#almost britpop | Explore Tumblr Posts and Blogs

lovelytsunoda · 11 days

Text

common people // mercedes amg (v)

summary: baby merc has a magical brush with love at a college event....too bad she doesn't get his name, contact information or any way to ever see him again

pairing: platonic!mercedes amg x intern!female!reader

author's note: i'm back, bitches! y'all should know i use this series as a coping mechanism for some of the things going on in my life....just putting that out there. that's why it sometimes seems like baby merc is just floundering, but today, it's her world and we're just living in it.

"nobody is going to be at this thing anyways since its so close to exams, so don't even worry that you can't make it." baby merc laughs, turning down her radio as she tries to reverse into a parking spot at her college. "the parking lot is packed though, must be lots of late classes today."

on the other end of the phone line, doriane pin laughs. "i'm sorry still! we've only got a few more days to hang out before i have to go to zandvoort for more academy testing."

"listen, if a mercedes sponsored driver can win anything at this point, i will be happy about it because or car is shit with a capital 's'." she paused for a moment. "please don't let toto know i said that."

doriane laughed gleefully. since the addition of the f1 academy driver to mercedes’ army of teenagers and young adults, each one mentored by toto and Susie themselves, y/n and doriane had become close friends. closer than friends, almost. it was nice to go to work and be around another girl her own age for once.

she stepped out of the aging, secondhand mercedes she drove, locking the car door and tucking her keys into her pocket as she crossed the lot to the student centre. there were dozens of college students milling about, despite all the on-site food options having closed half an hour ago.

the student center smelled like fresh paint when she opened the door, a serene expression in her face as she wandered into the common room, delighted to see the electric fireplace going, the room filed with round tables full of canvases and acrylic.

the college paint nights had always been her happy place. no expectations, a relaxed environment. an instructor who didn’t care if you followed her instructions to the ‘t’ (or at all). it was a welcome break from all of the other crap going on in her life.

she took her usual spot near the front, donning the dollar store apron hung over the back of the chair and settling in front of the canvas, a chill britpop playlist humming from the in-ceiling speaker set.

the group had been painting happily for ages when he wandered in. with the blended background almost done, she looked up from her conversation with the blonde girl next to her to catch him tentatively standing in the doorway.

his hair was messy, flopping around his face. he had airpods in, and she could faintly hear the riff of a rolling stones song. his sweater read ‘elevating devices.’ he was a trades boy.

“do you have room for one more?” he asked, looking over at olive, the program leader.

“of course!” olive grinned, caught in the middle of doing a blending demonstration on her forearm. “come on in, I can get you caught up.”

she felt her heart skip a beat when she realized that the only empty spot in the room was behind her. the boy smiled at her as he sat down, clumsily slipping into the gingham apron. it looked out of place with his hoodie and sweatpants, and the visual made her smile.

could this be it? the day something in her love life finally went right?

all throughout the paint night, since she was two steps ahead of everyone else (you go to every one of these things, you begin to pick up the tips and tricks of the trade), she found that she kept looking back at the newcomer, and admiring the look of concentration etched onto his face.

whatever happens, happens.

you did not come here to meet boys, you came here for you.

but goddamn it, he was so cute! and he painted! he was perfect! hell, he listened to the goddamn rolling stones!

it was the end of the night, 'pulp' playing on the speakers as the last few painters began to pack up.

"excuse me?" she felt a hand tap her shoulder, and she turned around from where she was repacking her primark purse to face the boy in the lifting devices sweater.

she hoped he couldn't hear her heart beating out of her chest.

"what are we supposed to do with these?" he asked, holding up one of olive's easels.

"they fold up." she said quietly, almost shyly as she took the metal stand from his hands. "like this. i come here all the time, helping olive pack up is the least i can do."

"nice." he said sheepishly, reaching for his own painting. "this was my first time."

"that's pretty good for your first try." she complimented, picking up her own canvas, as well as her car keys.

"can i walk you out?' the boy asked, gesturing towards the door.

"sure." she smiled, blush rising on her cheeks. she turned, flagging olive down and hoping the boy wouldn't notice. due to her frequent attendance at the paint parties, olive an dher had become fast friends, and she didn't miss the way the painter flashed her a thumbs up and suggestive wink as the pair left the student center.

"so, you a fan of the stones? i could hear them playing from your headphones when you walked in." she asked, trying to start a conversation, and hoping that he somehow found her interesting.

"a fairly recent one." he laughed, free hand in the pocket of his sweatpants.

sweatpants. we can work on that. three months dating me, she thought, and i can get you into a snazzy pair of jeans.

"i took a history course on the british invasion as an elective. it's all about the stones, the beatles, the who. any british band with 'the' in the name, really. the kinks are my favourite."

"awesome. my dad is a big jagger fan. i grew up singing 'you can't always get what you want' when other kids my age were singing 'apple bottom jeans'."

god, she loved the guy already.

"what are you studying?"

"law. i have my last final exam tomorrow, and i'm actually doing some part-time, minimum wage office work for a formula one team. legally, i can't tell you what exactly i'm doing." she grinned. "well. i could. but then i'd have to kill you."

she'd been waiting her whole life to say that.

"that's awesome." worlds were burned for a smile like the one this guy had. it was dangerous just how strongly she felt after barely talking to him. "i doubt my chosen career path will land me anywhere near as exciting as an f1 team. but who knows, i might be paid the big bucks to fix a service elevator in their building."

"well, this is me." she frowned, pointing in the direction of her parking lot. why did she feel so strongly about leaving a guy she didn't even know? "it was nice painting with you. you should come to another one in september."

"yeah, maybe i will. are you going to the one at the other campus tomorrow? i might try and make it, since my classes are over at that campus anyways."

"i can't, it's right in the middle of my exam." but god did she wish she could. if she wasn't so scared of failing, she'd skip the exam just for him.

"right, right." he nodded, gesturing towards the residency building behind him. "this is me. it was nice talking to you."

"you too." she smiled sheepishly, turning around and beginning the walk to her car.

she resisted the urge to look back, worried that it would be followed by something potentially foolish, like an 'aren't you going to kiss me', or an invitation to get coffee (that he could then very well turn down).

it wasn't until she was back in her car, heat turned on and classic rock playing, that she realized that he might have very well been into her, and she didn't even get his name.

"shit!"

__________________

"i'm telling you, doriane, this was my rom-com moment waiting to happen and i blew it!" she groaned, face in hands as she sat around the round table in the break room, recounting her woes to not just her closest colleagues, but those she considered to be her friends as well.

she had always loved the break room. it was light and airy, painted in white with bamboo furniture and a wall of windows. sometimes, she brought her work laptop in there and worked at one of the green couches in the corner.

"you were so close!" doriane commiserated with her, placing one hand over hers. "babes, you got this. you'll be ready for the next stud who comes along."

across the table, frederik vesti hid his grin behind his cup of coffee. "hey, maybe you dodged a bullet. he could have been a serial killer. or worse, a premier league fan."

doriane snorted, and ungraceful sound, yet one that was full of love. "yeah right."

she had been over the situation millions of times since the she'd gotten back in her car, and she just could not figure out why it had never occurred to her to get the boy's name, or to offer up her own.

"eh, you'll get the next one." george shrugged, placing a hand on her shoulder as he moved to stand behind the young intern. "just look at me and carmen. it took me a very long time to find someone like her. she'd one of a kind, that woman. i'm gonna marry her someday."

"better get cracking on that one, george old boy." frederik laughed. "i want your seat, if the kid doesn't beat me there."

"they're not putting kimi in an f1 seat." doriane argued. "its way too soon."

"i dunno, bearman did a really good job with that ferrari. if he's the blueprint, toto will just follow what his mates are doing so it looks like he's keeping with the times."

the seat conversation was beginning to make her nervous, and she could feel the hives rising on her arms as she tried to remind herself that lewis leaving mercedes had nothing to do with her.

it was the timing of his decision, announcing he was leaving so soon after she felt like she had truly made a home at brackley. but it made sense. a man like lewis needed to go somewhere that could give him the car he needed to take home that eighth championship, and currently, it wasn't looking like that was going to happen here.

that didn't change the fact that it stung. that in a way, it felt like lewis was leaving her.

"y/n, do you know who toto's been talking to about the second seat?" geroge asked, raising an eyebrow as he blew on his tea, steam rising onto his pale face. pair that with the cardigan he was wearing, and he was starting to look like someone's geriatric grandfather (and she said that with all the love in her heart that she had to give)

y/n did know. legal had been very busy organizing and prepping meetings, as well as drawing up draft contracts and disclosure agreements.

but a non-disclosure agreement worked both ways. and, since she liked fucking with george, he wasn't getting a proper answer.

she grinned, sipping the last of her hot chocolate "no can do. signed an nda. expressly forbids me from selling the gossip to the press, or from telling nosy british boys."

"that's not fair! you're british as well!" george whined. "come on, it affects me as well."

y/n laughed, appreciating the light air that george brought to the conversation, instead of making it a somber affair about lewis' departure. "oh, would you look at the time. my break is over, and i now need to go track down some engineers and get them to swear affidavits."

fred looked at her with a confused glace, his head cocked to the side like a golden retriever puppy. "why? who's taking us to court?"

"nobody is suing us. it's time to make our cost cap submissions to the fia, and the engineers need to swear that they're telling the truth."

"so you can tell us about that, but not about contract talks?" george tried one last time to get an answer from her as she packed up her tote, bag, pulling the sleeves of her sweater over her knuckles.

"nice try. good luck on the sim this afternoon, vesti over here says its not pretty."

TAGS:

@magnummagnussen @libraryofloveletters @httpiastri @clemswrld @thatsdemko @userlando @diorleclerc @sidcrosbyspuck @arshiyuh

#family are the friends we meet along the way series #formula one x reader #f1 x reader #mercedes amg f1 x reader #toto wolff x reader #lewis hamilton x reader #george russell x reader #frederik vesti x reader #mick schumacher x reader #f1 imagine #doriane pin x reader #Spotify

203 notes · View notes

1997thebracket · 5 months

Text

Round 5 - SEMIFINALS

It's the battle of albums and anime in 1997! Which will be the last album standing?

Blur's Self-Titled: And when she lets me slip away… Some bands make their debut with an eponymous album (Placebo did the year before, as would Albarn's second great success Gorillaz) but Blur knew that declaration of self-actualization was worth saving. Blur (1997) is the fifth studio album by the acclaimed English pop-rock-alternative-shoegaze-anything that'll stick-band of the same name, fronted by 90s coverboy Damon Albarn. The album brought us the singles Beetlebum and Song 2, the former of which debuted at #1 on the UK charts, and the latter of which would properly break in the US and give the band the footing on American soil they'd previously missed. Woo-hoo! Despite its mainstream success-- the album is certified Platinum, and saw greater success alongside their American alternative peers than any album prior-- Blur (1997) has a distinctly more experimental sound than their Britpop classics and explores rougher indie production sentiments. Guitarist Graham Coxon centers his widening musical tastes and produces some of his proudest work, while Albarn has stated that the track On Your Own may be regarded as the first taste of Gorillaz-before-Gorillaz. Although it would not be the end of the road for the band's internal turmoil and eventual reconciliation, it would come to represent an era of growth and emotional authenticity in their music.

Radiohead's OK Computer: I go forwards, you go backwards, and somewhere we will meet. By the middle of the decade, Radiohead was weary of the ubiquity of their 1993 hit Creep; although the record that followed it (The Bends) was a lusher, more evolved album than their first, it had failed to produce a distinctive enough image for the band to undo what Creep had done. The song threatened to define the band entirely to those outside their devoted following. In 1997 the band swung for the fences with the haunting, abstract OK Computer. It was a move their label cast immense doubt on at the time, and its success then and now would cement Thom Yorke and his bandmates as soothsayers of a sort, draped not in bohemian silk robes but in white hospital sheets. It's an album that speaks to the future with dread more than wonder, that critics described as "nervous almost to the point of neurosis," but marries the uneasy experimental soundscapes with poetic, surrealist, and increasingly prophetic songwriting regarding the parallel lives we lead with technology. Featuring the singles Karma Police, Paranoid Android and No Surprises, OK Computer is hailed by many as the band's magnum opus: it's certified double Platinum in the US and five-times Platinum in the UK, and in 2014 it was included in the United States National Recording Registry as "culturally, historically, or aesthetically significant."

#blur #blur band #radiohead #ok computer #damon albarn #graham coxon #thom yorke #blur 1997 #(thanks for never pointing out my typo in the blur description this entire time. unspeakable shame.)

103 notes · View notes

weakfreak · 4 months

Text

Small britpop collection of handwritings. My favorite thing is that almost everyone has ugly handwriting (I also have ugly handwriting). This is real art.

I miss these pyramids :(

Doesn't save space.

This is hilarious. Don't come to my house tonight. We can't be together in the nuclear sky.

Good handwriting, everything is clear, but a little boring.

Most of his notes are hard to understand. Hard to understand = good.

The real reason why Albarn is perfect for the role of Yuri. Sweetie, is everything okay? We have a winner (with Nicky). I like this chaos.

Nice handwriting. Looks like a comic book. His lovely stickers warm my soul. Winner number two.

Also, I love Morrissey's letter t. It's looks like a grave cross. Wonderful.

I lost James Dean Bradfield's handwriting. According to my recollections, this is the handwriting of an excellent student.

Here is my frivolous analysis. If there are mistakes or fakes somewhere, you can correct them. But this is still a not serious post.

#britpop #manic street preachers #blur #damon albarn #richey edwards #blur band #manics #oasis #oasis band #liam gallagher #noel gallagher #pulp #pulp band #jarvis cocker #the london suede #suede band #brett anderson #suede #nicky wire

77 notes · View notes

chezzabellesworld · 5 months

Text

90s vs 2000s on my tiktok earlier I out that I belive if the 90s if it was a astrology sign I would say it was a Pisces ♓️ 😉 y? Well put thus way we went from the 80s hard party .big logos .heavy metal ..90s is Pisces because the reinsance Era with disney ,music grunge came out ,hip hop the fact the style was all different we had the whole holt Trinity of fashion and catwalk, I just feel it gave a lot ot mutable energy .but emotional we had princess Diana 👸, we had britpop as well as grunge and hip hop ..we had many claddic Hollywood films early 90s pretty woman late 90s fight club matrix, we had acid rave scene I just feel it gave off a whole collective if different energies of that degree ,Pisces also rules addiction heroijn was rampient ,excess but beauty in art form .then tk add cos I wanted add all my pictures .you all have go my tiktik s cherry belle ,candy heath .2000s 💯 %are leo the paps the celebrity Era got even bigger. It was everything the it girl glamor its almost there .clothes vanity self conscious too

#astro observations #astro community #astro placements #astro notes #astrology #astrology observations #astroblr #pisces #leo ♌️

38 notes · View notes

beastlycheese · 11 months

Text

Does Robert Carlyle, now 62, get his kit off in the new TV series of The Full Monty? ‘Nobody wants to see that,’ he says with a grin.

Photograph: Alana Paterson/The Observer

Interview

By Rebecca Nicholson, printed in Guardian/Observer

Robert Carlyle’s life has been defined by two remarkable characters: the explosively violent Begbie, and Gaz in The Full Monty. Here, he talks about his Glasgow childhood, Britpop hedonism – and playing the PM…

It was 1997, and Robert Carlyle was in his mid-30s, when he first played the stripping Sheffield steelworker Gaz in The Full Monty. Last year, to get ready to play him again – this time for an eight-part TV series – he sat himself down to watch the film. He seems slightly embarrassed to admit it – he’s not the kind of actor who likes to watch himself. “And I’m not about trawling back through something from 20-odd years ago,” he says. But The Full Monty was calling him to South Yorkshire, so trawl back he did. He decided that he would watch a few minutes, then he would move on. “And I sat there and watched the whole thing.” He was surprised to find that it still worked, even after 25 years. “I don’t know if I can say this, but I really enjoyed it. It really stands up.”

The original Full Monty told the story of six unemployed men from Sheffield who put on a DIY strip show at the working men’s club. It was an indie film, shot on a very small budget, and it almost went straight to video; a last-minute re-edit saved it from obscurity and it went on to be a staggering global success, making £200m at the box office. Carlyle’s Gaz is the ringleader, a schemer and a dreamer trying to keep enough money in his pocket to put the heating on when his son comes to stay.

I had misremembered it as a film about men getting their kit off, a bawdy hen night of British comedy. But rewatching it I was struck by how political it seems now. Three decades later, in the new series, people are still broke and Gaz is still scheming, but the working men’s club has shut down, the school is crumbling and children are going hungry.

‘I love it when I dive into a job. You’ve got a little family unit, you love each other to bits and you think you’re going to be friends forever’

“It’s easy to forget that the film is quite heavily political,” says Carlyle. “It makes a point. And I think the same applies to the TV show. These people have lived through what seems like 25 years of austerity.” He credits the writers, Simon Beaufoy and Alice Nutter, with its gallows humour. “But you see that the older people’s lives have been pretty tough for the past 25 years, and then there’s 20 years of what Simon calls the Young Montys, the younger characters, heading for the same shit. So it’s good that this has been made. It shows what people go through to survive the day to day.” Not just men getting their kit off, then. Does he strip this time? “Nobody wants to see that,” he says, with a grin.

Carlyle is a great talker, open and funny and relaxed. He admits he was not always this way, particularly when it came to the press, though he did have his reasons. He’s calmed down a lot since his wilder days, in part because he is, as he says, “125 years old” (he’s just turned 62, though he looks younger) and also because he now lives in Vancouver, on the west coast of Canada. “There’s a laid-back attitude and quality here I enjoy,” he says. He moved there to film a TV series, Once Upon a Time, in 2011, with his wife, Anastasia Shirley, and three children, and found that he liked the city, though he has kept a home in Glasgow, where he grew up, and the family splits its time between the two. His kids are 21, 19 and 17.

Do they have Canadian accents? “Aye, they do,” he laughs. “My eldest son’s got this strange – hang on, let me see if I can do it – this half-American thing with a bit of Scottish thrown in, you know?”

Carlyle is at his happiest when he’s at home. “I’m a homebody, there’s no doubt about that,” he says. “I’ve got loads of friends, particularly in London, and I enjoy it when I get to meet up with them. It’s brilliant. But I’ve always been a bit of a loner to be honest.” Carlyle was brought up by his father; his mother walked out when he was a child. He has spoken before about moving around a lot, living in communes. “I always think about it as darkness and light, my life, because the first part of it was pretty dark. My mother had left when I was a wee boy. I was brought up by my dad alone in Glasgow in the 60s, and the single- parent family, there was not a lot of that around, especially a single-parent family with a father. That made me instantly different from the rest of the people who were around me.” He seems surprised by his own candour. “Genuinely, I’ve never really spoken about this before. But I guess that’s probably where it started.”

I still love Begbie. It was such an explosion. An absolute avalanche

Did he feel like an outsider at school? “When I was very young, yeah, definitely. It’s the little things.” He has a teacher friend and he says he is pleased to hear that things are very different now. “But back in the day, if you had to get permission for something, the teachers would say, bring a note in from your mum. Stuff like that. Of course, when you don’t have that, that really hits home, even when you’re a wee boy.”

Carlyle left school at 16, became a painter and decorator, and worked with his dad. At 21, he came across a copy of Arthur Miller’s The Crucible, and it lit something up inside him. He went on to the Royal Scottish Academy of Music and Drama, and set up his own theatre company. For a loner, he has picked a very sociable job.

“Yeah, but I’ve been doing it for so long that I’ve become very good at separating those things. I love it when I dive into a job, whether theatre, film, TV, whatever. You’ve got a little family unit, you love each other to bits and you think you’re going to be friends for ever. Then two months later you never see them again,” he laughs. Family means a lot to him. “I’d always wanted to have a good family unit, to be able to connect with each other and be pals with each other,” he says, talking about his three children. “Thankfully, we’re great friends.”

In 1991, he was cast as the lead in Ken Loach’s Riff-Raff, and worked steadily through the 90s, playing a serial killer in Cracker, which set the tone for more villainous roles to come. But nothing prepared him for the double whammy of playing the sadistic maniac Begbie in Trainspotting at the end of 1995 and Gaz in The Full Monty, 18 months later. “From that point on, they were massive shadows that then followed me around for the rest of my life, the rest of my career,” he says. “So it was something that I had to get used to, the whole fame thing. Because I am, as I’ve been saying, quite a homely guy, a family man, it took me a long time to get used to that.”

To say the films were hits is an understatement. Both were phenomena that travelled around the world. One of the strangest things about watching The Full Monty again, he says, is that it took him right back to that time. “It’s looking at yourself in another life, and all the things that were happening in my life back then. I mean, we can all look back in photographs, but I’ve got this living, breathing thing in front of me.”

What was happening in his life back then?

“Ha!” It was the height of the Britpop era, and because of those films, Carlyle was right at the heart of it. Back in the day, as he puts it, he was invited to everything and went to most of it. “I met all the personalities of the day, the Oasis lads, Damon Albarn, who’s still a great friend. I was right in the middle of that whole thing, enjoying that life.”

Was it as hedonistic as it seemed? He doesn’t pause for breath. “One thousand per cent,” he grins. “It was incredibly hedonistic, but it was exciting. If you think about it politically, we’d just come out of Tory rule. Blair was there, everything seemed to be on the up. And I can remember that feeling.” He appeared in an Oasis video, for the song Little By Little.

Was it easy to be friends with Blur and Oasis, given their famous rivalry? “Hahaha. To be honest with you, I was really good at not getting involved. But I remember when I did Little By Little, Damon was like, ‘Why the fuck did you do that? Come and do one for me!’ I said, ‘But you never asked,’ which was true! And that was the end of the conversation.”

“It doesn’t sound like you were a homebody in those days,” I say. He laughs again. “No,” he says. “There wasn’t so much homebody then. I certainly wasn’t shy in getting out the door.”

But there was a darker side to that era. His fame made him a person of interest to the tabloids. He says it’s nothing compared to what some people experienced, but still it sounds unpleasant.

“At the time, going through that was horrible, to be honest with you, because I didn’t understand it. I was suddenly in this world and I was very open. Probably too open, at times.” The papers responded by reporting on his private life and his family. “They got in touch with my mother and pulled her out the dark, and that was really upsetting. So I slammed the door shut for a long time, because I just hated it.” He was tight-lipped in interviews and wouldn’t do chatshows, though he will say he still regrets saying no to Michael Parkinson. “I think that was probably quite clever, because then you do keep a little bit of yourself. I mean, you see people on these chatshows and everything comes out and you go, ‘My God, I don’t know how you can live your life like that.’”

He does them these days, however. “Because I’m 125, I’m more used to it,” he jokes. “I can do it better now. Time and age is a great thing.”

Is it just time? Has he mellowed with age?

“It’s family, children. My children came in the 2000s, so all the stuff in the 90s, there were no kids then, but once children arrive in your life, everything changes overnight. So that becomes more important. That becomes your focus. And you begin to think, ‘Oh, the other stuff’s not actually worth bothering about.’”

Carlyle has had the chance to go back to two of his most iconic characters. He revisited Begbie for T2, the Trainspotting sequel, in 2017. A sequel was always planned, and Carlyle says he and Jonny Lee Miller, who plays Sickboy, wanted it to be sooner. “But Danny Boyle [the director] always said, we’ll do it, but when you’re older. He was obviously right, because it’s in the face. You can see that life has been lived.”

Even more so than Gaz, the terrifying Begbie is the character who has followed him around the longest. “The terrifying Begbie!” he laughs. “I love Begbie. I mean, who knew? Who knew what was going to happen with that character? It was such an explosion, Trainspotting. An absolute avalanche.” At the time, he knew that the film was going to be something special. “I thought this character is gonna be around for a while. But I thought, maybe a few years.” Yesterday, he says, he went to the butcher’s near his house, and the man in the shop, in his 20s, from Bilbao, recognised him and said he loved him in Trainspotting. “He said, ‘I’ve got a T-shirt of you, of Begbie with the glass.’ This thing I thought was going to last a few years, is still there, in people’s minds, 27 years later.” Wherever he goes now, people still recognise him as Begbie. “That mad character!” He’s not exactly a teddy bear, is he? “I mean, this is a line from the film – he’s a psycho, but he’s a mate, so what can you do? I do love him. And Gaz. Both these characters have given me a tremendous career and a tremendous life, and you’ve got to love him for that.”

Besides, Begbie’s not dead yet. There is a six-part TV series, The Blade Artist, in the planning, about Begbie’s post-prison life as an acclaimed artist in California. Carlyle is working on it with Irvine Welsh and Hex author Jenni Fagan.

“It’s been brilliant, this one. I mean, let’s face it, Begbie is me. So to be right in at the beginning of that and be able to go, well, actually, maybe change this, change that… that’s where we are at the moment.” He thinks they’ll start shooting in the next year or two.

For now, he’s off work, relaxing in Vancouver, travelling with his wife, spending time with his family. “Back in the day, it was all about the next job, next job, next job and I don’t think so much like that any more.”

Recently, he’s been playing the British prime minster, Robert Sutherland, in the political thriller Cobra. “Who would have thought? Begbie, Gaz, the prime minister…” he says. In the original Full Monty, Gaz explains that he can’t go shoplifting because “I’ve got serial killer written on my forehead.” Carlyle nods. “That’s right. That’s probably my issue with parts. Certainly with Sutherland, when he gets angry, I’ve got to really pull it down. Don’t get Begbie-angry,” he says. “Begbie as the prime minister!” I wouldn’t put it past him.

The Full Monty will be streaming on Disney+ from 14 June

#robert carlyle #full monty

106 notes · View notes

the-90s-music-colosseum · 5 months

Note

Kinda sorta sad Thom didn’t mean Damon cuz it’s kinda sorta true. He was SUCH a slut for the boys

I'm convinced he kissed (almost) everyone in the Britpop scene

#most attractive 90s musician #asks #damon albarn #simon gilbert

27 notes · View notes

girlfriendsofthegalaxy · 5 months

Text

tuesday again 11/21/2023

awful lot of cooking content from me, who hates cooking but finds the evenings jittery and boring

listening

Doorbell by Sterling Press, off the spotify weekly recced playlist. i don't know that i like this song. i don't know that it's particularly good. goddamn if it isn't catchy. alt britpop, they hate being compared to blur but mmmm. you do hear it. notes of ska as well. a song to blast in your car when your spring break plans fell through and you're driving to the good target two towns away from your hometown.

i don't think this music video could have existed pre-pandemic-- idk doorbell cams were that ubiquitous or well known, despite heavy advertising from nest.

youtube

from an interview:

Speaking about the new release, they said, “We wrote the song in our mates garage using drum samples off YouTube. We spent all night writing it then in the early hours of the morning drove to Maccies to have breakfast and had it on repeat the whole time. We all fell in love with it straight away. These lyrics speak to the importance of authenticity and sincerity in your actions. In a world where appearances and pretences can be misleading, it's a reminder to be true to yourself and to avoid trying to impress others for the sake of it. “I feel like its an experience we all share. We all know someone who goes off to uni or gets a new job and you bump into them on the street and they act as if they have no idea who you are. I guess this song is reflection of our frustrations towards those people.”

they have what i would consider an unusual amount of hype and presence for a band that has exactly three songs out, but they've all been making music together and separately since well before the pandemic so maybe they've just finally broken out? i can't figure out who these kids are related to. i don't think it's a full on industry plant but i do think someone's dad has some money.

a friend once said she hated how eighties songs faded out like a printer running out of ink, and i do not particularly care for how 2020s songs end with the entire band vanishing underwater.

this song is truly not that deep but it is thoroughly stuck in my goddamn head.

listening: special podcast edition

i am not looking for solutions. do not say solutions at me. i am taking through a brain thing and having a weird workflow and brain problem. i have tried other apps with browser support and do not like them, and i cannot have my personal apple id tied to my work computer bc i have and frequently use a work apple id.

i have been listening to podcasts through Spotify ever since mmm november ‘20. it has not been a good experience but juggling the Apple Podcasts app through my phone (distraction minefield) and whatever im listening to or working on with the work computer is a nightmare. ethics of spotify aside, it is a tremendously successful all in one listening platform. i do not have the brainspace to manage my own music library, and support my favorite artists in other ways.

i am not looking for solutions. do not say solutions at me.

however, if you listen to enough podcast episodes, spotify does not seem to believe you when you tell it to unfollow a podcast. it just keeps letting you know hey this has a new episode. this got me stuck on a loop where i was listening to more and more episodes of two very prolific conspiracy theory debunking podcasts to the exclusion of almost everything else. this was not very good for my mental health.

i am not looking for solutions. do not say solutions at me.

despite the real annoyance of finagling a very distracting phone and the work laptop, i have gone back to Apple Podcasts and (after weeding out a variety of podcasts for a variety of reasons) started listening to friends at the table again. not sure why i stopped but i felt a weird amount of guilt around restarting?? the tablefriends neither know nor care. i have finally finished road to palisade and am excited but nervous about starting palisade proper

reading

a local religious thrift store has absolutely rancid vibes but does regularly have 6/$1 book sales. there were a couple older trade paperback comics the last time: the first three volumes of ULTIMATE XMEN and a radom What If? superman.

my trouble with the xmen, and i have to read something from it once every two years to remind myself, is that magneto is right. they will never be able to assimilate into white picket fence middle america, or even among the liberal coastal elites or whatever the term du jour was in 1999. the box will always be smaller and you will never be perfect enough. i did not enjoy this enough to continue bc of this fundamental disagreement with most xmen comics.

also it looks like this. magneto’s lair has an arch in the shape of the arch on the front of his helmet and that was pretty baller, but there’s a real. what was they gimmick blog about all the comic book women in contorted spine-breaking poses? it’s like that a lot. WHAT is ororo’s body doing there

watching

youtube

hey. what the fuck do you mean tomato sauce is that easy. i dislike tomato sauce and almost exclusively eat jar upon jar of aldi brand pesto. im not allergic bc tomatoes aren't tingly but it's just sort of Nothing all the time. what do you mean it can be good???

i don't actually remember why i'm subscribed to mr internet shaquille. perhaps, like so many other food things, it's kali's fault.

playing

g/enshinposting.

pulled this horrid little brat. very pleased with myself.

i do not. love. her story quest. it falls into the childrens' media trap of Sometimes It's Okay For Other People To Stomp All Over Your Boundaries If It's For The Good Of The Group! or perhaps this is just a thing i'm particularly twitchy about. either way, annoyed that other characters of this importance have gotten some deeply moving writing and so far furina has...not gotten that.

the next character i am excited about is lolita taylor swift, or geo-aligned lady with big fuckoff sword. from some early maybe-leaks i think she would pair beautifully with my playstyle and my pirate lady with big sword. my playstyle is mostly brute force damage. i hit things as hard as i can until they fall over and i've played the entire game (with some exceptions that required actual thinking about elemental reactions) that way. it pleases me.

re: the conclusion of the annapausis sidequest, genshin does a really good job of teasing out "ok in a world with actual gods, what does spirituality look like/what are the differing views on fate/how do people make sense of an afterlife". mostly this is gnosticism. and sometimes it's a real life occultist secret society (reskinned Rosicrucianism). fascinating writing choices.

making

turkey cottage pie with scalloped potatoes, bc i had a five-pound bag of russets that were starting to sprout. im just going to yoink this pic i posted earlier bc it is now half gone and in tupperware form

this is the first time ive ever cooked in a dutch oven and im in love. i thrifted this for $20 some weeks ago but bc the lid has some chips and rust i haven't used it. which is silly, bc the body of the oven is fine. de-rusting and seasoning the lid will wait for a day when i actually need it bc for now we can get by with doubled-over sheet of aluminum foil.

used this recipe: only had a pound of ground turkey and liberally stretched it with potatoes (i think about three and a half pounds out of five) and three pounds out of a cheap frozen veggie mix bag. did not include mushrooms bc i did not like them. threw in some bay leaves bc i have a giant bag of them, i think i almost doubled the wine bc i doubled the recipe, but i do not think i remembered to double the beef stock. i also shook in a liberal amount of italian seasoning bc i have a cheap jar from aldi i want to use up.

the final product was somewhat soupy. i anticipated that slicing the potatoes was going to be the longest part (mostly true, i had to take breaks) and kept them in a big bowl of cold water to stop them browning while i chopped and after i blanched them. i also could have reduced the filling down some more but i am not a patient woman.

not as intended but still yummy, which was a lovely surprise bc usually when i fuck recipes up i fuck them up But Good. plus new technique (dutch oven). if i make this again (likely) i will do instant potatoes on top bc this was a fuck of a lot of chopping for one recipe. thinking about getting one of those stupid little hand smash veggie choppers bc a full food processor is extremely out of budget.

#tuesday again #tuesday again no problem

30 notes · View notes

freakingoutthesquares · 1 year

Text

1993 - Russell Senior, Pulp.

#russell senior #90s #almost britpop #photos #my scan #make up

48 notes · View notes

louistomlinsoncouk · 11 months

Text

Louis Tomlinson knew where to go on his second album Faith In The Future with rockier and smashing indie songs from Britpop inspirations to modern indie classics. His Place Bell’s Laval show was no exception with a stellar performance and the stage scenic effects on point.

First to hit the stage were Snarls from Columbus, Ohio with their fine twist of indie pop. With their fun guitar chords and dancey rock beats, it was such a refreshing and enjoyable time. The female-fronted band were solid on their first performance on Canadian soil with their jolly and emotive lyrics, singalongs and beautiful melodies.

Snarls set up for what was going to be a magical night, all smile on stage with such good vibes. Those who loves Haim, Tegan And Sara, jangly and strong riffs will be served.

We knew Irish indie- rock is catchy right now with the rise of many bands like Inhaler, Fontaines D.C, New Dad and Louis Tomlinson brought in another one, The Academic. Hailing from Mullingar (yeah that’s why the accent sounded familiar, hello Niall Horan!), the crowd was all over it, singing along dancing and jumping around on the upbeat indie pop songs.

Blending elements of pop with magnificently driven chords, the songs are powerful whether they sing rock songs or emotional ballads. Crowd went crazy on Girlfriends, singing a Capella on melancholic soothing drum snarls and bright riffs. Here’s a little snippet of The Academic performance that brought the magic to the French Canadian city. What a blast!

While waiting for Louis Tomlinson and the band to come on stage, pre-show playlist drove us back in time from Nirvana to Black Rebel Motorcycle Club and Pixies while going in depth into British culture with some Foals, Maximo Park and obviously lots of Arctic Monkeys and never forget Oasis Supersonic banger from Definitely Maybe, a fire throwback to 1994’s Britpop era.

While roadies prepping the set up and Louis Tomlinson’s scribbling Faith In The Future on the big screen, people were so loud even before he hit the stage. Through the huge screams and claps, Louis and his band then hit the first note of The Greatest for a solid intro. Kill my mind followed with such a viral energy and the fans iPhone lighting effects and singalongs. While playing Bigger Than Me on the opening night Uncasville and skipping it the next show, Laval was so happy to get it back on the set list, this is such an anthem and live it’s totally an incredible vibe. Louis Tomlinson energy was all over going from side to side of the stage, interacting with the fans like a proper rock star (and we absolutely adored it!) while teasing and laughing at his amazing musician.

Britpop inspiration floated from every side of the 10,000 cap almost-full arena alongside the live versions of Lucky Again and the slick guitars of Isaac Anderson and Michael Blackwell. Louis Tomlinson’s vocals were solid and very emotional, happiness and smiles flowing all around the people crowd. We were definitely Holding Out To Heartache when the concert finished later on! The Doncaster-born singer never let negativity bring him down and he proved it with Face The Music. Rock and indie was always his thing and he finally step up on his last record to find his genuine sound. He’s thankful for the fans and never forget where he belongs. Dedicating We Made It for his supporters, people sang along loudly to the chorus. Forging his career since 2010 and even from a younger age, Louis Tomlinson is humble, grateful and gave us a very strong and rockier edition of his former band One Direction’s with Night Changes and the crowd was really into it screaming at the chorus.

Emotional and so impossible to describe the feeling, the Yorkshire singer-songwriter got this special bond with his fans. With few words, laughs and drinks, he sang back to back hits from Faith in The Future new album and bonus tracks with soulful songwriting like Chicago, Saved By A Stranger and kicked in with the dance feeling of Foals-esque number Written All Over Your Face, pointing his mic through the crowd with the infamous “SING IT” vibes. Louis Tomlinson knows how to rock in style with his eclectic influences and props to his musicians sparkling some magic with his wonderful new-wave infused mega mix of All This Time and She Is Beauty, We Are World Class. His stage presence and pyrotechnics effects were just incredible and added some spice and energy to the show.

How do you make a perfect setlist? Mix some rockier song with heavy tearful ballads. Following A Copy Of A Copy Of A Copy and the Oasis-inspired first album titled song Walls, Louis Tomlinson surprised the fans with Bebe Rexha’s collab Back To You. Add more guitars, hectic drums and you got a truly better indie version. It was so original and that’s the kind of rendition that could attract brand new audiences. Of course, we can’t skip how his voice truly fits Alex Turner’s shoes on his brilliant cover of 505 by Arctic Monkeys. Indie Louis is a pure gem. The Angels Fly in the room with all the phone flashlights moving in sync and people humming the chorus with Tomlinson. The singer brings hope and joy to the world and the confetti exploded in the room to the jolting guitar riffs of Out Of My System. People jumped around and Louis Tomlinson did his traditional hop in the front pit to interact with fans.

Lights went off and fans shouted and cheered for the encore. Few minutes later, Louis Tomlinson’s offered three last songs, kicking it with Where Do Broken Hearts Go? He gained such confidence slaying on the high notes on some guitar-centred version, inspired by The Who. It was theatrical and emotional just like the beginning of Saturdays and the lights blinking like stars all across the arena. The night closed the Britpop fashion way with Silver Tongues in such a very electric way. Louis Tomlinson presence on stage was so on point all over the show that we would even have take more and more! What a night!

Get Faith In The Future tour tickets, records and more here! Get to know more on Snarls on their website and The Academic here.

#louis tomlinson #press #03jun23

25 notes · View notes

leofaulknerarchive · 5 months

Text

Digital Bath - Deftones (Piano Cover) - Leo Faulkner Upload Date: April 20, 2012 Description: "I figured some of you guys are probably Deftones fans so I thought I'd slap this one together. I hope you like it. I was reading something on Wikipedia which actually says this song is about killing a girl in the bath using electrocution which when you read the lyrics makes sense. Chino is a genius. With regards to subsequent covers, I've almost got a full cover of Unbreakable by VOM on the go, and I will do Blood Petals and Mute Swan by Corelia. Any other suggestions?

(p.s. no Britpop allowed)"

#2012 #cover #description #Deftones #instrumental #Leo Faulkner

13 notes · View notes

dailytomlinson · 1 year

Text

Louis Tomlinson on ‘fully embracing’ his Britpop roots for new album and chipping away at past perceptions.

Louis Tomlinson unleashes his second album, Faith in the Future, on the world today and admits he had ‘a lot more clarity’ making this record in comparison to his long-gestating debut, 2020’s Walls.

The 30-year-old has already announced dates for the accompanying 2023 world tour, as well as special live in concert shows of the album this week and next in New York and London.

All of this comes despite the fact he only just finished his rescheduled 2020 tour dates in support of Walls in September, so keen is the singer to keep performing live for his fans now he’s finally had the chance to connect with them in that way again.

‘It was a very deliberate choice to go back out on the road as soon as possible,’ he tells Metro.co.uk.

‘That’s always the way I felt, they were always my favourite moments in the band [One Direction]. But it had been a long time coming, this first tour. I’ve been working towards this moment for a long time, four, five, six years even, so to get there and to finish it like we did, I just want to keep momentum rolling.’

He also says he’s ‘very aware’ of the expense of gig tickets during the current cost-of-living crisis, so if focused on putting on a ‘great show’ that will leave fans with a positive memory.

Louis reckons he’s managed to avoid the second album stigma after his music making with One Direction.

The chart-topper is proud of Faith in the Future, teasing the musical decisions he’s made with the album and how it differs from Walls as he learned to ‘fully embrace’ his own taste in songs.

‘There’s obviously that stigma that the second record can often be challenging, but I think for me it was different. I almost felt that more on my first record because I’d had the experience of making music with One Direction and at such a high level. There was a lot of… not necessarily treading water, but definitely trial and error on that first album.

‘It was almost like my development phase, but done in the public eye, and it had been a couple years since I’d released Walls so I had enough time to work out what I liked about the album, what I thought I could have done better.

‘So I had a lot more clarity making this record. I knew what it was I wanted to get out of it. And there was an element on my first record where I kind of alluded to my taste musically but never really fully embraced it. I don’t think I was quite brave enough on that first record, so I kind of ran with that idea.’

He adds: ‘I just wanted to kind of trust my gut on this record and also lean on the incredible artists that I worked with on it. And I’m really proud of what we’ve got.’

Diving into the tracks on the album a bit, Louis says there’s nothing he’s apprehensive about fans listening to as ‘in terms of my songwriting and my lyrics, my bread and butter is honesty really, so I’m used to people kind of getting an insight to me through my lyrics and through my music’.

The 30-year-old says he’s been ‘braver’ with incorporating his musical taste in Faith in the Future.

‘Out Of My System is one of my favourite songs – I just think it’s going to be really fun to do live. And Silver Tongues, that’s something I am excited for the fans to hear because where we start with Bigger Than Me and then where we went to with Out Of My System, I feel like it kind of sits in the middle of those two songs.’

Discussing his Britpop rebrand post-One Direction, which he leans into more on Faith in the Future, Louis explains the role it had in shaping him as a youngster and his musical development.

‘That’s the sound that I would say defined growing up for me. That kind of music is big in the North of England full stop and especially in working class town-forward-slash-just-been-made-a-city Doncaster. I spent a lot of my time as a young lad in this indie bar called Priory, and that’s how I discovered a lot about music that I’ve grown up to love.

‘And those kind of associations for me are important because that kind of perception – coming from a band like One Direction, you have to chip away at that perception. But that indie/Britpop/alternative/whatever words you want to use to describe it sound, that’s who I am as a listener, and I think that’s the way I am as an artist as well.’

Faith in the Future saw Louis write with talent from Hurts and Courteneers among others.

Now seems a prudent time to bring up the name of one of his new songs, Common People, and the inevitable link people will make with Pulp’s 1995 signature song. Surely that’s a deliberate homage?

Louis smiles, sharing: ‘I love that tune, so it was one of them [sic] where it was like, once we finished the song, “Do we change the title?” But it was, again, a little moment for me – when I think of that song – the original – it takes me right back to Priory, so because the song is about nostalgia and about Doncaster and about growing up anyway, it felt actually appropriate to have the same title.’

Let’s hope Jarvis Cocker agrees.

Discussing the songwriting process that went into the new album, Louis reveals that it was a ‘conscious decision’ to write more with other artists, to provide ‘a better duty of care on every single song’.

He did a multi-day writing camp with Theo Hutchcraft from Hurts, Courteeners’ Joe Cross and David Sneddon (winner of 2002’s Fame Academy), which produced songs Saturdays, Silver Tongues and She is Beauty We are World Class.

To break the ice, Louis took them all to the pub, where he came to a significant realisation.

A proud son of Doncaster, his musical education was shaped by the town.

‘We sat there and we’re talking and something that really had a profound effect over me was I don’t find myself in these circles loads, and they were talking about music like I talk about football with my mates, which is live and breathe it.

‘I think to be around these artists that a) have great experience and b) have great passion for what they’re doing, I think that shows in the record. Every song has its own importance and I think that’s the benefit of having these artists on board.’

In a recent interview, the former One Directioner, who was in the chart-topping band alongside Niall Horan, Liam Payne and Harry Styles until 2016, and former member Zayn Malik until 2015, hit headlines for confessing that he thought their hiatus would only last a year or two, that it took him ‘a long time to get over’ it and that it stalled the start of his solo career.

Reflecting on it now, he shares that his first post-One Direction song, Just Hold On with DJ Steve Aoki, which was released in December 2016 and seemed to come reasonably soon after their split, was all he had to offer.

‘When I released the Steve song, it’s not as if I had five singles to choose from, that was the only thing that I had that I thought was good at the time, really.’

He also admits to feeling ‘petulant’ and a bit angry in the wake of the band’s break as he started trying to figure out his own path to a solo career.

‘There was an element of my personal life giving me a little push as well and saying, “You know, now’s the time to start.” It felt relevant at the time but yeah, don’t get me wrong, there was an element of coming out the band at first, it was just kind of… And I think that comes from petulance, you know.

‘It’s not that I that anyone kind of made me feel that it was going to be back in a year or two years. I think that was me just putting my wall of security up and going, well, hopefully, it’ll be a year or two’s time, because I wasn’t ready for that. I wasn’t ready for the break.’

However, he’s now grateful for it as it led to him figuring out his identity as an artist.

‘I will say now, hindsight is a powerful thing. I really do enjoy having the ability to express myself, musically, and sometimes that’s challenging in a band – especially now that I really feel like I’m finding my feet, musically, I’m actually thankful that I’ve got this time. But as soon as I left the band, I was a little bit angry’.

He may be hitting his stride with his second solo record, but Louis did struggle in the transition.

‘It’s not as if I was sat in One Direction, speculating what a solo career might look like or feel like, it kind of just happened to me one day and I’m like, “Are you gonna do this?” And I’m like, “Alright, I’ll give it a go”, but I didn’t really get that mental prep to realise what I was going in for – so especially in that first year, first two years even, of my solo career, there was a lot of worry, a lot of unknown. I didn’t really know what was going to happen in future.’

When asked what he thinks the biggest misconception people have about him is, he brings it back to the type of music he’s making now in comparison to the days of One Direction’s What Makes You Beautiful and Story of My Life.

‘It’s almost an obvious one, it’s because I come from One Direction and there is obviously a major pop element in the band like that, that people have these preconceived ideas that I can only make music that’s straight down the middle pop, but that’s not what I grew up around.’

Smiling sheepishly, he adds: ‘The irony about that misconception is, if I still lived in Doncaster, I could see myself having the same opinion about myself! I’m very aware that you have to chip away at those perceptions, it’s not an overnight thing. So that’s why when I’m thinking about me really establishing myself in this genre, it’s a five-year, seven-year, 10-year project.’

Faith in the Future is out now.

57 notes · View notes