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killjoyhistoryarchive · 3 years

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“Conventional Weapons” and the Rocky Road to “Danger Days”

In 2009, My Chemical Romance was buzzing with activity. The band performed several shows and festivals (including Summer Sonic in Japan), Gerard and Mikey Way attended San Diego Comic Con, and The Umbrella Academy was named one of Amazon’s top comics of 2009. Ray Toro held a Whopper eating contest on the official MCR website (no joke), while a certain comic series written by Gerard Way and Shaun Simon was announced in August. And at a show at the Roxy in Los Angeles, MCR performed three new songs from their upcoming album.

But while their next album seemed easily slated for an early 2010 release, MCR was about to hit a series of hurdles that would leave them with a scrapped album, a lost drummer, and a totally new outlook on where their music was headed.

On July 31st, 2009, MCR performed a set at the Roxy that included three new songs–“Kiss The Ring,” “The Drugs,” and “Death Before Disco.” Gerard was enthusiastic about the new tracks, even telling Rolling Stone that “Death Before Disco” was “the greatest song we’ve ever written.” Videos of the tracks soon appeared online, where fans eagerly devoured what they thought would be the follow-up to 2006’s The Black Parade.

As the days and weeks went on, the media blitz kicked into high-gear. While Ray Toro posted short studio clips on MCR’s website, the band gave several interviews where they gushed about producer Brendan O'Brien, discussed their new stripped-down style, and claimed that this would be their best record yet. In an interview with MTV, Gerard described the still-untitled album as a “true love letter to rock and roll,” adding:

“There’s something about being an American rock-and-roll band that we’ve kind of grown into and we’re very proud of. And I think that’s what we’re celebrating with this record. There’s no agenda, there’s no mission; it’s just about rock and roll.”

Meanwhile, Gerard Way and close friend Shaun Simon had another surprise in store: a comic series called "Killjoys.” Dark Horse Comics announced the release at San Diego Comic Con. Jeremy Atkins, the Dark Horse Director of Public Relations, described “Killjoys” as “a psychedelic rock-and-roll road trip adventure geared toward both fans of The Umbrella Academy and My Chemical Romance.” But not much else was said about the comic, as MCR’s upcoming album had become Gerard’s top priority.

As the album drew closer to completion, MCR gave fans more glimpses of what lay in store. They shared the titles of various tracks, including “Still Alive,” “Trans Am,” “Hail To The King,” “Save Yourself, I’ll Hold Them Back," “L.A. Heavy,” "The Only Hope For Me Is You,” and “Black Dragon Fighting Society.” They cited a variety of influences, including Queen, Judas Priest, Bruce Springsteen, The Killers, and Blade Runner. By all accounts, this was going to be MCR’s defining album.

In December, MCR previewed seven tracks for SPIN magazine. A month later, in January of 2010, the album–which was still untitled–was rumored to be released on March 30th. As they continued to rework the songs, they realized that the stripped-down sound wasn’t working. As NME reported in January:

Things turned around with a song called “Trans Am,” now renamed "Bullet Proof Heart,” the likely first single. And perversely, they did it by returning to fiction. Broadly, it’s about a boy in New Jersey, dressed in a Judas Priest T-shirt, called Johnny. And a girl called Jenny who might be his girlfriend, but who also (honk the pop fact sirens!) might also be the missing girl from “Jenny Was A Friend Of Mine” by The Killers.

But in the same interview, Gerard restated that the album would give "the purest, best version of the band you could ever hope for.” And in early February, MCR finally started to wrap up production, telling Big Cheese that the album would probably be released in spring or summer.

“Killjoys” also looked promising–back in January, Scott Allie had reported in a blog post that Shaun Simon and Becky Cloonan were ready to get started. Once Gerard wrapped up the album and finished working on the Umbrella Academy movie screenplay, it seemed like he’d be ready to dive in.

But February was also when the band publicly stumbled for the first time.

Before the Big Cheese interview, MCR had abruptly cancelled their appearance at the Soundwave festival in Australia. In a blog post on MCR’s website, Frank claimed that Gerard was having voice problems (he jokingly implied that it was due to coffee and cigarettes) and required treatment to make a full recovery.

Fans were disappointed, but most understood that it couldn’t be helped. But a month later, the fandom received another shock: MCR’s drummer Bob Bryar had departed the band. In another blog post, Frank told fans:

As of 4 weeks ago, My Chemical Romance and Bob Bryar parted ways. This was a painful decision for all of us to make and was not taken lightly. We wish him the best of luck in his future endeavors and expect you all to do the same. We also wanted to give you all a quick heads up on how the record is progressing. We have been writing some very powerful new songs so this week the four of us entered the studio once again, and what has been ending up on tape each night is some of the most exciting and honest work we have ever created.

The fandom was stunned. Clearly, MCR had been experiencing some behind-the-scenes turmoil, suggesting that the process wasn’t going as smoothly as fans had thought. While it wasn’t known at the time, they also parted ways with producer Brendan O'Brien, who had been hired specifically to channel their raw, back-to-basics sound. Where would MCR go from here? And when would fans hear the latest album–which was apparently undergoing rewrites once again?

It wasn’t until late 2010 that fans would finally learn what had happened to this unreleased album.

This moment, says frontman Gerard Way, looking back on what went wrong, “was the hardest part”. Guitarist Ray Toro was “home dealing with some family things”, leaving Way, his bassist brother Mikey, and guitarist Frank Iero alone in the mixing studio. “The sinking feeling was really starting to become loud that it wasn’t right - that the record wasn’t finished, I couldn’t even put them in a track order … "Thinking about it now, it’s kind of upsetting, because I just felt so lost,” Gerard says.

This was discussed in an interview with Herald Sun, where they talked about the process of starting again after the departure of their drummer and producer. Speaking to Music Radar, Ray Toro talked about the struggles the band had with original producer Brendan O'Brien, admitting that it hadn’t gone as well as they once thought:

“He was really trying; he did the best he could with us. He knew things weren’t clicking, and he’d try to rally us. I remember he said, ‘Hey, on some songs, I’d love to hear you do what you did on The Black Parade.’ Because there wasn’t any of the harmonized guitar parts or the stacking that I usually do. He was trying to get us to make one record, and we wanted to make something totally different.

Musically, we wanted to go back to our basement. But just because we wanted to do something different didn’t make it easy. In many ways, we felt as though we were holding ourselves back creatively. We were going through the motions. Some of the songs were good, but we weren’t happy with all of them.”

Needing a break, Gerard took a vacation to the desert that surrounded Los Angeles. There, as he told Terminal 5, he realized “I had started the band after 9/11 when I hated art. Black Parade had been about hiding and punishment. I couldn’t tell the truth so I’d talk about cancer instead. I had to put on a mask to show people who I really was. But now it was time to own it. To be who I was before this band started. And I had something in my back pocket: this song, ‘Na Na Na.’”

Reunited with producer Rob Cavallo, who had worked on The Black Parade, the band kicked things off with “Na Na Na.” Gerard and Shaun Simon’s comic “Killjoys,” once a separate side project that had nothing to do with the band, suddenly became the concept that they formed the album around. Fueled by fresh creative energy, the band wrote and re-wrote tracks, came up with concepts and characters like Dr. Death Defying, and shredded the limitations that had confined them. At one point, Gerard turned to his brother Mikey and said “Danger Days, here we come again!”

Not everything from the previous record was scrapped. “Trans Am” became “Bulletproof Heart”; “Death Before Disco” became “Party Poison.” A few new versions of old tracks appeared on the record, as well as the Mad Gear and Missile Kid EP that came later. But MCR’s fourth album had gone from a rock and roll record that deliberately avoided ambitious storylines, to a vividly realized concept album that invited fans into the world of post-apocalyptic California. In many ways, it was the opposite of what they had originally planned. And it seemed to be exactly what they had been looking for.

During this time, Frank snapped in-studio photos that he sold on MCR’s official website, offering one-of-a-kind peeks into the recording process. In March, Mikey Way stated in a blog post that “One day you will wake up, and nothing will ever be the same again, but it’ll feel like an old friend.” He was talking about upcoming changes to the MCR website, but in a way that statement reflected the band’s process at the time–they had completely reinvented themselves, and yet there was still a certain familiarity in the old tracks they had revamped.

The band completed the album with fresh energy, offering sporadic updates in the coming months. Fans waited with some skepticism to see what MCR had in store. And finally, one day in early September, MCR’s website disappeared and was replaced with a mysterious transmitter. The Danger Days era had begun.

But was the scrapped album hidden away, never to be heard again? Not quite.

In 2012, in a blog post on MCR’s website, Frank talked about the feelings of depression that he had faced after The Black Parade. He felt like MCR had done it all, leaving them with nothing left to accomplish. In November 2008, Gerard called him up to talk about the band. As new ideas took shape, they prepared to start recording the album that would eventually be scrapped after months of work.

Frank pointed out that while the band had limited themselves during the recording of this album, the songs weren’t inherently bad–in fact, some of them were among his favorites that the band had produced. As time passed, he developed a greater appreciation for the tracks. And when the band met up and listened to those songs, they decided to release a selection of tracks to the public–two tracks a month for the next five months, for a total of ten.

After all this time, the album finally had a title: Conventional Weapons. Tracks included “Kiss The Ring,” “The World Is Ugly,” “Surrender The Night,” and the fan-favorite “The Light Behind Your Eyes.” Listening to the tracks, it was clear that MCR had aimed for a rock album with a pure American sound–no ambitious concepts or storylines, just a set of killer tracks. Whether they succeeded is up to the listener to decide, but they provided some insight into what came before Danger Days.

Due to its unconventional release, and the fact that the album was a series of random tracks and not a finished product, Conventional Weapons is not considered an “official” MCR album. But while Danger Days was the final album, Conventional Weapons was the final release before MCR broke up in 2013. Since the split, the release of CW has caused many fans to wonder–will My Chemical Romance’s fifth (and unreleased) album ever be shared in a similar fashion? Or will it be locked away forever, like the other CW tracks that were never released?

Only time will tell. But for now, Conventional Weapons serves as an intriguing part of MCR’s history–a time when the band set out to make one type of album, and ended up making the complete opposite.

(Picture credits: 1 2 3. Other in-studio photos by Frank Iero.)

[Originally published 07.09.2017]

#my chemical romance #mcr #gerard way #mikey way #ray toro #frank iero #conventional weapons #articles #music #behind the scenes #na na na #bulletproof heart #party poison (song)#killjoyhistory #reuploads

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aaronmaurer · 3 years

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TV I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Was there ever a year more unpredictably tailor-made for peak TV than 2020? Lockdowns/quarantines/stay-at-home orders meant a lot more time at home and the occasion to check out new and old favorites. (I recognize that if you’re lucky enough to have kids or roommates or a S.O., your amount of actual downtime may have been wildly different). While the pandemic resulted in production delays and truncated seasons for many shows, the continued streaming-era trends of limited series and 8-13 episode seasons mean that a lot of great and satisfying storytelling still made its way to the screen. As always, I in no way lay any claims to “best-ness” or completeness – this is just a list of the shows that brought me the most joy and escapism in a tough year and therefore might be worth putting on your radar.

10 Favorites

10. The Right Stuff: Season 1 (Disney+)

As a space program enthusiast, even I had to wonder, does the world really need another retelling of NASA’s early days? Especially since Tom Wolfe’s book has already been adapted as the riveting and iconoclastic Philip Kaufman film of the same name? While some may disagree, I find that this Disney+ series does justify its existence by focusing more on the relationships of the astronauts and their personal lives than the technical science (which may be partially attributable to budget limitations?). The series is kind of like Mad Men but with NASA instead of advertising (and real people, of course), so if that sounds intriguing, I encourage you to give it a whirl.

9. Fargo: Season 4 (FX)

As a big fan of Noah Hawley’s Coen Brothers pastiche/crime anthology series, I was somewhat let down by this latest season. Drawing its influence primarily from the likes of gangster drama Miller’s Crossing – one of the Coens’ least comedic/idiosyncratic efforts – this season is more straightforward than its predecessors and includes a lot of characters and plot-threads that never quite cohere. That said, it is still amongst the year’s most ambitious television with another stacked cast, and the (more-or-less) standalone episode “East/West” is enough to make the season worthwhile.

8. The Last Dance (ESPN)

Ostensibly a 10-episode documentary about the 1990s Chicago Bulls’ sixth and final NBA Championship run, The Last Dance actually broadens that scope to survey the entire history of Michael Jordan and coach Phil Jackson’s careers with the team. Cleverly structured with twin narratives that chart that final season as well as an earlier timeframe, each episode also shifts the spotlight to a different person, which provides focus and variety throughout the series. And frankly, it’s also just an incredible ride to relive the Jordan era and bask in his immeasurable talent and charisma – while also getting a snapshot of his outsized ego and vices (though he had sign-off on everything, so it’s not exactly a warts-and-all telling).

7. The Queen’s Gambit (Netflix)

This miniseries adaptation of the Walter Tevis coming-of-age novel about a chess prodigy and her various addictions is compulsively watchable and avoids the bloat of many other streaming series (both in running time and number of episodes). The 1960s production design is stunning and the performances, including Anya Taylor-Joy in the lead role, are convincing and compelling.

6. The Great: Season 1 (hulu)

Much like his screenplay for The Favourite, Tony McNamara’s series about Catherine the Great rewrites history with a thoroughly modern and irreverent sensibility (see also: Sofia Coppola’s Marie Antoinette). Elle Fanning brings a winning charm and strength to the title role and Nicholas Hoult is riotously entertaining as her absurdly clueless and ribald husband, Emperor Peter III. Its 10-episodes occasionally tilt into repetitiveness, but when the ride is this fun, why complain? Huzzah!

5. Dispatches From Elsewhere (AMC)

A limited (but possibly anthology-to-be?) series from creator/writer/director/actor Jason Segal, Dispatches From Elsewhere is a beautiful and creative affirmation of life and celebration of humanity. The first 9 episodes form a fulfilling and complete arc, while the tenth branches into fourth wall-breaking meta territory, which may be a bridge too far for some (but is certainly ambitious if nothing else). Either way, it’s a movingly realized portrait of honesty, vulnerability and empathy, and I highly recommend visiting whenever it inevitably makes its way to Netflix, or elsewhere…

4. What We Do in the Shadows: Season 2 (FX)

The second season of WWDITS is more self-assured and expansive than the first, extending a premise I loved from its antecedent film – but was skeptical could be sustained – to new and reinvigorated (after)life. Each episode packs plenty of laughs, but for my money, there is no better encapsulation of the series’ potential and Matt Berry’s comic genius than “On The Run,” which guest-stars Mark Hamill and features Laszlo’s alter ego Jackie Daytona, regular human bartender.

3. Ted Lasso: Season 1 (AppleTV+)

Much more than your average fish-out-of-water comedy, Jason Sudeikis’ Ted Lasso is a brilliant tribute to humaneness, decency, emotional intelligence and good coaching – not just on the field. The fact that its backdrop is English Premier League Soccer is just gravy (even if that’s not necessarily represented 100% proficiently). A true surprise and gem of the year.

2. Mrs. America (hulu)

This FX miniseries explores the women’s liberation movement and fight for the Equal Rights Amendment in the 1970s and its opposition by conservative women including Phyllis Schlafly. One of the most ingenious aspects of the series is centering each episode on a different character, which rotates the point of view and helps things from getting same-y. With a slate of directors including Ryan Bowden and Anna Fleck (Half-Nelson, Sugar, Captain Marvel) and an A-List cast including Cate Blanchett, Rose Byrne, Uzo Aduba, Sarah Paulson, Margo Martindale, Tracey Ulman and Elizabeth Banks, its quality is right up there with anything on the big screen. And its message remains (sadly) relevant as ever in our current era.

1. The Good Place: Season 4 (NBC)

It was tempting to omit The Good Place this year or shunt it to a side category since only the final 4 episodes aired in 2020, but that would have been disingenuous. This show is one of my all-time favorites and it ended perfectly. The series finale is a representative mix of absurdist humor and tear-jerking emotion, built on themes of morality, self-improvement, community and humanity. (And this last run of eps also includes a pretty fantastic Timothy Olyphant/Justified quasi-crossover.) Now that the entire series is available to stream on Netflix (or purchase in a nice Blu-ray set), it’s a perfect time to revisit the Good Place, or check it out for the first time if you’ve never had the pleasure.

5 of the Best Things I Caught Up With

Anne With An E (Netflix/CBC)

Another example of classic literature I had no prior knowledge of (see also Little Women and Emma), this Netflix/CBC adaptation of Anne of Green Gables was strongly recommended by several friends so I finally gave it a shot. While this is apparently slightly more grown-up than the source material, it’s not overly grimdark or self-serious but rather humane and heartfelt, expanding the story’s scope to include Black and First Nations peoples in early 1800s Canada, among other identities and themes. It has sadly been canceled, but the three seasons that exist are heart-warming and life-affirming storytelling. Fingers crossed that someday we’ll be gifted with a follow-up movie or two to tie up some of the dangling threads.

Better Call Saul (AMC)

I liked Breaking Bad, but I didn’t have much interest in an extended “Breaking Bad Universe,” as much as I appreciate star Bob Odenkirk’s multitalents. Multiple recommendations and lockdown finally provided me the opportunity to catch up on this prequel series and I’m glad I did. Just as expertly plotted and acted as its predecessor, the series follows Jimmy McGill/Saul Goodman on his own journey to disrepute but really makes it hard not to root for his redemption (even as you know that’s not where this story ends).

Joe Pera Talks With You (Adult Swim)

It’s hard to really describe the deadpan and oddly soothing humor of comedian Joe Pera whose persona, in the series at least, combines something like the earnestness of Mr. Rogers with the calm enthusiasm of Bob Ross. Sharing his knowledge on the likes of how to get the best bite out of your breakfast combo, growing a bean arch and this amazing song “Baba O’Reilly” by the Who – have you heard it?!? – Pera provides arch comfort that remains solidly on the side of sincerity. The surprise special he released during lockdown, “Relaxing Old Footage with Joe Pera,” was a true gift in the middle of a strange and isolated year.

The Mandalorian (Disney+)

One of the few recent Star Wars properties that lives up to its potential, the adventures of Mando and Grogu is a real thrill-ride of a series with outstanding production values (you definitely want to check out the behind-the-scenes documentary series if you haven’t). I personally prefer the first season, appreciating its Western-influenced vibes and somewhat-more-siloed story. The back half of the second season veers a little too much into fan service and video game-y plotting IMHO but still has several excellent episodes on offer, especially the Timothy Olyphant-infused energy of premiere “The Marshall” and stunning cinematography of “The Jedi.” And, you know, Grogu.

The Tick (Amazon Prime)

I’ve been a fan of the Tick since the character’s Fox cartoon and indie comic book days and also loved the short-lived Patrick Warburton series from 2001. I was skeptical about this Amazon Prime reboot, especially upon seeing the pilot episode’s off-putting costumes. Finally gaining access to Prime this year, I decided to catch up and it gets quite good!, especially in Season 2. First, the costumes are upgraded; second, Peter Serafinowicz’s initially shaky characterization improves; and third, it begins to come into its own identity. The only real issue is yet another premature cancellation for the property, meaning Season 2’s tease of interdimensional alien Thrakkorzog will never be fulfilled. 😢

Bonus! 5 More Honorable Mentions:

City So Real (National Geographic)

The Good Lord Bird (Showtime)

How To with John Wilson: Season 1 (HBO)

Kidding: Season 2 (Showtime)

Unbreakable Kimmy Schmidt: Kimmy Vs The Reverend (Netflix)

#tv #television

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juliaisabellphoto · 3 years

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My 2020 Albums of the Year

Never requested, always provided. Here are my favorites of 2020. Here’s the playlist.

The Secret Sisters, Saturn Return

As soon as I saw “Water Witch, featuring Brandi Carlile” on this tracklist I knew that the Secret Sisters would be a favorite of 2020. In February, I was staying with a friend in Nashville and she mentioned them as a local favorite, and when I stopped at Grimey’s to shop for records I came upon a signed copy of “Saturn Return.” I had never heard the Secret Sisters before, but there is nobody I trust more to recommend music than this Nashville friend of mine, so I bought it. I made no mistake here: this record blew me away. The soft, soulful, lullaby of “Healer in the Sky” pulled me through the pain of the first month of quarantine and soothed me as the world was turned upside down. In reading more on the record, this seems to have been the point: they say, “this album is a reflection of us coming to terms with how to find our power in the face of an unfair world… our hope is that women can feel less alone in their journey through the modern world.” There is something in the caramel-thick sweetness of these sisters’ voices that makes a listener feel as though they’ve been bewitched into calm. When I think of this album, I think of the cross-country drive I took at the beginning of the pandemic to make my way home and the happy moments that can be found in darkness. No album touched my heart this year in the way that “Saturn Return” did.

Taylor Swift, Folklore and Evermore

Taylor Swift… can even be said? Somehow, while we all sat on our couches in quarantine, this woman created not one but two musical masterpieces. She begins “the 1” by stating “I’m doin good, I’m on some new shit,” and that says a lot about the album as a whole. She created the 2020 we all wish we experienced: soft, sweet, and gentle. Listening to Folklore feels like visiting a cabin in the woods, with a fireplace well lit. Swift tells winding stories of love, hardship, and mystery and tenderly walks us through the forest of her imagination. This magical feeling was amplified by her release of The Long Pond Studio Sessions, a film in which Swift, Jack Antonoff, and Aaron Dessner finally play the album together for the first time after recording it entirely remotely. The setting matches the sound: they play in an album in the middle of the woods, cozy and hidden from the snow. Evermore cuts through the delicate ice of Folklore: it is the color to Folklore’s black and white. Swift combines the soft folk sound of “willow” with some of her country and Americana roots in “no body, no crime,” drawing us in once again. She includes Bon Iver singing in his lower register in Folklore and then in his falsetto in Evermore: two sides of the same magic coin. The work in these two albums is Swift’s strongest ever, and solidifies the fact that no modern artist can really reach her.

Chris Stapleton, Starting Over

Following a three-year hiatus, all lovers of southern rock deeply needed a Chris Stapleton album. In “Starting Over,” Stapleton yet again does what he does best: combines his unique whiskey-tinged growl with the best lyricism present in country music today. This record can’t be captured in any singular fashion, neither musically nor emotionally. The title track sets a high bar for the rest of the record with a reflection on re-remembering what really matters, a message certainly relevant for this turbulent year. Stapleton’s typical outlaw-country brand is present in full with “Devil Always Made Me Think Twice,” “Arkansas,” and “Hillbilly Blood,” but other songs take him in a completely new stylistic direction. “Maggie’s Song” takes on a very classic old-time country feel, as Stapleton weaves sweet and simple stories as he processes the loss of his pup. He harnesses the energy of the Chicks as he angrily lambasts the perpetrators of the 2017 mass shooting at Route 91. The song is a Stapleton-sponsored judgment day reckoning, including the cacophonic sound of a crowd in panic and the shrieks of a gospel choir. In contrast with this energetic high, Stapleton goes deep into his blues side by finally releasing “You Should Probably Leave,” a song he has been sitting on for six years. This one feels just right to sway around the kitchen to. With each listen to “Starting Over” I find new lyrics to write down and remember, new sounds to love.

Bad Bunny, YHLQMDLG

Bad Bunny. Our unproblematic reggaeton prince. In the wake of his many popular features and his collaborative album with J Balvin, Bad Bunny makes it clear that it is time for Balvin to share the throne of popular reggaeton. He features the original reggaeton king Daddy Yankee in “La Santa,” paying tribute to the very classic reggaeton style before mixing it and transcending beyond the classics in the following tracks. “Yo Perreo Sola” is the album’s standout track, accompanied by my favorite music video of 2020. The song is an ode to gender equality and the destruction of the patriarchal norms contributing to gender-based violence. “Yo Perreo Sola,” meaning “I twerk alone,” sets the overarching theme of consent present throughout the song’s lyrics. In the video, Benito’s backdrop references the Argentinian-born “Ni Una Menos” movement, a now global movement against gender-based violence. As if this wasn’t enough to make you adore him, the video further extends its activism to the LGBTQ community, with Benito appearing in full drag, in his normal attire, and at some points held in chains by women. He makes a statement about sexuality and gender expression in the video, twerking solo. The other jawdropper track on YHLQMDLG is Safaera, a perfect display of Bad Bunny’s skill in expanding the scope of reggaeton as a genre. In the same thirty seconds of the song, he subtly samples both “Could You Be Loved” by Bob Marley and the Wailers and Missy Elliot’s “Get Ya Freak On” - a segment I just can’t get out of my head. Bad Bunny’s prowess on this record is rounded out with the aggressive and prideful “P FKN R.” What a masterpiece.

Mac Miller, Circles

A posthumous record that never should have been posthumous. A companion-piece to Mac’s 2018 record “Swimming,” Circles takes a similar tone, one of resilience through pain. The title track serves as a somber introduction, followed by the funk energy of “Complicated” and the GO:OD AM energy of “Blue World.” The song that really got to me, and many other fans of Mac, was “Good News.” It is the pinnacle of Mac’s musical insight and talent. The melody matches the melancholy of the track, as Mac sings of his desire for time and space. The melancholy is matched in “Everybody” with the lines about death feeling particularly haunting in the wake of Miller’s accidental overdose. Somehow, Miller wrote the perfect eulogy for himself prior to his passing, one that will live in the hearts of his fans forever.

Kali Uchis, Sin Miedo (del Amor y Otros Demonios) ∞

I’m not quite sure what to call this record. If I just listened to “la luna enamorada,” a cover of a classic Cuban bolero, I would call it gorgeous. If I just listened to “fue mejor” featuring PARTYNEXTDOOR or “quiero sentirme bien,” I would call it sexy. If I just listened to “vaya con dios,” I would think she wrote the theme music for the next James Bond film. The bottom line of the record is Uchis’ absolute stunning use of her upper register. She hits notes that “Isolation” never would have foreshadowed, painting a dreamland for any listener. She slides back into the energy of her sophomore album in “telepatia,” but adds in moments of her new sound. She incorporates a slower reggaeton beat into no eres tu (soy yo), and dives into a heavier reggaeton sound in te pongo mal (prendelo.) My personal favorite of the record is “aqui yo mando!” with Rico Nasty: it is the perfect display of Uchis’ unique upper register combined with Rico’s trap style. Anyone passing this record up for another “Isolation” listen is missing out.

FLETCHER, The S(ex) Tapes

This record has a story like no other, coming from a woman like no other. This EP was recorded while Fletcher quarantined with her ex-girlfriend, who also happened to film all of the music videos for it. It is this messiness that makes The S(ex) Tapes absolute magic. Fletcher’s own description of the name of the release explains the situation best: “A sex tape is someone being captured in their most vulnerable, wildest, rawest form, and my ex has always captured me that way.” She captures all of the feelings of a breakup with someone you still love deeply, and the relationship relapse that comes with moving past those feelings. Fletcher’s special ability comes in representing these deeply painful experiences in an uplifting manner: this is a sexy pop EP meant to be danced to. Fletcher simultaneously validates all of the emotional tumult, but subtly nudges the listener toward blissful reckless abandon. It almost makes me wish I had a breakup to go through! The abrasive apathy of “Shh… Don’t Say It” and the flippant, angry vulnerability of “Bitter” are paired perfectly with Fletcher’s raw brand of distortion. In an interview with Nylon, Fletcher speaks to this: “Listen, I've done my fair share of just straight-up sad, crying in your bed music. I'm still going through shit, but I want to bop to it. We can still be emo and want to twerk at the same time.” Yes, Fletcher, we do.

Halsey, Manic

Prior to 2020, I wasn’t Halsey’s biggest fan. I wouldn’t have even called myself a fan. I just wasn’t that excited by her music. “I’m Not Mad” was the song that triggered a 180 for me. The heavy, dissonant kick of the drums and her raw, angry lyricism drew me in without hesitation. I suppose this was just the push I needed to fall in love with the rest of her music: the songs with similar bite, “Without Me” and “killing boys,” and the more raw side of the record in “You should be sad,” “929,” and “Graveyard.” Her vulnerability is so much of what makes this record perfect. The album fully made sense to me when I listened to her podcast feature on “Armchair Expert” with Dax Shepard. In it, she talks through the time period covered by the record and gives context to her powerful lyricism. “Manic” is a story of chasing someone she loved into drug-fueled oblivion, and then finally finding the power to leave. The album is brimming with this power, and I just can’t turn it off.

HAIM, Women In Music Pt. III

HAIM is THE soft rock band of the modern era.Women In Music Pt. III, their most mature album yet, solidified this opinion for me in a way that I didn’t expect. There is so much to be said for this record: it is innovative and skilled, with the perfect balance of softness and hardness. Though the record is one of pain and trauma, you wouldn’t know it purely from its melodies. “Don’t Wanna” is a very classic HAIM pop rock number, and “The Steps” follows suit making frustration fun to dance to. Though one may not notice at first, in this record HAIM dives deeper than ever before. “Now I’m In It” does a phenomenal job of sonically representing the feeling of being completely and utterly overwhelmed. “I Know Alone” is a beautifully intimate rainy-day account of Danielle’s struggle with depression. Then comes “3AM” - a lighthearted song about a booty call with Thundercat-type bass and an R&B vibe - just in case you didn’t already know how much range these three sisters have. Everything about this record is filled with talent.

Phoebe Bridgers, Punisher

Only Phoebe Bridgers could write a song about murdering a skinhead and fill it with nostalgia. “Garden Song,” the leading single preceding “Punisher,” foreshadowed a record that is just so very Phoebe: melancholy, vulnerable, and heart-wrenching. The eagerly awaited album certainly followed suit, with typical sad ballads “Halloween” and “Moon Song” played alongside more raucous, Better Oblivion Community Center-esque songs such as “Kyoto” and “ICU.” She goes bluegrass on “Graceland Too” with banjo, violin, and layered harmonies from boygenius collaborators Lucy Dacus and Julien Baker. In “Punisher,” Bridgers shares with us the wistful catharsis that she is so very talented at creating.

Noah Cyrus, THE END OF EVERYTHING

I always underestimated Miley’s little sister, but here I am writing about her EP before I write about Miley’s in my end of the year roundup. Every piece in this record gave me chills: Cyrus’ lower register allows her to access a somber kind of ballad that I just can’t get enough of. The record starts off at a peak with the slow burn of “Ghost” and somehow manages to get even better with “I Got So High That I Saw Jesus.” This powerful song, even better in the live version where Miley joins her younger sister, builds into an almost gospel-like ode to the idea that everything will be okay. “July,” the single featuring Leon Bridges that pushed Cyrus into the national spotlight, stands as the most beautifully layered song of the EP. The soft guitar picking and choral sound complement Cyrus’ upper register. The whole record, extending through the closing title track, is a comforting, soft emotional analgesic for 2020.

The Chicks, Gaslighter

This record is gorgeous. It is painful. The feelings Natalie Maines expresses in this record are feelings I have felt far too deeply in personal relationships, and they also are feelings everyone is feeling globally in 2020. “Gaslighter” is just straight up fun, a perfect extension of the Chicks’ energy found in “Goodbye Earl” and other older revenge numbers (but with an extra poppy Jack Antonoff twist this time.) “Tights On My Boat” is bitter, funny, and shows off Maines’ upper register with stripped guitar. “Sleep at Night” musically and lyrically embodies the pain of being betrayed. “Julianna Calm Down” is a stunning ballad of female resilience. “Texas Man” perfectly captures the bubbly feeling of moving on. “For Her” and “March March” fit in with the frustrated, betrayed, power-centered theme of the record in a very different way. The Chicks’ dualistic ability to discuss her ex-husband’s cheating alongside the band’s political views is what makes the record special: not only are we watching a woman try to move on and develop her personal strength, but we are also seeing this personal strength harnessed for political impact. They simultaneously denounce the abuse of power in both politics and relationships, while reclaiming that power for themselves in standing up for what they believe in. How very Chicks of them.

Dua Lipa, Future Nostalgia

Dua motherfucking Lipa. This woman would have been the official owner of 2020 had we been able to dance to this record at bars and clubs. This was proven ten times over by the success of the album’s first single, “Don’t Start Now,” a song that is absolutely the MOST fun. Or so I thought… until I heard “Physical,” “Levitating,” and “Break My Heart.” What poor timing for such a phenomenal dance record, but at least she gave the people some great material for Tik Tok dances! All COVID-dance-related concerns aside, this is a really well done sophomore album for Dua Lipa. The funk elements of the album most clearly seen in “Levitating” elevate Dua’s brand of pop to a new level. The all gas no brakes nature of this dance-pop record works wonders for her - she knows what the people want from her, and she delivers.

Megan Thee Stallion, Good News

THIS! RECORD! If WAP could be an album of the year, it would be, but it’s a standalone single and Megan Thee Stallion proceeded to release the next best thing. The explosion of Megan Thee Stallion has been a pleasure to watch in 2020, with both WAP and Savage leaving the charge. With an artist like her, it’s easy to get lost in the smash hits and ignore the prolific nature of her work. “Good News” is an immaculate rap album, brimming with sass and defiant bad bitch energy. “Shots Fired” kicks off the album with a Biggie sample and a diss to the man who shot her in the foot earlier in the year, personally my favorite track of the record. Other highlights of the record include “Don’t Stop” with a Young Thug feature, “Body” which is now a Tik Tok staple, and “What’s New.” Perhaps the most impressive work Megan does on “Good News” is “Girls in the Hood,” a rework of Eazy-E’s Boyz-N-The-Hood. She inverts the classic misogyny of the original song by emphasizing her control over men like Eazy-E in an indignant assertion of female power. This embodies Megan Thee Stallion’s essence: busting in on a male industry and making her presence known.

Rico Nasty, Nightmare Vacation

Nobody does it like Rico Nasty, and I’m convinced nobody ever will. I saw a New York Times headline titled “Can the Mainstream Catch Up to Rico Nasty?” the other day and I think the answer is a firm no. Rico is abrasive, rude, and outside the box in the absolute best way. Need an album to slap in the car when you’re feeling like a bad bitch? This. is. it. The record kicks off with “Candy,” a song with a wild beat and the iconic chorus line “Call me crazy, but you can never call me broke.” Following is a Don Toliver and Gucci Mane feature in “Don’t Like Me,” a song that truly should have hit the mainstream by now. She gets back to her signature scream-rap in “STFU” and “OHFR.” “OHFR” is the confident standout of the album, along with the reworked re-release of “Smack a Bitch,” making it clear that Rico Nasty is not a woman to be fucked with. In “Back and Forth” with Amine, Rico steps into Amine’s “Limbo” style and does it well. The record’s second single “Own It” is a more classic club banger that unfortunately didn’t get to see the dark of night in any clubs this year. Even if the mainstream never catches up to Rico Nasty, I’ll be following along with her self-labelled “sugar trap.”

Ariana Grande, Positions

I mean, duh. Ariana just doesn’t miss. She surprised everyone with this album’s release in Fall 2020, displaying the bliss of her relationship with later-confirmed fiance. She goes dirtier than usual in the sex-centered “34+35” and “nasty,” rounding the record out with the Craig David-reminiscent “positions.” Ariana allows herself to lust for someone and even love for them in these three, but defaults to her brimming self-confidence in “just like magic” and “west side.” The album is more R&B than pop at times, with the peak of this style visible in the groove of “my hair” and the Mariah Carey ballad-like nature of “pov.” Each album, Grande shifts just a little bit, keeping us attached: “Sweetener”’s cotton-candy pop, the savage pop-trap of “thank u, next,” and the R&B conclusion of the spectrum with Positions.

Miley Cyrus, Plastic Hearts

This year I anticipated no record more than I did “Plastic Hearts.” Its leading single, “Midnight Sky,” described by Pitchfork as a “cocaine-dusted disco track,” channels Stevie Nicks’ eighties rock-pop era in the absolute best way. Apparently this opinion was even picked up by Stevie herself, as the two collaborated on a mash-up of “Midnight Sky” and Stevie’s “Edge of Seventeen” (the excitement from which nearly led to my passing away, by the way.) Cyrus’ voice is in the perfect place on this record, with “Plastic Hearts” emphasizing her rasp and making me want to spin around a room. She dips into the pop realm in “Prisoner” with Dua Lipa, a song that Lipa clearly influences with an unforgettably sexy music video. Every song is different on this record: “Gimme What I Want” channels the grinding rock sound of Nine Inch Nails, “Bad Karma” allows Joan Jett’s punchy style to run the show, and she slips on the shoes of Billy Idol in their collaboration, Night Crawling. Somehow, Miley manages to wear the shoes well, and 80s copycat record or not, I can’t stop listening. “Never Be Me” is where she shines most deeply, baring her soul, the complicated nature of her past few years’ journey, and her knowledge of who she is and always will be for the world to hear. I’m not sure if I’m blinded to the album’s flaws by my absolute and complete love for everything about Miley’s current persona, but I am a huge fan.

Glass Animals, Dreamland

The sound of this album is such a blissful respite! Glass Animals gives us the fun and funky techno-pop that they always do, but dive into personal lyricism in a way that they never have before. Many of the songs actually have a storyline (an intentionally rare feat for Dave Bayley, first broken with the incredible “Agnes” on their last album.) This record explores trauma and pain in “Domestic Bliss” and “It’s All So Incredibly Loud,” Bayley using the soft sides of his voice to express pained desperation. The boisterous energy of the past two records is not forgotten in Dreamland’s intimacy, however: “Hot Sugar,” “Tokyo Drifting,” and “Space Ghost Coast To Coast” do the trick. “Space Ghost Coast To Coast” is the most intriguing song on the record: at first listen, I had absolutely no idea what Dave was discussing and assumed it was just his typical neuroscience-inspired ear-candy. Upon a deeper dive, the song addresses the factors that encouraged Dave’s childhood friend to bring a gun to school. He disguises a discussion of the risk factors involved in school shootings within his flowery, figurative linguistic excellence. This duality of blissful melody and solemn subject matter is the magic of Glass Animals.

Empress Of, I’m Your Empress Of

This album is an emotional electro-pop masterpiece. This record meditates on the feelings felt in the wake of a relationship’s end. She begins the album with a quote from her mother about the reality and value of struggle, then launching into a synth-filled storm of missing someone. “Love Is A Drug” is the album’s next fun dance track, addressing the addictive quality of touch after you lose someone you love and embodying the urgency of the feeling. She takes a more somber tone with the influence of Jim-E Stack in “U Give It Up,” incorporating quotes from her mother about the difficulty of womanhood and reminiscing on love lost. In “Should’ve,” the post-relationship regret is palpable in her vocal tone and production, and in “Maybe This Time” she contemplates this pain. In “Give Me Another Chance,” her emotions swing the other way, with a bouncing dance beat and pleading vocals. The album concludes with the heartfelt and pain-filled “Hold Me Like Water” and the dissonant “Awful,” leaving the listener to meditate on the mood swings of a broken relationship.

Tame Impala, The Slow Rush

This album came out so early in 2020 that it already feels like a vintage piece of music. Perhaps that was the point. Although “The Slow Rush” had a hard time living up to Kevin Parker’s last epic masterpiece “Currents,” it was the fix many fans like myself needed after five years without an LP. “Borderline,” the single that allowed anticipation of the album to build, stands out as one of the most essentially Parker tracks of the record. He introduces a little Toro y Moi style funk in “Is It True,” and highlights his voice more than usual in “Lost In Yesterday.” “Posthumous Forgiveness” builds in the wonderfully dissonant fashion that fans learned to love through “Eventually.” The bass track on “Glimmer” is so good that I never even noticed it had nearly no lyrics. This record is not groundbreaking by any standards in the way that “Currents” was, but it is intentionally jubilant and energetic in a way that still feels good. Even if he doesn’t shatter any expectations in “The Slow Rush,” Tame Impala’s tracklist still makes the perfect sunset companion.

Joji, Nectar

Joji’s “Nectar” is just that: sweet R&B nectar, from the minute the first track plays. Joji’s work here is not in the individual tracks, but in the sonic experience he creates with the album as a whole. This is not an album to pick out singles from: it is a full cinematic mood adjustment. Maybe it’s the weed I smoked when I first listened, but the record feels like a wonderful progression of gentle yet rhythmic R&B songs. The transition from the soft and contemplative “MODUS” to the more upbeat trap-infused “Tick Tock” to the full R&B ballad “Daylight” featuring Diplo raises the listener’s energy gradually to a crescendo. “Run” is a gorgeous and sad confessional of disappointment, and “Sanctuary” follows as a soft and uplifting analgesic to that pain. “Pretty Boy” and “777” mark the more upbeat section of the record, filled with Joji’s accounts of living far too fast. The tracks of this record all bleed into each other seamlessly, mixing pain and confidence in an emotional rollercoaster.

Amine, Limbo

My journey to being an Amine fan started with “Caroline,” ended with “Heebiejeebies,” and started back up again when he found depth in “ONEPOINTFIVE.” His 2020 release is exactly why I came around to his music yet again. The record is soulful and fun, with the flute and cocky lyrics in “Woodlawn” and the funky beat and Young Thug feature of “Compensating.” The two songs I absolutely can’t stop listening to however, are “Can’t Decide” and “Becky.” “Can’t Decide” highlights Amine’s singing voice and dips away from rap and trap into the more traditional R&B realm. “Becky” is an intimate account of the difficulties involved with interracial dating, both in public and in the family realm. The two sides of the album, one emphasizing rhythm and immaculate production, and the other lyricism and emotion, are found in these two songs. The punchy “Pressure In My Palms” (featuring slowthai and Vince Staples) and “Riri” round out the record’s light side. In “Limbo,” Amine finds the perfect balance.

Fleet Foxes, Shore

This album is a wave of calm. Robin Pecknold’s soothing voice is exactly what we needed more of this year. Pitchfork described his mission as “turning anxiety into euphoria,” and that is how this record feels. Each song is dynamic and filled with what makes Fleet Foxes so special. There is a choral quality to the vocals of “Shore,” as always, adding to the calm aura of the record. “A Long Way Past The Past” takes the listener on a what feels like a long walk filled with serious conversation. “Going-to-the-Sun Road,” a song that takes its name from the famous cliffside road through Glacier National Park, oozes sunshine in its Tame Impala-Bon Iver crossover sound. “Cradling Mother, Cradling Woman,” truly feels like being cradled in sound. Fleet Foxes has a knack for beginning songs by hitting the listener with a wall of sound, and that is so perfectly represented in this track. This is a seriously beautiful album.

Cam, The Otherside

Cam’s voice is irresistible. She showed her talent for sharing painful ballads in her breakthrough single “Burning House,” and in “The Otherside” she digs deeper. She writes this record in a period of change, and captures this change and dissonance in the nostalgia of “Redwood Tree.” She teamed up with Avicii for the title track before he passed away, and it shows. His signature building melodies and guitar breaks are clear, and they go perfectly with the range of Cam’s voice. She truly shows her range in this track and this record in general, from the highs in “The Otherside” and the lows of “Changes.” “Changes” is another standout of the album, co-written by Harry Styles. This record is a gorgeous account of outgrowing love and outgrowing people after the deep bliss that you felt with them in the past. “Till There’s Nothing Left” and “Classic” are the big love songs of the record, one that melts you and one that makes you want to dance in a field of flowers. The sisterly confessional “Diane” pulls Cam back to her country roots. She ends the record with what made her famous: a beautiful, sad ballad backed only by piano. Her unique vocals are on full display as the record concludes, and I couldn’t have asked for anything more.

Omar Apollo, Apolonio

Omar Apollo had his breakthrough in this record. His work spans languages and genres in a big way in “Apolonio.” “Kamikaze” and “Staybacik” stick to his typical R&B style, better produced than it ever has been. “Dos Uno Nueve (219)” goes a completely different direction, a Mexican corrido track featuring Yellow Room Music, honoring the Latinx musical styles that he expressed admiration for. Apollo also explores his sexuality in this album, fluidly discussing his bisexuality in “Kamikaze” and “I’m Amazing” in an exploratory manner. The whole album is generally quite exploratory, a quality that makes me even more excited for the work that is to come from Apollo.

Also worth mentioning:

Diplo, Diplo Presents Thomas Wesley: Snake Oil

Thundercat, It Is What It Is

Sylvan Esso, Free Love

Lauv, ~how i’m feeling~

Niall Horan, Heartbreak Weather

J Balvin, Colores

Kelsea Ballerini, kelsea

Dominic Fike, What Could Possibly Go Wrong

#music #2020

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jan-uinely · 4 years

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hot takes continued

here we go. season 12 episode 12.

so. it’s time to chit chat about drag race. if u dont like my opinions sry.

this is gonna get bigger than one episode or one season. this is meta drag race.

but first i guess the episode. right. so. obviously it was a “musical” so obviously i wanted to see jan sing and obviously she did not. I do think that this challenge [not necessarily placed in this episode] would have been a great time to do a like returning queens. but i digress.

i think that it was a little muddled. like it wasn't like any of the “girl group” numbers where it’s just the verse and chorus. all of the verses were placed in different spots throughout the show. I also think it’s ironic that this whole episode is to promote this live vegas show which is obviously not happening right now. but alas.

i agree with bob in that i liked jackie’s verse the best.

i did not love gigi’s outfit in the challenge. you couldn't make out the heart as easily bc the red was all the same color. I also think the material used was too chunky- it was quilted. i would have rather had the heart be quilted, not have a corset underneath it, and have the rest of the top part not be quilted. i thought it was a good concept but i would have preferred different #choices. i also would have rather the hair been straight instead of curled.

i did not have a huge issue w crystal’s orange and green outfit. i also appreciated the callback stars and stripes hair. though maybe not together?

jaida was good as per usual. i want her to win, but we will get to that later.

also let us note the basketball wives hair that made a comeback [gigi, jackie]

runway time.

crystal and ******’s outfits did not fit the way i wanted them too, and the problems were both in the hips. when i saw them i thought the hips should be exaggerated, but instead they both looked weirdly deflated. and crystal’s torso section could have been brought in. [i did see on instagram that the person who made crystal’s look [casey caldwell who is a nyc based designer, works w a lot of neoprene/thick materials- just look up on instagram caseyyalater] actually made it for dragcon and crystal bought it right there, so it wasn’t tailored]

in the dior v dior battle, i thought gigi won. jackie’s dress was just i think a little too large [not in terms of tailoring, in terms of diameter] but it was very jackie

gigi said that her outfit was quintessential gigi, which i think it interesting bc if you look up showgirls performances, it very much is. however in terms of the character portrayed on drag race i didn’t think it was. it was very well made, etc. but it just didn’t fit the “perfectionist trope” of the show.

jaida is once again wearing a gown with a presequinned fabric, which i am not mad at. it is quintessential jaida.

critiques.

again ooh we have to nitpick bc we accidentally cast too many winners on this season blah blah blah. i was not a fan of when they said oh well we will have to look at report cards. as if they didnt intentionally load up gigi and ****** with wins at the start of the show.

and then it’s like oh well jackie and crystal have to lip sync blah blah blah. and you know that jackie is going home. bc the judges absolutely love crystal, all because of that mullet.

to quote bob “I used to be really upset at queens who won the judges with their personality” and that is still mostly true for me. i don’t think her placement is unjust or whatever, but like if ru didn’t like the mullet, she would not have been given the confidence boost to turn her trajectory around, compared to jackie and widow and jan, who did most things right but just were not rupaul’s fave, and must have had a much more difficult time mentally on the show.

and FWIW heidi falls into this category as well. race chaser i think said it - all of her success comes from ru’s ideas. and being naturally funny and charismatic and having ru like you as a person is a huge gift and huge talent, but the inability to wrangle it... that being said i think she deserves the world and will grow [and has already grown] from this experience.

and the thing is that crystal also keeps going back to the same stuff which could have been funny if the episodes were more than one apart or if she didn't do it twice in one episode but. idk.

now, who will win, who should win, hmm hmm hmm. tbh i don’t think it will be crystal. they just crowned the oddball and they like to mix it up, or at least try to. also why looking at the history of dusted or busted scores [and s/o to jan for coming in @ 4 [after the disqualification]] crystal is at a 2, and bebe won with the lowest score at a 3 [w 2nd and 3rd place at 4 and 5], and that was in season 1, which was a whole other ballgame. leaving us with jaida and gigi. i am team jaida. i think that she is much more developed as an artist and performer than gigi, and I think that she will bring us something new.

[here comes the meta part]

the title is america’s next drag superstar. and i think in the beginning of the show, they decided that that had to mean something new and exciting, something that pushed the boundaries of what drag could be [which is rly ironic coming from them but]. which has developed this culture of what is the formula to be successful on drag race. and some people were more overt about this [jan] and some people were more subtle about this [gigi and jackie].

but for some reason, the [Black] pageant queens will make it to the top and then never win. - and they’ve had overt conversations regarding pageants and pageant culture on the show before - but balls and pageants were like the building blocks of drag culture in the us [from what i understand]. so inherently that means it’s no longer “new” and exciting. but the thing is that so many of these fashion [/nyc] queens work so exclusively with these high end designers to produce these looks [i think bob said it can cost like 10K to prep all your stuff for drag race] and with that the ability to design and sew falls away.

and i think that is reflected in the challenges and how they have changed. this season there was one design challenge. and that is just so disappointing to me bc i think the design challenges really separate who has a full understanding of their persona and who does not.

and with fewer and fewer design challenges, you have more and more designer items, and the ability to create something has fallen to the wayside. personally [and i will probably make another post about this later] i want to bring back the design challenges in one of two ways. 1. have an all designers season. where drag designers work to make elaborate costumes based on a prompt and given certain materials. bc on the show designers are not credited as much [that part comes on instagram]. 2. i want to have a drag race blank slate competition. where contestants audition and are given a list of prompts but cannot bring anything except like a notebook. no prepared outfits. you can sketch designs to the prompts, but all the materials are provided. contestants still have a main challenge and a runway, but rather than 2 days, they are given a full week to execute the challenge and the outfit. this would totally change the game in my mind. like one you wouldn't have to have money or take out loans to compete, you could just come and show who you are. and two the audience could see more of what goes into this stuff. AND if drag race really wants to feed us, they could do like a wed. ep and a friday ep. to spread things out.

my favorite challenges are design challenges, and while i think the first challenge this season gave us a better introduction to who the contestants are, the design challenge is a really good thing to have at the front.

i do think that if they had not had the debate that there would have been another design challenge in the mix, but bc it was an election year.

anyways, i want jaida to win bc she’s excellent at what she does. and at this point there is something new and exciting about making all your own clothes and being polished and knowing who you are. and tbh gigi doesn’t bring anything new to the table. sure the ability to sew and design is good, but compared to aquaria and violet the designs were not as diverse or inventive. on top of that, the fact that gigi is outwardly apolitical [and doesn’t understand the connotation of “privilege” in today’s times] is just not a good look. I also think that it is interesting that gigi came in as the look queen but actually did better in the acting challenges.

idk my main takeaway is that gigi is really really good at playing other people, and with that comes a lack of self awareness. striving so hard to be perfect can come at the cost of not knowing who you are as an artist. like gigi’s brand is literally “im that bitch/bitch” which again, just isn’t what i want in a winner.

and tbh the gigi bug bit early but ended when ru gave her the win on the madonna episode. [i will say that jackie could have won snatch game but tbh i was annoyed w her for being a little dickish to the safe girls that week [though what she said was totally understandable] and also i <3 jackie cox [and chelsea piers we stan chelsea piers in this house] i think there is something so gr8 abt being a nerd and being prepared and being on brand about it. also jackie is always the one to hop on the dolls’ lives and comment their venmo. hashtag cool aunt jackie. [though that here for cox t-shirt and the promo photos make me uncomfy though i get it]]

re jackie coming back to complete the top 4... IDK it’s nice and all but they've already established that they don’t want her to win- otherwise she would not have been eliminated.

also in my mind there are only 12 places so jan actually came in 7, widow 6, heidi 5, jackie 4.

anyways these are my thoughts. as usual, raw and unedited.

#i guess what i'm saying is that i would love to produce drag race #but i hate la so i guess that's off the table #drag race #hot takes #rpdr s12 #this is very long #so be prepared #i would like to think that it is high quality content #but we shall see #if u want more hot takes my ask box is always open #as u know i have no life #i just rotate between instagram twitter and tumblr #drag race season 12 episode 12 #im a ramblin gal #so enjoy my thoughts on this fine satur day

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technicolortheshow · 4 years

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BOHREN & DER CLUB OF GORE

My Bloody Quarantine part 1

The last six months have been pretty shit, hey? It looks like there is no future anymore... global warming, COVID-19, Australia on fire, wars... shall I go on?

ANYWAY, we are not here to talk about a stupid government led by a buffoon with a mop in his head (ops!) but to praise one of the bands who kept me company during this bloody quarantine of mine: BOHREN & DER CLUB OF GORE. This German act, in fact, hung out with me during the several nights of insomnia, which, trust me, were devastating, loooooong and cold. Cigarettes after cigarettes, wine after wine, I thoroughly enjoyed the discography of the quartet and I thought it was time to write something about them.

Because of the slow-moving and nocturnal nature of their music, a doom jazz plenty of end-of-the-world ballads, or, in their words "unholy ambient mixture of slow jazz ballads, Black Sabbath doom and down-tuned Autopsy sounds", I happily matched their records to these apocalyptic months. Just like a dark noir by Leo Malet, or a Terry Gilliam dystopian movie, Bohren & Der Club of Gore managed to convey, over the last 25 years, a deep sense of ethical abandonment and claustrophobic imprisonment. There is no future in the music of the German band, no escape from reality, which is doomed and looped into an endless limbo. A not long time ago - which now seems AGES ago, to be honest - I went to the White Cube for the latest Kiefer’s exhibition. I believe that the combination of BCG music and Kiefer’s artworks pretty well.

Over the last months, while listening to them, between a Medoc and a Nebbiolo, I was picturing the band in a smoky “bar at the end of the world”, channelling some kind of Tom Hillenbrant’s dystopian political setting or a Lynde Mallison’s grey cold painting. The best description, though, comes from the band website: “Dear friends of nighttime drives, remote bridges to nowhere and empty multi-storey car parks”. Club Silencio state of mind, indeed.

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The ensemble has constantly been releasing high-quality records since 1994, with the first doom jazz album called MOTEL GORE - albeit the first release was a 1992 cassette filled with post-hardcore noise published under the name of Langspielkassette. MOTEL GORE is, as someone brilliantly described it “audio pointillism”. I think this similitude is accurate: the band did draw tiny dots of obscure, eerie, music on canvases of sound. “Die Fulci Nummer” drives me mad, with its spectral adagio: it’s so good it would’ve been great in the Fulci’s masterpiece Non si Sevizia un Paperino. “Cairo Keller” is charming and evocative, reminding me of a possible soundtrack for Lovecraft The Nameless City. Extra points for the brilliant reference of the cover.

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in 1997 BCG published MIDNIGHT RADIO, two hours of lynchian-LA-night-driving-without-a-destination soundtrack. if it is true that its predecessor "Gore Motel" is more song-oriented, and therefore a lot easier to listen to - it’s evident that Midnight Radio is more rewarding in its own special way: it’s a journey in the darkest corner of your mind. Yes, because the journeys BCG offers are not only external but often internal. The band has developed over the years a therapeutic dialogue between the listeners and their consciousness. Jungian jazz music anyone? LET’S DEBATE!

By the way, while writing this article, I’ve realised how difficult is to talk about BCG music without quoting several cliches - everyone always ends up referring to the same stuff:” car parks”, “night drive”, “Lynch”. But I have to admit, in this case, it’s definitely true! Listening to BCG can really inspire these topics under our skins, as trivial as it sounds! The point is: they do it better than anyone else, they have been doing this forever and they represent the top in this particular sub-genre. With the results of a cinematographic component in their music that leads to these night drive scenarios, post-modern inner state of minds. Bravo!

Let’s go back to Midnight Radio, to BGC and their discography. It’s undeniable that their music fits perfectly in the set of the SLOW TV/MUSIC/YOUTUBE movement. From The Norway train to this 1986 Canadian TV show called “NIGHT WALK” (which, by the way, looks freaking awesome), from Andy Warhol’ “SLEEP” to Kiarostami or Tarkovsky cinema, the slow movement has left an imprint to contemporary culture. Arguably, BGC, with their long holistic records, is part of the movement. Calming the listeners and bringing them into a meditative state of mind, without being mindfulness - luckily. The point is: BCG makes you think about yourselves, finding out that you are someone you should be scared of! Know yourself, fear yourself!

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All that Jazz came in 2000 with the thrilling “SUNSET MISSION”, thanks to the help of saxophonist Christoph Clöser. In this record the band opened up the sound, literally letting some fresh air to enter their music, easing the claustrophobic moods of the previous albums. A hint of lounge-ness came in, due to the mellow, yet sophisticated, sax of Mr Clöser. It is still quintessential BCG, with the nihilism of the band raising up form the bass. Slow, reiterated bass lines are running through the record, giving to Sunset Mission a gloomy, hypnotic cadence. The liner notes include a quote from Matt Wagner's Grendel comic book, which reads: "Alone in the comforting darkness the creature waits. As confusion reigns on this hellish stage, the deafening grind of machinery, the odious clot of chemical waste. Still, the trail of his ultimate prey leads through this steely maze to these, the addled offspring of the modern world.

According to many people, 2002 ‘BLACK EARTH” is BCG masterpiece. I don’t know yet, as I REALLY like them all. What I can say is that Black Earth sounds a lot more accessible, with an even more developed sense of ‘lounge-ness’ which was not so evident in the previous records. Blach Earth is a good record. Perhaps the trick here is the balanced tempo of the saxophone. Perfectly played within the songs at the right time, Christoph Clöser’ sax conveys an open jazzy sound. One of my favourite directors ever is Jean-Pierre Melville, his movies are everything I like in term of style and plot. Noir a là Dashiell Hammett, but French and without hope - give me more of this, Hollywood, please! Enough of fucking Marvel heroes, give me noir hard-boiled movies!

Black Earth could have easily been the perfect great soundtrack for Mr Melville’s movies - especially, IHMO, Bob le flambeur. Think about it: a french man, with a cigarette in his mouth, gambling his life for a young woman, in a dirty Marseille, with the BCG slow tempo doomed jazz. yasss please, give me more. Or a glacial Alain Delon killing his lover for money.

Black Earth was followed up, in 2005, by “GEISTERFAUST”, which is considered a slower than ever version of the former album. In Ghost Fist (this is the translation) Bohren & Der Club of Gore has stripped down its sound to the bone, becoming more gentle and less aggressive without any compromise. 5 songs only, named after the 5 fingers of the hand, for an hour of dark jazz. Again, excellent quality.

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I have been buying BCG on CD, I think this music on vinyl does not sound perfect UNLESS you have an extremely high-quality sound system, Like some classical music issue, where you need to hear the pianissimo of the piano and single notes, BCG music deserves a very clean medium, I would say CD is the best.

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Jazz de nuit again on their seventh album “DOLORES” published in 2008. This record is pure Badalamenti, pure Lynch in the night. Within the ten songs of Dolores, the core idea of slow-music is even more highlighted, with no guitars at all on the whole album and a sedated keyboard-based mood. In 2009 the band released a 10 minute EP called “MITLEID LADY”. it is strange, because, albeit recorded just after Dolores, it sounds way more gloomy and somehow different. It is BCG but has another level of sophistication compared to the previous record. This step further in the direction of stylistic accuracy is confirmed two years after, in 2011, with another EP, this one named “BEILEID”. The cover of the record is a reference to the famous Edward Gorey, or at least I believe.

The record includes the cover of "Catch My Heart" by German heavy metal band Warlock, with vocals from Mike Patton. I believe this is the only song with a singer in the entire catalogue of the band. Beileid is a cinematic mood-changer composed of pained saxophone solos, and ghostly string sections, an album that will sweep your mind away into dreamland. A must-have IHMO.

In 2013 the ensemble released “PIANO NIGHTS” probably the warmest record of the band. The Piano obviously helps a lot in making the sound softer and brighter - candle lighted rigorously. A German Gothic feast, with a touch of Teutonic expressionism - who remembers the movie The Hands Of Orlac. BCG should definitely play the soundtracks of this movie. A twisted, dark, thriller with Gothic and expressionist elements. After many years, the band introduces the

Finally, in 2020, the band published “PATCHOULI BLUE”. A pristine, unique, summa of their work, which manages to sound similar to other releases of the band, yet unique, with something different, like a small accent. 50s noir glam, Badalamenti, German Gothic, Slow-Movement philosophy are all elements we can find in this record, but there is something else: a hint of electronic, which can possibly open new territories to the band. I am curious to see if they will become a techno ambient act in the like of Gas (joking).

Aristotle once said that the whole is greater than the sum of its parts. I guess this is the whole point in BCG’s music. The synergy the band has been consistently showing over the last 3 decades, and the constant refinement of their own skills.

VIVA BOHREN!

#bohren #bohren & der club of gore #gothic #german #noir #leomalet #melville #alain delone #jazz #ambient #doom jazz #angelo badalamenti #lynch #mulholland drive #gas #grendel #nightmoves #anselm kiefer #expressionism

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mwelxn · 5 years

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Last week, ex-Guns N' Roses guitar slinger IZZY STRADLIN' gave PAUL ELLIOTT exclusive details of exactly what went down with his shock departure from the former Most Dangerous Band in The World. In part two this week, Izzy previews his Stones-influenced upcoming debut solo LP 'Ju Ju Hounds', and reveals that yes, he DID almostjoin forces with this week's K!cover stars The Black Crowes!... By Paul Elliott Kerrang! Magazine - Sept. 1992 "...And that goes for all you punks in the press / That want to start shit by printin' lies / Instead of the things we said / That means you, Andy Secherat Hit Parader, Circus magazine, Mick Wall at Kerrang!, Bob Guccione Jr at Spin..." - 'Get In The Ring', Guns N' Roses Although Mick Wall no longer works for Kerrang!, Axl Rose's anger at the publication has not abated. Guns N' Roses' outspoken frontman routinely bitches about Kerrang! when the band play in London, Presumably, the root of the problem was a feature of Wall's on the Rock In Rio festival in which he accused GN'R of aloofness. Kerrang!gave Guns N' Roses their first British magazine cover in 1987, but Rose chooses to remember only one comment from one journalist. And that, it seems, is the bunker mentality behind the Guns N' Roses/Kerrang!/'Get In The Fucking Ring' feud. Former GN'R guitarist Izzy Stradlin' is equally bemused by it all. "I just write songs," he shrugs, grinning. "I honestly don't know what that was about or what was said. Axl was mad at Kerrang!, right? There were so many things that pissed him off..." It's said that Bob Guccione Jr, editor of US rock periodical Spin, was baited by Rose on 'Get In The Ring' simply because Spinprinted the contract which Guns N' Roses attempted to force on all journalists interviewing the band. The contract sought to censor the press. "I didn't even know about this contract," Izzy protests, "so when I heard Axl was mad about it, I was going, 'What?'! "If I were a journalist I'd probably just tell somebody to shove it up their ass too, cos I guess that'd be like somebody telling a musician how to write a song. "I wasn't aware that Mick Wall was one of the guys in that song. The only one I knew about was Guccione. I was sitting back in Indiana watching MTV and I saw that thing about Axl challenging him to go fight, and Bob said, 'Okay'. And I didn't hear anything else about it! "Axl's real critical of himself, and his anger seems to propel him in a lotta ways. That song 'Get In The Ring', I really love a lot of the lyrics just cos they're really aggressive. Axl played guitar on that track as well, that was the first time I saw him play electric guitar, and he did pretty well. I was digging it cos it was good punk energy. But with all the names at the end I was thinking, shit! I wouldn't have slagged people off on my record." - Izzy's Record, his first since quitting Guns N' Roses, is titled 'Ju Ju Hounds' and is as cool a rock 'n' roll record as anyone has made in the last 10 years. Like The Black Crows', Izzy's music is simple, intuitive, soulful. Both he and the Crowes have covered reggae standards, but where the latter play a lot of blues, Izzy's more of a punk. Axl calls 'Ju Ju Hounds' "Izzy's Keith Richards thing", which is as good a description as any. Izzy's LP has the same lazy charm as Keef's 'Talk Is Cheap'. "I read what Axl said," nods Izzy. "I think Keith Richards is great, but I don't think he has any songs that play as fast as 'Pressure Drop' (Izzy's souped-up cover of the Toots and The Maytals classic, also recorded by The Clash). I wish he would - It'd be great to hear him do that. "I called Keith last week; he was in the studio. I'm gonna try and hook up with him in New York sometime. There's a part of me that wants to take a tape of my record along and play it for him, and there's another part that's going, 'Fuck it, I'll just say hi and listen to his record'." Izzy's such a big Stones fan, there's still disbelief in his voice when he speaks of his friendship with Keef and fellow Stone Ron Wood, who guested on 'Ju Ju Hounds'. "We got together with Woody in LA. We did an old song of his called 'Take A Look At The Guy'." - A Stones CD plays as Izzy talks. The album is 'Black And Blue', one of the Stones' most laid back and most underrated works, featuring classic heartbreakers 'Fool To Cry' and 'Memory Motel'. plus the reggae number 'Cherry Oh Baby', covered by UB40. "I got into reggae partly through the Stones," says Izzy. "I guess it just bled over from stuff like 'Black And Blue' - it's killer. The thing I love about reggae is that it's not technical music where things are perfect; it's very freeform, just a groove. You can lay on a beach or a couch and just absorb it It slows down your heartbeat too, those drum beats and the slow pulse of the bass. It's like a tranquilizer. " 'Pressure Drop' is in this great movie called 'The Harder They Come', starring Jimmy Cliff as a ghetto kid who goes big time with guns; he shoots his way to the top. It's really cool. "There's an energy about 'Pressure Drop' that I love, the rock-steady rhythm. It's very loose, but at the same time it gets the point across." - Guesting on 'Pressure Drop' and on 'Can't Hear 'Em' (a reggae number of Stradlin's which features on the 'Pressure Drop' EP released this week, a month before the LP) is reggae star Mikey Dread, who worked with The Clash on their 'Sandinista' LP. Izzy met Mikey through bassist Jimmy 'Two Fingers' Ashhurst. "Jimmy saw Mikey play in Chicago and got hold of him the next morning. It turned out he was in the hotel right across the street from the studio we were using. We were just gonna do one song dub, but we ended up recording four songs with Mikey, for him. Jimmy and I played bass and guitar on them. Mikey did his rap thing on 'Can't Hear 'Em' and I think he sang some backups on 'Pressure Drop'. His guitar player did a reggae rhythm, real quiet, just a plunky, straight-through thing." Was Mikey surprised that a former member of GN'R loves and can play reggae? "I don't know but it was a trip working with those guys. Mikey had worked with The Clash before, so he must've been familiar with our style." So he didn't think that the way you speeded up 'Pressure Drop' was sacrilegious? Izzy smiles, "His first comment was, 'Y'know, man, this was a big hit in England'. I'm supposed to look him up when I get to New York. He's gonna take us to some place to get us some suits made - they do 'em overnight." - The whole of the 'Pressure Drop' EP has a raw feel evocative of Guns N' Roses' debut EP 'Live Like A Suicide'. 'Came Unglued' is as fast and lean as the obscure GN'R tune 'Shadow Of Your Love', while 'Been A Fix' has the hangdog vocals and fuck-off riff of late '70s Stones (it's also reminiscent of Aerosmith's 'I Wanna Know Why'). "Basically, I just wanted to get back to what really gets me off, just a basic rock 'n' roll band, a couple guitars, drums and bass. Simple. "The album's better, I would think, it's more mixed. The EP's just got three slammers on it, and a reggae song. The album's got a couple of acoustic songs, a coupla slammers, some basic rock tunes and one reggae song too. "The title of the LP came by accident in the studio. I was singing a backing track to something, and when I played it back it sounded like I said, 'Ju ju hound'. It doesn't mean much really." - Before Izzy began recording his album and EP, his name was linked with The Black Crowes, who at the time had not announced a replacement for Jeff Cease. So was he offered the gig? "I don't think so," Izzy shrugs. "When I left LA after I split from GN'R, I went on a road trip to New Orleans. From there I called my brother and he told me I'd got a fax from Rich in The Black Crowes. I had no idea their guitar player had split. "I stopped by Rich's home and he said, 'Maybe we should get together and write some songs'. I said, 'Let me take my stuff back to Indiana and get my house in order'. I love The Black Crowes, but because it was immediately after GN'R, I don't think I was ready to make any quick moves. I thought I'd just go and ride trials for a while. "I just wasn't interested in playing guitar at that time. I don't think I touched a guitar for about a month. I was getting off on riding, but, it got cold, Winter came, and I was sitting in a room with a guitar in the corner and it's like, 'C'mon, play me'! Once I started playing again I thought, this is the one thing that seems to make sense. "I started putting a band together in January. I was sitting in Indiana thinking, fuck, man, how do I find musicians? I couldn't just run an ad in the local trade paper. You wanna find somebody you can relate to, and the guys I got are all seasoned, proven. "I hooked up with Jimmy in LA. I'd known him for years, when he was in The Broken Homes. Once we'd got a drummer, Charlie Quintana, we'd recorded these basic tracks, so I asked Jimmy what Rick Richards from the Georgia Satellites was doing. Jimmy told me the Satellites broke up. This is how outta touch I am! "Rick's playing is so natural. I'll just throw out a coupla chords and he'll bounce stuff of it. He knows how to make it work." - Album and EP feature a number of guest musicians, including backing singers the Waters Sisters, who lift the chorus of 'Can't Hear 'Em' in much the same way that the I-Threes sweeten classic Bob Marley tracks like 'Could You Be Loved'. Barbara and Joy Richardson do likewise on The Black Crowes' 'The Southern Harmony And Musical Companion'. "The Water Sisters did 'Knockin' On Heaven's Door' for GN'R. Man, they can sing," Izzy adds with a smile, "but I can't see us going out on tour like that. I think we'll keep it real simple." Izzy's keeping everything simple these days. Guns N' Roses are no longer The Most Dangerous Band In The World, but they'll never be free of the controversy and all that bullshit. Stradlin' is, and he's happier for it. Simply, he's happy just to be back playing rock 'n' roll. It's all he ever wanted to do anyway.

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sassqueenblake · 5 years

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Hey... New follower (I know you from AO3, I believe!) I saw your posts of frustration. All I can say is that I hope they pair down the plot lines next season... this is what happens when there are too many things going on... Also, I think the anomaly uploaded shadeheda... and O is SO Hope's god mother (even if she hasn't seen her since she was a kid...) bc the way she looked at her...

Hello, lovely! And thank you for following me! I appreciate every single one of my followers so much.

In regards to the finale, I had time today to go back and rewatch it in its entirety, and I am not as mad about it as I was last night. Tbh, I think half of my frustration was with the glitchy site I was dealing with. Yes, it jumped around--A LOT. Yes, I still need answers-- to EVERYTHING.

I agree completely that there were too many plot devices being implemented into this entire season, but especially this episode. It felt like they tried to shove 3 eps worth of plot into 45 minutes of screen time, and it was utter chaos. The Primes and Madi should have been the only things we were dealing with. I wish we could have gotten a separate episode to fully deal with Sheidheda and the Anomaly because there was just... too much happening all at once. It honestly felt like Jason took Scotch tape and paste and tried to make an episode complete with those two items. It just didn't fit together or work at all.

I have my own theory regarding Sheidheda and where he went... Well, there are two options that I am currently entertaining.

The first is the obvious conclusion that Sheidheda uploaded himself onto the Eligius ship. However, I feel that if that were what happened, Clarke and Co wouldn't have been able to escape the ship and return to Sanctum as easily as it is portrayed in 6x13. So, I personally am not a big believer of that theory.

The theory I am currently running with is that a certain Prime that survived 6x13, has a chip in his head, and is bent on revenge was able to access a computer or control panel of some kind and upload Sheidheda into his Mind Drive. Why? Well, I'm so glad you asked. First, Madi/Sheidheda's speech about revenge could not have been just for kicks. There is a purpose behind every single thing on this show, and I feel that that scene was no exception. Second, Russell is not seen after Madi takes back control of her body. Yes, he is taken prisoner by Wonkru and would likely be in very confined quarters under their custody. However, Russell has proven that he is a sneaky little thing, so I'm not putting it past him. Third, Russell was an explorer on an Eligius ship. Sure, it has been centuries since they landed on Sanctum, but even Simone remembered where the Mind Wipe Fluid needed to go based off of their own Eligius ship. Therefore, I don't put it past Russell to use his knowledge of Eligius schematics to find a power grid, computer, security panel, etc. to upload Sheidhea into his brain. We never got closure with (anything really, but) Russell in particular. His character is still in writer limbo atm now that we are in hiatus. We left him at a point where revenge was his goal, his main objective and core desire. He isn't going to go peacefully when Clarke(to his knowledge, it was actually Gabriel that killed Josie) killed his entire family. I don't think we've seen anywhere near the last of him.

*deep breath* Octavia. So.... I agree that she and Hope are very close. It was intriguing how her memory from her time inside the anomaly/in the Other Realm came back once the anomaly opened again. She knew immediately what hope was referring to in regards to Hope not being "able to save her [Diyoza]". She even says, "Tell them it is done." Octavia knows whatever is going on in Hope's World, no questions asked. I am anxious to see what happened to Octavia. I'm not fearful for her life at this point, but I also haven't read any specs about s7 yet.

This is my first shout into the void regarding my own s7 specs, so I'm interested to hear anyone's thoughts! Again, thank you @kt-anansi for the new follow! ❤

As Bob says...

Be well, be kind.

#em answers #the 100 spoilers #the 100 6x13 #the 100 s7 #the 100 specs #the 100 s7 spec #the 100 theory #the 100 cw

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renee-walker · 6 years

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Yet another super incomplete, entirely incoherent, and most definitely not chronological list of my thoughts, this time on Stranger Things 2 eps 4-7

I will never be over my feelings about Joyce Byers and her love for her children. Obviously Will is the focus at this point, but omg the raw ferocity of her love and concern just leaps out of my tv and murders my mom heart. And wow, I could do this in every ep, but the most major shoutout to Winona Ryder’s acting chops. She never overdoes it for a second, which I think is a feat when she constantly has to convey so much desperation and terror. Amazing.

ALSO. Noah Schnapp, holy shit. I mean we didn’t honestly get to see hardly any of him in the first season, but wow I will never stop yammering about what a great job this show did in choosing the kids who make up the main cast. There’s not a weak link, and the scene where Will tells Joyce that the monster/shape/what the fuck ever that thing is got him pretty much broke me.

Ew, Dustin’s bizarre affection for his slug toy turns out predictably badly, but how awesome is it that by pure serendipity, he winds up with Steve? The second they got in the car together, S says, “I love the way this show always sticks together the characters you wouldn’t really expect to hang out,” and YEP, he is so right. And I mean, can we talk about Steve’s face when he asks Dustin how he knows it’s not a lizard and Dustin’s like, “I know because it’s face opened up and it ate my cat.” STEVE’S FACE. Just like, “Okay, fair.” I am die.

Tbh I really don’t see the point of Max’s brother. He’s a dick and apparently a giant racist and I guess he could be there just so Max can have that heart to heart with Lucas on the bus but idk. I just really don’t find anything about him interesting or compelling and I’m super confused as to why he’s always so goddamn shiny. Also did I just hang with the wrong crowd in the ‘80s or did all parents just let their kids sit around in their living rooms, smoking and drinking beer while lifting weights? I didn’t know any of these parents, but my best friend’s mom did let us have wine coolers when we were 13 so clearly I was a giant fucking rebel.

Hopper and El’s fight sucked a whole lot of ass, and although I love Hopper, I seriously wanted to hit him myself when he called her a brat. Yes Jim, I get that you have manpain AND I LOVE YOU but holy fuck this is a traumatized child who’s entirely isolated from the world. I don’t blame her for taking off.

And then of course we have another episode of Poor Life Choices With Jim Hopper, in which he decides the best idea ever is to dig into the upside down all by himself, without telling anyone what he’s doing or where he is, and that’s bound to turn out super great, RIGHT? Spoiler alert: It does not turn out super great. I still freaked when the vines got him, ngl.

Omg, Bob. I know what’s going to happen to him and I hate it so much I can’t deal. HE’S SO FUCKING CUTE. And as @faith5by5-1013 said in a comment on my last post, I just love that there’s no love triangle bullshit here. Like Hopper is (more or less) happy for Joyce and Bob and Bob accepts Joyce’s history with Hopper and it’s just refreshing is all. ANYWAY Bob breaks me because of course he figures out the map since he’s Bob the Brain and his ridiculously adorable instant acceptance of all this wild fuckery is the stuff that dreams are made of. Get yourself a guy like Bob Newby, is all I’m trying to say.

The entirety of everything with El and her mom was just well, the worst. I’d assumed that Brenner had done something like electroshock on Terry, but assuming and watching are two different things. And for fuck’s sake, Eleven is a CHILD, which I think is something that’s very easy to forget with Millie Bobby Brown’s precociousness and her wild acting skills. Watching Eleven pretty much relive her mother’s horror is the worst, and it only makes Eleven’s eventual choice NOT to kill Otis (oops wrong show, lmao) even more meaningful and poignant.

Erica Sinclair is everything. The end.

MAJOR ASIDE. I could not get over the gajillion ways in which this show is using Paul Reiser’s character to remind any viewer familiar with Aliens of that movie. I mean, shit. He repeats phrases that are almost verbatim dialogue from Aliens, there’s the motion tracker stuff when the demodogs attack the ambushed lab dudes, there’s the “Stay frosty.” Yeah, Aliens was 1986 and this is supposedly 1984, but nobody can convince me that all this wasn’t intentional. That said, I’m starting to have the feeling that Dr. Owens isn’t going to turn out to be as awful as Carter Burke.

I used to use Faberge. Like, I was DYING.

SO, both my kids pretty much hated ep 7, and while it certainly isn’t my favorite of the eps I’ve seen so far, I really appreciated a number of things about it.

Like, I never stop thinking about the fact that Eleven has spent her entire life in a lab. Her face when she sees the city lights at night is just everything. There are so many aspects of life this child has never had the chance to touch, and it makes me hurty inside just thinking about it.

I do think the ep was too long, but whatever, this isn’t the kind of issue I’m gonna be mad about. Since the beginning of the season, the show has been riffing on what could possibly be “home” for El. This ep is so important if only because it answers that question for her in a deep and final way. Kali’s gang was honestly pretty dull and I didn’t give much of a shit about them, but I did give a lot of shits about El finally answering some very specific questions about her past and learning to make her own choices with this new information.

Look, one of my greatest fictional kinks ever is That Person Who Chooses To Be A Wonderul And Good Person Even Though Every Single Thing In Their Life Suggests They Should Absolutely Be An Axe Murderer. And of course El is exactly that. There’s nothing in her past that should make her choose mercy, but when it counts, that’s exactly what she does. And I could not love her more.

Also lbr. I pretty much died when she figured out that Mike, Hopper, and everyone else were in danger and was just like, peace out motherfuckers, I gotta save my friends and family. Not all heroes wear capes. Some of them wear a lot of eyeliner and hair gel:)

Final thoughts: I’m super surprised they waited this long to reunite El and Mike. I really do not want to watch Bob Newby die. I’m glad Jonathan and Nancy are together but I still find my interest waning whenever they’re the focus. Omg WHY AM I LOVING STEVE HARRINGTON?

#stranger things #stranger things 2 #stranger things spoilers #eep i can’t cut this because mobile #sorry!

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lynchgirl90 · 7 years

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Ep. 8 Of #TwinPeaks Is David Lynch's Purest Marriage Of Television And Video Art

Adam Lehrer , CONTRIBUTOR

It’s hard to describe how inestimable an impact David Lynch had over me when I first saw Mulholland Drive as a 14-year-old. Something I’ve been discussing with fellow artist friends of mine is the fact that the art that changed our lives the most and still carries the most weight over our own sensibilities is the art that we were exposed to very young, maybe even too young to fully understand what it is exactly that you’re viewing. I developed a taste for disturbing aesthetics at a very young age; when I was about five or six-years-old, my cinephile father would have “movie nights with dad” when my mom would go out with her girlfriends, and he would let my brother and I watch watch Ridley Scott’s Alien, James Cameron’s Terminator, and/or Paul Verhoeven’s Robocop when I still should have been reading children’s books (and boy am I thankful for that).

That early exposure to art, whether it be John Carpenter films, or Brian DePalma films, or Bret Easton Ellis novels, or my favorite music (Wu Tang, Lou Reed, or Marilyn Manson), is still the art that I think about and gravitate back towards even after decades of being exposed to just about everything contemporary art, cinema, literature, poetry, and popular music has to offer. But watching Lynch’s Mulholland Drive for the first time feels like a monumental point of epiphany in my life. A point where I thought to myself, “Maybe I want to create stuff when I grow up.” I had no idea what Mulholland Drive’s fractured plot meant, but its images left me confounded, and fascinated. I loved the dreamy, hallucinatory Los Angeles Neo-noir stylizations of its setting. I had never felt more terrified than when I first glimpsed that monster lurking behind the Winkie’s diner.

That film made me blissfully aware that cinema and art could be a simultaneously erotic, horrific, and thrilling experience. I knew how powerful art could be, but Mulholland Drive gave me my first taste of the sublime. Since then, I’ve been a David Lynch fanatic. I’ve watched all of his earlier films, binge watched Twin Peaks over and over (finding myself asking new questions each time), wrote college essays on Eraserhead and David Foster Wallace’s article that documented Lynch’s process on the set of Lost Highway, have searched out all his early forays into video art, have found merits in his more oft-overlooked output in advertising (his 2009 commercial for Dior is Lynch at his funniest), and have read countless analyses on the man himself and his cinematic language.

So, when you read what I’m about to say, know that I do so with much hesitance, consideration, and ponderousness: the eighth episode of Twin Peaks: The Return is the piece of filmmaking that Lynch has been building towards for his entire career. It is a singular cinematic and artistic achievement, and the purest distillation of the multitude of ideas and concepts that live and breathe in the Lynchian universe. I believe that years from now we will be looking upon this single episode as one of, if not the single most, defining artistic achievements of Lynch’s unimpeachable career. Bare with me.

Aesthetically, episode 8 would leave a powerful impression on even the most half-hazard of David Lynch converts. A hallucinatory, nightmarishly kaleidoscopic consortium of images of blood, flames, fluids, and demonic figures spews towards the viewer while Krystof Pendrecki’s tortuously atmospheric soundscapes underline the episode’s inescapable atmosphere of existential dread. Episode 8 is an hour long work of experimental video art, no doubt. But if you have been paying attention to this season of Twin Peaks and you know enough about the mythology of the show and know even more about Lynch’s artistic interests and visual touchstones, then you know that this episode was no mere act of meaningless artistic overindulgence. In fact, this was Lynch telling the origin story that set the entire series of Twin Peaks into place.

This was the origin story of BOB, the demonic force that forced Leland Palmer to rape his daughter for years and eventually murder her in Twin Peaks’ initial 1990s run. BOB, we learn in episode 8, was forged from the the United States' earliest forays into nuclear bomb testing. BOB was already the perfect metaphor for mankind’s capacity for cruelty, depravity and evil, and becomes an even more powerful metaphor now that we know his nuclear genesis. Any Lynchian fanatic will rave to you how delicious this notion is. What David Lynch has done, and in many ways has always been trying to do, is to create a piece of pure atmospheric video art that also works as a classic piece of narrative storytelling. In this episode, Lynch has perfectly located a zone in which vague and aesthetically menacing imagery also serve as clear and precise storytelling and, like the best cinema and storytelling, illustrates a metaphor for modern human existence. While Eraserhead, Mulholland Drive and Inland Empire, Lost Highway and Blue Velvet utilize video art aesthetics, they are also pieces of storytelling with easily identifiable stories if you look for them (well, maybe not Inland Empire). Episode 8 of the return of Twin Peaks is a mostly dialog-less piece of distorted, haunting images. It is art. But it also still tells a story. The story of a television series no less! This is all the more impressive in that television as a storytelling medium is the most reliant on expository dialog and over-crammed storyboarding.

David Lynch pays heed to the form while mainly utilizing the language of pure image. Who needs a script, and who needs dialog, when you can see that delectably menacing, fascinating and torturous world of Twin Peaks from inside the actual head of David Lynch? Episode 8 was the truest portal to the imagination of Lynch that has yet been put to screen.

I’m sure there are more casual David Lynch fans that are growing impatient with the restrained, at times glacial pace of this new season of Twin Peaks. I however have understood what he’s been doing this whole time. He hasn’t just been making a television season, he has been commenting on the current importance of television in our culture. Television has replaced cinema at the heart of cultural conversation for many reasons. Partly, this has been a result of the groundbreaking work that has been done in television over the last two decades: Twin Peaks, The Sopranos, Mad Men, The Wire, and more recently, The Leftovers have all expanded the possibilities of what people believe can be done with the form. There are also financial concerns: as major film studios continue to spend their whole wads on sure thing blockbuster action and superhero films, auteur filmmakers have had harder times getting their films properly funded. Cable and streaming television services like HBO or Amazon however have the means to give filmmakers the funds they need to realize a vision, and indie filmmakers have resultantly flocked towards the small screen.

Television’s prevalence has had connotations both positive and negative on culture. The negative, in my opinion, stems from its causing people to no longer be able to get lost in a pure, imagistic cinematic experience. Even the best shows are still mainly concerned with story and dialog, whereas cinema is about mood, atmosphere, and aesthetics. When Twin Peaks premiered in 1990, Lynch and co-creator Mark Frost (a television veteran) were very much interested in marrying the Lynchian world with the conventional tropes of television: serial drama, mystery, and even soap opera. Throughout its first season, it worked beautifully. Both Lynch aficionado cinephiles and mainstream television viewers alike were captivated, and the series was one of the year’s top-rated. But after the second season revealed Laura Palmer’s killer to be her demonic entity-inhabited father Leland far too early during its run, Lynch’s boredom with the constraints of television grew apparent. The show starts to feel like a standard nineties television show, albeit one with a quirky plot and wildly eccentric characters. Lynch mostly dropped primary showrunner duties to focus on his film Wild at Heart only to come back for Twin Peaks’ stunner of a series finale, when the show’s protagonist FBI Agent Dale Cooper travels to the mystical red velvet draped alternate universe of the Black Lodge, and eventually becomes trapped inside that Lynchian hellscape while his body is replaced with a doppelgänger inhabited by the demonic entity Killer BOB and set out into the world.

In the Black Lodge, Laura Palmer tells Cooper that she’ll see him in 25 years, and that's exactly where Twin Peaks: the Return starts off. It was apparent from the premiere episode of this new season of Twin Peaks that Lynch is benefitting from a new TV landscape in which Showtimes has awarded him full creative control over his product, and he’s directing all 16 episodes of this new season. Also, it’s quite obvious that the technological advancements over the last two decades have enabled Lynch to fulfill the fullest extent of his vision. Twin Peaks: The Return is a much purer marriage between narrative driven television melodrama and Lynch’s hallucinatory experimental video cinematic language. That first episode barely spends any time in Twin Peaks, but spends plenty of time with Cooper in The Lodge. There are some truly unforgettable images in that first episode: a demonic entity appears out of thin air in a cylindrical orb and viciously attacks a young couple having sex, a woman’s corpse is found on a hotel bed with most of her head missing, and who can forget Matthew Lilard, perhaps the newest victim to be inhabited by Killer BOB, in a jail cell accused of murder while Lynch moves the camera from cell to cell until we see the horrifying silhouette of BOB himself in high contrast red and black ghoulishly smiling? But at the same time, Lynch is able to move the plot forward in ways that should be familiar to all television viewers; through procedure, dialog, and plot device. Lynch is still working within the confines of television, but has peppered the narrative scenes with unforgettable imagery. It’s been almost as if he’s been subtly preparing us, the viewers, to not just respond to what we normally respond to in television: story, story, and story and dialog, dialog, and dialog. And to slowly reacquaint us with the thrilling experience that can be derived from watching a set of shocking, beautiful, erotic and terrifying images move along in a sequence on a screen.

And episode 8 of this new series is the pinnacle of this new body of work, and very possibly of Lynch’s career at large. The episode begins similarly enough, with evil Cooper escaping from jail only for his escape driver to attempt to murder him out in the woods. And that is when Lynch kicks it into overdrive. As evil Cooper’s body is bleeding out, a group of dirtied and horrific men called 'The Woodsmen' start picking over his body and smearing themselves in his blood, with Killer BOB himself appearing and apparently resuscitating Cooper’s lifeless body. And then, Lynch proceeds to tell BOB’s, and quite possibly Laura’s, origin stories through a 45-minute nightmarish experimental video art piece. The NY Times has called this episode “David Lynch emptying out his subconscious unabated.” That is totally accurate, and there has never been and most likely never will be an episode of television like this ever again. This episode was video art, but it was also still television, and it also served as a piece of and critique of cinematic and television languages. Allow me to explain.

Episode 8 functions in a way similar to that of the video art of Janie Geiser. Without any knowledge of the world of Twin Peaks or the themes of the Lynchian universe, one could admire this piece similarly to how they would admire the experimental video art of Janie Geiser, and in particular Episode 8 recalls Geiser’s film The Fourth Watch in which the artist superimposed horror film stills within the setting of an antique doll house. Episode 8 uses that same nightmare logic, but empowers it with the budget of a major Cable series. There are also similarities to scenes in Jonathan Glazer’s brilliant Under the Skin when the alien portrayed by Scarlet Johannson devours her male prey in a grotesque nether realm. And perhaps its greatest antecedent is Kubrick’s Big Bang sequence in 2001: A Spade Oydyssey, and in many ways Episode 8 is the hellish inverse of that epic sequence. Like the Big Bang, episode 8 tells an origin story of a world created by an explosion, but instead of a galactic explosion, Killer BOB and his world of evil were born of a nuclear explosion. Brilliantly, Lynch believes that Killer BOB was birthed by man made horrors, going back to something FBA Agent Albert Rosenfield said in the original series about BOB being a “manifestation of the evil men do.” Indeed, in Episode 8 Lynch brings us inside an atomic mushroom cloud set off during the first nuclear bomb test explosion in White Sands, New Mexico in 1945. As the camera enters the chaos and giving view to one horrid abstraction of flames and matter after another, we eventually see a humanoid creature floating in the distance. The humanoid eventually shoots tiny particles of matter out of a phallic attachment. One of those particles carries the face of none other than Killer BOB. The imagery is clear in its meaning: once humans created technology that could kill of its own planet, a new kind of evil had emerged into the world. Killer BOB is that evil imagined as a singular demonic entity.

But enough about the content, or the plot of the episode. There have already been plenty of recaps documenting its various thrilling enigmas: The Giant seemingly manifesting Laura’s spirit as a mutant bug that crawled into a young girl’s mouth via her bedroom window, or the horrific drifter walking around asking people for a light before he crushed their skulls with his bare hands and delivered a terrifying and poetic sermon over a radio airwave, or the impromptu Nine Inch Nails performance that preceded the madness. What is more important to note is the fact that there is a strong case to be made arguing that this episode was the pinnacle of all that David Lynch has ever tried to achieve. Lynch has always been a kind of pop artist. He comes from a background in abstract painting and sculpture, but he also has a deep and profound love for cinema that eventually influenced him to sit in a director’s chair. All kinds of cinema, from the kind of abstract cinematic geniuses you’d expect like Werner Herzog and Federico Fellini, to rigorously formalist filmmakers like Billy Wilder. From Eraserhead on, Lynch has tried to marry the formal conventions of cinema (plot, narrative, tension, juxtaposition, conclusion, etc..) with abstract and surrealist contemporary art. Twin Peaks was initially birthed of his interest in marrying conventional TV tropes, like soap opera and mystery, with that sense of terror art that he got famous for. But nevertheless, the constrictions of TV in the early nineties exhausted, and eventually bored, Lynch and he moved on. But now, he has been able to bend the conventions of television at will in this new season of Twin Peaks, and episode 8 was when he blew them up entirely. This hour of TV finds him drawing on all of his cinematic language and themes, from the surrealist ethos of his subconscious dream logic to origins of evil to the concept of dual identity (as this episode alludes too, Bob and Laura might be each other’s opposites, two side of one coin, if you will), while still working as a plot building episode within a contained, albeit sprawling, television narrative. There is no doubt that this episode will make the broad and at times confusing plot of the new season of Twin Peaks come into focus as it continues.

It was also the most mind-blowing cinematic experience I’ve had in years. And I watch everything. By successfully pulling off this episode, Lynch has also reminded viewers of the overwhelming potency that cinema and moving images can have that other mediums just don’t come close to. There is a lot of great stuff on TV right now, and one could even argue that something like Damon Lindelof’s The Leftovers had some jaw-dropping moments of pure cinema. But after watching Episode 8 of Twin Peaks: The Return, even the best shows feel like hour long scenes of conversation between people without much cinematic impact (on his podcast, American Psycho author and famed cinephile Bret Easton Ellis argues that television can’t do what cinema does visually because the writer is the one in charge, not the director, but that’s for another think-piece). Episode 8 is a reminder of the power of cinema, art and images. But it also still works as plot device for the over-arching narrative of the show. More than ever before, Lynch has pulled off a piece of work that indulges his wildest artistic dreams while still paying heed to the kind of formalism that television production necessitates. I don’t know about you, but when Twin Peaks: The Return returns for its second round of its 18 episode run this Saturday, I can’t wait to see what Lynch does next. We are witnessing something that will be written about by art historians as much as it will be by academics of pop culture. This is thrilling.

Link (TP)

#Twin Peaks #David Lynch #Mark Frost #Forbes

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lvlsrvryhigh · 7 years

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LVLSRVRYHI-052: Miracles

Introductions first: for anyone who doesn't know, who are you / where are you from? I’m Stewart. I produce and DJ under the name Miracles. I’m from Los Angeles and currently live in Brooklyn.

How did you get started making music and getting into DJing? Is there a defining memory which cemented your interest? I started making music at an early age when I was taking piano lessons, around 8 years old. A few years later when one of my sisters started college she introduced me to a lot of interesting, mostly electronic music. I remember listening to Bjork when I was in junior high and thinking that electronic music was definitely something I wanted to be a part of. I felt that she was really pushing and experimenting with sounds in a way that I had never heard before. I’ve always been into dance music, but it’s only over the past couple of years that I have been seriously producing and djing. I think something clicked in me once I realized that club music was becoming a lot more globally influenced and multi-genre.

The bio on your website talks about your interest in mixing both experimental and more familiar musical traits; how would you say that interest is represented in your approach as a DJ / producer? It’s important for me to explore new sonic territory, but also keep things relatable. I like to balance the new and unfamiliar with songs or elements of songs that I grew up listening to. For me, this type of mixing makes the forward thinking tracks a bit easier to understand and get into. In terms of producing my own music, it’s easy for me to get lost in my own world. So there comes a point where I have to step back and think about how I can simplify or incorporate some more recognizable elements to make a track more accessible.

The first time I came across your music was when I found a pack of edits and blends you'd put out. You seem to have this insatiable appetite for those - since then there's been two more with a third on the way. What's your process like for creating an edit? Do you see it as a way of putting your own mark on existing tracks? I started making them as a way to make my DJ sets and mixes feel more personal and engaging. I like re-contextualizing pop acapellas by pairing them with underground tracks and beats. The idea isn’t new, but I think these edits or blends or whatever you want to call them give my mixes a certain character.

Having made the move from LA to Brooklyn in New York, does each place hold its own musical context or set of sonic influences for you? Honestly I don’t really pay much attention to where a track comes from most of the time. I think it’s because of file sharing, Soundcloud, etc. It’s all just a melting pot, especially underground club music today. I mean obviously there are genres that were born and are rooted in specific parts of the world, but for me it’s about stripping the context away and creating something that exists in a sort-of fabricated space.

You seem to have made a lot of ties to the underground club scene since moving to NY, playing on the #KUNQ Lot show and the BETA show with Copout, as well as playing shows alongside the Loveless records crew. There are so many facets at play within the city, has the diversity of the community there had an impact on you at all? I’ve been in NYC for a while, over 8 years now. But since I’ve only recently returned to producing and djing, I still feel like I’m new to the ‘scene’ especially because I didn’t really go out or party that much when I was younger. I’ve definitely met some cool people that share similar tastes and have connected me to other important artists. I am also glad to see how diverse the underground club scene has become, generally speaking, and how inclusive and supportive the community has been.

You've referred to your Exile EP as being inspired by the Myst / Riven series of adventure games, "but if myst was like reimagined as some type of underground club". I don't have the most experience with them (generally just got lost and confused half the time), but my image of Myst is one of intricate landscapes and obstacles set in the midst of a seemingly endless wide expanse of fog which makes the game-world feel impossibly huge. What do those games mean to you and how do you see them being reflected in the music on the EP? Did you have a certain sense of place in mind when you were producing the tracks? Yeah I learned to love those games as a kid, my whole family was really into them. I remember gathering around the computer and trying to solve all the puzzles while exploring these massive mysterious worlds. I was too scared to play alone! The unsettling soundtrack, and the potential of a creepy animal or person popping out of nowhere was too much for me to handle by myself, haha. But yeah I think those games stuck with me, I feel like the music I like to listen to and create are inspired by this type of artificial environment. Although a human element is definitely necessary when I’m writing or mixing - something to bring the tracks back to reality u know.

Did you set out with a particular idea for the mix? Where and how did you record it? I’ve been really into these tracks around 100bpm that are sparse and very drum heavy. The DJ JM, Girl Unit, and MM tracks in the mix were definitely starting points, even though they almost act like interludes between the tracks with vocals. I like the simplicity of them - each sound has a clear, audible purpose. They have an essential nature about them that I really like, and they translate very well in a live setting. The mobilegirl track was a great starting point - one of the most impactful takes on a pop vocal I’ve come across lately. I also can’t get away from pitch matching when I’m not mixing live on cdjs. So this mix was recorded in Traktor with a lot of subtle pitch shifting involved. I usually do a lot of prep work so I can record mixes in one take. I then used Ableton to add some vocal samples from a ‘Porsha For Real’ podcast that I sprinkled throughout the mix.

What do you have planned for the rest of the year? My boyfriend and I planned a trip to Iceland in the Fall. It will be my second time there and his fifth. I’m not sure I can say anything that people haven’t said or heard before about Iceland other than it’s just really inspiring. Music-wise I have a couple of EPs I’m wrapping up. Looking to release at least one of them before the end of the year if all goes well. Also looking to release the fifth volume of edits/blends soon.

If you had to pick something for people to listen to immediately after this mix what would it be? I wanted to include this song in the mix, but it didn’t make the cut. It’s been on repeat for a while now, very smooth with just the right amount of cheese factor.

youtube

Also if I’m being selfish I would say my mix for Martha on her Radar Radio. I feel like this LVLS mix is the follow up for that one. Both mixes were conceived around the same time.

TRACKLIST: Shamana - Obeying Traffic Laws in GTA Mobilegirl - Heartbreak Slew Yung L - Red Rose Aasco X Joka - Volkan Modulaw - Work Miracles - Susurro Orlando - Cyaa Done DJ JM - Girl Calls a Cab Aaliyah X Brackles - Try Again Riddim (Miracles Blend) P-Lo - Noticed Akron X v1984 - You Already Know Too Much (Miracles Blend) Lava Dome - Rhyolite King Doudou - Pastillas Pa La Samuelspaniel - Namba (Bob 3fix) Ycee - Juice Girl Unit - ??? Lordholani - Need Your Body (Recluse Remix) Hitmakerchinx - I am a God Problem X Trey Songz - Still A G (Miracles Edit) Kelly Rowland X DJC - Dumb Riddim (Miracles Edit) Iamsu! X MM - Shake Riddim (Miracles Edit) Bad Gyal & Dubbel Dutch - Jacaranda Arca - Else (Galtier Reconstruct) Hitmakerchinx - Fear Dem Destiny's Child X Kingdom - Buggaboo Tears (Miracles Blend) Ynfynyt Scroll + NAR - Devil's Breath Leonce X DJ Nervoso - Ah Ah Flute (Miracles Blend) Future - March Madness (Blastah Remix) Ramriddlz - Sweeterman (Dick-a-ting Remix) Branko - Lost Arps Dawn - Break Me

#Miracles #the levels are very high #mix series #interview #words #trax couture

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you-andthebottlemen · 7 years

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31 - Van’s POV

“Request: Hiya, can you do one about a fan who's obsessed with them going to see them live and van keeps smiling at the reader and makes eye contact throughout the gig. Then afterwards he goes up to her and hugs her and fancies her then they end up going back to his or something like that. Thank you:)”

If this is not quite what you were after I have written a fic about Van falling for a fan before, link here.

Also, @storiesaboutvan has written this amazing fic about Van inviting a fan on tour and this one about Van making eye contact throughout a show and fancying her. Check out her fic index for more!

This was written while I was still quite unwell post-surgery. So I’m not 100% happy with the quality of it. Apologies :/ Just wanted to get something out there as it was requested ages ago. Thank you <3 (((Edit: reading this back months later and it’s now one of my favourites!)

****************

My mind was racing a million miles an hour; it wasn’t nerves or any of that, it was pure excitement. I was completely bouncing off the walls.

“Tonight’s gonna be special, I can feel it mate,” I grinned, nodding my head at Larry who was standing next to me. I was leaning against the wall outside the back of the venue, smoking a ciggie. I passed it over to him and he took a long drag. We were starting to share packs to save money where we could.

“What makes you think that?” He asked, passing the smoke back to me.

“I just have this mad feeling, you know?”

I squashed the ciggie under my boot and went back inside with Larry for soundcheck. The venue wasn’t big by any means, but it was a venue none the less and a lot nicer than where we’d been playing previously. We even had a proper van on this tour, not just the shitty one Dad used to drive. The stage was out the back of a pub, in a separate room meaning we’d have an actual mosh pit goin’. Hopefully.

After soundcheck, I watched from the upstairs window as the venue began to fill up, people filing through the door from all directions. I couldn’t believe all these people were here to see us scruffy lads from Llandudno. Mental.

I had this surreal, dazed feeling; it felt like a dream. As I walked onto the small stage, my eyes instantly snapped to a girl at the front, standing just off to the side.

She wore a t-shirt with our name sprawled across the front; it was the first time I’d seen someone in our merch before the show rather than after when I’d convinced them to buy one. I smiled at her wide and she grinned back at me. I knew tonight would be good and this proved it. I glanced over at Larry and nodded towards the girl and her shirt, he shook his fist in the air triumphantly, smiling. Even just seeing that gave me a crazy load of confidence, we had fans.

The room was a good two-thirds full, people seemed genuinely excited to see us. As we launched into Fallout, people bounced, some even singing the words back to us. There was no feeling that could ever match this, it was pure madness and I was totally in love with it. If it was like this now, imagine when we got an album out? My eyes flicked back to the girl in the Catfish shirt, she looked just as in love as I felt.

Before our last song, I stopped and looked around the room to take it all in. People were losing their shit. T-shirt girl was stood there lookin’ up at me, eyes wide and all smiles. I winked at her before talking to the crowd one last time.

“Thank you, we are Catfish and The Bottlemen! Come find me after the show and tell me what songs you think we should put on the album and which ones we should throw away because they’re shit, yeah? Have a good fuckin’ night!”

....

Once I’d wound down from the show, I headed out with the lads into the bar at the front, hoping to chat to people about our set. One of my favourite things about touring was being able to meet people and hear firsthand what they thought of us; learning what sounded good and what sounded fuckin’ awful. Larry was pushing to chuck A.S.A but people generally seemed to like it; it was an ongoing fight between us.

“Fallout is good but you gotta get rid of the ‘I’m terrible in bed and nobody fucks me’ stuff,” some guy said and I laughed, knowing they weren’t the actual lyrics but I couldn’t help myself from changing them once I was on stage. I always had lyrics running through my mind so I wouldn’t fuck it up, but usually, that turned into me getting distracted and then god knows what coming out of my mouth.

I spoke to a few more people who all praised Fallout and Homesick, I knew they were crowd favourites; definitely gonna be on the album. Homesick had the first proper, original riff I’d ever written. I was dead proud of that one. Out the corner of my eye, I spotted t-shirt girl. A smile spreading across my face, I dashed over to her excitedly, leaving Larry with them mid-conversation. I twisted through the people in my way, my eyes were set on the girl ahead of me.

“Hey, love. Nice shirt!” I smiled as I walked up to her and pulled her into a hug. After letting go, I leant my arm on the bar top beside her.

“Yeah I saw you guys a few months ago, I was so excited to see you again tonight. Amazing set!” she replied with a smile.

“Ah thank you...what’s your name?” I asked.

“Y/n,” she replied, holding out her hand to shake.

“Can I buy you a drink, y/n?”

“Only if you tell me what A.S.A stands for,” she grinned wickedly.

“Guess you’re not getting one then,” I winked, making her laugh before ordering two ciders.

.....

“Okay, so, are you Tim or Terry?” Y/n asked me keenly, leaning on her elbows across from me at the table, almost like she was interrogating me.

“Fuck. That’s a good question. I’d have to say, Tim,” I replied after a moment's thought.

“Really!?”

“Yeah babe! Weed and PlayStation!” I exclaimed, laughing and waving my hands in the air to reinforce my point.

“What about you?”

“Neither. But, fuck. The Streets are so good,” y/n sighed, swishing the ice around in her glass.

“Agreed. A Grand Don’t Come For Free is my all time favourite album,” I said as I took another sip of my drink. Not many people knew The Streets, I was buzzing. Mike Skinner was a legend.

As conversation slowed, I checked my phone only to realise I’d been chatting to y/n for almost two hours. People had begun to empty from the venue and the lads were nowhere to be seen. Probably gone back to the van. Time had completely escaped me.

“Ah shit, I better go find the lads,” I sighed, standing up and pulling my jacket back on. Y/n’s face fell.

“Wanna come with me? Might go for a smoke if you fancy it,” I offered, not liking the sad look on her face and not wanting to say goodbye just yet. She nodded happily and followed me through to the back of the venue where we loaded in.

I was right; the lads were out the back leaning against the van chatting and finishing their beers. They all looked surprised to see me walk out with a girl, Larry just rolled his eyes though.

“This is y/n,” I introduced, pulling out a smoke from my pocket. She waved at the lads and they nodded, introducing themselves back to her.

I held a ciggie out to y/n and she took it quickly saying thank you. I lit her smoke, staring into her eyes as I did so. Always something so romantic about that, not sure why? She leant against the wall and smoked quietly, she looked effortlessly cool and beautiful. I couldn’t take my eyes off her. Didn’t realise I fancied her til now, watching the smoke rise above her in the lamplight.

“Nice shirt by the way,” Benji commented.

“Thanks, I got it from this really shit band I saw one time. The lead singer was such a cock,” she winked.

“Sounds about right,” I laughed, tipping my head back and blowing smoke up into the air.

“For real though, you guys are awesome. You’re gonna be massive one day.”

“You think so?” I asked.

“I know so,” she responded firmly.

We finished our smokes, listening to the guy's chat and talk about the show. We still couldn’t believe all the people who showed up. Y/n gave us her opinion on the songs which was crazy helpful; she had a good ear.

“You should keep A.S.A for some EP release or something if it’s not on the album,” she suggested.

“Nah they can do way better than that rubbish,” Larry argued.

“Rubbish?!” Y/n and I exclaimed at the same time, causing everyone to laugh.

I squished the ciggie under my boot and couldn’t help myself from lighting another one. A few moments later, the door of the venue opened and the employees left, the manager behind them asking us not so politely to leave.

“So are you off to some hotel or something now?” Y/n asked, speaking as though we were rockstars. The boys and I laughed; a hotel? I wish.

“No love, we sleep in the van,” I replied, with a small chuckle and putting my arm around her shoulders loosely.

“Seriously?”

“Seriously,” Benji confirmed with a flat tone.

“Why don’t you all come back to mine for the night then at least?” She offered, putting out her cigarette like it was no big deal to take us five strange lads back home with her.

.......

Y/n set us all up either on the couch or on the floor with pillows and blankets. She’d made us tea and we felt right at home. Best of all was being able to have a hot shower. Her housemate was asleep though so she told us to be quiet, but of course, Bob knocked over a chair on his way to the toilet which made us all laugh like crazy.

“If you guys don’t shut the fuck up you’ll be sleeping in the van again,” she warned in an angry whisper. Larry held a pillow over his face, almost suffocating himself, in an attempt to stop laughing. Which just made me laugh more, tears leaking out my eyes and all.

Once we’d stopped rolling about on the floor and calmed down we finished our tea, then y/n bid us goodnight and went to her room. The lads started to drift off but as usual, I was laying wide awake. I stared at the ceiling for what felt like hours, Benji’s snoring really starting to irritate me. I quietly got up off the make-shift mattress on the floor and tiptoed through the living room down the hallway looking for y/n’s room. I wasn’t sure why or what I hoped to achieve but I just wanted to be with her some more.

I peered my head around multiple doors, afraid of going into the wrong one. Eventually, I found y/n’s; the last door in the hallway. I opened the door as quietly as I could and crept in. She was curled up under the sheets, she looked peaceful and soft, I stood there for a minute just staring and not wanting to wake her up after all.

A floorboard creaked under my weight and her eyes snapped open. I cringed and waited for her to yell at me.

“What the fuck?” She whispered.

“Couldn’t sleep,” I shrugged, whispering back. She rolled her eyes.

Y/n pulled back the covers and patted the space beside her. I glanced at her looking for final consent and she nodded. So I climbed in next to her and pulled the covers back up over us. She was warm and smelt homey, all vanilla and fresh cotton. I felt her shift beside me, burying down under the blankets.

“Glad I made you shower,” she whispered.

We lay in silence for a bit, listening to each other’s breathing. I moved ever so slightly so my arm was touching y/n’s and for some reason I was nervous. Y/n wiggled closer to me, her hand finding mine gently. Quickly, I threaded my fingers with hers and held tight.

“You know I meant it when I said you guys will be massive one day,” she told me, breaking the silence.

“Yeah? What makes you so sure?”

“I just have a feeling,” she smiled. Her words echoing my own earlier.

At that, I grinned and turned to be laying on my side. I looked at her and held her cheek in my hand. We locked eyes for a moment and then before thinking I leant in to kiss her. She kissed me back confidently, her hands becoming tangled in my hair at the back of my neck as our breathing became louder. I smiled into her lips; I knew that I was damn right when I said tonight was going to be special.

#van #vanfic #VanFiction #van mccann #catb #catfish and the bottlemen #larry lau

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jakathine · 5 years

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opinions^tm on vltrn s8

Okay so I said that kinda vaguely.... I have some Opinions yes, but not all are bad.

- Opening s8 e1 with allurance shoved right in our faces was not what I wanted, at all. IF anything, I would’ve been happier had VLD not chosen to promote any ship - since I know the type of road this will lead certain fandom users down.

- Continuing on that note, Lance did not understand why Allura and Coran made a big deal out of it. To the two Alteans, dating seems to be a form of courting that would end up in a marriage since several of the stages leading up to it were framed that way. However, there circumstance is a little different so there was leeway.

- Continuing on THAT note, Lance’s first feeling of this not being the right time was more accurate. Allura is hurting, lonely, and uncertain. She is not at a stable point in her life on something like this, and desperately wants to find a way to fit in and find a purpose when hers will be seemingly over after the war. The neat fit of having Lance give her that purpose, especially after the seasons of him chasing after her, is just a little gut twisting.

-However, the dating schmoop they keep to a tolerable level, and he doesn’t lord over her. The same concerns or attitudes he’s expressed in previous seasons he’s expressing again but in general were OK. I chalk it up to the fact the character is still by all accounts a teenager that he’s not the greatest at this.

- Honerva/Haggar development

I admit I’ve always liked intriguing antagonists and Honerva/Haggar didn’t escape my notice through the seasons. Her reasons have been vague up until now, but looking back on old episodes with her behavior the last tendrils of herself reaching out and looking after her son are evident. Sure, her method is fucked up but then again her brain got fried by quintessence and she did not know who she was for a very long time.

When she finally does come-to, the years of pain and suffering are broiling at the surface. They’ve twisted her and her love.

Something that the previous Yellow Paladin said really rang true to me later - about with Voltron the true strength comes from the love between them - and that combined with the power of the mech is what makes them strong. Honerva’s acts were terrible, vicious, and destructive but at the core with her deepest desires we see unleashed at The Source what do we see? LOVE. A small part of her that she buried so deep that in the chaos it was twisted into corruption but still based on one desire: happiness and love with her family. It makes me understand her actions, but definitely not condone them.

The rejection of Zarkon and Lotor was due to them literally not knowing her since she was from an alternate reality. It makes me wonder then, what happened to the Honerva of their reality? or was it simply she had created such a major time slip that she was the same Honerva of the reality just from a disjointed time? Either way, children know things at times far beyond their years and it was something Lotor definitely picked up on immediately. Their rejection is what many fear to have after all their efforts and drove her to the edge that made her want to destroy everything.

- Perspective of the Galra and of the Alteans

This one is a bit tricky to deal with since both sides were so vague, but I think that was the point. In war times, the definition of ally and enemy can get blurred. In the case of both races, the Coalition has been the center point of a lot of issues.

Misguided Alteans under Honerva believed that Voltron unnecessarily attacked/killed Lotor. The truth being that Lotor became corrupted with quintessence and had to be stopped. Voltron didnt want to leave Lotor there but had no other choice. I was hoping that Lotor would make a come back, but it seems he either was corrupted to the point of death or went completely mad and killed himself in the process. Either way, it still places a fault on Voltron

the Galra dealing with the power vacuum handling things as they have always done was not surprising, however the uprisings occurring on planets that bring Voltron down on them only fuels the fire. I’m glad Warlord Lahn was still around and was able to understand just how Voltron operates and how they are trying to even out aggression but you just cannot solve everything. Someone will always be angry.

- Day 47 / Clear Day eps

Nothing much to say except these were done as comedic relief mixed with filler. They had enough relevancy to be kept, but otherwise were just there to be there.

- Allura, her development and ultimately her sacrifice

My heart hurts for Allura. She is realizing that she depends on Voltron for many things, including that of a home since she has no other but when she came to earth she discovered everyone else had homes of some sort. It’s a slow burn realization that has been budding since s6 but has only just come to a head now....which isn’t shocking since her mind stays preoccupied a lot.

Her fight with Honerva through the mind labyrinth and into the threads of reality: bonding with the entity was risky and Allura knew it, but she also knew herself enough to not let it control her. Honerva had accepted it, let it corrupt and shape her through the millennia and the same might have happened to Allura - but for now we know that Allura’s heart held true enough for that not to happen so they could make their way through Honerva’s mind. It was like a showing of the Force/Darkside, with Allura flitting between the two, and especially became apparent as we entered deep into the threads of reality.

The battle of the threads was heartbreaking, seeing all the lives gone in an instant, and that final thread barely hanging on by Voltron’s sheer willpower to not let Honerva get closer. Being so close to the center of consciousness and growing tired, having a mental cross over made for an interesting pause. Allura appealing to the remnants of Honerva to essentially heal her of corruption was a selfless act that showed true of Allura’s compassion. She was able to show Honerva that there had been more to life than what she remembered, that though these things had happened here was a final chance to make things right again - not for her since it is too far gone for that but for everyone else so they don’t have to suffer like she did.

At the very end, Allura is able to say goodbye to everyone except Coran, so I can only imagine how Coran reacted when Voltron returned and they relayed to Coran what happened. Some have pointed out that due to Allura’s great sacrifice plus the lion’s reaction at the end is that her words about being with them always is true - in a galaxy there seems to be a shape of her like there was with Bob. Also, Lance’s given markings shining like hers did when she was marked as a Chosen one for Oriande could hint that that’s how Alteans first got their marks - they were literally chosen by a type of godlike being so her passing on the marks to Lance could note him as being Chosen as well.

- Miscellaneous etc

The very end of Shiro marrying that Atlas crewmember we see sporadically in other eps was a nice touch. An on-screen kiss was even nicer, though I am saddened it took til the last seconds to have that happen.

The age-ups were cute. Seeing the group picture of them currently and then another ~10 years down the line, and hearing about what they did as time went on was a lovely touch.

I was hoping the the pilots Kincade, Griffin, Leifsdotter, and Veronica along with Axca were shown as the next Voltron paladins but alas, didn’t happen.

Relieved that Zethrid and Ezor are ok. When Zethrid remarked about Ezor I was worried that she had been caught in a crossfire and killed but thankfully no - it was simply Ezor (that we saw starting to get tired in the previous season) was wanting to move on from revenge and Zethrid didn’t. I’m happy they were able to resolve at the end and be part of the Blades of Mamora too!

Overall, there were some toss ins, wonky arcs, and a few odd executions but given that the voltron crew were experiencing a lot of pressure that was causing them to want to drop this show asap it wasn’t bad. So, for as furious as I am for what they’ve done to Allura and eye-rolling as Allurance was, I still liked s8....so it gets a 7/10 in my book.

#personal #vld s8 spoilers ahead fyi #long post

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