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dustedmagazine · 4 months

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2023: Bryon Rides Anxiety’s Peaks and Valleys

Yo La Tengo

This year really tossed us all around like a gigantic blender, swirling everything together into a writhing mass of fine particles. It’s been quite the ride. Thankfully amidst the chaos, there was music. The vast cornucopia of exhilarating sounds wound itself around the many genres, and the dozens of releases spread across these twelve months. It provided the healing salve to combat the bedlam lying in the realm beyond our ears.

For me, live music in 2023 was about quality over quantity. The two shows that affected me most this past year were aligned along the theme of reunion. I’ve been a fan of Yo La Tengo since high school but had strayed from the band’s past few releases. This Stupid World brought me back into their universe. I jumped at the chance to see them in Toronto; it had been decades since I last saw them play live. They played two sets, one soft and one loud, and they didn’t disappoint. As an added bonus, I got to meet fellow Dusted writer Ian Mathers at the show. Toronto post-rockers Do Make Say Think played their first show in six years in March, around my birthday. I wasn’t going to miss it. They unleashed an enticing set of music, playing material from across their entire catalog with intense energy. It was hypnotic and exhilarating. They were also jovial, joking about the current career prospects of the band members. It was a fun night.

Many perennial favorite groups and artists released excellent albums this year. Yo La Tengo returned to their early Matador form with This Stupid World, while The Clientele expanded into new, lush and uncanny territory on I’m Not There Anymore. Califone’s Villagers pushed the band’s adventurous, bluesy roots-rock into an experimental wonderland. Bill Orcutt released Jump On It, revealing his softer side. The Live in Brooklyn 2011 set from Sonic Youth found the group trying out songs they rarely played live, as they wound down their decades-long existence. Joshua Abrams’ Natural Information Society showed that they’re not done unleashing mesmerizing sonic salvos with Since Time is Gravity. Finally, Daniel Bachman continued to push his singular brand of Americana toward the outer limits with When the Roses Come Again, and Intercepted Message found Osees covering Cisco Systems’ telephone hold music. It was a good year for long-beloved institutions.

New to me this year was the band Famous Mammals and their polyglot post-punk album Instant Pop Expressionism Now! I returned to it time and time again; it was the soundtrack to my late summer and my autumn. Digging deeper into the San Francisco band’s origins, I discovered a previously hidden world of Bay Area post-punk, populated by a tight-knit scene that originated with The World, which would fracture into Famous Mammals, Non Plus Temps, Blues Lawyer, Children Maybe Later and others. The LP in question blends elements of Swell Maps, Young Marble Giants and Television Personalities, aligning with those outfits’ brashness, naivete, and wry sense of humor. It was at the top of my list in 2023 and led me to explore the SF underground further. That digging led me to Will York’s encyclopedic tome Who Cares Anyway? York gives an in-depth perspective to the goings on in the Bay Area from the post-hippie origins of its punk scene to the self-destructive chaos of Flipper and the visionary artistry behind acts such as Mr. Bungle, Caroliner, Thinking Fellers Union Local 282, et cetera. He also investigates the unique personalities that comprised the scene such as Brandon Kearney, Gregg Turkington, Seymour Glass, Barbara Manning, and Joe Pop-o-Pie. The book is worth exploring if you’re at all interested in any of the names I mentioned.

I always highlight at least one Canadian release, and this year I really got into the self-titled debut from Toronto duo You Can Can. The pairing of sound artist Andrew Zukerman and vocalist Felicity Williams is the perfect comingling of the familiar and the otherworldly. Alien soundscapes intercept beautifully crafted song forms, with synth squiggles and abstract patterns writhing alongside folk music signifiers. Let’s hope that You Can Can have more music in store for us in 2024 and beyond.

Bryon Hayes

#dusted magazine #yearend 2023 #bryon hayes #yo la tengo #do make say think #the clientele #califone #bill orcutt #sonic youth #joshua abrams’ natural information society #daniel bachman #osees #famous mammals #will york #you can can

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underground-boss-clay · 8 months

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eavesdrop @lovenpeace-pkmn

"C'mon in, just don't waste my ti--Chief. What can I do fer ya? ... Okay, maybe ya didn't hear me when I said 'don't waste my time,' Mr. Clayton. ... They ain't doin' nothin', trust me. Nothin' aside from helpin' with neglected Pokemon. ... Ya think I don't know that, I was THERE Andrew. That safehouse is under surveillance an' everythin'. Those girls weren't involved in what that crazed bastard was doin'. They ain't gonna-"

"Andrew. There were as many innocents pulled into that scheme as there were people aware of it. There ain't never no collateral or bystanders 'n somethin' like this. Can't vouch fer that Rood feller but those girls didn't know bout his schemes. They just want to help people an-"

"Do you wanna repeat yerself there???"

"... That's what I fuckin' thought, Andrew. Now get the FUCK outta my office."

"..."

"It's me, Denise. Clear next week so we can start some interviews; we might need ta start lookin' fer a new chief of police."

#Ask #lovenpeace pkmn #Here's the Dirt #pokemon irl

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todayisafridaynight · 7 months

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i legally cant look at the last supper pic lest i fall back into my religion fixation (context...you dont need context but its A Lot lemme just say that) HOWEVER. i think its very cute that they made the picture in the first place and the choices for which character is which person (like adachi being andrew whomst was the first apostle and aw he was ichis first feller cute) are really good like they were kinda smartsies with that even with the different versions they have goin on swapping some of them they still like fit agh whatever i just think the pic is cutesy thats all i wanted to say cause everyone else was talkin about it (⌒_⌒;)

i think its fair to take time to appreciate the placements of everyone; i am an appreciator of when things like this are done so its neat to see how things sync :]

#snap chats #IT IS CUTE im not trying to dismiss the pic i just dont wanna take it too seriously or hyper analyze it #i mean i'll analyze it LMAO but i dont wanna treat it as tho it'll tell us anything super important bout lad8 #again it's a very cute pic.. i love it.. im always an enjoyer for beach episodes...#i do think its cute that adachi syncs with that.. i always love adachi and how he was ichis first bud

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imsofansie · 3 months

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BLOG SUMMARY INCOMINGGGGG

I can't tell if your blog is supposed to be "yee-motherfuckin-haw NASCAR am I right fellers beer beer truck truck 🤠" or "omgggg look at this new lame fic guysss 💅 (imagine that in Andrew rannells voice) " and honestly that's what I admire most abt you! Variety!!

Both. The answer is both. Put a cowboy hat on Andrew Rannells and make him a teenage girl and that’s me. Maybe I am the faggot America. Maybe I’m not. You’ll never know.

#great job #punched the point right in face #shut your mouth casey

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katb357 · 1 year

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Falling for Hogan’s Heroes

18. "It's just a scratch.": Okay it was more than just a scratch…

Thanks again Xav!

“Aw, it’s just a scratch.”

That much was true enough. It always amazed Wilson how Carter seemed to come away from an explosion practically unscathed. But this time, it was how loud Carter said those familiar words, followed by a flash of confusion on his face, that tipped Wilson off. He moved around behind the young sergeant. “So, Carter, how did you pull this one off?”

No response. Carter just sat on the cot, swinging his legs.

Wilson put a hand on the lad’s shoulder, leaned in closer, and raised the volume of his voice. “Carter? Can you hear me?”

Carter turned his head and looked at Wilson, slightly startled. “Yeah, sure!”

With a frown, Wilson turned to cut a bandage and grab the iodine. He did need to clean out that scratch. He wasn’t so sure that Carter really had heard him, or if he was just guessing how he should answer. Time would tell.

He moved back around to sit on his chair next to the cot. He coated the long cut on Carter’s forearm with iodine, then covered it with gauze. Then he looked up to meet Carter’s eyes. “I want you to stay in the infirmary.”

Andrew scowled. “It’s just a lousy cut. I’m fine.” His voice was still too loud.

“You can’t hear,” Wilson said. He had a feeling Carter had been reading his lips.

“My ears are just ringing is all. It’ll go away.”

Wilson turned to see Colonel Hogan hovering not far away. He looked back at Andrew and motioned for him to stay where he was, then got up to talk with the colonel. “We’ve got a problem, sir. He can’t hear, or at least he can’t hear much.”

“No way to tell how long it could last, is there?”

“Not with the equipment I have.” Wilson shook his head. “Do you think London would send us what we need?”

Hogan thought about it. “There’s a doctor in Paris who might be able to help him, depending on the problem. I bet we could get him here.”

“All right, then.” Wilson folded his arms over his chest. “Now, I could use your help. Carter insists there’s nothing wrong but some ringing in his ears. I’m concerned he could make things worse if he’s too active, so I’d like him to stay here. Could you make it an official command?”

Hogan shrugged. “No problem.” He moved over beside Carter and looked at him sternly. “Carter, Wilson tells me you’re having trouble hearing and that he wants you to stay here. I’m making that an order. You stay here and do exactly what Wilson says. You understand?

Carter had been watching Hogan intently the entire time he’d been speaking. He waited a moment after he’d finished and then Carter nodded. “Yessir. I’ll stay.”

Later that afternoon, Newkirk wandered into the infirmary. He slid into the empty chair next to Carter’s cot. “Allo, mate,” he said, speaking louder than usual.

“Hi.” Andrew was bored and wanting out. But he was also scared.

Newkirk passed him a cigarette. “Is it true ya can’t hear nothin’?”

Andrew blew a smoke ring, and didn’t react at all when Wilson hollered at them to put their cigarettes out. He simply took another drag.

“I s’pose it is true, then,” Newkirk mumbled. He ignored Wilson and took another drag on his cigarette too. Then he leaned forward in his chair and put a hand on Carter’s arm. “Ya’ll get it back,” he said, once he knew Carter’s eyes were on his mouth. “It’s temporary, it has to be.”

“It better be. I don’t plan on bein’ like this for the rest of my life. The ringing noise is driving me nuts. A feller could go crazy!”

“Well, London’s sendin’ a fancy French doctor. He’ll be here tomorrow.” Peter turned to face Wilson. “The Guv wanted me to pass the word.”

Wilson nodded. “Thank you. Now, Andrew needs some rest. And don’t smoke in here! Go on.”

Newkirk rolled his eyes. He turned back to Carter. “Doc’s kickin’ me out. Says ya need ta rest. S’pose I’d better get goin’, then. I’ll be back later, mate. We can play cards.” He patted Carter on the shoulder and then hurried out, blowing a puff of cigarette smoke in Wilson’s face as he passed by.

The French doctor arrived early the next morning via the stump tunnel, escorted by one of the members of the Underground. Dr. Cormier examined Andrew and performed several tests. Hogan and the others, especially Newkirk were nervous as wet cats the whole time the doctor was with Carter. Finally, the doctor came out of the exam area to talk to them.

He spoke heavily accented English, but was more comfortable speaking French, so LeBeau translated for him. As it turned out, Andrew’s injury would not require surgery. He had damaged his eardrums but they would eventually heal on their own. It was simply a matter of time. Probably six to eight months and he should be hearing normally. He might always have a slight case of tinnitus but it would be very faint.

Newkirk’s forehead wrinkled up and he scowled. “Six to eight months?! Ya can’t fix him quicker?”

The doctor looked at him. “I could, but the operation would be very dangerous. It could cure him completely, or cost him all the hearing he has left, permanently. Is this what you think he would want?”

Uncharacteristically subdued, Newkirk lowered his gaze. “No,” he mumbled. “Sorry, Doc.”

“Do not be sorry. You are showing that you are a true friend, wanting the best for him.”

Newkirk shrugged off the compliment, then turned and stalked from the room to sit with Carter again. He touched his friend’s hand to get his attention, then pulled a deck of cards out of his pocket. “Game of poker, mate?”

Andrew shook his head. The doctor had told him the news, and he was still absorbing it.

“It ain’t fair,” Newkirk said, his eyes on Carter as he shuffled the cards. “I set off the blast before you got far enough away. It’s my fault and I’m sorry.”

Carter stared at Newkirk. “No, I tripped over a root. That’s what delayed me getting away. You had nothing to do with it. You did the right thing. I messed up the timing, that’s all. I just have to get used to things being different for now, and it’s gonna take me a while.”

“Maybe they should let you go home.” Peter hated the thought of losing Carter, but he really did want the best for his friend.

“No, I don’t want to leave before everyone else. I want to see the operation through.”

Newkirk nodded. “Course ya do. I’ll help ya however I can, mate. Ya have me word.”

Carter nodded. “You’re a pal.”

When the time came that Carter insisted he was ready to go out on another mission, Newkirk backed him up. “I’ll stick close to him the whole time,” he pledged.

Hogan was hesitant because Dr. Cormier had estimated that Carter had lost about 70% of his hearing in both ears. He knew Carter had no business outside the wire at all. But he also knew Andrew was dying inside. He needed a mission. And so, he relented and allowed the two men to go together on a straightforward information pickup mission. And Hogan sweated bullets the entire time they were gone.

When they got back, Newkirk grinned broadly as he reported to Hogan. “Carter here saved me life, Guv.”

“How did that happen? I sent you to get some simple information. Did you get it?”

“Aye, we did. And on the way back to camp, we ran into a hunter in the woods. One of the guards from camp… ol’ Blitzy. He recognized us right off.” He glanced at Carter and gestured for him to continue the tale.

Carter grinned. “He tried to capture us but we took off in two different directions, like you taught us to. Then Newkirk…”

Peter looked balefully down at his bloodstained shirt. “Then Blitzy shot me in th’ arm.” He waved Hogan’s concern away. “It’s just a scratch, Guv.” Of course, he knew he’d be ordered to see Wilson about it anyway.

“So again, how did Andrew save your life?”

“He tackled Blitzy and knocked th’ rifle outta his hands before he could get another shot off!” Newkirk shrugged. “We tied ‘im up. ‘E’s down in the tunnels now, waitin’ for orders to go to London. Ain’t too happy about it neither, Guv.”

Hogan nodded. “We’ll get on the horn to London and get him out of here. Good work, boys.”

Newkirk elbowed Andrew good-naturedly. When he spoke again, he made sure his friend was looking at him. “I thought I’d have your back when I went out with you. But turns out you had mine all along. Well done, mate.”

The End

#falling for hogan's heroes #hogan's heroes #andrew carter #peter newkirk #robert hogan

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primrosetransport · 10 months

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#Staff Relocation Houghton

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goalhofer · 1 year

Conversation

2022 Seattle Mariners Famous Relations

#30 Ryan Borucki: Son of former Birmingham Barons SS Ray Borucki.

#48 Matthew Boyd: Distant descendant of former Cleveland Indians P the late Bob Feller & former U.S. 1st lady the late Dolley Madison.

#7 Marco Gonzales: Son of former Grand Junction Rockies manager Frank Gonzales.

#61 Riley O'Brien: Grandson of former Milwaukee Braves P & Seattle city counselor Johnny O'Brien and Great-nephew of former Seattle University athletic director the late Eddie O'Brien.

#37 Paul Sewald: Brother of former Buies Creek Astros LF Johnny Sewald.

#33 Justus Sheffield: Brother of Colorado Rockies P Jordan Sheffield.

#40 Andrew Knapp: Son of former Tacoma Rainiers C Mike Knapp and brother of former Sussex County Miners LF Aaron Knapp.

#3 J.P. Crawford: Son of former Toronto Argonauts DB Larry Crawford and cousin of former Los Angeles Dodgers LF & 1501 Certified Entertainment CEO Carl Crawford.

#8 Donovan Walton: Son of Oklahoma State University baseball assistant pitching coach Rob Walton.

#44 Julio Rodríguez: Boyfriend of OL Reign F Jordyn Huitema.

#8 Justin Upton: Brother of former Sacramento River Cats CF Melvin Upton; Jr..

Manager Scott Servais: Nephew of Creighton University baseball head coach Ed Servais.

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princesssarisa · 2 years

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Cinderella September-through-November: The Complete List

*1817 Gioacchino Rossini opera La Cenerentola

*1899 Jules Massenet opera Cendrillon

*1914 Famous Players' silent film

*1922 Lotte Reiniger animated short Aschenputtel

*1934 Betty Boop cartoon short Poor Cinderella

*1940 short Cinderella's Feller

*1945 Sergei Prokofiev ballet

*1947 Russian film Zolushka

*1947 Let's Pretend radio episode

*1949 Mighty Mouse cartoon short The Magic Slipper

*1950 Disney animated film

*1955 film The Glass Slipper

*1955 German film Aschenputtel

*1957 Rodgers and Hammerstein TV musical (Julie Andrews)

*1965 Rodgers and Hammerstein TV musical (Lesley Ann Warren)

*1969 Muppets special Hey, Cinderella!

*1972 Rankin/Bass Festival of Family Classics cartoon episode

*1973 Czech/German film Tři oříšky pro Popelku (Three Wishes for Cinderella)

*1976 film The Slipper and the Rose

*1979 Russian animated short Zolushka

*1979 British stop-motion animated film

*1981 animated short The Tender Tale of Cinderella Penguin

*1983 Fairy Tale Classics anime short

*1985 Faerie Tale Theatre TV series episode

*1986 My Favorite Fairy Tales anime episode

*1989 German film Aschenputtel

*1989 Grimm's Fairy Tale Classics anime episode

*1990 Golden Films animated film

*1994 Jetlag Productions animated film

*1995 Happily Ever After: Fairy Tales for Every Child cartoon episode

*1995 musical A Tale of Cinderella

*1996 Burbank Animation film

*1996 anime series Cinderella Monogatari (The Story of Cinderella)

*1997 Rodgers and Hammerstein TV musical (Brandy)

*1998 film Ever After: A Cinderella Story

*2000 Rodgers and Hammerstein "Enchanted Edition" stage version

*2000 Simsala Grimm episode

*2004 film Ella Enchanted

*2010 German film Aschenputtel from the series Märchenperlen (Fairy Tale Pearls)

*2011 German film Aschenputtel from the series Sechs auf einem Streich (Six at One Blow)

*2013 Rodgers and Hammerstein Broadway revival

*2015 Disney live-action remake

*2015 Alma Deutscher opera

*2021 Andrew Lloyd Webber musical

*2021 Sony/Amazon film

@ariel-seagull-wings, @superkingofpriderock, @notyouraveragejulie, @theancientvaleofsoulmaking, @the-blue-fairie

#cinderella september through november #fairy tale #cinderella #adaptations #complete list #reviews #compilation

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danielvanderlinde · 3 years

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Ur awesome

Oh, anon! Thank you so! You are, too! ❤

Enjoy my RDO boah, Andrew O'Brien the big bad bounty hunter/dastardly bastard, getting face shoved by this little deputy feller, Vernon Thompson. 🥺

@artsyaviator

#red dead online #red dead redemption 2 #red dead fandom #andrew obrien #danielvanderlinde #ask

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dweemeister · 4 years

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2019 Movie Odyssey Award for Best Original Song (final)

*breathes deeply*

TAGGING: @cokwong; @dansmonarbre; @emilylime5; @fredsbarandgrill; @halfwaythruthedark; @ideallaedi; @introspectivemeltdown; @loveless422 (of @classicladiesofcolor administering); @maximiliani; @memetoilet; @mindo80; @monkeysmadeofcheese; @myluckyerror; @nazur; @phendranaedge; @plus-low-overthrow; @shadesofhappy; @stephdgray; @themusicmoviesportsguy; @theybecomestories; @umgeschrieben; @underblackwings; @yellanimal.

And also tagging a few first-timers or those who haven’t done this in a while: @astorytellertothestars; @bitch-genius; @dog-of-ulthar; @ineedanumbrella; @jayb3; @kataka-taka; @nudehearth; @shootingstarvenator; @thethirdman8; @thewolfofelectricavenue; @voicetalentbrendan; and @wehadfacesthen.

This is not the latest we've ever started the final round, but here we go!

For those who participated in the preliminary, I thank you for your time, but we're not done quite yet. The madness has only begun. After a chaotic end to the preliminary round in which contenders crashed out and unheralded underdogs rose in the final hours, who knows who takes this final? For the uninitiated, I have an Oscar-like ceremony on my blog celebrating all the movies of that year’s Movie Odyssey (all the movies I saw for the first time in their entirety) at the year’s end. For the last five years, I have asked family and friends to help out with the Best Original Song category - because in all other categories, you'd be forced to watch entire movies to decide it. This is a musical thank-you to those, who have contributed, in their own ways, to support the Movie Odyssey and me over the last calendar year.

I normally would have known if I would have asked folks to help participate in MOABOS around the end of summer. But due to work commitments, I had no idea whether or not we would be doing this as late as mid-October. I consider it very fortunate we were able to get this off the ground this year - some of you, interestingly enough, look forward to this every year for some strange reason.

As a result of this year's limitations, this is the one of the most monolingual fields we've ever had in a final. But that's not to besmirch the quality of music seen here. In one notable piece of MOABOS trivia, a Vietnamese-language song has reached the final for the first time. A record two songs in the final are from a documentary film (albeit they are from the same documentary).

INSTRUCTIONS Please rank (#1-15) your choices in order. The top ten songs will receive nominations. The tabulation method used in the preliminary round is being used for the final only as the second tiebreaker (the tabulation method that will be used principally for the final - aka "single transferable vote" - is described in the "PS"). There is no minimum or maximum amount of songs you can rank, but because of the nature of single transferable vote, it is highly recommended to rank as many songs as possible, rather than only one or two. Those who rank fewer songs run a greater risk of their ballots being discarded as I am counting the ballots. Again, this is all described in the "PS". Why not implement at a minimum number of songs to rank? Well, I believe in giving you folks as much freedom as possible.

Please consider to the best of your ability: how musically interesting the song is (including and not limited to musical phrasing and orchestration); its lyrics; context within the film (contextual blurbs provided for every entry for those who haven't seen the films); choreography/dance direction (if applicable); and the song's cultural impact/life outside the film (if applicable, and by far the least important factor). Imperfections in audio and video quality may not be used against any song. I encourage you to send in comments and reactions with your rankings - it’s always fun to read reactions to individual songs, and it usually makes the process (for everyone) more enjoyable!

The deadline for submission is Tuesday, December 31 at 7 PM Pacific Time / 5 PM Hawai'i / 6 PM Alaska / 9 PM Central / 10 PM Eastern. If you're across the Atlantic, that's New Year's Day at 3 AM GMT / 4 AM CET / 5 AM EET. There will be no deadline extensions.

The fifteen finalists (to access the below via YouTube playlist, click here... please keep in mind many of these finalists are meant to be watched and listened to):

“Are We Dancing?”, music and lyrics by Richard M. Sherman and Robert B. Sherman, The Happiest Millionaire (1967)

Performed by John Davidson and Leslie Ann Warren

After convincing her father to let her attend boarding school, Cordy Biddle (Warren) meets Angier “Angie” Buchanan Duke (Davidson in his film debut) at a social dance. Cordy, stressing herself too much in believing that she must go out of her way to attract a boy, is pleasantly surprised by Angie’s taking to her. Just before the song, she initially dismisses waltzes as a dance, “for old people” - repeating a line her father said once. The song’s melody is quoted occasionally in the film’s score.

“Crazy World”, music by Henry Mancini, lyrics by Leslie Bricusse, Victor/Victoria (1982)

Performed by Julie Andrews

Victoria Grant (Andrews) is a woman playing a man named “Victor” who is impersonating a woman. Victoria, as Victor, has become the hit vaudeville act of Paris. This is Victoria’s first performance as “Victor” not pretending to be a woman. Is your head spinning yet?

“Detroit”, music and lyrics by Richard M. Sherman and Robert B. Sherman, The Happiest Millionaire

Performed by John Davidson and Lesley Ann Warren

(partial use in film)

Lovebirds Cordy Biddle (Warren) and Angier “Angie” Buchanan Duke (Davidson in his film debut) have been discussing their future together. Angie does not want to inherit his father’s tobacco business - instead wishing to head to Detroit to be a part of the automotive industry (the film is set in 1916, as the city was booming because of the auto industry).

“East Bound and Down”, music and lyrics by Jerry Reed and Dick Feller, Smokey and the Bandit (1977)

Performed by Jerry Reed

This is the theme song for this comedy, which also describes the plot somewhat. Smokey and the Bandit is about two truckers - “Bandit” (Burt Reynolds) and “Snowman” (Reed) - who have been offered $80,000 by a rich Texan to pick up 400 cases of Coors beer from Texarkana, Texas and return to Atlanta within twenty-eight hours. In 1977, Coors was only found in the Western U.S. and transporting it across Southern state lines was illegal (giving Coors a mystique in the Eastern U.S.).

“I Dug a Ditch”, music by Burton Lane, lyrics by Lew Brown and Ralph Freed, Thousands Cheer (1943)

Performed by the Kay Kyser Band, Kathryn Grayson, Georgia Carroll, Harry Babbitt, Sully Mason, M.A. Bogue, and chorus

NOTE: An entirely separate song, “Should I”, is integrated from 3:04-3:36.

Apologies for the text overlaying the video. The second half of Thousands Cheer is essentially an elaborate revue musical performance for American World War II troops in which the film’s initial pretense of attempting a story is entirely dropped. “I Dug a Ditch” is one of the songs appearing in the film’s second half.

“I Wish I Didn’t Love You So”, music and lyrics by Frank Loesser, The Perils of Pauline (1947)

Performed by Betty Hutton

Nominated for the Academy Award for Best Original Song

Based on the life of silent film actress Pearl White (played by Hutton), The Perils of Pauline sees Pearl become a star in silent serial films, garnering worldwide popularity. Complications with Pearl’s engagement and impending wedding/honeymoon with her partner force her to break the engagement and leave the film industry. Much later - far from Hollywood, feeling down - she auditions for a Paris nightclub with this song.

“(I’m Gonna) Love Me Again”, music by Elton John, lyrics by Bernie Taupin, Rocketman (2019)

Performed by Elton John and Taron Egerton

This is the first song played over the end credits of this biopic of Elton John. This is John and Taupin’s (John’s songwriting partner through the 1960s-1990s) first collaboration outside the Sherlock Gnomes series for this decade.

“The Joint Is Really Jumpin’ in Carnegie Hall”, music and lyrics by Roger Edens, Ralph Blane, and Hugh Martin, Thousands Cheer (1943)

Performed by Judy Garland and Jose Iturbi

The second half of Thousands Cheer - where this song is found - is essentially an elaborate revue musical performance for American World War II troops in which the film’s initial pretense of attempting a story is entirely dropped.

“Le Jazz Hot!”, music by Henry Mancini, lyrics by Leslie Bricusse, Victor/Victoria (1982)

Performed by Julie Andrews

Victoria Grant (Andrews) is making her Parisian debut playing a man named “Victor” who is impersonating a woman. The scheme was hatched by her friend, Carroll “Toddy” Todd (Robert Preston) - both of them desperate for money, and Toddy is the only one who knows that “Victor” is Victoria. Preston, Lesley Ann Warren, James Garner, and John Rhys-Davies, and Alex Karras are present in this scene.

“The Next Right Thing”, music and lyrics by Robert Lopez and Kristen Anderson-Lopez, Frozen II (2019)

Performed by Kristen Bell

Anna (Bell) has seemingly lost her friends and her sister at what is the lowest point in the film. Uncertain what to do, she recalls a small piece of advice that leads her forward.

“The Place Where Lost Things Go”, music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, Mary Poppins Returns

(Initial performance) / (reprise)

Performed by Emily Blunt; reprise by Pixie Davies, Nathanael Saleh, and Joel Dawson

Nominated for the Academy Award for Best Original Song

This is a lullaby sung by Mary Poppins (Blunt) to the Banks children, who have lost their mother before the events of the film. The song was inspired by an idea from P.L. Travers’ Mary Poppins novels, in which Poppins takes Jane and Michael Banks (the aunt and father of the Banks children for this film, respectively) to the moon. There, they learn that the dark side of the moon is where things get lost. The song is referenced occasionally in the film’s score.

“The Shady Dame from Seville”, music by Henry Mancini, lyrics by Leslie Bricusse, Victor/Victoria (1982)

(Initial performance) / (reprise to be watched at your own spoiler-y risk)*

Performed by Julie Andrews; reprise by Robert Preston

*watch at your own spoiler-y risk because it gives away the film’s comical musical ending

Victoria Grant (Andrews), after making her Parisian debut playing a man named “Victor” who is impersonating a woman, has become the hit vaudeville act of Paris. This is one of her signature performances. Preston’s reprise - which appears near the film’s conclusion - was done in one take, hence his sweaty and fatigued appearance at the end.

“Suite: Judy Blue Eyes”, music and lyrics by Stephen Stills, Woodstock (1970)

(an excerpt of how this song is framed in the film)

Performed by Crosby, Stills, Nash & Young

Brief Spanish lyrics sung in counterpoint

Directed by Michael Wadleigh, Woodstock was the official documentary film for the eponymous August 1969 music festival. The festival organizers retained film distribution and music recording rights. “Suite: Judy Blue Eyes” refers to Stills’ thoughts towards his imminent breakup with folk singer Judy Collins. This song is composed in the form of a classical music suite (in layman’s terms, it sounds like an ordered collection of separate songs in one).

“Trường Tương Tư”, music and lyrics by Leon Le, Song Lang

Performed by Isaac and Liên Bỉnh Phát

Lyrics in Vietnamese

English translation and context are in the link.

“Woodstock”, music and lyrics by Joni Mitchell, Woodstock

Performed by Crosby, Stills, Nash & Young

This song appears in the end credits to Woodstock - the official documentary film for the eponymous August 1969 musical festival.

The winner is somewhere above. They will join a list that includes the following past winners:

2018: "Love Is a Many-Splendored Thing", Love Is a Many-Splendored Thing (1955)

2017: “Remember Me (Recuérdame)”, Coco (2017)

2016: "Stayin' Alive", Saturday Night Fever (1977)

2015: "Amhrán Na Farraige”, Song of the Sea (2014)

2014: "Rainbow Connection", The Muppet Movie (1979)

2013: “The Gold Diggers’ Song (We’re In the Money)”,Gold Diggers of 1933 (1933)

Go forth and listen! You may submit your responses in any way, as long as they come in before the deadline. I am free to answer any questions about anything you have about the process.

Happy listening, and have a happy holiday season as we conclude this decade (already?)!

TABULATION Like the preliminary... a respondent’s first choice receives 10 points, the second choice receives 9, the third choice receives 8, etc. HOWEVER, this points system is used only for tiebreaker purposes.

The winner is determined by a process called single transferable vote (the Academy Awards uses this method to choose a Best Picture winner, visually represented here - you should really watch this video if the below doesn't make sense... which it probably won't):

All #1 picks from all voters are tabulated. A song needs more than half of all aggregate votes to win (50% of all votes plus one... i.e. if there are thirty respondents, sixteen #1 votes are needed to win on the first count).

If there is no winner after the first count (as is most likely), the song(s) with the fewest #1 votes or points is/are eliminated. Placement will be determined by the tiebreakers described below. Then, we look at the ballots of those who voted for the last-placed song(s). Their votes then go to the highest-remaining and non-eliminated song on their ballot.

This process (in step #2) repeats until one song has secured 50% plus one of all votes. We keep eliminating nominees and transfer votes to the highest-ranked, non-eliminated song on each ballot. NOTE: It is possible after several rounds of counting that respondents who did not entirely fill in their ballots will have wasted their votes at the end of the process. For example, if a person voted the second-to-last place song as their #1, ranked no other songs, and the count has exceeded two rounds, their ballot is discarded (lowering the vote threshold needed to win), and they have no say in which song ultimately is the winner.

A song wins when it reaches more than fifty percent of all #1 and re-distributed votes.

Tiebreakers: 1) first song to receive 50% plus one of all #1 and transferred votes; 2) total points earned; 3) total #1 votes; 4) placement on my ballot; 5) placement on my sister’s ballot; 6) tie declared

#2019 Movie Odyssey Awards

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hillbillyhippiemusicreview · 2 years

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THE RED CLAY STRAYS HAVE BEEN “DOIN’ TIME” WITHIN THE SHACKLES OF THE MUSIC INDUSTRY IN ANTICIPATION OF THEIR MOMENT OF TRUTH

Reviewed by: Lyssa Culbertson

From the Shoals to the shores, the musical roots and future of Alabama are as hardy and bright as the red dirt clay that forms most of the state. Bore in the richness of that magical clay, fueled by the salty air down south around Mobile, and formed somewhere between the styles of rockabilly and classic country with a hearty helping of southern rock and gospel-fed soul, the Red Clay Strays have found their groove, and man....what a groove they’ve got! Consisting of Brandon Coleman on lead vocals/guitar, Drew Nix on vocals/electric guitar/harmonica, Zach Rishel on electric guitar, Andrew Bishop on bass, and John Hall on drums, the band is destined to continue on a path of greatness with such impeccable talent. As someone who grew up in the wrong decade enamored with the likes of Jerry Lee Lewis, Little Richard, Fats Domino, and Elvis, every time I see these guys perform, I’m transported back in time to the heyday of southern music and feel as if I’m where I was always meant to be. Their stage show is as high energy as their sound—and believe me, there’s no way you’ll keep your feet still in their presence. Rock and roll may still be a sin to some, but you can’t help but let these fellers take your spirit over and win. As the Strays would say, #HBYCO...in other words, How ‘Bout Y’all Come On and let me tell you ‘bout their new music?

As they continue to extend their reach and fascinate audiences across the US, to be such a relatively-wildly known band in the Gulf region and Southeast, it is quite impressive the band only has a few offerings of music on streaming platforms yet have amassed the following they have (certainly, the treasure trove of live videos on YouTube has helped fans get their RCS fix and helped to draw in new ones). However—never fear! After recovering from the near career-devastating, dismal wasteland of 2020, the Red Clay Strays have been keeping the roads hot in anticipation of their debut album, Moment of Truth, releasing on April 29th after five years in the making. The album is being funded and brought to life by a crowdfunding campaign featuring some pretty sweet rewards (look for the link at the end of this article)! As the band relayed in their official announcements on social media, they “are a proudly independent band meaning [their] sole backing partners are [their] fans” and the fans have come out in droves with wallets and hearts wide open to support some of the country’s youngest—and finest—talent.

Photo from The Red Clay Strays Facebook

The first single off of the record, “Doin’ Time” was released on January 28th and it doesn’t stray a bit from that quintessential Red Clay Strays sound—in other words, it’s damn good. If you’re familiar with their previous releases and their perfected craft behind “story songs,” as I like to call them, “Doin’ Time” seems like a bit of a continuation from “Good Godly Woman” (which is perfection in a little over two minutes time) and “No Way to Know.” May be a bit of a stretch, but I like my conspiracy theory here that following the character’s search for the meaning of life in “No Way to Know” after royally tickin’ off the ‘ol “Good Godly Woman,” he finally found peace and quiet—in a jail cell, of all places, while “Doin’ Time.” The Strays’ country gospel cover of “Will the Lord Remember Me” could even be worked into this saga, as I’m sure many a nights will be spent in repentance on that cold penitentiary floor. From what I’ve heard thus far, it appears their writing style isn’t full of lyrically heavy verses, bridges, and choruses—honestly, it reminds me much of the stylistic songwriting patterns of the 1950s—yet their sometimes abbreviated use of words/verses is proficient and purposeful because they know how to structure a story both lyrically and sonically to keep listeners’ ears on fire and toes tappin’ without overloading the sonic system with unnecessary verbiage. What I mean by that is they have found a song structure that works for their style and as we say down south, if it ain’t broke—don’t fix it! It’s working and working well.

“Doin’ Time” is a rockin’ little ditty written from the point of view of a criminal having the book thrown at him as he’s admitting to his misdeeds whilst begging for mercy in the same breath. His sentence finds him in the midst of a rowdy chain gang working hard and becoming bloodied in the scorching Texas clay. Two years later, as the song bemoans, he’s in the same shackles for a while more, serving his punishment that he claims fits his crime as he’s seemingly accepted he’ll be there for a while, just doin’ time. Vocally, this tune sounds a bit different than previous releases due to the almost-muted nature of the lead vocals. The technical term escapes me at this moment, though what I *do* know for a fact is that it perfectly captures the essence of the character’s desperate pleading and conflicted feelings as he stands trial and ultimately serves out his time. I may be wrong, but I feel as if it was a very calculated decision to record the song in that manner—which is even more evidence of the band’s musical genius. Musically, the guitar licks are slick and catchy, and the drum beat is to die for. Essentially, the single vibes hard and is pure rock-and-roll. If there’s a rock-and-roll heaven somewhere in the cosmos, I can assure you the late greats are smiling down on the Red Clay Strays and will be rockin’ and rollin’, jivin’ and groovin’ among the clouds when their Moment of Truth finally arrives this April.

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Support the album here:

Listen to the single here:

youtube

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