TV obviously aren't getting widespread release anymore, so anything that came out past like, 1986 doesn't exist.

(Wow Fluffy that's so unrealistic there's no way people wouldn't quarantine themselves to stop it-- *looks at 2020* nevermind)

VILE uses it as a power grab, offering people shelter, food, etc. in exchange for joining. Fun.

There's incredible amounts of chaos and violence for the first decade or so, until late 1999 when VILE faculty member Dexter Wolfe is assumed to have been caught and killed.

Two things happen: ACME arises as a direct rival to VILE, and VILE acquires a certain Black Sheep.

ACME wants to find a cure. VILE wants the apocalypse to keep going so they stay in power. VILE and ACME are both much more well known.

Black Sheep grows up in a VILE compound, learning all her important thief skills of course, as well as the skills needed to survive the apocalypse: Firearms, bows, blades, living in the wilderness, etc etc. Pretty much anything you can think of needing to know in the apocalypse, Carmen learned when she was like six lol.

She officially enrolls at about 15, and escapes at 16.

Eventually she figures out VILE wants the apocalypse to keep going and escapes into the night on horseback, with Cookie Booker's stolen hat and coat.

She's on the run for a while and eventually winds up in Ontario, where she meets a recently orphaned 12 yr old Player. The two become fast friends and pretty much grow up together over the next few years. Carmen is very protective of Player and teaches him how to survive in case anything happens to her.

They make their way to Boston, pick up Zack and Ivy, and Team Red is complete! (for now)

Along the way they eventually acquire our favorite grumpy ninja, Carmen's favorite ACME agent, an aussie electrician and a couple more surprise people ;)

Carmen also discovers she may be the key to ending the apocalypse, but is ACME really what they say they are?

[calumthoodshands]

LUKE HEMMINGS for TUSH magazine

- Tailor made -

On stage, Luke Hemmings is living his bloom, For Givenchy Beauty, the butterfly follows a different trail of scent.

Von Domen & Van De Velde - Into the flowerbed -

Interview by Afra Ugurlu.

It's pouring rain in L.A. when Luke Hemmings joins our zoom call. Just in time, the frontman of 5 Seconds of Summer (5SOS) finds refuge in his car on the side of a quiet road, not far from the big Hollywood sign. A look in the rear-view mirror: At the age of barely 16, Luke and his bandmates from 5SOS found themselves in the middle of an international fanbase. Their songs enthralled especially because of the band's juvenile euphoria, and the Australians quickly soared to new heights in the middle of the YouTube madness of the 2010s. But what happens when boybands grow up? After a decade of pop punk influences and with a little more chest hair, Luke took upon a solo career path for the first time and in 2021 released his debut album “When facing the things we turn away from”; a whole new insight into the obstacles and the success of the last years, he later reveals.

Almost 10 years have passed since “She looks so perfect” and “Don’t stop”. What has the last decade been like for you?

I'm living my dream, what else can I say? It was all very intense. You just accepted whatever came at you. For eleven years, for as long as I grew up, that’s been my whole life. Quite crazy, all the stuff that just came flying at us. I don't know whether we would have allowed ourselves this, even if rather short, break if not for the pandemic. Usually it all feels so fast-paced, I often have to pause to mentally take it all in—if you asked me to describe the last decade, then it’d consist of so many moments like that.

Did you ever feel like you were missing out on certain things and experiences during all that hustle and bustle?

I think they were very formative years, so there are probably some life skills I missed out on. In retrospect, you wonder: when was I supposed to learn that? And then you try to somehow fill those gaps. I had to emotionally catch up, but also with things like doing laundry, running errands and so on. There are some more significant matters, like not being close to my family, not to mention that I was missing my home in general. But then you start to put all those thoughts into another perspective: we did what we always wanted to do: write music and perform.

I remember 2014 and 2015, black, ripped skinny jeans and vans. How do you see yourself now, regarding your style?

Pop punk has always been a huge inspiration, and it was simply the style of all these bands like Green Day, Blink 182 and Silverchair. Back then, I was an absolute late bloomer and had to first of all grow into my own identity. I think it was similar with the other guys. We had found a thing that worked, and just stuck with it. It also just felt like a risk to me, doing something other than that, especially in front of an audience. Around the time of our third album, I started to open up a bit more. Our music was changing, and with it our style. At that point I understood myself a little bit better. From then on it just kind of evolved, and I think it still does.

By now you are someone who likes to step out and look beyond the binary. Was that always something that you were interested in or did you rather find yourself getting into it step by step over time?

Where I grew up, people weren’t open at all, everyone wore the same thing. For a long time, it simply wasn’t even on my radar. And of course, I’m not doing anything that someone else hasn't already done before me. I think it was in 2017 when I just started experimenting with glitter and nail polish. From that moment on it all evolved a bit, but it's actually always been something that fascinated me. It just took a while for me to find that part of myself. I feel pretty doing it, and who doesn't want to feel that way? If you only go on stage with a tracksuit, that might be cool. But I'm not an extrovert, quite the opposite, and when I perform and feel so much bigger, it's almost like playing a character. The makeup only emphasises that and turns me into someone who is not introverted and lost in thought. That's the origin of it all, so to speak.

How can we overcome these toxic gender perceptions and behavioural patterns, and heal?

I think a lot of the stigma we experience comes from people projecting their own insecurities onto us. I understand it better now because I grew up in a place that was very toxic in that regard. I'm from West Sydney, which was very conservative. If you’re a man, you have to be really ‘masculine’ and I think that's just complete nonsense. And I think that just sticks with you, growing up like that. There was a time when I came home and didn't want to wear makeup on stage. There was no way I would have done that, whereas now I just do what I'm most comfortable with. Personal growth means putting yourself first and accepting that people will think what they want either way. So really, you should just do whatever you want. That’s the way I'm trying to see it now. It sounds very simple and banal, but I wouldn’t know how else to put it.

Congratulations, by the way, on the release of your first solo album, “When facing the things we turn away from”. Which things do you want to turn away from this year and what else is there to come for you?

I’m facing myself and trying to be more open with the way I deal with stuff. My wish is to just enjoy everything a little bit more. I constantly worry about what might happen tomorrow. I’m not really present or enjoying the moment to the fullest. Everyone probably says that, but I believe it's more important than ever to live in the here and now. We're always looking for the next thing. You want to be at home when you're out and about, on the road when you’re at home. Only when it's over do you see what you actually had going for yourself, and are frustrated; so no ‘Live Fast, Die Young’. But I also think that this year will be a creative one for me. I want to try out new things. We’ll see which doors are going to open for me.

What kind of creative directions are you thinking about?

I can't really say yet. But also in general I don't want to limit myself by excluding new paths. Doing something by myself musically like the album was very intimidating at first. In the end, though, it was very encouraging as well because it was the first time in a long time that I tried something new again. Obviously I love being in the band, it’s my home base. But the solo album is something I never thought I’d be capable of, and now that I know that I am it’s definitely something I want to pursue further.

How do you manage working both on your solo career and with the band at the same time, and are there any points of overlap?

I have a feeling that with the first album it was a bit easier. We were in lockdown and everything on the band's schedule had to be cancelled. Suddenly, I had more free time than in the last 10 years together. I don’t think I would have made a solo album if it didn't come about this way. With four people in the band, all great songwriters and each having their own projects in the pipeline, I feel like it's actually for everyone’s benefit to give other things a try as well. I wondered what it could be like to produce a song from start to finish, and learned so much in the process. Afterwards, when I return to the band, it makes me feel like I know so much more about the recording process and can thus also be a better band member.

How did writing and composing for only yourself change your overall sound?

I don't know whether it significantly changed my sound, but I feel more confident than ever. When you're in a band, you have the luxury to lean on other people and ask: What do you think of this? Do you think it's good, or should we change this? Or someone will encourage you when you're on the right track, telling you to keep going. With this, the only input came from myself. I had to trust my instincts and first of all understand what my own sound really did sound like.

You have no features on your album. Was it important to you to create your first solo album by yourself?

After 10 years on tour, it was quite good to be alone for once and deal with my subconscious. The album is so personal and emotional to me, it didn't really lend itself to include any features. Maybe someday, but I think it has to fit perfectly then. And who knows what’s coming soon. But I think the point and purpose of doing something by yourself is to get accustomed to working without your usual tools.

What did you learn about yourself while working on “When facing the things we turn away from”?

Newfound empathy and love towards myself. The stories of these songs and the lyrics are mostly things I’m dealing with for the very first time. It's almost like writing a diary, you don't have any idea how to start. You sit down and something comes out of it, and that’s what you then try to decipher.

[hit-song-showdown]

Year-End Poll #54: 2003

[Image description: a collage of photos of the 10 musicians and musical groups featured in this poll. In order from left to right, top to bottom: 50 Cent, R. Kelly, Sean Paul, Beyoncé, 3 Doors Down, Matchbox Twenty, Chingy, Aaliyah, Kid Rock and Sheryl Crow, Evanescence. End description]

More information about this blog here

As I alluded to yesterday, ringtones became one of the record industry's strategies for raising profits in a post-Napster world. Two of the songs on today's poll are notable for this reason, with 50 Cent's In da Club becoming the first number one song on the Billboard Ringtone Charts in 2004 (the first song to reach this achievement) and Beyoncé's Crazy in Love becoming the best selling ringtone in the United Kingdom that year.

We're also starting to see the south start to take over the sound of rap in the mainstream. Groups like OutKast, Arrested Development, Three 6 Mafia, and Geto Boys already helped to put the south on people's radars (note: these artists are all from different regions in the south so their music branches off from different styles, so I'm not lumping them together for any of those reasons). But in the early 2000s with the mainstream popularity of crunk, the south was going to define a lot of what rap sounds like to people this decade. With all of the R&B fusion gaining popularity in the genre, crunk helped to serve as an alternative sound. There isn't any crunk on this poll (sadly Get Low by Lil Jon and the East Side Boyz missed eligibility by one slot), but we'll definitely see its presence later on.

Today's chart also features the posthumous release of Aaliyah's Miss You. Aaliyah, singer, actress, "Princess of R&B", was killed in a plane crash in 2001 when she was only 22 years old. For the music video, artists like Jamie Foxx, Queen Latifa, Lil Kim, DMX, and Missy Elliot made appearances to pay tribute to the late artist. The video also opens with DMX reciting a poem he wrote after the news of her passing. During her short life, she helped to define an entire generation of R&B and her influence is still heard and seen today.

[neuroticbookworm]

Current Tag Game

Tagged by my dear friends/mutuals/incoherent scream sesh partners @twig-tea (here), @colourme-feral (here), @blmpff (here), @telomeke (here) and @waitmyturtles (here)

Current Time: nearly 5:00 PM

Current activity: Doomscrolling on social media (not recommended), writing this post (highly recommended, please interact on Tumblr, that's what makes this hellsite fun!)

Currently thinking about: Just watched the IFYLITA finale this morning with my bestie @lurkingshan, so my brain is currently ??????-ing all the different iterations of Yai we got to see (I like that Commander Yai looks more self-assured and confident than our widdle-20-something-lost-and-confused-baby Yai, but, DEAR LORD, The Mustache has to go. Just.. nope. Get that man a razor, STAT). Oh, and also, thinking about dinner.

Current favourite song: I recently watched Utsukushii Kare / My Beautiful Man (Season 1) a few days ago and I have the song from the opening credits stuck in my head on repeat: Caramel / カラメル by Mosawo / もさを。(Original MV with English captions)

(I'm also gonna link the Utsukushii Kare Lyric MV from MBS because I want Kiyoi's pretty face on my post)

I've also been feeling nostalgic lately and listening to some decade-old bangers from my teen years (ah time, thou art a cruel wench)

Patakha Guddi lyrics, translated from Hindi, here

Mogathirai lyrics, translated from Tamil, here

Currently reading: Nothin' but meta posts from the lovely big-brained folks of Tumblrville

Currently watching: Oooooh. I actually wrapped up a lot of live watches and caught up on some incredible shows last week, so lemme do 3 mini-lists:

Recently Watched: Only Friends, Utsukushii Kare / My Beautiful Man, If It's With You / Kimi to Nara Koi wo Shite Mite mo, I Feel You Linger In The Air

Currently Watching: Midnight Diner / Shinya Shokudo, endless reruns of Brooklyn Nine-Nine and Community

Next-Up on the Watchlist: I Cannot Reach You / Kimi ni wa Todokanai, Shadow, Dark Blue Kiss, Middleman's Love, Last Twilight, Playboyy, The Whisperer

Current favourite character: Ryuji from If It's With You.

< mild spoilers ahead for If It's With You >

This show did an incredible job portraying two people who have different levels/intensities of desire for one another and I was *floored* when Ryuji responded to Amane's confession in episode 4 with so much care, thoughtfulness and respect for both Amane's desire and his own boundaries. "Please make it one sided for a while" will live in my head rent free for the foreseeable future.

And Amane and Ryuji's conversation at the beach in the finale was another heartfelt and expertly written moment. I deeply adore how Ryuji basically went "I miss you and want to meet you whenever I feel like it, and if that means being a lover, then so be it. Let's date".

So yeah, I'm in love with this highly articulate, fictional, Japanese teenage boy

Current WIP: Ohhhhh man, SO MANY. The most pressing one is a retrospective meta on the Only Friends finale, which I must release into the wild before people move on from the show

Tags: I'm epically late to this one, so I might tag folks who have already done this, so if I do, apologies, friends!

@bengiyo, @italianpersonwithashippersheart, @sunshinechay, @syrena-del-mar, @ranchthoughts, @troubled-mind, @sorry-bonebag, @so-much-yet-to-learn and anyone else who wants to participate. No presh!

[gamerbearmira]

TIME TRAVEL?? AU

Or is it. CPOP. SPOP??? Idk BUT LOOK. LISTEN

MUSIC GROUP MADRIGALS.

Roles‼️‼️‼️ I tried my best to match them up, I think I did pretty good. Honestly a few of them changed, but not by much. Agustín and Félix essentially just stay writing music and being backbones to the group. I mean yeah, the other members write songs, but those two kind of. Put them together.

Alma: Manager, Producer

Felix: Instrumental, Writer

Agustín: Mixer, Instrumental, Producer

Julieta: Vocal, Center

Pepa: Sub Rapper, Sub Vocal, Main Dancer

Bruno: Main Rapper, Dancer

Isabela: Visual, Dancer

Dolores: Lead Vocal, Ad libs

Luisa: Vocal, Dancer

Camilo: Lead Rapper, Sub Vocal

Mirabel: Leader, Lead Dancer, Face, Vocal

Antonio: Maknae, Dancer, Sub/Backing Vocal/Ad libs

I spent an unhealthy amount of time on these photocards but. These would've likely been from their first album release, at least the one with Antonio in it.

As for names. Y’all know I suck at those so. My unoriginal slf could only come up with this. Honestly it’s an improvement considering my last tho 💀

Miracle Beat (Styled M1R4CLE BE4T) There's a 1, for Mirabel, the leader, and then then two 4's because there are 9 total members.

Fandom Name: Rhythmatics. Maybe.

Sub Groups. Basically just smaller groups of the main band (like MiSaMo from TWICE)

Julieta, Pepa, Isabela, Dolores, Luisa, Mirabel- Mad Girls (Styled MAD☆GRLS). Play on "Madrigals".

Bruno, Camilo, Antonio: Vibe (Styled VI3E). Their music is played in, and the 3 is for how many members.

AS FOR MUSIC. Thinking movie ost, but similar to AKMU as well. Maybe a bit of middle era Twice. As for concept. I wanna say Time/Time Travel. Like the numbers represent an era. Essentially, the concept is they all time travelled from a different decade and formed a music group in order to cover for their “strange” behavior (whether it’s literal or not is up for debate). I wanna say this takes place in modern times, cause Antonio’s is 90’s based, so it’s at least up to 2010.

Formation would look. Like this <33

An idea was the band started in, idk, the late, 70s, early 80s?? So it roughly takes place in the early 2000s. But then some wacky time travel and space-time stuff happened. So now Alma, Agustín and Félix are kinda just in the 2000s. Julieta is from the '10s, Pepa is from the '20s, and Bruno is from the '30s. Odd thing us, they're still triplets, and Alma's still their mother. She rolls with it. Yes, they do still fet married to Agustín and Félix.

Then there's the grandchildren. Alma had found that once they hit 5, they kind of just were set in a perpetual time or decade, so when asked when they were born, their month and date would be the same, but the year changed. So like Mirabel would say something like "March 6th, 1975", because each Madrigal is set at the beginning of the decade.

If there is magic (which there might be, idk) their rooms would look different. It'd be very similar to the decade their from. Like Luisa's room would look like a 60s teenage girls room, or Antonio's would look like a little boy's room from the 90s.

WHAT AM I TALKING ABOUT. DOES THIS EVEN MAKE SENSE???

Idk. Im crazy.

[thesinglesjukebox]

YEAH THAT'S RIGHT WE'RE BACK WE WEREN'T JOKING AROUND NOW GET IN THE CAR BEEP BEEP LET'S RIDE

CHARLI XCX - SPEED DRIVE [5.07]

Oliver Maier: A dark cloud seems to hang over Charli XCX as of late. Last year's perfectly passable Crash was touted by her as her "sellout" album, and while it charted impressively, it didn't demonstrate the effortless hitmaking that Charli sometimes implies she could pull off any time, if she only felt like it. That success instead has rather randomly gone to the risible "Speed Drive," her first UK top 10 since 2015 and first Billboard entry since a year prior. There's a lot I don't like about it, but enumerating its faults feels futile when it has the baked-in defense of just being a cute song for the Barbie movie!(!!!) Put simply, though, it's lazy to the point of feeling contemptuous. I have far fewer reservations about switching my brain off and having fun with pop when it feels like the artist is laughing with me, not at me. [2]

Alex Ostroff: On Crash, Charli started leaning into obvious interpolations to try to hit the charts. Hopefully, "Speed Drive" is the tail end of that tendency and not her new normal. The mashup of "Hey Mickey" and "Cobrastyle" works significantly better for me than the way she lifted from September and Robin S. for Crash singles, and there are a few excellent line deliveries, but this still feels like Charli on autopilot. The album's worth of unreleased songs with SOPHIE do more exciting and interesting things sonically than this PC-XCX retread, and if she isn't pushing the boundaries of pop music in weird and abrasive new directions, I'd much rather have the hooks and big choruses of "New Shapes" and "Lightning" than an under-two-minute sketch of an idea. The problem, of course, is that Charli on autopilot mashing up Robyn and Toni Basil, but fully committing to the performance and vocal delivery, still ends up giving us a: [6]

Alfred Soto: Charli XCX's reputation as a unsung pop master crumbles every time she releases another middling single. From the "Mickey" lift to the perfunctory rhythm track, "Speed Drive" is closer to assembly line than a Barbie factory. [4]

Jacob Sujin Kuppermann: The best Charli XCX songs in this lane are cleverly stupid ("Hot in It", "Yuck") or stupidly clever ("No Angel", "Vroom Vroom"), but this is just normal, garden-variety dumb -- less a song and more a collection of Pavlovian cues for stans to go wild over. All points here should be allocated to Easyfun, who at least does his job competently. [3]

Will Rivitz: Crash was Charli's worst release in nearly a decade for more reasons than I can fit in these few sentences, but most salient to "Speed Drive" was the record's uncharacteristically smooth polish. Her music achieves transcendence when it leans into its unsanded edges and hungover hedonism, channeling self-destruction and snottiness into bombast and excess. If it sounds like a first or second draft slapped onto Spotify before it's had the chance to hit a mastering studio, it's succeeded. Crash was too careful to hit those same highs, and as a result, its attempted mess felt lethargic and flat, indulgence as a single drunk cigarette instead of half an Adderall chased with absinthe. So, since "Speed Drive" sounds like it was mastered on a 2015 MacBook speaker and plays its two main interpolations as insouciantly straight as possible, it represents a return to form. Mess is more. [7]

Aaron Bergstrom: A perfectly acceptable Charli-by-numbers exercise: shiny, metallic PC Music production smeared over otherwise kitchy sonic references (and "Cobrastyle," which rules in any context); lyrics referencing cars, Japan, or cars in Japan; halfhearted attempt to tie it all back to Barbie somehow. [5]

Rachel Saywitz: Sonically, "Speed Drive" is one of the more interesting songs from this year's Barbie soundtrack -- unfortunately, that isn't saying much. A flurry of bubbling synth patterns echo the song's title, but what should be an exhilarating digital rush is overset by drab lyrics that sound like they came out of a Mattel exec's secret poetry diary (+ charm bracelet which unlocks the diary + a copy of the 2006 hit Barbie mocap film, The Barbie Diaries): "She my best friend in the whole world / On the mood board, she's the inspo / and she dressed in really cute clothes." Charli is in on the joke, but the joke isn't actually a joke -- it's a corporate branded major studio movie that was made to sell more toys, unable to subvert its maker no matter how many jokes it makes about male CEOs, discontinued toys, and "tax evasion issues." Can we just get Charli to soundtrack one of those poorly animated Barbie movies that know exactly what they are? Can we get a Barbie: The Princess and the Pauper remix album? Oh my god wait that would be incredible Mattel please call me I'll revoke my DSA membership please [5]

Hannah Jocelyn: I am a Barbie movie defender; you take your $100 million toy commercial and make the best possible trans allegory a cis woman can make, you have my respect. (Just as Little Women is the best queer movie a straight woman can make, love ya Greta!) I feel like mainstream feminism-attempting films, Barbie included, are so preoccupied with being Statements they'll sacrifice any momentum to get a message across. This is much less messy and complex than the movie it soundtracks, content to get in and out with its endearingly obvious samples. Charli's attitude makes the song sound more chaotic than it really is, but that effortlessness is a neat contrast to a movie that tries really fucking hard. Suddenly, I want to buy a 2024 Chevy Blazer EV. [7]

Brad Shoup: Like the vast majority of thinkpieces this movie elicited, this isn't really about Barbie, is it? It leaps into a gear and holds; there's nothing to distract you while the motor hums. It ends with Charli chanting "red lights," like she's desperate to pull over. [4]

Andrew Karpan: Perhaps the most important of the pop hits salvaged from an '80s nite at a club near you, "Speed Drive" is already a Greatest Hit among the stans, and justifiably so. Charli boils down what these nostalgia grabs are all about: misrememberences of a more understandable past, the fantasy of driving cars, the mood board stretched infinitely into the promise of a new century, the crux of Barbie itself. [10]

Jonathan Bradley: [A whiteboard with "Charli XCX Barbie soundtrack????" written on it and nothing else.] [3]

Wayne Weizhen Zhang: Even on this throwaway soundtrack cut where Charli sounds like she's putting in 25%, her pop flourishes and mannerisms are undeniably powerful. It's the way she rhymes "whole world" with "inspo", knowing it doesn't work; the way she races through the chorus like she's bored and speed-reading random words on a page; the way she robotically drones "Li-i-i-i-i-i-i-i-i-ghts," unbothered at the laziness of the hook. This can't even clock in at two minutes. Give us nothing, queen! [7]

Kayla Beardslee: Charli understands how to craft a hook better than 99.99% of all musicians that have ever existed. [7]

Dorian Sinclair: I would not have thought to combine "Hey Mickey" with Robyn's "Cobrastyle" at all, let alone as part of a massive Mattel movie. Perhaps this is why Charli XCX is a pop star and I decidedly am not. The result mostly works, though it feels a bit less than the sum of its parts. And while I don't entirely get the focus on the car, maybe it's so she can run it back for the Hot Wheels film? [6]

Peter Ryan: Pop's foremost interpolator doubles down for a truly inspired how-hasn't-this-been-done moment. As a chase scene backdrop it's an [8], but on its own it's not even her third-best car tune. [5]

Katherine St Asaph: Brainless, reckless fun utterly unfit for purpose. The song is called "Speed Drive" and is perfect in tempo and stupidity for racing down the highway faster than God intended. And Charli still interjects "hah!" like no one else. But when do you go on the highway? When you're planning on driving for more than 2 minutes! [6]

Jeffrey Brister: Sleekly built, moves quick without fuss, pushes up a bit, but never really crests into high gear. I'm not asking for transcendence, but maybe an acknowledgement of a higher power while you lightly tap the gas pedal? [5]

Edward Okulicz: Having stopped writing good Charli XCX songs years ago, Charli XCX has, with this, ceased to even sound like Charli XCX. The only good bit about this is the "Mickey" interpolation. Driving around with this would give me a headache within about two miles. [2]

Vikram Joseph: In which Charli decides to write an AI version of a Charli song before the machines get there first. [4]

Will Adams: I will own up to being one of those who were WRONG and DUMB about "Vroom Vroom" when it first came out; I still wouldn't rate it highly, but I recognize its importance and impact on pop music. Special thanks to "Speed Drive" for helping me through that process by demonstrating what "Vroom Vroom" would sound like if there were significantly less effort. [3]

Jibril Yassin: Sucker needed this more than we did, but I'll take any new Charli songs that use actual choruses again. [8]

Joshua Minsoo Kim: I applaud Charli for staying faithful to "Hey Mickey": the only good thing here is the hook. [3]

Crystal Leww: Funniest thing about this song is that one of my best friends in the whole world made an edit of it, and once we were out, the original played and I was like, "man this is so slow." And then she told me that the BPMs are actually exactly the same. Good song for Charli in her popstar elder era, but I'd always rather be listening to the edit. [5]

Michelle Myers: This would have been a fine addition to my 2009 pre-gaming playlist. I can taste the Smirnoff Ice and MAC Lip Gloss. [6]

Samson Savill de Jong: This is a banger that resists much discussion, just pounding you with being really really good and fun and HOT (but not, funnily, at all sexy). It needs a third verse, as it's over just as it really gets going, but ultimately probably better to leave you wanting more than wishing it was over -- though I find it hard to imagine this couldn't have stretched all the way to 3 minutes. [8]

Ian Mathers: It's good, but I've gotta knock it for three things (all possibly totally unfair, but that's the Jukebox babey!!!!!): 1. "Mickey" is a fine song but I am so sick of this kind of interpolation; 2. it reminds me at least by implication of "Vroom Vroom," and you, ma'am, are no "Vroom Vroom"; 3. it's only my second favourite 2023 soundtrack Charli XCX is featured on. [6]

Leah Isobel: Enough time has passed that we can admit Crash was mid, right? That in marking the moment in which Charli finally, actually committed to being a pop star, it also signaled her turn from real emotion to two-dimensional shtick? That her fanbase not only enabled this particular turn, but made it her only viable option? That her career is now defined by the need to please a group of people who treat her work as impersonal meme-bait instead of creative output from a real person? That, viewed in this light, the fact that "Speed Drive" has become her biggest hit in a decade makes perfect sense, even though it's the unsatisfying sonic equivalent of a single leftover french fry, drenched in grease? That pop stardom is, in itself, the reduction of a real personality and perspective into a flat and marketable image; that the aching, sincere heart of True Romance is actually dead and buried; that my youth is never coming back; that all I have left is this shitty, misogynistic world? And that, despite everything, I am physically and emotionally incapable of scoring a Charli XCX song that samples fucking "Cobrastyle" lower than this? [4]

Tara Hillegeist: It says a great deal about Charli's grasp on how to make hedonistic abandon actually catchy, even after the multiple ways that particular approach to imperial phases has shown their ass, that she can nearly faceplant on a still-mangled enunciation of "kawaii" and yet almost get away scot-free with her brazen interpolation of "Hey Mickey." I can yet imagine this scoring a campily villainous dance number in a Russel T. Davies SFnal dramedy on BBC Three and working. Sadly, Rusty's currently on contract to Disney instead, so an entirely different sort of Toymaker seems to have run off with the obvious bait for tiresome queens at present, and I'm not sure the vibe quite comes together as the prophecy was meant to foresee. Too bad. It'd be an [8] if it did, but only hypothetically. [3]

Nortey Dowuona: The problem with "Speed Drive" isn't the flat, pedestrian drum programming, even though that roots the song to the ground and never lets it become the exciting driving song it's meant to be. The problem is Charli constantly pushing forward in her music to embrace the more compelling and vivid music of the late '10s, only to be over-praised for a competent rehash of already marked territory by her elders. The same happened to Earl Sweatshirt, who doubled back to play in more conventional positions then, after the praise, re-doubled down on his direction. The way to engage with their music is to stop jumping up to beg them to pander to our changing taste and the industry's desire to cling to conventional wisdom. Let the Charli XCX of 2014 go -- she doesn't exist anymore, Charli's competent Toni Basil cover notwithstanding. Maybe actually trust them to chart their own paths -- you crafted your own, right? [6]

Frank Falisi: The streamlining of Charli's glitch-heat into soundtrack-ready radio-licking songs is good! PC Music was always a project about products, caring and careful as it was. Pop is a product about the project of being alive -- it's its own experimentation, it doesn't require archness. But to be alive is to seek out live wires and hearts to plug into, to give shape to. The pastiche that has haunted Charli's work in recent years takes as its engine dead objects: nostalgia (Crash), flippancy ("Hot Girl", Bottoms), and now, incorporation (Barbie). Can you feel a song begin to think of itself as servicing an occasion instead of a feeling? But you don't have to rope in career tea-leafing to know "Speed Drive" is plain boring. More like a treatment for a song than a composition moving through ideas, it cannibalizes the occasion of "Vroom Vroom" for a compensatory GM tie-in, settling for chorus as brand shoutout and production that's nearly apologizing for itself. Haters -- Lovers? Likers? I can't imagine a human being loving this song -- will tell me it's a fun, short song written for a fun movie that's been over-think-pieced and that doesn't deserve the hyper-scrutiny it received. I still think we deserve better than just "just" as far as the product-as-art future Barbie takes to be inevitable. I also think -- whatever their occasion -- all the song sequences in the film felt disposably-conceived, thinking a little of partnering with the image and thinking a lot about servicing the partner, which is the brand. Maybe pop music in cinematic space has always been product placement of a kind. Or worse, once it was a way to show love through intertextuality and now it's the moving image as Tumblr page, a cloud of association, a hungry rolodex of fits. And the suggestion of a pleasurable essence isn't the presence of pleasure. I know there's no purity, I don't want purity. But you have to let "want" in, have to want "want" to mean more than "get." Otherwise it's the experimental rendered in a language we already know. What I mean is: every day the inclusion of "Boom Clap" in The Fault in Our Stars feels surer. [2]

[Read, comment and vote on The Singles Jukebox ]

[bananaofswifts]

Taylor Swift review, Arizona: On the first night of her Eras tour, Swift seems as liberated as she’s ever been.

5 STARS - By Kelsey Barnes

When Taylor Swift released her second album, Fearless, back in 2008, she was a bright-eyed singer-songwriter hoping to make it big in Nashville. Fifteen years later, it’s evident that she’s made it big everywhere. “I don’t know how it gets better than this,” the 33-year-old sings to a stadium of 70,000 people. Every last one of them shares the sentiment.

The five years since Swift’s last tour have been among her most prolific. She’s made four additions to her “family” of albums: 2019’s Lover, 2020’s Folklore and Evermore, and 2022’s Midnights. At the same time, she’s been busy re-recording her first six albums as part of her plan to reclaim the master recordings, following a very public battle with her former record label.

Her “Eras Tour” was designed as a journey through that staggering back catalogue of 10 albums, from her earlier country twang on her self-titled debut to the shift to synth-pop on 1989, then to the subdued folk and alt-rock of Folklore and Evermore. Throughout the opening night of the tour, it frequently feels as though the audience is being caught up with Swift’s past, present and future. In the 44-song setlist that spans three hours and 15 minutes, she shows why the “era” concept is so integral to who she is. Each chapter marks a specific shift in her artistry.

There’s a palpable elation at the State Farm Stadium in Glendale, Arizona. Costumes are emblazoned with hand-painted lyrics; faces are bright with glitter; hands are covered in Swift’s lucky number 13. The fans I speak to say the concert feels like “coming home”. Swift herself admits to feeling a little overwhelmed: “I’ll be trying to keep it together all night.”

Plenty of Swift’s biggest hits make it onto the setlist, of course, but there are surprises, too. Like the fact that she opens on “Miss Americana and the Heartbreak Prince”, the hazy synth-driven track from Lover, inspired by Swift’s political disillusionment. On it, she cast herself as a high school student dealing with bullies as an allegory for the right-wing gaining power in the US, and the heartbreak and despair that came with it. Deeper album cuts appear in the form of “Illicit Affairs”, the haunting track on which Swift battles her inner emotions, and a striking acoustic version of “Mirrorball”, which she dedicates to her fans. Later, they get the chance to scream-sing along to some of her most cutting lyrics on “Vigilante S***” (“I don’t dress for women/ I don’t dress for men/ Lately I’ve been dressing for revenge”).

Each era transition is marked by both a costume and set change. “Look What You Made Me Do”, the 2017 single that heralded her return after a lengthy hiatus, sees different versions of Swift inside glass boxes: a nod to a time when she grappled to reconcile her sense of self with her public image. For songs from the autumnal, insular Folklore and Evermore, the stage is overtaken by trees and a cosy, moss-covered cabin. At one point, the stage is bare aside from a long wooden table that she arranges for two people. It’s sparse and cold, reflecting the stark sound of “tolerate it”, where she pleads for another person’s attention.

It’s telling that Swift closes on “Karma”, a tongue-in-cheek nod to how she ultimately rose above the tabloid headlines, feuds and rivalries that once circled her like vultures. Dressed in a shimmering fringed jacket, joining in with her troupe of dancers, she seems as liberated as she’s ever been. “Ask me why so many fade/ but I’m still here,” she sings. The answer is right there for all to see.

[meadow-dusk]

unpacking Chrome Dreams. . .

well I'm listening to the same albums for comfort and understanding in this hellish phase of life so please allow me to deviate from the usual formula of my Album of the Month posts with my completely crazy fun Chrome Dreams theory.

The story goes that this album was prepared and shelved for >45 years. In the interim, its original running order was re-sequenced for official release. Which invites all kind of speculation as to why, especially when it clearly wasn't to shuffle the seconds into two neat 20-minute sides (as, we are told, maximizes sound quality). I love Neil but he still keeps pulling this album-and-a-half trick and I'm getting less enthusiastic about it with time, as it seems wasteful. But alas. Not the point of my post.

Chrome Dreams is not the only album that sat around for a few decades (although it might be the only unreleased album that got a sequel)...Neil is wont to move on to his latest creative endeavor and leave the old stuff to gather dust. Sometimes it's reportedly because the new thing is more sonically exciting (how I wait in longing for the release of Oceanside, Countryside) and other times the material is too raw to share right away (like Homegrown and Toast).

With this history in mind, with repeated iterative listens on loop under my belt, with the utmost respect for the role of happenstance in his artistry, I strung together this idea that the new running order tells a very personal story. Maybe it fell out this way, maybe it was intended. We begin at track #2.

2. Will to Love

Neil's own words in Waging Heavy Peace set the scene for this track written in late 1976: lonely, imaginative, and intense. In the first movement of the Chrome Dreams saga, the protagonist is merely surviving (the wordplay on "will to live" is not lost on even casual listens). His determination is desperation, and he stokes it like a fire in the dark of night. Which brings us to...

3. Star of Bethlehem

A late night at the fireplace leaves him weary and hopeless the following morning (it happens to the best of us, it seems). The song's lost verse suggested the protagonist is looking for help and meaning anywhere he could get it.

4. Like a Hurricane

Another anecdote of a composer seemingly possessed by his muse (courtesy of Jimmy McDonough's Shakey) reveals that the encounter that might have inspired "Hurricane" did not end in Neil's favor. In the Chrome Dreams chronology, this can be seen as another episode of frustration, a test of endurance for that "Will to Love."

5. Too Far Gone

For this to work in my reimagining, the protagonist's attempt to "pick up on" the woman at the bar was a success, but led to nothing stable or real like he'd hoped for in his fireside lament. "Too Far Gone" is a sweet and simple track took the longest of anything on Chrome Dreams to make it to official release (1989's Freedom features a re-recording). Neil repeatedly presented this song to be about himself on his 1976 tour. It's the perspective of separation from infatuation, though the sting of lost potential love still lingers. I mean, look at this gif and tell me he isn't thinking of a very specific person...

6. Hold Back the Tears

The final phase of this sequence features the protagonist pep-talking himself yet again. Only now he's cataloguing his mistakes in previous affairs ("two crying fools and then four crying eyes") to compound the burden of more recent missteps. Another lost verse shows that the ghosts of his past still plague him, but he keeps going. Ultimately, what choice is there? And so the lesson of this story, intentional or accidental, real or imagined, may be that such a cycle takes courage to enter, resilience to weather, and hope to survive.

[drewschermickblindone]

El Gran E Records

Together Alone

by Thorts131

11 tracks, 32 minutes

Together Alone

1.

Together (Intro) 01:42

2.

Forest 02:13

3.

Bucket List 02:51

4.

Last Lifetime 02:20

5.

Joyful Glum feat. Kady Starling & calQtek 04:20

6.

Bad Man Good Heart feat. Swab & StapleMouth 03:39

7.

Coco 03:39

8.

Grief Is Just Love With No Place To Go 02:46

9.

Poison feat. Swab, Parkwaechter Harlekin & HeirMAX 04:13

10.

Mourning Would feat. Swab 03:01

11.

Alone (Outro) 01:53

About this album

"Thort’s latest addition to the indie rap canon with Smokey131 is all you would expect from Australia’s weirdest wordsmith and Germany’s throwback master producer. Following Weightlifters, which was and probably still is my favorite Thorts album, Together Alone finds the duo with some big shoes to fill and I think it can safely be said they’ve managed to duplicate the magic that made Weightlifters so special.

Smokey’s beatmaking has, to me, has always shown an abiding love and respect for that classic pre-turn of the century era sound. It utilizes the dustiest of jazzy samples, looping them in such a way as to emphasize their percussiveness over melody. Think Muggs or Ant before he Turned That Snare Down (as opposed to other jazzy sample choppers from that era). The result are these gloomy, eerie offerings that are so effective with Thorts sense of off color humor and willingness to address difficult subjects and ideas.

I’ve heard a few other rappers songs with Smokey, and I truly believe Thorts is the one most suited for these soundscapes out of all of them. I expect much of that comes from that fact that these two undeniable veterans came up steeped in that sonic quality of the mid to late 90s, so when it comes to the proper treatment of some throwback jams it just comes naturally.

I dunno. It’s hard to pinpoint exactly what works so well when these two hit the studio. But as I said above, if you’re looking for something dark, deep, moving, gritty, and above all nostalgic look no further than Together Alone (but do yourself a favor and cop Weightlifters also because Thorts131 shit is as close as I’ve ever found to the rap that got me into rap a few decades back.)

Oh and big ups to CalQTeK, Staplemouth (these guys should do a full length together),Parkwaechter Harlekin, heirMAX and the peerless Kady Starling for the guest vocalizing, and Swab for some razor sharp cuts. Every guest feature elevates the song and meshes well with the mood, something that is not always possible working with quirky personalities like those behind Thorts131."

Limited Edition Cassette

by Thorts131

Only 50 made!

Cassette

Together Alone

by Thorts131

credits

released April 5, 2024

Production by Smokey131

Vocals By Thorts

Featured Vocals By Kady Starling, calQtek, StapleMouth, Parkwaechter Harlekin, HeirMAX

Cuts by Swab

Mixed & Mastered By Aetcix

Artwork by Smokey131

Art Layout by Irie Grubbs

© all rights reserved

supported by

Ceschi Ramos Probably Thorts greatest work to date. Really dope beats & features. Coco & Morning Would are standouts. The lyrics were very self aware, honest and darkly funny. Love to see him doing his thing better than ever after many years of creating. Favorite track: Coco

tags

experimental australian hip hop eclectic german production heirmax international smokey131 staplemouth texas thorts richardson

El Gran E Records

[dollarbin]

Shakey Sundays #14:

Stills-Young Band's Long May You Run

I've gone all soft on Stephen Stills of late. After seven straight months and 50+ posts spent excoriating Neil Young's nemesis/buddy/paste-eating boyband classmate I've given Stills a break in March. He had no business interrupting my vital appreciations of Karl Wallinger, Kris Kristofferson and Sandy Denny. There was barely room for him in my far less vital ruminations on Neil Young's Life or Peace Trail.

But your play time is over young Stephen. It's time to pack away your blocks, crayons and wah wah peddle and face my puritanical, yet objective, judgment regarding a core phase in your suckiness: that's right, it's time for me to actually listen to all of Long May You Run.

It took me a few years to find this relatively common-place Dollar Bin record way back when in the 90's. That's because all my usual haunts dumped their fairly worthless copies of Long May You Run in the never-of-any-interest-to-anyone-with-a-decent-sense-of-ethics-and-self-respect Stills, Stephen section instead of in Young, Neil.

But I knew the album's title track from Decade and from what remains my most prized Neil Young record: a bootleg copy of his 74 Honey Slides Bottom Line Show (note: the bootleg is better than Neil's recent official release of the show in that every rambling, humble word and harmonica fumble remains intact). That bootleg was so expensive at a very sketchy shop on the Santa Monica Promenade (the place also sold Star Wars ephemera and water pipes) that I convinced three of my buddies to chip in $5 each in exchange for my commitment to have it transferred to tape for each of them post haste.

Every moment of the show is rich and fulsome, including the premier of the song Long May You Run, which Neil introduces as a song he wrote for his new bus because he can no longer deal with flying airplanes, a detail that goes a long way to understanding the concept behind one of his most complicated records, Landing on Water.

And so I am still never prepared to hear the original album mix of this song. Young ditched not just Zuma-era Crazy Horse but also his savant producer David Briggs to make the entire coked-up record; out of an equal mix of savvy and bitterness Briggs then remixed Stephen Stills almost entirely out of the song on Decade. He also chucked the most Briggs-like event in that original version, a what-the-hell-just-include-it errant harmonica blast before the song gets started. "No sloppy sounds are allowed, Neil" Briggs boomed from his captain's chair. "Not unless I'm around to approve them!"

The song is a Young classic, sure, but it's never been one of my favorites. Too pretty; too earnest. Yes, the verses include a good sex joke (we found things to do in stormy weather) and some juicy Beach Boys non sequitors, but Young is too wasted to land his own jokes.

Neil has a dozen or more different ways to sing while wasted. There's his terrific tequila stagger (just about everything on Tonight's the Night), the terrifying "someone, please someone, pull me out of my dumpster of sorrow" vibe on songs like Pardon my Heart and Borrowed Tune, not to mention his, "Hey, everybody look! I'm so high I'm a flapping penguin" vocals on Vampire Blues or Cripple Creek Ferry.

I could go on; Neil is a connoisseur of making art while altered. The only time Neil sounds unappealingly stoned is whenever Stills's percussionist/vocalist/dealer Joe Lala is around, cutting lines of coke for everyone on his handheld mirrors. Here are Lala and Young together during his Trans tour. Neil is inquiring where he went wrong; Lala is indicating that it all goes back to hiring him to play bongos.

Throughout Long May You Run, it sounds like Neil keeps catching glimpses of himself in Lala's chop glass, and every time Stills and Joe are there grinning over both his shoulders; you can hear the dull, self-loathing result in Long May You Run's vocals.

The same thing happens, only worse, on Young's potentially best song on the record, Let It Shine. I first came to the song via driving and soaring cuts from 76 Japan bootlegs (catch my details on that vital tour here).

But on the record Young sings Let It Shine with self-hatred and a layer of very unattractive menace. There's nothing funny here; it's just ugly. And the guitars sound like they too are supplied from Joe Lala's terrible stash.

I've never done cocaine. The reasons are many: too scary, too expensive, too many lives ruined by the drug trade, and did I mention, too scary? But I've never really needed to think twice about the drug because I've heard this song once a year, or so, for the past 25+ years. If this is what coke does, I want nothing to do with it.

Neil shakes all this weighty failure off a few times on the record. He sounds appealing silly on Ocean Girl, helps the band make a Bee Gees audition tape on Midnight on the Bay (Joe Freakin' Lala passed the test; I imagine Stayin' Alive is the best song he ever performed on) and earnestly asks us about some complex nonsense on the Florida-based, wave riding precursor to Surfer Joe and Moe the Sleaze, Fountainbleau.

For the record: I do not know who put the palm over your blond, Neil. Nor do I know who's been moving everything to where it last was seen. But I do know that Joe Freakin' Lala does everything he can to wreck this otherwise groovy track with his terrible, whoops-I-dropped-my-bong-on-my-bongos-again percussion.

I only play this record when I've got the chance to sit beside the turntable. That's because there are four Stephen Stills tracks littering up the mix, each of them unlistenable. But I will now make myself listen to them anyway.

Here goes:

Make Love to You is ugly terror. Stills thinks he's Ray Manzarek meets Neil Diamond. He gathers the band around him to buff and polish both his nails and his lizard skin pants. The song was recorded 48 years ago but the "girl" in question is probably still in hiding after hearing Stephen the bar crawling man monster bust out his bluesiest warble to announce that he wanted to make love to her and that it was gonna take all night.

There's a flute driven bridge planted in the middle of this harrowing track like a Trump Flag at a pro wrestling event; someone get me the hell out of here before Stills wants to make love to me too.

Black Coral is a soundtrack for my nightmares. The piano riff is fevered and gross, Joe Lala thinks he's getting paid per beat, and Stills has shanghaied us 200 feet down underwater (with Jesus of Nazareth apparently in attendance, I guess? Maybe he forgot how to walk on water?). Stills has no coherent plan other than reminding us to take care: turns out he's more than a terrible musician, he's also the world's worst scuba instructor. There's more flute here too. The drummer, Joe Vital, is responsible. He probably figured, I played a mean flute in elementary school so, what the hell? How could a song like this get any worse?

12/8 Blues is actually worth listening to, once, so as to hear Neil's tiny, I'm a mouse and I'm trapped, backing vocals and his fairly killer guitar. But the riff is toxic and so are the lyrics. Stills tells he's dying, but don't get your hopes up. He wants us to know that he's "got the music" and he grunts like he knows how to pump iron while Neil tries to make something worthwhile out of it all.

The album closes with Guardian Angel, which somehow manages to be boring and nauseating all once. Lala shows off his touch typing skills throughout. Curses upon him. Stills' guardian angel demanded reassignment the moment they heard this song.

Neil has a guitar solo towards the end of Guardian Angel that's mixed to sound like he's in another state; which of course he was, as he literally told them all to eat a peach and went back to Crazy Horse at his first sober and available moment.

And that's exactly what I'm going to do now too: leave the Stills-Young band solidly in my rear-view mirror, listen to Zuma and recover.

[triposzt]

The Dreadnoughts - Roll and Go (2022) / Green Willow (2023) double album review

For the first English post of this blog, why not make a review of my new favourite band's last two albums? It's a bit late, I know, I originally wanted to make one about "Roll and Go", but never got around to do it, so when I heard that a new album is coming out this year, I thought "hey, now is the time to combine the two reviews into one post!" And I'm still freakin' late with this again!

But anyway, let's start the story from the beginning.

At least a decade ago, the first two songs I've heard from The Dreadnoughts were "Sleep Is For The Weak" and "Randy-Dandy-Oh" - no idea whether I found them randomly or someone showed them to me, but I liked both… and then kinda forgot to listen to any of their other songs for a while 😄 Then, fast-forward to approximately early 2020, when at work I was browsing for music, listened to one of the previously mentioned two and through the "related songs" links, found "Gintlemen's Club" (unsurprisingly from the same 2011 album "Polka's Not Dead")…and BAM! Immediately I was like "This is awesome, why haven't I listened to them for ages? Let's discover more!" And I did… and that's why I was anticipating the 2022 spring release of the new album Roll and Go even more. Let's see how it turned out:

ROLL AND GO (release date: June 24, 2022)

1 - Cider Jar [7/10] Hold up, a booze-infused version of "Twinkle Twinkle Little Star"? That's ridiculously brilliant! 😃 Cider Jar serves as a short intro to the album and the closing "arr-oh-arr" just flows right on to the next track, which…

2 - Cider Holiday [7.5/10] …was the first track released from the album and in all honesty, did not hit me in the sweet spot back then, but has grown on me since. The prose-like bridge part gives it a unique flavour, and speaking of flavour, the song itself just makes me wanna drink cider or visit the West Country. Or both, preferably.

3 - The Rodney Rocket [8/10] You never know where artists can find an inspiration for a song. Sometimes, it might be a video about an old alcoholic Canadian fella having fun with some snowy extreme sports in Rodney, Ontario 😁 The Rodney Rocket is easy to sing (mostly due to its percussion-heavy background and the L-C-B-O chant in the chorus), plus the tempo changes well along with the story - the silly-sounding words in the lyrics (dickered, hullabaloo) and a callback to "Fire Marshal Willy" are just the icing on the cake. What's not to like?

4 - Problem [10/10] Second track to come out as a single and I instantly loved it. Somehow it's just perfect: the repeating "Problem" at the end of lines, occasionally replaced by various - and hilarious! - sound effects, both the beat and the inserted Polish lyrics obviously referencing Sleep Is For the Weak, the backstory of the song, it all just culminates in this masterpiece. The music video is weird enough, although it does not reach such heights, but anyway, who the fuck cares, we are here to listen to songs, not watch them. Problem?

5 - Brisbane Harbour [8.5/10] A worthy continuation of true sea shanties like "Whup! Jamboree" and "Eliza Lee", and one which surely makes any listener's fingers and feet tap to the rhythm.

6 - Battleford 1885 [8/10] The shortest "normal" track on the album, and its title was intriguing to me when I first saw it - turns out, music can be educational (duh), because Battleford 1885 sheds some light on a tragic event of indigenous people in Canada (here's the post about the background of the song). Oh, and the ascending drum in the background of the bridge is just… *chef's kiss*

7 - The Storm [9/10] Beautiful, just beautiful, equally eerie and empowering, with an instrumental break inspired by Greek bouzouki tunes. If the previous song was about the story of oppressed people rising up against their masters, then this one puts you right in those people's mindset. Well done. And I'll be forever grateful for the Substack post about The Storm for introducing Smokey Bastard's "Baba Yaga" to me, I fell in love at first listening.

8 - Vicki's Polka [7.5/10] Judging by the title only, I thought this was going to be the obligatory instrumental track, but then again, I might have been misled by "Clavdia's Waltz". Instead, Vicki's Polka is rather a love story spanning decades, featuring references to the band's 2010 hit "Polka Never Dies" and the popular folk song "Who Stole the Keeshka?". Assisted by some top folk musicians, the bounciness of this true polka track slows down only near the end, when it's time to say goodbye to the titular Vicki, sadly taken away by the Covid-19 pandemic. Goddamnit, 2020.

9 - Scrumpy-O [8/10] You've been listening to the songs of the album in order and you're missing the amount of alcohol in the lyrics for a while? Worry not, Scrumpy-O definitely has your back. Just grab some locally made and/or rough cider (that's what "scrumpy" means), learn the words to the chorus, and raise your bottle to the sky!

10 - Tuika [7/10] Now this is the instrumental track I thought Vicki's Polka was gonna be. The frequently changing speed of the song makes you imagine dancing arm-in-arm with someone at one moment, then jumping into a mosh pit at another. (P.s.: if anyone has an idea what the title means, let me know, I could only find a politician from American Samoa by this name.)

11 - Dusty Ground [9/10] One of my favourites from the album, a very well executed song. Listen to how the tempo decelerates almost into melancholy in the third verse and then turns back up for the last chorus, just fantastic. The lyrics… likewise. If I'm not mistaken, they are meant to convey the transience of life via a clever metaphor: the ever-thirsty ground, which swallows us up like water. Well, all right, I might have taken a peek at the origin story of the track ;)

12 - Bold Reilly [5.5/10] Honestly, out of the thirteen tracks, this is the song that resonated the least with me. I wouldn't say it's bad or anything, just… Too repetitive? Too slow? I don't know. Also, being "the worst song of a Dreadnoughts album" is still a pretty high level 😁 And it has a reference to Randy Dandy-Oh, nice!

13 - Roll and Go [8.5/10] For some reason, I classified the trio of The Storm, Dusty Ground, and this closing track as giving the same vibes - no idea why I feel the similarity, at the very least Dusty Ground is notably quicker. Anyway, all three songs are unique enough for me to love each of them. Roll and Go provides a fine closure to this wonderful album: the musical background resembles a marching band (here I am giving praise to the percussion section yet again 👏), the lyrics emanate the feeling of brotherhood, and the ending slowly fades with the promise of a "fine and lucky day". Amen to that!

Overall: this was easily the release of the year for me. Usually when I listen to an entire album for the first time, the tracks don't really have their own "identity" in the beginning, and the whole thing is just a raw, big mess. Not this time! A few tracks stood out instantly and I grew to love the rest even more. Roll and Go turning out to be that awesome, given the difficulties the band had to face while recording, just proves how talented these guys are. I'll be sure to mention this album when people ask me about my favourites. Verdict: 8.5/10

GREEN WILLOW (release date: March 14, 2023)

1 - We Shepherds are the Best of Men [8/10] A proper start to the album, with a great rhythm and an even better chorus. Apparently, it's an older folk piece, which has a few versions with different lyrics, but The Dreadnoughts are the first "modern" band to cover it. And oh boy, they did it well! (One small caveat though: the grammar nazi inside me is so bothered by the "We drinks our liquor freely and pays before we go" part every time 😅)

2 - Hej Sokoły (Zal za Ukraina) [9.5/10] I see two great reasons why this track was chosen as the initial single of the album. Firstly, this song is an absolute earworm. I mean, so dangerously addictive, it can be stuck in your head for a day! Secondly, it's dedicated to the people fighting for Ukraine, and whoever has listened to The Dreadnoughts' songs knows that Eastern Europe has a special place in their pool of inpsirations. Accordingly, Hey Sokoły covers a popular old Polish-Ukrainian folk song, and frankly, I just can't ever get enough of Polish lyrics in the band's songs - no wonder the band fell in love with the suggestion of this cover. Highlight: as the last verse slows down and then builds up into the energetic last chorus… goosebumps, goosebumps every time.

3 - Rigs of the Time [7/10] It's like a good worker who does not yearn for promotion but is never in danger of getting laid off - not necessarily oustanding in his field, but someone who is trustworthy and does his job well. It has a message and a great chorus. You need tracks like this on your album. (Ironically, the song is about dishonest tradesmen, but still, that's the metaphor I chose. Also, the whole "blaming the rising prices on the war" thing is too real nowadays.)

4 - Roll the Old Chariot Along [8.5/10] This song is apparently covered by a few artists, but I don't recall hearing it before I listened to the album - only since then, but for that, the almighty Algorithm might be the one to "blame". Anyway, I remember instantly liking it upon the first listening and my opinion remains unchanged: what a fantastic and catchy tune! "And we'll all hang on behind!" (P.s.: Lads, there's a missing verse - and some other confusion - of the lyrics on the Bandcamp page.)

5 - The Foggy Dew [7/10] A classic Irish ballad, full of historical references (one of which could even be meant as a hint to "The Bay of Suvla"), so far it was only familiar to me because Dropkick Murphys used it as the opening instrumental for their shows (The Chieftains version to be exact). The lack of repeated parts and intricate rhythm of the verses makes it very difficult to sing along, but nevertheless it's a beautiful rendition.

6 - Twankidillo [7.5/10] "Half of you are going to hate it, it’s fucking weird." That's the premise I've read before I even listened to the song… and I didn't even mention the strange title. 😄 *1st listening*: They were right, what the hell is this? *2nd listening*: Okay, it IS weird, but certainly catchy… *3rd listening*: "Here's to old coal, and to young coal and to no coal at aaaaaaaaallll!" Yep, it grows on you. It's another cover of a traditional folk song (like all tracks except one), and if you haven't noticed, the lyrics also contain a reference to the album name. Yay!

7 - Spanish Ladies [7/10] Sorry guys, I have absolutely been in love with Sarah Blasko's version of this song for years, and I don't think anything can change that. To be fair though, this cover is more sea shanty-esque, if you close your eyes, you can almost visualize the crew hauling ropes or heaving the capstan around.

8 - The Unquiet Grave [8/10] Upon seeing the tracklist, this was the title that stood out the most for me - and damn, it did not disappoint, especially storywise. This tale of love beyond the grave has been sung for centuries, I haven't heard it before, but I must say that The Dreadnoughts have really managed to capture the appropriate eerie vibe which surely gives you the chills. (Bonus funfact for anyone who's familiar with the band's discography: this track was first intended for the 2017 album "Foreign Skies".)

9 - Apple Tree Wassail [8.5/10] Don't believe Google Translate saying "wassail" is an Arabic word, this catchy track is actually a blessing ritual for apple trees in hope of a good crop to make cider from… although the mental image in my head is stuck halfway between an orchard and a mosh pit due to the song's fast pace. Hell, I hope at some point I'll have the chance to hear it live and jump around like a maniac. (Please come to Hungary!) (P.s.: The "Let every man drink up his glass" line is possibly a callback to "Spanish Ladies", am I right?)

10 - Roll Northumbria (Loud Version, sometimes called "Heavy Version") [7.5/10] Green Willow features nine covers of traditional folk pieces and a reboot of one of the band's earlier songs… yep, this closing track is the reboot one. What I said previously about Spanish Ladies, can be applied here as well - I like the original so much that no newer cover can surpass that, even if it's from the same band. Also, I think the original's slow and dark vibe is more fitting to the topic of the song, but if there's one place where the heavy/loud version could be used, it's concerts. The final drum beats provide a great ending to the album.

Overall: When I first listened to the entire album, I thought "maybe Roll and Go set the bar too high", although my reception of Green Willow has improved well since then, as it can be seen in the ratings. A shorter collection of tracks than its predecessor, but it has a bit of everything from patriotic through silly to haunting, while covering well-known and lesser-known folk songs. I know an album a year would probably be too much to ask, so I'll just patiently wait for some fresh stuff from The Dreadnoughts! Verdict: 8/10

Thanks for reading! 😊

[boy-wonder-oncologist-fan]

Greetings from your secret Santa! 🎅🎄

Aw thank you for the warm welcome 🙂 it's nice chatting with you too 😊

Yes I felt that way about "Sing Sing Sing" too! (and I was today years old when I found out it was written by Louis Prima and not Benny Goodman)! Also love the song in that last dance scene: "Bei Mir Bist Du Schon".

And thank you, seeing your list of favorite artists, I think you have great music taste too! 👌 My favorite artists (from all decades and genres) include Paul McCartney, David Bowie, Ella Fitzgerald, Frank Sinatra, Robert Palmer, Todd Rundgren, Marc Bolan, Beck, Aretha Franklin, Stevie Wonder, Madonna, Marvin Gaye, Sade Adu, George Michael, and Billy Joel. I'm sure I'm forgetting someone again, especially since I forgot to name The Monkees and The Jackson 5 in my list of bands!

As for Duran Duran I think there may have been a brief renaissance in the fandom when their latest album Future Past was about to be released and teased us with a couple singles. It was so exciting to hear new music from them and see them together again after the pandemic. Eventually some of those fans moved on to other interests (or just off Tumblr completely) but I did notice a handful of new fans crop up on here in their place.

Having learned of both your favorite bands and artists, I'm curious what influenced your music tastes? For me, it was my parents and older siblings. I was the much younger sibling, born when my parents were in their 40's. So my tastes go way back partly because of them.

No, I don't think you were that late in replying! It took me some time to respond, so no worries. 💙

Sorry for the very big delay in responding, college and my physical recovery weren't letting me breathe :"

And I didn't know that Benny Goodman hadn't written "Sing sing sing", thanks for letting me know :0

Also, that's a great list of artists, I'll check Sade Adu, thanks for the rec :)

About Duran Duran, it makes sense and I'm glad they're getting more recognition now (*I'll elaborate further) and I think it's a testament to the band the way that (like you said) is still getting new active fans all the time. * Having been part of music fandoms before, I saw they never seemed to take the band seriously and there was an overall very snobbish tone in the way they used to comment about them.

About your music influences, that makes sense and now I'm curious: What kind of music did your parents introduce you to? What about your siblings? Which artists that they used to listen to do you still listen to?

About the influences of my music taste: my parents are gen x and they had some cassettes, CDs and VCDs they would play at home (mainly rock and pop from the 80s/90s in English and Spanish); but I specifically remember a VCD with ABBA videos that I was absolutely obsessed with as a toddler. Later as an eighth year old I became fixated with 80s music and specially Queen because of some DVDs my parents brought home. It wasn't until I was a thirteen that we finally had internet connection at home so I started listening to much more music and could finally listen to songs in Queen's catalogue that weren't the more famous ones; that was a breaking point because I started to branch out into the main subgenres of rock and eventually discovered progressive rock (my favorite rock subgenre) and from that I got into metal and jazz, and more recently jazz has lead me to soul and classic hip hop but I'm still too much of a noob about those genres to articulate and opinion. (Sorry if this was too long, I just like talking about music 😬)

Also I hope the holidays treated you well and best wishes for the new year! :D

[marciabrady]

tag game: get to know my interests! thank you so much @maureenoharra for tagging me!

MUSIC

fav genre?: LITERALLY only three genres exist and it's adriana caselotti, ilene woods, and mary costa

fav band?: oooh good question...i really, really always loved the arctic monkeys and the killers, though sometimes it's a little depressing so i haven't listened to them as much as late

fav solo artist?: who can compare to the three deities i already mentioned???

last song you listened to?: the waiter and the porter and the upstairs maid! IMAGINE cinderella performing it tho omg

fav decade for music?: This is a really good question...30s are unbeatable, right??? But 50s are sooo good too

top 3 most listened songs recently?: "recently" lol this is pretty evergreen for me, but carol of the bells, i bring you a song, and so this is love

LITERATURE

fav genre?: i read biographies like mad as a child but i honestly like anything that was written before the 1950s, regardless of the genre, because the writing is always filled with so much life and different nuances in the jargon and characterizations

fav book?: i actively collect fairytale books from the 1880s - 1920s and they're my favorites of all! i have a running notepad of all the differences in approach to story and dialogue, etc etc, in each and those little shades of change from author to author are the most fascinating thing in the world to me

fav writer?: OK so i'm cheating because it was a film but helen deutsch gave us maybe one of the most richly besotting screenplays of all time

comfort book?: the vintage fairytale books!! but to be more specific, i love the movie comics that came out for the original three princesses when their films were released

fav biography?: honestly, maureen mccormick really went there and i'd like to know why, since she wasn't struggling for money or fame. but wow, what a story

TV AND MOVIES

fav tv show/movie genre?: i like older media (surprise) and traditional animation, but fantasy is good or slice of life

fav movie?: in order of premiere, snow white, cinderella, sleeping beauty, and the little mermaid always!

comfort movie?: apart from the ones above, the women

favorite decade for movies?: spilt between the early 30s and mid 50s

fav tv show?: if a better show than golden girls exists, i'd like to know what it is 

comfort tv show?: house of mouse!

5 favorite characters?: i'm putting princesses aside so i'll say vanessa from tlm, fairy godmother, and the three good fairies but honorary mention to wendy

tv shows or movies | one episode a week or binging | one part or saga | horror movie or musical movie

tagging everyone who hasn't been tagged yet!

[cospinol]

🎶✨when u get this u have to put 5 songs u actually listen to, publish. then, send this ask to 10 of your favorite followers (non-negotiable, positivity is cool) 🎶✨ !

(⁄ ⁄•⁄ω⁄•⁄ ⁄) thank you!!!! love a song tag game<3

i just found out a couple of weeks ago that cake bake betty, who otherwise haven't released any new music in well over a decade, very recently put out a brand new single, so west coast lights has been occupying all my thoughts lately!!

暁光 by half time old ;___________;

i'm in no way up to date on the lore of this vocaloid series so idk what the song is really abt but occam's razor is a fun listen and has been stuck in my head a lot

two by the antlers. ;___; once again. it's hospice time of year..

i think i've linked albatross by kevin devine on here before but i'm always listening to it so!!!!