#Abba Arena

[aneverydaything]

Day 2385, 2 January 2025

The Abba Arena, set in the mix that is East London

[richardarmitagefanpage]

One year ago, Richard shared a selfie of himself during an ABBA concert at the ABBA Arena in London, UK.

[chrisgoesrock]

ABBA at Wembley Arena 1979

[neatloaf]

man fuck bow all my homies hate bow

[penny-anna]

i put off watching the Swedish arena tour Jesus Christ Superstar bcos i wasn't sure abt watching an entire musical in a language i don't speak but it turns out i shouldn't have worried, i know the score well enough that following the action was a non-issue and the staging was worth it. it's here on Youtube free & legit. (in case it doesn't follow act 2 is here.)

couple of general thoughts on it:

i described it to my sister as having a goth rock aesthetic and then sent her a picture and she said they look like Abba. gothic Abba Jesus i guess gldjhgfjk

its got a very. happy Jesus? someone in the comments described him as a chaotic bisexual. a little jarring to me as i'm used to the 2000 version but then it registered with me like how hard he was gonna fall come act two and it was like. fucking ouch.

charmed & delighted by this Judas. what a sweetheart goth baby. never done anything wrong in his life. mesh shirt. 0 complaints here.

brutal climax. like this probably goes without saying but its an especially bloody one imo so watch out.

anyway yeah the shippers were right this one well worth it. had a blast.

[thornescratch]

There was so much going on in that fight, not the least being the fact the arena music playing when it kicked off was ABBA's "Dancing Queen", but I really think the best part is Poehling and Lappy just standing there with their arms around each other while Ovi tries to pull Garny's head off and then Willy pulls Garny down to the ice.

Look at them. In a punch-happy sea of hair and wrath between former comrades, two other warriors crossed enemy lines for a fleeting and fragile love. I can respect that.

[mediterranean-balkan-footballer]

GUYS I HAVE CONSPIRACY THEORY WHY SWEDEN WON

They told in arena that next year is 50th anniversary of ABBA so it's fixed by jury that Sweden is going to win

[rice-crackerz]

Conspiracy theory hat on...

Why would they take the time to tell us how many wins each nation has gotten, highlighting Sweden?

Why would Graham mention ABBA's 50th anniversary?

How'd the whole arena shout for Finland and not have them take the win????

[mangle-my-mind]

Todd Haynes on Mandy Slade

OM: How did you come to cast Toni Collette as Mandy? She doesn't strike me as an obvious choice for the role as it is written; her most famous part was in Muriel's Wedding where she played the podgy, Abba-obsessed ultra-hetero outcast.

TH: Mandy was the hardest part to cast in the film. It's a particularly demanding role due to the range Mandy has to display as she changes from the seventies to the eighties. This type of camp female character has basically vanished from our cultural landscape, as far as I can tell. The closest equivalent today is probably a Parker Posey-type character, but she's still quite different from the Liza Minnelli of Cabaret or the Angela Bowie of the glam era. Mandy has a theatrical, campy party girl persona that can be turned on and off at will, and owes a great deal to the gay male sensibility of the time. I think women around the world were liberated from all kinds of highly codified notions of femininity when people like Patti Smith entered the pop cultural arena. It had such a profound effect on women but girls today have no memory of that kind of camp femininity.

I saw so many strong actresses for Mandy, both in the US and the UK, and it was really tough to find the right one. We came close a few times, but it wasn't until I met Toni that it all clicked. I had no doubt about her acting ability, but the question was how to transform Toni Collette psychically, both for the camera and in her own self-regard into this very different, very confident, overly sexual creature. She really had to go off the cliff; I'm sure it was terrifying. And what you see in the film is such a transformation, such a complete commitment to the role that she almost becomes unrecognizable as Muriel in Muriel's Wedding. After a certain point, nothing was too scary for Toni. What you get with the character is what you get with the actress playing her - this range of changes and the effects of various cultures and various experiences on one extraordinary woman.

OM: Although the script informs you of Mandy being an American bisexual who reinvented herself, you get the sense of invention fully in the scene where she presents Brian with the divorce papers. She breaks down and you see the façade in a seventies context. It's a very moving moment and it's contrasted with Brian's coked-up emptiness. What did you discover in your research about the 'back-stage' women of the glam era?

TH: I guess Mandy's basic expression of real needs is made more vivid by that scene, but the beaten-down, hard-boiled Mandy of the eighties gives you the framework for that. She was definitely one of those people who was feeling and hurting and acting out at the same time. Often the casualties were the women of the male rock world. I really feel the film builds and develops complex sympathies for Mandy that you won't necessarily feel going in. The character is loosely inspired by aspects of Angela Bowie, and it's very easy to make fun of that kind of pop creature after the fact. But in all the books I read there was no argument on how fundamentally essential Angela Bowie was to the invention of Ziggy Stardust and to glam rock in general. She inspired risk-taking and flamboyance to a degree no one else can claim credit for. It wouldn't have happened without her.

Source - "Superstardust: Talking Glam with Todd Haynes", Oren Moverman.

Photo source

Emphases my own :)

[justinsentertainmentcorner]

Rob Picheta at CNN, via The Advocate:

(CNN) — Switzerland’s Nemo won a chaotic and politically fraught Eurovision Song Contest, triumphing in a competition overshadowed by controversy and booing over the presence of Israel. The typically jovial event – one of the most watched in the world’s cultural calendar – descended into turmoil in recent days, as organizers in host country Sweden tried and failed to contain anger aimed towards Israel’s delegation. But Nemo, a favorite throughout the process, won over crowds with a stunning rendition of “The Code,” a genre-bending anthem about their journey towards accepting their non-binary identity. “I hope this contest can live up to its promise and continue to stand for peace and dignity for every person,” Nemo said after accepting the trophy.

“I have to say this whole experience was really intense and not just pleasant all the way. There were a lot of things that didn’t seem like it was all about love and unity, and that made me really sad,” Nemo said. Their win – the first for a non-binary person – was Switzerland’s first triumph since Céline Dion won in 1988. Malmö hosted the competition on the 50th anniversary of ABBA’s Eurovision breakout, but the event quickly found itself facing political controversy, and tension grew in the hours leading to the final. Protesters said the event was “artwashing” Israel’s war against Hamas in Gaza, which has killed more than 34,000 Palestinians since being launched in the wake of the militant group’s October 7 attacks on Israel. But organizer the European Broadcasting Union (EBU) defended Israel’s presence, and insisted the contest is non-political – a line that became increasingly untenable as artists, broadcasters and fans clashed over the presence of Israel’s singer Eden Golan. Golan was booed by some members of the crowd during her performance, while a few turned their backs or left the arena, but more attendees cheered the Israeli performance.

And outside the arena, police surrounded a small group of pro-Palestinian protesters, keeping them separate from crowds arriving for the event as they chanted “Free, free Palestine!” and “Boycott the Eurovision.” Ireland’s Bambie Thug meanwhile told CNN in the build-up to the event that it was “the wrong decision” not to exclude Israel, as Russia had been two years ago. [...] Just hours before the event, it was thrown into added turmoil when the EBU disqualified the Dutch entrant for a backstage incident involving a female crew member. The EBU said police were investigating the incident involving the singer Joost Klein and that it would not be appropriate for him to participate. Some fans made their anger at the decision clear during the final by booing EBU representatives when they appeared onscreen.

The 2024 Eurovision contest featured controversy, mainly over Israel’s participation and Joost Klein’s disqualification that wasn’t merited.

Still, some good history was made, as Switzerland’s Nemo won it. Nemo is the first nonbinary winner of the competition’s history.

See Also:

LGBTQ Nation: Switzerland’s Nemo is first nonbinary singer to win Eurovision Song Contest

PinkNews: Nemo becomes the first non-binary artist to win Eurovision – as the UK’s Olly Alexander comes 18th

[ateriblewriter]

So I'll be there when you arrive The sight of you will prove to me I'm still alive And when you take me in your arms and hold me tight I know it's gonna mean so much tonight

Super Trouper ~ ABBA

imagine:

living and working in a different country than the love of your life. missing each other so much it starts to affect multiple aspects of your lives including his job performance. but for one night (and one night only) you're able to go back home, surprising him.

auston had no idea when he looked around the arena that evening during warmups that he was going to spot her standing there. she did a little wave with her fingers as he skated over, smiles adorning each of their faces. he didn't have much time. so he quickly put his gloved hand and forehead on the glass hoping she would do the same, which she did. in reality the tender moment last a minute or two at most, but it felt like a lifetime for him. a few i love yous were mouthed before he had to skate away to rejoin his teammates who were teasing him. he didn't care much they teased because everything was going to be different tonight.

[therecordconnection]

Playlist: The Record Connection's Top Thirty Hit Songs of 1981

(Bear with me, gonna try something new here.)

Playlist Cover Border Created By: @ohmarigold, Font provided by: https://www.fontspace.com/las-enter-font-f19041

The Record Connection's Top Thirty Hit Songs of 1981

Playlist Description: "Exploring the strange year of 1981 by choosing 30 of the best representatives from Billboard's Year-End Hot 100 Singles of 1981"

Track Listing:

"(Just Like) Starting Over" - John Lennon

"I'm Coming Out" - Diana Ross

"Another One Bites the Dust" - Queen

"Sukiyaki" - A Taste of Honey

"Together" - Tierra

"(There's) No Gettin' Over Me" - Ronnie Milsap

"Queen of Hearts" - Juice Newton

"9 to 5" - Dolly Parton

"Suddenly" - Olivia Newton-John & Cliff Richard

"Guilty" - Barbra Streisand & Barry Gibb

"Just the Two of Us" - Grover Washington, Jr. & Bill Withers

"A Woman Needs Love (Just Like You Do)" - Ray Parker Jr. & Raydio

"Lady (You Bring Me Up)" - Commodores

"Celebration" - Kool & the Gang

"Don't Stand So Close to Me" - The Police

"Urgent" - Foreigner

"Take It On the Run" - REO Speedwagon

"Too Much Time on My Hands" - Styx

"Miss Sun" - Boz Scaggs

"Arthur's Theme (Best That You Can Do)" - Christopher Cross

"Hey Nineteen" - Steely Dan

"Tell It Like It Is" - Heart

"Boy From New York City" - The Manhattan Transfer

"Hungry Heart" - Bruce Springsteen

"Hold On Tight" - Electric Light Orchestra

"Kiss On My List" - Daryl Hall & John Oates

"Jessie's Girl" - Rick Springfield

"Time" - The Alan Parsons Project

"For Your Eyes Only" - Sheena Easton

"The Winner Takes It All" - ABBA

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A Few Words About 1981

Time, Electric Light Orchestra's 1981 science-fiction concept album tells the story of a man who is transported to the far distant future of 2095. The album explores his homesickness while observing the many ways the world has changed around him. During "The Way Life's Meant to Be," bandleader Jeff Lynne sings, "I wish I was back in 1981." Lynne has never explained why he chose to use the year the album was made as the year the time traveler comes from (probably just convenience), but I've always found that yearning to return to 1981 in particular to be funny, because if people had a time machine to go back to the eighties, I highly doubt anybody would pick 1981.

For a long time, I've loved looking through Billboard's Year-End Hot 100 singles list for [insert year]. I think it's really fun to look through them and often times you can really get a good idea of what was insanely popular during a given year. Lots of stuff gets big or falls through the cracks in a given year, but this one is the stuff that everybody vibed with (or got utterly annoyed with).

1981 is a weird one. 1980 is considered a much worse year (a lot of really boring, nothing ballads got super big that year) but '81 isn't the winner that the '83-'85 years are considered. When people (over)romanticize the eighties, they're mostly going crazy about that chunk of the decade and 1987. The early eighties have no idea what the hell they're going to be yet. Then again, no decade ever knows what it's gonna be right out the gate. I think people tend to have this idea that the ball dropped on December 31st, 1979 and suddenly it was THE EIGHTIES! It doesn't work that way. Often times, the first two years of a decade are strange and they serve as a transition point.

1981 is definitely a transitional year. It's one of my favorite years in music due to just being an oddball time. Lot of strange new wave stuff was slowly crossing over, arena rock bands were really ramping up and beginning their reign, early eighties R&B was starting to find its groove, and more. The Hot 100 list doesn't reflect most of what was happening. It rarely does, but it is a really good starting point when trying to figure out what some of the biggest stuff was for a good chunk of the year. If you ask me, the eighties don't become the decade everybody loves until Duran Duran releases Rio and Michael Jackson makes the video for "Thriller." You can start to see the beginnings of what the eighties will become with 1981, but it's also not quite there yet.

So, this playlist explores that Year-End singles list and attempts to give a good overview of what was going on at that time. I listened to all one-hundred songs and cut it down to the best thirty. It was originally going to be twenty, but I found that I liked too much of the list to limit it that small. These songs are not arranged from #30 to #1, rather they're arranged in a way that highlights connections between certain songs, common themes, and hopefully ends up highlighting all the different musical worlds that were enjoying success during the year.

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Some Words Regarding The Process Behind This Track Listing

There were three John Lennon hits that year, which is fitting, considering he was killed in December, 1980 and everybody was still shaken about it for most of '81. I picked "(Just Like) Starting Over" as the representative, since I think it's tragically ironic and also reflective of why people were so upset about Lennon's murder. (Note: For the curious, "Woman" and "Watching the Wheels" were the other two hits that got big from Double Fantasy).

After Lennon, the next four songs highlight the last of the disco refugees (Diana Ross, Queen, and A Taste of Honey) and the final whispers of the previous decade (Tierra). "I'm Coming Out," "Another One Bites the Dust," and "Sukiyaki" are the songs that are just on the cusp of being eighties funk, but they're still clinging to disco in a lot of ways. "Together" by Tierra sounds has all the sonic hallmarks of a seventies one-hit wonder... but somehow came out in 1980. That's what I mean when I say that you can hear those final whispers of the previous decade.

There was a good deal of country crossover on the list. Not a lot of it survived the cut for me, mostly because a lot of it is corny and lame in a bad way. Kenny Rogers had three soft ballads get big in 1981 and I dislike all of them. Unless names like Eddie Rabbitt, Terri Gibbs, or Rosanne Cash mean anything to you, I don't think you'll be upset. Personally, I'm a much bigger fan of country in the nineties. The very best of the country crossovers are represented here. I went with Ronnie Milsap's "(There's) No Gettin' Over Me," Juice Newton's cover of "Queen of Hearts," ("Angel of the Morning" almost beat it, but I think this one is more fun) and finally, "9 to 5" by Dolly Parton. The three country songs here are light and super fun and I think represent that the country music world was having fun during the start of the decade and finding crossover appeal with the masses beyond Nashville.

After our journey to country, we explore some of the team-ups that got big during the year. "Suddenly" (a great love song from the not-so-great movie Xanadu) sees Olivia Newton-John and Cliff Richard together, "Guilty" sees Barbra Streisand and Bee Gee Barry Gibb at their best, and Bill Withers lends his vocals to an all-time classic Grover Washington, Jr. cut ("Just the Two of Us").

Ray Parker Jr. (still with his band Raydio) shows us some early eighties R&B magic and good advice with "A Woman Needs Love (Just Like You Do)" and the Commodores and Kool & the Gang bring the funk and the party with the classics "Lady (You Bring Me Up)" and "Celebration" (the definitive party song to end all party songs). These songs are missing the disco elements that were still found with Diana, Queen, and A Taste of Honey and represent the direction funk music was heading in. Lionel Richie would pivot away from the funk as the decade went on, but the funk was just getting started for Kool & the Gang.

After the funk, we take a look at what arena rock bands were doing. In 1981, they were worried about romantic relationships. "Don't Stand So Close to Me" finds a teacher being in a secret relationship with a young student and worried about people finding out. "Urgent" finds Foreigner in panic mode. The narrator is worried that his love is being taken advantage of and only used for one night stands. REO Speedwagon enters into the frame, worried that a certain someone has been doing some cheating (though they heard this from a friend who heard it from a friend who heard it from another...) Styx lightens things up by having fun and goofing around while Tommy Shaw laments that he has "Too Much Time On My Hands." These four bands are good indicators of where rock was heading in a world where a lot of the seventies rock giants were beginning to find themselves in unknown waters.

Speaking of unknown waters, Yacht Rock was still sailing the seas in the early eighties and three representatives are found here. Cool cat Boz Scaggs sings a groovy song for "Miss Sun," Christopher Cross sings about the movie Arthur and tells you the best thing you can do when you're caught between the moon and New York City in "Arthur's Theme (Best That You Can Do)," and Steely Dan tells the tale of pathetic older dude pining for the past and finding it hard to relate to a nineteen year old girl he's trying to pick up in "Hey Nineteen." These three represent the smooth cool cats that weren't pop, but weren't rolling with the arena rock of the moment either.

Speaking of pining for the past, 1981 was a year where some bands and artists gave us some throwbacks and tried to capture that old rockabilly jukebox sound that Lennon was doing at the start of the playlist. Heart provides a wonderful cover of the 1966 Aaron Neville classic "Tell It Like It Is" and The Manhattan Transfer present a lovable and fun little cover of the 1964 Ad Libs song "Boy From New York City." Bruce Springsteen gets in on the throwback fun with the awesome "Hungry Heart," and Electric Light Orchestra lead us into the future while still writing a love letter to the past with "Hold On Tight." These songs all have the common thread of "everything old becomes new again" and are the earliest examples of the eighties bringing the sixties back to life and turning it into something brand new.

The last five songs presented have no unifying theme, they just ended up being my five favorite songs on the list. "Kiss on My List" and "Jessie's Girl" are both fan-fucking-tastic songs and show how good both Hall & Oates and Rick Springfield were as songwriters. I never get sick of those songs. "Time" by The Alan Parsons Project is my favorite ballad on the list. Vocalist Eric Woolfson had this whisper like quality to his delivery that nobody else had. The entire song is just this beautiful, melancholic, transcendent song. The whole thing feels like it's floating. It sounds the way that the bright stars at night look. Just wonderful.

The final two songs feature fantastic performances from two dynamite women. Sheena Easton's "For Your Eyes Only" is my second favorite Bond theme ("Nobody Does It Better" beats it) and "The Winner Takes It All" is the greatest song ABBA ever laid to tape. Both are these sweeping pop masterpieces and Sheena and Agnetha Fältskog deliver some of the finest performances of their careers on them. You feel every emotion and every detail is done so incredibly well. I'm hopeful that you'll find the playlist ends on a high note!

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(Thank you for indulging in this little experiment. :) Making playlists is a lot fun and I'd love to make this a semi-regular thing if there's an interest for it. So let me know your thoughts and opinions if you have them! I would love to hear from you! Thank you.)

[enfyswanders]

London, Part 2: June 23-26, 2024

My friends, have you heard about our Lord and Savior, ABBA Voyage?

My friends Molly and Josh encouraged me to check it out. I like several ABBA songs, so I decided one of my big splurges for the trip would be a dance booth ticket for a matinée.

I was expecting a high-tech concert experience. I was not expecting to sob for the first 20 minutes.

But let me back up. What the heck is ABBA Voyage? It's a concert featuring holograms of the band ABBA in their heyday. Their prerecorded vocals and instruments are backed up by a live band that's shrouded in shadow for much of the show, but is occasionally brought out and featured. The venue is an arena specifically built for this show, in London's outskirts.

Walking into the arena, my first impression was "This is Pride for women in their 60s and 70s." The sheer joy from that demographic, with many of them wearing colorful, spangled jumpsuits, brought joy to my heart. (I didn't get a photo of any of the bejumpsuited people., but trust me, there were a lot of them. A fair number of them under 30, too!)

The dance booth ticket, while one of the priciest ticket tiers, was worth it. The dance booth is an area for 12 people that includes a cushioned bench for seating, plus a lower level open area for dancing, and you get a private bar and table service, too. I had two delicious passionfruit cocktails waiting for the show to begin.

When the show started, I got emotionally overwhelmed in a way I absolutely did not expect.

Feeling 1: This is the biggest arena show I've been to since well before the pandemic. There's something beautiful about so many people gathered to enjoy music together.

Feeling 2: I'm both excited and terrified for the implications this event has on the future of musical performance. On the one hand, it could make it much easier to see acts more places and after people have passed on. On the other hand, we lose the authenticity of live performance. Not a hair was out of place, no flubbed lyrics, no sweaty sheen on the performers' faces. They lampshaded the concept a little by doing a bit about a costume change gone wrong, but it kind of made me cringe. The show is, and will always be, perfect. In removing the precious ephemeral nature of live musical performance, what else are we losing?

Feeling 3: This is the closest I have ever come to a true time machine experience, and wow was it moving to "see" ABBA in their prime, something I could only do on video before.

Feeling 4: Traveling is Just So Much. I needed a release after everything from the first week.

So I cried for the first 20 minutes, huddled in a corner of the dance booth bench. I don't cry very often, so it really took me by surprise. Once I was done, I got up and danced a whole bunch.

Some interesting pieces of the show were having three femme vocalists from the live band perform "Does Your Mother Know"; an animated two-part short; some fun banter from ABBA; clips from their 1974 Eurovision entry; and at the end, there are holograms that come out for a curtain call that look like the band members do today, which I think was a nice touch.

Honestly, the whole thing was a religious experience. I was deeply moved and it made me think about the world in a different way. I will forgive them not playing my favorite ABBA song, "Take a Chance on Me," because the whole thing was just so amazing.

After the show, I had my first of many Adventures in Doing Laundry on the trip. I found a few coin-op laundry places near my hotel, but based on reviews they only took coins, specifically £1 coins, which is complicated because most businesses in London are contactless or card payment only, so I didn't get a lot of change. I asked at my hotel if I could buy some £1 coins, but all they had were £2 coins, which I took, and hoped for the best. Some of the online reviews mentioned that staff at the coin-ops could make change.

Unfortunately, this was a Sunday afternoon, and no staff were present. The first laundromat I visited only took £1 coins and there was no way to make change. Fortunately, the second laundromat I checked did take £2 coins, and I got to enjoy the sticker shock that it cost £20 to do a single load of laundry (about USD$25). While I sat there, I had a nice chat with a couple from Brisbane, where I used to live, and made friends with an older woman named Sharon, who I ended up meeting up with for dinner by chance after I brought my laundry back to my hotel. She was really fun to chat with, and gave me some tips for places to eat in the area.

The next day, I visited Kew Gardens Royal Botanical Gardens, which is enormous and I sadly didn't have time to wander the whole thing, or even most of it. I did get to enjoy the treetop walk, though, which was a really neat way to see the big old trees in the park from a different perspective. They had some neat sculptures, too.

Next up, I visited some Richmond locations from Ted Lasso, including his pub (renamed on the show to the Crown & Anchor), the door to his flat, and a really tacky souvenir shop that wanted a shocking £65 for a shirt. I had some fish and chips at the pub, and honestly, I wouldn't recommend the food. I don't think they've changed their fry oil in the past decade. They were also slammed with Ted Lasso fans and the staff did not seem to be happy about that fact.

After that, I decided to go see Big Ben, just to check if off the list, since it's such an iconic site. Dear gods, never again. Up until this point, the obnoxious-tourist quotient of my trip had been pretty manageable, but when you exit the Tube near Big Ben, the sidewalk is completely slammed with tourists and con artists who have no sense of personal space.

I got a quick pic and booked it out of there, seeing the exteriors of Westminster Abbey and Parliament House quickly, and decided to return to Tate Britain, because I enjoyed it so much and it was fairly close by. I finally got a pic of my favorite piece there, a sculpture by Henry Moore called Reclining Figure:

I started my last full day in London visiting the Mithraeum, the ruins of an old temple to the Roman god Mithras, which was recommended by my friend Ron. It was super cool. There's a whole immersive light-and-sound experience with the ruins, to make you feel like you're in the temple when it was active. There's Latin chanting and everything.

Then I went to the British Museum. And if I thought the tourists outside Big Ben were obnoxious, well. There were a lot more of them at the British Museum. I mean, obviously I myself am a tourist, so I can extend some grace, but what annoys me is people who clearly don't have experience being in large crowds in cities having no spatial awareness and failing to notice that there are people trying to move around them, so they stop suddenly, that kind of thing.

The British Museum was crowded and only nominally air-conditioned in some places, so I was hot and uncomfortable the entire time. I only lasted about 90 minutes before I had to call it, which was a shame, because there is some cool stuff to see there. I think my favorite thing was the Rosetta Stone, but I didn't get a photo of that. Instead, you get to see this statue of Hermes:

After the museum, I had booked myself for high tea at a fancy place called The Wolseley, but the reservation wasn't for another hour, so I decided to check another popular destination off the list and go see Buckingham Palace.

Tea was absolutely wonderful. The warm currant scones scones were soft and moist, and the clotted cream and jam with them were absolutely scrumptious. The finger sandwiches (cucumber, salmon, chutney, curry chicken salad, and egg salad) were all very tasty, and the desserts were fantastic patisserie. I had an hibiscus herbal tea with it, and really my only complaint was that I didn't have a companion to enjoy the experience with. It was absolutely phenomenal and made me a quick convert to the joys of high tea. (And spoiled me for all future high teas on the trip, unfortunately!)

On my way back to my hotel, I spotted something a friend told me about, that I'd walked past every single day and hadn't noticed: There's a fucking TARDIS right by my Tube stop.

I guess the chameleon circuit still works okay.

This made me laugh:

[joseandrestabarnia]

Título completo: Madera de Cornard, cerca de Sudbury, Suffolk Artista: Thomas Gainsborough Fechas de artistas: 1727 - 1788 fecha realización: 1748 Medio y soporte: Óleo sobre lienzo Dimensiones: 122×155cm Crédito de adquisición: Comprado (Fondo Lewis), 1875

Cornard Wood está en las afueras del pueblo de Great Cornard, a dos millas de Sudbury, donde nació Gainsborough. La vista está tomada desde Abbas Hall, mirando hacia el pueblo de Great Henny. Al fondo aparece la iglesia de St. Mary's Great Henny; nuestra mirada se dirige hacia ella a través del camino que serpentea entre el bosque.

Cornard Wood era tierra común y los aldeanos tenían derechos antiguos para recolectar madera, pastar animales, cavar marga para obtener estiércol y arena para materiales de construcción, tomar el camino hacia Great Henny o simplemente pasear hasta allí. En la pintura de Gainsborough vemos muchas de estas actividades.

Gainsborough escribió que Cornard Wood fue "realmente pintado en Sudbury, en el año 1748", mientras aún estaba aprendiendo su oficio. El cuadro perteneció durante algunos años al tío del pintor John Constable, que nació a diez millas del lugar de nacimiento de Gainsborough y era un admirador de sus paisajes.

Información e imagen de la web de la National Gallery de Londres.

[eurovision-revisited]

Eurovision 2004 - Number 39 - Slobodan River - "Surrounded"

They're back - the Ur band of Estonian Eurovision. After last year's experimentation with a televote at Eurolaul, ETV have flipped entirely and this year's competition is 100% televoted. Maybe the outcome of that advisory televote last year was chastening...

You would expect a band as big as well-known in Estonia as Slobodan River to benefit from that, but they are up against a couple of other big names in the competition, so they need a big song.

They've gone with Surrounded, a song about the final straw and telling him just get out. No more lines, excuses or threats, get out. There's an undercurrent of violence both in what lead singer Ithaka Maria has experienced and in what she'll do if her partner doesn't comply with her demand. The song is melodic pop-rock with alternative slant, and given the lyrics, is somewhat non-angry. It's a sing along fun song with an upbeat lilt.

This is all a bit Abba in fact. Even more so because Ithaka Maria and guitarist Tomi Rahula have been married for a while. In fact they've been a couple since she was 13 and he was 16 at high school in 1993. The band was formed with them at the centre with Maria writing many of the songs - this is one of hers. Slobodan River in 2004 are actually having their best year with their album (also called Surrounded) yielding many singles that got to the upper ends of the Estonian charts.

The band split two years later in 2006. Maria and Tomi divorced five years later in 2011. They all went on to much national success in different arenas (as I outlined in for their 2003 song What a Day). That makes this the last time that Slobodan River appeared together in the Estonian national final, but they'd all be back again either solo, as song-writers, in other bands or even as the producer for the entire show! I have no doubt that this blog bit will be linked to many times in the future.

[merylqueenstreep]

Two years ago, something magical happened - after 39 years, ABBA returned! Not only did we hear two brand new songs that day, but Benny and Björn announced that ABBA had recorded a new album!!! And by the way, an ABBA arena would be built in London for their digital ABBA-Voyage show, in the form of digital avatars that were instantly nicknamed ABBAtars. What a day! Nothing can beat this unbelievable moment!