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starry-bi-sky · 22 days

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Stuck in the middle of a forest made of

Flesh and bones and they're all scared of

A lost little boy who has lost his heart

Fear's not enough, they have to

Tear him apart —-------

There are two things Daniel Fenton knows that his family knows as well:

He’s adopted.

He can’t remember anything else before that.

‘Adoption’ is a loose term, implying that they went through the official legal processes and troubles of adopting a child into their home willingly, and with the full intention of doing so going into it. That is not what happened. What happened is that Jasmine Fenton found a half-dead child, in strange clothing, in the middle of the woods at her Aunt Alicia’s cabin, and then she went and got her parents.

What happened is that a twelve year old Danny woke up in the same cabin, wearing clothes much too big on him that didn’t belong to him, and with very little memory of before that moment. He wakes up like a spring being set loose, sitting up so fast he scares the daylights out of Jasmine Fenton sitting next to him. He wakes up, reaching for his sleeve for something that isn’t there, and when it isn’t his mind stutters, like he’s tripped at the top of a steep hill.

When they ask him for his name, he tells them, clearing muddled thoughts from his mind; Danny. He’s twelve.

(He thinks that’s his name, at least. It sounds right; it feels right. If he thinks really hard about it, he thinks he can remember someone calling him that, utter adoration in their voice. So it must be his name.)

The Jasmine girl convinces her parents to take him home with them, and they give him the spare guest room upstairs. He has nothing to fill it with.

It’s… a strange experience, to go to a ‘new’ home when he doesn’t even remember his old one.

The official adoption process… happens. He can’t say it’s easy, or difficult. He’s oblivious for the most of it, Jasmine intends on helping him settle in and Danny can’t say he enjoys the smothering. He learns that he is stubbornly self-independent, that’s one new thing he knows about himself.

His adoption papers say ‘Daniel J. Fenton’. Danny remembers staring at the name ‘Daniel’ for a long, long moment, something curdling sour in his sternum. His name is Danny, that he knows. But it’s not Daniel. But he doesn’t know any other way of saying it, so he keeps his complaints to himself.

(Jack Fenton boisterously claps his hand on Danny’s shoulder and jerks him around, grinning wide as he welcomes him into the Fenton Family. Danny’s mind blanches at the touch on his shoulder, an instinct snapping like the maw of a snake, telling him to cut off the man’s fingers for daring to touch him.)

(He keeps the thought to himself, tension rising up his shoulders the longer Jack Fenton’s heavy hand stays on him.)

They found Danny in the summer. It’s a perfect coincidence, Maddie Fenton says before she goes back into her lab with Jack Fenton. She says it’s enough time to allow Danny to adjust; that they’ll enroll him into the school year in the fall. Then she stuffs a canister of ectoplasm onto the top shelf, and disappears like the ghosts she studies back down the stairs.

(There’s something eerily familiar about the ectoplasm sitting in the fridge, something unsettlingly so. Danny knows what that stuff is, but he doesn’t know where. When the house is empty, he takes a can from the fridge and inspects it.)

Jazz wants him to leave the house. Danny doesn’t want to step foot outside of the FentonWorks building until he has something that quells the feeling of vulnerability he gets whenever he does. He tried to once, and he felt exposed. Unsafe.

He turned back around and went inside.

—-------

Where do we go

When the river's running slow

Where do we run

When the cats kill one by one

—------

One day, when the house is empty — or, as empty as it can be; the Fenton parents down in the lab, and jazz out with friends. Danny is making a sandwich, and he caves into the urge to flip the knife in his hands between his fingers. A childish impulse, but one he falls for nonetheless. It comes to him easily, like second nature, in fact. The slip of the blade between his fingers is seamless, flowing with an ease like water running down the wall.

He’s almost startled by it; his body holds memories that his mind does not. Muscles that know which way to move and twist, limbs that know how to hold and how to throw. He continues twirling it, fascinated, as if he were a scientist discovering a new species of animal.

It’s not for a handful of minutes when a new thought hits him; an impulsive thought that pops in the back of his mind like a firecracker; Danny moves without thinking.

He turns, and throws the knife. The pull of his shoulder, the flick of his elbow, is familiar like a hug. He knows when to let go, and the blade flies through the air in impressive speed, embedding itself into the wall with a hearty, loud thunk. Sinking into the drywall like butter.

Danny stares at it in shock, he feels relieved — about what? — before he feels the guilt. He scrambles across the kitchen to pull it out, heart racing in his chest at being caught, and prays no one notices the hole it left behind.

(He runs up the stairs before anyone can find him, food forgotten, and hides the knife beneath his mattress like a guilty murder weapon.)

After that, he leaves the house more. It’s more out of fear of being caught than the desire to leave. But Danny is quickly learning that among all things, he is someone who was dangerous, before he lost his memory. Even with his mind in fractures, he is still dangerous.

He’s not sure how to feel about that — he thinks he should be scared. He feels a little proud, instead.

—------

Hazel beneath our claws

While we wait for cerulean to cry

Unsettled ticks run through time

Enough for the hunt to go awry

—-----

There’s another thing he learns about himself. That he knows about since he woke up. He knows that he left someone behind. He doesn’t know who, but he knows they must have been close; he’s always looking down and finding himself surprised when the only shadow he sees is his own.

He thinks that he must have sung to them a lot; he finds himself humming familiar melodies when he’s lost in thought. Lullabies lingering at the tip of his tongue, an instinct to turn and sing them to someone beside him. He can’t remember the lyrics, but his mouth does, it tries to get him to say them when he’s not thinking. He can’t.

Danny’s found himself humming under his breath more times than he can count, trying to recall whatever it is his mind is trying to claw forward.

(“That’s a pretty song, Danny.” Jazz tells him at breakfast one day, Danny screws his mouth shut. He hadn’t realized he was humming. “What is it?”)

(Something mean and possessive rears its head on instinct, uncoiling like a snake from its ball. His shoulders hunch defensively, he bites his cheek to prevent himself from baring his teeth. He doesn’t know what song it is, but it’s not for her. “I don’t know.”)

He misses his person. Dearly. He knows, the longer he is without them, that they must have been close. Otherwise, he wouldn’t feel like he’s missing a chunk from himself. He wouldn’t be turning to someone who's not there; reaching for a hand that’s missing, birdsong on his tongue, a story to tell.

A dream haunts him one night. Warm and familiar, he’s holding onto someone smaller than him, they’re tucked into his side like a puzzle piece. He’s humming one of his songs that is always playing in the back of his mind, an unfinished tale of a harpy and a hare. Danny can’t remember their face, not all of it. He remembers green eyes, hair dark like his own, skin brown like his.

He loves them more than anything else in the world, a fact he knows down to his soul. He loves them so much it fills his heart with sunlight. Danny squeezes them tight, nuzzling into their hair; he makes them laugh. Then, he proudly boasts something. That when he takes something of their father’s, that his person — a sibling? That feels right — will be… the word fades from Danny’s mind before he can make sense of it.

His person hugs him tight, his… brother? And their mother — a woman whose face he can’t remember either, but who he loves like a limb nonetheless — appears, smiling. Her hands reach for them both, voice calling them, ‘her sons’. There’s ticking in the distance, it sounds like the fastening of chains.

Danny wakes up cold, tears streaming down his face. The details of the dream already fading from his mind like the cold pull of a corpse.

—-------

Harpy hare

Where have you buried all your children?

Tell me so I say

—-------

When school starts that Fall, Danny joins the sixth grade class, and quickly learns more things about himself. One of those things being that he’s smarter than the rest of his grade, whatever education he had before, it was better than the one he’s getting now.

Everyone knows he’s adopted right off the bat. He tells them when the teacher forces himself to introduce himself, but it’s not like they needed him to tell them for them to know; he never existed in their little world before now, and the Fentons are pale as they come. Danny is not.

He befriends Sam Manson and Tucker Foley; they ask him about the scars fading up and down his arms, they ask him about the scar carved diagonal across his face.

Danny, as politely as he can, tells them he doesn’t remember. He thought kindness would come second nature to him, his dream burned into his mind where he hugged his brother so sweetly. Apparently, his sweetness is only second nature to people he considers his own.

(It becomes even more apparent when Dash Baxter tries to bully him later that day, and Danny ruffles like an eagle threatened. His mind whispers, hissy and agitated, sinking like a shadow at his shoulder, several different ways Danny could kill him for talking to him like that, and fifteen more ways he could cripple him.)

(Danny ignores those thoughts, up until Dash Baxter tries to grab him. Then he breaks his nose on the wood of his desk. It’s easy how quickly the rest of his grade sinks him down to the status of social pariah.)

(At least Sam and Tucker still talk to him after that. When Danny goes to the principal’s office later, he wisely doesn’t mention the worse things he could’ve done than break Dash Baxter’s nose.)

—--------------

It clicks and it clatters in corners and borders

And they will never

Hear me here listen to croons and a calling

I'll tell them all the

Story, the sun, and the swallow, her sorrow

Singing me the tale of the Harpy and the Hare

—-------

More dreams come, of course they do. Each one halfway to forgotten whenever he wakes up, ticking faint in his ears. He is many different ages. He is young, shorter than a table. He is older, holding onto his little brother. He is singing in almost every single one. He is singing to his brother.

Danny can barely remember the lyrics, he’s begun leaving a journal by his bedside so that it’s the first thing he can write down when he wakes up. He’s a storyteller, he learns. He feels like a historian, trying to piece together a culture long dead and forgotten.

His most vivid dream-like memory is not a happy one, and for once he’s almost relieved he barely recalls it. He is somewhere that isn’t home, but his mother and brother are there. He is dressed in black, blades keen in his hands.

They are atop a moving train. They are fleeing something. His brother is struggling to keep up, he is small, and young. It’s beautifully sunny, they are somewhere green and lovely.

It is a fast dream.

His brother stumbles on something, and Danny, fast as a whip, snatches him by the back of his shirt and hoists him up to his feet before he can fall. “Watch your feet, habibi.” He murmurs low, a hand on his back. It’s hard to hear, there is wind in their ears.

His brother, face obscured in all but his eyes, which are green as emeralds, nods.

The dream blurs, but Danny falls behind. His foot catches on air — impossible, it should’ve been, at least. He never trips. — and he lands against the roof with a thud and a grunt. His mother and brother stop, and turn for him.

The train hits a turn before Danny can get up, and he shouldn’t have, something pulls on him, he swears, but he slips. He can’t find the purchase to pull himself up, cold fear hits him as his nails scrape against the metal.

His mother and brother’s horrified faces are the last thing he sees before he disappears off the side of the train.

(The ticking is at its loudest when he wakes up, pounding against his inner skull. He only manages to write down ‘train fall’ in his journal, before he’s flipping over to press his head into his pillow to get the pain to stop.)

—---

She can't keep them all safe

They will die and be afraid

Mother, tell me so I say

(Mother, tell me so I say)

—-------

When Danny is fourteen he is still humming songs he can’t remember, his mind still in a broken puzzle. But his room is now decorated with stars and plants in every corner. He has a guitar he keeps in the corner of his room, and he plays the lullabies in his head on the strings over and over again.

The ectoplasm in the fridge still unsettles him, still reminds him of a past he can’t recall. The knife beneath his mattress has returned to the kitchen — he doesn’t need it. He found a box in the attic last year, it had his name on it, and inside he found familiar, strange clothes, and more weapons than he thought was possible to carry on one person.

(Even without knowing that the Fentons prefer guns to blades, Danny knows, instinctively, that they were his weapons. He was — was? Is — a dangerous person. He takes the box down to his room to sort through. The weapons all fit into his callused hands almost perfectly — the grooves worn to fit his palm. They’re just a little small.)

(He tentatively takes a small blade with him to school one day, and feels much more comfortable with it sheathed beneath his shirt. He’s kept it on him ever since, like he’s reunited a lost limb to himself.)

Danny doesn’t have a name for his person, his little brother, nor does he have a name for his beloved mother. He’s haunted by dreams every few weeks, many of them repeating. He’s ingrained the words he can remember to memory, and the ones he doesn’t, he writes down in his journal. His little brother; Danny calls him a bird, he can’t figure out what kind. His little bird of some kind; when Danny takes something from their father — what, he can’t remember what — then his little brother will be a little bird.

(He doesn’t have a name for his brother, yet, but he’s calling his birdie in his head. It’s better than nothing.)

—------

Seeker, do you ever come to wonder

If what you're looking for is within where you hold

Will you leave a trail for them to follow a path

You'll soon forget

Home

—---------

When he’s fourteen, Danny dies. It does nothing to fix his fractured memories, much to his consternation. It just confirms something he already knows; that he was someone dangerous, and that he still is.

When the shock of death has worn off, Danny inspects his ghost in the metal reflection of the closest table. It’s blurry, hard to see, but shock green eyes pierce back at him, green like the portal. Lazarus, Danny’s mind whispers, and he blinks rapidly.

‘Lazarus,’ he mouths to himself. It’s familiar. Sam shows him with her phone what he looks like, joking that he looks like an assassin. Danny doesn’t think she’s that too far off.

He doesn’t tell her that. He tucks the thought away with the rest of his secrets, and fiddles with the hood gathering at his neck, attached to a cape with torn edges swinging down to his ankles. He pulls it over his shock white hair. It shadows over his face impossibly so, until all you can see are his green-green eyes peering out like a wolf hiding in the brush.

He ends up calling himself Phantom.

(Maybe now he can start putting lyrics to his lullabies; his memories may not have returned, locked away with the sound of a clock, but the dead can talk. One of them may just have answers.)

----------

Home is where we are

Home is where you are

Home is where I am

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

Dedicated to @gascansposts for being the one who introduced me to the band Yaelokre, and thus being the whole reason I was inspired to write this in the first place >:] Those lyrics at the line breaks are all from their album Hayfields.

#dpxdc #dp x dc #danny fenton is not the ghost king #dp x dc crossover #dpxdc crossover #dpdc #danyal al ghul au #amnesiac danyal al ghul au #songs in order of the album: the hartebeest / harpy hare / and the hound / neath the grove is a heart #musician danny has my heart and soul #yes this danyal IS an alternative danny from the other au. an au where things were a little better :) but still sucks #implied good mom talia al ghul #danyal is a momma's boy send tweet #dpxdc ficlet #dpxdc prompts #dp x dc au #dp x dc fanfic #danyal is sTILL five years older than damian in this au #no beta no edits we die like danny fenton #poc danny fentons #i didnt know where to end this :(( i was gonna go on but i blanked. i thought about going into his relationships with his rogues and so on.#but that felt too much like trying to just increase the word count rather than actually writing?? if that makes sense #ugh im gonna have forgotten to include things and im gonna be kicking myself later #morally ambiguous danny whoo! we love to see it #since this was just for fun it doesnt really go into it all that much other than like. it happens. and that danny realizes he's dangerous #phantom in a hazmat suit? nah phantom looking like an assassin >:].#danyal al ghul with damian and his mom: 🥰🌸✨#danyal al ghul with everyone else: 👹🔪#am i heavily implying that clockwork had smth to do with Danyal’s amnesia and appearance by the cabin? 👀 maybe #not enough danyal al ghul aus where him being an assassin actually. has some kind of affect on him

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vickiabelson · 9 months

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Kootch! Worth waiting for! Timing is everything, and his was perfect. It’s taken years to get Danny Kortchmar alone in the Game Changers guest seat, having paid us a couple of previous visits with his Immediate Family brothers. This Danny is kinder, gentler, and oh, so fun. He’s been leaning more and more in this direction to my view since falling in love with Lisa Roy, even after surviving the devastating loss of her life. She was the love of his, and it appears she did him a world of lasting good. Danny will be the first to admit he can be serious and… cranky. No sign of that guy this evening… just great stories of some of the greatest musicians of our time, from one of them, all wonderfully, entertainingly, told. We may have even heard a few previously undocumented firsts… starting as a kid discovering early rock ’n roll, to very soon playing it, summering on Martha’s Vineyard, and the early teenage friendship that would change his life. Jamie, as Kootch calls James Taylor, who talked him into some questionable behavior, then blamed him, classic! Not something I’d imagine or associate with sweet baby James. Their lifelong friendship, their musical collaboration, how it started, and why it ended. Meeting, working, and loving Peter Asher, Lou Adler, Carole King, Russ Kunkel, Leland Sklar, Waddy Wachtel, Linda Rondstadt, and Jackson Browne. The story behind Somebody’s Baby. We talked about his extensive successful producing career (although he has a caveat which was fascinating to hear) - including Jon Bon Jovi, Billy Joel, Toto, and his extensive collaboration with Don Henley, the great and the tough of it. There are no endings with Kootch. Once family, always family. He remains close to all of them. And speaking of family, Danny spoke to the birth, development, and current state of affairs of The Immediate Family, his beloved creation. His frustration with the pandemic’s impact and the conflicting work schedules of his brothers doesn’t dampen his passion for their new album yet to drop, and their soon-to-be-released brilliant Denny Tedesco documentary, Immediate Family. There is remorse that Waddy Wachtel’s commitment as Stevie Nick’s musical director, a position he’s held for 25 years will keep him from 5 scheduled live shows, but Danny did drop some news… The Cars Elliot Easton will be jumping in for those shows, certainly softening the blow.

This time with Danny was a joyous romp through the musical soundtrack of so much of my life. His songs, and his playing, are forever etched in my heart and soul. The man sure do know how to rock ’n roll. Good God!

Danny Kortchmar Live on Game Changers With Vicki Abelson

Wed, August 16th, 5 pm PT, 8 pm ET

Streamed Live on The Facebook

Replay here:

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redrobin-detective · 3 years

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give lilies with full hands

“Ghosts at the cemetery, why am I not surprised?” Valerie grumbled under her breath as she glanced at the glowing dots congregating near Heavenly Gates, Amity’s largest cemetery. It was just after 5pm on a Friday; Valerie should be at home getting ready for a fun and relaxing weekend. Instead, she was speeding forward in the dreary pre-rain mist about to tackle a hoard of the undead. Her life was so strange and unfair sometimes it just fueled her hatred for everything ghostly.

As she approached the cemetery, she slowed down and had her ectoweapon up and ready to shoot. Instead of a fire fight, she found an eerie, unsettling quiet that sunk deep into her bones and made her unable to move. She just hovered above the cemetery and took in the full scope of the scene. The Fentons were here, hard as they were to miss but like Valerie, they were also frozen with unease. Mrs. Fenton kept fiddling with her weapons but couldn’t manage to lift it in a meaningful way.

The fog hung heavily around the cemetery, clinging like wet paint dripping down an unfinished picture. She could make out the unnatural glow of several ghosts, a few of which she recognized. That annoying child pirate ghost none of the adults could ever see was sobbing silently, curled up in a fetal position on the ground as if he were trying to make himself as small as possible. The biker guy and girl were cuddled into each other, leaned up against a grave looked scared and worn, flickering dangerously like static on TV. Val spotted Ember looking frightened and quaking looking like she wanted to run but was unable to. Her soft glow alerted Val that there was another ghost she’d initially missed.

The ghost was more shadow than anything, the fog moving through and from them. They were a swirl of greys and blacks in the approximation of a long cloak covering their face entirely. Pinpricks of bright lights shone from underneath the cloak’s hood. They bore down on Ember as if it were seeing deep into her soul and found her lacking.

Phantom was there too, he looked almost normal compared to everything else going on so it’s not surprising she’d missed him at first. The fog dampened some of his ghostly glow and he was standing properly instead of floating. Like Val and the Fentons, he seemed unable to move. The heavy drizzle in the air flattened his normally gravity defying hair. If she hadn’t known better, she’d say he was a normal person standing there, albeit one with weird fashion sense who went a little crazy with the bleach. And if Phantom looked human in comparison then just what was this new ghost?

“Amber Jablonski,” The ghost whispered quietly within the cemetery but Valerie could hear perfectly well, as if were being spoken into her ear. From the shivers she saw come from the Fentons, they were experiencing the same thing. Ember moaned, something deep and agonizing. She fell to her knees as more of her glow faded. “An eager musician just making a name for herself in her small town. A performance at a barn had faulty wiring. The building caught fire and Young Amber was trapped by debris and unable to escape.”

The flame in Ember’s hair burst into brilliant blue flames before painfully sputtering out like a candle on the verge of going out. A wisp like ghostly hand reached out and tenderly ran a finger down the side of Ember’s face like a mockery of the tears she could no longer shed. “Cause of death was severe burns across her whole body and smoke suffocation at the age of 22.”

“Enough,” Phantom announced suddenly, stepping forward through the ghostly arm putting himself squarely between Ember and the wisp ghost. The dead rockstar barely noticed, her whole form trembling as she looked down at the cold earth with absolute horror. Val wondered if she was feeling the cold of the cemetery or the burning heat of an out of control fire. “You’re killing her.”

“She is already dead,” the ghost answered, “as are they all. They are but echoes of lives come and gone.”

“That doesn’t mean you have the right to remind them,” Phantom said, looking more ghostly again. His aura flared suddenly and his eyes lit up like angry lightning bugs in a jar. “Death is sacred, it’s private and you’re using it to hurt them.”

“It is my duty, I am the Mortem Obire. I make the restless dead confront their own mortality, remind them of what they lost.” The ghost stared down Phantom who flinched but overwise stood his ground. “It is because of you, Danny Phantom, that I have been summoned to this realm. Your life essence has made these ghosts forget what they were. They flock to you, drawn to your vibrancy, seeking what they’d lost. The dead were straying from their existence, emboldened by your example, they were forging new purposes. I am merely correcting their assumptions to preserve the delicate balance that maintains the two worlds.”

“But death shouldn’t have to define them, I mean us,” Phantom pleaded. “They can grow if they want, experience new things. The end of life isn’t the end.”

“How very human of you,” the other ghost said breathily, an unnatural imitation of a chuckle. “Your death, if we can call it that,” the ghost said, “was born out of innocence and ignorance. Nature demanded the experiment fail but your naivety allowed for the flow of life and death to be disrupted. You looked at a machine you could neither understand or control and made the attempt anyway. Your hubris consumed you in the form of electricity, pain firing through your whole body as you screamed for a relief that never came. Your old body was obliterated and remade into the abomination you are now.”

Oh god, Phantom was electrocuted. He had lived his last moments as a human screaming and in pain. She knew he was vaguely around her age but it was one thing to know a kid her age had gone through that and another to hear it described. Without thinking, she lowered her weapons.

“Yeah I know that,” Phantom said weakly. “I took out the power in the whole city for a few hours which I felt bad about afterwards. What’s your point?” His glow was completely gone, the wet humidity of the air clinging to him much like how it fogged up Valerie’s suit. The shadow of the sinking sun made his white hair look dark and the greens of his eyes had faded into a less unnatural blue/green.

The only think remotely otherworldly about him was a faint pulsing glow coming from the center of his chest. It beat like a heart, a soft brightness that seemed to dispel the overwhelming feeling of death. Ember looked up from the ground, the pirate kid uncurled himself a little, biker guy and his girlfriend became a little more solid. They looked at Phantom with such awe and envy and grief it was almost painful to watch them stare at what they clearly lacked.

“My words hold no domain over your heart now, child of two worlds,” the ghost wheezed, floating past Phantom. “But someday you will greet death properly, be made humble by it, and I will be there to remind you of how fickle and fleeting that precious life of yours is.”

“I-” Phantom defended, glowing slightly with his eyes once more an ectoplasmic green. But now it was obvious to see how much more lively and present he was compared to the others. She still hates him, will probably still hunt him but while she knew Phantom was a ghost she knew, whatever he was, she couldn’t call him dead. Not with eyes so sympathetic and expressive and alive.

“Be gone, all of you mortals, this is a place for the dead,” the ghost commanded. The ghost hovered over to the Box Ghost who had been shivering behind a tombstone the whole time and suddenly went still as stone. “Your compassion for them does them no favors. This is the price for their existence, the dead cannot and should not forget. That is their purpose and this is mine. This is not an end to their existence, merely a reminder.”

Valerie never thoughts she’d see the Fentons flee from a fight but still she watched as Jack and Maddie slowly backed up until they reached their garish assault vehicle. They fumbled for the handles, not willing to tear their eyes off the ghosts before climbing in and driving off. Phantom looked torn, grief stricken as he watched the mist ghost, the Mortem Obire, speak softly to the Box Ghost. He looked like he wanted to interfere, to place himself in-between again but his shoulders slumped as he realized the futility of the action. This was the nature of death and memory and the living were not to interfere.

He glanced up at her, wary and saddened before disappearing from view, going off to wherever it was he lived his life when he wasn’t causing her problems. Valerie swiftly turned her board around and sped quickly in the direction of home. This had left her a lot of things to think about, about Phantom, about ghosts, about what it meant to stick around once your number was up.

But that was for later, for now she wanted to get out of chill before the rain started in earnest. She wanted to drink something warm, sit close with her father and feel their hearts beating in time. Valerie Grey wanted nothing more, in that moment, to simply breathe in and appreciate her life before it was taken and those happy memories used against her. She would not die full of regret for what she had missed.

#danny phantom #what the FUCK did I just write #I am a nurse and have seen people die and its clearly affected me #alt title was Robin goes crazy with the Latin and overemotional death metaphors #i swear this was going to be f u n n y #it started with the idea of ghosts being really affected hearing about their death wheras Danny was cracking jokes about it #but that got me thinking on the difference btw danny and the dead #bc no matter what fics claim danny isn't DEAD #he had a death he has ghostly powers but he lives not just in body but in soul #there are some aspects of being a ghost he has no place being involved #his inherent humanity seperates him from those who have lost theirs #And the dead feeling Dannys life energy and being drawn to him feeling more alive #that goes against the laws of nature of life and death #thus the mortem obire which literally means to face death #and its like this weird thing of like ghosts have feeling and memories and emotions but #they're also echoes of lives long past #that memory of their old lives is as terrifying as it is vital to their afterlife #it hurts them but they also have to have it #because they're not alive #to pretend to be so #to act beyond their agency it's uguhuuhu #idk this is too metaphysical for a sunday #wrote this listening to Taylor swifts 'right where you left me' bc for WHATEVER reason it had the right vibes

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katehuntington · 4 years

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I reached a 1000 followers! That calls for a celebration!

Besides writing and horses, I have one other passion. A passion that has brought me to tears, had me dance and sing at the top of my lungs. A passion that made me feel whole and is the soundtrack of my life in de good times and the bad. You guessed it: MUSIC!

I can hear you thinking; but what does music have to do with ‘going Dutch’? Simple. I’m Dutch, and so is a group of incredibly talented musicians. Very few are known globally, despite the amazing talent they possess. I want to do my bit and introduce my followers to music made in Holland by hosting a writer’s challenge. I made a selection of 75 songs, produced by Dutch singers and bands. There’s rock, country, pop, folk, soul, even some symphonic metal; plenty to choose from!

Writers can participate by choosing a song from the list below. But that’s not all. Non-writers can send in a request! I have gathered a team of writers; @winchest09, @girl-with-a-fandom-fettish, @kittenofdoomage, @talesmaniac89, @dissect-me and myself. Your request will be written by any of these skilled artists. That way, everyone can join the celebration!

Rules:

Writers:

Your fanfiction is based on Supernatural or their actors.

When you have found a song you like, send me an ask or a message. If the song is not taken yet, I will confirm and scratch it off the list in this post.

You’re allowed to pick more than one song.

Drabbles, one shots, full blown series; you are free to type down as many words as you would like! No word limit.

Use the title of the song you have chosen as your fanfic title.

Use (a part of the) lyrics in the story. One sentence is enough, but if you want to use every word sung, knock yourself out.

Mention @katehuntington when you post the fic and use the hashtag #Kate Huntington’s 1K celebration in the tags. You will be added to the masterlist and I will share your story. If I haven’t reblogged within a week, shoot me a message to make sure I got your tag.

The deadline is January 31st, 2021. Why this date? Because I realize some of you will be working to fill out Bingo cards, so the time limit for this challenge is a month later.

Please make sure to add trigger warnings and to use the ‘keep reading’ feature when the story is over 500 words long.

Non-writers:

Your request is based on Supernatural or their actors.

When you have found a song you like, send me an ask or a message. Besides the song title + artist, give us an idea of what you want written (summary, ship, prompt, fluff/angst/smut, etc.)

You cannot request a writer.

You can request RPF, AU’s, A/B/O, but also Destiel, Wincest, and other ships. Every writer on the team has their specialty. However, if you request something neither of our writers is comfortable with, we will let you know so you can change your request if you like to.

You will be tagged in the original post. Every writer will publish the request on their own blog.

All stories will be gathered in a special masterlist for this celebration, which will be updated frequently. The final masterlist update will be on February 1st, 2021.

Keep reading to find the songs selected for this challenge!

Uncharted - Kensington (@winchest09)

Before You Let Me Go - Kane (@soaringeag1e)

I Still Cry - Ilse DeLange (@holylulusworld)

Multicoloured Angels - Douwe Bob

Back in the Water - HAEVN

Soldier On - DI-RECT (@idksupernatural)

Time Has No Mercy - The Common Linnets @kalesrebellion)

One Word - Anouk

Arcade - Duncan Laurence (requested by @roonyxx)

Island - Kensington

Can You Handle Me? - Kane (requested by @karikatz12481)

Radar Love - Golden Earring (requested by @deanwinchesterswitch)

Oblivious Desire - Danny Vera (@idksupernatural)

Inside My Head - DI-RECT

This Is What It Feels Like - Armin van Buuren (@idksupernatural)

Chronos Pt. 1 - Kensington

Lost - Anouk (@firely-in-darkness)

Tonight - Jett Rebel (@chocolateheart)

Walk Away - Raccoon

Damn Those Eyes - Kane (@deanwanddamons)

She Couldn’t Laugh - Twarres

Twilight Zone - Golden Earring (@idksupernatural)

Hold Me - Douwe Bob, Anouk (requested by @chocolateheart)

Home - Dotan (@girl-with-a-fandom-fettish)

Dreamer - Dinand

Kitty Kitty - De Staat (@kayteonline)

Calm After The Storm - The Common Linnets

Insane - Kensington (@missafairy)

Beat Me - Davina Michelle

Love You More - Raccoon (@winchest)

What Have You Done - Anouk

Ice Queen - Within Temptation

Let It Be - Kane

Going to the Run - Golden Earring

Sorry - Kensington

Waves - Mr. Probz

Sacrifice - Anouk

In Your Arms - Chef’Special (@girl-with-a-fandom-fettish)

Where the Heart Is - HAEVN (requested by @afangirlsbubble)

Wild Wild Son - Armin van Buuren

Sweet Goodbyes - Krezip

Roller Coaster - Danny Vera

Hurricane - Mattanja Joy Bradley

Numb - Dotan

Outlaw In ‘Em - Waylon

All For Nothing - Kensington

Shot Of A Gun - Kane

Promises of No Man’s Land - Blaudzun

Angels - Within Temptation (requested by @sinful-chihuahua)

Back In My World - Alain Clark

Still Loving After You - The Common Linnets

Brother - Raccoon

I’m Not So Tough - Ilse DeLange

No Me - Kensington

I’m Out Of Your Mind - De Staat

Fortitude - HAEVN

Stand by Your Man - Mattanja Joy Bradley (requested by @janicho88)

Nothing Really Matters - Mr. Probz

Saturday Night - Herman Brood

My Best Wasn’t Good Enough - Kane

Control - Kensington (requested by @fortheloveoffanart)

What Have You Done - Within Temptation (@pizzamanhedelivers)

Lost Without You - Krezip (@becs-bunker)

Broken But Home - The Common Linnets (requested by @team-free-will-you-idjiot

Nobody’s Wife - Anouk

Another 45 miles - Golden Earring

Let The River In - Dotan

Nicotine - Chef’Special (@talesmaniac89)

Stone Into The River - Douwe Bob

City Lights - HAEVN (requested by @lexisugar)

Streets - Kensington

Close To You - Michael Prins

This Is Who We Are - DI-RECT

Pressure Makes Diamonds - Danny Vera (@superfanficnatural)

Mona Lisa - De Staat

The list can also be found on Spotify and on YouTube. When you search “Kate Huntington’s 1K celebration: Going Dutch” on Spotify, you should be able to find it. The Youtube link can be found here.

If you are having trouble, you can shoot me a message and I’ll make sure to post the link to the Spotify playlist separately on my blog.

Have fun, lovelies!

Love, Kate

Follow Forever tags: @1000roughdrafts @adoptdontshoppets @afangirlsbubble @akshi8278 @angelsandwinchesters @atc74 @bandobsession98 @becs-bunker @caligraphee @canadianspnhunter @chumi-la-chula @coffee-obsessed-writer @deanwanddamons @cookie-dough-lova @dawnie1988 @dolanfivsosxox @demonsofhunting @dillpicklesunflowerseed @emoryhemsworth @fangirlxwritesx67 @fangirl-and-medstudent-help @flamencodiva @foreverwayward @heartsaved @hennessy0274-blog @hobby27 @hyperella @idreamofhazel @indecisive20something @ivonstiel @just-another-busy-fangirl @kathaswings @like-a-bag-of-potatoes @maddiepants @mariekoukie6661 @mogaruke @mrswhozeewhatsis @myheartbeatsjustforyou @notnaturalanahi @pisces-cutie @rainqueen @risingphoenix761 @sammyssupersmile @sheepdogs33456 @soupornatural @spnbaby-67 @spnimag @sunskittlex @supernatural-girl97 @super-not-naturall @team-free-will-you-idjiot @theyaremyveryownthoughts @thoughtslikeaminefield @tmiships4life @tranquility-or-chaos @trashforwinchesters @ultimatecin73 @unlikelygalaxygiver @uzum4k1-uch1h4 @vxxn128 @winchesterxtwo

#Kate Huntington's 1K celebration #Kate Huntington's 1K celebration: Going Dutch #writer's challenge #Supernatural #SPN #SPN family #Supernatural fanfiction #Dean Winchester fanfiction #Sam Winchester fanfiction #Kate Huntington #Going Dutch

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gvf-imagines · 4 years

Text

Part 1

(Josh/Danny/Jake/Sam x reader)

Warnings: alcohol use, self harm scars

word count: 3252

Thanks to @callmekane for beta reading this fic!

A/N: I’m excited about what this story will bring! This is going to be a very smut filled fan fiction series where the reader has a very sexual and open relationship with all of the boys! I know some people won’t like it I’m sure but all criticism is welcome! Please leave comments and let me know what you think and of course if you have an idea for the story I’m totally open to hearing your thoughts! I hope you enjoy it my friends ❣️

If you’d like to be on the tag-list so you know when I post part 2 just message me or let me know in the comments!

—————————————————————-

You smiled as you ran off stage, the fans were still screaming and kept screaming until the next band took the stage. The air was electric, so many people, all here to enjoy the great communicator that is music. You closed your eyes to take it all in, to just listen and feel. You couldn't believe you were here, playing in front of this many people. This year you shared the stage with another up and coming band by the name of Greta Van Fleet. You hadn't heard of them before recently and they were actually really good. They had so much soul and passion in their music, it was true, raw talent.

You watched from the side stage as they played their eclectic set. The singer, Josh, really got the crowd going. He had so much energy and was really fun to watch. His voice was incredible, unbelievable even. He had this raspy, elegant twang in his voice, that truly matched perfectly with the music his band was producing. The drummer, Danny (if you remembered correctly), had such a powerful and classic Drumming style. It was full of life and emotion , just like you, he put his all into his performance. He was focused and truly the heart of the music. There was a guitarist and a Bassist, unlike your band which only consisted of you and your best friend. You, the drummer and your friend the singer and guitarist. The bassist, Sam, had a very cool way about him, his body moved with the music in a way that seemed beyond his control. The guitarist, Jake , was stunning, his hands danced along his guitar so expertly, you could tell he truly enjoyed his time with his instrument.

When they finished their set, the crowd erupted in a wave of applause and cheers, like bright yellow and orange fireworks booming through the air, you watched with your minds eye, in awe as they exploded and cracked in the sky. The Boys bowed and waved before walking off stage panting and sweating.

“Nice job!, excellent show” you comment smiling. Danny returned the smile with a grateful nod.

“Aw thank you, I'm sorry I don't think we had a chance to meet before the show, I’m Dan-” he began.

“You're Danny, Sam , Jake , and Josh” you said, pointing to each of them and smiling. They all returned the smile, there was positive energy just radiating from them, you could feel it like a blanket of warmth resting over you.

“My name is (y/n), it's so nice to meet you guys!” you chime happily. The lead singer, Josh smiles at and you think you catch a small wink as well, making your heart skip a beat. Perhaps you were seeing things. God he's handsome, his sparkling brown eyes, he had more structure in his jawline than you had in your entire life His chestnut hair was gorgeous and curly, his whole look just attracted you to no end.

Fuck.

“Hey your performance was super amazing too, your voice is absolutely incredible” Sam complimented, his voice popped all the bubbly thoughts of josh that foamed in your head. Thank goodness. “Yeah! You did an excellent job (y/n). Its one thing to be a good singer when you have three other band members to help you sound good, but you were out there all alone, just your voice and you still blew that crowd away” Danny added. You were blushing for sure now.

“Yeah your voice is crazy good, we're honored to play alongside you” Jake chimed.

“Oh wow you guys are gonna make me cry” you chuckle “thank you so much, that means a lot coming from someone with your talent” you reply. Sam waves his hand incredulously as if you were hyping them up and making them out to be better than they really were.. You weren't. They are awe inspiring musicians.

“Water?” a stagehand offered walking over with a cooler.

“Oh thank fucking Christ” Josh rendered making a bee line for the cooler. You chuckled, and now that you thought of it your throat was extremely dry from singing as well. Jake nicely offered you the bottle he grabbed with a smile. A true gentleman.

“Thank you!” you offer as you grab the bottle from him. You practically ripped the cap off and chugged the whole bottle. It was delicious and cold and ran over your tongue and down your throat with a refreshingly cold bite.

The five of you stand there and re hydrate for a minute before Sam speaks “we should go grab a drink!” he suggests with a slight raise of his perfect eyebrows. The guys look at you in waiting.

“You wanna join us?” Josh asks, flashing a pearly white smile. You look around at them for a mere second before responding.

“Sure! Yeah that sounds fun”

“Right on, I think I saw a bar down the street we can go to” Jake claims as you all head to the doors behind the dressing rooms.

Rain began to expel from the dark clouds above you as you all headed down the road. Cold air kisses your skin causing you to shiver slightly, you only had on black leather pants and a pink floral pattern blouse that you tied up a bit to expose part of your stomach. It was late, must have been almost midnight by now, the air was heavy with moisture and you could smell the rain soaked cement under your feet.

“Are you cold?” Josh questions as he walks beside you, he startled you a bit. You smiled and looked at your arms, they were dotted with goosebumps.

“Yeah kinda” you reply sheepishly. Josh instantly takes off the jean jacket he was wearing and handed it to you. Jake and the others were a few feet behind the two of you carrying on a conversation about the show. You reached out and accepted the jacket, Josh's gaze nonchalantly floated down your arm, his face fell when he noticed the deep scars that peppered across your skin near your wrists. You notice him looking at them before he brings his gaze back up to meet yours. Your cheeks burned with embarrassment and you quickly put the jacket on.

“I-I’m sorry, I didn't mean to stare” he says softly, looking down at the wet street. You knew by the tone in his voice he wasn't judging you. His look was filled with concern, not judgement.

“It's alright, people stare all the time” you responded

“It doesn't bother me so much anymore, i'm used to it.” you added. Josh nods, a sad look still lingers on his gentle face. His jacket was warm, his scent filled your nose, it was comfortable and soothing, much like the rain that fell from the sky. You looked at him out of the corner of your eye, you could tell he was thinking about something, he had that thousand yard stare stuck in his eyes. You hadn't known Josh for long but it's not hard to tell when someone is enthralled in thought.

“How long have you been singing?” you ask, trying to pull him from whatever trance he was in.

“A long time, most of my life really” he answers with a smile. Talking about his music clearly made him happy. He in turn asked you the same question. You laugh before responding.

“Honestly I've only been singing for a few years….drumming is my real talent and I've been doing that for most of my life, coming up on 18 years” you explain. Josh’s expression shifted from a smile to a look of surprise.

“Wow that’s awesome , are you self taught?” he asks again. You nodded “my dad taught me a few things here and there more when I first started out but, mostly I've taught myself” you said. Josh chuckled with a nod.

“That is really cool” he replied, you could tell by the tone and instance of his voice that he was genuinely impressed.

“Oo careful on the compliments you've never heard me play before, just because I've been playing for a long time doesn't mean i’m any good” you joke, Josh laughs, shakes his head and nudges your shoulder.

“Well have to get you behind Danny's kit some time” he implores. Hearing him say that made you happy, it meant he wanted to see you again.

“You guys did really good tonight, I cant believe I've never heard of you guys before really. It wasn't until my manager told me who I'd be playing with at the festival that I started looking into you guys.” you admit.

“Thanks you did an excellent job too, i really loved that first song you sang, ‘salt is my sugar’ I really resonated with that one, truly felt it, there's a lot of emotion in your lyrics.

“This is it,” Sam announces opening the front door and holding it for everyone to walk in. the smell of smoke and dark liquor hang heavy in the air. An ACDC song played over the speakers. It wasn't very busy, there was an older man sitting at the bar, a couple younger people playing pool and a few others scattered in booths. It was a total dive bar, a hole in the wall, which was just your style. You all sat at the bar on squeaky worn out bar stools.

“What can I get you?” the bartender asked, perching himself up with his arms rested on the bar as a washrag sat, oh so typically, on his shoulder as he awaited your response. Jake looked at Josh with a raised brow giving him that ‘get a load of this guy’ look.

“I'll have a beer,” Danny ordered.

“Me as well please” Jake adds.

“Southern comfort and seven up for me please” you order next.

“Hmm I'll have a long island iced tea” Sam says. You look at him holding back a chuckle Huh didn't take him for a long island iced tea kinda guy but to each their own. The bartender looked to josh.

“Salty dog please” he requests.

“Put your IDs on the counter” the bartender instructs as he turns around to collect everyone's drinks. The five of you did as you were told and laid out your IDs.

“So where are you guys headed now that the festival is over?” you asked playing with a stained, old coaster that sat in front of you.

“We’re going back to Michigan for some well deserved time off” Josh responds.

“For a little while anyways” he adds with a smile.

“Hey I live in silver city!” you reply happily , silver city was a small town in Michigan closer to the upper peninsula.

“Small world” you added. What are the chances the two of you lived within a few hours of each other and never met until the both of you played a festival in Los Angeles.

You turn your attention to the combination of alcoholic drinks that the bartender set in front of you. Everyone reached for theirs offering quick cheers before taking a drink. The carbonation of the seven up burned against your throat before the alcohol sent the warming sensation through your chest and stomach.

“Ah yum” you said, wincing from the sharpness of the alcohol. Jake laughed as he watched you.

“Not very convincing,” Sam says smiling. You laugh and take another drink. You watch Josh stir his drink lightly with the small straw it came with, he notices you looking.

“Ever had a salty dog before?” he asks, hoping you say no.

You simply shake your head in reply. He slides his drink closer to you.

“We can share if you want, it's really good?” he offers. You look at the pink drink in front of you.

“What's in it?” you ask.

“It's just gin and grapefruit juice with a little salt around the rim,” he says.

“Oh god that sounds horrible” you laugh.

“It's actually not that bad” Danny pipes up with a shrug.

“He made me try it a few weeks ago,” he adds.

“Alright I'll take your word for it” you smile at Danny. You look back down at the drink.

“I promise I didn't spike it” Josh chimes. You laugh loudly, why would he even say that?

“That's exactly what someone who spiked my drink would say”

“But I guess I trust you guys” you add before taking a healthy sip of the beverage.

“Hmm that's not bad!” conclude, it was much sweeter than you thought it would be, it kind of reminded you of orange juice and vodka. Josh nods with an I told you so sort of look on his face.

“Here, try mine,” Sam says next, handing you his glass.

“Alright you try mine too” you reply with a smile. Sam's slender fingers brush against yours as he grabs the drink from you , your eyes look to his and he winks.

Oh god, I can't be attracted to two of them. Honestly, who were you kidding? You were insanely attracted to all of them, how were they ALL so cute and gorgeous? Not fair to the rest of man-kind.

“Wow this one is super good!” you remark going in for another drink of the long island iced tea.

“Yeah can you believe there's like 8 different alcohols in there? No tea at all” he laughs, you laughed with him. His laugh was sweet and light, like orange sparkling shards of glass dancing through the air. The five of you began talking about life and learning a lot about each other, ordering more drinks along the way. You could tell the mix of drinks was beginning to take effect on you, you felt warm and relaxed. You were standing next to Danny now, he towered over you, this man was truly a beast.the smell of his cologne wrapped around you. It was oaky and mossy with a hint of citrus, you couldn't help but feel an electrifying pull of attraction to him.

For fucks sake, you curse yourself.

A few games of pool (which, it turns out Jake is like a God at pool) later you all found yourselves back at the bar carrying on more conversation, albeit more slurred now. It was much easier to open up to people when alcohol was involved. You rolled the sleeves of josh's jacked up, exposing your arms as the alcohol was making you extremely warm.

“What happened to you?” the bartender asks loudly. You and the guys all look at him with hints of confusion.

“I got the worst concoction of my parents DNA possible” you joke , the boys laugh. Jake nudges your shoulder.

“Shut up you're gorgeous” he says softly. You give him a quick smile.

“No. Your arm. What happened to your arm.” the bartender says again, nodding to your scars. You hated when people asked that question, like they didn't know why you had those scars on your wrists. Very few things leave scars like that on skin. You looked around at the guys, josh looked pissed and the others looked saddened as this was the first time they had seen your scars, and they knew damn well what it was from, they weren’t as stupid as this bartender. The air of the bar had shifted, the mood went from fun loving to hostile very quickly. Fuck this guy.

“I got in a fight with a weed wacker” you retort sarcastically. The man rolls his eyes.

“What happened? Did your little boyfriend break up with you? Flunk a class? Your puppy ran away?” he was mocking you. You said nothing in return.

“You're just another one of those emotionally confused little girls, no reason to hate her life.” he continues. For some reason he was trying to upset you , and you had no idea why, you'd been nothing but pleasant to the man since the moment you entered the bar.

“First of all i'm not a girl, I'm a woman. Who pissed in your Wheaties this morning man? You're mad because you got all D’s in high school and now you're stuck serving losers like us in this shit hole, pretentious, sorry excuse of a bar? Go fuck yourself. I don’t hate my life.” you answer , anger pooling in your throat.

“Hey man. Lay off.” Danny says with a look of warning.

“Of course you don't hate your life” the man says ignoring Danny completely.

“You just do it for attention, think if you slice yourself up maybe someone will feel bad for you huh? I've seen your kind before girl.” he speaks again. OK now this idiot was pissing you off. You never did it for attention, attention was the last thing you wanted, especially when it came to your scars, you wished you could erase them.

“Look, I've got three things to say to you,” you reply with an irritated sigh. You stood up from your stool and stepped closer to the man.

“One” you say, holding up your pointer finger giving the illusion that you were going to list reasons of argument to him. Instead you ball your hand into a fist and punch the guy right in his fucking jaw with all your drunken might. To your surprise (and no doubt everyone else's) the bartender fell to the floor, you knocked him out.. Everyone was wide eyed and silent

“Lets get outta here” Josh says, breaking the glistening silence in the bar, noticing everyone looking at the five of you. Jake grabbed a bottle of Jack before all of you ran out of the door. None of you could suppress your laughs as you took off down the street. Out of breath you all keeled over in a field of grass a few feet from the tour buses in a fit of laughter. You sat down on the wet grass and looked up at the clouds. Danny sat on your left and Sammy was on your right, Josh and Jake sat in front of you and you all formed a small little circle.

“That felt good” you say softly, referring to punching that shit head of a bartender. Sam laughed.

“Yeah that was awesome, I can't believe you knocked him out” Jake chuckled, shaking his head in disbelief. The air went silent again as you all sat with your own thoughts. Your face slowly lost emotion as thoughts of what the man said swirled around your mind. You tried not to let what people said to you about your scars get to you too much but it was hard sometimes. Danny noticed your expression and you felt his hand draw soft circles on your back.

“That guy was an idiot. He was just being an asshole” Josh said softly, you nodded, knowing he was right. Maybe it was the alcohol or maybe you were just really that sad but a tear fell down your face and your voice cracked as you spoke.

“I just feel so alone sometimes” you wiped the tears away as quickly as they fell. You could feel all of them watching you with sympathetic eyes.

“Everyone's got their vice (y/n)” Danny said quietly, his hand still grazing your back.

Josh rolls his shirt sleeve up and reveals dozens of little horizontal scars covering his shoulder. He grabs your hand and you look up at him to meet his gaze. He stroked your hand with his thumb and gave you a comforting, gentle look.

“You're not alone”

#greta van fleet #gvf #jake kiszka #josh kiszka #danny wagner #gretavanfleet #sam kiskza #gvf imagine #gvf fanfic #smut #josh kiszka smut #danny wagner smut #jake kiszka smut #sam kiszka smut #imagine

118 notes · View notes

josiebelladonna · 3 years

Text

anthrax fanfic masterlist

i am not currently taking requests at the moment, but i’ll keep you all posted on it, though!

all of these can be found on my ao3, josiebelladonna 💜

smut warnings are indicated by an asterisk*; violence warnings are indicated by three asterisks***

multi-chaptered works:

alone inside my mind - the one that started it all, dated august 5, 2019; an absurdist rashomon style telling of the boys on set of the video for madhouse as it slowly turns sideways. to quote ralphthemoviemaker: “there comes a point something gets so absurd that it becomes funny.”

now it’s dark, split into three volumes (now it’s dark, who cares wins, and be all, end all)*** - my baby, dated september 17, 2019; a sci-fi cyberpunk noir tale featuring joey and lars. eventually lives up to its name.

black diamonds* - dated november 25, 2019; former goth dancer virginia “ginny” goldstein finds herself in an unhappy marriage but finds happiness in the goofy quintet from new york, especially that mysterious singer who reminds her of herself.

a skeleton in the closet*** - dated january 5, 2020; christina moon looks back on the account of tour life back in 1986 as she and her best friend ceecee blackwood (together named “black moon”) supported anthrax and metallica. there’s a serial killer after christina in particular, and no one knows why.

bon appetit* - dated january 7, 2020; danny falls for the cute latina baker at smell the magic. there’s just one problem: she and her colleagues are serial seducers.

tarallucci e vino* (translation: “biscuits and wine”) - dated april 23, 2020; the follow up to bon appetit.

dreaming of you* - dated february 29, 2020; best friends hannah ellsberg and joey belladonna rekindle their friendship through painting and love-making.

midnight dancers* - follow up to dreaming of you: hannah’s got some baggage and joey’s not too happy about it.

here’s to us* - follow up to midnight dancers: hannah, joey, frankie, and hannah’s best friend francine moody spend thanksgiving and christmas together.

the mirror never lies*** (very much so) - dated may 26, 2020. joey and lars keep looking into mirrors and finding flaws in themselves in the wake of something awful (read: the bus crash). based on true things that happened to me.

beautiful tragedy*** - dated september 20, 2020. the follow up to the mirror never lies and a look into my healing mechanisms as well as accepting each other’s wounds even in the wake of relapse.

the artist* - dated june 15, 2020. holly is an artist in the wake of the pandemic and befriends several boys, namely louder than love era chris cornell, spreading the disease era joey, blond dave grohl, and black album era lars. it’s that “i can’t tell my parents we’re dating” but taken a little further. based on my interactions with joey himself on instagram!

amped and wired, parts one and two*** (also quite risque) - part one is dated july 1, 2020; part two is dated october 31, 2020. a black comedy reframing of now it’s dark; it’s like the slightly lighter twin to now it’s dark. now has a webcomic!

six feet under - dated november 6, 2020. scott looks back on a budding forbidden romance with fellow new york musician kristina mayfield 15 years following her death. heavily inspired by one of my favorite fics, darkness taking dawn.

buried alive - dated november 11, 2020. following kristina’s death, she had passed on a “death wish” to charlie, who also got to know her.

the dead of night*** - proposed november 20, 2020; dated december 29, 2020. taken from ao3: When Scott and Charlie met Kristina, she resembled to that of a ghost, and yet she had enchanted them with the grace of her heart and soul. Her death left a hole in their hearts. So when the girlfriend of one of their own goes missing in the dead of night, the lore of Kristina resurfaces with a vengeance, and in the most unlikely of places, and in the most unlikely of times. crossover with rush, too!

the skeleton key - this one actually predates alone inside my mind, c. august 1, 2019, but i’ve resurrected it as of 1/22/21. i still have the first chapter of the original fic (it was going to be about dave mustaine having died and left a massive inheritance to joey, lars, and chris with bit of a southern gothic feel to it, but now it’s dark had too much of a gothic thing going on itself; i also obviously felt now it’s dark to be too strong in story whereas i got writer’s block pretty quick on the skeleton key), but i’ve decided to reframe it as something a little different. one thing i’m bringing in is an actual place i used to live called blackburn manor, which was allegedly haunted by two ghosts - fun fact: those ghosts served as inspiration for the old man and vera in the main trilogy. i’m writing this one in private as a side project to the dead of night. both of those are my “healing my heart and my mind” type fics.

the contest - dated february 7, 2021. lars looks back on a hot summer where his club was the hottest spot in town courtesy of a singing competition (with strings attached). joey’s one of the participants!

blackened - proposed c. february 1, 2021. it’s basically the first now it’s dark book but from lars’ point of view. i’m putting it here because... you know. it’s now it’s dark.

one shots:

creatura della notte / creature of the night* - joey belladonna/female reader

a quiet place* - joey belladonna/ofc

my boy* - joey belladonna/ofc + frank bello/ofc

sex and candy* - (follow up to my boy) joey belladonna/ofc + frank bello/ofc

taken by force - joey belladonna/ofc

lips like sugar cane - joey belladonna + frank bello/female reader

good boys* - scott ian + joey belladonna/ofc

pack of dogs* - (follow up to good boys) all/ofc

arguing with myself* - (just that; joey arguing with himself)

fade and wither* - joey belladonna/ofc

slice of heaven - joey belladonna/ofc

make me laugh, baby* - charlie benante/rihanna (...yeah; consider it a parody of daveighmustaine’s The Silence at this point, too)

cool for the summer* - dave mustaine + joey belladonna/ofc

i’m going hungry* - frank bello + charlie benante/ofc

burning sacramento*** - joey + krista belladonna/ofc

the boy who destroyed the world*** - (non-shipping) frank bello/ofc - this one’s just really demented, gonna tell you this right now

i write mature stuff and erotica, but it’s not like... overly so. i’m more about feeling and sensuality than anything. i like to explore taboos, too, but i know it can be triggering for some people, though; on that same token, i can very easily go wholesome. my stories also tend to have a healthy dose of violence, too, but it tends to sneak up on you. it’s there but it’s not like over-the-top (a skeleton in the closet is like that; as are my halloween stories).

but if i write any more i’ll post them here! 💜

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moulinrougefanfanfans · 5 years

Photo

Moulin Rouge for VOGUE!

(These are the HQ Photo Versions!)

Moulin Rouge!’s Broadway cast, photographed at Kings Theatre in Brooklyn. Sittings Editors: Hamish Bowles, Alexandra Cronan. Produced by 360pm. Set Design: CJ Dockery at Mary Howard Studio; Costume Designer: Catherine Zuber; Choreographer: Sonya Tayeh

Photographed by Baz Luhrmann, Vogue, July 2019

July 2019 Vogue (Online)

BAZ LUHRMANN WAS BORN to reinvent the movie musical for a new generation—which is exactly what he did in 2001 with Moulin Rouge!, his deliriously romantic mash-up, set in 1890s Paris, of La Bohème, La Traviata, and the Orpheus myth, with a soundtrack that exploded with modern-day pop songs, lavish Technicolor sets and costumes (by his wife, Catherine Martin), and a hyperkinetic cinematic style that drew on MGM musicals, MTV videos, and Bollywood spectaculars. The motto of this blatantly artificial world, served with a knowing wink (which nevertheless swept us up in its very real, very breathless emotions), could be borrowed from William Blake’s The Marriage of Heaven and Hell: “Enough! Or too much.”

In his own way, the brilliant theater director Alex Timbers—whose work includes Bloody Bloody Andrew Jackson, Here Lies Love, and, most recently, Beetlejuice—was born to reinvent Moulin Rouge! for the stage, as another generation of New York audiences will discover when his electrifying, eye-popping, and blissfully over-the-top adaptation of Luhrmann’s masterpiece opens on Broadway, after a smash run in Boston, this month.

“I’ve spent my life taking classics and interpreting them in radical ways,” Luhrmann says, “so how could I not applaud someone taking a work of mine and interpreting it in a radical way? You have to interpret things for the time and place you’re in. In the end, it’s still a tragic opera, but Alex applies himself to it in such a dexterous way that there’s irony and fun and music and emotion.”

Luhrmann grew up in Herons Creek, a tiny, remote Australian town with a total of seven houses in it, where, he says, “if you didn’t have a good imagination and an ability to create worlds in your mind, you were lost.” Fortunately his family, which ran a gas station and a pig farm, also ran the local movie theater and had a black-and-white TV set (which showed exactly one channel), and Luhrmann devoured a steady diet of old movies, including musicals, with which he fell in love. His mother was a ballroom-dance instructor who started giving him lessons early, and his father insisted that Luhrmann and his siblings study painting and music. Before long he was staging little shows, performing magic tricks, making films with his father’s 8-millimeter camera, and acting in school plays.

Apparently it was the ideal upbringing to produce an artist of dazzling originality, one with a singular, idiosyncratic vision and an expansive playing field: film, theater, opera, commercials, music videos, pop songs. After the success of his first two films, Strictly Ballroom and Romeo + Juliet—both of which had healthy doses of movie-musical DNA encoded into their cinematic language—Luhrmann wanted to take on the genre itself. He and his co-writer, Craig Pearce, set their film in Belle Epoque Paris, in and around the legendary Moulin Rouge nightclub, telling a tragic love story straight out of verismo opera with the Orpheus legend—a young poet and musician travels to the underworld in search of his dead love, Eurydice, and is reunited with her only to lose her again, emerging forever changed—as its mythical underpinning.

But Luhrmann also had what he calls a “preposterous conceit” that allowed his Orpheus—a Bohemian poet named Christian, played by Ewan McGregor—to metaphorically enchant the very rocks and stones to follow him because of his voice: “When our poet opens his mouth, ‘The hills are alive with the sound of music’ comes out of it,” he says. “Whether you like The Sound of Music or not, it’s a giant hit that’s got artistic cred—so it’s a funny, concise way of saying ‘The guy has magic.’” Preposterous or not, the conceit turned the love story between McGregor’s Christian and Nicole Kidman’s doomed Satine, a nightclub star and courtesan, into a pop fantasia, giving the music its audience had grown up with—from “Your Song” to “Lady Marmalade”—an operatic grandeur.

Luhrmann had long wanted to bring Moulin Rouge! to the stage but felt that he wasn’t the right person for the job—he worried that he was too close to the material and might be overprotective of it. Enter Alex Timbers, 40, a downtown wunderkind who has brought the cheeky, postmodern spirit of his theater company Les Freres Corbusier to Broadway and shares with Luhrmann a restlessly playful and inventive mise-en-scène. “When I saw Bloody Bloody Andrew Jackson, I could tell that his aesthetic and the way he told a story—very high-energy, very theatrical, ironic but also moving—had a certain kinship with mine,” Luhrmann says. “And after I met him, I knew that he would have his own interpretation but also understand the language of the film.”

The biggest challenge Timbers and his team faced was how to bring the film’s hypercinematic exuberance alive on a stage. “We had to create a visceral and kinetic excitement using an entirely theatrical vocabulary,” Timbers says. “We don’t have any of those virtuosic techniques like close-ups and Steadicam and music video–style editing, but you want the show to be able to leap over the footlights—emotionally, but also as a spectacle. So we use a lot of techniques to do that.”

Do they ever. From the moment you enter the theater, it’s clear that Timbers has realized his mandate to make the show—which he’s been working on for the past six years—“360.” It’s as if you’ve walked into the Moulin Rouge itself, courtesy of the gorgeously overwhelming set (by Derek McLane) that greets you: There are hearts within hearts, chandeliers, the stage flanked by a windmill on one side and an elephant on the other. Then out come the corset-clad boys and girls of the night (who come in all colors, shapes, and sizes) and the fashionable members of the Parisian demimonde in Catherine Zuber’s fabulous costumes. The next thing you know, “Four Bad Ass Chicks from the Moulin Rouge,” as the script identifies them—propelled onstage by Sonya Tayeh’s wildly exuberant choreography—are belting “Hey sista, go sista, soul sista, flow sista,” and we’re off to the races. “I wanted to build this exotic, intoxicating world that felt beautiful and dangerous and gritty and sexy,” Timbers says. “It felt really important for the sets and the costumes to use period elements, and for us to be ruthless about that, but to put them in a form that feels contemporary and surprising.”

The seven-time Tony-winning costume designer Zuber (The King and I, My Fair Lady) has done that and then some, tipping her hat to Catherine Martin’s designs for the film without imitating them. She’s even managed to design Belle Epoque finery that allows the dancers the freedom of movement to execute Tayeh’s propulsive choreography. Zuber is also a master of using costumes to reveal character and situation, as with the ornate gown she designed for Satine after she becomes the Duke’s courtesan and enters his glittering world. Inspired by designs from John Galliano’s 2006 couture collection, it features a bodice that looks like a cage and three rows of lacing down the back. “It’s almost like she’s a prisoner,” Zuber says.

Playing Satine this time around is Karen Olivo (West Side Story, Hamilton), who brings very different qualities to the role than Kidman, both physical (Olivo is a woman of color) and temperamental (desperate, determined, and down-to-earth, as opposed to ethereal). Aaron Tveit (Next to Normal, Catch Me if You Can), meanwhile, sings like a dream and brings the requisite dewy idealism to the naive Christian, but with a hint of something edgier.

The story is very much the same as the film’s: Satine is the star attraction at the Moulin Rouge, owned by the rapacious Harold Zidler (Danny Burstein), who is in financial hot water and in danger of losing the club. Christian and Satine meet and fall head over heels, but she has been promised by Zidler to the villainous Duke (Tam Mutu), who can give her the bejeweled life she’s always dreamed of, forcing her to choose between that and true love. Meanwhile, Christian and his pals Santiago and Toulouse-Lautrec (Ricky Rojas and Sahr Ngaujah) are writing a show, bankrolled by the Duke, that is meant to save the Moulin Rouge from going under. Then, of course, Satine has this persistent cough and . . . well, you know.

The big difference in terms of the storytelling is that book writer John Logan (Red) has fleshed out and deepened the characters and the relationships between them. “We looked at the major characters, asked what their backstories were, and tried to figure out how grounded they could possibly be in psychological realism and yet still be heightened in that way that musical theater demands,” Logan says. “How did Satine get to be this sparkling diamond—and what’s the price she’s paid along the way?”

But the boldest change—and in many ways the heart of the show—is in the new songs, which give Moulin Rouge! fresh emotional resonance (and whip the crowd into a frenzy). Along with the familiar Bowie, Madonna, and Elton John tunes, expect to hear from the likes of Outkast, Sia, Beyoncé, Fun, Adele, and Lorde, to name but a few (there are more than 70 songs in the show). To curate Moulin Rouge!’s dizzying playlist, Timbers, Logan, and music director/genius Justin Levine holed up in a Times Square hotel room with a digital keyboard, dredged up their musical memories, and took note of what worked. Their taste is impeccable, whether using a song for its sheer exuberance, as with a rousing version of Lady Gaga’s “Bad Romance,” or to reveal a character’s inner desires, as Satine does with Katy Perry’s “Firework.”

Logan has been blown away to see how powerfully audiences have connected with the show—and the songs. “I went to a wedding recently, and when the dancing started, I heard half our score being played, which was wild,” he says. “And when you see audience members respond to the songs—‘They’re using thatsong? Oh, my God! No way!’—you can feel how excited they are. It’s an experience I’ve never had before. It’s magic.”

#moulin rouge #aaron tveit #karen olivo #danny burstein #vogue #Baz Lurhmann #moulin rouge broadway #moulin rouge musical #vogue magazine #articles #features #ricky rojas #tam mutu #sahr ngaujah #robyn hurder #jacqueline b arnold #jeigh madjus #holly james

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mrsrcbinscn · 4 years

Text

Franny’s 30 Day Cover Challenge

Playlist

Franny’s 30 Day Cover Song Challenge: (categories are mostly from here, and here, with some from here, and a couple I made) in September 2020 one of her musician friends challenged her to do the thing and she was like “It seems like a fun way to show everyone what kind of music has influenced me as a musician, singer, songwriter, and just like, person. So I’m going to do it.”

In reality, she recorded most of them in 1-2 days to distract her from how sad she is because Wilbur hates her and he’s sad lmao

It helped a little.

(If you want me to drop the playlist she mentions in #24 let me know, I have it started I can finish it)

TW: mentions of Franny’s political beliefs so tw: politics, an allusion to suicide though the word isn’t directly used, mention of 9/11 and the subsequent invasions...nothing graphic with any of these triggers but worth a forewarning

Day 01 - A song that makes you happy

Honey Spiders by The Parlotones

“The Parlotones are this fantastic indie rock band out of South Africa. And I actually thought about doing their song, uh, Stars Fall Down for day sixteen, but I’m going with Honey Spiders for day 1. There were lots of Parlotones songs, I mean. Push Me to The Floor, We Call This Dancing, Should We Fight Back...but ah, Honey Spiders always puts me in a good mood.”

Day 02 - A song that helps you clear your head

Light of a Clear Blue Morning by Dolly Parton

“I grew up on Dolly, and it’s funny because for the longest time this song wasn’t really on my radar as much as it is now. But when I was twenty-two I was going through something really difficult, and my then-fiance now husband was abroad for work, so I was alone in our apartment and just. Really, profoundly sad and lonely. So I put on a Dolly Parton record and just laid on the bed and Light Of A Clear Blue Morning played and I had a good long cry and felt so much better after that. When I need to think about how to solve a difficult problem, or I feel overwhelmed, I just listen to that song.”

Day 03 - Song you love from a band/artist you hate

Should’ve Been A Cowboy by Toby Keith

“Honestly, he’s called me a nasty lady to my face and I’ve called him a facist enabling pig to his, so I have no qualms openly saying I hate Toby Keith. That being said, Should’ve Been A Cowboy is one of the best country songs of the 90s, undeniably. I loved that song when it came out when I was thirteen, and I still love it.”

Day 04 - A song about drugs or alcohol

Whiskey Lullaby by Brad Paisley and Alison Krauss

“This is probably cheating, because my lovely best friend Daniel and I cover this a lot at Dara & Danny shows. But today look who I have! My friend Max from Seoul Hanoi’d! Max the Korean Scot who can’t hide his accent to save his life, so let’s see how it sounds in a Scottish accent.”

Day 05 - A protest song

Talking Vietnam Blues by Phil Ochs /// and Here’s to The State of Mississippi by Phil Ochs

“This one was hard because I. Fucking. Love. Protest music. I could have done a whole 30 days of protest music - wow, let me know if I should do that and give my husband a heart attack with all the twitter threats I’ll invite. Huh. Right, so I was going to do Your Flag Decal Won’t Get You Into Heaven by John Prine. But I decided to do two Phil Ochs songs because I don’t think Phil Ochs is talked about enough. It’s a shame we lost him so young. Ochs’ sardonic humor and honesty in his writing has influenced me as a songwriter deeply. When I write political songs, I don’t hold back, and it’s because of Phil Ochs’ writing that I have that courage. I’ve been singing Love Me, I’m A Liberal since I was in college with constantly updating lyrics. It was so hard to even choose which songs of his to do because for his fairly short career his songbook is lengthy and full of gems. I’m Going to Say It Now, Draft Dodger Rag, Spanish Civil War Song, I Ain’t Marching Anymore...I couldn’t pick one so I’m cheating and recording two.”

Day 06 - A song you wish you wrote

When I Think About Cheatin’ by Gretchen Wilson

“I will forever be pissed off that I didn’t write this song. I’m absolute trash for my husband, so it’s never -- I’ve never had to be in a situation to ever consider -- but this song gets me every time. It feels like I could have written it. Because we do spend a lot of time apart travelling for our work. And the sentiment expressed in the song is a little too real.”

Day 07 - A song in a language you don’t speak

Khattar by Khine Htoo

“This will either be a charming attempt to sing in Burmese or I’m about to offend a lot of people. Which, being a politically outspoken woman on the internet, I’m used to anyway. So. 1, 2, 3, okay here goes.”

Day 08 - A song by an artist no longer living

Phop Samnang by Sinn Sisamouth (inspiration)

“Haha, you thought I’d see the name of this category and not do a Sinn Sisamouth song? You were wrong.”

Day 09 - A song you want to dance to at your wedding

Devoted To You by The Everly Brothers

“I’m already married, so this was actually our first dance song at our wedding. Day three of our wedding, like the more Westernized wedding ceremony day. We had a three day long traditional Cambodian wedding and I felt like a princess. An-y-way!”

Day 10 - A song that makes you cry

Borrowed Rooms and Old Wood Floor by Emily Scott Robinson

“Unfortunately, Emily Scott Robinson and I aren’t related. Sad, I know, because she’s so talented. Almost her entire album Traveling Mercies is...sad as hell. The record reminded me of early Dolly Parton, and my second solo album. You know, all those sad-ass songs. The Dress is honestly the song that makes me the saddest but I can’t even listen to it without crying so.”

Day 11 - A song that you love hearing live

Prove My Love by Violent Femmes

“There is nobody I have seen in concert more than Dolly Parton, but Violent Femmes and George Strait come incredibly close. The Cranberries, the amount of times I saw them in the 90s and early 2000s...close fourth. Probably. The very first concert I dragged my husband to was a Violent Femmes concert, he was not prepared for how hard college me went.”

Day 12 - A song from before 1960

There Ain’t No Sweet Man That’s Worth The Salt of My Tears by Libby Holman

“This song is from 1928. I came across it when I was in grad school and it’s, as the kids say, a bop.”

Day 13 - A song you think everybody should listen to

White Man’s World by Jason Isbell

“I think perspectives of people of color should of course take precedence in these conversations. But I find this song to be a good faith attempt of a white man coming to terms with the institutional racism and sexism in the world around him. And I think this song can be a useful tool to explain certain concepts of racial justice to ignorant but well-meaning folks. As a woman of color I think Jason Isbell did a great job not centering himself even though it was from his perspective. This song is great musically and necessary socially.”

Day 14 - A song from the 1970s

You’re No Good by Linda Ronstadt

“Linda Ronstadt is grossly underrated, that’s all I have to say here.”

Day 15 - A song people wouldn’t expect you to like

Racists by Anti-flag

“I mean, I’ve talked about how much I like punk in the past, and I remember a video of Seoul Hanoi’d doing Spanish Bombs at a San Antonio show made the rounds, but I don’t think I’ve talked about how much I like Anti-flag. People don’t expect me to like punk for some reason. But I agree with...everything punk music is all about.”

Day 16 - A song that holds a lot of meaning to you

Blue by LeAnn Rimes

“It’s silly, but I won a county fair singing competition with this song in high school and it really fueled my passion for music, that win. It’s also the first song Cornelius heard me go full Georgia on, with the yodels and all, at the little bar in my hometown on his first trip meeting my parents. The song doesn’t cut to my very soul ot anythin’, but it’s special to me.”

Day 17 - A song attached to a memory

Supernova by Liz Phair

“I remember buying Liz Phair’s Whip-smart album when I was eleven. And in college, when I was getting ready for dates with Cornelius in my dorm room, I would dance around to a CD I burned and wrote on it with a sharpie, ‘Pre-date Movie Scene Music.’ God, what was even on there? I’m about to expose myself as the most basic 1999-2001 bitch. I remember Head Over Feet, I mean, Alanis Morisette? I was a young woman in 2000, obviously I loved her. Mm, Dreams by The Cranberries...oh, Kiss Me, Sixpence None The Richer...yeah, anyway, Supernova was on there.”

Day 18 - A song from the year you were born

Call Me by Blondie

“...I can’t believe Call Me is as old as I am.”

Day 19 - A song that reminds you of someone you miss

Come Thou Fount of Every Blessing (yes, of course she does a cover with banjo)

“This was my late best friend Molly’s favorite hymn. And I sang it at her funeral at her husband’s request. Molly and I grew up together in the small town of Payne Lake, Georgia and Molly was the most devout Christian...but she was also the first person I came out to as bisexual when I was a teenager, and she said that Jesus taught her that love was the greatest commandment and that meant I was automatically twice as good at it as her. Her faith guided her every action but she never talked down on her two best friends - Dan(iel Maitland) and I for not sharing it. Molly was doing the whole emulate Jesus thing beautifully. I miss her every day and it’s been seven years. If you ever think that people won’t miss you...you’re wrong. All right, let’s see if I can get through this without crying.”

Day 20 - A song by an artist you discovered this year

Hello, Anxiety by Phum Viphurit

“I just discovered this quirky Thai-Kiwi singer and not to be dramatic, but he’s my favorite thing in the world right now.”

Day 21 - A song with a city or country in the title

Oh! Phnom Penh (track 20)

“This song was written after the fall of the Khmer Rouge, and after people began to make their way to what was left of their homes, alone, or with what was left of their families. If you want to learn more about what that was like to actually live it, my cousin Reena Boran has a video interviewing her parents and paternal grandfather and uncle about it. Reena is a journalism student currently studying in London but she lives in Cambodia. Her mother is my aunt Malisruot, my mother’s youngest sister. The video is English subtitled on her channel, I’ll link it in the description box below.”

Day 22 - A song from the 1960s

To Sir, With Love by Lulu

“I didn’t actually discover this song until I heard it covered at a 10,000 Maniacs concert in the 90s. My friend Allison was standing next to me and I just started crying and she’s like ‘are you okay?’ and all I just blubbered out ‘My dad!’ For the uninitiated, my dad married my mom, who’d raised me alone until then, when I was six and he adopted me when I was eight. My dad didn’t have to adopt me, he didn’t have to call me his daughter, he could have just been like half of my friends’ stepdads and give me a place to live and nothing else. But my dad was my biggest supporter from day one. He convinced my mom to let me join the dance team and show choir instead of science club, he was the one that talked my mom down from probably killing me when they found out I was only studying music and not music and political science at NYU. I am who I am today because he is my dad. And this song just says everything I’ve always thought about him.”

Day 23 - A song from your childhood

Una Lacrima Sul Viso by Bobby Solo

“But Franny, aren’t you a Cambodian raised in the US? Yes, but you were fooled. My very white father is also an immigrant. He is from Switzerland and while he didn’t teach me to speak Italian and German growing up, he played German, Italian, and French records all the time. My parents often spoke to each other in French and I picked up some French but properly studied it starting in high school, and I didn’t study Italian until college -- and my German is still …. [points to a spot on the screen where she later inserted a card linking to a video on her cousin Köbi Framagucci’s YouTube channel titled ‘Can My American Cousin Speak German?’ where he tests her Standard and Swiss German speaking and comprehension]. But hell if I couldn’t sing every one of the songs from my father’s French, German, and Italian record before I knew what the words even meant.”

Day 24 - A song that gives you chill vibes

Glorify by Ivan & Alyosha

“Dan(iel Maitland) and I actually have an entire playlist on my Spotify accounts of songs to listen to to get us out of writers’ block. And one that I often will put on repeat and just absorb through my headphones with my eyes closed is a song called Glorify by Ivan & Alyosha. I think it touches on a lot of the themes I include in my songwriting. Christian mythology, the darker side of humanity, it often reminds me of what I love about songwriting. If you say please I might drop a link to that playlist.”

Day 25 - A song that’s your signature song

Long Gone Lonesome Blues by Hank Williams“Right, so I chose this instead of a Kitty Wells song or I Get A Kick Out of You (her being

featured on a 2005

recording propelled her career majorly) because if you’re familiar with me you might have seen a video that went around in like….2017? 2016? of Dan(iel Maitland) and I doin’ the song at our hometown bar in 2014. I posted it in response to some tweets because hoes mad when a WOC calls out racism and sexism in the Nashville music industry. ‘Bet she don’t even know Hank’, really? You think I wouldn’t know the history of one of the two music industries I work in? Please. Anyway, she knows Hank and nails the incredibly technical yodel -- the

most difficult

one in Hank’s songbook - in Long Gone Lonesome Blues. Mm...Lovesick Blues though, that also strikes fear into my heart. Anyway stay mad I guess?”

Day 26 - A song by your favorite band

Gun Shy by 10,000 Maniacs

“10,000 Maniacs was one of my favorite bands when I was in like 5th grade through 10th. I listened to them for a little while after Natalie Merchant left for a solo career, but the Natalie Merchant era was really what resonated with me the most. Gun Shy was a bit too advanced for my little 5th, 7th grade ears to really appreciate when I first discovered the album In My Tribe. Merchant’s voice -- because like, I don’t have a very conventional voice either, so her and Dolores O’Riordan really changed my entire perspective on what a woman’s voice can sound like in rock music. Um, yeah, so her voice more than the lyrics just wowed me. And as I got closer to graduating high school and especially in college I actually understood what What’s The Matter Here, Hey Jack Kerouac, and Gun Shy were talking about. Gun Shy...really became a significant song to me because...being born in 1980 I grew up in a relatively peaceful time. The Cold War was all but thawed by my tenth birthday. But I was getting ready to leave my then-boyfriend-now-husband’s apartment for class at NYU on the morning of 9/11. We stood in line for hours to donate blood. And then my government invaded two completely unrelated countries and jingoism and terrifying, fervent nationalism, and xenophobia just smacked me in the face. And friends of mine from high school were convicted to drop out of college and join the Army, and died, for an unjust, imperialist war, and suddenly Phil Ochs, John Prine, and Bob Dylan lyrics hit a lot different, and I understood what Gun Shy was really about.”

Day 27 - A song you hate by an artist you love

Mrs.Robinson by Simon & Garfunkel

“Paul Simon is one of my favorite songwriters ever, um, and I actually used to like Mrs. Robinson….until I got married and everyone sang it at me. It’s kind of my fault, I did choose to take my husband’s last name. And I leaned into it by making my social media handles all Mrs. Robinson...but still. Only play the song around me if you want to die.”

Day 28 - A song that a younger you would have loved

Mean by Taylor Swift

“I’m so genuinely glad that I am older than Taylor Swift. Middle school Franny did not need Taylor Swift to enable me and fuel my ego. Some of her singles, while not really 35 and 40 year old Franny’s cup of tea, young me would have played until my mother hid the record or cassette from me. Although - fuck if Tim McGraw didn’t immediately give my happily married ass flashbacks to my first love and make me bawl like a baby? Right, so when Speak Now came out and I listened to it, Mean, while not a song that adult me has listened to maybe more like ten times, I immediately thought ‘wow, I needed this song when I was in middle and high school.’ I could literally picture 7th grade me with my little guitar and my little cowboy boots my dad bought for me singing this at the talent show making eye contact with the kids who bullied me as if it was some kind of own when it’s not. I could still, almost thirty years later, name them if I really wanted. So, for 7th grade me, Mean by Taylor Swift.”

Day 29- A song that reminds you of your partner/spouse

ផាត់ជាយបណ្តូលចិត្ / Phat Cheay Bon'dol Chet by Sinn Sisamuth (translation) (female singer covering it) (modern, studio recording of a male and female singer dueting it) (a cool violin cover) (another female singer) (cool guitar cover)

Feat. some members of Seoul Hanoi’d. Andy Chaiyaporn (violin), Max Cho (piano), Jodie Batbayar (cello), Aisulu Niyazova-Li (percussion) and Franny has her guitar

“The song, lyrically, only reminds me of my husband a little bit. But Phat Cheay Bondol Chet has several memories with my husband attached to it. The first time he heard me sing in Khmer was at my mother’s house in Atlanta when I had him visit the first time to meet my parents. My mom had a little dinner party at our house to show him off, like Asian moms do when they think their daughter snags a good one, and I was hand washing the dishes while my mom and the other Cambodian parents were listening to Sinn Sisamuth records. I’ve always loved the song I’ll be showing y’all today, like I’ve always just stopped what I was doing and -- so it came on and I just started singing along without really being aware of it. And then at a different diaspora get together that summer, that song came on and I just kinda. Pulled him aside to the side yard of that person’s house to look at the stars with him and translated the song. It’s one of the Khmer songs he instantly recognizes now, so it’s special.”

Franny did NOT say in the video that college her 100% had him sit in the grass with her outside that person’s house, where nobody could see, so she could makeout with him

Day 30- A song by one of your favorite songwriters

Reincarnation by Roger Miller

Feat. Seoul Hanoi’d, done more in the style of the Cake cover

Also instead of singing the lyric “you’re a girl, I’m a boy” she goes “you’re a girl, so am I” because she doesn’t ever change pronouns, she just makes it gay because she is a bi-con

“Roger Miller, to me, is as important as Dolly Parton, Paul Simon, Bob Dylan, in the American songbook. He’s not as talked about which is a shame because his discography is iconic. Getting to be a part of King of The Road was one of the highlights of my career.”

#&&...hc

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teaganpls · 5 years

Text

sms: teagan taylor

@augustuswill.

Augustus: We might grew up on the different side of the world but we're still both just normal person like any other person. And yes, it was quite an experience having to be independent on a very young age. Haha I would definitely convince you to finish school! First time to hear that you want more polite people rather than rude. Augustus: That stung me a bit, I find myself normal and boring! So I guess you wouldn't want to hang around with me. :)) I hope I get to meet Tierney too! Augustus: Nice! Maybe you could make her drunk and let her dance weirdly on the middle of the street, video and post it online! A promo stunt before your new music release party! That was a joke, by the way! Don't make her drink! Augustus: Can you remind me of what's the asshole name is? I think I got to use calling him as a dick, asshole, that I forgot his real name. So you get my point why I'm furious of that guy huh? I'll tell her that. Alex had been so nice to everyone and doesn't deserve to be treated like that by your friend. Augustus: I can handle another more. Work and taking care of my sister is not so handful anymore. So, try me. Augustus: I am. I will sure will! Should I bring some coffee over?

Teag: That is definitely true. People are people, and we should all respect each other regardless of background. I get that. My siblings and I had to be independent at a young age, too. It was different circumstances. My mother was... kind of a trainwreck honestly, and didn't look after us (to say the least. It was a pretty abusive situation) so we had to learn really young to provide for ourselves. I would like to once I figure out what to go for. I'm a musician and I love making music with my whole heart and soul, but I just can't see myself going on a tour again and being away from my daughter for so long when most headlining tours could last anywhere from 6 months to a year. I respect people who are full-time musicians and have families because that balance is just crazy. Not to mention all the temptations on the road. It just isn't a good lifestyle for me. Which is basically my long ass way of saying I'm gonna need a new career which is why I opened the shop with my sister. I'd probably go back for Business that way if Tierney ever wants to tour (she has a business degree), she can knowing that I have everything under control.

Teag: Wait... people seriously want others to be rude to them? Wtf.

Teag: Aw I'm sorry!! Please don't take offense, my new buddy. If it makes ya feel any better, I need more normal and boring in my life. If you're close with Presley then I'd definitely say you're bound to meet Tierney soon. I'm biased bc she's my twin buuuuut she's pretty amazing

Teag: Hahaha don't worry, I won't. I actually just finished rehab myself 2 days ago... so drinking wouldn't be good for either one of us 🙊

Teag: Before I tell you, I just want to be clear right from the beginning that I don't want to be in the middle of any drama. I have enough going on in my life at the moment and as much as I understand why you're upset because cheating is a huge no-no, I don't want to be in the middle. I hope you can understand and respect that. No offense at all meant I just needed to say that sooner rather than later.

Teag: Wow, we're gonna be good friends already if you're offering to bring me coffee AND listen to my problems. it's a super long story.

Teag: TL;DR i’m a “bitch” and outcasted too. so if alexis wants someone who can sort of understand, please send her my way. i need all the friends i can get lmao.

Teag: as i mentioned above, my mother (or as i like to call her, she who must not be named) was abusive. she had a lot of boyfriends throughout my childhood and they were all abusive as well. physically, sexually, verbally, mentally... you name it, it was there. she who must not be named was also heavily addicted to drugs and alcohol. So I grew up seeing that behavior... and started drinking when I was really young. I did drugs for the first time when I was 14. I loved it immediately and it was the perfect way to escape all of the torment that was going on at my house. at the same time, i had a childhood best friend dj who i met when i was five. he knew all about the abuse and his family opened their doors to me and my siblings. his parents were like the parents i always wanted but never had. i mention this because it comes up later dsjndjnfsdhbfdshsdj this is seriously such a long story I’m so sorry in advance

Teag: so i turn 18 and as i mentioned, i didn’t go to college. frankly i always thought i’d be dead in a ditch so i never like... planned a future for myself? the only thing i was good at was music so i followed that to los angeles. to make a long story as short as possible --- went to rehab, fell back into drugs, found out i was pregnant and went to rehab again to get sober for real. i was doing really really well up until about a month ago. everything in my life went to absolute hell all at once. i found out who my daughter’s father was and it was one of the friends from la, and at first things were perfect and i was really relieved (still am, don’t get me wrong) that her father was a close friend instead of a random hookup while high. but things with dj got really rocky out of jealousy it was a whole mess and as things were getting rocky with him, danny was really there for me buying me flowers and supporting me and it was just. a confusing mess. so dj breaks up with me after him and danny fight on the booze cruise (sure alex told ya all about that booze cruise) and then i found out from my best friend that she also had a confusing thing with baby daddy and there was another girl involved too.

Teag: god i swear i’m trying to make this as short as possible, i’m sorry, just so much fucking shit has happened and i haven’t talked about my side much bc i don’t want people in the middle. so i got into a huge fight with danny because i felt really blindsided and hurt by all of this, where i said shit i shouldn’t have said. i told him he needed to grow up and be the father our daughter deserved. i regret that, i do, i know he loves blake and would do anything for her but in the heat of the moment, i was just so hurt. he said some pretty nasty shit back that isn’t worth repeating bc i’m trying to not dwell on them. and then i found out that dj’s mom, lisa, who was like the mom i never had died and i just.... fucking lost it. i had a complete break down and relapsed. THIS LONG ASS STORY IS ALMOST OVER FUCK. so i did 2 weeks of inpatient rehab back home in dallas and then came back home and finished my rehab as outpatient to be back with blake, my daughter. the last thing danny said to me was never to contact him again so... naturally, i didn’t contact him when i came back because i was focusing on staying sober. god okay i feel so bad about how long this is getting, the short of it is danny and i have been fighting pretty much ever since i got home, even when i avoided him specifically to avoid fighting. i only see blake on weekends, everything is tense with my former friends bc of things that should’ve stayed between danny and i but didn’t, on top of all this i’m trying desperately to stay sober and still grieving. okay, that’s it.

#changed to a text post bc of length!#( text on read || texts. )#augustus #this got so damn fucking long i am so sorry #bad parenting tw #abuse tw #drug addiction tw #alcoholism tw #death tw

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filmstruck · 6 years

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A Cinephile’s Guide to Telluride by Pablo Kjolseth

This Labor Day Weekend the Telluride Film Festival turns 45. With over 3,000 film festivals to choose from worldwide, why choose a trip to Telluride? Here’s why:

It's a beautiful place. Telluride is a former silver mining camp located almost 9,000 feet up in elevation alongside the San Miguel River in the Western San Juan Mountains. You’ll be in a box canyon with breathtaking views. If you stand downtown on Colorado Avenue at dusk, you'll see amazing sunsets to the west and steep canyon walls with the postcard-perfect Bridal Veil Falls to the east. Of course, most of the time you’ll be inside a movie theater being transported who-knows-where. But in-between shows and while waiting in line, you can drink in the views.

It's a challenge. In a good way. Attending Sundance is easy as there are plenty of cheap flights into Salt Lake City and then Park City is only a half-hour drive away. Maybe that's why it gets mobbed by 40,000 people. Telluride? It has a tiny airport with tiny planes and what has to be one of the tiniest runways in the U.S. The bulk of people attending, therefore, drive seven or so hours to get there and this helps to separate the wheat from the chaff, with attendance being about a tenth of what Sundance supports.

It's selective. A Sundance or Toronto catalog looks and weighs as much as a phone book and you know what you’re getting into in advance. Which can be a good thing, in terms of giving you many options and choices. But a Telluride catalog is a slim booklet that fits in your back pocket, and people attending won't know what will be in that booklet until they are there, usually the night before the big communal feast on Friday where pass holders and filmmakers commingle and jockey for paper plates in the same buffet line. It's a blind date, one in which you are being asked to trust the movie curators. It’s like a restaurant with no online menu and a great chef who wants to surprise you with all manner of unusual food items that you’ve never tasted.

It celebrates the legacy of film. They show archive prints, silent films with live musical accompaniment and they screen 35mm prints too (although sometimes they don't print this information in their programs, a strange oversight). And, of course, they have the ever-popular world and U.S. premieres by well-known directors or new talented filmmakers about to make a big splash.

It has free events. In the daytime, panel discussions in the park. At night, open air screenings under the stars.

It has a great campground with showers and bathrooms that are only a ten-minute walk from downtown. Warning: show up early if you want a shot at a spot. Otherwise you’ll find yourself driving out of town along Last Dollar Road looking for a place to squat.

It usually has Werner Herzog in attendance. Unless Herzog is on location elsewhere shooting a movie, he'll probably be there to celebrate his birthday alongside screenings that take place in the huge theater named after him or in one of the half-dozen or so other theaters that are within walking distance of each other (the exception to this being the Chuck Jones Cinema in Mountain Village, accessible via a free but half-hour long gondola ride from downtown). Speaking of which:

It has incredible staff, tech crew and theaters. Each theater has a theme, be it the Chuck Jones Cinema or The Galaxy. These theaters are built by volunteers, staff and top-notch technical crewmembers, who all put their heart-and-soul into transforming what is normally a climbing gym or some other public use space into temporary, state-of-the-art dedicated film auditoriums with its own vibe and magic.

IIt has no paparazzi. No press screenings. No rubber-neckers or throngs of people crowding out the celebrities for selfies (okay, some of those). As a result, in Telluride you might find yourself buying a bagel behind Willem Dafoe or bumping shoulders with Danny Elfman. It has a casual vibe. It's not a zoo. It's not a circus. It's not a market. It's a film festival devoted to cinephiles and serious filmmakers, one that just happens to be taking place in a gorgeous mountain setting where you half expect Julie Andrews to break out into song.

It always has a Guest Director. Sometimes a well-known director (John Boorman), or musician (Laurie Anderson), or philosopher (Slavoj Zizek) or, as is the case this year, a novelist: Jonathan Lethem. This is one of my favorite sections because Telluride staff will bend over backwards to find six titles that have had a profound influence on the Guest Director’s life. The choices usually go back in time, swerve among genres and always include new discoveries. They also serve to showcase the power of cinema. This year that program is sponsored by FilmStruck, because we cinephiles have to stick together.

#FilmStruck #Telluride Film Festival #JR #Rosalie Varda #Gael García Bernal #StreamLine Blog #Pablo Kjolseth

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ariabauer · 6 years

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100 Carmilla Stories - RunWithWolves Masterpost

Missing Hollstein? Already re-watched the series dozens of times? Need some Carmilla in your life? Then I have the fics for you. Seriously. I’ve written 100 Carmilla stories and categorized them here for your convenience (some stories fit into multiple but i did my best)

If you want...

Fake Dating/Marriage - i just really love this trope

Politician Carmilla has to get engaged to someone for her campaign and ends up with her long time best friend Laura. Marriage of Convenience

When Laura hears that actress Carmilla is fake dating her ex, she has some words for her best friend. A Rational Irrationality

Princesses Laura and Carmilla told the world they were dating to get out of arranged marriages. It’s easy til they fall in love. Not Really a Royal Romance

Laura wakes up in the hospital to find ex Carmilla at her side after they apparently got married a decade before. The Girl Who Got Away

As far as anyone knows, pHd candidates Laura and Carmilla hate each other. Lab Manager Laf is onto them. Worst Lab Partner Ever

General Fantasy - Supernatural beyond just vampires

Hollstein are dragon riders and Carmilla is not taking the responsibility seriously enough for Laura. Just A Girl and Her Dragon

Vampire Carmilla never expected to find old roomate Laura working a magical flower store in Diagon Ally. Lophii’s Blooms

Carmilla never wanted magic and Laura can’t unlock her own, they’re stuck together until they figure it out. circle of magic au Magic of My Own

Movies at Silas come to life and drag Carmilla into the role of Prince Charming while Laura gets sleeping beauty. Silas Movie Night

Werewolf Laura and Vampire Carmilla don’t get along and Carmilla doesn’t understand why Laura doesn’t turn her over tot he hunters. Like Cats and Dogs

Carmilla’s the best surgeon in the hospital but she swallows her pride and asks Dr Hollis for help when she gets an unusual sickness. Paging Doctor’s Hollis and Karnstein

Laura is angry because Carmilla thinks her blood tastes gross and spits it out instead of killing her. False Advertising

Clockwork Au: Laura and Carmilla to each have creatures made of clockwork (dragon and cat respectively) that represent their souls. Silver and Gold

Myths and Fairytales - sometimes you need a Hollstein happily ever after

Sassy Laura barges into Carmilla’s castle with a rose and demands a curse be lifted from her father. Beauty in A Beast ft Catmilla

Cupid Laura is determined to find vampire Carmilla’s soulmate even if Carmilla doesn’t want her too. Stalked By Cupid

Totally-in-love Laura and a tiny kitten Catmilla. Princess and the Frog twist, The Princess and the Kitten

Goddess of Spring Laura is accidentally kidnapped by Lord of the Dead Carmilla. Hades/Persephone AU. Queen of the Underworld

Carmilla goes overboard into the ocean during a storm and never expected a mermaid to pluck her from the sea. Kissed a Mermaid

War is over and shepherd god Carmilla can’t wait to go home to her wife. Sumerian god au. The Shepherd God

Orphan Laura falls in love with witch!Carmilla and chases after Carmilla when she runs. King Arthur au. Sword In My Stone Heart

The gods disappeared and Greek demigod Laura demands Sumerian demigod Carmilla help her save them. Daughter of Love and War

Science Fiction Fun - time travel and space and oh my!

Carmilla’s time machine keeps taking her to a small human child. When Carmilla stops coming back, grown up Laura stows away. Time Travel Malfunction

After graduation, bffs Carmilla and Laura take their spaceship on a roadtrip with definitely no pining. Roadtrip To the Stars

Captain Hollis is forced to let cocky co-pilot Carmilla join her starship crew as she tries to stop black holes from devouring the universe. Star Filled Memories

Cops or Superheroes Au - nothing like a good bout of crime fighting and a mystery to get flirty Hollstein roaring to life

Laura as a detective and Carmilla as the flirty annoying writer following her around as they try to solve murders. Write Me A Murder

Laura who doesn’t have superpowers trying to navigate a school for the superpowered featuring asshat with superstrength Carmilla. Powerless

FBI agent Carmilla trapped in a bank/bomb heist and sending flirty notes to the hostage negotiator Laura. Don’t Let Go

Supervillain Carmilla and superhero Laura being arch-enemies and yet their alter egos are roommates. Beneath the Boots and Leather

Special Agent Hollis would have an easier time getting through the laser field if her annoying partners wasn’t so flirty. Mission Flirtable

Vampires know there’s no such thing as superheros. Laura didn’t get the memo and she’s now Carmilla’s problem. Not a Superhero

Fire Princess Carmilla has flames at her fingertips and still isn’t ready for her air-powered roommate. atla au Fire In My Veins and Air in My Lungs

Star Reporter Laura is determined to get an interview with Superwoman if only her incompetent partner Carmilla stopped getting in the way. At The Daily Planet

Batwoman doesn’t have time for dating even if Wonder Woman ‘call me Laura' makes her heart flutter. No Dating For Batwoman

Could Be During Canon? - Trying to fit stories inside the world we love

Reincarnation AU where Carmilla's vampirism allows her to die and then come back to life 9 times. Nine Lives to Die

Carmilla plans a date after Laura asked her to the Zeta party. s1 Date Like it’s 1698

Each episode written in an extremely snarky tone in Carmilla’s diary. Dear Creampuff

Countess Karnstein is looking for the partner who dances in step with her. The Right Partner

Laura is the girl who cares and Carmilla doesn’t know what to do when she stops. s2 story. A Question of Caring

8 times Laura uses a Bandaid and 2 times she doesn’t. Stick an Apatosaurus to My Heart

Even though Laura’s dead, alt-Carm keeps hearing her heartbeat everywhere she goes. Floating Through A Stone Wall

Laura breathes until she doesn’t. Carmilla doesn’t breathe until she does. With Human Breath

Hollstein gets trapped in the s2 cellar with a magical snowstorm raging upstairs. Cuddling for warmth. Colder Than Our Hearts

Hollstein says hey a lot. It’s kind of their thing. A look at all seasons and the movie and what that word means. Hey

Canon Alternatives - twists on the way it went

Carmilla dies from the Dean’s sword and Laura brings her back, binding them together forever. The Golden Heart of Paris

Laura gets her heart back but doesn’t wake up so Mattie comes to her with a deal. Hold Her Hand

Danny is dead and the the campus is gone and Laura Hollis has had enough of people dying in her name. An Explanation for Deification

Laura saved them all from Vordenberg but paid a price Carmilla wish she hadn’t to channel a god’s power. Behind Your Ancient Eyes

Laura had meant to do romantic things for Carmilla, she’d just thought they’d have more time. I Meant To Do That

LaFerry fic where Laf is a ghost and keeps stealing substance from Carmilla so that Perry can touch them. Define Death

Saving Laura to be the only reason Carmilla would ever willingly get back inside the coffin. Coffin of Starlight

Barely friends Carmilla and Laura literally glued together including obligatory shower scene. The Sticking Incident

Mircalla’s doesn’t remember her past but her next client looks familar and, instead of taking her ‘services’, just wants to talk. Find You In the Dark

One Carmilla was bad, Laura has no idea how to handle 2 version of her ex girlfriend when they’re stuck in the library. Split Personality, Literally

Laura has amnesia but is thrilled to find out the hot vampire by her bed is her wife. Absolute jackpot Wake Up With a Hot Wife

Carmilla’s soul is trapped in the pit and Laura and the scooby gang have to figure out how to put her back together. Colours of A Soul

After Canon Ends - what could happen next

Post Movie Hollstein and their daughter go looking for the fountain of youth. Retcon the retcon. Family Trip to the Fountain

Papa Hollis gives a speech at a Hollstein wedding that gives all the feels as he tells Laura’s life story. That’s My Daughter

Vamp Laura going through a photo album and telling stories about her adventures with Carmilla. A Live Well Lived

Laura, her father, and eventually Carmilla leave letters on Laura’s mother’s tombstone. Until We Meet Again

Mortal Laura and immortal Carmilla trying to figure out their lives and how to handle forever. Dandelion Promises

Vampires can’t go inside churches but Carmilla still likes to listen to the bells. Laura follows her. post movie. Monstrous Grace

Laura leaves a letter for Carmilla to give to all of Laura’s reincarnations over the centuries. The One Who Loves Her Next

Pregnant Laura has weird 2am cravings for Carmilla to try and fill. 9 Months of Mustard

Musical Hollstein - Trying to write melody with words

Tired world class musician Carmilla gives beginner Laura lessons and falls a little bit in love with her and the music. Teach Me to Play

Carmilla’s sent to interview her ex, pop star Laura. It’s been years and Carmilla can still see the brokenness her mother put on Laura’s face. To Hope Beyond an Unfinished Melody

Coffee Shop and Cooking Hollstein

Laura moves in with the hot coffee barista she has a crush on it’s both the best and the worst. Coffee Cupcake Crush

Laura can’t make coffee but she can set up all her customers with each other, the only person she can’t find a match for is fellow barista and ‘cupid-in-crime’ Carmilla. The Ultimate Coffee Shop Au

Angsty chefs Hollstein run a cooking show but when things get hot in the kitchen, they become secret exes with benefits. Cooking With Hollstein

Human Hollstein - Nothing supernatural. Just our girls being cute.

Billionaire playgirl Carmilla can’t bring herself to be a playboy when it’s Laura she’s taking as her date. Read The Carmilla Karnstein Special

Laura sees a girl on the subway but couldn’t speak to her so writes a ‘missing person’ ad instead. Missed Connections

Aggressive salesman Laura sells girl scout cookies with tiny Laf and knocks on Carmilla’s door. Just Buy the Cookies

Adorable sticky note conversations between broody Carmilla and the girl on the day shift who stole her mug. The Mug Thief

Drunk Carmilla comes into Laura’s tattoo shop and demands a tattoo on her butt. Tattoos and Bikinis

Laura literally falls into Carmilla’s lap on the bus and a spunky older gentleman gives love advice. Strangers on a Bus

Laura’s not very good a camping and the night’s cold when your tent collapses, might have to share sleeping bags. To Build A Tent

Librarian Karnstein enjoys annoying Professor Hollis by rearranging the books to see her scrunched nose. Librarian Hottie

Laura signs up to be a toymaking Christmas elf but gets a grumpy partner who hates making toys. Christmas Trains

Hockey player Laura is determined to get concessions booth worker Carmilla to love the skating rink. Cookies Cupcakes and Hockey Captains.

High School Hollstein Stories

Nerd Laura becomes the quarterback and only reluctant cheerleader Carmilla doesn’t change around her. A Classic High School Love Story

Laura is desperate for cookies and Carmilla ate them all after high school home ec. How to Avoid Kale

Hollstein neighbours shoot nerf guns and marshmallow guns and water guns at each other. War of the Windows

Hollstein becoming friend in kindergarten and then grow up together while getting into all kinds of trouble. Loving Trouble

Hollstein with Animals - Fluffier than fluff because animals are fluffy

Reluctant dog walker Carmilla can’t say no to vet Laura’s requests to walk various animals so they get exercise. Puppy Dog Eyes

Pet Store worker Carmilla saves Laura after she kills Laf’s fish. Again and again. One Fish Two Fish

Carmilla’s cat to keep bringing home some mysterious girl’s underwear. Drawer of Lingerie

Carmilla’s cat gets Laura’s cat pregnant and Laura demands Carmilla co-parent the kittens. Bonus unexpected canoe. Kitten Kisses

Carmilla rescuing Laura from evil spiders in the laundry room. For Fear of Spiders

Playing With Words - Hollstein examined in a story

The story on campus before Carmilla reached room 307 told like Welcome to the Nightvale. Welcome To Silas

Writing the movie plot before the movie came out with Hollstein engagement and Ell closure. It’s Not About the Plot

Laura’s a baker, Carmilla’s a firefighter. An examination of what a Hollstein story really is. A Generic Carmilla Story

Detailing the 100 little ways Hollstein fell in love over the seasons. 100 Ways They Fell in Love

Soulmates - because who doesn’t love some soulmate Aus. Usually twisted from the typical soulmate version or an original idea

Tiny literal hearts to pop up every time Carmilla looks at Laura and all Carmilla wants is for Laura to NEVER SEE THEM.Love is Orange

The scars from one person to show up only on the body of their soulmate featuring a Carmilla who is scarless for centuries and a Laura who will only wear long sleeves. Scars Inside

Timer soulmate au where Carmilla meets a tiny five year old Laura on her first day of school and suddenly finds her timer has started counting down to the moment they fall in love. A Broken Pocketwatch

A mirror will let you see your soulmate every year on your birthday but everyone is convinced there’s been a mistake when 21th century Laura sees 17th century Carmilla in the mirror. The Mirror Between Us

Fairy Laura follows her soulmate compass through a jungle only to find a panther. Carmilla’s not interested in soulmates. Follow Your Arrow

Everyone is born with a soulmate marker to write the name of their chosen soulmate on their skin. Vampires don’t have ink. s1-3 We Chose Each Other

Child countess Carmilla wished on stars for a best friend and got an imaginary lion. Centuries later, child Laura makes the same wish and finds a panther on her doorstep. Wishing On Imaginary Stars

Carmilla has never seen color until the world starts flickering when a kid can’t find their mom. A Hint of Colour

You can hear the music of your own soul and your soulmate but vampire Carmilla can’t hear the music. After Ell separates them, can Laura find her again and again? In Every Universe You Are My Symphony

This has been a 3 year labour of love. The stories vary in length from about 2k to over 100,000k for a total of more than half a million words. Have suggested stories? Let people know! It’s a big list!

Hope you enjoy them and thank you for all of your support creampuffs! <3 Aria

#carmilla #hollstein #laura hollis #carmilla karnstein #runwithwolves #aria bauer #long post #masterpost

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dustedmagazine · 6 years

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Voting with our ears: Dusted spends the rent on Bandcamp.com’s Voter Registration day

On September 25, Bandcamp.com held a fundraiser for the Voting Rights Project, seeking to raise both money and awareness around voter registration. For the day, all profits on everything you bought on Bandcamp.com went to this worthy cause. Dusted writers saw the opportunity to a) buy stuff and b) promote democracy and said, “Hell yes, we’re in.” Participating writers included Ian Mathers (who is Canadian!!), Justin Cober-Lake, Jennifer Kelly, Bill Meyer, Isaac Olson (who definitely wins) and Ethan Covey. Check out what we bought and then, for the love of god, vote. We’re depending on you.

Ian Mathers

IDLES

For various reasons I wasn’t able to shop quite as avidly as I did last time we got together for one of these, but I managed to make one impulse purchase of a record I hadn’t heard yet (but had transfixed me with its singles) and combine that with two long-awaited additions of old favorites to my Bandcamp collection (and my hard drive, after having lost track of the files in one move or another).

IDLES — Joy As an Act of Resistance

Joy as an Act of Resistance. by IDLES

As you might guess from the fact that it just came out at the end of this August, Bristol’s IDLES is the impulse buy of the three, one that so far has worked out just wonderfully. Having been recommended the mockingly anti-Brexit(/xenophobia) “Great” on YouTube and being drawn from the immediately bracing, invigorating likes of that to this album’s more openhearted ode to the greatness of not hating people you don’t already know, “Danny Nedelko,” and the more Protomartyr-ish opening track “Colossus” (the latter of which also probably has my favorite music video of 2018), I couldn’t imagine any band capable of those three songs would somehow whiff the rest of a reasonably-lengthed LP, and the often political, always heartfelt Joy As an Act of Resistance. proved me right. There are certainly places where it gets darker (particularly “June,” where singer Joe Talbot relates in heart-wrenching fashion his wife losing a child to a miscarriage), but the overall feel of the album can be summed up by Talbot barking repeatedly at the listener to “love yourself” over a careening, punkish anthem. The album title isn’t a piss take, which is a relief in itself.

The Silent League — But You've Always Been the Caretaker...

But You've Always Been The Caretaker... by The Silent League

Back in 2004 I first heard of the Silent League, as I think most people did, because frontman Justin Russo had been in Mercury Rev (for 2001’s All Is Dream, the last Rev record I can say I fully loved), and their debut, The Orchestra, Sadly, Has Refused was interesting, lysergic chamber pop with some proggy and/or post-rock elements. I lost track of them for a bit after that album and was surprised that when I heard about them again it was because of an entirely different musician I was a fan of. Shannon Fields, then of Stars Like Fleas and since of Family Dynamics and Leverage Models (the last of which made my favorite record of 2013 and which is, incidentally, about to return), maker of a ton of records I both love and think have been overlooked, let me know that he’d also been a contributor to the Silent League for quite a while and that with their then-current album, 2010’s But You’ve Always Been the Caretaker… he thought they’d made something that represented a bit of a leap forward for the band. Not only do I agree, but the Silent League’s swan song (to date) now represents one of the most frustratingly overlooked records I know of, 15 sprawling songs in any number of registers, styles and tones tightly packed into less than 49 minutes that, fitting the circular and slightly foreboding title, packs a bunch of richly interwoven thematic and sonic depth into what feels like a whole universe of popular music. There’s proggy/ELO overture “When Stars Attack!!!,” the sound of a glam rock band practicing a particular soulful jam down the hall and four walls away on “Sleeper,” at least one just perfect string-led “perfect pop” song in “Resignation Studies,” and literally a dozen other things here. And yet But You’ve Always… never feels scattered or showoff-y. It’s a whole world, dense and rich and worthy of being studied in detail for its brilliance. I was thrilled to see it on Bandcamp, not least because this is exactly the kind of record that could easily slip through the cracks.

Tamas Wells — A Plea en Vendredi

(PB024) Tamas Wells: A Plea En Vendredi by Popboomerang

It’s been over a decade, but when I was in university I am pretty sure I first heard Australian singer-songwriter Tamas Wells because I saw the song “I’m Sorry That the Kitchen Is on Fire” somewhere and thought the title was hilarious. To my surprise the song itself was gorgeous, a gently folky little waltz with Wells’ high, gentle voice, carefully picked acoustic guitar, a lightly hypnotic piano refrain, and sparing hand claps. I fell hard enough for it that even back when the internet wasn’t at all what it is now I tracked down Wells’ 2006 album A Plea en Vendredi and found a shimmering little suite of song, some as gnomic and vaguely unsettling in their implications as “I’m Sorry That the Kitchen is on Fire” (like “Valder Fields,” which is apparently a place where our narrator and others mysteriously regain consciousness, or whatever you can make of “Lichen & Bees”), some much more plainspoken (including the slight political bent running through “The Opportunity Fair,” “The Telemarketer Resignation,” and the gorgeous little instrumental “Yes, Virginia, There Is a Ruling Class”), all just as twee-ly beautiful and enrapturing as my initial exposure had been. At the time Wells was working in Burma on a community development project, and from what I’ve been able to find his moving around and focus on non-music work has occasionally kept his album on the back burner, although he’s found an audience at home and in Japan and China (and of course, sometimes as far as Canada where I ran into his work). He’s kept releasing records since, most recently 2017’s The Plantation on a small Japanese label, but even if A Plea en Vendredi was all I’d ever been able to find it’d still find a regular place in my rotation; even when things get a bit darker, on “Valour” and the closing “Open the Blinds” there’s something so soothing about Wells’ music and this particular set of gem-like miniatures has been a go-to album for me during difficult times ever since.

Justin Cober-Lake

David Ramirez

Ashley Walters — Sweet Anxiety (Populist)

Ashley Walters // Sweet Anxiety by Ashley Walters

I’d been wanting to hear this one for a while. I first noticed cellist Ashley Walters on Wadada Leo Smith's America's National Parks, a remarkable album that I spent considerable time with while writing a couple features on it and Smith (including interviewing Walters). I was even more impressed after understanding what went into the work and seeing that ensemble perform it live. Walters writes of this album, “I seek to challenge your perception of what the cello, a stereotypically gentle instrument, is capable of,” and it's fair to say she succeeds. It's a demanding listen, more aggressive than expected, but Walters and her composers blend technical challenges with theoretical ones. At times, Walters cuts loose, and at times she works with tonality, often using nonstandard tuning to odd effect. Smith composed one of the brightest numbers here, making a nice shift in sound without lowering the difficulty level. Luciano Berio's “Sequenza XIV” provides the most interesting piece, not only for the actual performance but for the reconstruction work on the score that Walters highlights in the liner notes. This one's well worth a focused listen, and I'll need to give it quite a few more to properly process it.

The Beths — Warm Blood (Carpark)

Warm Blood by The Beths

In August, the Beths released one of my favorite albums of the year, Future Me Hates Me, a blast of pop-rock easily good enough to warrant going back, more or less, to the beginning, with 2016's Warm Blood EP. Both lyrically and musically, the group hasn't quite found its footing, but that says more about the focused energy of the full-length than it does about these five songs (including “Whatever,” which reappears on the album). The hooks are there now; the guitar on “Idea/Intent” represents the band as well as anything. The vitriol of that track fits in less well with the attitude the band generally puts forward, one that's self-reflective and confident without claiming to know all the answers. Some of the joy of the music is in Elizabeth Stokes' searching, but that's turned around on a track like “Rush Hour 3,” a comedic bit of come-on (and the rare track not written by Stokes). Warm Blood works as a nice look back at a band, but it's not just a history lesson — it's an enjoyable set that adds to the playlist of a group with only one album out.

David Ramirez — The Rooster (Sweetworld)

The Rooster EP by David Ramirez

I've been working my way backwards with David Ramirez, too, starting with last year's We're Not Going Anywhere (which didn't adhere to his previous folk-ish sound but did make me wonder why I hadn't found my way to the songwriter earlier). After spending time with the fantastic Fables, there was the live show that utterly sold me on him, in part because he has a bigger voice than you might notice at first, even in his sparser productions. The Rooster EP, a fitting complement to that album, feels like an ascent. His vocals are assured, even as he searches for clarity, or at least anchor points amid turbulence. Tracks like “The Bad Days” and “Glory” offer unrequested hope, and “The Forgiven” provides a meditation on performance, art, and faith that's central to his work. The five cuts on this EP have the gravitas of something bigger and strengthen my sense that Ramirez should be a songwriter that everyone listens to.

Grand Banks – Live 8-25-2018

Grand Banks live 8-25-2018 by Grand Banks

Any sort of bonus shopping day provides a good excuse to support local music. This time I went with the latest release (such as it is) from Grand Banks, their live recording from August 25. The duo don't shy away from volume, but their focus on minimalist ideas and sonic experimentation makes for unusual experiences. Over this single 30-minute track, the pair builds with patience, even when developing a haunted-house sort of melody on the keys. The second half of the piece increases the challenge, with guitarist Davis Salisbury pulling an odd series of sounds out of his instrument (for the curious, you can try it at home with an electric guitar, a tuning fork, and a fuzz pedal, and probably some sort of sonic laboratory). The effects build on Tyler Magill's creepy keyboard work – maybe this one's an unintended seasonal release. The study in space and harmonics gives way to a chirpy conversation and surprisingly (in this context) guitar-like guitar moment before placidly drifting away, an apt conclusion for the performance.

Jennifer Kelly

The Scientists

I bought five different records this time, mostly, but not all, falling somewhere in the punk/garage continuum. I liked them all in different ways, but the one that absolutely killed me was…

IDLES—Joy as an Act of Resistance (Partisan)

Joy as an Act of Resistance. by IDLES

This is Ian’s fault, really. He talked me into it. Plus, it turned up on the Bandcamp recommendation engine. Which, by the way, is just so much better than Amazon’s recommendation engine. (I see you like the Pixies. Wanna buy every Pixies album ever?) But turns out, they’re both dead on. Idles is vitriolic and literate like the Sleaford Mods but backed by a ripped-to-the-teeth full band a la Protomartyr. Yes, two of my favorite current bands in one, plus a whole other thing of jagged, jitter-drunk percussion and wind tunnel howl. There is a song called “Never Fight a Man with a Perm.” So glad I got to hear this. Score one for voter registration.

The Sueves—R.I.P. Clearance Event (Hozac)

R.I.P. Clearance Event by The Sueves

Butt-simple garage rock from Chicago, punctuated by weird little intervals of found sounds. Beautifully unhinged and uncomplicated, it reminds me the most of Demon’s Claw and after that maybe the Hunches and then the Monks. I bought it partly because I wanted to get those “we have a new record” notices from Hozac, but they know what I like.

The Scientists—Blood Red River 1982-1984 (Numero)

Blood Red River 1982 - 1984 by Scientists

Guess who got to see the Scientists last week? They were awesome. They played “Frantic Romantic” in the encore (which is not on this disc, by the way). I knew some of the early stuff from the Do the Pop compilation of Australian punk, but immersing myself in these clanking, droning, post-punk juggernauts was the best and most enjoyable concert prep ever. “Solid Gold Hell” and “Swampland” were my two faves, and they played them both.

Mike Pace and the Child Actors—Smooth Sailing (Self Starter Foundation)

Smooth Sailing by Mike Pace and the Child Actors

This one, from the former Oxford Collapse frontman, was a little more Raspberry-ish power pop than I was expecting, but it’s growing on me. “Escape the Noize” is my go-to track, a lush jangle of melancholy, a tetchy bristle of palm-muting, then a sweeping swooning chorus. It’s about leaving the music behind, which Pace clearly hasn’t, and good thing.

Onoto—Dead Ghost (Taiyo)

DEAD GHOST by ONOTO

Let me the first to admit that I haven’t gotten to the bottom of this one, a swirling, enveloping miasma of guitar tone, wrapped around confoundingly weird vocal samples. “Shake Well for the Eye,” is droned-out chaos that parts like fog for bits of mid-20th century menstrual advice (avoid vigorous exercise, horse-riding, skating, cold showers, hah!). Other cuts eschew narrative for slow moving landscapes of instrumental tone. The title track lets guitar notes hang for unmovable eons, with only sharp shards of harmonics to break up the endless vistas. As a straight through listen, the disc makes more sense as you go along, meaning, you have to adapt to its oddity and it changes you.

Bill Meyer

Canary records

Kemany Minas and Garabet Merjanian — When I See You: From the November 1917 Recordings, NYC (Canary)

When I See You: From the November 1917 Recordings, NYC by Kemany Minas & Garabet Merjanian

Various Artists — And Two Partridges II: From the Earliest Turkish-, Arabic- Armenian-& Kurdish-Language Recordings in America, Feb-Aug, 1916 (Canary)

And Two Partridges II: From the Earliest Turkish-, Arabic- Armenian-& Kurdish-Language Recordings in America, Feb-Aug, 1916 by Canary Records

Various Artists — Oh My Soul: Armenian-American Independent Releases, vol. 1: ca. 1920-25 (Canary)

Oh My Soul: Armenian-American Independent Releases, vol. 1: ca. 1920-25 by Canary Records

Various Artists — Why I Came to America: More Folk Music of the Ottoman-American Diaspora, ca. 1917-47 (Canary)

Why I Came to America: More Folk Music of the Ottoman-American Diaspora, ca. 1917-47 by Canary Records

I buy stuff via Bandcamp fairly often, and my purchases are nearly always hard copies. Downloads may be convenient, but a record you can’t hold in your hands seems to me to be one of those bad 21st century ideas like a Trump presidency or an unrepentant frat-creep on the supreme court. But when Bandcamp puts its income behind a cause, I relent, and when I do, I buy downloads from Canary Records. These albums are all compiled from recordings made by Anatolian exiles who fled genocide, war and poverty to take their chances in the USA. Many of these recordings predate the first blues records, and collectively they make a case that our notions of what constitutes American music are needlessly exclusive. After all, why should the music of people who came here from the Ottoman Empire be any less American than people who came here from the British Empire?

Billy Gomberg — Live Sets 2016-18

live sets 2016-18 by Billy Gomberg

Well, there go the rules. This DL-only compilation of concert performances by one of my favorite ambient recording artists of recent years shows that the carefully wrought, ultra-deep atmosphere of his recent cassettes is no fluke.

Various Artists — Two Niles To Sing A Melody: The Violins & Synths Of Sudan (Ostinato)

Two Niles to Sing a Melody: The Violins & Synths of Sudan by Various Artists

Back on solid ground at last! This hardcover book + 2 CDs (there are also vinyl and DL versions) shows how sounds blur from one culture to the next when people live along the same rivers and coasts. These recordings from the Sudan blend the nimble rhythms and ardent longing of Arabic pop with just a hint of the sinuous melodic quality of Ethiopian popular music.

Tashi Wada with Yoshi Wada and Friends — FRKWYS Vol. 14—Nue (RVNG)

FRKWYS Vol. 14 - Nue by Tashi Wada with Yoshi Wada and Friends

If you’ve caught Tashi and Yoshi Wada in concert, you know that there’s no louder or more mind-melting drone that a drone that incorporates multiple bagpipes and alarm bells. This record puts Wada fils in the composer / arranger’s seat, and while it uses the same materials as those live performances, the music is much gentler. Sometimes you want to boil your blood, sometimes you just want to kick back and zone out. A portion of the proceeds from this record will go to the National Immigration Law Center.

Isaac Olson

Ustad Abdul Karim Khan

Toshiya Tsunoda/Taku Unami — Wovenland (Erstwhile)

Wovenland by Toshiya Tsunoda/Taku Unami

I bought this collection of chopped and screwed field recordings on the strength of Marc Medwin’s review and the fact that Erstwhile dedicated their profits for the day to the Voting Rights Project. Pieces like “Park cleaning / Crickets chirping,” “In The Park”, “From the rooftop, railway terminal station” are both ear-tickling and intellectually stimulating. The rest are more stimulating intellectually than auditorially.

The Weather Station—S/T (Paradise of Bachelors)

The Weather Station by The Weather Station

I slept on The Weather Station in 2017 because the music didn’t grab me enough I wasn’t interested enough in the music to tune into the lyrics. I’m not sure what compelled me to give it another try, but I’m glad I did. Songwriter Tamara Lindeman has crafted a compelling take on early adulthood in an anxious age, one that, once I started paying attention, resonated with me in a highly personal manner I haven’t felt or sought in years. The b-side is almost too subtle, but Lindeman is a sharp enough writer to bring it off.

Red River Dialect—Broken Stay Open Sky (Paradise of Bachelors)

Broken Stay Open Sky by Red River Dialect

This is another record where the words carry the music, which means, like The Weather Station, I initially passed it over only to connect with it in unexpectedly personal ways after honing in on the lyrics. While I loved the fiddling from the jump, it took time for the rest of Broken Stay Open Sky to grow on me, but grow it did. (Check out Eric McDowell’s review here).

Ustad Abdul Karim Khan—Ustad Abdul Karim Khan (Canary Records)

Ustad Abdul Karim Khan: 1934-1935 by Abdul Karim Khan

Classical Indian vocal music is a complex, highly systematized artform that I can’t pretend to understand, so rather than take my recommendation that you should listen to these recordings, take LaMonte Young’s: “When I first heard the recordings of Abdul Karim Khan I thought that perhaps it would be best if I gave up singing, got a cabin up in the mountains, stocked it with a record player and recordings of Abdul Karim Khan, and just listened for the rest of my life”.

VA—100 Moons: Hindustani Vocal Art, 1930-55 (Canary Records)

100 Moons: Hindustani Vocal Art, 1930-55 by Canary Records

A traditional performance of a raga can last hours. A 78 can hold about three minutes of music.

As such, the performances on this collection lack the the breadth and depth of a traditional raga performance, but they more than make up for it in intensity.

Ross Hammond and Jon Balfus— Masonic Lawn (Self Released)

Masonic Lawn by Ross Hammond and Jon Bafus

Sacramento guitarist and improviser Ross Hammond (whose record with Hindustani vocalist Jay Nair is also worth your time) teams up with percussionist Jon Balfus for a set of blues and folk inspired improvisations that manage to feel spacious despite the dense polyrhythmic approach. Masonic Lawn’s improvisations are optimistic, wide-eyed meditations on Americana.

Melvin Wine—Cold Frosty Morning (Roane Records)

Cold Frosty Morning by Melvin Wine

Old-time music, like most folk traditions that arose in relative isolation and pre-date the record industry, isn’t particularly well suited for album-length listening. That said, if you’re in the mood for scratchy, crooked, dance and trance tunes, West Virginia fiddler Melvin Wine is a great introduction to the distinctly non-bluegrassy mysteries of this music.

Note: This recording features a minstrel tune titled “Jump Jim Crow”. How we’re to deal with this in the modern, right-wing nightmare age we inhabit is a complicated question, so if you’re digging this music but that title bothers you (and it should), check out these articles by Rhiannon Giddens and Michael Mechanic.

V/A—Usiende Ukalale: Omutibo From Rural Kenya (Olvido Records)

Usiende Ukalale: Omutibo From Rural Kenya by Various Artists

Like the Melvin Wine recording above, Usiende Ukalale exhibits a local folk style that evolved in relative isolation and is, for the non-local and non-expert, enchanting in small doses and merely pleasant over the course of a full album.

VA—I’m Not Here to Hunt Rabbits: Guitar and Folk Styles from Botswana (Piranha Records)

I'm Not Here To Hunt Rabbits by Various Artists

I reviewed this one back in May and I’ve listened to it so many times since that it was high time to buy it. Highest recommendation.

Jess Sah Bi & Peter One—Our Garden Needs Its Flowers (Awesome Tapes from Africa)

Our Garden Needs Its Flowers by Jess Sah Bi & Peter One

This unusual gem combines the loping rhythms, slide guitar and harmonica of American country music with traditional Ivory Coast village songs. Its breezy Bakersfield meets Yamoussoukro vibe belies its anti-apartheid lyrics. Mp3s of this one have been floating around the internet for a few years, so it’s great to see it get an official re-release.

Ola Belle Reed—FRC 203 - Ola Belle Reed: Recordings from the collection of Ray Alden and the Brandywine Friends of Old Time Music

FRC 203 - Ola Belle Reed: Recordings from the collection of Ray Alden and the Brandywine Friends of Old Time Music by Ola Belle Reed

From the indispensable Field Recorders Collective, this release documents a 1973 performance by Ola Belle Reed. Reed’s music exists at the nexus of old-time, bluegrass, early country, and gospel, but it feels wrong to box in the wisdom, humor, and generosity of spirit that shines through this release with anachronistic genre tags. Best of all is the Reed original, “Tear Down the Fences”: “Then we could tear down the fences that fence us all in/Fences created by such evil men/Oh we could tear down the fences that fence us all in /Then we could walk together again.” Amen.

Ragana— You Take Nothing

YOU TAKE NOTHING by RAGANA

I don’t listen to as much metal as I used to, but while this fundraiser was happening, Brett Kavanaugh — case study in patriarchal resentment and mediocrity — got one step closer to a lifetime appointment on the Supreme Court. Ragana’s raw, sludgy, anarcha-feminist take on black metal really hit the spot that day.

Ethan Covey

Weak Signal

Omit — Enclosures 2011-2016 (Pica Disk/End of the Alphabet)

Enclosures 2011-2016 by Omit

Clinton Williams, the New Zealander known as Omit, has been quietly releasing nocturnal electronic compositions of uncompromising quality for the past couple of decades. Enclosures 2011-2016, released jointly by Lasse Marhaug’s Pica Disk and Noel Meek’s End of the Alphabet labels, provides an overview of five years of Williams’ output in a 30-track, six-hour package, available digitally and as a limited 5-CD set. Omit has previously been anthologized on two compilations courtesy of the Helen Scarsdale label, Tracer and Interceptor. And past releases have popped up via Corpus Hermeticum and PseudoArcana, as well as — most prominently — Williams’ own Deepskin Conceptual Mindmusic imprint. Great listening, all, if you can find ‘em. For those curious to dive in without too much digging, Enclosures is ideal. Much of Williams’ genius lies in composing tracks that are edgy, yet beautiful, creepy and experimental, yet profoundly listenable. It’s forward-thinking electronic composition that checks a lot of avant-garde boxes without feeling like a task. There’s a subtle, krautrock propulsion to the best tracks — the opening “Turner,” the “Echo Dot” pieces — where the listener gets locked into the rhythm and time slows to an elegant crawl — like a soundtrack for night driving on an Autobahn upended.

Weak Signal — LP1 (self-released)

LP1 by WEAK SIGNAL

Weak Signal are NYC’s Sasha Vine, Tran Huynh and Mike Bones. Bones has previously released a pair of strong albums of indie songwriting courtesy of The Social Registry. As a guitarist, he’s done time with Endless Boogie, Matt Sweeney’s Soldiers of Fortune and Prison. This album was a tip from Danny Arakaki of Garcia Peoples, and it’s a swell one, 30-minutes of slack fuzz pop bashed out with energy and swagger. The majority of the tracks strut by on solid riffs, backed by boy/girl vox that slide into chant-along choruses. Like new wave bled dry, leaving a beautiful bummer. The eight-minute “Miami/Miami Part 2” stretches out into a haze of increasingly rapturous guitar soloing, string screeches and a spoken word coda. Lotta promise here, for sure. Here’s hoping they stick around for an LP2.

Raising Holy Sparks — Search For The Vanished Heaven (Eiderdown Records)

Search For The Vanished Heaven by Raising Holy Sparks

Seattle’s Eiderdown Records has been releasing some of the best contemporary psychedelia around, and the latest by Raising Holy Sparks is no exception. The project is the work of uber-prolific Irishman David Colohan, and is offered in double and triple cassette, as well as digital, versions. The “short” cut of the album is an hour and a half long, and the triple cassette and download versions stretch that to well over two hours. Per the credits, the album was recorded in somewhere around 40 different locations over four years. Colohan is credited with over 30 instruments and is joined by baker’s dozen of likeminded collaborators. What they deliver is, like most of Colohan’s music, long, slow and often eerily beautiful. “I Am In The Mountains While You Are In My Dreams” passes in its 23-minutes through Popol Vuh-style ambience, spoken word incantations that sound like Coil if they’d truly embraced the countryside and a whole lot of birdsong. It’s a good overview of the general proceedings — accented occasionally by louder blasts of synths, random percussion that sounds like drum machine presets and banjo-plucking krautrock. On paper, that sounds like a head-scratching combo, but it works. One gets the impression Colohan’s dedication and attention to detail is such that the grab bag of sounds weaves together into a surprisingly fascinating whole. Listen with attention and you’ll want to follow along as each stretch and segue unfolds. Oh, and as is typical with Eiderdown, bonus points for exceptional artwork, this time courtesy of Aubrey Nehring.

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x--daughters-of-darkness--x · 3 years

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KAT VON D SHARES THE UNEXPECTED INFLUENCES BEHIND HER LONG-AWAITED DEBUT ALBUM ‘LOVE MADE ME DO IT’

The glamorous gothic queen of art, tattoos, business and beauty now redirects her attention to her original passion – music.

Kat Von D has been a staple in alternative culture and pop culture as a whole ever since first exploding onto the scene in the reality television show ‘Miami Ink’ and then promptly securing her own series, ‘LA Ink’, at her home in Hollywood. Quick to prove herself as far more than just another bland reality TV star, Von D built an empire around her interests and established a unique brand of tattoo artistry, best-selling books, art galleries, clothing lines, and most notably, a massively successful and world-renowned beauty line.

But what most people don’t realize about Von D is that out of everything she’s sunken her teeth into and made business ventures out of, her first and most consistent passion has been music. She’s been a constant presence in the world of rock and metal for quite some time – and not just because she’s dated musicians like Nikki Sixx and Deadmau5 and is married to Rafael Reyes of Prayers. She’s been classically trained on the piano since she was a child, practicing every day and growing an appreciation for all different genres as she’s grown older.

Much like her dedication to veganism and animal rights, Von D has a significant place in her heart for music, adorning her body with tattoos of multiple acts like the Misfits, AC/DC, Slayer, Guns N’ Roses, ZZ Top, and appearing in numerous music videos for bands such as HIM, Alkaline Trio, and Gunship. In 2008, she founded the MusInk Tattoo Convention and Music Festival, which has featured artists like Suicidal Tendencies, Limp Bizkit, The Used, Hatebreed, NOFX, Bad Religion, Deftones and more. She’s even had an entire song written for her by Eagles of Death Metal. Needless to say, her street cred in the scene is well established.

She’s now set to release her debut album, entitled ‘Love Made Me Do It’, a project that has been nearly a decade in the making. Described as “a pastiche of shapeshifting analog synths, post-punk dreamscapes, gothic hues, and shy pop magnetism”, the record deals with heartbreak, disillusionment, and ultimately enlightenment. While some might be expecting a hard-hitting, in-your-face type of attitude, Von D opts for a moodier and more atmospheric feel to her music that rides on soaring synth waves and danceable beats. Joining her are bandmates Gregg Foreman, Sammi Doll, Dave Parley, and Brynn Route, as well as notable collaborators Dave Grohl, Linda Perry, Dave Sitek, Peter Murphy, Danny Lohner, Ladyhawke and Charo.

In a conversation with Knotfest, Kat Von D discusses the many inspirations behind her music and unique sound, the artistry that goes into crafting not only her songs but her music videos and live performances as well, and shares some personal stories like the time she and her husband hit up a Rage Room and a week-long horror movie marathon she undertook with a friend.

What made this the right time to finally release your debut album?

Kat Von D – Music has always been a big part of my life and although most people know me from tattooing, they actually don’t know that music has been kind of the most consistent thing in my life. I’ve been not only classically trained since the age of five, but I’ve been playing with my friends’ bands and singing on all my talented friends’ albums and stuff like that. So I’m not a stranger to it but I think that a lot of people are not familiar with me having some form of musicianship. They’re like, “What? She’s coming out with music?” So it could be a little confusing to some people but like everything else I’ve ever done, I’ve always said the proof is in the final product. I’m not here trying to be like a celebrity just slapping my name on something and you know, collecting a check and not really caring about it. I want music to be my main focus in life. I’m not sure if this is the right time, to be honest. I feel like I probably should have released this album ten years ago when I wrote it, but I think life just got in the way. I was filming the TV show and going on book tours and just allowing all these other other forms of expression to kind of get in the way of focusing on music. Basically like a year and a half ago I decided to sell my makeup line so that I could have the time to go on tour and really give the music the attention it needs. And then obviously last year everything kind of got turned upside down and everybody was put to a halt. So I’ve just been waiting within this last year for everything to open up again so that we can go on tour and finally release the album.

How do you go about mixing your unique brand of alternative style with the kind of synth pop sound you’ve got going on?

Kat Von D – I think a lot of my fans and followers were expecting me to come out with like, metal just because I’m a huge fan of metal and I think people kind of know me for liking that music. But I also love a lot of darkwave and I love analog synthesizers and I’m a huge fan of post-punk era music. I love Depeche Mode, Siouxsie and the Banshees, The Cure, that kind of stuff. I feel like when it comes to the music that I want to create it’s more along the lines of that. I love poetry, I love strong lyrics and soulful singing. I love Arch Enemy, but my voice does not lend itself to sing like Alissa [laughs] so I know where I belong.

It’s interesting also because like you were saying, you have your scene with metal and rock and all that stuff, but at the same time, you’ve also always been this kind of like, pop culture icon with LA Ink and everything.

Kat Von D – Yeah, I love pop structure. I’m not a big fan of pop music per se, but I do love the structure of songwriting and I don’t think there’s anything wrong with that. For us, I feel like we do have pop elements in our music but there’s definitely a darkness to it. Even in a lot of synthwave bands that I love, they tend to sound a lot happier than what we’re producing. I like to live in the more melancholy world. I don’t know how to write a happy love song.

There’s a consistent sound throughout the songs but each one still distinctly feels like it takes inspiration from different genres and eras. There’s definitely that predominantly 80s kind of sound.

Kat Von D – Yeah, especially the drum sounds and not just the synthesizers. I think we only have one song that actually has guitar in it. I really love that era but I also think that when my bandmates and I write songs, we don’t sit there with like, a reference. Like, “Oh, I really like this song, let me try to do a version of it.” We actually just start from scratch and we do a lot of sound design, finding specific synth sounds that are not presets in any way. It doesn’t feel dated to me. I feel like there’s a bit of a modern take on the 1980s I guess, and I think that’s important. We’re not trying to be Depeche Mode or any of those other bands that I mentioned, although you might feel the sentiment of that era.

That instrumental breakdown in ‘Fear You’ is so good, that’s very much in my lane. And that part of the music video looks dangerous as hell!

Kat Von D – Thank you, I love that too. I wanted to do a violent video because I feel like all of our other videos were beautiful. I was thinking, how do we create violence without hurting a person, or violence towards somebody versus like, inanimate objects, you know? So I had taken my husband to this thing called a Rage Room. You can rent these rooms and you buy different packages and you can just break break shit. We obviously got bored after like the first 15 minutes [laughs] but I can see how that could be therapeutic. That was a really cool experience so why not take that experience and make that into a music video?

Did you guys have any protection while you were smashing stuff?

Kat Von D – What’s funny is everybody didn’t want to wear protection, they were like, “we’ll wear some sunglasses”. Dave Parley, our drummer, was the only one that didn’t wear sunglasses and for a minute we thought he got a piece of glass in his eye. Thankfully it was just like, a dust particle but I was like “Oh my god don’t do this, Dave!” [laughs] I think aside from that we might have gotten a few little nicks and cuts but nothing crazy. We did use real glass, there was only a few prop glasses, like the sugar glass. I actually posted a video of Sammi, one of my synth players, breaking a bottle over my head and people were like, “Oh my god, that’s so crazy.” It literally felt like a kitty cat just whispered into my ear. [laughs] Those things break if you just like, squeeze them. I got those red glass skulls made and those were made out of the sugar glass, but other than that we do all our own stunts.

In the music video for Exorcism, you wrote that the song was partially inspired by a week long exorcism-themed movie binge.

Kat Von D – With my friend, Kevvy. We actually ended up writing another song together called Lost At Sea that’s on the album. He’s a huge horror fan and I am too, we’ve seen like, every single one. There’s so many terrible ones. It’s crazy. But there’s a lot of really great ones too and I was fascinated by the concept of demonic possession because it seems like there’s a pattern within every culture and every era in history that calls to some form of possession and exorcism. I just find it so weird that in an era like today, where we have cell phone cameras and all this stuff, you never actually see any footage on YouTube. It’s never like in the movies, you know? I think it’s like this romanticized idea of surrendering control to an outside force. I feel like people write a lot of love songs about the correlation between love and death or love and drugs or addiction. I just wanted to take it one step further and do a song about love that was in correlation with a demonic possession because I think that’s how I felt in the past a lot. It’s like you’re no longer in control or you don’t feel in control and you’ve given this power to somebody that may not be the greatest thing for you.

From that movie binge, which ones were your favorite and which ones were the absolute worst?

Kat Von D – I feel like I’ve subconsciously blocked out the worst ones. I think the worst ones were always like a Blair Witch-style filming, you know? One of my favorites through that marathon was one with Anthony Hopkins called The Rite. I love Anthony Hopkins obviously, who doesn’t? It was shot beautifully and it was the most realistic possession scenes. I don’t want to spoil it but there’s a giant twist at the end which I think was really different than every other exorcism movie out there. I think all of it was shot in Italy, so it’s a very beautiful background. Anthony Hopkins plays an exorcist. I loved The Exorcism of Emily Rose, but I would consider that more like a court case movie. It was so compelling, I think I cried at one point. I didn’t know that there was a part two and three to the original The Exorcist, and I had read the reviews prior to watching and everybody was talking shit about these movies. I thought they were so great. I love part two especially, I love the kind of origin story of Egypt and when you think about that era, they had pretty good CGI effects in that movie. So I gave those a thumbs up.

Were there any other kind of movie inspirations that helped guide the direction of the album?

Kat Von D – So Gregg Foreman AKA Mr. Pharmacist, he’s my other synth player and we’re both huge fans of John Carpenter, especially all the scores for most of his movies. I feel like there is inspiration behind some of those sounds that you find on the album, but as far as inspiration from movies, it was more for the music videos. For the Exorcism video, that one was really inspired by one of my favorite directors, Alejandro Jodorowsky. He did The Holy Mountain and El Topo and Santa Sangre. El Topo was my favorite just because the aesthetic way you would see these like, black silhouettes. The opening scene, for example, is this man in black on a black horse with a black umbrella just cruising through the desert. It was like putting together two things that didn’t belong together and I love that. For the music video for Enough there were definitely some Fellini inspirations with the props of the ocean where we’re kind of like, rowing through the storm and it’s a little bit campy, but in a good way. I don’t feel like the Fear You music video was inspired by any movie in particular, I just had a really clear idea of what I wanted the storyline to be. I love movies, or good movies at least. [laughs]

Do you feel like music videos kind of went away and then steadily came back with stuff like YouTube?

Kat Von D – I don’t know, I think that there are a lot of videos but the filming process for us has been pretty brutal because I don’t tend to do like, the lip syncing videos. I think that’s what the majority of people do, whether it’s hip hop or even metal. It’s like, okay, cool, you’re gonna do a fake performance and then we’re gonna lip sync and we’re gonna have some smoke and stroke. I don’t have any interest in doing that. For me, I’ve always loved music videos that have a narrative. Those just take a lot of time and energy and I can understand why bands don’t do them, but I like these little mini films. It kind of helps storytell the music more than just doing a performance piece. I think there’s creative ways of doing the performance pieces as well, I’m not gonna knock that, but to me, I’m not interested in just shooting a bunch of lip syncing all the time.

It helps show the artistry behind it. I like when artists go the extra mile.

Kat Von D – Me too. It’s funny because I really like our band, we get along so great and we love each other. We always laugh because we’re like The Munsters because we have a contortionist in our band and she looks like Marilyn Munster and then Gregg’s like Herman and so we’re this really weird little kooky family and stuff. I feel like everybody’s so extremely attractive in their own way. When I think of music videos, I always think about different parts that I want to create for each band member. Like, “Oh, this would be a really good scene for Sammi or for Dave.” In the music video for Exorcism, we actually got a stunt crew to come out and put us into those harnesses to make the bandmates fly into the air for those jumping scenes. Then we had to remove the little wires and stuff in post. My drummer always wears this leather fringe fanny pack and then he’s got this long beard and hair and I just want to see that flowing in the wind. It was my favorite jump scene out of all of them.

I just wanted to add that your work concerning animal rights is commendable. Dominion, in particular, that’s an incredibly affecting movie. If everyone was able to view that, you know, maybe things could change faster. I don’t know how you learn and see these things and not be changed by it.

Kat Von D – For sure, there’s definitely some trauma behind all that, I mean you could only imagine. But I always just commend Shaun Monson, because he’s dedicated his life to making those movies. He worked on Earthlings as well and those are just so, so brutal. But thank you, that’s very sweet.

And just so we don’t end on a bummer note, what kind of show can audiences expect to see on your upcoming concert dates?

Kat Von D – I’m a huge fan of going to see bands play and my biggest pet peeve is when you really love a band and you go and see them and it’s just like, a guy standing at a mic. So I definitely want to create an experience, especially with visuals. Like I said, I have a contortionist in my band who’s amazing and she’s part of our group. She is actually going to be playing some sounds but she’ll be moving her body in a crazy way that you won’t even be able to understand. We’ve been shooting all of our live visuals with Linda Strawberry, who does all the art directing for Smashing Pumpkins and a bunch of other bands. Her and I really see eye to eye on finding the beauty in the dark stuff. So we’ve actually been filming and prepping all of the light works and for the LED panels and everything else that we’re doing.I think people are gonna be in for a visual treat. I like that that’s just one other way of storytelling for music and I think that’s how you should be able to present your music to the world. To go back to my bandmates, it’s like they’re all superstars in their own way. I feel like they already have their own fans as well. I’m not interested in just shining a spotlight on myself, we’re all going to be doing some crazy things onstage. We’re like the goth Power Rangers.

#Kat Von D #2021 interviews

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hotelload494 · 3 years

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Our Revels Now Are Ended

Our Revels Now Are Ended Akira The Don

Our Revels Now Are Ended

Our Revels Now Are Ended The Tempest Act Iv Scene I

Our Revels Now Are Ended Youtube

Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision. 13 thoughts on “ Our Revels Now Are Ended. ” ST says: March 1, 2020 at 6:47 pm “Farewell the tranquil mind.” Indeed!

“Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp’d towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve And, like this insubstantial pageant faded.

Title: Our revels now are ended Author: bsimon Last modified by: bsimon Created Date: 5/18/2006 3:17:00 PM Other titles: Our revels now are ended.

Prospero and Miranda from the Paralympic opening ceremony

2012 has been the year of The Tempest. During this year of the World Shakespeare Festival at least three productions have been seen in the UK, and the play featured in the opening ceremonies for both the Olympics and Paralympics. Danny Boyle took much of his inspiration from the play’s themes of magic, humanity and reconciliation, entitling the ceremony “Isles of Wonder”. Kenneth Branagh, dressed as Isambard Kingdom Brunel, delivered Caliban’s “The isle is full of noises” speech, and for the Paralympics Jenny Sealey and Bradley Hemmings gave us Ian McKellen as Prospero delivering speeches inspired by the play while Nicola Miles-Wildin as Miranda delivered her lines on the beauty of mankind, “O brave new world that has such people in it”.

At the British Museum’s current Shakespeare: Staging the World exhibition the final room is devoted to the play. The room is bathed in light after the darkness of the rest of the exhibition. Here we find terrestrial and celestial Globes symbolising exploration and discovery, the Robben Island Shakespeare reminding us of Shakespeare’s universal importance, and a recording of Ian McKellen delivering one of Prospero’s final speeches about reconciliation.

The productions have been as varied as the rest of the year’s Shakespeare offerings. The Globe to Globe production was performed in Bangla by the Dhaka Theatre of Bangladesh, with English subtitles. This vibrant production is available to view on The Space.

The RSC’s production is one of the trilogy of Shipwreck plays with Jonathan Slinger as a young, angry Prospero in David Farr’s modern dress production.

Tim Pigott-Smith as Prospero

Last Saturday another production of the play, directed by Adrian Noble, closed at the Theatre Royal in Bath. Noble’s production has been adapted from the San Diego Festival where it was the hit of 2011.

I was at the final performance, on the night before the closing ceremony of the Paralympics. Like the Olympics and Paralympics the production celebrated life, joy and emotion. In the build-up to the closing ceremony comedian Jimmy Carr was interviewed. “I’ve had a summer off from cynicism” he said.

This production connects with the audience from the start: Tim Pigott-Smith strides downstage, surveys the house sternly and strikes the boards with his magic staff. Pigott-Smith has played his fair share of unpleasant characters but here he doesn’t remain harsh for long. Miranda, played by Iris Roberts and Ferdinand (Mark Quartley) are a couple many fathom deep in love, and the atmosphere of delight is shared with the cast of curious islanders. Comedy is in the reliable hands of Geoffrey Freshwater and Mark Hadfield.

The programme editorial by Stuart Leeks focuses on the history of theatrical magic, but points out that although it’s now possible to create illusions by the use of projected images, “the greatest magic in The Tempest surely lies in the words used to summon up the fabric of this vision: the extraordinarily rich, supple, compacted verse”. In this well-spoken production magic is summoned, not by technology, but by a huge blue silk cloth. The islanders use it to make waves, to conceal entrances and exits, cover objects, as a dance partner. Ariel’s shadow as the Harpy is projected onto it, and the red eyes of the dogs that pursue Stephano and Trinculo glow behind it.

Our Revels Now Are Ended Akira The Don

At the end of the play Prospero speaks his final speech on a bare stage. He asks for help “or else my project fails/Which was to please”. He finds his redemption in connecting with the rest of humanity, and the cast joyfully leave the stage to clasp the hands of the audience.

Our revels now are ended: this summer both sport and culture have celebrated the human spirit with optimism and warmth. Long may it continue.

Condolences have come in from all over the country on the passing away of theatre doyen and art connoisseur Ebrahim Alkazi (18 October 1925 – 4 August 2020). However, what touched the heart was a Facebook post by Kumara Varma, who was schooled in theatre direction at the National School of Drama (NSD) and spent a lifetime in Chandigarh doing memorable plays and later heading the department of Indian theatre at Panjab University. Posting a black and white portrait of Alkazi, Varma quotes Shakespeare from The Tempest: “Our revels have now ended. These our actors, As I foretold you, were all spirits and, Are melted into air, into thin air.”

Our Revels Now Are Ended

Now settled in his home state of Kerala at Trichur, Varma says: “These are the lines that came to my mind when the news of Alkazi’s passing away came and one says with humble pride that whatever one learned was from him. He shaped modern Indian theatre and it was he who set the tradition of translating plays written in different regional languages all over the country and staging them in Hindustani. His repertoire was thus truly pan-Indian”.

Legend of Tughlaq

With this we come to the spectacular production of Girish Karnad’s Tughlaq, which was originally written in Kannada and translated for Alkazi by yet another brilliant director-musician of modern Indian theatre, late BV Karanth. Karnad was to say thus of Alkazi: “His fundamental contribution was to devise a methodology of theatre training which has continued after him, and to create a body of actors and directors which transformed the notion of theatre at the grassroots.” Interestingly, Alkazi first assigned Om Shivpuri to take up Tughlaq as a student production. Karnad was acknowledge that it was immaterial that these were only student productions: “Doors that we, in our vernaculars did not even know existed, had begun to open.”

Karnad, who sourced his plays from myth and history, wrote Tughlaq in 1964, based on the maverick life of the 14th century Sultan of Delhi, Mohammad Bin Tughlaq.

Alkazi as the founding director of NSD from 1962 to 1977, in those 15 years, directed to perfection many plays, yet his three definitive works to be staged in the backdrop of Delhi’s Purana Qila were Andha Yug, Razia Sultan and Tughlaq. The last which he first staged in 1962 is counted as one of the best productions the country saw in modern times is because it brought together some of the best talents of the country: Alkazi, Karanth, Karnad and of course the famous actor Manohar Singh, the Himachal boy who was groomed by his teacher to be one of the best actors on stage. Manohar was the first and only choice of Alkazi, who said: “Manohar had the aristocracy of spirit, nobility of soul and complete humility in understanding and enacting a role.”

Varma, who played the junior guard recalls, “The play had passed from history into legend while it was still being enacted. Artiste Kamal Tewari recalling the magnificent and unparalleled performance of Manohar Singh, says: “I was included in the production playing one of the conspiring Ameers and I remember the slap Manohar Singh gave me sent me hurling some six feet away”. Veteran actor Rani Balbir Kaur adds, “I travelled a number of times till the play was active to see it and each time it was a great experience. What dialogue delivery by Manohar Singh! I first met Kumara Varma there playing the young guard to whom Manohar renders the famous speech ‘Umangon bhari umar hai, Khwab dekhne ki umar, Saare aalam ko jeetne ki umar’ (It is your age of exaltation, The time to indulge in dreams, The time to conquer the whole world)’.”

Our Revels Now Are Ended The Tempest Act Iv Scene I

Flash forward to 1980s

It was in the mid-1980s during a meeting with actor Meeta Vashisht, who one knows from her Chandigarh theatre days, at the NSD hostel. One got talking about Tughlaq. Meeta recounted that the boy students would down beer, strip off most of their clothing and recite the dialogues of Tughlaq till late at night. Not surprising for that’s how it was and is in boys’ hostels. The young ones were giving an irreverent tribute but a tribute nevertheless. At the same time they were practising dialogue delivery at its best. Yes, and as a friendly neighbourhood journalist one had the privilege of spending a few evenings with Manohar Singh who would pick up the play and recite some of the dialogues. I earned his wrath when I once dosed off a little in the middle of the renderings and he told me to get up, fix myself a drink, and carried on reciting.

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Such was the magic of Tughlaq, a political play that was written on the faultline of Nehruvian socialism, yet in such a manner that it reached out to all in its multilayered delineation to one and all.

Our Revels Now Are Ended Youtube

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