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justforbooks · 7 months

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The word “great” is somewhat promiscuously applied to actors. But it was undoubtedly deserved by Sir Michael Gambon, who has died aged 82 after suffering from pneumonia.

He had weight, presence, authority, vocal power and a chameleon-like ability to reinvent himself from one role to another. He was a natural for heavyweight classic roles such as Lear and Othello. But what was truly remarkable was Gambon’s interpretative skill in the work of the best contemporary dramatists, including Harold Pinter, Alan Ayckbourn, David Hare, Caryl Churchill and Simon Gray.

Although he was a fine TV and film actor – and forever identified in the popular imagination with Professor Albus Dumbledore in the Harry Potter franchise – the stage was his natural territory. It is also no accident that, in his private life, Gambon was an expert on, and assiduous collector of, machine tools and firearms for, as Peter Hall once said: “Fate gave him genius but he uses it as a craftsman.”

Off-stage, he was also a larger-than-life figure and a superb raconteur: a kind of green-room Falstaff. I have fond memories of an evening in a Turin restaurant in March 2006 on the eve of Pinter’s acceptance of the European Theatre prize. Gambon kept the table in a constant roar, not least with his oft-told tale of auditioning for Laurence Olivier as a young actor in 1963 and cheekily choosing to do a speech from Richard III; but the next night Gambon gave an explosive rendering of Pinter’s poem American Football that threatened to blow the roof off the Turin theatre.

However, Gambon’s bravura was also mixed with a certain modesty. In the summer of 2008 I met him for tea in London and found him eagerly studying the script of Pinter’s No Man’s Land, in which he was scheduled, several months later, to play Hirst. He told me that he had started work on it so soon because he found it difficult to learn lines at his age.

“Sometimes,” he said, “I sleep with a script under my pillow, or just carry it around in my raincoat pocket, in the hope the lines will rub off on me.” I think he was genuine; but with Gambon, one of life’s great leg-pullers, you were never entirely sure.

Gambon achieved greatness without either the formal training or genetic inheritance that are often considered indispensable.

He was born into a working-class Dublin family that had no artistic background; his mother, Mary (nee Hoare), was a seamstress, and his father, Edward, an engineer. When the family settled in Britain after the second world war, the young Gambon went to St Aloysius school for boys, in Somers Town, central London. On leaving at the age of 15 he signed a five-year apprenticeship with Vickers-Armstrongs, leading to a job as a tool-and-die maker. With his mechanical aptitude, he loved the work. But he also discovered a passion for amateur theatre and, having started by building sets, eventually moved into performing. “I want varoom!” he once said. “I thought, Jesus, this is for me.”

With typical chutzpah, he wrote to the Gate theatre in Dublin, creating a fantasy list of roles that he had played in London, including Marchbanks in Shaw’s Candida; in the end, he made his professional debut there in 1962 as the Second Gentleman in Othello. His best decision, however, on returning to London, was to sign up for an improvisational acting class run by William Gaskill at the Royal Court.

Gaskill was about to join the newly formed National Theatre company at the Old Vic and recommended Gambon for an audition: hence the celebrated story of Gambon’s first encounter with Olivier, which ended with the young actor, in his excess of zeal, banging his hand on a nail in an upstage column and bleeding profusely. Far from being the nail in Gambon’s coffin, this led to a productive four years with the National in which he progressed from walk-ons to substantial roles such as that of Swiss Cheese in Gaskill’s revival of Mother Courage.

On Olivier’s advice, however, Gambon left the National in 1967 to hone and pursue his craft at Birmingham rep – a shrewd move that saw him, at the astonishingly early age of 27, playing his first Othello. He moved on later to the Royal Shakespeare Company, and in 1968 made his first foray into television with the leading role in a BBC adventure series called The Borderers.

However, it was through working on another TV series, The Challengers, that he made a contact that was to transform his career. His fellow actor Eric Thompson was moving into directing, and in 1975 was set to do an Ayckbourn trilogy, The Norman Conquests, at the Greenwich theatre. He cast Gambon, against type, as a dithering vet.

He revealed, for the first time, his shape-shifting gifts; and the sight of him, seated at a dinner table on a preposterously low stool with his head barely visible above the table’s edge, remains one of the great comic images of modern theatre.

This led to a highly productive working relationship with Ayckbourn including key roles in Just Between Ourselves (Queen’s theatre, London, 1977) and Sisterly Feelings (National, 1980).

At the same time, Gambon began an association with Gray by taking over, from Alan Bates, the role of the emotionally detached hero in Otherwise Engaged (Queen’s theatre, 1976).

That was directed by Pinter, for whom in 1978 Gambon created the part of Jerry in Betrayal at the National. It was a production beset by problems, including a strike that threatened to kibosh the first night, but Gambon’s mixture of physical power and emotional delicacy marked him out as a natural Pinter actor. That power, however, manifested itself in the 1980s in a series of performances that staked out Gambon’s claim to greatness.

First, in 1980, came Brecht’s Galileo at the National: a superbly triumphant performance that brought out the toughness, obduracy and ravening intellectual curiosity of Brecht’s hero. It was a measure of his breakthrough that, as Gambon returned to his dressing room after the first night, he found the other actors in the National’s internal courtyard were shouting and roaring their approval. Two years later, Gambon returned to the RSC to play both a monumental King Lear and a ravaged Antony opposite Helen Mirren’s Cleopatra.

But arguably the finest of all of Gambon’s 80s performances was his Eddie Carbone in Arthur Miller’s A View from the Bridge, directed by Ayckbourn at the National (1987). It helped that Gambon actually looked like Miller’s longshoreman-hero: big and barrel-chested with muscular forearms, he was plausibly a man who could work the Brooklyn docks.

Gambon also charted Eddie’s complex inner life through precise physical actions. He stabbed a table angrily with a fork on learning that his niece had got a job, let his eyes roam restlessly over a paper as the niece and the immigrant Rodolpho quietly spooned, and buckled visibly at the knees on realising that a fatal phone-call to the authorities had ensnared two other immigrants. In its power and melancholy, this towering performance justified the sobriquet once applied by Ralph Richardson of “the great Gambon”.

When you consider that the decade also saw Gambon playing the psoriasis-ravaged hero of Dennis Potter’s TV series The Singing Detective (1986), you realise his virtuosity and range.

And that became even clearer in 1990 when he played the mild-mannered hero of Ayckbourn’s Man of the Moment (Globe theatre, now Gielgud, London), had another crack at Othello for Ayckbourn in Scarborough and appeared, in 1989, as a romantically fixated espionage agent in Pinter’s TV adaptation of Elizabeth Bowen’s The Heat of the Day: that last performance, alternately sinister and shy, was one of Gambon’s finest for television and deserved a far wider showing.

In later years Gambon successfully balanced his stage career with an amazingly prolific one in film and television. In Hare’s Skylight at the National in 1995 he combined the bulk and weight of a prosperous restaurateur with a feathery lightness – a skipping post-coital dance across the stage with the balletic grace often possessed by heavily built men.

Gambon was equally brilliant as a disgusting, Dickensian, accent-shifting Davies in a revival of Pinter’s The Caretaker (Comedy theatre, 2000), as a perplexed bull of a father in Churchill’s A Number (Royal Court, 2002), as a Lear-like Hamm in Beckett’s Endgame (Albery, 2004) and as a brooding, alcoholic Hirst in Pinter’s No Man’s Land (Duke of York’s, 2008). Even if Gambon’s Falstaff in a 2005 National Theatre production of Henry IV Parts One and Two did not quite match expectations, his work for the theatre revealed an ability to combine volcanic power with psychological depth and physical delicacy.

Ill health and increasing memory problems forced him to retire from stage acting in 2015, but not before he had given memorable performances in two Beckett plays: Krapp’s Last Tape (Duchess, 2010) and All That Fall (Jermyn Street theatre, 2012), where he played, opposite Eileen Atkins, the sightless but stentorian Mr Rooney.

He also continued to work in television and film for as long as possible. He belied the whole notion of the small screen by giving large-scale performances as the black sheep of a big family in Stephen Poliakoff’s Perfect Strangers (2001) and as a reclusive plutocrat in the same writer’s Joe’s Palace (2007).

He was nominated for awards for his performances as Lyndon Johnson in an American TV movie, Path to War (2002), and as Mr Woodhouse in a BBC version of Jane Austen’s Emma (2009). Later TV series included The Casual Vacancy (2015), Fearless (2017) and Little Women (2017).

In film, he had a rich and varied career that ranged from the violent hero of Peter Greenaway’s The Cook, the Thief, His Wife and Her Lover (1989), to a heavyweight mafia boss in Mobsters (1991), the aged Lord Marchmain in Brideshead Revisited (2008), a cantankerous old director in Dustin Hoffman’s Quartet (2012) and the bearded Hogwarts headteacher (whom he privately referred to as “Dumblebore”) in six of the eight Harry Potter films, taking over the role for Harry Potter and the Prisoner of Azkaban (2004) following the death of Richard Harris.

He also provided the narration for the Coen brothers’ Hail, Caesar! (2016) and voiceovers for the two Paddington films (2014 and 2017).

But Gambon brought to everything he did, in life as well as art, enormous gusto, a sense of mischief and a concern with precision: he was almost as happy restoring old firearms as he was working on a new role.

In 1992 he was appointed CBE, and six years later was knighted.

He married Anne Miller in 1962, and they had a son, Fergus. From a subsequent relationship with Philippa Hart, whom he met on the set of Gosford Park, he had two sons, Michael and William.

He is survived by Anne and his three sons.

🔔 Michael Gambon, actor, born 19 October 1940; died 27 September 2023

Daily inspiration. Discover more photos at Just for Books…?

#just for books #Michael Gambon #in memoriam

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gone2soon-rip · 7 months

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SIR MICHAEL GAMBON (1940-Died September 27th 2023,at 82,Pneumonia).Anglo-Irish actor forever remembered by millions of Harry Potter fans as Professor Albus Dumbledore,in the last 6 films of the Harry Potter film franchise.

Gambon started his acting career with Laurence Olivier as one of the original members of the Royal National Theatre. Over his six-decade-long career, he received three Olivier Awards, two Screen Actors Guild Awards, and four BAFTA Awards. In 1998, he was knighted by Queen Elizabeth II for services to drama.

Gambon appeared in many productions of works by William Shakespeare such as Othello, Hamlet, Macbeth and Coriolanus. Gambon was nominated for thirteen Olivier Awards, winning three times for A Chorus of Disapproval (1985), A View from the Bridge (1987), and Man of the Moment (1990). In 1997, Gambon made his Broadway debut in David Hare's Skylight, earning a Tony Award for Best Actor in a Play nomination.

Gambon made his film debut in Othello (1965). Other notable films include The Cook, the Thief, His Wife & Her Lover (1989), The Wings of the Dove (1997), The Insider (1999), Gosford Park (2001), Amazing Grace (2006), The King's Speech (2010), Quartet (2012), and Victoria & Abdul (2017). Gambon also appeared in the Wes Anderson films The Life Aquatic with Steve Zissou (2004), and Fantastic Mr. Fox (2009). Gambon enhanced his stardom through his role of Albus Dumbledore in the Harry Potter film series from 2004 to 2011, replacing Richard Harris following his death in 2002.

For his work on television, he received four BAFTA Awards for The Singing Detective (1986), Wives and Daughters (1999), Longitude (2000), and Perfect Strangers (2001). He also received two Primetime Emmy Award nominations for Path to War (2002) and Emma (2009). Other notable projects include Cranford (2007) and The Casual Vacancy (2015). In 2017, he received the Irish Film & Television Academy Lifetime Achievement Award. In 2020, he was listed at No. 27 on The Irish Times' list of Ireland's greatest film actors.Michael Gambon - Wikipedia

#Sir Michael Gambon #Irish Actors #Anglo Irish Actors #British Actors #Actors #Professor Dumbledore #Albus Dumbledore #Harry Potter #Harry Potter Films #The Singing Detective #The Cook The Thief His Wife and Her Lover #Notable Deaths in September 2023 #Notable Deaths in 2023

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kwebtv · 7 months

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Sir Michael John Gambon CBE (/ˈɡæmbɒn/; October 19, 1940 – September 27, 2023) Film, stage and television actor. Gambon started his acting career with Laurence Olivier as one of the original members of the Royal National Theatre. Over his six-decade-long career, he received three Olivier Awards, two Screen Actors Guild Awards, and four BAFTA Awards. In 1998, he was knighted by Queen Elizabeth II for services to drama. Gambon enhanced his stardom through his role of Albus Dumbledore in the Harry Potter film series from 2004 to 2011, replacing Richard Harris following his death in 2002.

In 1967, he made his television debut in the BBC television adaptation of Much Ado About Nothing as Watchman No. 4. He also appeared in British programmes such as Softly, Softly (1967), and Public Eye (1968). From 1968 to 1970, he featured in the BBC historical series The Borderers as Gavin Kerr. He also had a recurring role in the Canadian series The Challengers (1972). He also appeared in drama anthology series including Play for Today, Play of the Month, and ITV Playhouse.

His craggy looks soon made him into a character actor. For his lead role in Dennis Potter's The Singing Detective (1986) he won his first British Academy Television Award for Best Actor. He starred as detective Inspector Jules Maigret in an ITV adaptation of twelve of Georges Simenon's books. In 1990, he played Jerry in Harold Pinter's Betrayal for BBC Radio 3. In 1991, he starred as Tommy Hanbury in an episode of the ITV series Minder called "Look Who's Coming To Pinner". He also appeared in the BBC serial Wives and Daughters (1999) based on the Victorian novel by the same name by Elizabeth Gaskell. He portrayed Squire Hamley and received his second BAFTA Award nomination and win for Best Actor. (Wikipedia)

IMDB Listing

#Sir Michael Gambon #TV #Obit #Obituary #O2023 #The Singing Detective #Wives and Daughters #Longitude #Emma #Cranford #Path to War #Maigret

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balladofhollisbrown · 5 months

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goodnight it is currently 12 39 am i have seen hearts of fire and listened to bob dylans debut album and beyonces new albu,m. good day no studying for finals thoug. i need to work on that

#personal

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areyoureddieforittaylorsversion · 1 year

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never did this so here's a proper introduction/abt me post <3

ABOUT ME

Theo or Theodore

16 1/2

August Leo

Scorpio rising, Sag moon

Slytherin

INTJ

Autism, ADHD, OCD, anxiety, depression, anorexia

Writer, artist, reader

FANDOMS

It (Seen Ch. One 23 times, Ch. Two 3 times)

Stranger Things (Seen 2 times)

Harry Potter (Read 20+ times)

Grey's Anatomy (Seen 4 times)

Adventure Time (Seen 2+ times)

The Maze Runner (Seen TMR 5 times, read it 3 times, seen TST 3 times, read it 2 times, seen TDC 4 times, read it 3 times, read TKO 2 times, read TFC 3 times)

Twilight (seen 1 time)

One Direction (seen the movie 1 time)

Red, White, & Royal Blue (read 3 times)

Gravity Falls (seen 2 times)

Friends (seen 9 times)

Heartstopper (seen 3 times)

Young Royals (seen 1 time)

I Am Not Okay With This (seen 1 time)

Descendants (seen 3+ times)

Teen Wolf (seen 1 time)

Over The Garden Wall (seen 4+ times)

Luca (seen 6 times)

Sabrina: The Teenage Witch (seen unknown amount of times)

SHIPS

Byler (Will Byers x Mike Wheeler - ST - fandom otp)

Steddie (Steve Harrington x Eddie Munson - ST)

Ronance (Robin Buckley x Nancy Wheeler - ST)

Elmax (El Hopper x Max Mayfield - ST)

Reddie (Richie Tozier x Eddie Kaspbrak - IT - fandom otp)

Stenbrough (Stan Uris x Bill Denbrough - IT)

Stozier (Stan Uris x Richie Tozier - IT)

Hanbrough (Mike Hanlon x Bill Denbrough - IT)

Stanlon (Stan Uris x Mike Hanlon - IT)

Stanlonbrough (Stan Uris x Mike Hanlon x Bill Denbrough - IT)

Kaspbrough (Eddie Kaspbrak x Bill Denbrough - IT)

Bichie (Bill Denbrough x Richie Tozier - IT)

Steddie (Stan Uris x Eddie Kaspbrak - IT)

Wolfstar (Remus Lupin x Sirius Black - HP - fandom otp)

Jegulus (James Potter x Regulus Black - HP)

Drarry (Draco Malfoy x Harry Potter - HP - fandom otp)

Linny (Luna Lovegood x Ginny Weasley - HP)

Scorbus (Scorpius Malfoy x Albus Potter - HP - fandom otp)

Newtmas (Newt x Thomas - TMR - fandom otp)

Schmico (Levi Schmitt x Nico Kim - GA - fandom otp)

Slexie (Mark Sloan x Lexie Grey - GA)

Calzona (Callie Torres x Arizona Robbins - GA)

Japril (Jackson Avery x April Kepner - GA)

Bubbline (Bonibel Bubblegum x Marceline Abadeer - AT - fandom otp)

Larry Stylinson (Louis Tomlinson x Harry Styles - 1D - fandom otp)

Luberto (Luca Paguro x Alberto Scorfano - Luca - fandom otp)

FAVORITE/COMFORT CHARACTERS

Will Byers (ST - fandom fav)

George O'Malley (GA - fandom fav)

Arizona Robbins (GA)

Lexie Grey (GA)

April Kepner (GA)

Ginny Weasley (HP - fandom fav)

Newt (TMR - fandom fav)

Marceline (AT - fandom fav)

Eddie Kaspbrak (IT - fandom fav)

Richie Tozier (IT)

Bill Denbrough (IT)

Stan Uris (IT)

Bill Denbrough (IT)

Alice Cullen (Twilight - fandom fav)

Remus Lupin (HP - fandom fav)

Sirius Black (HP)

Colin Morris-Jones (It's A Sin - fandom fav)

Stanley Barber (IANOWT - fandom fav)

Scorpius Malfoy (HP -fandom fav)

Albus Potter (HP)

Mal Bertha (Descendents - fandom fav)

Stiles Stilinski (TW - fandom fav)

Lydia Martin (TW)

Wirt (OTGW - fandom fav)

Greg (OTGW)

Luca Paguro (Luca - fandom fav)

Sabrina Spellman (STTW)

Salem Saberhagen (STTW - fandom fav)

FAVORITE CELEBRITIES

Taylor Swift (fav album speak now or evermore)

Louis Tomlinson (fav album walls)

Harry Styles (fav album debut)

Niall Horan (fav album flicker)

Liam Payne

Zayn Malik

Ryan Reynolds

Wyatt Oleff

Jaeden Martell

Finn Wolfhard

Jack Dylan Grazer

Sophia Lillis

Noah Schnapp

Chyler Leigh

Dove Cameron

Conan Gray (fav album kid krow)

#abt me #pinned

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gerogerigaogaigar · 1 year

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Stevie Wonder - Music Of My Mind

Fourteen entire albums into his career Stevie Wonder finally renegotiated his contract and began his classic era and the greatest five album streak in musical history. It may lack the smash hits of his other classic era records, but it does have beautiful lengthy soul explorations and the smooth synth sounds that would become a staple of his music for the rest of his career. I could say more but let's be real the, rest of his classic albums are gonna be on this list so I'll see you again when either Fullfillingness' First Finale or Innervision come up.

MC5 - Kick Out The Jams

There is no one birthplace of punk rock. The Sonic's Strychnine? The Trashmen's Surfin' Bird? OR maybe it's MC5's Kick Out The Jams. It's none of these, but for when it came out Kick Out The Jams was the most punk rock song 5hat had ever been written. Heavy distorted guitars, nearly unintelligible lyrics and an attitude that got them banned throughout the US. They have the zero fucks about production quality attitude of their early 60s predecessors but with a heavy raw energy that was brand new for the time. Plus these guys were hardcore leftist anarchists and some of their lyrics reflect this. So that's pretty great.

Gillian Welch - Time (The Revelator)

It's hard to describe the exact way Gillian Welch handles time as a theme on this album. Only one song really goes for a 'can never get back the past' kinda vibe the rest treat time like a place you can visit. A loving detachment might be the right way to put it. When she sings about Elvis the song is about his debut tv appearance, but is sung with all the hopefulness of someone who knew and loved him and all the despair of someone who already knows where he'll end up. In April The 14 Part I and Ruination Day Part II she sing about three different tragedies that happened on April 14, the assassination of Abraham Lincoln, the sinking of the Titanic, and the black Sunday dust storm of the great depression. These events are unrelated, but sung about as if there is some deeper meaning to it all. As if people need to make a connection or else what was the point? If they aren't linked in some magical way then they are just horrible tragedies with no purpose. Welch uses time to make some meaning in these events. It's an album that is stuck in the past from the subject matter to the style. And there are no rose tinted glasses, some things are sweet and some things are horrible but they are all a little distant from us in the present and Gillian Welch captures that distance in a way that I didn't even know was possible.

GZA - Liquid Swords

Every Wu-Tang solo album may have featured every member of the crew, but that does not mean they all sound the same. RZA crafted beats for individual members to suit their aesthetics and my god does that mean this album has kung Fu movie samples. GZAs flow was probably the tightest and punchiest so his album has these striking synth strings and stark beats. And the attention to detail is amazing, for example the most notable vocal samples are in the beats for Living In The World Today and Shadowboxin' the two song featuring Method Man, whose solo work has a lot more vocal samples. It might seem like 8m hyping up RZAs work on this GZA album, but cmon you know that GZA raps good. I'm telling you why this album is as good as all the hip hop nerds say it is.

Arctic Monkeys - AM

I like Arctic Monkeys just fine, but this album just isn't the one. Their first two are great bubbly punk records and the one directly after this nails the Bowie-esque art rock much better than AM does. It's not strictly bad, but I forgot that it was playing and only really perked up after it was over when Spotify started auto playing a track from their first record.

Bruce Springsteen - The Wild, The Innocent & The E Street Shuffle

This is the real start to Springsteen's career. His sophomore release sees him explode into his street fairytale working class poet self. This album sees Springsteen and his E Street Band in their element, writing songs that run between four and a half and ten minutes. Gone are the solo tracks of his debut instead showcasing a full band on every track providing dramatic backing and dynamics like an E Street opera. And let me tell you, this is one of his weaker albums. Springsteen is a beast and always a treat to listen to.

Toots & The Maytals - Funky Kingston

Oh Rolling Stone, how badly you have fucked up. I'm so excited to tell you how ignorant these fuckers are 😈. Funky Kingston is a 1973 album by Toots & the Maytals. The Rolling Stone list gives this 1973 date for the album's release. But what they reviewed seems to be a completely different album. Pressure Drop? Take Me Home, County Roads? Those songs aren't on 1973s Funky Kingston what going on? Well you see in 1975 an album titled Funky Kingston and sporting the same cover art was released for American audiences. That album contained three tracks from the og Funky Kingston, Pressure Drop from The Harder They Come soundtrack, and the rest from In The Dark. This is the album they actually reviewed. They said they reviewed 1973 Funky Kingston but it was actually 1975 Funky Kingston! I'm so sorry Toots Hibbert that your review was just me dunking on Rolling Stone. Listen to Funky Kingston, In The Dark, and The Harder They Come. They're all really good.

Sly & The Family Stone - Greatest Hits

Why don't we get any greatest hits from white artists on this list? Why is it only black music that gets an overview instead of a deep dive? Listen to Stand! and There A Riot Going On. I guess this has some value since Thank You (Falettinme Be Mice Elf Agin) was only released as a single.

The Beatles - Let It Be

So I guess I should reveal to y'all that I am not a hater. I actually like The Beatles so if you wanted to see me roast them well sorry. Plot twist! I'm gonna roast Phil Spector. Yeah this album isn't great, but it is largely a matter of production. This was supposed to be a return to their roots for The Beatles so they hired Phil Spector to produce. Unfortunately by 1970 Spector was an out of touch maniac. He tried to remove every hint of imperfection and wound up throwing orchestra where it didn't belong and generally doing a half assed job. The Long and Winding Road is butchered by the production and honestly Let It Be is overproduced as well. There are a few gems though, I think that I've Got A Feeling is one of their best songs and Two Of Us is super charming. Unfortunately most of the album just falls into mediocrity due to poor production. And I know it's the production because there are multiple pre Spector bootlegs that show how this album should have sounded and they're generally fantastic.

#stevie wonder #mc5 #gillian welch #GZA #arctic monkeys #bruce springsteen #toots and the maytals #sly and the family stone #the beatles #500 album gauntlet

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likeadevils · 10 months

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What would be your answers for the albus as seasons polls you posted? Just out of curiosity!

debut: late spring early summer (i put summer on my poll) specifically the first properly hot day of the year i always find myself listening to debut

fearless: SPRING! i always listen to this around easter (i see how one might say fall but personally i just always find myself listening to it in the spring)

speak now: WINTER!! when there’s blue skies but still cold (which is january for me)

red: fall, but i liked what my earlier anon said about red tv going into early spring

1989: late summer back to school times

reputation: early winter, when it gets super stormy

lover: more summer bops

folklore: late summer— you know when it’s cloudy but still humid and you’re reaaallly getting sick of it being hot? perfect folklore time

evermore: winter. dec 1 specifically

midnights: i haven’t had enough time with midnights yet but voted winter bc i can see it nuzzling between speak now and fearless pretty nicely, like a back to school but for spring semester type vibe

so my yearly schedule goes:

speak now -> fearless -> debut -> lover -> 1989 -> folklore -> red -> reputation -> evermore

#asks*#SORRY FOR NOT ANSWERING THIS FOR SO LONG #i kinda just posted the polls and then got immediately distracted

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whatstruthgottodowithit · 2 years

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The Other Evans Girl [Part Sixty]

Fandom: Harry Potter [Marauder’s Era]

Pairing: Sirius Black/Original Female Character, Sirius Black/Daisy Evans, James Potter/Lily Evans

Characters: Sirius Black, Original Female Character, Daisy Evans, Lily Evans, Remus Lupin, James Potter, Harry Potter, Severus Snape, Minerva McGonagall, Alice Fortescue, Frank Longbottom, Marlene McKinnon, Albus Dumbledore, Voldemort, Peter Pettigrew, Lucius Malfoy, Bellatrix LeStrange, Walburga Black,

Word Count: 3716

Rating: Mature

Summary: Hogwarts is a safe haven, a home for many. But it’s often a place where heartache, love and complex emotions dwell and none know that better than the Marauders. Lily Evans just wants to make it out as a successful witch though the oncoming war and the ongoing advances of James Potter threaten that. Daisy Evans, her twin, has other goals. Join the Evans sister’s as they make their way through Hogwarts, prepare for war and eventually find love.

Tags/ Warnings: My Writing, The Other Evans Girl, Sirius Black Fic, Sirius Black/You, Sirius Black x OFC, OFC, Marauders Fic, Eventual Sirius Black, Sirius Black x Reader Fic, Sirius Black Fic, James Potter is a bit of a dick but we LOVE it, Hogsmeade, Friends, Hate, Love, Angst, Fluff, Kissing, Implied Sex, Potters, Babies, Weddings, Dating, Friends to Loves, Slow Burn, Eventual Sirius and Daisy, Teenage Angst, Insecurities, Fighting, Arguing, Bullying, War, First Wizarding War, Marauders, Marauder’s Era, 1970’s, 1970s Fashion, Canon Character Deaths, Loss of Virginity, Crying, Voldemort, The Other Evans Girl, Marauders Era to war, Multiple Parts, GORE, injuries, harm, fighting, blood, The Potter’s Mansion // Daisy’s Dress // NYE Lily’s Dress // NYE Daisy’s Dress // Lily’s Ring // Daisy’s Ring

Notes: can i say i dont know how ive churned out sixty parts but oh my i love writing this series

LINK TO AO3 // LINK TO PINTEREST // LINK TO ALL PARTS

TAGS - @maeisafangirl@mysteriouslydelicateface

As January rolled into February excitement started to buzz around the school as Valentine's Day was just around the corner. As everyone scrambled to get a date for the Hogsmede weekend that followed Daisy revelled in the fact that she needn’t worry this year. It wasn’t that she cared much in previous years but she was happy that a day all about love presented an ample opportunity for her and Sirius to make their debut as a couple.

Though it seemed that Daisy hadn’t been the only one doing some thinking. Since Lily had laid her revelation at her sister's feet she’d also been thinking over her decision meticulously. Like everything in the girl’s life she had it planned with military precision which is how she came to speak to her sister the Friday night before Hogsmeade.

They were tidying up the attic after a club meeting. Everyone had left bar the boys and those two, though the boys seemed to have no interest in making the room presentable after they’d spent the night practising how to use and stop the oppungo charm a spell Frank had taught them that made objects come to life and attack leaving quite the disarray in their wake.

As the girls gathered the objects that littered the floor the boys were lounging around on the sofas with Peter boasting about how he was sure to defeat everyone in the gobstones tournament the following morning. Daisy listened to him ramble as she placed the last of the books back on the shelf where they belonged. Once she finished she padded gently over to where Lily was sorting items on a table.

‘I’ve put them all away,’ Daisy said. Lily nodded but didn't say anything, ‘maybe I can do the cushions next?’ Again Lily gave a nod though she didn’t seem to be listening, well, not properly, ‘or I might just put them all at the bottom of the astronomy tower? Fling myself off and see if you’ve actually learnt that slowing charm you were on about?’

‘Yeah, okay,’ Lily mumbled as her fingers arranged the quills in the pot she was holding.

‘Okay so you weren’t listening then,’ Daisy grumbled.

‘What?’ Lily said, looking her sister in the eye, ‘oh sorry.’

‘It’s alright. What’s up?’ Daisy asked. Lily bit her lip and glanced past her sister to where the boys were sitting still wrapped up in whatever Peter was telling them.

‘I’ve decided,’ she whispered.

‘Decided what?’ Daisy said all too loudly causing her sister to hush her. Sirius looked up at them and Lily gave him a small smile before looking back at her sister. Sirius dropped his gaze, whatever they were talking about he was out of earshot and if he got up they’d stop talking altogether. Daisy glanced over her shoulder though she couldn’t see the boys from where she was standing but the way Lily continued made her sure they couldn’t hear.

‘About…well you know,’ Lily said.

‘Oh,’ Daisy said quietly.

‘Yeah, and actually,’ she whispered, ‘I need your help.’

‘What do you want me to draw you a diagram?’ Daisy snorted, earning a swat on her arm from her twin.

‘Of course not!’ Lily said in a hushed tone.

‘Then what?’ Daisy asked genuinely intrigued about what her sister might need from her for this.

‘Well we’re going to need somewhere for…well we need to make sure we won’t be disturbed.’

‘And?’

‘And the easiest place is going to be the dormitory,’ she said, ‘obviously.’

‘Still not seeing how this has anything to do with me,’ Daisy said.

‘Well, Peter’s going to be at his gobstones thing. You can handle Sirius but…’

‘You need Remus out of action,’ Daisy said, catching on.

‘Well…yeah,’ Lily said, flushing deep crimson. Daisy giggled, making her sister’s face darken even more before she whispered, ‘so will you help me?’

Daisy watched her for a moment. This decision had put her in quite the tailspin recently but, of course, that had nothing to do with Lily. Her insecurities were hers only, she knew that. And her sister was asking for her help. She couldn’t refuse.

‘Of course I will.’

✵✵✵

As Daisy dressed for breakfast the following morning she couldn’t help but mull over what excuse she was going to use to get Remus out of the way. Lily had made it quite clear that she was to inform no one, not even Sirius, about what they were up to until after the fact. Before she could dwell on it more Lily came out of the bathroom.

‘Oh good you’re up,’ she said, watching as Daisy slipped on her boots.

‘I’ve been up for half an hour,’ Daisy grumbled, ‘and I’ve needed a wee the whole time.’

‘Sorry,’ Lily said apologetically.

‘It’s alright,’ Daisy said, ‘I figured you might be a little long in the bathroom today.’

‘I couldn’t decide on what eyeshadow to wear,’ Lily said nervously. She took a seat on the end of her bed, chewing on her nails as she did so.

‘Lil,’ Daisy said, ‘I can hand on heart tell you that James Potter does not care about what eyeshadow you’ve got on.’

‘I know,’ Lily said. She looked beautiful but effortlessly so. Her pale complexion was a shade darker now due to her foundation giving her a little more colour than usual. Her eyes were dashed with a variety of nude shadows and a slight wing of eyeliner that she never usually wore and her lips were blood red giving a little glam to her otherwise natural look. And her normal outfit of jeans and a T-shirt was gone, replaced by a skirt and a v-necked shirt Daisy was sure Lily had told her was ‘far too low’ to be worn when it had been hers. However, despite her put-together outfit she looked nervous, Daisy could tell.

‘You know you can change your mind right?’ Daisy said, ‘that’s okay.’

‘I know,’ Lily said.

‘No one’s gonna care if you change your mind,’ Daisy said.

‘I know,’ Lily repeated.

‘Are you gonna get rid of that massive weight from your shoulders then?’ Daisy said.

‘Yeah,’ Lily said, ‘I guess I’m just nervous…what if it’s…’

‘Shit?’ Daisy finished earning an eye roll from her sister.

‘I was going to say not what I expected but yeah,’ she said.

‘Well, I suppose it doesn’t really matter?’ Daisy said, ‘I mean surely the good thing about it is that you can practice and get better.’

‘Yeah I suppose,’ Lily giggled.

‘It’s right up your street isn’t it?’

‘What?’

‘I mean it’s just revision,’ Daisy chuckled, ‘and you’re really good at that.’

‘Oh shut up you,’ Lily said standing up and grabbing her bag. Daisy stood too grabbing her bag and coat and said, ‘ready?’

‘As I’ll ever be,’ Lily said.

The two headed down to breakfast where they found all the boys, Frank and Alice sitting at Gryffindor table. Lily slid in beside James and Daisy took a seat opposite her next to Sirius.

‘Morning,’ he smiled at her and his hand slipped under the table and into hers. They still weren’t actively broadcasting their relationship but it felt nice to be doing so in public.

‘Morning,’ she smiled. She leaned forward to grab a couple of slices of toast, frowning inwardly as she had to let go of his hand to butter it. As she did so she heard a cough from Lily who said, not too subtly, ‘so what’s everyone doing today?’

‘Well, I’ve got my gobstones tournament,’ Peter said, shovelling cornflakes into his mouth.

‘And we’re doing something that is not that,’ Sirius chuckled.

‘Me and Frank are headed into Hogsmede,’ Alice said, nudging Frank’s arm. He looked up from the book he was reading and mumbled an ‘oh yeah,’ before immediately going back to reading.

‘What about you Remus?’ Lily asked.

‘Dunno,’ Remus asked, ‘might do some studying in the library. I’m not fit for much today.’

Daisy watched as Lily’s face paled for a second before she threw a glance at James. Daisy realised he must have been up to speed on her sister’s decision though he seemed not to notice his girlfriend’s dilemma until there was a distinct thudding under the table where Daisy had walloped him in the shin. He grunted before he looked at his friend and said, ‘don’t you fancy heading into the village? I mean a brisk walk might do you good.’

‘Yeah,’ Daisy said, ‘Sirius and I were gonna have lunch in the three broomsticks.’

‘We were?’ Sirius asked, his brows knitting together.

‘I thought I’d told you,’ Daisy lied.

‘Oh I’d love to go to the pub today,’ Peter said, his mouth full of cereal.

‘Yeah but if you don’t go to the gobstones tournament they’ll be down to just what? Three other people?’ James chuckled.

‘What do you say Moony?’ Daisy said, leaning into him. He was sitting on her other side as she rested her head against his shoulder looking up at him with her large green eyes.

Remus looked at her. His eyes narrowed as he watched her and then his friends who were also hanging on his decision. Well, apart from Sirius, who seemed to have the same suspicion he did.

‘Alright,’ he said.

‘Yay,’ Daisy said.

‘Well, that sounds like a plan,’ Sirius said.

✵✵✵

It was baltic. The wind whipped through Hogsmeade attacking anyone who dared stand out in it. Unfortunately for Sirius, this meant him. He was trudging through the snow, next to his best mate, watching as his girlfriend walked a fraction ahead of them babbling as they walked. When she had suggested they come to the village he had supposed it wouldn’t be that bad. But he’d imagined cuddling up with her in the three broomsticks. Risking a quick snog in the changing rooms of Madam Malkins. Not this.

Remus seemed to be on the same wavelength. He was dog tired today even though he was mid cycle. All he had wanted to do was spend the day in the library. Away from all the couples. Away from all the in your face, nauseating love. But Daisy had piqued his interest. There was something a foot. He was sure of it. This idea was only reinforced by the fact Lily and James had somehow managed to escape this trip.

‘Dais,’ Sirius grumbled. He was bundled in jeans and a leather jacket, a thin jumper underneath which was doing nothing to protect him from the cold, ‘how much longer are we gonna do this trek for?’

‘Yeah, we’ll be at John O’Groats at this rate,’ Remus chuckled. He stopped walking as did Sirius though Daisy kept walking for a moment before she realised the sound of footsteps behind her had stopped. She turned and smiled at them sheepishly. The boys shared a look.

‘What’s going on?’ Remus asked.

‘What?‘ Daisy asked, feigning ignorance.

‘Oh come on Dais,’ Sirius smirked, ‘do you think we don’t know you’re up to something?’

‘What would I be up to?’ she asked, folding her arms across her chest.

‘I’m not sure,’ Sirius said, walking up beside her and throwing his arm around her shoulder, ‘but it’s definitely something.’

‘I resent the accusation,’ she said, her arms still crossed.

‘Yeah?’ Remus said.

‘Yeah,’ she replied. Remus had a theory and he decided to test it.

‘Well then,’ he said, ‘I doubt you want to spend time with people who would accuse you of such things. Come on Pads, let’s head back to the castle.’

Remus turned on his heel and headed back towards the village.

‘No!’ Daisy said with a little too much urgency which made Remus turn back with a smug smile, ‘I mean…why don’t we just head back to the pub?’

‘Oh we can but you’re going to tell us what’s going on,’ Sirius said as they walked towards Remus. He fell into step with them as they trudged back the way they came. Their footprints were the only one on the snowy track as they were the only ones mad enough to come out in this weather.Daisy sighed.

‘Fine,’ she said, ‘but you’re buying me a butter beer first.’

Once they were back in the three broomsticks, tucked away in the back corner, the boys sat opposite her watching Daisy as she sipped her drink ignoring them. As she put her drink down she seemed to realise they were looking at her.

‘So,’ Sirius said.

‘So,’ Daisy said.

‘Are you going to tell us why you brought us on this wild goose chase?’ Sirius asked.

‘It’s a long story,’ Daisy said.

‘We’ve got time,’ Remus said.

‘ Well it’s not my idea,’ she said, ‘it was-‘

‘-Lily and James,’ the boys said in unison. Daisy smirked, ‘So they’re not as clever as they think they are.’

‘Oh I’m sure Pete has no idea what’s going on,’ Sirius chuckled.

‘Yeah but he wasn’t the problem,’ Daisy said.

‘Problem?’ Remus asked.

‘Yeah,’ she said sheepishly, ‘they sorta needed to be alone.’

‘Well they could’ve just found somewhere private,’ Sirius said, ‘like the astronomy tower eh Dais?’

‘They-‘

‘Didn’t want to get caught,’ Remus said. Sirius looked at him curiously, an expression that grew deeper as Daisy said, ‘yeah.’

‘Hang on, am I missing something?’ Sirius asked.

‘Surely you can figure it out mate,’ Remus said, raising his eyebrows. An icy feeling flooded through Daisy at his words.

‘Figure it out the two of them wanted us out the castle so they could be alone and oh, oh,’ Sirius said, ‘well in Prongs.’

‘Sirius,’ Daisy chastised.

‘What? He’s the one shagging your sister not me,’ Sirius chuckled though he winced as she thumped him on the arm, ‘ow!’

‘She's right mate whatever they get up to behind closed doors and all that,’ Remus said.

‘Hey I wasn’t the one talking about it with my sister,’ Sirius said smugly.

‘That’s different, we're girls,’ Daisy said.

‘Like James won’t tell us everything later,’ Remus said. The three of them laughed as Daisy said, ‘yeah I suppose you’re right. I doubt there’ll be anyone left in our year that doesn’t know by tonight.’

‘Yeah because they’ll all be wondering why James internally combusted,’ Sirius joked, making them all laugh once more. After the laughter died down Remus looked at the pair of them all of a sudden feeling very much like a third wheel.

‘So,’ he started, ‘now that I know to avoid the dorm like the plague I'm okay to be released from being babysat?’

‘Rem, I wasn’t babysitting you,’ Daisy said.

‘No I know,’ he said, ‘but I’ve got stuff to do…and I’m sure the pair of you wouldn’t mind being left alone right?’

‘Oh feel free to bugger off on my account,’ Sirius smirked, earning him a dig in the ribs from Daisy.

‘Don't be daft,’ she said, ‘you can stay with us if you want. We like having you around.’

‘Nah,’ he said, ‘I think the library is calling.’

Daisy wanted to protest but she could see he was determined to leave them. If she was being honest she didn’t want to be alone with Sirius. Her worries from before we’re threatening to creep back in. Even more so now he knew what his friends were up to this afternoon. She nodded allowing him to hug her before he patted Sirius on the shoulder and exited the pub.

‘So,’ Sirius said once he was gone, ‘what now?’

✵✵✵

Since Remus had headed off to the library and all their other friends were occupied Daisy and Sirius decided to head up to the attic out of the way. They’d been up there a couple of hours, listening to music which eventually turned into talking over the music. To her surprise, Daisy’s nerves seemed to disappear when she and Sirius were alone together. She was sitting on the sofa, her legs across his with her back against the arm, babbling away about her muggle studies essay.

He didn’t know how the conversation had gone from talking about Led Zeppelin to muggle studies because in all honesty he hadn’t been listening. He was too busy staring at her. Too busy looking at how her eyes lit up a little when she got in the swing of talking. Too busy noticing just how much she used her hands when she spoke. Too busy looking at her lips, which were chapped from the cold outside but still begging for him to kiss them. So, as she spiralled through her conversation Sirius watched until she paused, noticing him ogling her.

‘What?’ she said.

‘Nothing,’ he said, ‘I just love watching you talk.’

‘Oh,’ she said with a pink tinge rising on her cheeks, ‘you mean you weren’t listening to a word I was saying right?’

‘Oh for sure,’ he said with a wide smile. Daisy smiled back at him. He looked good today though she always thought that. His grey eyes seemed lighter and his hair tousled from where he had pushed it out of his face when walking through the snow. His hand came to her cheek, catching her chin in between his thumb and forefinger as he leaned in and placed a kiss on her lips.

Daisy melted into it, wrapping her arms around his neck as she deepened it. He allowed her to and she swung her legs off of him so she could move into his lap, her legs on either side as her hands knotted in his hair. Sirius groaned a little, causing a tingling sensation to form in Daisy’s lower stomach. His hands were on her hips, dancing under the hem of her shirt, amping that feeling on a little more.

To her surprise, Daisy didn’t stop. All the worries she’d been having didn’t seem to come to the surface now. She moved a little causing a little friction between them which Sirius grunted at. He pulled his mouth off of hers and started kissing down her neck, his fingers going to the hem of her jumper and motioning it up a little. And then she felt it. Hard against her thigh. Sirius. Daisy stopped, her hands no longer moving through his hair and her hips no longer rubbing against him. Sirius didn’t seem to notice for a moment but when he felt her go still he pulled back, a little breathless.

‘What’s the matter?’ he said, looking at her with confusion.

‘Nothing,’ she lied, going back to kiss him. Sirius tilted his face so her kisses dotted along his jaw.

‘Dais,’ he said. His hands hadn’t moved from her hips but he gripped them a little differently forcing her to stop. She looked down at him nervously as he looked back at her expectantly. She sighed and slipped off his lap to sit beside him.

‘Is everything okay?’ he said, ‘I didn’t hurt you or-’

‘No,’ she said, waving him off, ‘of course you didn’t.’

‘Then what is it?’ he asked.

‘It’s nothing…I just…you were…’ she started. A blush crept back onto her face as she nervously played with the fringe on a cushion behind him.

‘I was?’ he asked, his brows knitted together again.

‘A little…excited,’ she said, glancing quickly at his lap and then back at his face.

‘Oh,’ he said, ‘well yeah.’

Daisy wanted the ground to swallow her up. She didn’t know why she was all of a sudden so embarrassed. It was Sirius for god’s sake. She dropped her gaze from his. Sirius’ bemusement turned to worry as he placed a hand on her knee, ‘Dais?’

‘I know I’m being silly,’ she said looking up at him. He was watching her with concern.

‘Silly about what?’ he asked, confused.

‘Well, since Lil told me about…y’know, I’ve been panicking because I’m not Lil. I mean we’re two different people right? We’re not going to, I mean it’s not that I don’t want to, I just, we just,’ she babbled.

‘Sweetheart you’re gonna have to catch me up because I’m not getting-’

‘I don’t want to have sex with you,’ she blurted out. Sirius looked at her for a moment and said, ‘oh.’

‘No,’ she started, ‘I don’t mean it like that.’

‘Well can you tell me what you do mean? Cos I’m still a little lost here,’ he said with a smile which reassured her.

‘Since Lil told me about her and James I’ve been worrying…because I’m not there yet,’ she said, biting her lip.

‘Well that’s okay,’ he said.

‘It’s not that I don’t want to eventually,’ she said, ‘I’m just not…’

‘Ready to jump my bones?’ he laughed.

‘Yeah,’ she said quietly, ‘you don’t mind do you?’

‘Why would I mind?’ he asked.

‘Well you’re a guy,’ she pointed out.

‘Okay, so, I’m not going to pretend I haven’t thought about it,’ he chuckled, ‘but if you’re not ready I’m not going to demand it happens today. Or this week. I’m happy for you to lead.’

‘But, what about…’ she said, dropping her voice again. Sirius watched her expectantly, urging for her to elaborate, ‘I mean you’re not exactly a novice when it comes to girls. I thought you’d be all gung ho.’

‘Dais, you should know by now that you can’t trust everything the Hogwarts rumour mill puts out,’ he said. He moved his arm onto the back of the couch now, leaning in so their heads were almost touching.

‘Huh?’ she said confused, ‘but you’ve dated so many girls.’

‘Dated yeah,’ he said, ‘slept with no.’

‘And Mar?’ she asked. She didn’t know why. She wasn’t even sure she wanted to know what her boyfriend and her best friend had got up to in the time they were together.

‘Fooled around I’ll admit. But we never went all the way,’ he said, dropping his volume a little as he said, ‘I’ve never slept with anyone.’

‘No?’ she said hope evident in her voice.

‘I’ve been busy moping after you for the past year and a half,’ he smirked, ‘believe it or not no one fancies a lad who's busy pining for his best friend.’

‘I do,’ she chuckled, leaning in and giving him a peck on the lips.

‘Good,’ he said, ‘because even if we aren’t shagging there’s no way I wanna stop kissing you.’

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paskvilnet · 2 years

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rec.desky

Koop - Waltz for Koop

Producentská dvojice Magnus Zingmark a Oscar Simonsson z Uppsaly, kteří se na obal svého druhého alba Waltz For Koop nechali s vážnou tváří vyfotit v ženských šatech, reprezentuje současný švédský jazz. S decentním využitím klasických elektronických nástrojů si svou pozitivně a jazzově laděnou směsí zasloužili uznání po celém světě. Svůj dlouhohrající debut Sons Of Koop vydali v roce 1998 a v rámci kampaně byli prezentováni světu jako přátelé zpěvačky Stiny Nordenstam. S křehkou zpěvačkou měla dvojice Koop před třemi lety cosi společného, tehdy byla jejich hudba „tichá“, postavená na elektronických zvukových plochách, rytmicky blízko ke drum‘n‘bassu, občas ozvláštněna křehkými vokály a netradičními samply (např. Claude Debussy). Jemnost a průzračnost jsou základními vlastnostmi i jejich druhého, velice chytlavého alba Waltz For Koop, změnou je však obrat vstříc jazzu, a to přímo prvotřídnímu! (Ačkoli obličeje těch dvou mladíků na obalu jakoby vylučovaly jakoukoli skladatelskou, natož jazzovou zručnost.) Ve většině z pouhých devíti (celková stopáž alba má bohužel necelých 35 minut) skladeb zaujmou nádherné vokály zajímavých hostů: ve svých 15 letech téměř dokonalá Yukimi Nagano, beatník Earl Zinger, okouzlující Cecilia Stalin a jazzová legenda Terry Callier, který si v posledních letech užívá svůj comeback a pečlivě vybírá své spolupracovníky.

Sofa Surfers - Encounters

Bylo by samo sebou zavádějící představovat si, že v Rakousku vzniká jenom útulná lounge music z okolí kultovního dua Peter Kruder a Richard Dorfmeister. Příkladem může být skupina Sofa Surfers, která před krátkým časem vydala své třetí, převážně hip-hopové a zatraceně temné album s názvem Encounters. Historie této vídeňské party se začala psát v roce 1996, o rok později vydali Sofa Surfers své debutové album Transit a do povědomí hudebních fanoušků mimo rodné Rakousko se dostali prostřednictvím remixu Sofa Rockers od Richarda Dorfmeistera. V roce 1999 přišli Sofa Surfers s druhou deskou Cargo, kterou jasně projevili svou úctu k hudebnímu stylu jménem dub a k jejímu nahrávání si přizvali i několik jamajských vokalistů (Singing Bird a Victor Oshioke). Prvky dubu se dají pochopitelně najít i na jejich aktuálním albu, převažuje však hip-hopový rytmus doplněný hutnou basou, místy deprimujícími zvuky a naštvaným rapem. Singl Can I Get A Witness, který právě posloucháte, se liší od zbytku jinak dost syrového alba. Svou náladou má album Encountres daleko k relaxační idylce nebo hip-hopové srandičce, působí naopak dost naštvaně. Zcela jistě proto, že tak Wolfgang Schlögl, Markus Kienzl, Wolfgang Frisch a Michael Holzgruber projevují svou nespokojenost s nástupem xenofóbních populistů ve svém rodném Rakousku. Koneckonců to se není co divit...

The Notwist - Neon Golden

Členové formace The Notwist z Mnichova, kteří se dále věnují několika vedlejším, přesto velmi produktivním, projektům a skládání filmové hudby k celovečerním i krátkometrážním snímkům, patří mezi stálice německé alternativní scény. Od roku 1990, kdy The Notwist vydali pod vlivem postpunkové vlny své debutové album, ušli pořádný kus cesty a soudě podle kvality jejich pátého řadového alba Neon Golden jim dokonale padne fůze moderní experimentální elektroniky a folkového písničkářství, která se v současné době stále více prosazuje. Promyšlené kompozice spojené s vynikající instrumentací zde představují The Notwist jako detailisty: každý zvuk vycházející z kláves nebo sampleru Martina Gretschmanna je přesně odměřen, aby „umělých“ prvků nebylo příliš a aby vzájemně komunikovaly s jemnou kytarou nebo banjem a ještě jemnějším vokálem Markuse Achera, nápaditými bicími Meckiho Messerschmida a instrumentálními aranžemi Michaela Achera (smyčce, dechy, basa). The Notwist nám na své nové desce předkládají skladby, které jsou čisté, samozřejmé, jednoduché (ve smyslu bez zbytečných a zavádějících okras), silně pocitové a nádherně smutné.

Jazzanova - In Between

Názvem své debutové desky nám Jazzanova pravděpodobně naznačují, kde spatřují své místo: na půl cesty mezi jazzem a programovanou taneční hudbou. Což je zcela jistě místo, kam tato berlínská šestice svou směsí jazzových kompozic a jemných breakbeatů patří. Její debutové album překvapivě následovalo až po vydání kolekce remixů vytvořených pro skupiny 4 Hero, Incognito, United Future Organization nebo Iana Pooleyho a další. Respekt mezi příznivci soudobého jazzu si skupina Jazzanova zajistila nejen díky své bohaté remixérské činnosti, ale i vlastní tvorbou. První ze singlů Jazzanovy s názvem Fedime‘s Flight vyšel už před pěti lety a brzy se objevil na několika úspěšných kompilacích, speciálně pro japonský trh byla dokonce sestavena ojedinělá kolekce všech jejich dosud vydaných singlů. Na aktuálním albu In Between se objevuje řada hostujících vokalistů, jejichž výčet je exkluzivní a dává tušit, že Jazzanova nemusí nikoho dvakrát přemlouvat… Na singlu Soon s nimi spolupracoval zpěvák, DJ a velký obdivovatel evropské nu-jazzové scény Vikter Duplaix z Filadelfie. O vokály v dalších skladbách se postarali rapper skupiny MC 900 ft. Jesus Hawkey Fanatic, Ursula Rucker, spolupracovníka legendárního Charlese Minguse Doug Hammond a dvojice Valerie Etienne & Rob Gallagher z kapely Galliano.

#Paskvil #2002 #0212 #rec.desky #Koop #Sofa Surfers #The Notwist #Jazzanova #Katka Kozáková

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cherryflask · 1 month

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Aaron Carpenter Measurements, Bio, Age, Weight, and Height

#Aaron Carpenter

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kpoplrcfiles · 2 months

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[Album] TAN (티에이엔) - seven forever

[Album] TAN (티에이엔) - seven forever TAN is a group that emerged victorious from the intense survival competition "Extreme Debut Wild Idol." In gratitude to the fans who supported them throughout the wild idol program, they are releasing a full-length albu

TAN (티에이엔) – TAN 2nd anniversary (seven forever)Release Date: 2024.03.10Genre: DanceLanguage: Korean TAN is a group that emerged victorious from the intense survival competition “Extreme Debut Wild Idol.” In gratitude to the fans who supported them throughout the wild idol program, they are releasing a full-length album. This album encapsulates the initial passion and sincerity of their debut,…

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#jpop #k-pop #korean #kpop #kpop lrc #kpop lyrics #kpop ost lrc #lrc #lyrics #music #TAN

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lenbryant · 3 months

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Now, in other music industry news...

(LATimes Long Story) Column: Chuck Philips (1952-2024) singlehandedly made music industry journalism better

By Michael HiltzikBusiness Columnist

Chuck Philips

(Ted Roberts / Los Angeles Times)

Few people outside the music industry may know the name Chuck Philips, but few inside the industry will forget it.

As the leading music industry investigative reporter of his generation and a mainstay of Times entertainment coverage for more than a decade, Chuck aimed to force a celebrity-driven corner of journalism into taking seriously how the pursuit of money by industry bigwigs often left the artists themselves at the side of the road.

He may not have entirely succeeded — the coverage of celebrity lives is still a fundamental feature of music writing — but he set a standard that has seldom been matched. Chuck died last month at 71.

“There are two ways to look at investigative reporting in the world of pop music journalism,” says Robert Hilburn, who as The Times’ pop music critic and pop music editor began publishing Chuck’s freelanced stories in the 1980s. “There’s pre-Chuck Philips and post-Chuck Philips. Before Chuck, the coverage, nationally, was mostly timid and sporadic. Chuck turned it into something relentless and uncompromising.”

That’s a global perspective. Here’s a personal perspective, drawn from my working with Chuck on investigations of the music industry in 1998 that won us the Pulitzer Prize: Chuck was the most tenacious, scrupulous and principled journalist I’ve ever known.

There are two ways to look at investigative reporting in the world of pop music journalism. There’s pre-Chuck Philips and post-Chuck Philips.

— Former Times pop music editor Robert Hilburn

I had an elite Ivy League journalism degree and he held a baccalaureate in journalism from Cal State Long Beach and, before joining The Times, had been running a silk-screening business.

After we were paired on our project I stood in awe of his skill at interviewing reluctant subjects, identifying the crux of a tough story, and pursuing it wherever it led, while his rigorous sense of probity and commitment to fairness earned him the trust and respect even of industry executives who knew they were about to be skewered. I learned more from our partnership than I did with anyone else I’ve worked with over a long career.

Hilburn relates that in the early 1980s, he saw the need for a reporter to supplement the reviews and features that made up the bulk of pop coverage with reporting on the business side of the industry.

“There was no place in the budget to hire a reporter,” Hilburn told me, “so I put out the word that I was looking for a free-lance, but the field was so barren that only one person responded.”

It was Chuck Philips, who had “scant experience as a reporter — just a few stories for local music publications. Yet he had an intelligence and desire in our first meeting that stood out. Unable to hire him, I took money allocated for reviews and features to pay him by the story.”

He started with a couple of stories covering a censorship case in Florida that confronted the rap group 2 Live Crew with possible criminal and obscenity charges involving its debut album. “But Chuck didn’t just stop there, he did more than a dozen follow-up stories as new developments arose,” Hilburn said.

Few stories illustrated the compassion and empathy for recording artists that infused Chuck’s work like his coverage of the Milli Vanilli scandal in 1990. Largely forgotten now, the duo of Rob Pilatus and Fabrice Morvan had burst onto the music scene with a 1988 album titled “Girl You Know It’s True.”

The single by that name soared to No. 1 on the Billboard charts. The dreadlocked break dancers, whom Chuck later described as “a sharp-dressing dance duo on the Munich club and fashion-show circuit,” became a worldwide sensation, winning the award for best new artist at the 1989 Grammys.

The truth was that they hadn’t sung a note on the album or on stage, but lip-synced on stage and on videos to tracks laid down by freelance vocalists. They were outed at a news conference by Frank Farian, their own Germany-based producer, who evidently was trying to undercut their insistence on singing on a forthcoming release by destroying their credibility.

“Rob” and “Fab” were showered with vilification and ridicule in the music press. Not in Chuck’s stories, however. He saw clearly that they were the victims in a scam perpetrated by Farian and abetted by what his reporting indicated was the willful blindness, if not the knowing consent, of their American label, Clive Davis’ Arista Records.

A few days after the story broke, the performers granted their first joint interview to Chuck, who showed how they had been ruthlessly manipulated by industry figures who unaccountably escaped with their fortunes and reputations intact. Underlying the fiasco, he wrote, was “the record industry’s myth-making machine built with a recording technology capable of deceit and operated by men who chose to deceive.”

In 1995, The Times finally hired him for its full-time business staff. For Chuck, covering the music industry was not about quick hits or superficial celebrity-driven stories to be turned around in a day or two, but a determined effort to gain the trust of potential sources and infuse them with a sense of responsibility for the integrity of the business.

“Chuck Philips changed my life,” recalls Terri McIntyre, who was executive director of the Los Angeles chapter of the Grammy organization when Chuck and I began investigating the organization, the National Academy of Recording Arts and Sciences, and its CEO, C. Michael Greene. “We became trusted friends as I shared ‘off-the-record’ the horrors of my experience at NARAS and the names of many other individuals he should seek out” for further information, recalls McIntyre, who recently filed a lawsuit alleging she was raped by Greene. (Greene denies her allegations.)

“Chuck’s dedication played a meaningful and significant role in my transition from victim-to-survivor,” McIntyre says. “He doggedly fought for the truth.”

For Chuck, every story involved a long-term investment. He was unfailingly sincere and rigorously honest in his treatment of colleagues and record industry workers, from secretaries to executives. Chuck was one of the most gracious colleagues I ever encountered. As long as we worked together he never forgot my birthday, leaving me CDs with mixes of new music that are still in my collection.

Chuck often took on issues that would not be taken up by the broader press for months, even years. In 1991, working with the late Laurie Becklund, he broke the story of sexual misconduct at three leading record companies and a prominent Los Angeles law firm, unearthing legal settlements and government complaints by secretaries and other women in their offices, divulging damning details and identifying the accused perpetrators by name — a quarter-century before reporting on sexual harassment in the entertainment industry launched the #MeToo movement.

Investigative reporters at other media outlets scurried to follow The Times’ reporting. “Chuck Philips was responsible for bringing sexual harassment in the music industry to a national forum,” Richard D. Barnet and Larry L. Burris observed in a 2001 book on music industry controversies.

In 1994, he reported on accusations about Ticketmaster’s strong-arm tactics to preserve its near-monopoly over ticket sales at major concert venues, focusing in part on a complaint by the Seattle band Pearl Jam that Ticketmaster had pressured concert promoters into canceling dates for a national tour on which the band had tried to cap ticket prices.

In 1999, the late Mark Saylor, then the editor of entertainment coverage in The Times’ business section, was inspired to pair me and Chuck together for an investigation of the music industry. Chuck had unique access to the upper echelons of the industry and I could read a financial report.

But Chuck was the guiding spirit of the project, which began with stories exposing financial irregularities at NARAS, which sponsors the Grammys, under the all-powerful Greene — among them its spending less than 10% of the millions of dollars donated to a Grammy charity on its stated purpose of providing assistance to indigent and ailing musicians. We also reported on settlements of numerous complaints of sexual harassment by female workers at NARAS during Greene’s reign.

Greene kept his job until 2002, when the NARAS board finally ousted him after further sexual harassment cases, many of them relentlessly reported by Philips, came to light.

It must be said that Chuck was ill-served by The Times’ former management, which yielded a bitter breakup that may have contributed to his wish, communicated by his family, that no formal obituary appear, including in The Times.

The inflection point came with his indefatigable reporting on the 1996 murder of Tupac Shakur. The product was a front-page article on March 17, 2008, that traced personal animosity between Tupac and the rap artist known as Biggie Smalls, or Notorious B.I.G., to a 1994 ambush at a New York recording studio at which Tupac had been robbed and pistol-whipped. The fallout from that incident, he reported, contributed to both rappers’ killings.

Chuck later recounted that he had tried to track down everyone who witnessed the1994 assault, visiting witnesses in “prisons across the nation” and in violent neighborhoods in L.A. and New York. His story reported that information “supported Shakur’s claims that associates of music executive Sean “Diddy” Combs orchestrated” the assault; its principal target was the rap music mogul James “Jimmy Henchman” Rosemond, an associate of Combs. It was accompanied by purported FBI reports, known as 302s, of interviews with informants; the documents appeared to support Shakur’s claims, though the 2008 article didn’t hinge on those documents.

Chuck had been tipped to the documents by an associate of Henchman’s, who told him that he had filed the 302s in a lawsuit he had brought in federal court in Florida and that they made a reference to the 1994 assault.

The documents were “privileged” — meaning that because they had been filed in an earlier court case, they could be reported on without legal liability. As it happened, however, they were also fabricated. When the article ran, Chuck did not know he had been steered toward faked documents, though he realized it soon afterward. In the aftermath, he suffered the consequences.

The Times retracted the story and removed it from its website.

Chuck disagreed with the retraction, arguing that the documents had been at best peripheral to his reporting and that the article held water without them — indeed, that he had striven to minimize references to the documents in his original draft but had been overruled by editors.

In any event, his targets exploited the retraction in a concentrated campaign to undermine his credibility. Henchman, as it happens, was sentenced in 2018 to life in prison plus 30 years for ordering the murder of a rap music rival.

A few months after the retraction, Chuck was swept out of The Times in a layoff wave, ending a career as one of the most distinguished staff members in the newspaper’s history.

Chuck spent years defending himself, including via a lengthy first-person accounting in New York’s Village Voice in 2012. The retraction permanently overshadowed his career; he never again was able to secure a full-time reporting job. Now his voice is permanently stilled, but his impact on the way we try to cover entertainment lives on.

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