#we had a singer come in and we built a song for her to sing

[bandzboy]

i get out of my classes feeling like life is worth living and music is everything i swear

[miwhotep]

JAMES BOND REFERENCES IN MORIARTY THE PATRIOT

I am a big fan of James Bond since my early teenage years. I watched every movies and read all books, so when the Moriarty the Patriot manga first started using James Bond references, I basically screamed. And my voice got 100x louder when the iconic My name is Bond. James Bond. scene happened.

I always wanted to write an analysis of YuuMori's James Bond connections, so now here we are.

First, let's talk a bit about the actual James Bond universe. The character of James Bond - the MI6 agent numbered 007 with a license to kill - got created by Ian Fleming in 1953. He first appeared in the novel called Casino Royale. Fleming wrote 12 novels and two short story collections with the character. The novels soon got movie adaptations, too, the first James Bond movie was Dr. No in 1962, where Sean Connery played Bond. Currently there are 25 Bond movies.

The James Bond movies can be classified into eras by the actor who played Bond. In order, these follow:

Sean Connery

(George Lazenby - but everyone tends to pretend this movie never happened)

Roger Moore

Timothy Dalton

Pierce Brosnan

Daniel Craig

The movies didn't come out in chronological order when it comes to James Bond's life-happenings. Most movies can be watched as stand-alones - but the Daniel Craig era tried to built up a storyline, where the movies are tied to each other. The James Bond movies always have an iconic intro, sing by a popular singer of the current era (the last movie's intro song was by Billie Eilish.)

The James Bond movie universe started to fuse with the Sherlock Holmes universe thanks to the Alan Moore comic book series, The League of Extraordinary Gentleman (1999). Professor Moriarty appeared here as M - the title what later ended up with Mycroft. The Elementary series (and somewhat BBC Sherlock) continued this tendency, featuring Mycroft as someone who has ties to the MI5/MI6.

Professor Moriarty in TLoEG

The Moriarty the Patriot series features most characters who are important in James Bond movies. They are..

M - the leader of the MI6, which role was fullfilled by Albert and Louis.

Q - the inventor who keeps coming up with weapons and cars for James Bond. In YuuMori, Q is Von Herder, the blind mechanic mentioned in the Empty House Conan Doyle story.

Ms. Moneypenny - a secretary working personally for M. In the Daniel Craig era, she started as a field agent, but later moved to do office work. James Bond always gives her flowers and little souvenirs.

When it comes to James Bond, his personality in Moriarty the Patriot is similar to the canon one: loving good cars and guns, flirting with woman (especially Moneypenny) and while it's not vodka martini he orders in the pub when he met with Patterson, he asks for the drink shaken, not stirren. (On the other hand, the Macallan scotch he asks for is a reference to what James Bond drank in the Skyfall movie.)

The location of the MI6 in YuuMori is also similar to the James Bond movies: underground and underwater in the Thames.

The headquarter in Skyfall

The Q-sector

The Man with the Golden Army arc features other references for the James Bond universe. The arc's title refers to the movie/book The Man with the Golden Gun (Roger Moore-era) - the two stories only similarity is that both deal with special guns. In that arc, Sebastian Moran takes on the identity of the 006, Alec Trevelyan. The character originally appeared in the Goldeneye James Bond movie (Pierce Brosnan-era) played by Sean Bean. He had the number 006 and he was the mentor of James Bond (like Moran later on). He seemingly got killed off at the start of the movie (but later returned as a villain).

Alec Trevelyan in Goldeneye

Maybe not an intentional reference, but still interesting: the James Bond movie Tomorrow Never Dies features an evil media mogul, Elliot Carver as a villain who likes orchestrating catastrophic incidents so his newspaper can be the first to write about them, manipulating people that way and gaining control in the media - kind of similar to Milverton (yes, the media mogul Milverton thing is from Sherlock, but still), who was the mastermind behind the Jack the Ripper murders then manipulated the public through the news he created. (I can actually see him orchestrating incidents in order to gain more power and become the King of Media, too.)

Elliot Carver in Tomorrow Never Dies

We've yet to see the main villain of James Bond: Ernst Stavro Blofeld, (first appearing in the Thunderball book) the head of the crime organization called Spectre. I wander when he will appear in YuuMori, if they appear at all, but I really wish!

I hope in the next stories YuuMori's James Bond world keeps expanding - that's such an interesting aspect of the series, I love to see more references!

[bookworm-center]

I have a request for a Kaz Brekker au/one shot (whatever u see better fit)

Where the crow club usually as a singer on friday nights but the singer had to cancel last minute so seeing the “panic” on the other crows and crew Y/N steps up and sings even tho nobody knew she could sing and when Kaz hears it and sees her he just gets lost in her voice…

I hope this is a good idea haha

Kaz Brekker x Fem!Reader

Unsung Duet

In which Kaz's partner in crime steps up to sing.

Author's Note: Ooh, I love this request! I'm twisting it slightly but not too much; I hope that's okay! I wasn't sure if you wanted a specific song, so I went with "Six of Crows" by Gio Navas. Such a good song that's obviously inspired by the book, you should definitely listen to it. This ended up being shorter than I wanted, but I think it's not bad.

Panic floods the Crow Club in hushed whispers. The usual Friday night singer cancelled? People begin to leave, shoving their way out of the small doorway.

Kaz's panic isn't shown on his features- he's good enough at his job to know panicking is a weakness- but the other Dregs are rushing about. Rotty says something about too many people leaving, but Kaz is too busy working out a plan to respond.

Claps come from the stage, quiet and slow at first, but gradually growing. Then comes the singing.

This is a city of toxic smoke

We trade our lungs for a noose of rope

Under our feet and the tilted ground

Runaways of ashes never found

People turn around, coming back in and filling up all the seats and tables. Kaz looks up from his glass, to the singer that's taken the stage. There stands none other than his partner in crime. Y/n L/n, master of tricks. He had never heard her sing, never even knew she could, despite his reputation for knowing everything. Her eyes are closed at first, like she's trying to lose herself in the music.

Here is where the monsters hide

Only the wicked can survive

With every line, every rise and fall of the melody, every held note, Y/n gains a little more confidence. She taps her feet on the wood of the platform they call a stage.

And just like that, Kaz, along with the patrons in the Club, are swept away by her voice. There's something about the way she sings that's so enchanting and enticing, almost like a pull of unseeable magic. Her and Kaz only make eye contact once, when the song is nearly over.

A boy with a broken soul

Marching through this world alone

He fights among the cursed six of crows

Where is his heart, he may never know, never know

And that's it. The crowd bursts into applause, demanding for an encore as Y/n walks off the stage. Kaz hadn't even noticed she was finished singing, not until the bartender called his name several times.

He knew the last verse was about him. Y/n had been his best friend, his other half, his partner in crime, for so long, that they were nearly one person. She knew nearly everything about him, and he for her.

The last line gets him thinking: where is his heart?

Easy. His heart is set on revenge. It's set on destroying Pekka Rollins, ruining everything he built.

There's another response, further back in his head, in the part of him that was still Kaz Reitveld. His heart was with Y/n.

After all, they were the halves to a whole, the sun and the moon. Together they were perfect clockwork, chiming together to pull off the perfect heist.

His heart was with Y/n, his unsung duet.

[gorlygorlx3]

he was overqualified for the job

“Give it up for the Glamrocks once again!” The roar of an applause echoed through the crowd. Each member of the band waved at their adoring audience. Freddy and Chica both smiled happily while Monty and Roxy relished every moment of it. 5 minutes of fame is always nice, but it’s only 5 minutes. The Glamrocks slowly descended down to the ground floor, content with their performance. Last performance of the day, finally. All that’s left is the meet & greets. The main four split up into their respective attractions.

Gator Golf wasn’t as packed as usual today. The biggest group of people that stopped by was a birthday party. Congrats for little Daniel turning 10. Double digits woohoo! Not important. What’s currently on Monty mind was rock n’ roll music. More specifically, rock bands over the years. Ever since all the animatronics were updated with a built in browser and messaging, Monty had some fun searching up whatever pop into his head when he got bored. Maybe a little too much fun. Anyway in the pools of swampy waters, Monty’s little search engine tab open several articles about history and timelines and random facts about some famous band members.He didn’t care about any of that.

Well…except that majority of the famous ones usually consisted of a drummer.

Monty pondered for a minute as he looked through some photos. As far as he could see, old rock bands consisted of two guitarists (a lead guitarist and a rhythm guitarist, with one of them singing lead vocals), a bassist, and a drummer. Wonder what it could be like to have a drummer. They could finally play different songs than the ones they were used to.

Man…ever since Chica came with the idea of having the band write their own songs, Monty started planning. In private of course! He doesn’t want any distractions. (Yeah right 😏) Brainstorming wasn’t as boring as he thought it was. Time consuming but fun. Especially, listening to some old music for 80’s. Gives him inspiration he says. But until recently, everything the Glamrocks played was just about everything they could come up with. Freddy was stumped, Roxy lost interest, even Chica was struggling. And her songs are the ones they’ve been using! Yeah. They needed a drummer. But who would be the drummer? It can’t be Freddy, he’s already the lead singer of the band. Chica’s too good with the guitar. And Roxy doesn’t plan on switching from her keytar anytime soon. “Maybe I’ll play the drums…” Monty muttered. But he loves the bass. The deep, utter moans crooning along the music. It’s perfect for him. Maybe he could tag-team?

Attention all guests, the Pizzaplex will be closing in 10 minutes. Please make your way to the exits.

The announcement snapped Monty out of his thoughts. Already closing huh? He hasn’t been thinking for that long. Whatever, if it means he can get out of here he’s fine.

Chica: Emergency band meet at in my green room!!!!

Looks like he wasn’t going anytime soon.

“You had to call us over here?”

“What’s the big deal?”

“What is this said emergency you speak of?”

Chica slumps on her couch. She sighs in defeat. “I’ve got nothing…” She mumbles. The rest didn’t hear her. “I said I’m stumped. I’ve got nothing.” She pulls out a bunch of crumpled papers. “This was all the stuff I spent on for the past two weeks!” The trash bin next to her vanity was overflowing, some of the papers migrated to the floor due to a lack of space. “Lyrics, sheet music, you name it! I tried everything.” She slumped back down.

”Why can’t we just use the old songs? Roxy suggested.

“But they’re so boring…” Chica groaned. “It’s so much better to play songs we come up with.”

“There’s nothing wrong with using the pre-uploaded music for our performances.” Freddy reassures. It didn’t really help with Chica’s frustration. Maybe this was the moment for Monty to actual say something genuine.

”We need a drummer.” Ok not as genuine as some thought.

“You’re right!” Chica exclaimed. Wow, an idea Monty came up with doesn’t get shot down in 3 seconds. “Actually, a lot of the sheet music I wrote needed some drums to keep the rhythm going.” She digs through her trash bin to find them.

“And where the hell are we gonna get a drummer?” Roxy raised a brow. Monty didn’t have an answer. Luckily, Chica did.

“Auditions!”

”But we are not allowed to have any guests stay here after hours.” Said Freddy. He’s sadly right. And even if it was during hours, there won’t be any time left.

“Maybe someone here can play?"

”Chica there’s only two other options, DJ Music Man and the daycare attendant.” Roxy retorted. She doubt any of the staff bots even knew how to how a drumstick.

“And Music Man won’t fit on the stage with us.” Freddy added.

“Then Sun it is! I’ll go talk to them right now.” Chica left her green room with excitement. She left the others in a state of confusion.

“Does really think that clown can drum?

Boy was Chica happy. She’s glad Monty brought up needing a drummer. After all the stuff she wrote down, she knew something was missing. How could she not have known, a drummer’s job was to keep the tempo going. The sheet music she created was meant for fast, upbeat songs. Not to mention she did find an old drum set while wandering around for trash food. The daycare. She made it. Fingers crossed they’re up and running today. Not saying Moon wasn’t as good as Sun, but they just fit the role better.

*Knock Knock*

“Come in~.” A sing-song like voice emitted from the doors. Chica happily walks in, her potential drummer is in her sights.

“Why Ms. Chica! I didn’t think you would come today." Sun greets in his usual manner.

“Listen Sun, it’s important. We need you for something.” Chica grabbed Sun’s hand and hastily pulled him outside.

“Chica, where are we going..?” Sun’s fidgety voice asked.

“You’ll see!”

In the time Sunrise only seemed to get worse, even when they were alone his chipper happy voice had left them. Chica had beamed, immediately rushing down the hall.

Chica: i got them. meet me at the stage!

“Shouldn’t I wear anything different? This will be my first outing in years!” Sunrise huffed when Chica said it shouldn’t be a big deal. To Sunrise it was the biggest, maybe even bigger than a child turning 10! Maybe.

“But aren’t the other Glamrocks are going to see me? I want to look presentable for tonight!” They didn’t exactly have clothing to wear either way, especially none that fit them, but somehow Sunrise had acquired items over the years. Suppose boredom can lead to strange hobbies? (By animatronic standards, as they weren’t meant to have hobbies.) Apparently Sunrise would take clothes from the lost and found and repurpose them, to the best of his ability. Too late now.

“Oh relax Sun, it’ll only be for a couple of minutes.” Chica reassured. Sun whispering worries and doubts under his breath all the while. Chica had already told him why he’s was dragged out the daycare, explaining that the Glamrocks were running out of ideas for songs and that maybe a drummer would help make new songs. Sun admitted that he always liked their music. As much as it was muffled. But hearing they were having some trouble, he wouldn’t mind helping out. Sunrise gazed around the massive dome that was the concert area of the Mega Pizzaplex. It was filled with light, sure as to not bring out Moondrop, colors dancing wildly and beautifully around. And the best part? Near the concert stage was the other three Glamrocks; excitement, anticipation, and welcoming dawning across all of them. “Hey you found the drums!” Chica noticed the drum set that sat atop the stage basking in the light, revealing the golden yellow of each piece. Sun was enchanted by it but looked back at the other Glamrocks with the same delight and fear. “Thank Fredbear over here for finding it.” Monty eyed Freddy; it was his idea, how come Teddy Ruxpin gets the credit?! No matter, the real concern was the clown in yellow who looked anxious.

“Chica, you can’t seriously believe this guy can drum?” Roxy crossed her arms.

“Roxy, there is no need to doubt their abilities. We will give them a chance.” Freddy assured.

”Yeah I think they at least know a few things about drumming right?” Chica turns to Sun, awaiting an answer. To which he responds with a nervous smile and laughs.

“I-I think I know a thing or two.” He said shakily.

“Well no time like the present.” Monty grabs Sun and hoists him up to the stage. “Show us what you got.” The gator huffed. Sun gazed at the golden drum set. They must’ve just cleaned because it looks brand new. Wonder where’d they’ve found it. He sits in the swivel seat, swinging left and right. A little smile grew on his face as it the stool calmed him. A little distraction if you will. The Glamrocks stepped back to get a better view of Sunrise and the stage. “Alright Sunny, whenever you’re ready. You got this!” Chica cheered. Sun smiled at the her words as he picked up the sticks.

As the music started, Sun bobbed their head to the beat. A fairly tame instrumental. A simple rhythm emitted from Sun with the drum set, the sticks playing a 4-beat in a slowly pace. Not bad for someone like him. Freddy smiled at the canary-colored jester, he’s glad his friend’s nerves calmed down as they played. Chica felt the same, but she silently wished for some more from them. No matter, this was a just an idea. Monty was surprised that the clown had actual musical knowledge. Especially for someone who listens to the same jingle every day. But he was starting to get bored. He could see it in Roxy too. As he was just about to cut off the music, the instrumental quickened.

And so did the drums.

Sun's pace increased in what was the bridge of the song. They were completely lost in the music. Eyebrows were raised and eyes were sparkling amongst the four bandmates. Surprise, delight and a little disbelief was in the air. They watch as their friend keep the beat of the sample instrumental, making it more fun and lively.

“See, I told you they had some talents.”

“Right you are Chica. Sun is very capable of become our drummer.”

“Not bad, I guess.”

”I could do better.”

While the Glamrocks were having their own conversation, Sun sped up the pace.

Drastically.

The Glamrocks stopped talking and listen to the new tempo. We’re getting closer to the end of the instrumental. Sun beat the drums like there was no tomorrow. The sticks hit each part of the percussion set. The snare drum, the high tom, the medium tom, the floor tom, some of the cymbals. All in the harmony with the instrumental. Yeah, they’re completely lost in the music. The solo began afterwards. It was like a watch a love concert. Sun jerked with each movement of his body, banging the drums in chaotic but rhythmic fashion.The Glamrocks were speechless. And by Glamrocks, I mean Monty and Roxy. Freddy and Chica were too busy recording and transcribing each beat into sheet music in their data bank. And once the solo ended, he paused for a second before a drum roll brought the rest of the instrumental back for the finale. It was clear, Sunrise was gonna be their drummer. Chica’s creative juices were flowing, she’s already cooking up new songs for future performances.

Once the music ended, Sun huffed as if he was out of breath. If he was human, he’d be covered in sweat by the extreme workout of drumming. “That was fun!” He cheered, drum sticks in the air in triumph. The Glamrocks were still shell shocked by the performance. ”Oops…guess I got carried away.” They said sheepishly as they rose up from the cushiony stool, ready to leave the stage in the embarrassment. Clapping can be heard from two of the Glamrocks.

“Way to go, Superstar! I didn’t know you could do that!” Freddy applauded.

”That was AWESOME!” Chica exclaimed. “Where did you learn to drum like that?”

Sun blushed a little. “Sometimes I like to play with this little drum kit I found in the Lost & Found.” A bashful little smile form on his face. “So…does that mean I’m in the band?” He asked. How was that even a question?! YES! When sun got off the stage, Chica hugged Sun and spinned them around in joy as Freddy congratulated the animatronic.

Monty and Roxy had no words. How? HOW?! And of ALL the people?! THE DAYCARE ATTENDANT?!?! Was it the daycare attendant or did the spirit of a rockstar took over their body? Whatever it was, Sunrise was their drummer no matter what.

For they knew…

he was overqualified for the job.

[my-name-is-apollo]

Hello! I'm currently trying to research the ways Apollo would be worshipped and prayed to by his followers in everyday-life for a writing project but I'm struggling to find any sources on actual practices and rituals, whether from the ancient Greeks or present-day worshippers.

do you know of any reliable sources for ancient Greek practices or anyone who does work with Apollo that I could ask directly?

Hello! The usual way to worship Greek deities seems to have been making an altar for the god, offering some sacrifices, praying to them and pouring libation. This was also accompanied with music, songs and dances - and I can give you a lot of instances for this. This was common to almost all the gods I believe, and the difference was probably that certain kinds of offerings were given to certain gods.

Since you asked specifically about Apollo, here are some instances I have found:

[Apollo]: and in as much as at the first on the hazy sea I sprang upon the swift ship in the form of a dolphin, pray to me as Apollo Delphinius; also the altar itself shall be called Delphinius and overlooking for ever. Afterwards, sup beside your dark ship and pour an offering to the blessed gods who dwell on Olympus. But when you have put away craving for sweet food, come with me singing the hymn Ie Paean (Hail, Healer!), until you come to the place where you shall keep my rich temple.

- Homeric hymn to Apollo (Trans. Evelyn-White)

Here Apollo himself instructs the Cretan sailors on how to worship him. And they do the as instructed:

Also they made an altar upon the beach of the sea, and when they had lit a fire, made an offering of white meal, and prayed standing around the altar as Apollo had bidden them. Then they took their meal by the swift, black ship, and poured an offering to the blessed gods who dwell on Olympus. And when they had put away craving for drink and food, they started out with the lord Apollo, the son of Zeus, to lead them, holding a lyre in his hands, and playing sweetly as he stepped high and featly. So the Cretans followed him to Pytho, marching in time as they chanted the Ie Paean after the manner of the Cretan paean-singers and of those in whose hearts the heavenly Muse has put sweet-voiced song.

- Homeric hymn to Apollo (Trans. Evelyn-White)

In the Iliad, the Greeks also do something similar when they bring back Chryseis in order to appease Apollo:

They brought forth the hecatomb for Apollo, who strikes from afar, and forth stepped also the daughter of Chryses from the sea-faring ship. Her then did Odysseus of many wiles lead to the altar, and place in the arms of her dear father, saying to him: "Chryses, Agamemnon, king of men, sent me forth to bring to you your daughter, and to offer to Phoebus a holy hecatomb on the Danaans' behalf, that therewith we may propitiate the lord, who has now brought upon the Argives woeful lamentation." So saying he placed her in his arms, and he joyfully took his dear child; but they made haste to set in array for the god the holy hecatomb around the well-built altar, and then they washed their hands and took up the barley grains. Then Chryses lifted up his hands, and prayed aloud for them: "Hear me, god of the silver bow, who stands over Chryse and holy Cilla, and rules mightily over Tenedos. As before you heard me when I prayed—to me you did honour, and mightily smote the host of the Achaeans—even so now fulfill me this my desire: ward off now from the Danaans the loathly pestilence." So he spoke in prayer, and Phoebus Apollo heard him. Then, when they had prayed, and had sprinkled the barley grains, they first drew back the victims' heads, and cut their throats, and flayed them, and cut out the thighs and covered them with a double layer of fat, and laid raw flesh thereon. And the old man burned them on stakes of wood, and made libation over them of gleaming wine; and beside him the young men held in their hands the five-pronged forks. But when the thigh-pieces were wholly burned, and they had tasted the entrails, they cut up the rest and spitted it, and roasted it carefully, and drew all off the spits. Then, when they had ceased from their labour and had made ready the meal, they feasted, nor did their hearts lack anything of the equal feast. But when they had put from them the desire for food and drink, the youths filled the bowls brim full of drink and served out to all, first pouring drops for libation into the cups. So the whole day long they sought to appease the god with song, singing the beautiful paean, the sons of the Achaeans, hymning the god who works from afar; and his heart was glad, as he heard.

You can find more examples in Argonautica by Apollonius Rhodes:

1.402: Next, piling up shingle near the sea, they raised there an altar on the shore to Apollo, under the name of Actius and Embasius, and quickly spread above it logs of dried olive-wood. Meantime the herdsmen of Aeson's son had driven before them from the herd two steers. These the younger comrades dragged near the altars, and the others brought lustral water and barley meal, and Jason prayed, calling on Apollo the god of his fathers:

1.452: [after saying his prayer] He spake, and with his prayer cast the barley meal. And they two girded themselves to slay the steers, proud Ancaeus and Heracles. The latter with his club smote one steer mid-head on the brow, and falling in a heap on the spot, it sank to the ground; and Ancaeus struck the broad neck of the other with his axe of bronze, and shore through the mighty sinews; and it fell prone on both its horns. Their comrades quickly severed the victims' throats, and flayed the hides: they sundered the joints and carved the flesh, then cut out the sacred thigh bones, and covering them all together closely with fat burnt them upon cloven wood. And Aeson's son poured out pure libations, and Idmon rejoiced beholding the flame as it gleamed on every side from the sacrifice, and the smoke of it mounting up with good omen in dark spiral columns.

1.961: Here they built an altar to Ecbasian Apollo and set it up on the beach, and gave heed to sacrifices. And the king of his own bounty gave them sweet wine and sheep in their need; for he had heard a report that whenever a godlike band of heroes should come, straightway he should meet it with gentle words and should have no thought of war.

2.694: and at length Orpheus spake as follows, addressing the chiefs: "Come, let us call this island the sacred isle of Apollo of the Dawn since he has appeared to all, passing by at dawn; and we will offer such sacrifices as we can, building an altar on the shore; and if hereafter he shall grant us a safe return to the Haemonian land, then will we lay on his altar the thighs of horned goats. And now I bid you propitiate him with the steam of sacrifice and libations. Be gracious, O king, be gracious in thy appearing." Thus he spake, and they straightway built up an altar with shingle; and over the island they wandered, seeking if haply they could get a glimpse of a fawn or a wild goat, that often seek their pasture in the deep wood. And for them Leto's son provided a quarry; and with pious rites they wrapped in fat the thigh bones of them all and burnt them on the sacred altar, celebrating Apollo, Lord of Dawn. And round the burning sacrifice they set up a broad dancing-ring, singing, "All hail fair god of healing, Phoebus, all hail", and with them Oiagrus' goodly son began a clear lay on his Bistonian lyre; how once beneath the rocky ridge of Parnassus he slew with his bow the monster Delphyne, he, still young and beardless, still rejoicing in his long tresses.

2.911: Quickly they drew in sail and threw out hawsers, and on the strand paid honour to the tomb of Sthenelus, and poured out drink offerings to him and sacrificed sheep as victims. And besides the drink offerings they built an altar to Apollo, saviour of ships, and burnt thigh bones; and Orpheus dedicated his lyre; whence the place has the name of Lyra.

4.1694: and they made for Apollo a glorious abode in a shady wood, and a shady altar, calling on Phoebus the "Gleamer" (Aigletes), because of the gleam far-seen; and that bare island they called Anaphe, for that Phoebus had revealed it to men sore bewildered. And they sacrificed all that men could provide for sacrifice on a desolate strand; wherefore when Medea's Phaeacian handmaids saw them pouring water for libations on the burning brands, they could no longer restrain laughter within their bosoms, for that ever they had seen oxen in plenty slain in the halls of Alcinous.

- Apollonius Rhodius, Argonautica (trans. Robert Cooper Seaton)

Notice how often the Argonauts had nothing fancy to offer, but they managed with whatever they could get, and I suppose this held good for day to day worship.

And then you have the Hyperboreans, who are said to be constantly singing as a form of everyday worship:

Moreover, the following legend is told concerning it: Leto was born on this island, and for that reason Apollon is honoured among them above all other gods; and the inhabitants are looked upon as priests of Apollon, after a manner, since daily they praise this god continuously in song and honour him exceedingly. And there is also on the island both a magnificent sacred precinct of Apollon and a notable temple which is adorned with many votive offerings and is spherical in shape. Furthermore, a city is there which is sacred to this god, and the majority of its inhabitants are players on the cithara; and these continually play on this instrument in the temple and sing hymns of praise to the god, glorifying his deeds.

- Diodorus Siculus, Library of History (trans. Oldfather)

They were also said to have regularly asses for Apollo:

Yet was it with these that Perseus the warrior chief once feasted, entering their homes, and chanced upon their sacrifices unto the god, those famous offerings of hecatombs of asses; for in their banquets and rich praise Apollon greatly delights, and laughs to see the rampant lewdness of those brutish beasts.

- Pindar, Pythian Ode 10 (trans. Conway)

There is also this interesting story:

Apollon and Artemis had a very great affection for him [the Babylonian man Klinis (Clinis)] and he frequently attended with these gods the temple of Apollon in the land of the Hyperboreoi where he saw the consecration of the sacrifices of asses to the god. Returning to Babylon, he too wanted to worship the god as among the Hyperboreans and arranged by the altar a hecatomb of asses. Apollon appeared and threatened him with death if he did not cease from this sacrifice and did not offer up to him the usual goats, sheep and cattle. For this sacrifice of asses was a source of pleasure for the god only if carried out by the Hyperboreans.

- Antoninus Liberalis, Metamorphoses 20 (trans. Celoria)

So goats, sheep and cows were the usual sacrifices made to him. Wine and water could be used as libation. There was also a practice of offering cake to Apollo:

Enthrypton : Made of pastry; a flat-scone, that is. Alternatively, cake crumbs. Some associate it with initiation-rites. And Apollon is called Enthryptos amongst the Athenians.

- Suidas s.v. Apollon (trans. Suda On Line)

And Pythagoras was said to have forbade all animal sacrifices when praying to Apollo Genetor (giver of life), so non-animal sacrifices were also there (Jason also offered barley meal in Apollonius' Argonautica).

Anyway, this is what I could find. I hope that answered your question, at least as far as the textual evidences go. As for modern day worshippers, I've known @teawiththegods for a long time. She also has a podcast/YouTube channel to help beginners, so you can def check that out!

[bangtanhoneys]

Grace's Relationships outside of BTS (Female)

Halsey

Though Yoongi is Halsey's twin, Grace is Halsey's soulmate.

Grace was a fan of her music before they met in 2017 at the Billboard Music Awards. The two singers exchanged numbers that day to stay in contact

Will tweet at each other, regardless of what the tweet is. Grace once tagged Halsey in a photo of a bunch of flowers she saw because it reminded Grace of Halsey

The two of them sing the Boy In Luv chorus together and will be by each other's side during the choreography which Grace taught Halsey in the short time she was on set

Besties

Joked that Halsey had become the 'official girl' of BTS and Grace was going into retirement

Was the first member of BTS to congratulate Halsey over the birth of her son

Will have dates if their in the same city at the same time

CL

Grace's favourite idol ever

Has always been a 2NE1 fan and continues to be. Tweeted from BTS' official Twitter when there was a 2NE1 reunion at Coachella

Though Grace is CL's senior, they are very informal with each other and are actually close friends

CL was the first person Grace went to about her relationship with Jin and whether proceeding was a good idea.

Both are not your stereotypical idol which is why the girls get along so well

Grace's background vocals are featured on a few of CL's solo singles but is never credited.

They have promised that one day they will release music together which would end K-Pop as we know it

IU

The Nation's Little Sister & Korea's Noona

Powerhouse friends though very rarely seen together

Grace co-wrote and sang on IU's Into the I-LAND for the I-LAND show

They spend more time texting each other than they do seeing each other and have been to each other's performances

If IU is acting, Grace will send some kind of food truck for her and the rest of the cast and staff to enjoy

Their birthdays are two days from each other as well so they are very much sisters, often jokingly called twins

Mamamoo

Grace adores these girls so much and she loves their music so much, she's often playing that more than anything else

She also loves the fact they've come from a small company as well and built themselves from the ground up. And she loves their message of not being the stereotypical idol because all the girls are different and beautiful

Grace is once again their senior and the girls of Mamamoo will always play up to that, especially at award shows. Bowing too much and referring to her as Unnie though Grace has told them often enough not to

Often hyping each other at award shows

TWICE

While there's not much of a proper relationship between them all, Grace adores TWICE. She's admitted on live that she has three biases in Twice: Nayeon, Jeongyeon and Jihyo.

She has covered their songs on live as well

Is often seen dancing along in her seat when Twice is performing

Has also gone to one of their concerts and the group took a picture with her backstage

TWICE also revealed that Grace is their favourite member of BTS and one of their favourite female idols overall

[hoperays-song]

Sing 1 Commentary and Review Pt. Final!!

Welcome back to the madness loves!!! Also, I tried to tone down the commentary so I get further in the movie this time. Is this an elaborate plan to distract me from my fic being with my beta reader? Yes! Am I using it for content? Also yes! Enjoy!

This is mainly just the performances this time but it's the last one!!

-------------------------------------

Ok, when the curtains open you can hear all of Rosita's kids cheering for their mom and it's so cute I swear.

Also, they built this entire set in ONE AFTERNOON?!?! That's just impressive mate. Like seriously impressive.

Coolest on stage costume change in the series and I will stand by that. The lights and everything? Perfection.

Mike puntable moments counter: 35

The piglets immediately swarming Rosita because they liked the show and to hug her is just... so sweet. I love them.

Also love the immediate havoc they start causing backstage.

Before going on Johnny does a few bouncing steps like boxers do before fights and I can't believe I never noticed that before.

Ok ok ok, I know I've mentioned that Johnny's story can easily be read as a queer allegory but he's literally playing a song known for being a queer liberation song that was written by a queer British singer.

And the people who would likely pick up on that? His British family. Just saying. Elton John is pretty famous after all.

Our favourite supportive uncles!!!! <3

Look at Marcus in this moment. He's seeing his son that he's apparently had no contact with in weeks doing what he loves and is good at, existing healthy and happy and in a much better place physically than he is. He's happy for him. He's happy for him because he loves his kid.

And then we get to see him panic because he messed up and he misses his kid and wants to fix things. He wants to tell him how proud he is. So he decided to fix it in his own way. Is that way legal? No. But should that surprise us? Also no.

Stan and Barry being supportive brothers in the background. I love them, they're so silly.

Girlboss moment. <3

Also, new guitar!

Excuse me you two, I was vibing, why are you here?

Lance puntable moments counter: 32

Becky puntable moments counter: 4

So... Ash is amazing. Just straight up. She's awesome.

Marcus's smile when he realizes he's about to see his son again. I'm sobbing.

Gunter and Rosita are me rn I swear.

Also, this is on live tv Mike, a gang wants you dead, not your smartest decision in this movie and that's a low bar to trip over mate.

Mike puntable moments counter: 34

THE HUG. THE HUG Y'ALL. I SWEAR, YOU'RE CRYING NOT ME.

But the way Marcus hugs Johnny like he's the most precious thing and the world and is scared to break him has me in a chokehold rn. Like one of those hugs and I'm 100% sure all my problems will be solved.

"I'M SO PROUD OF YOU." 😭😭😭😭

Nancy, come rescue you idiot boyfriend. Also, Mike's performance was only so visually cool because of the helicopter so I'm deducting performance points.

Mike puntable moments counter: 35

They're both so awkward, I love them. <3

Mike. Stop. Bullying. A. Literal. Child.

Mike puntable moments counter: 45

The cute thing here is Eddie picked all the stage hand stuff up from Meena apparently so he's helping out his former mentor and I just think that's sweet.

I love how everyone who showed up just completely are vibing with every song, no matter the tempo, mood, or genre. They're just supporting the singers whole heartedly.

Also, why is like every gorilla in the crowd wearing beanies? It's only the gorillas. What's with the beanies?

Awww, they look so happy!!

And with that, all the troupe's problems (and Eddie's inheritance) are gone!

Nana looks like a cat being held and loved against her will.

I love this movie. I so love this movie. <3

------------------------------

Ok! So that took way longer than planned. But Next I get to watch a ton of shorts!!!

[endlich-allein]

"There's a rather remarkable feature on Kovacs' new album: none other than Rammstein's Till Lindemann lends his voice to the hyper-personal title track 'Child Of Sin'. The singer from Brabant explains how that came about. "It turns out that I lived 500 meters from him without knowing it."

Yes, it's quite a gap, from 2018 to 2023. Longer than the intention was to come up with a new album. But yes, as it goes: Kovacs wanted a new manager, a new label, she was struggling with herself, and then covid came. 'Life', concludes the singer, who is currently putting the dots on the i with regard to her album Child Of Sin. "I've come to realize more and more that I just have to be independent. I was with Warner for years, but it didn't quite work. There were too many people with ideas, it was getting further and further away from me. The past few years have been quite intense mentally. Music was always my outlet, and it didn't really work anymore. That means you have to go back to yourself. I now live in a converted pigsty in my parent's backyard. I started painting, taught myself how to sew. And I started making music.”

We first met Sharon Kovacs in 2016, when she debuted with the album Shades Of Black and the beautiful single 'My Love', a cinematic soul pop anthem reminiscent of the great songs of Shirley Bassey and the well-crafted modern soul of Amy Winehouse. And Kovacs is not a far cry from those big stars. It is a special one, you saw and heard that immediately. In interviews she revealed herself and her violent past. She was abused at a young age, which left traces throughout her childhood. “I never knew my biological father, my mother was not ready for children,” she sums up. ‘I was largely raised by my grandparents, but when I was eleven I was removed from home. As I grew up, I became sexually weird and very active, very young. People thought that was gross, and I always had the feeling that there was something "dirty" about me. In recent years I have been going back to the child in me a lot in therapy. I've had to tell that kid over and over that it's okay, that it's not her fault."

Master of suffering

A child for gallows and wheel, or as Kovacs calls it in her song: 'Child Of Sin'. It is her most intimate, vulnerable song to date, as she has to peel off the protective layers she built around herself after being abused at a young age. “Many times I thought I made it all up. I was also misunderstood at the time, and my abuser tried to manipulate me in all sorts of ways. My family now recognizes things retrospectively, and it's a dark thought that many things that have happened in my life were not necessary. I felt unsafe.”

It's no wonder that Kovacs didn't really dare to sing this song on her own. And when her manager asked if she wouldn't mind recording it as a duet, only one name came to mind: Till Lindemann, lead singer of Rammstein. A band where Kovacs felt a connection from an early age - from the time when MTV played 'Sonne' non-stop. And a song like 'Puppe' from 2019, where the main character pulls the head off a doll in a blind rage, hits Kovacs. Till Lindemann, a master at portraying suffering and not afraid to dig deep into himself. But yes, the frontman of just about the largest touring rock band in Europe. “I thought: I know someone who has worked with him in Berlin. I have one chance.”

500 meter

And miraculously, that attempt arrived. There was no record company or publisher involved. It was Lindemann himself who called: 'I heard that we are going to record a duet.' Kovacs: 'He thought it was a beautiful song, and he invited me to his house. It turns out that I lived 500 meters from him in Berlin for a year, and he sometimes visits places in the city where I also like to go. What kind of places? Um, I don't know, haha. Till was very cooperative and interested. He wanted to know the context, he wanted me to feel comfortable with it. We have built a special relationship. He calls me "my crazy friend". If I had been with a label this would never have worked, it would have been printed. I did all this alone.”

Lindemann sings the second verse of 'Child Of Sin', in English. That was what he wanted most, says Kovacs. And the collaboration didn't stop there, because the German also came to Amsterdam to record a video clip. “He was very sweet,” says Kovacs of that day. “He said to me at one point: you flutter like a bat, take it easy! Yes, I know, I replied. I just want the best for your baby. He really understands how important this is to me.”

The album Child Of Sin can be listened to everywhere from today, and the video clip with Till Lindemann will also be released this afternoon."

[lavender-visions]

The Tortured Poets Department: The Anthology Dissertation

(very proud of this, and my own personal thoughts. please be nice 😊)

in order to really absorb and feel this album you have to break it down into the many different layers that is Taylor Swift. In many ways Swift captures what can be called the human crisis. We as people have the full range of emotions from happy to sad. however Swifts writing on The Tortured Poets Department hits all the areas of grey in her life. Ranging from working in the music industry, her personal life, and her love life.

The music industry has never been a kind place. She entered this realm when she was just a kid and has grown up in this awful system made for her to “expire”. We all know Swift as an international singer with millions of fans. However Swift can’t help but think that it’s all fleeting. She’s angry, she’s paranoid and downright terrifying when she sings the words “so tell me everything is not about me… but what if it is? Then say they didn’t do it to hurt me… but what if they did? i want to snarl and show you just how disturbed this has made me. you wouldn’t last an hour in the asylum where they raised me.” Taylor emphasizes just how horrifying being raised in this industry is. She later confirms this with the lyrics from Clara Bow stating “Take the glory, give everything. Promise to be Dazzling”. Taylor is fully aware that she has made a mark on the music industry, and by some records knows that she is currently at the top of her game. But while all of her fans are showing up to these gigantic concerts and screaming “MORE!” she continues to “fake it till she makes it”. None of us had a clue that she was doing this all while dying inside. (I can do it with a broken heart.)

there was an industry before Taylor, During Taylor and inevitably there will be an industry after Taylor. One human can’t do it all without cracking and Swift has shown us that.

In TTPD her personal life and love life become intertwined. We know Swift was in a 6 year long relationship with Joe Alwyn and a “situationship” with Matty Healy. Many people have been surprised that Matty had so much “playtime” on this album potentially dedicated to him. After listening through once this is written from the perspective of someone who felt rejected by one person right after another. it’s not a “i’m going to kill myself if HE leaves” it’s a “i can’t lose another person again because of the industry i’ve built.” I’m very obviously not Taylor Swift so i can’t say if that’s truly what was going through her mind. The album starts out with Matty and then continues into more “Joe” based songs with “So long London”. This then continues into the song “Fresh Out the Slammer” where there’s a hint of Matty but referencing back to Joe saying she has “done her time”. She references a park and sitting on children’s swings with this person she has just called after a long relationship break up. the line “wearing imaginary rings” shows that even though she’s HERE with this person she’s thinking about Joe.

After Matty and Taylor call it off there’s a decent in the lyrics. (Most songs after Whos afraid of Little Old Me?) She becomes reflective of her time with Joe and how he has left her alone and it really becomes an issue as we can see from the song “I Can Do it with a Broken Heart” because even though this happened shes “in the prime of her life” however it’s very clear that swift feels far from that. She’s realizing that everything is coming to a head. her love life and her career. Where are you supposed to go after the Eras tour? Who are you supposed to turn to when you’ve been left to pick up the pieces of not just one but two people leaving? She very clearly questions the whole probability of her ever finding a love again that will stay because they want to. (imgonnagetyouback & The Black Dog) She reverts back to the possibility that a lot of people hate her (The Albatross & Cassandra) and even calls out the ones who publicly do (thanK you aIMee)

This quickly morphs into questioning her choices in life. where it suddenly feels like she’s not in control anymore. (i hate it here, i look through peoples windows, How did it end?) She knows that the people she loves don’t stay in the picture and from her perspective it’s because of the industry itself or the fact that she has always loved them more than they loved her (Peter)

In Swifts mind, everything goes back to her childhood and how she was born that way (The Bolter & The Prophecy) which i do believe gives her a sense of security and reasoning even if she doesn’t love the outcome.

We then have her songs about Travis (So Highschool & The Alchemy) these songs are hesitant and they should be after everything Taylor has endured the past 3-5 years. She likes him and knows there’s something there but wonders “are you going to marry, kiss, or kill me” and is “betting on all three”.

Finally, It was a stroke of genius to end with “The Manuscript”. I truly believe this song is how she views her life. Girl meets boy and they hit it off. They date and then end things. She then writes a song, directs a short film, whatever Miss Swift has done for us viewers over the years. But the truth is, she hates it. It’s what she loves to do in the moment but the moment we as viewers and listeners are shared with it, it becomes ours and we twist it how we want to see it. She ends with the line “Now and then i reread the manuscript. But the story isn’t mine anymore”. This speaks volumes to what being a creator of music means. Now that we have TTPD it’s not hers anymore, and hopefully she can finally begin the healing process.

@taylorswift @taylornation

[yottakitsune]

Jerry didn't much care for the way her blonde partner boasted all the time. Gabriella was more exotic since it was rare for vixens to have blonde hair and she flaunted it. She also constantly rubbed Jerry's nose in the fact that Gabriella had more than A cups to fill out her costume. And she was tall for a fox, and even most other canines, at six and a half feet tall. She constantly made it seem like she was the perfect idol for the people at the shows, but she had been showing just how toxic she really was on social media and was starting to hurt the singers' reputation while Jerry was just as sweet as could be and while the pair's follower count stagnated, Jerry's climbed as fast as Gabriella's fell.

Jerry had a plan to take all the attention for herself this time. She got her hands on costumes for on stage and had made a few adjustments to them by adding devices that enlarged the duo based on who the crowds cheered for and who's name got shouted. And with how Gabriella had been acting, Jerry knew that the crowds would show them both who was better once and for all.

She could feel the costume working already as her breasts imperceptibly plumped. Not enough to be seen, but Jerry could feel the top get a little more snug before it adjusted itself and grew to fit so she wouldn't have a wardrobe malfunction. Then the hype guy got on stage and began to rile up the crowds and what had been a few people idly talking about her became thousands cheering for her and her alone.

Warmth flooded through her body and the world shifted downwards as the angle she looked at things changed. Heat built in her chest as B's became C's and then D's in mere moments. Each staggered step down the hallway to the stage to get in position was longer than the last as her legs lengthened and her strides covered more ground. Any traces of baby fat or flab disappeared as the muscles in her arms and legs bulged and toned. Whole pounds of muscle developed before the bewildered stage hands' eyes as she went from a petite girl to a pro athlete and then to an awe-inspiring Amazon.

Six feet tall. Seven feet tall. F cups. H cups. J cups. Ten feet tall. She leveled out at fifteen feet tall with M cups that dwarfed her head and dominated her torso and demanded to be stared at. When she stepped out on stage, Gabriella basked in the feeling of the crowds, but the audience reached a deafening crescendo once they saw the formerly diminutive vixen strut into the light. She stood behind Gabriella who wondered what the thudding behind her was only to look up in shock and some mild terror as Jerry smiled sweetly at the audience.

"Thanks for coming to the show!" Jerry shouted into the mic. She almost didn't need it at this point. Her breasts bulged even larger and Gabriella could only stare in shock as Jerry's body grew taller by the minute. "I can feel all the love you have for us and I just wanted to let you know it feels wonderful in ways you can't imagine! Don't be bashful either! Shout out love confessions and say what you'd love to do with us after a date! Sing along with our songs and scream your lungs out and we'll do our best to make sure you can feel the love we have for you in our songs!"

Jerry had won the crowd. There wasn't a single person that wasn't screaming her name now and Gabriella kept looking smaller and smaller each second. And as people all over the world tuned into the concert and watched the live stream she could feel that adoration fuel her growth to new literal heights. Nothing could stop her now. The music world was hers.

[spaceorphan18]

Glee Musical Retrospective : And I Am Telling You I'm Not Going (Sectionals)

Sung by: Mercedes Jones Original Artist(s): from Dreamgirls OS

So. Before I dig into this, there are a couple of things I need to mention. The first being something that really irritates me... the show has a tendency to do this to Mercedes. They show case how much she is an amazing, amazing talent -- go out of their way to point out how great a singer she is and that she deserves the spot light as much as Rachel does. Gets to sing this kind of song -- and knock it out of the park. Then they plot it away so that Rachel can still be star of the show.

Amber Riley is a magnificent vocalist, one of the strongest female vocalist on the show, and possibly one of the most impactful. It's a shame that the despite giving her a lot of music to do, never really showcased her character they way she really deserved.

The other thing is that this song is from the Dreamgirls Soundtrack. Amber Riley, after Glee, goes on to star as Effie White on the West End and got an award for it. Dreamgirls will be a reoccurring theme with her character, and it seems fitting in retrospect.

Also there's a hilarious beat where Rachel calls her a balladeer and Mercedes is like 'wtf' to Matt of all people, who has no idea either. It's so random an the expressions are hilarious. I'd be remiss if I didn't point it out.

Alright, on with the show...

Story Analysis

The thing about this song is that it's about unrequited or lost love. Mercedes is using it more as a statement. You can't take away her self worth or the depth of her talent because she will throw it right back into your face. She really goes there with the emotion of the song -- and uses it as a proclamation that she won't back down to Rachel's challenge.

Tear down the mountain Yell scream and shout You can say what you want I'm not walking out Stomp on the rivers Push, strike and kill I'm not gonna leave you, There's no way I will

I think the second half of the song is more indicative to Mercedes's story -- it's another one of those moments where she declares that you can push me around all you want -- but I'm not backing down from the fight, and I'm still going to come out on top no matter what.

I'm stayin' I'm stayin' And you and you and you You're gonna love me

This is probably one of my favorite musical moments on the show. I love that this moment (when she sings this) is Mercedes standing her ground. And basically telling her classmates (and the audience, and the world) that you're going to see how talented I am - and cheer me on for it. It's so, so good.

Technical Analysis

So - first I want to point out that Amber Riley sang it live, but then - for a cleaner version - they used the studio version. I really wish we could have heard the live version, I'm so fascinated by that. Anyway, one (tiny) drawback is that you can tell this is lip synced. I get why they did it - but it throws me just a little bit during the performance.

That said... Mercedes's performance is pretty flawless. She's got that raw grit and emotion that really sells it very quickly. The thing I love about Mercedes's solos is that she feels them so deeply and with her whole body. She gives the performance an incredibly captivating energy, which is why everyone gets so drawn in by it.

If I had to guess - I'd say that the reaction shots were probably genuine -- the kids were probably allowed to react honestly as they watched their friend Amber just kill the song. (Of course - the one exception being Rachel, who has to be in character so that she can be humbled by the performance.)

Glee Live

This is Amber Riley performing at the Olivier Awards (for which she one for Best Actress, btw). The thing that's incredible to me -- Riley at the beginning of Glee is mega talented, but very raw. This performance shows how much she's grown as an artist. It's a more polished and nuanced version of the one she did on Glee, and it's remarkable how much she's built on that great foundation. I have nothing but gushing things to say.

vs. The Studio Version : It's the full version - and you can hear the instrumentation clearer in this one. (The mix is more balanced.) I can understand why they pulled away from the accompaniment in the show -- so that Mercedes's voice could be more the focal point.

vs. The Original Version : And here's Jennifer Holliday, who originated the role of Effie White on Broadway. The first thing I want to point out is the fact that Glee updated the arrangement. This particular recording (and I assume it's based on the original Broadway production) has much more synth accompaniment, which dates to that late 70s/early 80s feel.

Jennifer Holliday is an amazing talent. You can see where Mercedes gets her influence -- Mercedes (and Amber Riley) definitely takes inspiration from Holliday's performance and style.

[unproduciblesmackdown]

some more summer stock info from an interview with the writer cheri steinkellner

Her first move was to rewatch “Summer Stock” to see what it looks like now, decades later. She got out her Judy Garland boxed set and viewed “Summer Stock” on DVD. “I already had my writer’s head on and my adapter’s head, so I was trying to figure what from this movie can we pull and expand to really tell these characters’ stories because the film was built around the talents of the MGM lot — ‘More stars than there are in heaven.’ … When you’ve got those stars and those personalities, then the shape of the films can in large part be dictated by the stars and their charisma and so forth,” she said. When creating a musical, she focused on the characters and their stories — where the characters start, where they mess up and complicate each other’s lives, how they try to make it better and end up making it worse, and then how they resolve everything.

[...]

As she was reworking “Summer Stock,” Steinkellner not only considered the main triangle; she also expanded the supporting stories. She liked the idea of the city mice — the show people — and the country mice — the farm people — being so different yet coming together to save both the farm and the show in one unified way. “Anyone who has ever put on a show, new or old, knows that feeling when it feels like it’s going to fall apart but it starts to gel. We as a community of differently talented people all work together to make this thing that’s going to make people feel. There’s nothing like it. It’s a really, really good feeling,” Steinkellner said. The film, though, didn’t have diverse characters. “So we wanted to find a good, strong reason to purposefully bring a cast of characters together that represent our world. We talked a lot about color conscious casting,” Steinkellner said. In the stage version, the band of wannabe Broadway actors are old Army buddies who played to the troops during World War II to great success. But they are having trouble pushing their show forward in the civilian world.

[...]

Steinkellner and musical supervisor/arranger/orchestrator Doug Besterman wanted to integrate the tunes into “Summer Stock” as seamlessly as possible. She said it’s about “helping the song sing in the character’s voice and tell the story that we need to tell. It’s really important to me that I’m never just waiting until we get on with the story, that I have an understanding, whether it’s spoken in lyric or conveyed in emotion, that life is always happening.” As “Summer Stock” was being developed the last few months, there were times the story shifted, and so Steinkellner went back to find a new song that would better fit the latest rewrite. “Somehow in this beautiful Great American Songbook, there’s always the perfect song that I didn’t know until the moment arose for it. And I go, ‘Oh, you, come with me. We’re putting you back on the stage,’” she said. She found an Irving Berlin composition she hadn’t heard that now serves as “Summer Stock’s” Lindy Hop number. “I’m so excited to find an Irving Berlin song that I hadn’t been aware of,” she said. And when looking for a tune to open the second act, she gave Besterman and director/choreographer Donna Feore a list of titles to consider. Steinkellner wanted a song that would serve as “A Real Nice Clambake” did in “Carousel,” indicating post-intermission, she said, that “we’re happy to be back, settle in your seats, hope you had a good intermission, we’re back on the farm, we’re having a good time.” Besterman said “June Night” sounded like a good second-act opener. Steinkellner went back and listened to the only recording she could find, by the Ray Conniff Singers. “As soon as I heard it, I went, ‘Oh, “June Night” is exactly the right idea. And what if while they’re singing this song, we have all these city kids sitting around in the countryside. What if they see their first firefly and they hear their first cricket and owls, things that you don’t hear or feel or see in the city?’ “So Doug takes that and makes it into a whole Pentatonix kind of thing where we’re now bringing in all the noises of a summer night in Connecticut in song. It’s such a delight,” she said.

[...]

Although there are many changes, Steinkellner thinks the hearts of the characters are the same in the Goodspeed version as in the film. Jane is still a very practical family farmer trying to make things work. But the stage adaptation builds up the backstory of how this farmgirl is also a major triple-threat performer who sings “Get Happy” in a fedora and stockings at the end of the show. As for Joe, Steinkellner said the motivation and character changed greatly going from Kelly to Bleu. Echoing her earlier comments, she said, “We really set out to create something that was going to be a color conscious new telling of this period story.” A diverse cast of talented people have come together under the directorship of Bleu’s Joe, who has held this group together for five years. He encourages them, saying they will entertain audiences in America the way they entertained troops during the war. The story is set in 1950, and, in reality, it wasn’t until nine years later that a Black man directed a Broadway show. So, realistically, Steinkellner said, “They’re not going to get this show to Broadway, but they are going to get this up and find a home where they can all play at the top of their game together. It saves the farm and the show — and creates this thing called summer stock, in the telling of our show.” She said the cast in “Summer Stock” at Goodspeed is “staggeringly good.” They are, she said, “thrilling me with their talent and the heart that they’re bringing to it.”

[reasoningdaily]

MEMPHIS, Tenn. (WMC) - Memphis was made on music, and since 1979 each June, the country celebrates our city’s contributions during Black Music Month.

Many of the most well-known Black musicians, singers, songwriters, and composers got their start in Soulsville with Stax Records. And in this 5 Star Story, we celebrate the past, present, and future of a sound as unique as the neighborhood that created it.

Since 2003, it has sat in the heart of Soulsville USA, at the corner of McLemore and College — the Stax Museum of American Soul Music.

And according to executive director Jeff Kollath, “The Stax Records story, the way we describe it, it could only happen in Memphis.”

The foundation for that story was laid in the Mississippi Delta, in churches built by former slaves and sharecroppers.

”Soul music, and frankly, American pop music as we know it, is rooted in the Black Church, and in the Black experience in the United States,” explained Kollath.

There’s the story of how white banker and fiddle player Jim Stewart and his sister Estelle Axton turned an old movie theater into Stax Recording Studio and Satellite Records in a then-segregated Black neighborhood in the South.

Stax Records became an integral part of the neighborhood and the city, providing opportunities where they were rare.

“And to have people like Rufus Thomas, who was such a well-known Dee Jay and, you know, had had some hit records before Stax. You know, being the first person through the door with his daughter, Carla Thomas, because he heard about it from his mailman,” said Kollath.

“You know, David Porter worked in the grocery store across the street, James Alexandar was born in the hospital here on McLemore Avenue, the Bar-Kays grew up in the neighborhood, Booker T. Jones grew up in this neighborhood, you could walk here, come in the front door, see Ms. Axton in the record store, you know, listen to music, talk to her, she finds out maybe you can sing a little bit, maybe you can play a little bit, you had a chance to do that here,” recounted Kollath.

Many of those artists went on to greatness, like Isaac Hayes, the first Black man to win an Academy Award for Best Original Song with “Theme From Shaft,” whose 1972 custom Cadillac El Dorado is one of the museum’s biggest draws.

There’s also the story of Al Bell, who came to Memphis, became the majority owner of Stax, and turned it into one of the most successful Black-owned businesses in the country.

“It’s a story about, you know we talk about “grit and grind,” we talk about hustle here in Memphis, but there’s also serendipity and there’s luck, too,” Kollath said. “And I think it’s one of the things that makes this such a unique story, is that, at nearly every instance, Stax was able to capitalize on who came through the front door.”

The museum recounts how Bell enticed the Staple Singers to come to Memphis to record music that later became a soundtrack for the civil rights movement.

“They had captured people’s hearts and minds with their great gospel work that they’d done in Chicago, but to come to Stax, to take that gospel impulse, to add some secular messages to it, and to create their greatest work ever here, and how it sustained a community and sustained a message in a movement, you know, throughout the late ‘60s and early ‘70s,” Kollath regaled.

The museum’s Hall of Records showcases Stax’s prolific recording catalog, from Blues to R&B, folk & country, jazz, and rock ‘n’ roll.

“We’ve got about 920 or so of the 930-940 singles that Stax released, produced or distributed between 1957 and 1975,” explained Kollath.

And there’s the tale of those behind the music.

“... On down through the engineers in the control room, the songwriters, but also, you know, the studio musicians and the session musicians, too. And so many of those men and women are still in Memphis... I think it’s always very important to highlight the folks that are still with us, that are still in the community, that are still making music,” Kollath explained.

On Saturday, June 10, Stax Museum celebrates Family Day with free admission from 1 to 4 in the afternoon.

Legendary radio personalities Stan Bell and Bev Johnson from WDIA will broadcast LIVE, alongside food trucks, bouncy houses, balloon artists, and more!

[everydayesterday]

Shuffle your favorite playlist and post the first five songs that come up. Then copy/paste this ask to your favorite mutuals.

Pearl Jam - Release (1991) ("I'll ride the wave where it takes me" this was the song that changed how I viewed music, especially the four-minute instrumental outro; my first epiphany back when I was but a boy; I associate it with the old-growth rainforests and the shores of the Pacific NW.) Nick Cave and the Bad Seeds - Dig, Lazarus, Dig!!! (2008) ("Larry made his nest up in the autumn branches / Built from nothing but high hopes and thin air" I should probably listen to more of his stuff, as this is the only Nick Cave album I own; I also quite enjoy the score work that Cave and Warren Ellis did for The Proposition.) The Decemberists - The Rake's Song (2009) ("What can one do when one is widower? / Shamefully saddled with three little pests / All that I wanted was the freedom of a new life / So my burden I began to divest" a recounting of how a father killed all of his children. My ex-laws hated this song.) Doves - There Goes the Fear (2002) ("Think of me when you're coming down / But don't look back when leaving town today" I saw these guys at Temple Bar in Dublin and a drunk accosted them before even starting the show, trying to get a request in that he'd written on a small piece of paper; it turned out that the song he was requesting was their biggest song to date; the lead singer read it aloud, and replied "Yeah, we'll get to it." the crowd found this highly amusing; maybe you had to be there. anyway, this song has absolutely incredible percussion.) Esthero - Black Mermaid (2012) ("And I've spent most of my life deep down inside myself / I've dreamt about the possibility of someone else" she's actually a friend of mine going way back to the geocities/angelfire fansite days before official artist websites existed; I was unofficial marketing and she reached out; we're about the same age, so we hit it off, and I've had the good fortune of some incredible life experiences with her. I had the benefit of hearing this song in its infancy at least 5 or 6 years before it was released and before it had anything more than a chorus. a very cool thing about this song is that it forms a plot point in the film "Nappily Ever After," where Sanaa Lathan actually sings the song herself.)

bonus content (the songs that followed): Manic Street Preachers - A Design for Life (1996), Animotion - Obsession (1984), Bill Withers - Grandma's Hands (1971), Primal Scream - Kowalski (1997)

[weaversweek]

Uncool50 - finding my place

Part of the #Uncool50 project, a sort-of autobiography told through the memories of pop singles. This installment covers the second half of the 2000s. Nothing from 2005 or 2006, by now my head had been turned by European hits and the anglophone stuff just wasn’t fun.

The theatre kid who made it. "Grace Kelly" came out of nowhere at the start of 2007, as flamboyant and ostentatious and unashamedly queer as anything. Mika sounds like Freddie Mercury, the lead singer of Queen who was snatched from us far too soon.

The homophobes hated it. Of course the homophobes hated it, they cannot stand anything fun, colourful, honest. One review at the time said, "Like being held at gunpoint by Bonnie Langford", as if this was a bad thing!

This song is fun, it's catchy, it worms into your ears and is never going to leave. Might just be the greatest pop song of the decade. More power to Mika.

The greatest pop moment of the decade comes straight after the breakdown in "About you now". We hear the chorus line again – "can we bring yesterday back around?" But this time it's different – a little higher-pitched, a touch yelpy. And there's a gloriously discordant high tone, "coz I know how I feel about you now".

By this time, we're up to Sugababes 3.0 – Siobhan's long-gone, Mutya's been replaced by Amelle - but the songs still remain awesome. Dancey-electronica with a scuzzy overtone. And the video with the young man parkouring his way around south London, hopes to meet up with his date on the Southbank.

My long list of 300 songs had a lot of Sugababes – "Overload" and "Freak like me", "Too lost in you", "Ugly" and "Change" all featured. But none of them have this yelp of joy, that’s the clincher.

"This is the life", Amy MacDonald's defining hit. Breakthrough single "Mr rock and roll" had positioned Amy as a troubadour, sings songs about people's lives. She uses a few words to describe a scene, and whoosh – we're in it!

"This is the life" is a personal, probably autobiographical, song. "So you're sitting there with nothing to do, talking about Robert Riger and his motley crew". Life-affirming through its melancholy, drunken nights out and waiting in for friends and thinking both that this is excellent and this is terrible.

Number one for the year in Belgium, Netherlands; for some weeks in Austria and Czechia; top five in all civilised markets around the continent. And number 28 on Britain, because the playlisters and programmers in London are a complete waste of space and goodness knows who pays them. Amy's built a hugely successful career in Europe, and still makes top-drawer albums to this day.

So I started hanging out with a bunch of friends from the karaoke bar, and we went out to a maize maze, ears of corn up to eye level. Or for Caz, ears of corn over the top of her head. Caz managed to lose contact with the group, get lost, and had to be rescued by the tall stablehand.

We welcomed Anna into our friendship group, and she turned out to be the glue to hold us together, and we loved her dearly. "Bulletproof" by La Roux is one of many many songs from those years. This time, maybe, I'll be bulletproof.

[existentialmagazine]

Review: Reina Mora’s haunting new single ‘Weeds’ shines in stripped-down pop, singing of a lover that took all she had to give

LA based Puerto Rican singer songwriter, performer, and activist Reina Mora has been singing before she could ever speak, mentored by her dear Puerto Rican Bolero (grandfather). 2016 was the year of her real musical debut though, finally sharing her works with the world as she combines genres such as rock, pop, folk, Latin, and even country into music that always touches the heart. Her newest offering ‘Weeds’ is perhaps the most heartfelt and raw of them all though, quite literally bearing it all for everyone to hear.

Through titling alone, we immediately get the impression that ‘Weeds’ is a lot about growth and overcoming the worser weather, coming out the other end with spouting roses despite the difficulties of getting there. That’s not far off either, exploring Reina’s painful divorce through the metaphor of weeds and nature’s abundant growth, feeling like she gave her everything just to be left with an empty field of weeds alone: ‘you became a garden, I was left with weeds.’ The tender soundscape matches these poignant admissions, slowly opening with just a bright introduction of piano keys, a moment of hope and sunshine before the storm. This is cut short though as the verse’s deep resonant piano chords are the only instrument in this solitary prison, spaced out between every note to emphasise the stark emptiness that Reina’s aching vocals fill without company. Low-toned and broken, her clearly powerful delivery feels held-back and restricted as she hangs down in the darker tones with few moments that show her higher ranged capabilities, mirroring the beaten down lyrical narrative she slowly unravels.

The chorus is where we see yet another moment of hope, like a streak of sunlight beaming through darkened, grey clouds. With closer-together piano keys, haunting backing vocals and Reina’s fragile but higher notes, she begins to find herself once again. There’s for a brief intermission a sense that she’s not alone, that in this built-up moment she can stand up and thrive on her own two feet. This sensation is only further built upon through further choruses, progressively adding clashing beats and further elements that make for quite the stand-out emotional revelation.

As Reina sings ‘I found you lost in barren land, so I planted seeds’ we really learn how much she cultivated this previous relationship, allowing someone to escape the fruitless lands she now finds herself within. But that selfless nature is something double-edged and while her heart breaks for this betrayal, it shows how much strength she wields within, capable of rebuilding her own garden despite what she’s been through. This is only further emphasised as she admits ‘my water filled you endlessly’ , knowing that she has endless capabilities to thrive and regrow, but still overcoming what she experienced. We really see her take her power back through it all, particularly as she shares ‘made it through the night brutal storms passed’, coming out the other side despite how impossible it truly feels.

If you’re looking to take back a part of yourself, relate to someone who’s been through a breakup, or just listen along to a song with such stark meaning, you can find ‘Weeds’ for yourself here.

Written by: Tatiana Whybrow

Artwork Credits: Unknown

// This coverage was supported and created via Musosoup, #SustainableCurator.