#i’m bringing back my artistic rendition of him

[zorosdimples]

Kae, so you are telling me that you are not even a tiny itty bitty bit attracted to this:

😂😂😂

THIS is the man that everyone is sick over? couldn’t be me!

#mia i am WEEPING #his ​3 blind mice looking ass #i’m bringing back my artistic rendition of him #the louvre called and there’s currently a bidding war #༄ kae’s mailbox

[wh0reforcoriolanussnow]

a singer!reader where she writes a super sexy song and the fans are going crazy because she's never written a song like that. she goes to some talk shows bc she has to promote the album of the song, and they ask her about it and if its about her boyfriend tom blyth!!!!

Never be like you || Tom Blyth x singer!reader

A/n: lowkey need Gracie to do a cover for this song bc I feel like her voice would suit it sm and I wanna see her do this type of vibe!!

Warnings: fem!reader, swearing

Wc: 719

Tom Blyth x singer!reader au masterlist

“Our next guest, is a Grammy nominee for best new artist, performing her single never be like you for the first time, please welcome Y/n Abrams!” Jimmy Fallon announces as the crowd erupts in cheers. You take the stage, the crowd hushed in anticipation. The spotlight illuminates you, clad in a sultry ensemble that's a departure from your usual style

“What I would do, to take away, this fear of being loved, allegiance to the pain,” Your fingers wrap around the mic as you close your eyes. “Now I’m fucked up, and I’m missing you, He’ll never be like you,” The atmosphere shifted, and you began to sing the sultry lyrics in a way that surprised even your most dedicated fans. The audience was captivated, and whispers of amazement spread like wildfire.

“I’m only human, can’t you see? I made, I made a mistake, please just look me in my face, tell me everything’s okay,” Your hands, usually strumming a guitar, were instead in your hair as you tilt your head back almost in a sexual manner. The crowd, initially unsure how to react, soon becomes entranced by your unexpected venture into this new style.

The song's sensual undertones echoed through the venue, and you felt an electrifying connection with the audience. This style of song was something you’ve never done before. That’s why you really enjoyed producing it. It brought you out of your comfort zone; a deliberate choice to express a different side of yourself.

"How do I make you wanna stay? hate sleeping on my own, missing the way you taste," your voice, rich and alluring, wraps around the lyrics with a sensuality that catches everyone off guard.

"Stop looking at me with those eyes," a smile naturally played on your lips as you delivered that line, intentionally fixing your gaze on the camera, fully aware of Tom's watchful eyes. The lyrics, tailored to hit home with your boyfriend, spoke directly to his captivating deep blue eyes – the kind that always left you spellbound, and no amount of time together could diminish the flutter of nerves they induced.

"like I could disappear and you wouldn't care why, now I'm fucked up and I'm missing you, he'll never be like you," Backstage, Tom can't tear his eyes away. The way you command the stage, blending vulnerability with a newfound confidence, stirs something within him.

He had heard snippets of the song before its release, but experiencing it live brings a visceral intensity he hadn't anticipated. The lyrics, once a private exchange, now echo through the venue, leaving everyone captivated.

As the performance concludes, the audience erupts into applause, their astonishment turning into admiration. Tom approached with a grin, desire in his eyes, expressing his awe at your unexpected and alluring rendition. "That was incredible," he whispers, pulling you into a passionate embrace.

Word spreads like wildfire. Fans, accustomed to your previous style, can't believe the transformation. Social media buzzes with speculation, theories swirling that the song must be about someone special.

In a promotional interview, the host, with a sly grin, asks the question on everyone's mind. "Rumors are circulating that the inspiration behind your latest single is none other than your boyfriend, Tom Blyth. Care to shed some light on that?"

A coy smile played on your lips as you glance at the crowd, then back to the interviewer. "My supporters sure are smart, huh?" You giggle softly to yourself. "But, yes, it is about Tom."

"It's quite different to my usual style, but it was very fun to compose," You smile. The revelation sends shockwaves through your fanbase. Speculation turns into fervent curiosity, and they dissect the lyrics for clues about your relationship with Tom. Social media explodes, and you find yourself at the center of a newfound spotlight.

Tom, for his part, embraces the attention with good humor. During his interviews for "The Ballad of Songbirds and Snakes," fans playfully tease him about being the muse behind your provocative song. He takes it all in stride, admitting with a smile that he's flattered by the attention.

"So, Tom, we've all heard your girlfriend's new song 'Never be like you' and everyone knows it's about you. What are your thoughts on it?" the interviewer inquired, a playful glint in their eyes.

Tom chuckled nervously, a light blush creeping up his cheeks. "Well, it's certainly an interesting experience," he replied with a sheepish smile. "I'm flattered, to be honest. My girl is incredibly talented, and she expresses herself very well through her music, something I admire,"

As he spoke, his castmates, Rachel and Hunter, couldn't help but interject with mischievous grins. "Oh, come on, Tom! 'Interesting experience'? That song is steamy!" Rachel teased, eliciting laughter from Hunter.

Tom rolled his eyes, feigning annoyance. "Alright, alright. Maybe 'interesting' is an understatement. But seriously, I'm incredibly proud of her. She was worried her new style of music not being a hit, but she nailed it."

The banter continued, but beneath the teasing, there was a genuine camaraderie. Tom's supportive words reflected not only his admiration for his girlfriend's artistic expression but also his pride in you.

As your relationship becomes a public fascination, the dynamics of your performances shift. Fans attend your shows not just for your music but to catch glimpses of the chemistry they've read about online. The narrative surrounding your love story becomes intertwined with your artistic identity.

Tom's become a regular at your shows, grinning from ear to ear as he watches you own the stage. Your private affair has gone all public, and now it's like you and him are this dynamic duo everyone's rooting for. The crazy twist in your music style? It's like you cracked open a whole new world for yourself, and at the same time, it's made you and Tom this inseparable couple in the eyes of your fans.

#fanfiction #tom blyth #tom blyth x reader #tom blyth imagine #tom blyth x you #tom blyth fanfiction #tom blyth fluff #tom blyth x singer!reader #tom blyth x gf!reader #rachel zegler #hunter schafer #gracie abrams #singer!reader #social media #social media au #the hunger games #the hunger games the ballad of songbirds & snakes #the ballad of songbirds and snakes #tbosas imagine #tbosas x reader #young coriolanus snow #coriolanus snow imagine #young president snow #coriolanus snow fanfiction #coriolanus snow x reader #coriolanus snow x you #the hunger games fanfiction #coryo snow #coryolanus snow #snow lands on top

[marengogo]

Silver Lining - What If #6: FOR(ever) ↔️ YOU(ng) - Jikook the Musical

Good Morning - by Verbal Jint  [10 Years of Misinterpretation Part I]

[Music is a very big part of my life and I’m MOSTLY INCAPABLE of writing without music, so I just thought I'd share what I am listening to while writing this]

🐺 — 🐺 — 🐺—

Dear Ladies, Gentlemen and Distinguished Enbies, welcome to a one day only “showing” of FOR(ever) ↔️ YOU(ng) - Jikook the Musical. Tonight I shall try my best to narrate a cute little story, which has various songs as centre plot developers; hence a “musical”. Taken individually, all these events may seem absolutely disconnected, and with no relevance to each other. However, as I started to collect them, they turned out to compose quite the neat little story about two boys their love for music and perhaps each other? So grab a snack, and a thin hat everyone, sit, relax and enjoy the show.

SCENE 1: FOR YOU

This story brings us all the way back to almost 8 years ago, to be precise, the year is 2015, the date is August 18 and during BTS’ Japan Official Fan Meeting Undercover Mission in Osaka (this fan meet went on from the 13th to the 20th of August), while playing a game, JM suddenly loses consciousness and falls off stage. He is taken to a hospital immediately and as soon they are explained the situation, Big Hit Entertainment tweets the following:

 TRANSLATION:

The same day, JM himself goes ahead and posts the following

TRANSLATION:

Fans panicked. Obviously VERY LUCKILY FOR ME: I WASN’T AROUND AT THE TIME. As for his members, I am sure they were worried out of their minds, so much so that one particular member would express his relief perhaps at having JM safe and sound back with them, right on their very stage. This member was JK, whom two days later (August 20), on the last day of this event, as they performed "For You", walked right by JM and stopped for a couple of seconds, looking at him while he was singing part of the song’s first verse. For the rest of the song, it would become quite visible how JM couldn’t help but smile (cutely).

SCENE 2: I KNOW

So, even though we do not have an elaborated tale of what all the members must have felt exactly, it is safe to say that JM’s accident had a bit of an effect on JK’s mind. So much so that, a couple of months later, while he was playing around as Romeo & Juliet with JM, on the shoot-set of Season Greetings 2016, JK suddenly “refused” to play with JM because, and I quote:

Let’s fast forward to June 2016, this time we are in Paris, and the boys decide to start a VLIVE just before performing at KCON and, at the beginning of the live, we only have VMIN in sight. They start to talk about RM & JK’s new song “I Know” and, as the two are actually in the room but off camera, Tae asks  bribes JK to sing a bit of the song. We still can’t see JK, but, while Tae looks away JM looks straight into JK’s direction as the latter proceeds to sing

🎶Know you love me, boy

So that I love you🎵

… The expression on JM’s face is priceless the things I’d give to know how JK sang this to JM. ANYWAYS, RM eventually also joins into a funny rendition of the song and when they are done, VMIN resumes talking to ARMY and though we will never know for sure what caused it, perhaps JK’s expression, or the lyrics, or the fact that it was JK or all things together, or none of the above, BUT JM did stumble his way through trying to describe the song, in the words of Tae, JM suddenly seemed to be a bit “nervous” almost as if someone had suddenly serenaded him out of nowhere.

Another example at JM being flustered actually happened a month earlier to the Paris trip, at the ISAC where the Tannies needed to sing a song called Hand in Hand and while they are practising (at minute 0:57) I believe that JK might have change the lyrics to “promise me” but don’t quote me on that!, which made JM react in that way Joon and Hobi on the other hand; LOOOL 😬.

Basically, 10 months had effectively passed since the “For You Incident-Serenade” and it feels as if JK might have caught on to the fact that the easiest way to get a flustered reaction from JM is to sing to him. Perhaps he had to sing at him a couple more times off camera, in order to confirm this theory AS ALWAYS; WE WILL NEVER KNOW but from this moment on, whenever he’d find a chance to, it would seem like JK would take the topic at hand and find a way to romantically sing it at JM.

SCENE 3: A DAY LONG AGO

It is finally February 2017, and love isn’t the only thing in the air, in fact, on paper actually, on February 7, JK graduates high school. He is visibly hella excited, and though he goes to the ceremony alone, all his members show up, and afterwards, on their way to the restaurant, VMINKOOK share a ride.  For the most part jikook are doing most of the talking and at a point in which JM is talking a very eager looking JK suddenly starts singing, at JM, the beginning lyrics from A day Long Ago (오래전 그날) by Yoon Jong Shin.

AND, For the very first time on-camera, JM does his very best not to react. We can still see the slight hint of a smile, but for the most part, he’s successfully brushed it off and he is very quick at keeping the topic of discussion on track.

This might have thrown off someone like your-truly, but JK? No, the boy likes a good challenge. JK nor was discouraged, nor did he try to force JM to listen to him, he just went along with JM. We are talking about an almost 20 year old boy who, for the greater part of 2016 (that is when he turned 19, which is the age you become an adult in Korea) has been trying his mighty best to have his hyungs, and JM in particular, understand that he is now an adult and that he has been for quite some time. But hyungs gonna hyung, immaright? Sorry JK…

SCENE 4: BEST OF ME

Now, I don’t know what happened in the months between JK’s graduation and the 1st of October (2017), but there seems to be no on-camera attempt of JK even attempting to sing at JM, in fact, if anything, JK has been trying to appeal in different ways. For example, JM-Encyclopedia JK makes an appearance, or I’d rather not call you hyung makes a strong comeback. Regardless, for the first time, at the Fan Meet in Goyang (1st October, 2017)  JM is singing at JK lyrics from the “Best of Me” where he substitutes the word heaven (cheonkook) with Jungkook (he would do it again on episode 28 of RUN BTS, which would be broadcasted on November 7, 2017, but telling from the hairstyles it was probably filmed around the same period as the Goyang Fan Meet).

We are now halfway through the movie, and though our heroes have gone through a series of back-and-forths, they haven’t really encountered any “conflicts” per say; namean? Sure, JM is the one doing the singing now, because maybe he is trying to get JK’s attention. Had he lost said attention? Had something happened between the two of them? Or had their relationship evolved to a point in which he was just trying to return some of the musical energy he’d received thus far? WE WILL NEVER KNOW unless they tell us that is. But what we know is that a good 30 days after this, JK would take JM on what we now know to be, thanks to Beyond The Story, a healing trip to Tokyo, which would give birth to the first and most famous gcf: GCF in TOKYO. 

SCENE 5: BOY WITH LUV

Upon returning from Japan the two of them feel closer. It looks like they had the time of their life and they can’t seem to be able to talk about anything else. Basically they appear to be quite smitten with this shared experience, and perhaps, with each other? In addition, while still being the maknae, JK is sort of shifting into being more of a protective entity for JM and though JM tries his best to keep him in that designated maknae-slot, he also can’t help but indulge in the “offered protection”. 

They are now spending a lot more time together and this fact is not lost on some people in their environment, regardless of whether said people want to admit it or not. Particularly in 2018 (where, before even getting to the infamous Nampyeon-Namchin December )

we are in Hamilton, September 22nd, on their Love Yourself Tour. As they perform Attack on Titan, during the song’s break, JK pulls a For You Serenade-typa thing, but this is not 2015 and JK is no longer 17. This time, he focuses on JM for the whole part, hair pushed back and all, and for the first time in a while JM is visibly flustered, he silently giggles, turns towards ARMY, and also pushes his hair back. JK’s satisfied expression as he got JM’s attention says it all.

Yeah, this is not the same JK. He is not a boy who is relieved to see his bandmate's being well and alive, or trying to use the situation to his advantage in an awkwards manner. NO. This is a 21 year old, who’s just come back from the trip of a lifetime, this right here, seems to me, to be a boy with luv. 

Speaking of which, fast-forward a couple of months, May 21, 2019, they are in California, and as they are getting ready to perform on The Voice, Memories 2019 will show us how, for the first time JK substitutes words of a song while singing at JM. He substitutes the word “Love is” with “Jimin” while singing Boy With Luv at JM, who acts like he is ignoring him completely but actually proceeds to sing along. Who knew there was an art in serenading and beginning serenaded? Jikook circa 2015 🤡

Indeed, there is nothing stronger than a boy with luv, let’s not forget that a couple of weeks prior to this (May 5th to be exact) Rose Bowl-gate did happen. Well, up to this point, all seems very flowery and very peachy; what could go wrong, right?.

SCENE 6: THE TRUTH UNTOLD

AND, here we are, the part right before the end of the “musical”. We all know some sort of “big conflict is coming” and at this point some might just turn off the movie and leave it at a happy place but the majority will probably just brave it through to this day I start watching Baz Luhrman’s Romeo + Juliet and stop the movie right before the part whenthey take the fake poison, nobody dies in my Romeo + Juliet, thank you, bye! . Let’s brave it through.

Things are going quite well in Jikook world. The Tannies were given a break for the first time ever and thought JM left to go explore the world, he made sure to travel all the way back to Seoul to spend JK’s birthday with him, just to then travel off again; dedication. BTS then takes off to go and shoot Bon Voyage 4, and amongst the many things JK goes up a mountain and comes down with snow for JM; devotion. The two of them are living life, all while diligently performing touring as well.

Thus comes the end of the Speak Yourself tour, Seoul, October 26, 2019. The vocal line performs The Truth Untold and it happens, not only do JK and JM turn to face each other as they sing the last part of the song, but they also change “And” to “But”.

Jikookers who notice are left speechless, but jikookers weren’t the only people who noticed. That and a series of “jikook moments” throughout 26th-29th of October, made October 30, 2019 quickly roll by and the following happens:

I can’t even imagine what it must have felt to have experienced THAT. To be honest I don’t even want to think about it, but then actually is more like “I can’t believe they actually fucking did that…”. BUT, guess who won the IDGAF war?:

JIKOOK

I bet many thought jikook would perhaps “tone it down”, but they kept being themselves. They kept being as affectionate, annoying, close and “flirty” as per usual, I mean some time in 2020 we got 👇🏾

So yeah, I suppose, love will always win.

SCENE 7: GOOD MORNING

It’s now 2023. All the boys are getting ready to go to MS, as a result, they are giving it their all working on solo projects. Jikook has finally managed to become a bit more private, and this isn’t as a consequence to what happened in 2019 (if not we wouldn’t have had that hickey-incident). A lot has happened since then, but I believe that, perhaps, as things got more serious, and as they got older, their relationship naturally progressed into something more mature, personal and deeper in significance. For example JM associating JK with the song Young Forever

*The writing in the shoe where JM is sticking his tongue out says Jeon Jungkook.

a song that holds a very special place in JM’s heart; tattoo-worthy special. 

There is that, the adult side … Aaaand then there is also JK & JM quietly spending 4 days together in NYC/CT, in the midst of JK’s debut (perhaps getting content ready?) and there is also JK half naked in bed trying to bait JM into doing a live with him and starting off the bat with singing at JM the initial lyrics from Good Morning by Verbal Jint.

🎶Good morning – that’s what I texted you

I think I’m into you, it’s dangerous 🎵

… I suppose old habits die hard.

THE END

Always respectfully yours 💜🫰🏾

Marengo.

DELETED SCENES:

THROUGH THE NIGHT by IU

MAKE IT RIGHT by BTS

DAY vers.

NIGHT vers.

ROLLIN’ by BRAVE GIRLS:

#Spotify #Youtube #SoundCloud #Marengo's Silver World #jikook #jikook the Musical

[deancaspinefest]

West

Author: Desirae | Artist: dolgoyangi Posting on Sunday March 19

When Dean’s grief is loud enough to wake him in The Empty, the entity casts Castiel out, but not without a price. He comes to in a barn in Pontiac, Illinois, with no memory of who or what he is. With nothing but an initial on the back of a photograph, and his heart’s instinct telling him to head west, Castiel begins his journey of self-discovery. Dean is a broken shell. Rather than live under the pitying and concerned gaze of his brother and Eileen, Dean decided it was time to move out of the bunker. With Jody’s help, Dean moves into a small lake house just outside of Sioux Falls, where he can mourn in peace and in his own time. Dean is determined to be better for Cas, even if it’s too little too late. Little does Dean know that it is never too late, as the Cas in Dean’s dreams is doing everything he can, to find his way home.

Keep reading for a sneak preview!

Castiel staggered on, waiting for the entity to appear, to no avail. “What’s the matter, Mcfly?” Castiel taunted, pulling one of the last movies he’d watched with Dean in the Dean Cave to the forefront of his mind. “Are you chicken?” Unlike Marty, the entity did not take the bait, so Castiel changed tactics. He started to sing out loud, going through every song on the treasured mixtape he had received from Dean. His gift. Time ceased to exist again as Castiel continued his solo serenade. Punctuated by random spikes of anguish from Dean, he didn’t let it deter him; Castiel only sang louder. It was on his 1,337th rendition of Ramble On when it happened. A movement in the air akin to the ripple of his wings. Then, from behind him, that voice: “What is it about you, hmm? “ Castiel whirled around, a triumphant feeling rising inside of him as the entity stood before him, a mirror image but for the manic gleam in the entity’s eyes. “What makes you so special that you can’t just stay asleep?” “Are you not enjoying my one-man show?” Castiel quipped back. “You could have saved yourself the headache if you had come as soon as I awoke.” The entity walked a slow circle around him, studying Castiel and finding him befuddling. “Everyone is finally asleep again, yet you. You are like a toy with a broken voice box. Going off off off when you should be SILENT!” it yelled the word, and Castiel yelled back. “Then throw me out! I’m broken, it’s true. I’m shattered like a vase, and you’ll never put each individual piece of me back together again. I’ll be sharp, broken glass that you constantly step on, making you bleed and scream until you sweep me away.” Castiel stared down the twin version of himself, not afraid but determined. He was getting out. “Is it worth it? Having me here? Is your pride worth your eternal peace?” The entity lifted his chin, a light illuminating his unbalanced gaze, and a slow smile rolled across his stolen face. “You’re right. It isn’t, but if you think I’m going to make it easy on you to get back to him, then you weren’t paying attention,” before Castiel could say anything, the entity placed his hand on his forehead. He felt power, electric, begin to pulse through him. “I’ll send you back, trenchcoat angel,” the entity mocked as Castiel stood, frozen and tingling, a scream trapped in his throat. “Good luck following your foolish heart. If you can remember it.” Castiel knew at that moment what the entity meant, knew it was futile to try and fight it, yet it didn’t stop him from closing his eyes. It didn’t stop him from bringing his love's face to his mind, his eyes like autumn-colored leaves among a blanket of golden freckles. Castiel held his name in his heart, as he chanted it over and over, a litany; Dean, Dean, Dean, De— There was a flash of light bright as the sun, even from behind closed lids. The last thing Castiel heard was his name, a sorrowful cry of Cas, whispering across his mind.

 [continue reading on Ao3 on Sunday March 19]

#Destiel Fic #Destiel Art #Destiel Fanworks #DeanCas Fic #DeanCas Art #DeanCas Fanworks #Pinefest Previews #2023 Dean/Cas Pinefest #Author: Desirae #Artist: dolgoyangi #Canon finale fix-it #profound bond fic #angst with a happy ending

[sweetdreamsjeff]

Jeff Buckley: The Lost Interview

In this previously unpublished conversation from 1994, captured just days before the release of ‘Grace,’ the mythic singer-songwriter pushes through self-doubt, professes his undying love for the Smiths and New York City, and interprets a dream wherein he critiqued a serial killer’s photography. 

July 21, 2022 by Tony Gervino

In August of 1994, I interviewed the singer-songwriter Jeff Buckley for over an hour at the New York offices of Columbia Records. Other than pulling a few quotes for a regional music newspaper profile I wrote at the time, this conversation went unused. I put the recording in a box in my closet, where it remained for a quarter-century.

I went back over the transcript a couple of years ago and realized that our conversation offered a rare snapshot of the most pivotal moment in Buckley’s too-brief career. He hadn’t yet sat for many interviews and was trying to figure out his own narrative, just before he was to leave on a national tour that would make such quiet, thoughtful introspection a luxury.

The son of folk visionary Tim Buckley, he had made his mark in New York City as a solo artist in 1993, performing a suite of original songs and genre-spanning covers with only his guitar and multi-octave vocal range. The buzz didn’t really build; it seemed as if one day no one in the city’s music scene knew who Jeff Buckley was, and the next, everyone knew. 

Prior to entering the studio to record his landmark debut album, Grace, which featured his most successful single, “Last Goodbye,” as well as his transcendent rendition of Leonard Cohen’s “Hallelujah,” Buckley mothballed his troubadour set. To help bring dimension to the music swimming around in his head, he recruited the collaborative working band of guitarist Michael Tighe, bassist Mick Grondahl and drummer Matt Johnson. He wanted his solo album to sound big, ambitious and genre-slippery as he headed to Bearsville Studios in Woodstock, N.Y.

Even though our meeting was less than two weeks before the album release, Buckley was still tinkering with the mixes on Grace, tormenting producer Andy Wallace with sonic flourishes and rewritten bridges, and hoping to squeeze every bit of inspiration out of himself before the tape stopped rolling. In the pre-streaming world, this was an unheard-of high-wire act for a debut artist. But for a young musician who was signed to Columbia Records after a prolonged bidding war, it indicated a bit of acquiescence on the label’s part. From what they’d seen of him, Buckley was a can’t-miss artist. He just needed time, which, tragically, he was ultimately denied. Jeff Buckley drowned in Memphis in May of 1997, just 30 years old. 

I’ve edited this interview for length and clarity and removed some passages where I thought Buckley’s sarcasm could be misinterpreted, or where it spun off into tangents that ended with Buckley impersonating everyone from Paul McCartney to the French poet Baudelaire. He had the nervous energy of someone about to embark on a long journey, uncertain of its destination, and I wanted to ensure his answers would properly reflect not just his wit but his wisdom. ***** How does it feel to have to do interviews?

Well, at the outset I guess I figured why would anybody care? But I’m smart enough to know that people would want to talk about my music. I just didn’t think anyone would for a publication. But at this point the fatigue hasn’t set in, and no question is a stupid one. It’s still early.

[laughs] Mainly it’s helpful because I’m getting some ideas out about exactly what I think about some things. And the important thing in doing interviews is not to have any pat answers. That would make it unenjoyable for me. Like a … a murder suspect or something, in terms of having your story straight. Have you finished mixing the new album? No, I have one last day in the studio — one last gasp of creative breath before I have to go away. I’m totally pissed. Absolutely.

Did you write in the studio, or did you go in with the songs ready?

One of them was completely organized in the studio. But that was still prepared beforehand. A lot of stuff we’d done at the last minute because I was trying to get the right people to play with, and it took a while before I found them. 

But that was only three weeks before I’d gone up to Woodstock to record and we hadn’t known each other that long, and the band material hadn’t developed as much. Some things were completely crystallized, and some things needed care, and they got it. I’m still not satisfied.

Let’s see: I get to go into the studio on Wednesday, the day before I leave and the night after I perform at [defunct NYC club] Wetlands. So I have one, two, three, four, five precious days to [work on the music], along with all the other stuff I have to do. I have to shoot some pictures, possibly for the album cover. Then at night I’m free to get these ideas together, and I’ll still have one last shot on two songs in particular. The producer [Andy Wallace] doesn’t even know what I want to do to this one song. [laughs] He’ll be horrified.

Have you played it out?

Uh-huh. There are just things I want to crystallize about it.

Is figuring songs out onstage a conscious effort on your part to fly or fail?

Yeah, because I love flying so much. But, really, it’s still a kind of discipline. I guess it’s an engagement. It’s not like having “song 1 to song 6 and then a talk.” I don’t know anybody who really does that. I know a lot of performers talk about not being so structured. … Sometimes you can see bands that have a set of songs, and that shit is dead. That … shit … is … dead.

When I perform, I’m working off rhythms that are happening all over the place, real or imagined, and it’s interactive. It’s got a lot of detail to it, so I can’t afford to tie it up in a noose, and put it in a costume that doesn’t belong on me. So yeah, it’s free but it has its own logic, and sometimes it completely falls flat on its face. But it’s worth the fall, sometimes. Because that’s life.

To me it makes sense to do things in that manner, because that’s really just the way life is when you step out of it and see that, like, your car has a flat and somebody smashed in your windshield and then, shit, you’re walking home and all of a sudden you run into somebody that turns out to be your favorite person for the rest of your life. It’s always … unfolding. You just have to recognize it, I guess. And that’s my philosophy, that I haven’t really thought about until you asked me.

Have you been a solo performer out of desire or necessity?

Both. I did it to earn money to pay rent in the place I was staying, and bills, and my horrible CD habit, and failing miserably all the time, always playing for tips and always just getting by — by the skin of my teeth.

To get this sound in order, you can have a path laid out in front of you, but if you don’t have the vehicle to go down the road you’ll never get to where you want to go. So I guess I was building the parts piece by piece or going through different forms, reforming them and trying out different ideas and songs.

How long have you been building these parts?  

Some of them I wrote when I was 18 or 19, and some of them I wrote weeks ago, and some of them I’m still writing. [laughs] The rest of this album is kind of a purging, because the rest of the albums ain’t gonna happen like this. [points to chest] You’ll never see this person again.

Who and what are you going to become, Jeff? 

I don’t know, just something deeper. Nothing alien, just something deeper. I’m just not satisfied. I’m really, horribly unsatisfied. Cause I kind of got an idea of where I want this thing to go. It’s still gonna be songs. I think about deepening the work that I do, and other problems I try to solve, like, “If I go to see this band in a loft, or if I went to see this band in a theater, and I wanted to be very, very, very enchanted and very engaged and maybe even physically engaged to where I’m dancing or where I’m moshing, what would that sound like? If I wanted to be cradled like a baby or smashed around like a fucking Army sergeant, what would that sound like?” I daydream all the time about it. And that’s sort of what I work toward. It’s more of an intimate thing.

In America the rock band is not an intimate thing, but in America soul bands are very intimate and blues bands are very intimate, like way back in the day, when people who invented blues were doing it. It’s all very interdependent and it’s all very … people had to listen to make the music. And it comes around in a lot of different ways. Things I’m doing now are pretty old-fashioned: I’m going on tour to little places to play small cafés. [He lays his itinerary out in front of us.]

What do you expect the reaction to be? You play New York City and, by now, the people here know your deal, but there are some cities where they’re not going to know.

That’s OK.

Will you tailor your performance to different tour stops? Does it change the way you perform?

Every time I perform it’s different.  

How long have you been in New York City?

Three years. But I’ll always be here. I’ll always live here.

What is it about New York?

Everything. You know all the clichés: It’s the electricity, it’s the creativity, it’s the motion. It’s the availability of everything at any moment, which creates a complete, innate logic to the place. It’s like, there’s no reason why I shouldn’t have this now. There’s no reason I shouldn’t have the best library in the country, and there’s no reason why the finest Qawwali singer in all of Pakistan shouldn’t come to my neighborhood and I’ll go see him, and there’s no reason that Bob Dylan shouldn’t show up at the Supper Club. 

There’s no reason that I can’t do this fucking amazing shit. And if you have a certain amount of self-esteem, it’s the perfect place because there’s so much. It’s majestic and it’s the cesspool of America. And there’s amazing poetry in everything. There are amazing poets everywhere, and some real horrible mediocrity, and an equal amount of pageantry. There’s also a community of people that have been left with nothing but their ability to put on a show, no matter what it is — whether it’s a novel or a performance reading on Monday night at St. Mark’s Church for 20 minutes. Where do you do the bulk of your writing?

Everywhere. You know what? Mostly it’s in 24-hour diners, on too much coffee. That’s an old Los Angeles thing.

How much does the location affect the writing?

To me music is about time and place and the way that it affects you. There’s just something about it. There’s just some spirit that somebody conjures up and then it floats out at you and helps you or hinders you throughout your life. It’s either Handel’s Messiah or it’s “All Out of Love” by Air Supply.

Music is just fucking insane. It’s everything. Music is like this: It’s always seemed to me to be one of the direct descendants of the thing in the universe that’s making everything work. It’s like the direct child of … life, [of] what being “people” is all about. It’s incredibly human but it touches things that are around us anyway. [pauses, then quietly] It’s hard to explain.

Give it a shot.

It gets into your blood. It could be [the Ohio Express’] “Yummy Yummy Yummy” or whatever. It gets in. It’s not like paintings and it’s not like sculptures, although those are really amazing and powerful. But I identify with music most.

And is live music the next degree of intensity?  

Oh yeah, if they’re singing to me. You never hear it again, but you never forget it. I mean, you never forget it. It’s like the first time your mother cries in front of you. But I like making [music] and … I want the music to live live, even be written live, so it’s always forming, it’s ever unfolding. 

The king of improvisation is [the late Qawwali singer] Nusrat Fateh Ali Khan — the most I’ve ever been filled with any performer’s energy. I have over $500 of his stuff. And I never got to see Keith Jarrett, but there was a time when he was my big hero for the same reason. Big, huge improvisation. Improvisation is something that I identify with.

Which of your new songs is your favorite? Is there one that you can’t wait to get to in your live set?

Not yet. I give each song pretty much the same attention, and I have the same reservations and the same carefulness about making sure I bring out its best. No favorites.

What’s a song by another artist that you wish you’d written, that completely devastates you?  

Most of Nina Simone’s songs completely devastate me, although she didn’t write [most of] them. A lot of things that Dylan did are so impressionistic, even though his originals are supposed to be folky. Like “Sad-Eyed Lady of the Lowlands”: If I was a woman and he sang that to me, I’d be like, “Whatever you want, Bob. You want casual sex whenever you want it and still be with your wife? I don’t care.”

I’d like to write something like “Moanin’ for My Baby” by Howlin’ Wolf, and I’d also like to write something like [Gerry and the Pacemakers’] “You’ll Never Walk Alone.” I have schoolgirl crushes on a lot of songs that never seem to go away. Lots of Cocteau Twins. That’s somebody I got to tell exactly what I thought of them.

Where were they playing?

In Los Angeles, a long time ago on the Heaven or Las Vegas tour. I’m immensely in love with their originality, their shyness. … But … um … the Smiths! [stands up abruptly, then sits back down] I wish I’d written half the fucking Smiths catalog. There are so many: “I Know It’s Over”; I wish I’d written “How Soon Is Now?” I wish I’d written “Holidays in the Sun” by the Sex Pistols. I could go on forever, and I know you don’t have forever.

Maybe sleep on it. I’m curious, do you sleep a lot? No, I don’t.

Is your mind constantly racing? Are you always just … fast forward?

Have you ever seen those film montages when a guy’s going crazy, and it just gets faster and faster and…

Yeah, sure, that’s exactly what I mean. It’s exactly like that. It’s like, I don’t want to miss a thing, and [I get the] feeling that I will miss something. But usually I’m wrong. [laughs] But when I do sleep, I sleep hard and have the best dreams.

Do you remember your dreams?

Sometimes, and they become the basis for a lot of my learning. That comes along with my development as a human being. Lately I’ve been having a lot of killer dreams — like a killer is coming after me or I have to confront a killer. And when a killer is coming after me, what am I going to have to do? To kill him.

Interesting. What do you think that means? That something in me is going to be murdered. That a psychic killer is coming. Actually, I met him. Sometimes I meet people inside of me that don’t like me; sometimes I meet people inside of me that want to make love with me more than anything; sometimes I meet the most bizarre animals and am in the most bizarre situations. 

One dream, I met a serial killer who lived out in a small town in, like, Virginia. A small suburban town, very nice, white picket fence. And he lived in the town in a church with the pews taken out. And he was an artist.

You remember this much detail? Just wait. He was a very short young man, probably about 28 years old with thinning black hair that I think he was ashamed of. He also had all of these photos of these people mangled beyond belief, carved up, dissected alive. They were still alive in these photos, and there was a wall of all of these seductively beautiful, textured, processed black-and-white photos. One man had been made into a basket. One man had been totally deboned but still kept alive, and his skin had been made into a basket upon which his head stood, looking straight into the camera. And right before he died, this snapshot was taken. And this is what this guy’s job was. And my task in the dream, I was the person that saw this amazing horror and this amazing pain. The photographs were screaming, and all of this madness, all of this waste at the hands of this person with a warped soul.

The irony of the dream was that his self-esteem was nothing, and he was saying, “This sucks. This is horrible. I don’t even want to show you.” I was so afraid of him and wanted to keep him in the same place long enough for the police to get him and take him away — while not being killed myself. Obviously. [laughs] So in order to be cool I had to ultimately be compassionate and point out the details in the picture where I felt there was brilliance and really good workmanship — all the while feeling that I would vomit any second, all the while so scared I thought I would cry. And that was the dream. 

Sometimes I have really rhapsodic dreams, and sometimes I have little bits of memory … but lately it’s been killer dreams, and the police almost don’t come in time, although they do come in time. And then I met a woman inside me that hates me. I met the girl, I met the person that doesn’t like me, and then I met this person who was so lascivious sexually that she masturbates publicly all of the time, like she’s fixing her hair. And she looks beautiful doing it and really great, but everyone’s around her and she’s practically naked. I’m pretty transfixed by [dreams]. I link them to the way I perform. I don’t see any separation, because when you sing there’s a psychic journey that happens. 

Do you write a lot of poetry?  

I garner my songs from my poetry. If anything looks like it’s vibrating, yeah. But it’s a raw thing. 

Was the Live at Sin-é EP, released in November of ’93, supposed to hold people over until the album comes out?

No, it served that purpose, but no, it’s just because I love that place.

How often have you played there?

I’ve played there a lot. I played there for over a year. At first I couldn’t get a slot. Shane [Doyle], the owner, had too many demos to listen to. I gave him a demo and a review, which is something I never ever, ever fucking do: pay credence to any one journalist’s opinion. But this was a good review. [laughs] Some positive, some negative. Mainly the negative stuff was my fault. So I thought that maybe I could get a gig at this little place because I wanted to play in little places to establish my sound and do the work and learn how to sing the way I wanted to sing. Because I didn’t have any teachers. There were teachers around Sin-é to teach what I needed to learn, but Shane couldn’t be bothered. 

Then somebody crapped out on a bunch of Monday nights and my friend Daniel Harnett got me in. He said, “I’m doing one, and so you can do one too.” I was like, “Wow, thank you.” As it turned out, that was it. Bang! I really worked my ass off to get that gig and get others and to make money. How did you hook up with Columbia Records? They came to me. I didn’t intend for them to. I was just making music. Were they the only label that came to you? Nope. I met Clive Davis. Shook his hand. I met Seymour Stein. Seymour’s at Sire; Clive is at Arista. A lot of people were interested. I met somebody from RCA. Peter Koepke at London. Were they in the audience at your shows? Then they’d come up to you afterward? Yeah, and I didn’t really like it. I didn’t like Clive showing up in a limousine on the Lower East Side, in a fine suit. Poor guy — it was so hot in that fucking room. This was Sin-é, right? Yep, you were there — like a fucking furnace. In the middle of the fucking summer. I had my shirt off; the guy’s still in his work clothes ’cause his life is fully air-conditioned.

Did you have any misgivings about signing? Of course I did. Being brought up around the music business in Los Angeles, you see the turnover of people being signed and dropped day after day after day, and it’s all written off as a tax loss. To the company, it’s no sweat off their nose. 

But here in New York it’s more about the work, and you don’t get anywhere without the work and that’s what I was doing. But I had misgivings about the size of the places. I had misgivings about my deservedness, about how good I was. I had misgivings about who they thought I was and what they thought I was. And how I wasn’t what they thought. At all.

Which is? Don’t record companies think that every male solo performer with a guitar is the New Dylan?

No, they thought I was the second coming of Tim Buckley. [quietly] That’s what I thought they thought.

Is that a recurring worry of yours?

It was that as a child. But now I’m totally immersed in what I do. If someone asks a question about it, I just tell them as much truth about things as I know. I had no misgivings once I saw my first and only liaison to Columbia Records, [former head of A&R] Steve Berkowitz. He was there from a pretty early stage, just listening. Which is what he does. Because he loves music. And he’s smart. And he’s smart enough to work this fucking gig at Columbia and to do a good job. The personnel here [at Columbia] are what really changed my worries, but I’m really worried up until, like, now. How would you describe your sound? I can’t explain it because I’m actually confused. It’s not really a tremendous literary feat to describe it. It’s just an amalgam of everything I’ve ever loved and everything that’s ever inspired me. I’m using that now. How do the Columbia folks describe you? They don’t know. At a recent convention I played in Boca Raton for A&R folks at like 11 in the morning, the guy that introduced me said, “We really don’t know what this is. We don’t know what kind of record he’s gonna make. We just know he has to make it.” … a.k.a. “Introducing the boy genius…” I’m not a boy genius. I’m neither one, actually. But I’m aware that these people have to move units. I’m aware that this company, by inertia alone, has an agenda. That it can function without me, and I can function without it. But there’s a certain thing that I can’t have without it, and that’s making little plastic discs and traveling the world and being a musician, and they seem to want me. A lot. And I feel that where I’m going is worthwhile, that maybe when I get there this all will have been … whatever crappy shit I’ve ever done will be redeemed. Do you think you’ll ever get there? Sure. Or you’ll find me swinging from somebody’s dressing room [laughs] with a big blue arm holding a Jam tape.  

#jeff buckley #jeffbuckley #Tony Gervino #The Lost Interview #TIDAL

[differenzeartistiche]

Gavin Creel is 47 today!

It’s my yearly tradition to bring back this old post of ranked performances to celebrate the birthday of this wonderful performer, so here we go! Updated this year with Into the Woods!

Gavin Creel, 16 performances, ranked!

16. Nick Piazza in Fame

This show has some merits, although it’s definitely not one of my favorites. It’s Gavin’s professional debut, and I can forgive him some naïveté in an otherwise competent, beautifully sung performance. His rendition of “I wanna make magic” is lovely.

15. Charles Darnay in A Tale of Two Cities

Ok, so this was a concert performance, so it’s not really fair to compare it to the others, but I’ll just throw it in here. Mainly because it’s such an unusual show for Gavin. It’s something that tries very hard to be on the level of Les Miserables, without much success, and Gavin is not a huge fan of that kind of show. That said, it’s a nicely sung performance of a classic romantic hero role. Nice, nothing more.

14. Jean-Michel in La Cage Aux Folles

Great show, poor but still competent production. The role is easily the most boring in the whole play, but he gets to sing the cute “With Anne on my arm” and he nails it.

13. Troy in American Horror Stories

Oh this was a fun one, Gavin playing outside his comfort zone, far removed from his preferred genre and into an over-the-top, sexy role that is rather unique in his career. I wish the material he had to work with was better, but his scenes with Aaron Tveit were superb.

12. Hollis Bessemer in Bounce

Sadly a lesser show by Sondheim, I still love some aspects of it, and Gavin’s wide-eyed artistically-inclined dreamer is one of them. His big solo “Talent” is the best song of the show and touches me on a very personal level.

11. Matthews in Rapunzel’s Tangled Adventure

Gavin voicing a Disney villain! A Disney villain with a secret! A Disney villain with a French accent! Talk about playing against type. There’s something of Kodaly here, and of Lumiere and of Pepé Le Pew. You can tell he had a blast recording this role, and the design is exquisite.

10. Cinderella’s Prince / The Wolf in Into the Woods

This is Gavin at his hammiest, and I’m here fot it. He obviously has loads of fun with the Wolf, oozing sleaziness from every pore, and as the Prince he’s perfectly balanced between superficial, phony and clueless, you can really believe that this candy-colors clothed fool was “raised to be charming, not sincere.”

9. Bill in Eloise at the Plaza / Eloise at Christmastime

Effortlessly hilarious on screen as he is on stage, he goes full-on old-time Hollywood star in the Christmas-themed sequel and I love it. A mix of Dick Powell and Fred Astaire.

8. Dr. Pomatter in Waitress

Sara Bareilles’ little gem of a musical often finds its strength in the absolute realness of its characters, flawed human beings looking for a little sparkle of happiness. Drew Gehling’s Dr. Pomatter was awkward and fun and sad-eyed, but I think Gavin wins infusing the character with tenderness and truly lived-in melancholy. A few weeks in a well-worn musical could be seen as a footnote in a great career, but it’s such a lovely performance, enhanced by the incredible chemistry he has with Bareilles.

7. Bert in Mary Poppins

My introduction to Gavin and since then I’ve come to appreciate him as heir to impossibly gangly male leads like Dick Van Dyke, so this feels like such a natural fit. I find the show a little bloated, but watch him defying gravity in that “walking on air” scene: it’s irresistible.

6. Ugly in Honk!

Having him play the ugly duckling ALSO feels like a natural fit. Gavin’s at his best when he plays lost and confused dreamers, and the fairy tale touch with the surreal setting makes for a wonderful variation on that theme.

5. Steven Kodaly in She Loves Me

Easily the odd man out of the list. The evil, scheming, suave and self-centered Kodaly is a delightful departure from all the romantic leads and clueless buffoons of Gavin’s career. The showstopper “Ilona” brings out all the manipulative nature of the character, a snake that always finds a way out and always gets what he wants. A remarkable performance that makes me want to see him branch out into even more strange territories.

4. Jimmy Smith in Thoroughly Modern Millie

Again with the old-time charm and humor. Millie is a show dominated by women, and Gavin’s male romantic lead manages not to be swallowed whole by them by being so wonderfully easy-going, hilariously aloof and occasionally sassy. It does also help that in “What do I need with love” he has one of the catchiest numbers of the show.

3. Cornelius Hackl in Hello, Dolly!

PUDDING. That alone deserved the Tony. It’s an overwhelmingly funny turn that makes the best of the original, almost vaudevillian nature of the show. So full of tricks and ticks and winks to the audience, deliciously aware of its own absurdity, it’s the kind of scene-stealing performance that not every actor can pull off. And oh my god, has anyone ever sung Jerry Herman’s beautiful tunes so gorgeously? You almost wish he could have sung “Put on your Sunday clothes” in its entirety.

2. Elder Price in The Book of Mormon

Somewhere between the rubber-faced humor of Jim Carrey, the earnest straight man hilarity of Jack Lemmon and the physicality of Dick Van Dyke. A perfect combination that captures the sarcastic, yet disarmingly sweet nature of the show, with its hints of meanness and self-devouring doubt.

1. Claude Hooper Bukowski in Hair

Unquestionably the masterpiece of Gavin’s career. A towering performance that starts with the iconicity of the role and the visuals associated with it and finds the core of Claude’s humanity: a scared, earnest, sometimes self-centered, mostly clueless young man that has to face something so much bigger than himself, something that is so far from the made-up world of fake accents and films in space that he has created for himself and that will eventually consume him. Moments like “Where do I go” and “The Flesh Failures” are moving and brutally honest.

#gavin creel #broadway #into the woods #american horror stories #rapunzel tangled adventures #eloise at christmastime #hair #the book of mormon #waitress

[writerchickmarie]

Elegant And Enchanted Evenings With John Lloyd Young At Cafe Carlyle

John Lloyd Young and Cafe Carlyle have a long, magical history together.

He is part of a storied group of artists and performers who have, and continue, to grace the Carlyle stage - a legendary and quintessential part of classic New  York.  

And this past week, JLY celebrated that history while bringing it into the future...elegant, creative, prolific...and more enchanting than ever.  

That future began with his new musical director, Jacquelyn Schreiber, taking her seat at the piano - preparing as JLY was introduced, with him walking from the bar area to the front, and beginning the set with his classic rendition of  “My Prayer”, commanding the stage from the first note. 

He then moved into some new material for this Carlyle residency, making each song his own with his brilliant interpretations. Roy Orbison’s “Love Hurts” is a perfect fit for him, rich and emotional.  And he told some of his wonderful Little Anthony stories as he took us on a journey with “I’m On The Outside Looking In”, which is one of several songs that continue to play in our minds long after the performance.

JLY has mentioned a few times about how much he loves history, so playing the Carlyle and sharing some of its incredible history with the audience is as enjoyable for him as it is for us. He motions around the room to various sections of the incredible murals by Oscar-winning French artist, Marcel Vertès, pointing out certain characteristics and techniques. Then he talks about the the first person to own an apartment/condo at the Carlyle, Richard Rodgers, while musing about the songs that may have been inspired here. It’s the perfect segue into his beautiful, romantic version of “I Have Dreamed” from The King And I.

He blows us away with Stevie Wonder’s “Knocks Me Off My Feet”, then comes around the room to greet and serenade us with “Hold Me, Thrill Me, Kiss Me”...which is always a thrill.  JLY has a special way of connecting with friends and fans, and new audience members, that puts him in a class by himself.  And we of course get to hear one of our favorites, “Can’t Take My Eyes Off You”, stronger than ever, and complete with audience participation.  

Next up is Nat King Cole’s “Let There Be Love”, featuring Jacquelyn’s extraordinary jazz piano skills and JLY’s luxurious baritone.  They play off each  other well, and the future is bright for this creative partnership.

We head back into Jersey Boys territory - but with a definite jazz influence.  After some of JLY’s entertaining stories about making the Jersey Boys movie, he performs a breathtaking “Moody’s Mood For Love” - forget Frankie and Bob for a minute...at this moment, the line “I need to write for this voice” pertains to JLY and JLY alone.  Creating anything for his wonderful, versatile vocal instrument is something any writer and/or musician would be honored to do.  This is followed up by the always beautiful “My Eyes Adored You”, fresh and new with Jacquelyn on harmony.

JLY explained next that sometimes when he and his fellow Broadway castmates were invited to perform for events, they weren’t given permission to sing the songs from the show - so Ron Melrose, the arranger and musical director for Jersey Boys, came up with a workaround...and one of the songs for this was “I Only Have Eyes For You”, which JLY performed to perfection in this set at Cafe Carlyle.

The next two songs were absolute standouts (even though every song in the set remains in my head at various times throughout the day) because of JLY’s ingenious vocals and interpretation of Jacquelyn’s inventive arrangements.  She might be new to being the musical director, but she completely owns it, and her creativity knows no bounds. “The Air That I Breathe” is so touchingly beautiful, and JLY’s voice both soothing and emotional - the perfect adult lullaby.  And he takes us on a full journey through “Both Sides Now”, giving even more meaning to Joni Mitchell’s lyrics and giving us more food for thought. 

On the final evening of JLY’s residency, former Ambassador to Finland, Robert Pence, and his wife Suzy, were there along with their friends.  Ambassador Pence had requested a special song for his friends, which JLY learned especially for this evening.  “One In A Million You” was outstanding, and I hope that he performs it again in the future.

JLY finished the evening with “Maybe I’m Amazed”,  and I still have a hard time listening to Sir Paul McCartney’s original because I prefer JLY’s even more.  Then we were all up on our feet for “Sherry”...I would say going out on a high note, but in reality, the entire set was filled with high notes.

John Lloyd Young and Cafe Carlyle go hand in hand...the perfect fit for past, present, and future.  With all of the new material and creative influences, I can’t wait to see what’s next. And I am so glad that we are all along on the journey with him!

#john lloyd young #cafe carlyle #john lloyd young friends #concert review

[rogerscoolassblog]

Lost Glasses

If you didn’t know I actually have really bad vision and the one eye thing doesn’t really help. I wore glasses for a good while (or would it just be… glass?) and they worked well. But recently I’ve found that my glasses have been stolen! I was at the park with my gf and had taken off my glasses and put them beside me, I looked back and saw that Zingo guy again with my glasses! This brings up so many questions! Was he following me? Was it a coincidence that we were at the same park? Why did he steal my glasses??? I just looked at him and he stared back with a smug face and went ‘YA-HA! DAZINGA!’ and ran off… I guess I’m not gonna get those glasses back.

If you ever see that Zingo guy could you get me in contact with him somehow? I just want my glasses, man.

Artistic Rendition:

#seriously who does this guy think he is? #Roger's stories #Roger's art #The Zingo

[thirst2]

I’ve always said I don’t like country music but that’s probably more flattened than the truth (like much of life). “I don’t like country music” almost always had modern, commercial, popular country music in mind; maybe that’s the result of being someone who definitely didn’t grow up listening to country music – and I’ve always been cognizant of the fact that my knowledge of country music is probably far less than someone who, well, grew up with and in it; and I always planned to get around to actually exploring the genre, so I can speak competently about it when I claim I don’t like it. But there was always a gut certainty about the affair so I haven’t stopped the habit.

But I like the blues (well, that’s a tremendous understatement; it’s probably my favorite genre…); I like folk; I often like bluegrass. And any extended conversation of about music with me regarding certain songs would definitely bring to light songs that regularly get slotted as country (“Will the Circle Be Unbroken?” is an easy example) that I very much enjoy; and they all tend to be songs that often are at the crossroads of country emerging as a genre, where the line between blues or folk can be hard to separate out. And that’s not a hard rule (“Country Roads” and “Jolene” are fantastic); so I always assumed there was an alienation from the culture of modern, commercial country music (eternally…) which, in some tangible way, crossed over into the audio of the music.

There was a year (Void know how far back) where I was revisiting the entire discography of Bruce Springsteen once again to see if there were any new dimensions I’d missed from previous playthroughs (I’ll remind I’ve been listening to him since before I was 10) and I’d been playing through various renditions he’d done of “Johnny 99”. I dunno if it’s as true, – for me – anymore, but I was finding all sorts of live renditions I found I preferred over the studio releases and I’d been cycling through different versions of “Johnny 99” I found interesting; not being able to remember enough to compare with the studio rendition, I decided to relisten to it.

It’s taken way too many years for me to finally appreciate just what the Nebraska album is doing but I think “Johnny 99” captures exactly everything I find important about that album. The track starts out with a absolute silence for a full three seconds before a prolonged, almost yearning, whooping sets in and builds before petering out. The bulk of the song is about a worker edged out of being able to provide for his family until he attempts to hold up a place and then immediately being arrested before the heist is over; he is later sentenced to life before attempting to convince the judge to consider capital punishment, instead.

And yet, for a fairly energetic song, it manages to capture a feeling of harrowing isolation and painful severance from those around your in a way that doesn’t come off as…fun? And it’s not like it isn’t fairly close (or probably shares heritage with) what’s often classified as rockabilly – like, it’s readily recognizable from the main riff throughout the song; but every Bluegrass or country cover I’ve ever heard of it always seems like it sliced all of that entirely off (in a song about how poverty destroys communities).

I was reading an article about black artists and their navigation and negotiation with and in county music and Rhiannon Giddens says, in regards to why black people aren’t (broadly speaking) into country, that, “It’s wrapped up in our culture, which is forward-looking, while country is a music of nostalgia.” And it clicked.

Not that I’m not a creature of nostalgia; I love nostalgia. But, probably impacted by my depression, the nostalgia I tend to visit is that of isolation, bittersweet; that’s my bread and butter.

And the nostalgia that tends to run throughout so much of modern country music is one of fond contentment and reassurance or pleasure-seeking, to the exile of nearly any other competing emotion. And that’s it, I think; that’s why I can perfectly fine connect with “Jolene” but Hank Williams’s “Rootie Tootie” feels like a hate crime. Why Leadbelly can record a song like this and Patti Page end up with this. Considering Ralph Peer’s marketing strategy for the talent he scouted, perhaps there’s a deeper reading of Accustomed Whiteness to be had, here…

And it’s just so…robbing. It literally feels like there’s nothing of nourishment, there; storytelling, characters to become invested in…nothing. Just a catchy tune that had lyrics slapped on it; and it’s not separate from the alienation I feel from it all, culturally (and all the history that impacts that formation), but, even if we were to ignore the racial history of the south, that’s probably still be enough for me to not gather any interest in it, at all.

#i'd originally written this elsewhere but i don't want to lose it #i made a big insight that i've been puzzled over for a while #feels like a decade ago #About Me #Music #Country #Bluegrass #Race #Queer #Bruce Springsteen #John Denver #Dolly Parton #Hank Williams #Little Richard #Patti Page #Leadbelly #Ralph Peer #About Me Retrospective

[starfriday]

*Bhushan Kumar brings back the hit musical pair of Ayushmann Khurrana and Rochak Kohli for their new song ‘Raatan Kaaliyan’*

Bhushan Kumar, Ayushmann Khurrana and Rochak Kohli have geared up to reignite their musical success story after several years! Known for their chartbusters, the trio are reuniting for an upcoming romantic single, ‘Raatan Kaaliyan’, crooned by Ayushmann Khurrana, and composed by Rochak Kohli.

After giving audiences chartbusters like Mitti Di Khushboo, Yahi Hoon Main, Chan Kitthan; the talented trio is all set to rule hearts of the music lovers yet again with this soulful melody. Interestingly, Ayushmann instantly fell in love with Rochak’s rendition penned by Gurpreet Saini & Gautam G Sharma, together with Bhushan Kumar they created the beautiful melody of ‘Raatan Kaaliyan’.

Bhushan Kumar says, “Ayushmann Khurrana is the quintessential actor-artiste of India and we all wish that he sings more often because people just love his songs! We are thrilled to collaborate with him again. Rochak Kohli is a one of a kind composer who has mastered romantic numbers that have become big hits.

Ayushmann’s vocals and Rochak’s music has always created magic every time they have collaborated together and I’m sure they’ll do wonders with this one too.”

Adding to this Ayushmann Khurrana says, “Music has always inspired me to create and it helps me elevate my expression as an artist. I’m really excited about my new song Raataan Kaaliyaan. It is a very soulful track that literally means 'dark nights' and how inspiring, romantic and poetic such nights can be. It has been composed by Rochak Kohli and the lyrics have been written by Gurpreet Saini.”

He adds, “I thoroughly enjoy the process of creating new music so when Rochak discussed this song with me, I was immediately on board to lend my voice for it. It also been a while since I have created and dropped a new song and I was dying to give people something new. The lyrics are deeply reflective and has a lot of layered emotions running through it. Rochak and Gurpreet Saini are both very dear friends and I enjoy collaborating with them creatively. We are very passionate about our music”

Ayushmann is set to perform in Dubai on April 23rd and he reveals that he will be surprising fans and audiences by dropping a new song at this packed concert!

Ayushmann says, “I am really looking forward to share this track with my audiences at the Dubai concert on April 23rd. They will be the first people to hear the song and I hope they love it thoroughly. If you ask me, it has a very addictive beat and the lyrics are sure to tug at your heart. I’m thrilled about this collaboration with Bhushan Ji. Coming up with a single with T-Series after several years now and it couldn’t get any better with Rochak also on board.”

Composer Rochak Kohli expresses his excitement, says, “I’ve had a long journey with T-Series as well as Ayushmann. Without a doubt, this song is going to be a big one and I can’t wait to finally put it out there for the listeners very soon.”

[coghive]

Matthew West & Anne Wilson Unite For Stunning Duet Rendition Of “Me On Your Mind”

Matthew West and Anne Wilson unite for a new duet version of West’s latest hit “Me On Your Mind” – available now across all streaming and digital platforms. Wilson’s striking vocals are a natural addition to the song as she also served as a co-writer on the track with West and Jeff Pardo. The original version of the song graces the top of the Mediabase Christian Airplay chart for its third consecutive week and previously spent two weeks atop the Billboard Christian Airplay Chart. It also marks West’s 25th number one song combined as an artist and songwriter. Earlier this week, West was among the top nominee earners for the GMA Dove Awards with a total of seven – including two as a songwriter for Song of the Year. The awards will take place in Nashville, TN on October 18. “Me On Your Mind” is available now. “I’ve written a lot of songs these past couple of years with my friends Anne Wilson and Jeff Pardo for Anne’s debut record. Together we’ve experienced a special creative connection that’s not always easy to find,” shares West. “I had this idea for a song called ‘Me on Your Mind,’ that was rolling around in my head the whole time we were writing another song one day. As we finished that song and Anne began heading for the door, I told them about this other idea. She sat back down and we wrote a song that makes me cry every time I sing it! It was only fitting to put a version out featuring my friend, collaborator, and incredibly talented young artist, Anne Wilson. I am so excited for people to hear her voice on this!”

“I’m so grateful for the Dove award nominations! The Dove Awards are always a very special night honoring the work God has done through Christ-centered music that I’m passionate about making,” adds West. “To be recognized in any way is just a great confirmation that maybe someone out there is listening to these songs I write and the message of hope in Jesus is resonating with them. That always has been and always will be why I do what I do.” On August 21, the reigning K-Love Fan Awards Male Artist of the Year will bring his headlining show – “A Night of Worship at the Mother Church with Matthew West and Friends” to the historic Ryman Auditorium in Nashville, TN. Special guests include Lainey Wilson, Lathan Warlick, Jordan St Cyr and more surprises to come. Tickets are onsale here. The “well-rounded songwriter” (Billboard), is also set to take the stage at the Nashville Songwriter Awards on September 20 performing alongside artists such as Thomas Rhett, Walker Hayes, Babyface and more. https://youtu.be/ZSas6-_IL14 The genre hitmaker is the reigning ASCAP Christian Songwriter of the Year, his fourth time with this honor in his career. In addition to his several RIAA Gold-certified and Platinum singles, fans can hear him on “The Matthew West Podcast” which just surpassed an impressive 2.5 million downloads and drops new episodes weekly under the “That Sounds Fun” network. The five-time Grammy® nominated artist is set to release his sixth book, “The God Who Stays” on September 6. For more information visit thegodwhostays.com. For tour dates and ticket information visit www.matthewwest.com/tour. Read the full article

#AnneWilson #MatthewWest #MeOnYourMind

[slayernina]

My Top Ten Cover Songs Ever

Songs have been “covered” for years

Some of them stands out as better than the original and are frequently mentioned in lists like this one over an over again.

Here are some of the most underrated covers ever.

My other metas here

La maldición de las cuatro brujas here

Buy me a ko-fi!

Bonus: Cha-La Head-Cha-La – Lucky Star

Back in the ancient ages of 2006 and 2007, two anime ruled the world. The Melancholy of Haruhi Suzumiya and Lucky Star. Two completely different shows that shared several points in common: cute and charismatic characters, animation from Kyoani, seiyuus at the peak of their careers, and Aya Hirano as the main protagonist. Lucky Star was a slice of life of 4 high schoolers, and through Konata and her otaku friends, they parodied other animes, including Haruhi Suzumiya. The ending stands out by itself. Konata and her friends singing different anime songs at a karaoke. Her rendition of Dragon Ball main theme is just what you would do at a Comic Con. SPARKING HERE!!!

We Will Rock You – Pepsi

Britney Spears, Beyonce, Pink & Enrique Iglesias singing Freddy Mercury in a Pepsi comercial. This shouldn’t have been so good, but it was. The song is legendary, the artists too, it has the drummer's cameo and they will be remembered forever.

Everybody wants to rule the world – Lorde

The original was a 1985 song from Tears from Fears. The upbeat song didn’t match the creepy lyrics at all. So we needed a creepy singer to do it justice. Overused in trailers over the years, probably this song is the one that set the trend of “dark, edgy cover of an old song”.

Smells Like Teen Spirit - Malia J

Black Widow has fucking Marvel behind, so it was almost impossible to fail in the soundtrack department. This Nirvana’s rendition, set just after one of the strongest openings ever (with the exception of whatever James Gunn is doing these days) introduce us to the world of the Black Widows, which is basically the allegory of sex and child trafficking.

Sweet Dreams – Sucker Punch

Sucker Punch was a three level story: one in the present day, another in the imagination of the protagonist at an asylum, and another in the imagination of the imagination of the protagonist. Like Inception but with videogames and the mind of a 14 year old on steroids in the writers’ room. We opens the movie with Baby Doll watching her stepfather abusing her sister and decides to kill him, all accompanied with a rendition of the hybrid of the original Sweet Dreams by Eurythmics and Marilyn Manson’s own cover, sung by Emily Browning. It set the tone for a surreal, stilistic journey. Love Is The Drug is also cool and the reason we want Oscar Isaac as live action Gomez Addams.

The Parting Glass - Assassin’s Creed 4

This song was a welcoming surprise. The original song can be tracked in Scotland during the XVII century, so it’s kinda period appropiate for the Pirates of the Caribbean: Assassin’s Creed Edition. Sung by Anne Bonny, we see a montage of all dead characters of the game, some of the historical domain, other from the franchise. I’m not crying, I swear.

The Name Game - American Horror Story

American Horror Story is just simply bonkers. Each season features a different concept. On season 2, we are into the Asylum, where Sister Judy, the former boss, is reduced as an intern by the Devil himself. During one of the episodes, Sister Judy brings back her past as a slutty performer. It came from nowhere, it was gone with a blip, it was never mentioned again, but it was so fun.

The Sound of Silence - Disturbed

An iconic song arranged with orchestra, with a singer of a heavy/nu metal band. Just turn on the speakers and enjoy the epicness.

The Unquiet Grave - Penny Dreadful

Penny Dreadful tells the story of Vanessa Ives, a woman with mistical powers that dwells between the good and evil, while surrounded by the classic monsters. On season 2, we meet this countess Bathory-esque witch played by the late Helen McCrory. Her introductory scene, in which we see what she truly was, is her singing this XVth century song while bathing in the blood of some girls and smoking. #Queen.

Mashups - Glee

You can say anything you want about Glee. But this is the show of the covers. Sometimes horrible, sometimes with a fun twist to the original, sometimes better because that is what happens when you put a classical Broadway trained singer singing pop songs. There are too many songs to name them all, but I’ll choose the mashups. Specially Singing In The Rain-Umbrella (with a nod to How I Met Your Mother) and Adele’s Rumour Has It/Someone Like You.

Holding out for a hero – Shrek 2

Shrek 2 “the battle scene” is a cinematic masterpiece. Period. The Evil Godfairy steals the scene while Princess Fiona dance with Prince Charming, and her husband and friends comes to the rescue. Suck it, Helm’s Deep.

#youtube #slayernina writes stuff #cover #lucky star #dragon ball #queen #we will rock you #pepsi #everybody wants to rule the world #lorde #malia j #smells like teen spirit #sweet dreams #sucker punch #the parting glass #assassin's creed #the sound of silence #disturbed #the unquiet grave #penny dreadful #glee #holding out for a hero #shrek

[absolutepokemontrash]

MC’s Half Demon and They Look Awfully Familiar Part 4

(The side characters strike again!)

Part 1 Part 2 Lessons 1-5 Part 2.5 Group Retreat Lessons 10-12 Part 3

L!MC= Lucifer’s kid | M!MC= Mammon’s kid | A!MC=Asmo’s kid

Let’s get right to it!

The Uncle That Hardcore Simps For His Spouse In the Most Wholesome Way (Diavolo)

Gasp! More half-demon kids? Oh my! Maybe if he tried again next year a kid of his own would pop down! Hang on- he hadn’t slept with a human in almost a century... dang. No kids for him...

...maybe...

Remember when I said Diavolo would try to do those stereotypical dad (tm) things and be hip with the kids? Yeah he keeps doing that.

The number of broken windows related to wayward baseballs goes up 150%. At least that’s how they all figured out that M!MC is nearsighted like their dad!

M!MC had developed a bit of a habit of telling Diavolo about cool human stuff and making the Crown Prince even more interested in the human world than normal.

You may be thinking “what’s so bad about that?” well, the number of yo-yos at RAD went up so high that Lucifer had to ban them.

Belphie and Satan, being the rebels they are, became yo-yo masters specifically to spite Lucifer.

It was sort of like the fidget spinners craze if you were in school for that.

Oh, hi Lord Diavolo. What’s a fidget spinner? It’s this- I should stop talking...

Since no one learned their lesson from the previous incident, Diavolo threw another BBQ.

“Why are we doing this again?” L!MC asked to no one in particular.

“Don’t worry, L!MC. I’ve taken every precaution possible to make sure that what happened last time doesn’t happen again.” Diavolo said and continued in his crusade to cover the entire pathway with sidewalk chalk doodles.

L!MC, Luke, Diavolo, M!MC, Belphie, and A!MC were all busily drawing a wide variety of doodles and drawings with chalk while the other guests milled around nearby. A!MC was in the middle of drawing quite the nice looking Cerberus chibi, while M!MC and Belphie were drawing a lot of stick figures. L!MC and Luke had just finished a wonderful drawing of... an alpaca? Giraffe? Thing...? Hell, even they didn’t know what it was.

Diavolo looked over at M!MC’s stick figure army with a big smile on his face. “So what are all of them doing? It looks like that one’s flying!”

You could practically hear the Addam’s Family theme play as M!MC and Belphie looked at each other and grinned.

“Oh Belphie was just talking about L!MC’s flying lesson fails and I felt that an artist’s rendition was needed.” M!MC explained, he began to point out certain doodles. “Here’s L!MC getting up off the ground, then there’s them actually flying, and this is them falling in the fountain.”

L!MC looked over at the chalk and glared at M!MC. “It’s generous to call that an artist’s rendition. It looks like crap.”

“And what did you draw?” Belphie smirked at the alpaca-giraffe-thing, Luke protectively covered up the drawing (side note, Luke was wearing white and playing with sidewalk chalk, by the end of the day he looked like a walking pride flag).

“None of your business!” Luke huffed.

“And what about that one?” Diavolo seemed completely oblivious to the hostility brewing between the two groups, A!MC was completely used to this and walked away to grab a drink.

“Ah, good eye, Lord Diavolo!” M!MC chirped. “This is a drawing of the time L!MC almost burned down your kitchen.”

Diavolo laughed and gave M!MC a few pats on the head. “Very accurate!”

“You’re so lucky I followed the rules and didn’t bring a water gun...” L!MC growled as they slowly reached for their backpack.

“Yeah... lucky. Real lucky...” M!MC nodded as they tried to casually reach for their bag, Belphie followed suit.

“I’m so glad we all followed the rules.” Luke smiled, his own hand inching towards his bag.

There was a brief moment of stillness before the four of them whipped out their water guns and pointed them at each other.

“This BBQ ain’t big enough for the both of us!” M!MC’s terrible cowboy impression aside, their gun was poised to shoot directly at Luke and L!MC’s alpaca-giraffe-thing.

“Everyone, I know this is a human world tradition but-”

Belphie silenced Diavolo by pointing his water gun at him. “Sh, don’t talk unless you have a water gun as well.”

Deciding not to smite Belphie for treason, Diavolo pulled his own water gun out of his shirt. “Okay, what now?”

“Now, we’re in a standoff...” L!MC glowered at M!MC, the air was practically crackling with hostility...

Until a burst of flames got everyone to whirl around to see A!MC with hairspray and a lighter.

“No water guns! I refuse to go home shivering and covered in grass again!”

Crisis averted. Everyone went to go fail at throwing beanbags into a hole instead of shooting each other.

That was probably for the best... Belphie filled everyone’s water guns with paint.

The Uncle That Does All the Cooking for Family Dinners (Barbatos)

Remember how I said that Barbs liked smol Lucifer? Yea, he likes smol Asmo too. Smol Asmo is willing to admit that they don’t know how to use an oven and is willing to learn.

M!MC is formally banned from being within 50 feet of the kitchen. It’s for the best.

A!MC often tries to get Barbatos to look into the possible futures so they can see if they can avoid messing anything up and A!MC is just so adorable that Barbatos actually thinks about it.

He still says no every single time.

“Could you at least tell me if I have the possibility of doing something embarrassing in the near future?”

“My apologies, A!MC, but no.”

“P-please?”

“The answer remains the same.”

A!MC sighed and went back to helping chop vegetables. Under Barbatos’ tutelage, A!MC’s cooking ability had increased tenfold, they could now make as many burgers as they wanted without worrying about burning down the kitchen.

Pitying the anxious half-demon, Barbatos sighed. “I cannot confirm nor deny a future where your outfit gets ruined.”

A!MC perked up. “H-huh?”

“I cannot confirm nor deny a future where your outfit gets ruined.”

Quickly understanding what Barbatos was trying to do, A!MC quickly nodded and spent the rest of the cooking time carefully taking note of their surroundings.

“Hey! What’re you guys doin’?” M!MC had managed to get in... damn! Everyone must have been putting their best efforts in keeping Solomon away from the kitchen and forgot about M!MC...

“We’re just finishing up, M!MC,” Barbatos had on his ‘oh no...’ smile. “We don’t need any help.”

“Really? You guys sure?”

“Why are you so interested?” A!MC asked.

“Lucifer said that idle hands are the devil’s playthings and that I should go look for something productive to do.” M!MC huffed. “Very ironic phrase.”

“F-fine, I guess you can...” A!MC searched for the least destructive task they could give. “Take the utensils and set the table.”

M!MC gave them a mock salute and grabbed the utensils, as they turned to leave, they knocked a large bowl of chopped fruit over, sending the fruit pieces flying.

Remembering Barbatos’ prediction, A!MC didn’t bother to try and stop the fruit from falling, they only grabbed the nearest big plate they could find and shielded their outfit from harm. The fruit splattered harmlessly against the shield.

“Whoops... my bad. You alright, A!MC?” M!MC asked as A!MC inspected their outfit.

“Y-yes actually...” A!MC turned to Barbatos, who was already getting the cleaning supplies.

“Thank you!” A!MC whispered.

Barbatos smiled and nodded. “You’re very welcome, A!MC.”

Barbatos now has two sorta-children. A!MC and Luke!

M!MC means well, I swear! He just shouldn’t be allowed in a cooking environment!

The Cousin That Your Mom Points at and Goes “Look at Him, He Helps With the Dishes, Be More Like Him.” (Simeon)

Oh man... time for some more embarrassing stories.

“Asmo was the most adorable child, it’s a shame he was such a troublemaker...”

“Really? My dad?”

“What about mine?”

“I think you can guess.”

I cannot comment on Simeon’s help with flying lessons because I refuse to Headcanon what Simeon’s wings look like until canon gives us a GLIMMER. LIKE SERIOUSLY SOLMARE IM CURIOUS-

I have a feeling the children were quite curious as well.

“What do you think his wings look like?” M!MC asked A!MC as the two peered around the corner of one of the hallways in Purgatory Hall.

“I bet they’re super nice. But besides that...” A!MC leaned over and squinted. “Why is Simeon writing with a pen and pencil? He’s writing a book... shouldn’t he use a computer?”

“Bold of you to assume he knows how to use a computer.” M!MC snickered.

A!MC frowned. “Don’t be mean... I’m sure he knows how...”

Simeon picked up his DDD and took a picture of his face, seemingly by accident, with the flash on, causing him to drop the phone in surprise.

“Probably...”

The two surveyed their angel friend like two wildlife documenters, here we see, the Simeon, not in his natural habitat, surrounded by confusing technology...

“Do you think if we scare him his wings might pop out in surprise?” M!MC wondered aloud, A!MC shrugged.

“Maybe... but I don’t think we should bother him...” A!MC whispered. “He looks busy.”

“What are you two doing?”

It took literally every bit of willpower for the two half demons to not scream in absolute terror at the sudden interruption.

Ah... it was just Solomon... in an apron... Solomon... in cooking clothes...

Oh no.

“Spying on Simeon?” Solomon asked.

“N-no...” A!MC giggled nervously. “Just crouching casually in this hallway...”

“...smooth, A!MC.” M!MC rolled their eyes.

“Well, it’s great that you two are here, I made lunch!”

A!MC and M!MC looked at each other in pure horror, they needed to get out of there!

“Uh- um... we’d love to but...” M!MC looked around frantically before just pointing at a random spot behind Solomon. “LOOK! A DISTRACTION!”

A!MC and M!MC ran out of there as fast as their legs could carry them. Finding out if Simeon had wings was not worth being poisoned. Not at all...

Good ol’ Simeon... Mr. Cristopher Peugeot on the other hand- M!MC had some questions for him.

“TSL is literally the most popular book series ever, does that mean you’re completely loaded?”

“Oh, no I’m not, I don’t have any use for human world money in the Celestial Realm. All the profits go to charity.”

“...Dude really?”

“That’s nice of you, Simeon!”

“You didn’t keep any of it..?”

Wait... Who the Hell Are You..? (Solomon)

So A!MC basically has three dads; Fabulous-dad, butler-dad, and wizard-dad!

“So you just... have capes lying around?”

“Yes, would you like a cape?”

“Okay if they don’t take the cape I want it.”

Solomon shows up to RAD with his nails painted different wacky styles every week, courtesy of A!MC.

Though- the unholy combination that is M!MC and Solomon is feared by all.

“Road work ahead?”

“Uh, yeah I sure hope it does.”

Solomon and M!MC’s rampant quoting of vines elicited another glare from Lucifer.

Despite Solomon having literally been alive since the seven rulers of hell were angels, he had kept up with pop culture fairly decently. Decently enough that M!MC had someone that wasn’t Levi to bounce memes off.

“Pff...” M!MC suppressed a laugh at a seemingly normal water bottle advertisement. “Enslaved moisture.”

“I’m not going crazy, right Simeon? You’re hearing this too?” Lucifer tiredly turned to the angel, who shook his head.

“This is just the tip of the iceberg. Solomon quacked at M!MC earlier and they lost their minds laughing about it.” Simeon shrugged, unbothered by the sorcerer and the half demon’s rampant meme-ing behind them.

Lucifer on the other hand, was quite bothered. Incredibly bothered, if you will. “If you two don’t shut up right now I’m going to-”

“Quick! We must abscond!” Solomon turned and heelied away, followed by M!MC. The shoes that Mammon bought to replace the ones lost during the casino incident were apparently heelies as well...

The day was saved when a rock jammed one of Solomon’s wheels and he slammed face first into the concrete. Yikes... that had to hurt.

A!MC had fun glow in the dark bandaids for Solomon to patch up his face. Even though he he could heal himself with magic, he let A!MC do what they wanted because they were just too adorable to say no to.

Asmo has pictures

The Cousin Squad (tm)

(Luke, L!MC, A!MC, and M!MC)

Ah yes, the bab squad. The most adorable group in the Devildom. Surrender your candy immediately or face destruction.

M!MC teases the crap out of Luke, and A!MC tries to stop it, but L!MC is the one who manages to actually make M!MC stop.

Only L!MC gets to pick on the smol angel. GOT IT?!

A!MC and Luke are already baking buddies because of butler-dad so they get along swimmingly.

Poor Luke’s the victim of many of M!MC’s shenanigans.

Luke: Are you sure this is safe, M!MC?

M!MC (about to put mentos into the bottle of coke Luke is holding): No.

L!MC and A!MC get along really well, being honest, everyone loves A!MC.

A!MC makes sure L!MC gets some sleep because they don’t want their cousin picking up on Lucifer’s habit of living off of coffee and coffee alone. L!MC doesn’t get it but they’re very grateful anyway.

M!MC and A!MC were friends from the start. Well... M!MC decided they were friends right from the start and A!MC did not have the ability to fight the power of friendship.

M!MC: You are being befriended. Please do not resist.

Since M!MC is great and amazing like their pop, they took it upon themselves to be the friend that speaks up when A!MC is too nervous to do so.

M!MC and L!MC? Lucifer and Mammon 2 electric boogaloo. Sorta.

L!MC and M!MC bicker all the time but the babs bounce back from their fights way easier.

One minute they’re at each other’s throats and the next they’re showing each other memes.

“There’s no escaping this.”

Lucifer stood between M!MC and the door... their one way ticket to freedom...

“You need to go to the dentist.”

The entire HOL plus the Purgatory Hall crew were getting ready to go visit the dentist to get their teeth cleaned. It was the time of the year that Mammon dreaded most... and his child felt the same way.

“My teeth are fine! Lemme stay home! I’ll hold down the fort with dad!” M!MC smiled and nodded as enthusiastically as they could, but even the most unobservant person couldn’t miss the sweat beading on their forehead.

“Beel.” Lucifer snapped his fingers and before M!MC could do anything Beel had thrown them over his shoulder like a sack of potatoes.

“Don’t worry M!MC, the dentist isn’t that scary.” Beel tried to assure them. By the way M!MC was still kicking and screaming, they were not convinced.

“Y-yeah kiddo, suck it up! Don’t be a baby! I’m just gonna take my car there-”

“MAAAAAAMOOOON?!”

“YIKES!”

Lucifer had the important task of keeping a hold of Mammon as the very large group made their way to the dentist’s office.

A devious little idea popped into L!MC’s head as they all sat down in the waiting room. They began to hum a familiar little tune.

“She said be a deeeentiiiist~ a dentist!” L!MC sang to M!MC, who’s attempts to escape increased tenfold after hearing the song.

A!MC began to hum along, not seeming to notice the commotion going on next to them.

“Son be a deeentiiiiiist~ people will pay you for causing them PAIN! She said be a deeentiiiiiist~”

Belphie perked up and smiled deviously as he realized what L!MC was doing, he began to sing along as well. The three were a veritable choir of terror to poor M!MC. Mammon did not understand his child’s terror and was more unnerved by what a great team Belphie and L!MC made.

Satan rolled his eyes and tried to focus on his book, Asmo was absorbed in his magazine, Levi was having a very in depth conversation with the fish in the aquarium, Simeon and Solomon chatted about school, and Luke was stuck watching the train wreck go down.

Thankfully, it was halted by Lucifer. “L!MC, A!MC, Belphegor, stop tormenting M!MC with show tunes.”

“You would have made a good dentist in another life, Lucifer,” Belphie cooed. “You know what they say, the only difference between a dentist and a sadist is that one has newer magazines.”

Asmo grimaced at his magazine. “Is it the sadist? Because I’m reading a magazine from 1843...”

The conversation was interrupted by one of the dental hygienists coming into the waiting room and saying that Mammon was up first. The Avatar of Greed’s final escape attempt was foiled by Satan (not even looking up from his book) clotheslining him.

Thirty minutes later, Mammon emerged from the forbidden dentist room, with the look of trauma in his eyes and eating a lollipop.

One by one, the group went in, A!MC took it upon themselves to try and make the rapidly panicking Luke feel better.

“It won’t be too scary, in the human world dentists are usually very nice.” A!MC smiled encouragingly.

“I-I’m sure that’s true but...” Luke looked around. “We aren’t in the human world...”

Asmo skipped back in and flashed a blinding grin to the group. “Absolutely perfect, no flaws! It’s your turn, A!MC!”

“If you die I get to say I told ya so!” M!MC shouted as A!MC walked into the dentist’s room.

They did not in fact, die because of the dentist. A!MC walked out and gave a thumbs up. “The dentist said they had never seen a kid with such perfect teeth.”

“That’s my baby!” Asmo chirped.

“M!MC, you’re up.” A!MC and Beel had to practically drag the poor kid out of the room and into the dentist area of doom.

“GO BE A DEEEEEENTIIIIIIST!” Belphie and L!MC shouted one last time as the doors shut. Wow, what dickheads...

Mammon probably would have tried to save his poor little bugger, but he was in the middle an impromptu therapy session with Simeon over the scary scraping dentist knife thingie.

Beel was the last to go, and he walked out of the dentist’s room with his face covered in blood, the dentist walked out after him, missing a hand.

“You tasted like toothpaste.” Beel sighed. “Not good.”

“Don’t worry,” The dentist said to Luke, who looked like he was about to pass out. “My hand will grow back in about four to five minutes.”

Luke, still terrified, nodded. L!MC patted him on the shoulder.

“Anyway, almost all of you are fine, but I have to recommend M!MC to the orthodontist.” The dentist flipped through their notepad one-handed. “Their secondary set of fangs are coming out crooked and need to be corrected with braces immediately.”

M!MC sat calmly for a moment, then attempted to sprint out the door. “NO NO NO NO NO!” One of the dental hygienists grabbed them by the back of their shirt and halted their escape.

“Sucks to be you.” L!MC smirked.

“And L!MC needs to fix their cross bite, braces are a strong possibility.”

The colour drained from L!MC’s face as the news dawned upon them. “Pardon, but what exactly are you talking about..?”

“Your top jaw and bottom jaw aren’t properly lined up.” The dentist explained. “It will lead to problems later if it’s not fixed now.”

Lucifer rubbed his temples and sighed. “L!MC, if you try and run away I swear...”

L!MC stiffened and shook their head. “I’m not some coward, I’m not running away. Just... what exactly are you going to do to my mouth?”

The dentist pulled up a few pictures of the braces and explained what would be done. L!MC nodded, and turned to their father with a big smile on their face.

“It won’t be so bad, mind if I go to the bathroom before I get the mold for my teeth made?”

Lucifer nodded and almost audibly sighed in relief. He basked in the glory of having a child that wasn’t afraid of the dentist and faced their fears like an adult-

L!MC sprinted past the dentist’s office, they had busted out of the bathroom window.

“...Beel.”

“Yep.”

A few minutes later, Beel returned with a completely irate L!MC who was screaming their demands to be put down and be allowed to run for the hills. Taking advantage of the distraction, M!MC ran for the door again, only for Belphie to tap them on the forehead.

M!MC collapsed into a snoring heap on the floor.

“FATHER! DON’T MAKE ME DO THIS!” L!MC practically screamed as they tried to wrestle themselves out of Beel’s bear hug.

Lucifer rolled his eyes. “L!MC, calm yourself down. It’s just braces.”

“AS EVERYONE HERE AS MY WITNESSES I’LL NEVER FORGIVE YOU FOR THIS! NEVER!”

The half-demons in need of braces were dragged right back into the dentist’s area... poor fools.

“They’ll be okay... right?” Luke asked.

“Of course they will be. It’s just braces.” Simeon patted Luke on the head. “They’ll both be fine.”

The scream that came from down the hall right after Simeon said that did not reassure anyone.

“Hey,” Mammon piped up. “How much do braces cost?”

“From what I know about dental procedures,” Satan rubbed his chin. “A few thousand Grimm.”

“Mammon if you try and run for that door I will cut your credit card into a thousand pieces.” Lucifer growled.

Overall, it was a fairly average trip to the dentist. 0/10 would not recommend. A few weeks later L!MC and M!MC were fitted with their mouth prisons- I mean braces, and the two cousins bonded over their horrific mouth pain...

Seriously- braces suck.

——————————————

So! Those are the headcanons! Four and a half whole parts... phew... To all the people who enjoyed this series, thank you so so much for reading! You guys have been so super nice!

Fret not, I plan on writing more for this universe! From what I know about season 2 of Obey Me things will get... interesting. Stay tuned for more! Or don’t, I can’t force you.

...or can I?

#Obey me #Obey me! #Obey me Headcanons #obey me shall we date #obey me! headcanons #obey me! shall we date? #Obey me Lucifer #Obey me Diavolo #Obey me Simeon #Obey me Solomon #Obey me Mammon #Obey me MC #obey me beelzebub #obey me belphegor #Obey me Luke #Obey me Barbatos #Obey me Asmodeus #Obey me Fic #Lucifer’s Kid

[dailytomlinson]

The Away From Home festival that occurred over the bank holiday weekend was the first time One Direction veteran Louis Tomlinson had performed in front of a live audience since his debut solo tour was cut short in Spring 2020. Despite being the last of his band to embark on their solo careers, Tomlinson’s endeavours, including a stint as a judge on the X-Factor and a record-breaking charity livestream, have had remarkable success.

Almost two years since the release of his debut album Walls, headlining his own one-day festival event was a ballsy one, especially given that tickets were entirely free and given out on a lottery basis. I was lucky enough to receive tickets for myself and a plus one, and on that drizzly Monday afternoon, set off to the Crystal Palace Bowl for the event.

The South London venue affectionately nicknamed the ‘Rusty Laptop’ sits on a grassy knoll whose natural topography allows all, big or small, to see the stage in perfect clarity. It had hosted the likes of Bob Marley, Pink Floyd and Garden Party festivals in its heyday, and was revived by the City Council this year in an attempt to bring the venue to its former glory. With bars and food trucks lining the perimeter, small groups settling onto warm blankets on the soft grass, and fans with country and pride flags flocking to the front of the stage, all before the sun had begun to dip below the horizon- the atmosphere was electric.

According to Tomlinson, the festival had been in the works for the better part of the year. Not only did he commit to it being as affordable as possible for his fans, he also took the opportunity to spotlight British talent. The first live act to take to the stage was Essex natives BILK. Formed in 2015, the trio boasts rambling rap vocals to pop-punk riffs that make the mundane amusing. ‘CM2’ pays homage to their postcode, where ‘When boredom comes / It sticks like glue.’ Other songs on the setlist such as ‘Weed Song’ and ‘I Got Knocked out the Same Night England Did’ are quite self-explanatory. The band has a devil-may-care indie feel that envelops the crowd into the ambient angst of small-town England. BILK is going on a UK tour and has a new EP ALLOW IT out now.

In the lulls between acts, DJ Jess Iszatt played songs by artists such as Sam Fender, MGMT and Kaiser Chiefs, and of course crowd favourites like ‘Mr Brightside’ and ‘Wonderwall.’

The Snuts are an indie rock band hailing from West Lothian who had a stacked agenda this past month, playing at various festivals including Reading, Leeds, and Away From Home. Their sound is resonant in a way that makes your heart thump to the beat and body sway to the melody, made to be enjoyed live. Time and place are heavily referenced in their music and give it an aura of nostalgia and longing- in ‘Glasgow’ the chorus soars with ‘Jump on my back / And I will take you home / I’ll always love the way that you say Glasgow.’ This seems to be the common thread theme between all the artists’ performances- childhood, youth, home- the festival is named Away From Home after all. The Snuts’ debut album W.L. is out now.

Finally, when the sun is well and truly hidden, Tomlinson emerges to flashing lights to a drum-heavy rendition of his single ‘We Made It.’ A fitting opener- he has made it. ‘Underestimated / And always underrated’ no more, Tomlinson lit up the stage, confidence rolling off him in spades. ‘Drag Me Down’ was one of his few One Direction covers of the night, delivered with a gusto that comes from years of performing and a stage presence that makes clear that he is the star of the show.

He paid tribute to his late mother in ‘Two Of Us’, the audience lighting up the glade with torch lights. Tomlinson travelled closer to the audience for the more sombre numbers, including fan favourite ‘Only the Brave,’ queer fans waving pride flags to ‘It’s a church of burnt romances / And I’m too far gone to pray.’ ‘Fearless’ in particular was a cathartic embodiment of arena rock and allowed Tomlinson’s guitarist to show off his chops.

The production design really shone in ‘Copy of a Copy of a Copy,’ where black and white duplicates of the stage were projected instead in reference to the song, which itself debuted in his streaming event Live In London in December 2020. Tomlinson’s signature emotive vocals lament that ‘You won’t be the first or be the last to bleed,’ seeming to speak to younger self as a cog in the industry machine.

After throwing it back with a rockier version of his debut single ‘Just Hold On,’ Tomlinson remarked on getting to play a new song to an audience before launching into the never-before-heard ‘Change.’ The song draws parallels to many of his previous works, simple yet evocative lyrics that draw on an intangible sense of homesickness. The heavy use of minor-key plucks at your heartstrings, the hush of the crowd emphasising the hollow feeling of ‘Everything’s changed outside / But I feel the same inside’. As always, Tomlinson injects a positive spin with ‘If you need you can call on me / I’ll be the friend you need’. To fans’ delight, Tomlinson confirmed it and ‘Copy of a Copy of a Copy’’s place on his sophomore album.

His Kings of Leon Cover ‘Beautiful War’ was a moment of reprieve that let the audience appreciate his no-frills vocals. ‘For every question why / You were my because’ from his album’s title single ‘Walls’ had become an ask-and-answer bonding moment for Tomlinson and his fans over previous live performances and this time was no different. He did not let up on his affection at any point during his set, at one point exclaiming ‘I just f***ing love all of you. I love you. I love you.’ ‘Through The Dark,’ an underrated gem from One Direction’s Midnight Memories is given new life, Tomlinson declaring that ‘you guys make me feel f***ing invincible.’ The upbeat ‘Kill My Mind’ makes for an explosive finale complete with fireworks and confetti streamers.

Leaving Crystal Palace Bowl singing along to ‘Sweet Caroline,’ I felt a surge of love and community. For the performers, the crew, the caterers, my fellow attendees – the exact feeling you want after a festival before the eventual crash of realising you will never experience something quite the same again. The Away From Home Festival made me feel right at home. Like Tomlinson said at the show, ‘all I feel is excited about what’s to come.’

#redbrick music #louis tomlinson #press #170921

[sweetdreamsjeff]

https://tidal.com/magazine/article/jeff-buckley-lost-interview/1-85988

Jeff Buckley: The Lost Interview

In this previously unpublished conversation from 1994, captured just days before the release of ‘Grace,’ the mythic singer-songwriter pushes through self-doubt, professes his undying love for the Smiths and New York City, and interprets a dream wherein he critiqued a serial killer’s photography.

July 21, 2022 by Tony Gervino

Q: Who and what are you going to become, Jeff? A: I don’t know, just something deeper: Buckley in 1994. Credit: Michel Linssen/Redferns.

In August of 1994, I interviewed the singer-songwriter Jeff Buckley for over an hour at the New York offices of Columbia Records. Other than pulling a few quotes for a regional music newspaper profile I wrote at the time, this conversation went unused. I put the recording in a box in my closet, where it remained for a quarter-century.

I went back over the transcript a couple of years ago and realized that our conversation offered a rare snapshot of the most pivotal moment in Buckley’s too-brief career. He hadn’t yet sat for many interviews and was trying to figure out his own narrative, just before he was to leave on a national tour that would make such quiet, thoughtful introspection a luxury.

The son of folk visionary Tim Buckley, he had made his mark in New York City as a solo artist in 1993, performing a suite of original songs and genre-spanning covers with only his guitar and multi-octave vocal range. The buzz didn’t really build; it seemed as if one day no one in the city’s music scene knew who Jeff Buckley was, and the next, everyone knew.

Prior to entering the studio to record his landmark debut album, Grace, which featured his most successful single, “Last Goodbye,” as well as his transcendent rendition of Leonard Cohen’s “Hallelujah,” Buckley mothballed his troubadour set. To help bring dimension to the music swimming around in his head, he recruited the collaborative working band of guitarist Michael Tighe, bassist Mick Grondahl and drummer Matt Johnson. He wanted his solo album to sound big, ambitious and genre-slippery as he headed to Bearsville Studios in Woodstock, N.Y.

Even though our meeting was less than two weeks before the album release, Buckley was still tinkering with the mixes on Grace, tormenting producer Andy Wallace with sonic flourishes and rewritten bridges, and hoping to squeeze every bit of inspiration out of himself before the tape stopped rolling. In the pre-streaming world, this was an unheard-of high-wire act for a debut artist. But for a young musician who was signed to Columbia Records after a prolonged bidding war, it indicated a bit of acquiescence on the label’s part. From what they’d seen of him, Buckley was a can’t-miss artist. He just needed time, which, tragically, he was ultimately denied. Jeff Buckley drowned in Memphis in May of 1997, just 30 years old.

I’ve edited this interview for length and clarity and removed some passages where I thought Buckley’s sarcasm could be misinterpreted, or where it spun off into tangents that ended with Buckley impersonating everyone from Paul McCartney to the French poet Baudelaire. He had the nervous energy of someone about to embark on a long journey, uncertain of its destination, and I wanted to ensure his answers would properly reflect not just his wit but his wisdom.

*****

How does it feel to have to do interviews?

Well, at the outset I guess I figured why would anybody care? But I’m smart enough to know that people would want to talk about my music. I just didn’t think anyone would for a publication. But at this point the fatigue hasn’t set in, and no question is a stupid one.

It’s still early.

[laughs] Mainly it’s helpful because I’m getting some ideas out about exactly what I think about some things. And the important thing in doing interviews is not to have any pat answers. That would make it unenjoyable for me. Like a … a murder suspect or something, in terms of having your story straight.

Have you finished mixing the new album?

No, I have one last day in the studio — one last gasp of creative breath before I have to go away. I’m totally pissed. Absolutely.

Did you write in the studio, or did you go in with the songs ready?

One of them was completely organized in the studio. But that was still prepared beforehand. A lot of stuff we’d done at the last minute because I was trying to get the right people to play with, and it took a while before I found them.

But that was only three weeks before I’d gone up to Woodstock to record and we hadn’t known each other that long, and the band material hadn’t developed as much. Some things were completely crystallized, and some things needed care, and they got it. I’m still not satisfied.

Let’s see: I get to go into the studio on Wednesday, the day before I leave and the night after I perform at [defunct NYC club] Wetlands. So I have one, two, three, four, five precious days to [work on the music], along with all the other stuff I have to do. I have to shoot some pictures, possibly for the album cover. Then at night I’m free to get these ideas together, and I’ll still have one last shot on two songs in particular. The producer [Andy Wallace] doesn’t even know what I want to do to this one song. [laughs] He’ll be horrified.

Have you played it out?

Uh-huh. There are just things I want to crystallize about it.

Is figuring songs out onstage a conscious effort on your part to fly or fail?

Yeah, because I love flying so much. But, really, it’s still a kind of discipline. I guess it’s an engagement. It’s not like having “song 1 to song 6 and then a talk.” I don’t know anybody who really does that. I know a lot of performers talk about not being so structured. … Sometimes you can see bands that have a set of songs, and that shit is dead. That … shit … is … dead.

When I perform, I’m working off rhythms that are happening all over the place, real or imagined, and it’s interactive. It’s got a lot of detail to it, so I can’t afford to tie it up in a noose, and put it in a costume that doesn’t belong on me. So yeah, it’s free but it has its own logic, and sometimes it completely falls flat on its face. But it’s worth the fall, sometimes. Because that’s life.

To me it makes sense to do things in that manner, because that’s really just the way life is when you step out of it and see that, like, your car has a flat and somebody smashed in your windshield and then, shit, you’re walking home and all of a sudden you run into somebody that turns out to be your favorite person for the rest of your life. It’s always … unfolding. You just have to recognize it, I guess. And that’s my philosophy, that I haven’t really thought about until you asked me.

Have you been a solo performer out of desire or necessity?

Both. I did it to earn money to pay rent in the place I was staying, and bills, and my horrible CD habit, and failing miserably all the time, always playing for tips and always just getting by — by the skin of my teeth.

To get this sound in order, you can have a path laid out in front of you, but if you don’t have the vehicle to go down the road you’ll never get to where you want to go. So I guess I was building the parts piece by piece or going through different forms, reforming them and trying out different ideas and songs.

How long have you been building these parts?

Some of them I wrote when I was 18 or 19, and some of them I wrote weeks ago, and some of them I’m still writing. [laughs] The rest of this album is kind of a purging, because the rest of the albums ain’t gonna happen like this. [points to chest] You’ll never see this person again.

Who and what are you going to become, Jeff?

I don’t know, just something deeper. Nothing alien, just something deeper. I’m just not satisfied. I’m really, horribly unsatisfied. Cause I kind of got an idea of where I want this thing to go. It’s still gonna be songs. I think about deepening the work that I do, and other problems I try to solve, like, “If I go to see this band in a loft, or if I went to see this band in a theater, and I wanted to be very, very, very enchanted and very engaged and maybe even physically engaged to where I’m dancing or where I’m moshing, what would that sound like? If I wanted to be cradled like a baby or smashed around like a fucking Army sergeant, what would that sound like?” I daydream all the time about it. And that’s sort of what I work toward. It’s more of an intimate thing.

In America the rock band is not an intimate thing, but in America soul bands are very intimate and blues bands are very intimate, like way back in the day, when people who invented blues were doing it. It’s all very interdependent and it’s all very … people had to listen to make the music. And it comes around in a lot of different ways. Things I’m doing now are pretty old-fashioned: I’m going on tour to little places to play small cafés. [He lays his itinerary out in front of us.]

What do you expect the reaction to be? You play New York City and, by now, the people here know your deal, but there are some cities where they’re not going to know.

That’s OK.

Will you tailor your performance to different tour stops? Does it change the way you perform?

Every time I perform it’s different.

How long have you been in New York City?

Three years. But I’ll always be here. I’ll always live here.

What is it about New York?

Everything. You know all the clichés: It’s the electricity, it’s the creativity, it’s the motion. It’s the availability of everything at any moment, which creates a complete, innate logic to the place. It’s like, there’s no reason why I shouldn’t have this now. There’s no reason I shouldn’t have the best library in the country, and there’s no reason why the finest Qawwali singer in all of Pakistan shouldn’t come to my neighborhood and I’ll go see him, and there’s no reason that Bob Dylan shouldn’t show up at the Supper Club.

There’s no reason that I can’t do this fucking amazing shit. And if you have a certain amount of self-esteem, it’s the perfect place because there’s so much. It’s majestic and it’s the cesspool of America. And there’s amazing poetry in everything. There are amazing poets everywhere, and some real horrible mediocrity, and an equal amount of pageantry. There’s also a community of people that have been left with nothing but their ability to put on a show, no matter what it is — whether it’s a novel or a performance reading on Monday night at St. Mark’s Church for 20 minutes.

Where do you do the bulk of your writing?

Everywhere. You know what? Mostly it’s in 24-hour diners, on too much coffee. That’s an old Los Angeles thing.

How much does the location affect the writing?

To me music is about time and place and the way that it affects you. There’s just something about it. There’s just some spirit that somebody conjures up and then it floats out at you and helps you or hinders you throughout your life. It’s either Handel’s Messiah or it’s “All Out of Love” by Air Supply.

Music is just fucking insane. It’s everything. Music is like this: It’s always seemed to me to be one of the direct descendants of the thing in the universe that’s making everything work. It’s like the direct child of … life, [of] what being “people” is all about. It’s incredibly human but it touches things that are around us anyway. [pauses, then quietly] It’s hard to explain.

Give it a shot.

It gets into your blood. It could be [the Ohio Express’] “Yummy Yummy Yummy” or whatever. It gets in. It’s not like paintings and it’s not like sculptures, although those are really amazing and powerful. But I identify with music most.

And is live music the next degree of intensity?

Oh yeah, if they’re singing to me. You never hear it again, but you never forget it. I mean, you never forget it. It’s like the first time your mother cries in front of you. But I like making [music] and … I want the music to live live, even be written live, so it’s always forming, it’s ever unfolding.

The king of improvisation is [the late Qawwali singer] Nusrat Fateh Ali Khan — the most I’ve ever been filled with any performer’s energy. I have over $500 of his stuff. And I never got to see Keith Jarrett, but there was a time when he was my big hero for the same reason. Big, huge improvisation. Improvisation is something that I identify with.

Which of your new songs is your favorite? Is there one that you can’t wait to get to in your live set?

Not yet. I give each song pretty much the same attention, and I have the same reservations and the same carefulness about making sure I bring out its best. No favorites.

Just days after this conversation, Buckley gigs at the storied NYC club Wetlands. This performance was immortalized in a posthumous live release.

Credit: Steve Eichner/Getty Images.

What’s a song by another artist that you wish you’d written, that completely devastates you?

Most of Nina Simone’s songs completely devastate me, although she didn’t write [most of] them. A lot of things that Dylan did are so impressionistic, even though his originals are supposed to be folky. Like “Sad-Eyed Lady of the Lowlands”: If I was a woman and he sang that to me, I’d be like, “Whatever you want, Bob. You want casual sex whenever you want it and still be with your wife? I don’t care.”

I’d like to write something like “Moanin’ for My Baby” by Howlin’ Wolf, and I’d also like to write something like [Gerry and the Pacemakers’] “You’ll Never Walk Alone.” I have schoolgirl crushes on a lot of songs that never seem to go away. Lots of Cocteau Twins. That’s somebody I got to tell exactly what I thought of them.

Where were they playing?

In Los Angeles, a long time ago on the Heaven or Las Vegas tour. I’m immensely in love with their originality, their shyness. … But … um … the Smiths! [stands up abruptly, then sits back down] I wish I’d written half the fucking Smiths catalog. There are so many: “I Know It’s Over”; I wish I’d written “How Soon Is Now?” I wish I’d written “Holidays in the Sun” by the Sex Pistols. I could go on forever, and I know you don’t have forever.

Maybe sleep on it. I’m curious, do you sleep a lot?

No, I don’t.

Is your mind constantly racing? Are you always just … fast forward?

Have you ever seen those film montages when a guy’s going crazy, and it just gets faster and faster and…

Yeah, sure, that’s exactly what I mean.

It’s exactly like that. It’s like, I don’t want to miss a thing, and [I get the] feeling that I will miss something. But usually I’m wrong. [laughs] But when I do sleep, I sleep hard and have the best dreams.

Do you remember your dreams?

Sometimes, and they become the basis for a lot of my learning. That comes along with my development as a human being. Lately I’ve been having a lot of killer dreams — like a killer is coming after me or I have to confront a killer. And when a killer is coming after me, what am I going to have to do? To kill him.

Interesting. What do you think that means?

That something in me is going to be murdered. That a psychic killer is coming. Actually, I met him. Sometimes I meet people inside of me that don’t like me; sometimes I meet people inside of me that want to make love with me more than anything; sometimes I meet the most bizarre animals and am in the most bizarre situations.

One dream, I met a serial killer who lived out in a small town in, like, Virginia. A small suburban town, very nice, white picket fence. And he lived in the town in a church with the pews taken out. And he was an artist.

You remember this much detail?

Just wait. He was a very short young man, probably about 28 years old with thinning black hair that I think he was ashamed of. He also had all of these photos of these people mangled beyond belief, carved up, dissected alive. They were still alive in these photos, and there was a wall of all of these seductively beautiful, textured, processed black-and-white photos. One man had been made into a basket. One man had been totally deboned but still kept alive, and his skin had been made into a basket upon which his head stood, looking straight into the camera. And right before he died, this snapshot was taken. And this is what this guy’s job was. And my task in the dream, I was the person that saw this amazing horror and this amazing pain. The photographs were screaming, and all of this madness, all of this waste at the hands of this person with a warped soul.

The irony of the dream was that his self-esteem was nothing, and he was saying, “This sucks. This is horrible. I don’t even want to show you.” I was so afraid of him and wanted to keep him in the same place long enough for the police to get him and take him away — while not being killed myself. Obviously. [laughs] So in order to be cool I had to ultimately be compassionate and point out the details in the picture where I felt there was brilliance and really good workmanship — all the while feeling that I would vomit any second, all the while so scared I thought I would cry. And that was the dream.

Sometimes I have really rhapsodic dreams, and sometimes I have little bits of memory … but lately it’s been killer dreams, and the police almost don’t come in time, although they do come in time. And then I met a woman inside me that hates me. I met the girl, I met the person that doesn’t like me, and then I met this person who was so lascivious sexually that she masturbates publicly all of the time, like she’s fixing her hair. And she looks beautiful doing it and really great, but everyone’s around her and she’s practically naked.

I’m pretty transfixed by [dreams]. I link them to the way I perform. I don’t see any separation, because when you sing there’s a psychic journey that happens.

Do you write a lot of poetry?

I garner my songs from my poetry. If anything looks like it’s vibrating, yeah. But it’s a raw thing.

Was the Live at Sin-é EP, released in November of ’93, supposed to hold people over until the album comes out?

No, it served that purpose, but no, it’s just because I love that place.

How often have you played there?

I’ve played there a lot. I played there for over a year. At first I couldn’t get a slot. Shane [Doyle], the owner, had too many demos to listen to. I gave him a demo and a review, which is something I never ever, ever fucking do: pay credence to any one journalist’s opinion. But this was a good review. [laughs] Some positive, some negative. Mainly the negative stuff was my fault.

So I thought that maybe I could get a gig at this little place because I wanted to play in little places to establish my sound and do the work and learn how to sing the way I wanted to sing. Because I didn’t have any teachers. There were teachers around Sin-é to teach what I needed to learn, but Shane couldn’t be bothered.

Then somebody crapped out on a bunch of Monday nights and my friend Daniel Harnett got me in. He said, “I’m doing one, and so you can do one too.” I was like, “Wow, thank you.” As it turned out, that was it. Bang! I really worked my ass off to get that gig and get others and to make money.

How did you hook up with Columbia Records?

They came to me. I didn’t intend for them to. I was just making music.

Were they the only label that came to you?

Nope. I met Clive Davis. Shook his hand. I met Seymour Stein. Seymour’s at Sire; Clive is at Arista. A lot of people were interested. I met somebody from RCA. Peter Koepke at London.

Were they in the audience at your shows? Then they’d come up to you afterward?

Yeah, and I didn’t really like it. I didn’t like Clive showing up in a limousine on the Lower East Side, in a fine suit. Poor guy — it was so hot in that fucking room.

This was Sin-é, right?

Yep, you were there — like a fucking furnace. In the middle of the fucking summer. I had my shirt off; the guy’s still in his work clothes ’cause his life is fully air-conditioned.

Did you have any misgivings about signing?

Of course I did. Being brought up around the music business in Los Angeles, you see the turnover of people being signed and dropped day after day after day, and it’s all written off as a tax loss. To the company, it’s no sweat off their nose.

But here in New York it’s more about the work, and you don’t get anywhere without the work and that’s what I was doing. But I had misgivings about the size of the places. I had misgivings about my deservedness, about how good I was. I had misgivings about who they thought I was and what they thought I was. And how I wasn’t what they thought. At all.

Which is? Don’t record companies think that every male solo performer with a guitar is the New Dylan?

No, they thought I was the second coming of Tim Buckley. [quietly] That’s what I thought they thought.

Is that a recurring worry of yours?

It was that as a child. But now I’m totally immersed in what I do. If someone asks a question about it, I just tell them as much truth about things as I know. I had no misgivings once I saw my first and only liaison to Columbia Records, [former head of A&R] Steve Berkowitz. He was there from a pretty early stage, just listening. Which is what he does. Because he loves music. And he’s smart. And he’s smart enough to work this fucking gig at Columbia and to do a good job. The personnel here [at Columbia] are what really changed my worries, but I’m really worried up until, like, now.

How would you describe your sound?

I can’t explain it because I’m actually confused. It’s not really a tremendous literary feat to describe it. It’s just an amalgam of everything I’ve ever loved and everything that’s ever inspired me. I’m using that now.

How do the Columbia folks describe you?

They don’t know. At a recent convention I played in Boca Raton for A&R folks at like 11 in the morning, the guy that introduced me said, “We really don’t know what this is. We don’t know what kind of record he’s gonna make. We just know he has to make it.”

… a.k.a. “Introducing the boy genius…”

I’m not a boy genius. I’m neither one, actually. But I’m aware that these people have to move units. I’m aware that this company, by inertia alone, has an agenda. That it can function without me, and I can function without it. But there’s a certain thing that I can’t have without it, and that’s making little plastic discs and traveling the world and being a musician, and they seem to want me. A lot. And I feel that where I’m going is worthwhile, that maybe when I get there this all will have been … whatever crappy shit I’ve ever done will be redeemed.

Do you think you’ll ever get there?

Sure. Or you’ll find me swinging from somebody’s dressing room [laughs] with a big blue arm holding a Jam tape.

More: Read a heartfelt tribute to Jeff Buckley by Juliana Hatfield.

CONVERSATIONS / JEFF BUCKLEY / ROCK / SINGER-SONGWRITER

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Tony Gervino is TIDAL’s executive vice president and editor-in-chief of programming and editorial. He was previously editor-in-chief at Billboard, SLAM, NBA Inside Stuff and HOOP magazines.

© 2022 Aspiro AB

#jeff buckley #the lost interview #tony gervino

[works-of-fanfiction]

Harmless Fun - Graham Coxon x Reader

Summary: Graham agrees to a date at the funfair with the reader. (I imagined 2020/21 Graham whilst writing this, but you can view him however you like.)

Requested by: Anon - who wanted to see an older introverted Graham with an extroverted reader - I put a little spin on this with Graham coming out of his shell more throughout. I hope I did the idea justice!

Warnings: None.

Word Count: 2.8k

___________________

Among the extravagant rides, flashing lights and hundreds of people, Graham and I seem so small. We link arms as we walk into the funfair, exchanging a couple pounds each for fluorescent orange paper wristbands and glow-in-the-dark hand stamps shaped like goldfish. Graham’s smudges across his knuckles a little and we both make fun of the distorted icon on his skin. “That’s a very chubby goldfish.” I giggle, tracing the outline of it with my finger then comparing it to my own.

“No, yours is just starving. Look!” Graham points at my stamp, rubbing his finger over it to try and smudge it. It doesn’t budge and I laugh mockingly before tugging on his hand to drag him further down the gravelled entryway.

We reach a red arch covered in bright lights, mimicking a stereotypical dressing room mirror, like the kind you’d see in a movie. Graham and I spend the next couple of minutes dodging couples and families taking photos, the repetitive sounds of phone cameras clicking and flashes going off. Coming to a halt, I pull Graham to the side and grab my film camera from my tote bag. I wiggle it in front of his face, donning the classic puppy dog eyes to try and get my way. “Y/N…” He starts, taking the camera from my hand. “There’s so many people here. We can take a photo inside.”

“But this is such a nice spot! It’s so bright and sparkly. It’ll make such a pretty picture, Gra.” I beg, batting my eyelashes like a spoilt toddler. He sighs, winding up the camera and holding down the flash button until it lights up. I clap my hands together happily, giving him a quick side-hug before shuffling to the middle of the arch. “Ask him to take the photo.” I whisper, gesturing towards a man stood nearby. Graham shakes his head, holding the camera up to his face.

“Let me take one of you.”

“You’re just making excuses not to be in the picture!” I whine, my hands on my hips as I stare into the lens. Graham unexpectedly presses the button, the flash catching me off guard. “Hey! I wasn’t ready.”

“But you were posing.” He teases, winding the camera again. I shake my head, laughing as I link arms with him and lead him away.

“You still owe me a photo later.” I huff, grabbing the camera and tucking it back into my bag.

Graham chuckles, giving me a kiss on the temple and whispering in my ear, “I win.” I playfully slap his chest and he gasps, pretending it hurts. “Don’t hit the old man.”

“You’re not an old man!” I protest, standing on my tiptoes to kiss his cheek. He smiles, unlinking our arms to wrap his around my shoulder. He pulls me close and I settle into his side so perfectly, it’s almost like I was made specifically to be there. “Thank you for agreeing to this.” I say quietly, my arm lazily slung around his back, holding onto his denim jacket.

“Well, you were very persuasive.” He taunts, prodding me in the upper arm and earning himself another slap to the chest.

“Graham! Don’t say that in public.”

“Say what?”

“That! People will hear you.”

“Oh, they don’t know what I’m talking about.” He teases, leaning down to kiss my head. “You always know how to get your own way with me.” His hand slides further up my arm and onto my shoulder, gently massaging it. My eyes flutter closed involuntarily and Graham hums, the sound so smug it snaps me out of my daydream. He knows exactly what that damn shoulder thing does to me. I bat his hand away and point to the carousel which is the first ride we come across.

“You were saying something about me getting my own way?” I slip from his grasp and run to get in line.

“Y/N! The carousel… really?”

“Come on! It’ll be fun.”

Graham looks around, clearly worried or bothered about something. I leave the line before anybody joins behind me and go back over to him. “What’s wrong?” I ask, hands resting on either side of his arms.

“I’m just - I don’t know. We’ll stick out like a pair of sore thumbs on there.” He scratches his head, looking past me at the people climbing onto the brightly painted horses.

“Who cares?” I whisper, leaning closer to him and pressing a light kiss to his nose, before rubbing my nose against his. His glasses graze my face and I pull away, swiping his lenses with my sleeve to make sure I don’t leave any smudges behind. “Shall we?” I ask, holding out my hand to him.

He’s quiet for a moment, giving the carousel one last look before his eyes come back to meet mine. I smile hopefully, my hand still flat awaiting his to connect with it. He sighs and takes my hand, pushing his glasses up onto his nose with the other. “Alright. But I’m having that grey horse there.”

Graham’s horse is on the left, closer to the centre of the ride. I take the white horse beside him and hold onto the gold pole with one hand, the other still in Graham’s. He looks at me and smiles shyly as the ride begins to start, a corny rendition of ABBA’s ‘Mamma Mia’ playing on what sounds like an organ. We both roll our eyes and I listen out for the chorus, joining in with it. Graham bows his head, laughing quietly as I sing the lyrics at the top of my lungs, bopping from side to side and nodding my head to the music. “Why, why did I ever let you go? Mamma Mia! Now I really know - my my, I should not have let you go!” I sing, letting go of the ride to pretend I have a microphone in my hand. Graham leans over and grabs my wrist, pressing my hand back onto the pole.

“Hold on!” He shouts over the music and my tone deaf singing. I flash him an apologetic smile, cheekily blowing him a kiss and carrying on with the song. As the tune fades to an end, so does the ride. He jumps down from his horse and helps me off of mine. We head down the stairs and stand beside the ride control box where Graham stops to fix my hair, moving a piece out of my face and smoothing the rest with his palms. “Did you enjoy that?”

“Very much so!” I grin, staring up at Graham whose face is lit up by the carousel. His eyes catch the light and I can’t help but smile at just how beautiful he looks. The slight salt and pepper colour of his hair is more visible and I reach my hand up to run it through his fringe. “You’re so pretty, Graham.”

“Pretty?”

“That’s what I said.”

His gaze struggles to meet mine and I can’t help the giggle that passes through my lips. “Look at you getting all embarrassed! Is that a blush I see on your cheeks?” I tease, poking his cheek with my finger.

“Stop it…” He says, his voice small and unbelievably adorable. I wrap my arms around him to give him a hug, resting my cheek against his chest. He hugs me back, his chin resting on my head as we slowly sway under the lights. “Are you hungry?” He finally asks and I nod.

We head over to the food stalls and I find a bench, grabbing my scarf from my bag and laying it across the seat before sitting down. Graham stands, looking at the different options. “What do you fancy?” He asks, leaning down and holding onto my shoulders, his face hovering next to mine as I read the banner of each stall.

“I’ll just have some fries. Can we get donuts later?”

“Of course we can get donuts later.” He plants a kiss on my cheek and heads over to get the food, leaving me to save our seats. Taking the camera from my bag, I sneakily snap a picture of Graham as he waits for our orders. His attention is focused on something in the distance so he doesn’t notice the three clicks of the camera flash. One photo is never enough when it comes to Graham. Even if I filled a thousand albums with pictures of him, I’d still want to make it a thousand and one.

He’s back in no time with an extra large tray of fries and a bunch of sauce packets in his hand. He dumps the sauces on the table, putting down the food and untucking two cans of lemonade from under his arm. “I didn’t know if you’d want ketchup or mustard so I just got both.” He shrugs, sliding onto the bench beside me and tearing open a sachet of ketchup. He makes a space on the tray and empties the sauce out, wasting no time and tucking into the fries. I do the same but with mustard, and we assume a comfortable silence as we eat. The action continues around us as various songs play at each ride, all muddling into one and mixing with people’s squeals and screams. The scent of different foods surrounds us and almost tempts me into trying more, but I resist. We clean the tray of fries pretty quickly and decide to walk around, cans of lemonade still in hand as we explore the fairground more.

We spend the next twenty minutes making conversation about everything we spot around the fair. There’s stalls of handmade crafts and gifts which is something neither of us have ever seen before at an event like this. I marvel at the array of trinkets and lovingly crafted items, pointing things out to Graham that I think he might like. I come across a watercolour painting of a man playing the guitar, his silhouette illuminated by the night’s sky as he perches on the edge of a dock like a fisherman. The detail in the picture is spectacular, every brush stroke purposeful in making the painting perfect. I scuttle to Graham who’s a couple of stalls over and bring him over to show him the painting. I watch as his eyes light up like headlights in the snow, and we both look at each other with beaming smiles on our faces. No words need to be exchanged for us to combine some money and buy the picture. The artist carefully wraps the canvas in tissue paper before tucking it into a stiff cardboard box. I thank her and she thanks us right back for supporting her work. We look at a few other things before continuing on our walk.

“This’ll look great in your studio, Graham.” I enthuse, holding tightly onto the box. “Although I do wish you would’ve let me buy it for you.”

“It’s not just my painting, it’s ours.” He states simply, taking my hand and bringing it to his face to kiss the back of my knuckles. A rush of heat spikes up my neck and onto my cheeks, and my gaze falls to the ground like a lovesick rom-com character.

As we walk, Graham gets onto the topic of fairground mini games and how they’re rigged to make more money and have barely any winners. It’s hard not to laugh at his rambling, and I tease him for being so uptight about it. “I’m not uptight! It’s the truth!”

“It’s for kids, Graham.”

“Exactly! Which is why it shouldn’t be such a scam. It’s not fair for kids to keep losing.” As he speaks, I spot a Hook-A-Duck game and grab his arm to stop him. He notices the stall and frowns, his expression the complete opposite of the ear-to-ear grin taking over my face.

“Go on, Gra! Have a go!” I chime, wrapping my arms around his left arm like a koala bear attached to a tree. “That stuffed panda up there looks like he needs a home.”

“That stuffed panda is too big to be a real prize, Y/N. You’ll be lucky if I win that plastic snake down there.”

“It’s worth a shot.”

I pull him towards the game, handing money to the woman at the counter. She hands me the rod and I turn to Graham, thrusting it into his grasp. “You weren’t kidding.” He says, reluctantly taking it.

“Nope!”

He aims the hook towards the brightest yellow duck in the middle of the water. His grip is a little shaky and he misses the first couple of tries, but he eventually gets it. The worker grabs the duck and turns it over to show a big black star on the bottom of it. Graham drops the rod and looks at me, embarrassment covering his face as the large stuffed panda bear is brought down from the top shelf and handed over to us. “Congratulations! You found the grand prize duck.” The worker cheers, pushing the bear towards Graham. He awkwardly thanks her, picking up the oversized plush toy and carrying it over to the nearest bench.

I can’t contain my laughter as he stares at the bear, one hand on his hip and the other scratching his head. “Well, this is ridiculous.”

“He’s cute!” I squeal, sitting down and cuddling the panda close. “I’m going to name him Leslie.”

“Very funny.” Graham quips, trying hard not to smile but I can see the smirk beginning to tug at the corners of his mouth. I give the teddy bear another big squeeze, encouraging the smile to finally surface on Graham’s more than perfect face. “You’re lucky you’re cute.”

“Who? Me or the bear?” I raise my eyebrows and he moves closer to me, bending down to press a gentle kiss to my lips. I grab him by his jacket and pull him closer, causing him to stumble a little and almost fall on top of me. He steadies his feet, kissing me again, his hand cupping my cheek. For a second it feels like we’re the only people there, until the screams of those on the dodgems pull us out of our private moment. We both jump at the sound, Graham’s cheeks turning slightly pink before he buries his face in my neck.

“Look at us snogging at the fair like a pair of teenagers.” He mumbles, his hair tickling my skin as he talks. I find his shoulders and push him to stand up straight, standing with him.

“Oh, let them stare! I’m not embarrassed and neither should you be.” I encourage, embracing him in a hug and fluttering kisses along his jaw. He squirms a little and complains about being ticklish, moving his head around to try and dodge me. He slips away and grabs the panda bear, throwing it onto his shoulders like a parent carrying their child, or a festival-goer balancing their drunken friend. I laugh, tossing our empty cans into the bin before linking my arm with his once again.

With a giant stuffed bear in tow, it becomes increasingly more difficult to get on rides and find somewhere safe to leave it. We settle on the ferris wheel, sitting beside one another with the panda facing us. Graham stays close, his arm wrapped tightly around me as we go up into the air and look down on the view of the funfair as well as the city around us. “Sorry we didn’t get to do much. Bloody stupid bear.” Graham scoffs, gesturing to the mountain of stuffing and fake fur occupying the opposite seat.

“I don’t mind. I’ve had a lovely time.” I rest my head on his shoulder, reaching over to hold his hand. His fingers entwine with mine, his thumb rubbing circles over the back of my hand as we listen to the faint sounds of the music below us. “I’m really glad we agreed to do date nights more regularly.”

“Me too, but I’m planning the next one. Preferably somewhere with fewer screaming people.”

“Here’s me thinking you enjoyed the company of overexcited strangers.” I joke, nuzzling my nose into his neck and inhaling the addictive scent of his cologne. He rubs his cheek against my head like a cat showing affection.

“I’d enjoy having you to myself much more.”

“Then it’s a date.” I giggle, kissing his cheek and feeling his short stubble tickle my upper lip. He turns his head for his lips to meet mine, kissing me as we both mumble “I love you”s against one another’s mouths.

Graham is the first to pull away, slouching in his seat and slipping his hand into my bag. He pulls out the camera and smiles at me. “How about we take that photo together now?”

#graham coxon #graham coxon x reader #graham coxon oneshot #blur #fluff #request