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occasionaloneshots · 2 years ago

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Stranger Things X Country Music

Okay? Here’s the thing, stranger things is in small town Indiana, most of the teens there know how to use a weapon, and the Byers were taken hunting on their birthdays, that’s a hicktown. As someone from small town south, everyone is raised a little on country and has a soft spot for at least one song, regardless of main music taste. Our “before he cheats” if you will. So here’s my list of 80s-early 2000s country that I think would be the stranger things characters’ (from Hawkins so no Max and Billy) favorite country song with lyrics and an added headcanon type thing

ALSO country is mainly just narrative poetry out to music, trigger warning for death and suicide

Jim Hopper

Don’t Take the Girl - Tim McGraw (1994)

“Take the very breath you gave me

Take the heart from my chest

I’ll gladly take her place if you’ll let me

Make this my last request

Take me out of this world

God please, don’t take the girl”

He cried the first time he heard it because it made him think of all of the awful things life unfolded for the women in his life, still cries at the last verse despite none of the women in his life dying in childbirth. He relates to the hopelessness of it

Eleven Hopper

Stay Beautiful - Taylor Swift (2006)

“You’re beautiful

Every little piece, love, don’t you know?

You’re really gonna be someone

Ask anyone

And when you find everything you’ve looked for

I hope your love leads you back to my door”

El still has that childlike adoration of beauty well into her early adulthood and Taylor’s debut album really spoke to her. But stay beautiful really reminds her of people like Max, Mike, and Nancy who she always saw as beautiful and could see the good in

Will Byers

Wildflowers - Dolly Parton, Linda Ronstadt, and Emmylou Harris (1987)

“The hills were alive with wildflowers

And I was as wild, even wilder than they

For at least I could run, they just died in the sun

And I refused to just wither in place

Just a wild mountain rise needing freedom to grow

So I ran gearing not where I’d go”

Will is someone still heavily attached to the wild feeling of not having worries as a child because of losing the tail end of his childhood to the upside down, the idea of comparing that to the beauty of flowers brings him comfort

Johnathan Byers

He Didn’t Have to Be - Brad Paisley (1999)

“And then, all of a sudden, oh it seemed so clear to me

How we went from something’s missing to a family

Looking back, all I can say about all the things he did for me

Is, I hope I’m at least half the dad that he didn’t have to be.”

I’d like to believe that at some point (probably post season 2) Johnathan began to see Jim as some sort of father Figure, thinking of him comforting himself and his mother when they thought will was dead and how he put himself into caring for will after the upside down. He idolizes the way he cared for their family when he didn’t have to because Lonnie never did

Joyce Byers

One Promise Too late - Reba McEntire (1986)

“Where were you

When I could have loved you

Where were you

When I gave my heart away

All my life I’ve been dreaming of you

You came along one promise too late”

It makes her think of her younger self in combination with her feelings for Jim. The constant promises getting in the way of finding their way to each other

Nancy Wheeler

Strawberry Wine - Deana Carter (1996)

“The fields have grown over now

Years since they’ve seen the plow

There’s nothing time hasn’t touched

Is it really him or the loss of my innocence?

I’ve been missing so much”

Nancy definitely associates the song with Steve and her season one self. Unsure of if she really misses who she was with Steve or just who she was before the upside down tore her understanding of life apart

Mike Wheeler

I’m Still A Guy - Brad Paisley (2008)

“Well, love makes a man do some things he ain’t proud of

And in a weak moment I might

Walk your sissy dog, hold your purse at the mall

But remember that I’m still a guy”

This song has a lot of energy of a man trying to cling to his own masculinity in insecurity which I think Ike relates to a lot. Especially in this point where he can only tell people he loves that he loves them when they’re in danger, he relates to this concept of clinging to what makes a man a man like his father does

Lucas Sinclair

Heads Carolina, Tails California- Jo Dee Messina (1996)

“We’re gonna get out of here if we gotta ride a Greyhound bus

Boy, we’re bound to outrun the bad luck that’s tailin’ us

Oh, heads Carolina, tails California

Somewhere greener, somewhere warmer”

Lucas after getting Max and himself wrapped into the upside down drama begins growing obsessed with the idea of running away with her and just getting her out of Hawkins before she can get hurt again, he doesn’t care where, just somewhere safer

Erica Sinclair

That Don’t Impress Me Much - Shania Twain (1997)

“Oh no, alright alright

You’re Tarzan

Captain Kirk maybe?

John Wayne?

Whatever, nuh-uh

That don’t impress me much”

This is a song on her getting ready mixtape, definitely singing along to it while getting ready in her young adulthood. The energy of it reminds her of the fire her younger self had

Dustin Henderson

Somebody Like You - Keith Urban (2002)

“There’s a new wind blow in’ like I’ve never known

I’m breathing deeper than I’ve ever done

And it sure feels good

To finally feel the way I do

And I wanna love somebody, love somebody like you.”

Dustin associates his adult freedoms and his love for people who surround him as this new breath of air after basically parenting his own mother. The love he finds in adulthood feels like coming up for air, breathing that first deep breath when you come out the water

Steve Harrington

Live Like You We’re Dying - Tim McGraw (2004)

“And I loved deeper

And I spoke sweeter

And I gave forgiveness I’ve been denying

And he said some day I hope you get the chance

To live like you were dying”

Steve truly does believe that his brush with death in dealing with the upside down found it’s way to bettering him. despite the trauma he gained he sees himself for having a new love for life and the people in it from how easy it was to lose people to the monsters of that other world, he finds it relatable

Robin Buckley

9 to 5 - Dolly Parton (1980)

“Working 5 to 9, you’ve got passion and a vision

‘Cause it’s hustlin’ time, a whole new way to make a livin’

Gonna change your life, do somethin’ that gives it meanin’

With a website that is worthy of your dreamin’

Well you got dress and you know they matter

Be your own boss, climb your own ladder”

Robin would LOVE how Dolly makes herself an individual with her style and definitely seems like someone who would love to follow her own passions but lives in fear of not being able to make a living off of it. She’d love 9 to 5

Eddie Munson

Whiskey Lullaby - Alison Krauss and Brad Paisley (2003)

“The rumors flew but nobody knew how much she blamed herself

For years and years she tried to hide the whiskey on her breath

She finally drank her pain away a little at a time

But she never could get drunk enough to get him off her mind”

Hear me out, Eddie would NEVER admit to actually liking this song or any country of that matter. But I think he tends to take on guilt for things that aren’t his fault and he’d find something really relatable in a sad away about Alison’s verse. Also I believe in the country music to emo music pipeline, so this is a song that would be on the list to getting him into darker lyrics in my opinion

Chrissy Cunningham

She’s In Love With The Boy - Trisha Yearwood (1991)

“But Katie’s young and man

She just don’t care

She’d follow Tommy anywhere

She’s in love with the boy

And even if they have to run away

She’s gonna marry that boy some day”

Chrissy seems very into the idea of true love and keeping an image up. And the idea of running away with someone who truly loves her is something that has her twirling around her room while she gets ready

#stranger things headcannons #stranger things season 4 #stranger things #country music #jim hopper #eleven hopper #will byers #johnathan byers #joyce byers #mike wheeler #nancy wheeler #lucas sinclair #erica sinclair #dustin henderson #steve harrington #robin buckley #eddie munson #chrissy cunningham

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situazionespinoza · 2 years ago

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Venerdì ho deciso di riordinare il cassetto dei documenti, senza sapere che aprendo la cartellina sbagliata mi sarei trovata invasa da foto di classe del liceo, delle medie, una delle elementari e una dell'asilo; tutte le pagelle, in ordine dalla prima elementare alla terza media; il diploma di licenza media, il certificato del FLYES Trinity che feci a dieci anni, il certificato del FIRST Cambridge di quando ne avevo diciassette; letterine di auguri varie ed eventuali; un album da disegno di quando avevo sette anni, con dentro un mio disegno di uno pterodattilo (a sette anni ero in fissa con i dinosauri), esercizi di matematica e un disegno di me con il vestito da Principessa Sissi che misi a Carnevale 2003.

La cosa che mi ha sorpreso è stata la commozione sincera che ho provato davanti a questi reperti della mia storia, nonostante è evidente che sia stata io a salvarli e conservarli dalla furia della moglie di mio padre. Naturalmente ero a conoscenza dell'esistenza della cartellina dei ricordi, ma non la aprivo da almeno tre anni.

Mi sono commossa perché la Giulia preadolescente ha cominciato a mettere da parte tutte queste foto, nascondendole nei cassetti e nei quaderni, perché in un venerdì di agosto di undici anni dopo io le ritrovassi. E potessi leggere le dediche dei miei compagni di classe delle medie dietro la foto dell'ultimo anno e quelle dei miei compagni di liceo dietro la foto del quinto ginnasio. Che non ho mai capito perché decidemmo di firmarci la foto del quinto ginnasio come fosse quella dell'ultimo anno di scuola. Forse sentivamo che con il ginnasio terminava un momento, volevamo lasciare i nostri nomi su quelle pietre miliari plastificate.

Mi sono commossa anche perché questi ricordi che ho conservato li ho dovuti salvare io. Mi chiedo a tal proposito come io sia venuta in possesso delle mie pagelle delle elementari. Non ho ricordi di come io abbia accumulato tutti gli elementi di questa cartellina, ma so per certo che se non fosse stato per me tutte quelle foto si troverebbero in qualche discarica a cielo aperto.

Da quando sono andata via di casa non ho più un posto dove poter tornare, un porto che conservi le mie radici e si faccia scrigno del passato. Come negli ultimi tre anni, spesso mi capita persino di dimenticare di avere un passato. Di aver avuto una famiglia, un'infanzia, di essere andata al liceo. Quando ci penso, mi sembra che a vivere quell'esistenza sia stata una persona diversa.

Che è la stessa persona che mi sorride timida da queste vecchie fotografie, circondata da ragazzine e ragazzine imberbi e con le guance paffute. Spettri dai sorrisi tirati e gli occhi semichiusi per il flash, che mi hanno restituito l'immagine che avevano di me dieci anni fa: "ma che google traduttore, tu sei una sicurezza!" "alla super storica, continua così!" "alla persona più greca che conosca" "grazie per tutte le volte che mi hai fatto copiare".

Mi piaceva la storia, il greco e il latino. E soprattutto riuscivo stranamente a fare amicizia con chiunque fosse il mio compagno di banco, sebbene avessi solamente una vera amica.

Il quinto ginnasio mi misero accanto ad A.M., il ragazzino biondino di famiglia ricca a cui andavano dietro tutte le bimbette del primo anno. Naturalmente anche io avevo avuto una cotta per lui in quarto ginnasio. Non studiava quasi mai, soffriva di balbuzie nervosa, eppure ricordo che lo aiutavo a fare i compiti e diventammo amici, più o meno.

Il terzo liceo lo passai in ultima fila accanto ad A.B., un ragazzino gracile e genio della chimica che io e la mia migliore amica prendemmo nel nostro duo spinte dalla solidarietà dei reietti.

Un profluvio di ricordi che ho conservato e che due giorni fa mi hanno invaso la memoria. Nelle mie intenzioni questo post avrebbe dovuto seguire un certo schema logico. Invece è diventato il mio solito flusso di coscienza. Poco male, forse lo preferisco pure.

#flusso di coscienza #spinoza

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sadboymetalhours · 4 years ago

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https://open.spotify.com/playlist/3t4TWnyI5AjvfIhrshGCGu?si=WDJP1fnnTkWUEGlP-rjpVQ

“the ultimate goth girl who was in love with herself”

type o negative’s third album, as described by peter steele, was based around this ultimate goth girl, in love with herself. the og e-girl, who i aspire to be.

enjoy this playlist, full of some pretty heavy goth-metal, melodic death metal, gothic rock/new wave stuff, and more!!

inlcuding:

bloody kisses (a death in the family)-type o negative

darker thoughts-paradise lost

sweet tears-anathema

to forgive is to suffer-death

punch me i bleed-children of bodom

black planet-sisters of mercy

be my druidess-type o negative

opium-moonspell

lucretia my reflection-love like blood

22:22-Bihil-ghost brigade

my girlfriend’s girlfriend-type o negative

more-sisters of mercy

nocturnal emission-anathema

stigmata martyr-bauhaus

the cry of mankind-my dying bride

kiss my ashes (goodbye)-woods of ypres

13th floor-buckethead

a final vestige-daylight dies

for her light-fields of nephilim

creepy green light-type o negative

snake eyes and sissies-marilyn manson

how the gods kill-danzig

scream of the butterfly-acid bath

ogonblick av nad-october tide

spookshow baby-rob zombie

so feel autumn rain-lake of tears

old heart fails-katatonia

absit omen-be’lakor

blaklist-bring me the horizon

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imakeficrequestsandthendisappear · 4 years ago

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TUA music/instrument headcanon

Okay so vanya is a violin protegee but also what if all the kids had to have music lessons of some sort. Reginald wanted them to be cultured and teach them discipline and also not embarrass him in high society (all of which failed)

Luther - he tried a bunch of different instruments but was never very good. he was too strong and usually ended up breaking whatever he was playing. he always wanted to be a really good guitar player but the strings always break. When he gets older he mostly just likes listening to records and (very gently) practicing on a little ukulele in his room. he takes it to the moon with him and actually gets pretty good at it, but he’s too shy to show anyone. (can you guys imagine tom hopper in his big muscle suit playing a tiny ukulele like grace vanderwaal? my heart)

Diego - absolutely doesn’t have the patience or desire to learn the an instrument. he once filed down the reed of a clarinet and threw it at someone. but during music lessons he gets really into the rhythm and starts dancing. he copies moves he’s seen on fresh prince and gets really good. he sometimes sneaks out to go to break dancing contests downtown. he also learns how to beat-box there. he doesn’t want reginald to know but he does show Mom. She smiles and claps every time he does a cool move. Diego only pretends that it embarrasses him.

Allison - is a naturally gifted singer and wants to be on Broadway when she’s older. at lessons she’s only allowed to sing classic musical theater and show tunes, but when she’s just hanging out with her siblings she sings everything on the current top 40. She’s also really into the spice girls and tries to get Diego to do the dances with her. as an adult she does a couple local musicals before getting picked up for blockbuster action movies. she kinda misses singing on stage.

Klaus - has the worst time trying to focus during music lessons. mostly he just bangs around on the piano until he gets distracted. but while his other siblings play music he starts writing in his journal (the one he supposed to write about ghosts in). anyway, theyre just random thoughts he has set to a melody, but after a couple months they start to come together into songs. he fills up his journal (Reginald: “number four, what is all this nonsense?”) and then starts writing everywhere, in the margins of books, his bedroom walls, on his arms, etc. he never sings them but he likes the way they sound in his head.

Five - actually enjoys music class because he gets to hang out with vanya. he gets pretty good at the clarinet and they do weird jazz riff duets. then diego uses his clarinet as a weapon and Five holds a grudge about it for 40 years. Also while in the apocalypses he finds a clarinet in the rubble of a middle school. it’s dented and off-key, but Delores says it sounds nice so he plays it sometimes.

Ben - also enjoys music class but only when he gets to practice alone. he likes playing soft, calming songs on the piano. he’s not the best at it but he really likes being able to relax and focus on the music. he doesn’t use his tentacles as extra hands to play even though everyone tells him he should. after he dies he sits at the piano sometimes and asks Klaus to play certain notes. When klaus isn’t too high to function he tries, but it never sounds as good as when Ben would play it. Ben appreciates it anyway.

Vanya - plays her violin but also assists the music teachers (they get a new one every couple weeks because they keep quitting). She has a really good ear for pitch, so she cringes everytime something sounds bad. Mostly the other kids don’t listen to her, but sometimes she helps luther relax his tense grip on the guitar, or helps Allison get on key for high notes, or distracts the teacher so diego can practice dancing in the dining room and klaus can sit in the corner to write, and then she sits with ben and Five and they practice together.

Bonus!

Sissy: can play like 3 songs on a dime-store harmonica. Vanya and Harlan sit at her feet and listen like it’s a concert. Vanya stares at her with heart eyes.

Dave: In Vietnam he mentions that he kinda knows how to play the guitar (learned in high school). when Klaus hears that he starts writing yearning ballads that would sound good with an acoustic guitar (like the entire folklore album, because i am a dork).

Ray: Sang in the local church choir as a kid. When allison voice fully heals they sing 50′s songs acapella and dance in the kitchen at night

Lila: Surprisingly really good flautist. Diego beatboxxes and she plays the flute while they jam out to bad 90′s hip-hop

Delores: can carry a tune, according to Five

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popentertainmentmusic · 4 years ago

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TINY TIM: KING FOR A DAY

Featuring Jonas Mekas, Richard Barone, Susan M. Khaury Wellman, Johnny Pineapple, Justin A. Martell, Eddie Rabin, Bernie Stein, Bobby Gonsalves, DA Pennebaker, Wavy Gravy, Harve Mann, Ron De Blasio, Tommy James, Richard Perry, Artie Butler, George Schlatter, Pat Barreat, Sherrye Weinstein, Rita Ritz, Tulip Stewart, Will Friedwald and archival footage of Herbert “Tiny Tim” Khaury.

Narrated by “Weird Al” Yankovic.

Written by Martin Daniel and Johan Von Sydow.

Directed by Johan Von Sydow.

Distributed by Juno Films. 75 minutes. Not Rated.

Tiny Tim is the type of strange-but-true eccentric talent that could only have really flourished in the 1960s. And not only flourish, for a white-hot period he became a cultural icon, mainly because he was so willfully different from anyone out there, so unrepentantly weird.

His comically falsetto ukulele version of the vaudeville-era chestnut “Tiptoe Through the Tulips” became a huge hit (and to this day is still considered something of a musical classic, if a rather odd one…) after Tiny Tim performed it on Laugh-In. His on-the-air marriage to his paramour “Miss Vicki” on Johnny Carson’s Tonight Show was at the time the second most-watched event in television history. (It was second only to the moon landing.)

Yet novelty acts like Tiny Tim are notoriously short-lived, and as bright as his peculiar star burned for a short time (about two years), it burnt out nearly as quickly. Even though he eventually was not exactly a shock and the world moved on to newer, even weirder acts, Tiny Tim was so determinedly offbeat that he was never really forgotten and was able to continue performing – though on a much smaller scale (sometimes an embarrassingly small scale) – for almost 30 years.

As Wavy Gravy, the mainstay of the hippie scene and head of the Hog Farm collective says in this documentary on the singer’s short and strange life, Tiny Tim was the type of act that you either just got, or you just didn’t.

Tiny Tim: King for a Day opens with a clip of Tiny Tim (born Herbert Khaury) doing a duet with himself on Sonny & Cher’s “I Got You Babe” in which he performs Cher’s lines in falsetto and Sonny’s lines in a normal singing voice. It’s an odd experience, and it also shows the juxtaposition of just being Tiny Tim, the two sides of his talent and his persona, an oddball split personality battling for superiority.

There was one thing that all sides of Tiny Tim agreed upon though. He craved the spotlight, to the point that it was almost an addiction. He even died on stage – the only place where he ever really felt comfortable – after disregarding his doctor’s orders that continuing performing would kill him.

He was so bracingly odd in the flower-power 60s that he became cool. After all, he stood out in a crowd, a very tall man named after a Dickens character with long, unkempt hair, a large nose and plaid outfits and neckties, playing Tin Pan Alley classics on a ukulele in a warbly falsetto.

Although his image was known for its edgy androgyny (at least edgy for the 1960s), while as a young man he questioned his sexuality, it appears that he was mostly very, very into girls. (And it seems, he was a tiny bit of a perv, though often more in thought than action.)

Even Tim recognized the falsetto vocals were odd. He called it his “sissy voice.” However, after several years of gaining no notice at all as a decent but unremarkable traditional vocalist, it was only when he changed things up radically – he says he was told by Jesus Christ to perform that way in a dream – that he gained attention in the dog-eat-dog world of show business.

Though he is mostly remembered for that voice – and it was his calling card – it belies the fact that not only did he have a quite decent baritone (as shown off on that “I Got You Babe” self-duet), but he also had an encyclopedic knowledge of music, and a great love of the music of 1890-1930.

Yeah, Tiny Tim was a bit of a joke character – and Herbert Khaury was in on the joke – but he was also a natural, a smart and talented showman. And yes, he was just a bit crazy, but he incorporated his eccentricity into his act.

Sadly, the world only tuned in and turned on to Tiny Tim for a short time. About a decade after his superstardom, he was broke, and living in his mother’s apartment in the Bronx – right where he started out. (Though it is not really explored in the film, Tim’s naivete led to him being swindled by his business managers.)

He took a series of oddball jobs – including being the ringmaster of a circus, doing oddball covers of more current hits like “Staying Alive” and “Do Ya Think I’m Sexy,” starring in a cheesy horror film, guesting on The Howard Stern Show and even as the host of a short-lived kids’ show called Tiny Tim & Friends that was a pretty blatant rip-off of PeeWee’s Playhouse. (Sadly, King for a Day does not share any footage of this oddball career turn, but it is available on YouTube). He even did an album called Rock which was a bunch of hair metal cover songs.

He kept going long after most people would have given up, and for smaller and smaller audiences. Tiny Tim was mostly famous for being shocking and strange. You can only do that for so long before the world catches up with you.

But as King for a Day reminds us, he sure as hell had a fascinating, conflicted life.

Jay S. Jacobs

#Tiny Tim #2021 #Music Reviews #Tiny Tim: King for a Day #Jay S. Jacobs

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clonewarslover55 · 4 years ago

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red,blue, beige, coral :)

Find this game here!

Thank you anon!

Red: describe your favorite shirt

AHHHHH I can’t pick a favorite shirt I love them all! All are Star Wars, metal bands, Alien, Predator etc. lmfaoo they’re all such great shirts!!

But my favorites? I can’t choose between these! One is a Slipknot shirt that’s just the Gray Chapter Album picture. Another is a Predator shirt that’s like some 80′s comic cover? It’s like this cool purple and neon green, I can’t describe it well but I love it!! Another is just a Star Wars shirt with Boba Fett and all of the bounty hunters from The Empire Strikes Back standing in some cool poses with Boba up front like the king he is.

Sorry I over explained but I can’t choose lol

Blue: preferred type of weather?

Foggy fall mornings!! Or any chilly weather! basically anything non-summer seasons because I fucking hate summer lol

Beige: have any pets? what're their names?

Long list babes!!

I have two dogs, a toy poodle thing named Lilly and a St. Bernard black lab mix named Bear!!

I have two cats! Both are rescues and black and white. Lucy and Sissy! I did have three kitties, black and white as well lol, but my cat Rocky passed on the 22nd. Still not over his death cause he was four and died of some odd lung thing. So I am including him!

So I currently have four lovely pets!!

Coral: an animal you wish hadn't gone extinct

Wrong question for a history and animal nerd lol

hmmmmmmm...... they won’t live in our new environment.... But if they could?!?! A wooly mammoth! I love elephants and the idea of a fluffy one is fucking great.

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thecostumevaultblog · 5 years ago

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I was tagged by the absolutely lovely @petegoestotown

Rules: answer 10 questions, tag 10 people and make another 10 questions.

⭐️My Questions⭐️

1. Favourite album?

Like, it changes every half a year. I get obsessed easily… Right now it’s Harry Styles’ Fine Line, but I’ve also been absolutely obsessed with Fleetwood Mac’s Rumors, and Green Day’s American Idiot. I’m very eclectic in my taste…and a bit ashamed of the fact, to be honest.

2. Who were you in a past life?

I like to think I was Elisabeth of Austria (Sissi). You know the type, glamorous, rich and miserable. But, knowing my luck, I probably was just a fisherman’s wife who died of malnourishment and bad medical care during the delivery of her fifth child or something like that.

3. Airdrumming or airguitar?

Definitely airdrumming. I’m traumatized with guitar playing… and that’s a way too long story for today.

4. Where would you travel in time if you could?

Realistically, back to 2012 and go through collage again. Those were fun times.

But for funsies sake, Spain in the 1550’s just because I love the women’s fashion and England in the 1880’s for pretty much the same reason.

Big gowns are literally the only reason anyone would persuade me to go back in time. I’m pretty sure that at whatever point I went back I would end up either being burned at the stake for heresy, hanged for witchcraft or sent to an asylum for “hysteria”. I’ve never been a lucky gal.

5. Do you play a sport? Which?

Satan, get away from me! I hate all and any sports and have made a life goal never to play one.

6. What weird food combinations do you enjoy?

I don’t have any… I think. I’m pretty vanilla with my food choices. The only thing I seem to love that all non-mediterraneans I’ve meet seem to think it’s disgusting is olives. But that’s not a food combination.

7. Do you think aliens exist?

Yes, probably. But I doubt they're even remotely similar to humans. They are probably bacteria or something like that.

8. Who’s your favourite stand up comedian?

I don’t really have a favourite, because I don’t watch much stand up comedy, but I loved the bits I saw Trevor Noah do.

9. What movie or book do you know the most quotes from?

Anything by Shakespeare. I am shit at remembering book quotes. But my memory is not so bad with film. So, also Lord of the Rings, Cyrano de Bergerac and anything from the Disney Animation Studio.

10. How old were you when you had your first celebrity crush and who was it?

I was about 9, and it was Orlando Bloom. I promise it was all very innocent and pure... I was really young. *So embarrassing*

my questions ~

1. what would you put into your own created salad?

Oh, I do this all the time. I love this salad: lentils, tuna fish, olives, sweet corn, cherry tomatoes, grated celery, grated beet, crab sticks and mozzarella. It’s amazing!

2. what would your call your garage band?

Loudly Whispers

3. which planet has the prettiest name in your opinion (in our solar system)?

Mercury. Don’t know why…

4. night mode or day mode on your phone?

Day mode! Night mode makes the screen look too green for me. It’s too much like the Matrix!

5. what was your fav childhood series?

It was an animated show called “Papyrus”. It was a French production, but it got translated to a bunch of different languages and I used to watch it in Catalan on TV. I just loved Ancient Egypt growing up…

6. what was the worst book you ever read voluntary?

50 Shades of Grey. Before you lose all respect for me… it wasn’t exactly voluntary… My aunt gave it to me as a present because “you said you like to read!” and I thought that it would be nice actually reading the book and be able to criticize it knowing the full extend of the thing.

7. if you could only ever eat fish or meat, what would you choose? (if youre a vegetarian:high five)

I couldn’t be a vegetarian… I would say fish.

8. if someone gave you a DVD with all the times people talked about you behind your back, would you watch it?

Oh dear! Oh dear! Don’t do this to me. I would throw it away only to get drunk thinking about what must be in there and proceed to fish it out and cry-watch it while intoxicated. And then be depressed and hating myself for watching it for a month.

9. pen or pencil?

Pen

10. whos your fav tumblr blogs? send them a nice message!

@tourdeforced, @tallulalusa, @thehowlingghost, @petegoestotown, @23-tiny-wishes, @kitty-rushes-in, @elleisforlovee, @vendelaberglin, @nails-n-glam, @weloveperioddrama, @lalilaloli, @pristina-nomine

I adore all of you and make me smile every-time you post! <3

my questions:

1. did a book or movie change your life or majorly shifted your views on a topic?

Not so much changed my life or my mind on anything… but I was really shaken after watching the James Baldwin documentary I Am Not Your Negro. Like, it showed me nothing new or nothing that I didn’t think already, but it phrased it in such a poetic and yet poignant way that it absolutely shook me to my core.

2. you’re allowed to dress in the style of one youth culture only for the rest of your life, which one do you choose?

The depressed Goth… I wanted so bad to be Goth, but my mum wouldn’t let me buy the pertinent clothing to achieve it.

3. what type of gifts do you love to receive?

I’m so picky with gifts… because my taste is so niche and I’m obsessive with the most obscure things that people sort of tend to miss the mark. Still, with that in mind, I love to receive films and books as gifts, because even if it’s not about whatever topic I’m currently fixated on, there’s always something of interest in them.

I hate being gifted knick-knacks, I want thinks that allow me to find something in them.

4. do you know your MBTI type?

MBTI? What is that? Well, I guess that definitely answers your question.

5. would you like to have dinner with a time Traveller from the future or with your favourite author?

Favourite author. I don’t want to be told how humanity ends.

6. would you run your country for a year?

Nop. Not a chance. I would be terrified of being unable to fix the things I think need to change. And I’m terrified of messing up.

7. which piece of art would you like to own?

Shit. Every single one of them?

If I had to choose one, though, it would be Velázquez’s Las Meninas. Such a shame it wouldn’t fit my apartment.

8. do you have pet peeves?

There’s people who don’t? I hate when people bend the page on a book to mark it. I hate when people invite themselves to my house. I hate when people leave things out of their proper place… and many, many more.

9. which fictional character is a lot like you?

I don’t really know…mmm… I’ve been told Monica, from Friends. I’ve been told a lot I look like Leia… But I would say, Alma from The Phantom Thread if she used sass and self-depreciating humor to hide her vulnerability. Don’t really know what that says about me…

10. a quote you’d like to share:

“I will no longer mutilate and destroy myself in order to find a secret behind the ruins.” Herman Hesse

💖 MY QUESTIONS 💖

1. What’s your favourite thing to do alone?

2. What’s the thing you always carry in your purse?

3. A book or a film that stayed with you long after you finished it?

4. Have you ever gone to the movies and payed to watch a film you knew wasn’t worth it?

5. If you could go anywhere in the world, where would you go?

6. What’s the one food you can’t live without?

7. Period dramas. Yay or Nay

8. What thing in your daily routine would you pay not to have to do?

9. What was the one thing you had to cancel due to the Covid Crisis that made you want to throw a tantrum?

10. What language would you like to learn?

@petegoestotown this was FUN! Thanks! I’m currently very bored and this is the perfect entertainment! Lots of love and don’t stop tagging me!

Now, the part that makes me sort of uncomfortable… I tag the usual people @tourdeforced, @tallulalusa, @thehowlingghost, @23-tiny-wishes, @kitty-rushes-in, @elleisforlovee, @vendelaberglin, @nails-n-glam, @weloveperioddrama, @lalilaloli, @pristina-nomine, please feel free to ignore me if I’m tiresome. Also, everyone else who wants to participate!

#tag game

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themidtowners · 5 years ago

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winter:

the snow makes the silence so much more unbearable. it envelopes midtown in a thick layer of grey-white slush that wets sneakers and freezes toes ice cold. no one walks home alone anymore. the sign in front of the grossout looks brighter nowadays. the green neon reflects off of the snowbanks and it basks the area in a harsh glow that makes the old grocery store look two parts inviting and one part ominous. when the “midtown three” ditch class they smoke cigarettes to keep warm. they don’t know if they’re blowing out cigarette smoke or breath fog. ari and nadya skip the musical that year, decide that the sissy spacek version of carrie was the only one that mattered. after they hear about what happened to midge, they’re glad they opted out. the two sides of town go to war again, and this time there’s a casualty. love makes people do stupid things, and so does fear. fangs fogarty dies, but really doesn’t die, and ari asks him how that makes him feel. nadya looks like an angel in the snow, draped in a leather jacket far too big for her petite frame. her lipstick is smeared and her smile is wry and maybe this meant that good things could get better. there’s a few weeks where its too cold to hang out at the tracks; everyone feels aimless without being attached to their anchor. dead ophelia puts out an album and ari cries the first time she hears it, proud that the fruits of her brother’s labor are paying off. abandoned houses are the perfect place for album-release shows. dima tries not to think about all of the people entreating on the one space that truly feels like his own. cherry blossoms didn’t smell sweet anymore. ari was starting to hate the color red. saw how blood looked when it mixed with the stark white of the snow. it was sterile, like the hospital. when they found her they couldn’t tell if she’s breathing; it’s hoarse, too shallow. winter was the season of reconsidering; what did i do to deserve that? why do i feel like this? how do i take comfort in my identity when it’s ever-changing? nadya refused to go back to the gas station. she refused to get out of bed some days. she refused to inhabit a body that was so grotesquely violated. winter breaks relationships into fractals, like the ice on top of shadow lake. when nadya can’t help but retreat, ari ventures out; finds out that girls taste sweet but boys do too. fangs fogarty was golden in every sense of the word. he brought the kind of warmth that was needed to break the time-capsule stagnancy around midtown. he and ari pass around a flask of cinnamon whiskey. it stings when they kiss but no one really minds. “i think you’re the type of person who could keep me warm.” fangs doesn’t ask what she means. dima asks abraham if he any “friends” who could sell him a gun. when he gets it he does target practice in fox forest and balances glass bottles on old tree stumps; he like the sound it made when the bullets broke through the glass. liked how it looked when the thick glass rained down from the broken bottles. christmas was good…almost too good, like maybe the world had finally decided to cut the three kids some slack. they’re all too anxious to enjoy it, caught up in the feeling of waiting for the other shoe to drop. friends fight. it’s ugly, they know how to hit where it hurts. friends fight but they always make up; it’s a white-flag peace offering, ari walking across the street in her slippers with a bottle of wine and an 8th of weed tucked into her backpack. she knows that she’ll be welcomed warmly, knows better than to make idle conversations in the foyer. three knocks on nadya’s bedroom door: one for herself, one for nadya, and one for dima too. the two girls skip the pointless apologies, both slipping under the covers of nadya’s big bed. ari braids nadya’s hair like always, finishes off the thick plait with a pink hairband. nadya uncorks the bottle of wine with her teeth, she doesn’t really like white wine but it’ll do. dima knocks on the wall to announce that he’s coming over, that his sister and his best friend better make room for him. it’s a moment that feels right, and things haven’t felt “right” in a very long time. new years eve comes around too quickly, but that’s what happens when time passes right before your very eyes. you can’t keep up with time, and you don’t want to catch up to time. ari and nadya are an immovable unit, creeping around the masses of riverdale high students that were crowded into the living room at reggie mantle’s house, counting down the seconds to midnight. the girls do bumps of ketamine off of ari’s car keys. dima bought some pills; he’s laying on the mantle family’s manicured lawn staring at the moon and complaining that the world feels too heavy, and he’s right. gus katz and his best friend robbie are hit by a drunk driver. new year’s day is spent in the ICU. recklessness was no longer as enticing, no longer felt like second nature. actions had consequences, healing took time. spring would be better. they would all try harder. they would have to.

#here lies court's post #midtown au #the midtowners #riverdale au #riverdale fic #sweet pea x oc #fangs fogarty x oc #moodboard made by m #words by c

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blackkudos · 5 years ago

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Ben Webster

Benjamin Francis Webster (March 27, 1909 – September 20, 1973) was an American jazz tenor saxophonist. He is considered one of the three most important "swing tenors" along with Coleman Hawkins and Lester Young. Known affectionately as "The Brute" or "Frog", he had a tough, raspy, and brutal tone on stomps (with growls), yet on ballads he played with warmth and sentiment. He was indebted to alto saxophonist Johnny Hodges, who, he said, taught him to play his instrument.

Early life and career

Born in Kansas City, Missouri, United States, he studied violin in elementary and taught himself piano with the help of his neighbor Pete Johnson, who taught him the blues. In 1927-1928 he played for silent movies in Kansas City and in Amarillo, Texas.

Once Budd Johnson showed him some basics on the saxophone, Webster began to focus on that instrument, playing in the Young Family Band (which at the time included Lester Young), although he did return to the piano from time to time, even recording on the instrument occasionally.

In his first biography (‘Ben Webster / In A mellow Tone’, Van Gennep/The Netherlands, 1992, published as ‘Ben Webster / His Life and Music’ with Berkeley Hills Books/USA in 2001), author Jeroen de Valk (assisted by Ben’s cousin Harley W. Robinson) traces back his ancestry to his great-great grandmother, a woman from Guinea who reportedly was brought to America as a slave in the early 19th century. Her son managed to escape from slavery. Ben’s father, who worked as a porter on Pullman trains, separated from his mother before his son was born. Ben was raised by his grand-aunt, Agnes Johnson, to whom he referred as his ‘grandmother’. His mother Mayme worked as a school teacher. He had to play the violin as a kid but hated the instrument, as other kids called him ‘sissy with the violin’. He had his first piano lessons by his second cousin, Joyce Cockrell. He changed to the tenor saxophone after hearing Frankie Trumbauer’s solo on the C-Melody saxophone in 'Singing The Blues', but soon Coleman Hawkins became a major influence. Webster was married for a couple of years in the early 40s to Eudora Williams. He never had a family of his own and lived with his mother and grand-aunt off and on until their passing in 1963.

Kansas City was a melting pot from which emerged some of the biggest names in 1930s jazz. Webster joined Bennie Moten's band in 1932, a grouping which also included Count Basie, Hot Lips and Walter Page. This era was recreated in Robert Altman's film Kansas City.

Webster spent time with quite a few orchestras in the 1930s, including Andy Kirk, the Fletcher Henderson Orchestra in 1934, then Benny Carter, Willie Bryant, Cab Calloway, and the short-lived Teddy Wilson big band.

With Ellington

Ben Webster played with Duke Ellington's orchestra for the first time in 1935, and by 1940 was performing with it full-time as the band's first major tenor soloist. He credited Johnny Hodges, Ellington's alto soloist, as a major influence on his playing. During the next three years, he played on many recordings, including "Cotton Tail" and "All Too Soon"; his contributions (together with that of bassist Jimmy Blanton) were so important that Ellington's orchestra during that period is known as the Blanton–Webster band. Webster left the band in 1943 after an angry altercation during which he allegedly cut up one of Ellington's suits. Another version of Webster's leaving Ellington came from Clark Terry, a longtime Ellington player, who said that, in a dispute, Webster slapped Ellington, upon which the latter gave him two weeks notice.

After Ellington

After leaving Ellington in 1943, Webster worked on 52nd Street in New York City, where he recorded frequently as both a leader and a sideman. During this time he had short periods with Raymond Scott, John Kirby, Bill DeArango, and Sid Catlett, as well as with Jay McShann's band, which also featured blues shouter Jimmy Witherspoon. For a few months in 1948, he returned briefly to Ellington's orchestra.

In 1953, he recorded King of the Tenors with pianist Oscar Peterson, who would be an important collaborator with Webster throughout the decade in his recordings for the various labels of Norman Granz. Along with Peterson, trumpeter Harry 'Sweets' Edison and others, he was touring and recording with Granz's Jazz at the Philharmonic package. In 1956, he recorded a classic set with pianist Art Tatum, supported by bassist Red Callender and drummer Bill Douglass. Coleman Hawkins Encounters Ben Webster with fellow tenor saxophonist Coleman Hawkins was recorded on December 16, 1957, along with Peterson, Herb Ellis (guitar), Ray Brown (bass), and Alvin Stoller (drums). The Hawkins and Webster recording is a jazz classic, the coming together of two giants of the tenor saxophone, who had first met back in Kansas City.

In the late 1950s, he formed a quintet with Gerry Mulligan and played frequently at a Los Angeles club called Renaissance. It was there that the Webster-Mulligan group backed up blues singer Jimmy Witherspoon on an album recorded live for Hi-Fi Jazz Records. That same year, 1959, the quintet, with pianist Jimmy Rowles, bassist Leroy Vinnegar, and drummer Mel Lewis, also recorded "Gerry Mulligan Meets Ben Webster" for Verve Records (MG V-8343).

In Europe

Webster generally worked steadily, but in late 1964 he moved permanently to Europe, working with other American jazz musicians based there as well as local musicians. He played when he pleased during his last decade. He lived in London and several locations in Scandinavia for one year, followed by three years in Amsterdam and made his last home in Copenhagen in 1969. Webster appeared as a sax player in a low-rent cabaret club in the 1970 Danish blue film titled Quiet Days in Clichy. In 1971, Webster reunited with Duke Ellington and his orchestra for a couple of shows at the Tivoli Gardens in Copenhagen; he also recorded "live" in France with Earl Hines. He also recorded or performed with Buck Clayton, Bill Coleman and Teddy Wilson.

Webster suffered a cerebral bleed in Amsterdam in September 1973, following a performance at the Twee Spieghels in Leiden, and died on 20 September. His body was cremated in Copenhagen and his ashes were buried in the Assistens Cemetery in the Nørrebro section of the city.

Legacy

After Webster's death, Billy Moore Jr., together with the trustee of Webster's estate, created the Ben Webster Foundation. Since Webster's only legal heir, Harley Robinson of Los Angeles, gladly assigned his rights to the foundation, the Ben Webster Foundation was confirmed by the Queen of Denmark's Seal in 1976. In the Foundation's trust deed, one of the initial paragraphs reads: "to support the dissemination of jazz in Denmark". The trust is a beneficial foundation which channels Webster's annual royalties to musicians in both Denmark and the U.S. An annual Ben Webster Prize is awarded to a young outstanding musician. The prize is not large, but is considered highly prestigious. Over the years, several American musicians have visited Denmark with the help of the Foundation, and concerts, a few recordings, and other jazz-related events have been supported.

Webster's private collection of jazz recordings and memorabilia is archived in the jazz collections at the University Library of Southern Denmark, Odense.

Ben Webster used the same Saxophone from 1938 until his death in 1973. Ben left instructions that the horn was never to be played again. It is on display in the Jazz Institute at Rutgers University in New Brunswick, NJ.

Ben Webster has a street named after him in southern Copenhagen, "Ben Websters Vej".

On June 25, 2019, The New York Times Magazine listed Ben Webster among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Discography

As leader / co-leader

King of the Tenors [AKA The Consummate Artistry of Ben Webster] (Norgran, MGN-1001, 1953)

1953: An Exceptional Encounter [live] (The Jazz Factory, 1953) – with Modern Jazz Quartet

Music for Loving (Norgran MGN-1018, 1954) AKA Sophisticated Lady (Verve, 1956), and Music With Feeling (Norgran MGN-1039, 1955) – reissued as a 2-CD set: Ben Webster With Strings (Verve 527774, 1995; which also includes as a bonus: Harry Carney With Strings, Clef MGC-640, 1954)

The Art Tatum - Ben Webster Quartet (Verve, 1956 [1958]) – with Art Tatum

Soulville (Verve, 1957)

The Soul of Ben Webster (Verve, 1958)

Ben Webster and Associates (Verve, 1959)

Gerry Mulligan Meets Ben Webster (Verve, 1959)

Ben Webster Meets Oscar Peterson (Verve, 1959)

Ben Webster at the Renaissance (Contemporary, 1960)

The Warm Moods (Reprise, 1961)

Wanted to Do One Together (Columbia, 1962) – with Harry Edison

Soulmates (Riverside, 1963) – with Joe Zawinul

See You at the Fair (Impulse!, 1964)

Stormy Weather (Black Lion, 1965) – recorded at The Jazzhus Montmartre, Copenhagen

Gone With The Wind (Black Lion, 1965) – recorded at The Jazzhus Montmartre, Copenhagen

Meets Bill Coleman (Black Lion, 1967)

Big Ben Time (Ben Webster in London 1967) (Philips, 1968)

Webster's Dictionary (Philips, 1970)

No Fool, No Fun [The Rehearsal Sessions, 1970 with The Danish Radio Jazz Orchestra] (Storyville Records STCD 8304, 1999)

Ben Webster Plays Ballads [recordings from Danish Radio 1967–1971] (Storyville SLP-4118, 1988)

Autumn Leaves (with Georges Arvanitas trio) (Futura Swing 05, 1972)

Gentle Ben (with Tete Montoliu Trio) (Ensayo, 1973)

My Man: Live at Montmartre 1973 (Steeplechase, 1973)

Ballads by Ben Webster (Verve, Recorded 1953-1959, released 1974, 2xLP)

As a sideman

With Count Basie

String Along with Basie (Roulette, 1960)

With Buddy Bregman

Swinging Kicks (Verve, 1957)

With Benny Carter

Jazz Giant (Contemporary, 1958)

BBB & Co. (Swingville, 1962) with Barney Bigard

With Harry Edison

Sweets (Clef, 1956)

Gee Baby, Ain't I Good to You (Verve, 1957)

With Duke Ellington

Never No Lament: The Blanton-Webster Band (RCA, 1940–1942 [rel. 2003])

With Dizzy Gillespie

The Complete RCA Victor Recordings (Bluebird, 1937–1949 [rel. 1995])

With Lionel Hampton

You Better Know It!!! (Impulse, 1965)

With Coleman Hawkins

Rainbow Mist (Delmark, 1944 [1992]) compilation of Apollo recordings

Coleman Hawkins Encounters Ben Webster (Verve, 1957)

Coleman Hawkins and Confrères (Verve, 1958)

With Woody Herman

Songs for Hip Lovers (Verve, 1957)

With Johnny Hodges

The Blues (Norgran, 1952–1954, [rel. 1955])

Blues-a-Plenty (Verve, 1958)

Not So Dukish (Verve, 1958)

With Richard "Groove" Holmes

"Groove" (Pacific Jazz, 1961) – with Les McCann

Tell It Like It Tis (Pacific Jazz, 1961 [rel. 1966])

With Illinois Jacquet

The Kid and the Brute (Clef, 1955)

With Barney Kessel

Let's Cook! (Contemporary, 1957 [rel. 1962])

With Mundell Lowe

Porgy & Bess (RCA Camden, 1958)

With Les McCann

Les McCann Sings (Pacific Jazz, 1961)

With Carmen McRae

Birds of a Feather (Decca, 1958)

With Oliver Nelson

More Blues and the Abstract Truth (Impulse!, 1964)

With Buddy Rich

The Wailing Buddy Rich (Norgran, 1955)

With Art Tatum

The Tatum Group Masterpieces, Volume Eight (Pablo, 1956)

With Clark Terry

The Happy Horns of Clark Terry (Impulse!, 1964)

With Joe Williams

At Newport '63 (RCA Victor, 1963)

#03/27 #09/20

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drkoestersmithrpg · 5 years ago

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The Krufe Effle Tournament - Universe 1

Rocking, rocking, endlessly rocking, Tony moved with the stronger man above him in a smooth, graceful parody of a man making love to a woman. On his back, legs spread wide, pierced to the core, Tony was in the position of the woman. Which meant that he had turned out to be the useless fucking faggot his father always knew he would be. The constant scraping of his prostrate was driving him crazy and the sounds above him were frying his brain. He had kept his mouth clenched tight for fear of what might come out of it, something like ‘stop’ or ‘more’ or ‘I love you, what’s your name again?’ or ‘I do say sir, your cock is the perfect size.’ But he was slack-jawed now, awestruck, whimpering. His eyes were clenched tight -- maybe, if he kept them closed, this wouldn’t really be happening, he wouldn’t really be here; his legs spread shamelessly, his hands splayed out over the scattered LPs , his impending orgasm threatening to blow the top of his head off, his lover above him making impossible demands…. “Open your eyes.” “I can’t,” he whispered (whimpered) and he bent his body forward in hopes of rubbing his cock against that other body while simultaneously turning his head as far away from his lover as he could get it, trying to pretend this was all just another Deranged Fantasy a-la-Tony, that he was really just the Poor Little Rich Boy alone and pathetic…very pathetic…but at least safely alone. “Tony, open your eyes.” He did, and when he saw his father, he knew he had died and gone to hell. He screamed and threw his arms over his head.

“Limp wristed fairy, you pathetic pillow biter,” his old man spat, and Tony’s hands pressed over his ears did nothing to block out the hateful voice. “You and your twisted, deviant friends can go play your sissy games but know when you come back home I won’t have a weak queer living under my roof…” Far away……in another room perhaps, or in another reality, he could hear another voice call his name, and he knew hope was near. Peter was here, Peter would save him, and if Peter couldn’t save him well, then he could save Peter and not have to think about this horrible nightmare that was currently and enthusiastically fucking him into the floor.

“Tony…..what? Tony I…..oh shit, oh FUCK Tony……” “Language!” he whispered breathlessly (his mouth and throat too dry to really speak) as he flailed his arms around in the darkness, trying to find Peter. Something was very wrong…Peter sounded like he was in trouble (or feeling REALLY good!) and either way Tony was going to find him and save him.

He could find him. He could save him. And then the weak silly pillowbiter would be gone and the Big Solid Hero would be back again. He tried to turn his head, because all efforts to flail his arms to find Peter weren’t working because he didn’t know which was up which is when he realized, for the first time, that there was no darkness he was only keeping his eyes tightly closed.

Opening them didn’t help.

They clearly were not in his childhood bedroom, but they WERE laying atop of what would appear to be his entire Black Sabbath album collection (he could feel them crunching underneath his back OH he was going to be SO pissed at someone) and he couldn’t get off the broken albums on the floor because a much stronger man was on top of him, but suddenly it didn’t matter because PETER had just fallen on top of him and he couldn’t flail his arms around because he was holding tightly onto Peter.

Tony had rescued him after all. He pulled his sweating, panting (and weeping? were those tears??) boy closer to him and stroked the damp hair. “Peter, oh god Peter,” he was saying, and TRYING NOT to say, because he DID NOT want to admit how terrified, how helpless, he had been just moments before. Tony actually found himself KISSING the boy’s head and trying to rock him back and forth, overwhelmed with the urge to GIGGLE (and losing) because he wasn’t supposed to be kissing Peter, was he?? No, that would be SO unprofessional. But Peter didn’t seem to notice. In fact, Peter seemed to be very upset about something, and was currently clinging to Tony begging forgiveness. “I’m so sorry, oh gosh Tony, oh fuck I tried, I really I tried, Oh god forgive me. I’m so sorry Tony, I’ve just wanted you for so fucking long….” “Hey hey hey…it’s ok…” Tony said (what else could he say?) He pushed the boy’s wet hair out of his eyes, dried the tears from his face (yes the boy had been crying) all while trying to make sense of it all. “Kid, what happened to you? Where are we? You want me?” A look of despair marred Peter’s beautiful face as he pulled his body away (Tony couldn’t help but notice that he was embarrassingly nude but Peter didn’t seem to mind that fact, probably because he was gloriously nude also. Nor did Petey even notice that Tony was sporting a huge erection.) “What’s the last thing you remember?” the boy asked, whispered really. He sounded heartbroken. “We were with Cap on the roof, waiting for the Krufe Effle alien to arrive for the tournament - the One-Man-Gladiator thing,” Tony said, keeping his hands on Peter’s arms, not wanting to let him go. He could keep talking, he could keep being ok, as long as Peter was here. “...where he was going to fight Cap for some alien honor something, in front an audience of the Heads of State, and Strange messaged us to tell us it was all a setup, which we figured. So we put out an all call and Sam and Nat and .....and......”

“And Barnes and Thor and that Starlord dude you hate so much, they were nearby. And you told me not to come because it was too dangerous but I came...”

“Right, right, and I introduced Nat as the Queen of England and Sam as the King of Motown and Thor as Our Local God and you as the Twink Ambassador To Earth...”

“Dammit Tony I’m not a twink.”

“No....no.....you’re the AMBASSADOR to the Twinks. And the alien seemed to buy it...and I had just analyzed the box that the Krufe guy said Cap needed to use as a weapon…. Peter? Why are we both naked?”

“Ohgodforgiveme,” he said, but when he tried to pull away Tony wouldn’t allow it, keeping his arms wrapped around Peter’s body and although Peter was far stronger, he stayed. “That Krufe Effle alien,” he said, ducking his head down to Tony’s chest, trying to hide in Tony’s arms. Tony combed his fingers through the wet hair as Peter tried to explain. ”It was all a setup, just like Strange said. But he sent another message about the weapon that Cap was using… I was TRYING to get his attention....but I couldn’t get anyone to listen.... Strange said to use the POMMEL of the weapon, but Cap just used the blade, he said we couldn’t not let any of the blood…I guess that was the point of having the battle with all the heads of state in one place…and then you called one of the Sentinels and they grabbed it and soared off with it but…” ”Oh god the blood...”

”It went everywhere. I was standing behind you but Cap got a whole facefull and just started screaming and pulling his hair, but you were still in your suit and you started sending the uninfected people to carry the infected people into the showers in hopes it would just wash off but everyone was going in every direction - Barns picked up Nat and carried her into the kitchen and Starlord said he was going to fly Thor somewhere to.....actually I’m not sure.....I’m not sure WHAT they were doing......” “Is Cap all right?” “He got it the worst…you told Sam to take him to your shower and they got in there alright but…well ......I’m not sure what they’re doing but they’re still in there.....” “We came here, I remember!” Tony said, grabbing Peter by the arm, where the alien’s blood had been eating through his suit. Suddenly Peter’s wet hair was making more sense. “The sink in the lab! I used the bucket to douse you! But my suit should have…”

“You took it off. My hands were shaking too much to fill the bucket and I guess you meant to take the gloves off but it all came off and then you were holding me up to pour the water on me…and well…”

“But how did we get here?” Peter looked up and around in despair. “Through your vintage record collection. Sorry.” His sad frown was a centimeter from Tony mouth. and even as Peter tried to explain how the shelf got knocked over and the albums scattered Tony closed the distance and pressed his lips to the boy’s soft skin.

“These are expensive, aren’t they?” Peter was asking, close to tears.

“Not as much as you think, I brag a lot about them because I’m an asshole” Tony was whispering against that soft skin, untilPeter turned his mouth half an inch to meet his mouth in a kiss that made Tony’s bones melt. “You wanted me for so long?” he whispered when a surprised looking Peter came up for air. “That’s what you said, word for word. Is that true?” he asked, but when Peter tried to apologize Tony interrupted him with another kiss. “Oh God Tony yes,” he said, his voice breaking, and Tony sat up and pulled the boy to him, wrapping him up in his arms and swearing he would never let go.

“But I hurt you, I think I ra….I know I hurt you,” Peter was saying. “That mineral oil you said would neutralize it better than the water, well it wasn’t exactly enough and, god I’m sorry…”

“Oh kid you’re going to have to be a lot rougher than that, and a lot bigger, to hurt me,” Tony said, fighting hard not to burst into hysterical giggles. But when Peter looked at him in disbelief, he lost the battle.

“Oh kid,” he said after collapsing onto his back and finding himself wrapped up in Peter’s arms, hiding in the comfort of the boy’s strong embrace, his hair being stroked with gentle fingers. “Oh Petey, I’ve been a limp wristed fairy for a very long time. No…no I’m afraid a number of twisted deviants have made me a little….jaded. You didn’t hurt me kid…” “You…..? But I mean….it was my first time…..I thought I must have done it wrong…wait….

“Wait.”

“How did you not know I wanted you??” Peter said, pulling back a little, looking angry now. “I thought I was being a little obvious.” “I didn’t know because I couldn’t,” Tony said breathlessly. “Ever since you officially stopped being a kid, well, I guess I spent a great deal of effort ....making sure I didn’t know.”

“Why?!?”

“Because I…..because I was pretty sure you wanted me to ...... because had no idea you wanted to fuck me.”

“I didn’t….” Peter said, suddenly looking down and stammering. “I mean I didn’t know that I wanted to....I mean I did know that I wanted to but I didn’t think that….oh god.......and I should have told you “no” but it’s just when you begged me and then you kind of took my pants off and I didn’t know how to tell you....

Tony burst into hysterical giggles again and Peter calmly bent down to stroke his hair, kissing his face and shushing until the man could speak again.

“So, you wanted me, to want you like this?” Peter said, eyes full of wonder. “Because I do. I want the other thing to - actually I think I want a lot of things - but yeah, this to.”

Then he moved forward for another kiss, then they both stopped to look down awkwardly, for just a moment, when the movement brought Tony’s erection against the Peter’s body, which made Peter chuckle. “Sorry,” Tony said, brow creasing, wondering why the kid was laughing at his dick – maybe it was some Millennial joke he didn’t get? "Where did you come from?” Peter was saying gently. “I just thought just took care of you.” “Wait….what?” Tony took Peter’s face in both hands. “Jesus this isn’t fair, what else don’t I remember?” “Can’t tell you,” Peter said with a playful smile, turning toward Tony’s fingers and mouthing them suggestively. “But I promise I took care of him already.” He leaned down and whispered “I have done that before.” “Ah fuck!” Tony moaned, falling back to the wet carpet and covering his eyes with his hand. “You went down on me for the first time and I missed it?” “And I did it well,” Peter bragged. Tony peaked out from between his fingers. “Did you? I think I’m going to need proof.”

“I don’t need proof, I had THE Tony Stark inform me I was *very* good. I think your exact words were “How the fuck did you get so GOOD at this kid?”

Tony was still peaking out from between his fingers. “Maybe I was just reacting to the sexed-up alien blood. My reactions aren’t trustworthy. The data is tainted.” Peter pulled Tony’s hand away from his eyes and, moving his body on top again, kissed each eyelid. “Well then we’ll have to do it again, for scientific purposes,” he whispered playfully.

“But lets go to the bedroom. We’re laying on an overturned shelf of what I thought were priceless LPs and they’re stressing me out.” Peter kissed him again and tried to sit up. Tony sat up with him, trying his best not to break the kiss, trying to kiss and stand and speak all at the same time. “Is this real? Are we really sober? Is Strange going to show up with a cure and make you come to your senses?” “No idea – we should have a lot of sex before then in case he does.”

“No Tony…..no” he said next, pushing Tony away gently as Tony tried to stand up while kissing him at the same time. “No, Tony,” he insisted, using his strength to keep the bigger man in place. “That’s how the record shelf came down.”

Peter’s bare feet crunched harmlessly over the crushed vinyl while he helped a limping Tony, battered and bruised, out of the wreckage, finally picking him up and carrying him the final feet to safety. Then he stopped and held Tony’s face in his hands, his eyes searching. Tony was to weak and euphoric to protest, and endured the examination patiently. “Swear to me I didn’t rape you,” Peter whispered, barely audible. “Swear to me I didn’t hurt you.” “You didn’t rape me kid. And I wish I could answer all your questions Petey, but I don’t remember.” “I wasn’t sure where I was, I wasn’t even sure I was sure if any of it was real, but when I could see straight and when you let me make love to you, for a moment I thought….I thought you screamed. I thought you screamed and tried to hide. Did I hurt you?” Let me make love to you. Were there six more beautiful words in the English Language? Tony closed his eyes and floated in the heaven that was this kid using the words ‘making love to you.’ “Tony?” “Whu…..? Oh, yes…..I mean no. I mean…..I was still hallucinating, and I thought I saw……I didn’t know where I was, and I thought I saw .... something.” “What?” Tony leaned down to kiss the boy he had been harboring impossible secret fantasies about, fantasies that until an hour ago he would never had admitted to anyone in the world. “A monster,” he whispered against soft lips, then pressed into a kiss. “But you made the monster go away.”

#Rocking Number 1 #There will be a switched version where tony thinks he raped peter #oh yes #there will be more

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lamilanomagazine · 2 years ago

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MILANO MUSIC WEEK 2022 al via lunedì 21 novembre

MILANO MUSIC WEEK 2022 al via lunedì 21 novembre. Al via lunedì 21 novembre la sesta edizione della MILANO MUSIC WEEK che si preannuncia particolarmente intensa, con tanti ospiti ed eventi in tutta Milano. Nur Al Habash è la direttrice artistica di questa sesta edizione affiancata dai curatori speciali COLAPESCE e DIMARTINO che incontreranno il pubblico e si esibiranno in uno showcase acustico alla Tower Hall di UniCredit (27 novembre - ore 18.30), e che hanno organizzato i panel “A far l’amore comincia tu: il sesso nella musica italiana” con Villabanks, Francesco Bianconi e Ditonellapiaga (24 novembre - ore 18.30 - Arci Bellezza) e “Musica e impegno sociale: ha ancora senso?” con Eugenio Finardi, Maria Antonietta e Cecilia Sala (26 novembre - ore 17.00 – YellowSquare Milan), oltre all’evento di chiusura della Milano Music Week con il concerto del supergruppo "Les Amazones D'Afrique", il collettivo musicale africano tutto al femminile, e il dj set di Montparnasse Musique, che unisce il produttore algerino-francese Nadjib Ben Bella e dj Aero Manyelo del Sudafrica (27 novembre - Santeria Viale Toscana). Lunedì 21 novembre alle 17.30 si terrà la prima imperdibile esibizione della Milano Music Week con la performance unica che Andrea, Matteo e Virginia Bocelli regaleranno alla città. Un set dalla terrazza del Mondadori Megastore di Piazza Duomo per salutare Milano e inaugurare la settimana della Musica. Eccezionalmente insieme per la prima volta in Italia, i tre artisti si esibiranno in una performance suggestiva che farà immergere il pubblico e l'intera piazza nella magica atmosfera natalizia, eseguendo in anteprima alcuni brani estratti dal loro primo album insieme "A Family Christmas". Successivamente Andrea, Matteo e Virginia incontreranno i fan all’interno dello store. Informazioni: www.mondadoristore.it/bocelli-evento-album/. Tra gli eventi da segnalare nella giornata di lunedì 21 novembre, l’annuale Convegno Istituzionale di Inaugurazione all’Apollo Club alle ore 16.30. Interverranno il Sindaco di Milano Beppe Sala, l’Assessore alla Cultura Comune di Milano Tommaso Sacchi, il Presidente di Assomusica Vincenzo Spera, il CEO di FIMI Enzo Mazza, il Direttore Generale di Nuovo Imaie Maila Sansaini e il Consigliere di Gestione SIAE Paolo Franchini. È possibile prenotarsi a questo link. Allo YellowSquare Milan cominceranno al pomeriggio gli incontri con gli artisti: Alfa e Mattia Stanga dialogheranno sul tema “Tutto quello che ci fa ridere di più”, Sick Luke racconterà la sua storia, Paola Zukar sarà ospite di Luca de Gennaro del format “All Access Area”. Radio 2, radio ufficiale della Milano Music Week, avrà un corner allo YellowSquare Milan il 21 e il 22 novembre attivo dalle 14.00 alle 16.00, dove intervisterà gli ospiti collegandosi in diretta con “La versione delle due”, il programma di Andrea Delogu e Silvia Boschero. Mi-Tomorrow distribuirà la guida cartacea per rimanere aggiornati su tutti gli appuntamenti. CPM Music Institute darà il via sempre lunedì all’Open Week con tanti incontri, masterclass e ospiti speciali tra artisti e addetti ai lavori. Tv Sorrisi e Canzoni, il magazine punto di riferimento nel mondo dello spettacolo, lunedì 21 novembre festeggerà i suoi primi 70 anni con un evento esclusivo: una grande festa per celebrare lo spettacolo e la creatività insieme a cantanti e artisti. Potranno partecipare anche alcuni fortunati lettori, scelti tra coloro che avranno inviato alla redazione il messaggio più originale sul perché amano e leggono Sorrisi ogni settimana. Sarà inoltre una sera ricca di concerti, tra i quali Venditti & De Gregori al Teatro degli Arcimboldi, Luchè al Mediolanum Forum di Assago, Jack Harlow all’Alcatraz, La Rappresentante Di Lista al Fabrique e Sissi all’Arci Bellezza. Milano Music Week 2022 è promossa e fortemente voluta da Comune di Milano - Assessorato alla Cultura, ASSOMUSICA, FIMI Federazione Industria Musicale Italiana, NUOVO IMAIE Nuovo Istituto Mutualistico per la tutela degli Artisti Interpreti ed Esecutori e SIAE Società Italiana degli Autori ed Editori. È organizzata per il secondo anno da Fondazione Italia Music Lab, nuovo hub nato da un’idea di SIAE per il sostegno ai giovani music creator italiani. Partecipano in qualità di partner A.F.I. Associazione Fonografici Italiani, Evolution, FEM Federazione Editori Musicali, KeepOn LIVE, PMI Produttori Musicali Indipendenti e SCF. La direzione artistica è affidata a Nur Al Habash, direttrice della Fondazione Italia Music Lab, che ha ricevuto il testimone dallo storico curatore Luca de Gennaro. Il main sponsor di questa edizione è UniCredit che accompagna il pubblico durante tutti gli eventi della Milano Music Week offrendo esclusive opportunità di entrare in contatto con gli artisti e ospiterà nella propria sede l’intervista e lo showcase dei curatori speciali Colapesce e Dimartino. Il programma completo è disponibile sul sito https://milanomusicweek.it/ Per i Music Talk e gli incontri è possibile prenotarsi tramite la piattaforma di ticketing e discovery DICE, partner della Milano Music Week. Al centro di questa edizione della Milano Music Week ci sono i panel sul music business MUSIC TALK e gli INCONTRI CON GLI ARTISTI più noti della musica italiana, che sono più che raddoppiati quest’anno rispetto alle passate edizioni. Un appuntamento in cui l’industria musicale italiana si ritrova creando nuove connessioni, in cui i fan possono conoscere più da vicino i propri idoli e in cui il pubblico, che arriva da tutto il Paese, si immerge a 360° nel mondo dello spettacolo. Milano Music Week unisce i principali attori della filiera - artisti, autori, case discografiche, editori, centri di formazione, promoter, associazioni musicali, operatori, tecnici - mettendo al centro temi attuali e scenari futuri, non solo nei Music Talk e negli incontri con gli artisti, ma anche riunendo in una settimana tanti live, dj set, workshop, talk ed eventi speciali. Durante la settimana non mancheranno momenti formativi e di approfondimento proposti dalla Milano Music Week. Grazie all’apporto dei Promotori, degli educational partner CPM Music Institute, Master in Comunicazione musicale di Almed e SAE Institute e degli altri partner coinvolti nell’iniziativa. Per la prima volta quest’anno la Milano Music Week arriva con FIMI all’interno delle scuole superiori con 4 seminari multi tema sull'industria musicale che si terranno all’Istituto Scolastico Schiaparelli-Gramsci di Milano. Amazon Music è lo streaming partner ufficiale della Milano Music Week 2022 e ospita la playlist ufficiale. Amazon Music presenterà inoltre un concerto allo Yellowsquare durante la MMW, dove si esibiranno due artisti del programma Breakthrough, VV e Mattak. Biglietti disponibili via DICE. Iliad, official partner, si inserisce nel palinsesto con l'obiettivo di rispondere al forte desiderio di vivere gli eventi musicali live, consolidando con il proprio pubblico un rapporto sempre più diretto e disintermediato. Per fare ciò, iliad promuove una serie di talk intitolata “Fondamentali", grazie ai quali dà voce alle storie personali di tre artisti, Selton, Venerus e Ginevra, in dialogo con Alessandro Grieco, e ha organizzato tre corse su un tram milanese brandizzato nella serata di sabato 26 novembre, a partire dalle ore 21:00, sulle quali sarà possibile vivere un’esperienza all’insegna di musica con il dj set dei Crookers per un viaggio movimentato e immersivo. I media partner di quest’anno sono Accordo.it, organizzatore dell’evento fieristico SHG Music Show che riunisce al Palazzo delle Stelline questo weekend, il 19 e 20 novembre, la filiera dello strumento musicale moderno, configurandosi come anteprima della Milano Music Week; Billboard Italia, l’unica edizione europea del noto magazine statunitense, che organizza la proiezione speciale Elvis Night; Mi-Tomorrow, il giornale gratuito dei pomeriggi di Milano che ha realizzato l’esclusiva guida cartacea degli eventi della settimana; Rolling Stone, testata dedicata alla musica, al cinema e alla rock culture, che approfondirà i panel sul music business; ScuolaZoo, il media brand di riferimento della Generazione Z e community di studenti più grande d'Italia, che approfondirà i temi della Milano Music Week sui propri canali social con oltre 5 milioni di utenti; Tv Sorrisi e Canzoni, il magazine punto di riferimento nel mondo della spettacolo, che festeggia i suoi primi 70 anni con un evento speciale; Vevo, il principale network mondiale di video musicali, che dedica una playlist agli artisti della settimana; Webboh, community di riferimento per la GenZ che racconterà ai ragazzi lo stato attuale dell'industria musicale. Radio 2, radio ufficiale della Milano Music Week, racconterà la settimana con tante interviste ad artisti e ospiti della rassegna. Anche per questa edizione, Linecheck - Music Meeting and Festival è main content partner della Milano Music Week. Dal 22 al 26 novembre al BASE Milano ci saranno cinque giorni di eventi, un vero e proprio Festival di musica e incontri dedicati a professionisti e music lovers. Il tema principale del festival sarà #INEXILE, un concetto ampio che racchiude in sé l’idea della distanza fisica dalla propria patria, nonché l'impossibilità di lasciarla o di sentirsi liberi di muoversi verso mete che potrebbero diventare “nuove patrie” lungo il proprio cammino. L’immagine della Milano Music Week 2022 è curata da Pop-Eye Studio. Con il supporto di YES MILANO www.yesmilano.it ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

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delhinewsinenglish · 2 years ago

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Loretta Lynn, coal miner's daughter and country queen, dies

https://www.dailypioneer.com/2022/trending-news/loretta-lynn--coal-miner-s-daughter-and-country-queen--dies.html

Loretta Lynn, the Kentucky coal miner's daughter whose frank songs about life and love as a woman in Appalachia pulled her out of poverty and made her a pillar of country music, has died.

She was 90.

In a statement provided to The Associated Press, Lynn's family said she died Tuesday at her home in Hurricane Mills, Tennessee.

Lynn already had four children before launching her career in the early 1960s, and her songs reflected her pride in her rural Kentucky background.

As a songwriter, she crafted a persona of a defiantly tough woman, a contrast to the stereotypical image of most female country singers.

The Country Music Hall of Famer wrote fearlessly about sex and love, cheating husbands, divorce and birth control and sometimes got in trouble with radio programmers for material from which even rock performers once shied away.

Her biggest hits came in the 1960s and '70s, including “Coal Miner's Daughter,” “You Ain't Woman Enough,” “The Pill,” “Don't Come Home a Drinkin' (With Lovin' on Your Mind),” “Rated X” and “You're Looking at Country.”

She was known for appearing in floor-length, wide gowns with elaborate embroidery or rhinestones, many created by her longtime personal assistant and designer Tim Cobb.

Her honesty and unique place in country music was rewarded.

She was the first woman ever named entertainer of the year at the genre's two major awards shows, first by the Country Music Association in 1972 and then by the Academy of Country Music three years later.

“It was what I wanted to hear and what I knew other women wanted to hear, too,” Lynn told the AP in 2016. “I didn't write for the men; I wrote for us women. And the men loved it, too.”

In 1969, she released her autobiographical “Coal Miner's Daughter,” which helped her reach her widest audience yet.

“We were poor but we had love/That's the one thing Daddy made sure of/He shoveled coal to make a poor man's dollar,” she sang.

“Coal Miner's Daughter,” also the title of her 1976 book, was made into a 1980 movie of the same name. Sissy Spacek's portrayal of Lynn won her an Academy Award and the film was also nominated for best picture.

Long after her commercial peak, Lynn won two Grammys in 2005 for her album “Van Lear Rose,” which featured 13 songs she wrote, including “Portland, Oregon” about a drunken one-night stand. “Van Lear Rose” was a collaboration with rocker Jack White, who produced the album and played the guitar parts.

Born Loretta Webb, the second of eight children, she claimed her birthplace was Butcher Holler, near the coal mining company town of Van Lear in the mountains of east Kentucky.

There really wasn't a Butcher Holler, however. She later told a reporter that she made up the name for the purposes of the song based on the names of the families that lived there.

Her daddy played the banjo, her mama played the guitar and she grew up on the songs of the Carter Family.

“I was singing when I was born, I think,” she told the AP in 2016. “Daddy used to come out on the porch where I would be singing and rocking the babies to sleep. He'd say, Loretta, shut that big mouth. People all over this holler can hear you.' And I said, Daddy, what difference does it make? They are all my cousins.'”

She wrote in her autobiography that she was 13 when she got married to Oliver “Mooney” Lynn, but the AP later discovered state records that showed she was 15. Tommy Lee Jones played Mooney Lynn in the biopic.

Her husband, whom she called “Doo” or “Doolittle,” urged her to sing professionally and helped promote her early career.

With his help, she earned a recording contract with Decca Records, later MCA, and performed on the Grand Ole Opry stage. Lynn wrote her first hit single, “I'm a Honky Tonk Girl,” released in 1960.

She also teamed up with singer Conway Twitty to form one of the most popular duos in country music with hits such as “Louisiana Woman, Mississippi Man” and “After the Fire is Gone,” which earned them a Grammy Award. Their duets, and her single records, were always mainstream country and not crossover or pop-tinged.

The Academy of Country Music chose her as the artist of the decade for the 1970s, and she was elected to the Country Music Hall of Fame in 1988.

In “Fist City,” Lynn threatens a hair-pulling fistfight if another woman won't stay away from her man: “I'm here to tell you, gal, to lay off of my man/If you don't want to go to Fist City.”

That strong-willed but traditional country woman reappears in other Lynn songs.

In “The Pill,” a song about sex and birth control, Lynn writes about how she's sick of being trapped at home to take care of babies: “The feelin' good comes easy now/Since I've got the pill,” she sang.

She moved to Hurricane Mills, Tennessee, outside of Nashville, in the 1990s, where she set up a ranch complete with a replica of her childhood home and a museum that is a popular roadside tourist stop. The dresses she was known for wearing are there, too.

Lynn knew that her songs were trailblazing, especially for country music, but she was just writing the truth that so many rural women like her experienced.

“I could see that other women was goin' through the same thing, cause I worked the clubs. I wasn't the only one that was livin' that life and I'm not the only one that's gonna be livin' today what I'm writin'," she told The AP in 1995.

Even into her later years, Lynn never seemed to stop writing, scoring a multi-album deal in 2014 with Legacy Records, a division of Sony Music Entertainment.

In 2017, she suffered a stroke that forced her to postpone her shows.

She and her husband were married nearly 50 years before he died in 1996.

They had six children: Betty, Jack, Ernest and Clara, and then twins Patsy and Peggy.

#trending news #English newspaper #Delhi News #latest news #general news #news #ne

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