#Best Love Songs of 1972

[funkopersonal]

Here's your daily reminder that...

Jews are only 0.2% of the worlds population but...

Jews make up 14% of the World Total and 38% of the United States of America total winners for the Nobel Prize for Literature (source).

Of the 965 individual recipients of the Nobel Prize and the Nobel Memorial Prize in Economic Sciences between 1901 and 2023, at least 214 have been Jews or people with at least one Jewish parent, representing 22% of all recipients. (source)

Jews make up 14% of the total winners of the Pulitzer Prize for Fiction 18% of the total winners of the Pulitzer Prize for Poetry; 53% of the total winners of the Pulitzer Prize for Non-Fiction (source).

Jews make up 39% of the total winners of the Antoinette Perry (Tony) Award for Best Play; 54% of the total winners of the Tony Award for Best Book of a Musical (with 62% of all Composers and 66% of all Lyricists of Best Musical-winning productions being Jewish) (source).

Jews make up 40% of the total winners of the Academy Award (Oscar) for Best Original Screenplay; and 34% of the total winners of the Academy Award for Best Adapted Screenplay (source).

Although Jews constitute only 3% of the U.S. population...

80% of the nation’s professional comedians are Jewish (source).

90% of American comic book creators are jewish (source)

38% of the recipients of the United States National Medal of Science are Jewish (Source).

Jews are very successful, with educational levels higher than all other U.S. ethnic groups with the exception of Asian Americans, and income levels the highest of all groups. Six out of ten Jewish adults have college degrees, and 41% of Jewish families report a household income of $75,000 or more” (source)

Jews are a minority across the globe. We've been historically opressed and hated. But these key figures from history are all Jewish and loved, yet many don't even know they're jewish (or they don't know these people in the first place!):

Stan Lee (birth name: Stanley Martin Lieber) - An American comic book writer and editor, Former executive vice president and publisher of marvel Comics, creator of iron-man, spider-man, and more.

Albert Einstein - a Theoretical physicist, Received the 1921 Nobel Prize in Physics, developed the theory of relativity and the "worlds most famous equation"  (E = mc^2), and more.

Ruth Bader Ginsburg - Former Associate Justice of the Supreme Court of the United States, co-authored the initial law school casebook on sex discrimination, co-founded the Women’s Rights Project at the ACLU in 1972, and more.

Jack Kirby (birth name: Jacob Kurtzberg) - an American comic book artist, co-creator of Captain America, one of the most influential comic book artists

Harry Houdini (birth name: Erich Weisz) - a Hungarian-American escape artist, illusionist, and stunt performer, noted for his escape acts.

Emma Lazarus - An American author remembered for her sonnet "The New Colossus," Inspired by The Statue of Liberty and inscribed on its pedestal as of 1903.

Julius Rosenthal, Lillian Wald, Rabbi Emil G. Hirsch, Stephen Wise, and Henry Moskowitz - Jewish activists that helped form the NAACP along with W.E.B. Dubois, Ida B. Wells-Barnett, and Mary Church Terrell.

Mark Zuckerberg - Founder and CEO of Meta, a businessman who co-founded the social media service Facebook, and within four years became the world’s youngest self-made billionaire Harvard alumni.

Joseph Pulitzer - a politician and newspaper publisher, his endowment to the Columbia University established the Pulitzer Prizes in 1917, he founded the Columbia School of Journalism which opened in 1912.

Jacob William Davis - a Latvian tailor who is credited with inventing modern jeans and who worked with Levi Strauss to patent and mass-produce them, died.

Irving Berlin - drafted at age 30 to write morale-boosting songs for military revues (including “God Bless America”). Many Berlin songs remained popular for decades, including “Puttin’ on the Ritz,” “Cheek to Cheek,” “Anything You Can Do (I Can Do Better),” “There’s No Business Like Show Business,” and two celebrating Christian holidays: “White Christmas” and “Easter Parade.”

Rabbi Abraham Joshua Heschel - received his doctorate in Berlin. He was arrested by the Nazis in 1938, moved to the U.S. in 1940, and became an influential figure in the 1960s, marching with the Rev. Martin Luther King Jr. in Selma, Alabama, and speaking out against the Vietnam War.

Elie Wiesel - Romanian-American writer and professor, holocaust survivor, nobel laureate, political activist. Authored 57 books including Night, a work based on his experiences as a Jewish prisoner in the Auschwitz and Buchenwald concentration camps

Bob Dylan - an icon of folk, rock and protest music, won the Nobel Prize in literature for his complex and poetic lyrics.

J. Robert Oppenheimer - ran the Manhattan Project, considered the "father of the atomic Bomb," presented with the Enrico Fermi Award by President Lyndon Johnson.

Betty Friedan - co-founded the National Organization of Women and became its first president, wrote The Feminine Mystique (1963) and helped spark the second wave of feminism.

Gloria Steinem - one of the most prominent feminists of all time, launched Ms. Magazine and co-founded the National Women’s Political Caucus with Bella Abzug, Shirley Chisholm, Betty Friedan and Myrlie Evers-Williams, widow of Medgar Evers.

Sergey Brin - an American businessman best known for co-founding Google with Larry Page, president of Alphabet Inc.

Judith Heumann - a founder of the disability rights movement, led a 26-day sit-in at a federal building in San Francisco. The protest spurred implementation of Section 504 of the Rehabilitation Act, a precursor to the Americans with Disabilities Act.

Larry Kramer - co-founded Gay Men’s Health Crisis in response to the AIDS epidemic but was soon ousted over his confrontational activism. He went on to help launch a more strident group, ACT UP, and wrote a critically acclaimed play, The Normal Heart, about the early AIDS years in New York City.

Steven Spielberg - released his critically acclaimed epic film Schindler’s List, based on the true story of a German industrialist who saved Jews during the Holocaust. The movie won seven Oscars and led Spielberg to launch the Shoah Foundation at the University of Southern California, which filmed interviews with 52,000 survivors of the Holocaust and genocides in Nanjing and Rwanda.

Calvin Klein - made designer jeans and the infamous ad starring Brooke Shields revolutionized the fashion industry, sold his company to Phillips-Van Heusen (now PVH) for $430 million. Klein was the first designer to win three consecutive Coty Awards for womenswear.

Daveed Diggs - an American actor, rapper, and singer-songwriter. he originated the dual roles of Marquis de Lafayette and Thomas Jefferson in the musical Hamilton, for which he won a 2016 Tony Award for Best Actor in a Featured Role in a Musical. Along with the main cast of Hamilton, he was awarded a Grammy Award for Best Musical Theater Album in the same year.

And so much more. (a pretty decent list is available here)

Not only that, but the following are all Jewish inventions...

The Teddy Bear - made by Morris and Rose Michtom in honor of Theodore "Teddy" Roosevelt.

The Ballpoint Pen - *the first commercially sucessfull ballpoint pen was made by Lazlo Biro, a Hungarian-Jew, and his brother.

Mobile Phones - made by Martin Cooper, nicknamed the "father of the cellphone", and was born in Chicago to Ukrainian Jewish immigrants.

The Barbie - made by Ruth Marianna Handler, born to Polish-Jewish immigrants.

Power Rangers - made by Haim Saban, a Jewish-Egyptian

Video Games - made by Ralph Baer, a German-Jew

Peeps - made by Sam Born, a Russian-Jewish immigrants who came to the United States in 1909.

Cards Against Humanity - created by a group of Jewish boys from the same high school

Many Superheroes including Superman, Ironman, spider-man, batman, and more!

and more! (an illustrated list available here.)

Conclusion: If you're Jewish, be proud. You come from a long line of successful people. No matter what happened to them, Jews persevered, and they strived for sucess. Be proud of your culture, your history, these are your people. You're Jewish.

(feel free to reblog and add more, or just comment and i'll add it!)

Last Updated: June 25, 1:35 AM EST

[medievalandfantasymelee]

THE HOT MEDIEVAL & FANTASY MEN MELEE

SECOND ROUND: 36th Tilt

King Richard III Plantagenet, The White Queen (2013) VS. Will Scarlett, The Adventures of Robin Hood (1938)

Propaganda

King Richard III Plantagenet, The White Queen (2013) Portrayed by: Aneurin Barnard Defeated Opponents: - “Taunting French Guard” [John Cleese], Monty Python and the Holy Grail (1972) - Robin Hood [Richard Todd], The Story of Robin Hood and His Merrie Men (1952)

“These puppy eyes could turn anyone into a Yorkist. "He's so pretty I want to cry".”

Will Scarlett, The Adventures of Robin Hood (1938) Portrayed by: Patrick Knowles Defeated Opponents: - Syrio Forel [Miltos Yerolemou], Game of Thrones (2011-2019) - King Caspian X [Samuel West], BBC’s Prince Caspian and the Voyage of the Dawn Treader (1989)

“Will Scarlett: red Gucci boots. a little lute that he likes to strum. does absolutely nothing relevant to the plot and I think punches a guy, MAYBE once? is otherwise functionally useless. nonviolent king of the twinks. clearly the best character in robin hood (1938)”

Additional Propaganda Under the Cut

Additional Propaganda

For Richard III:

“Beautiful Richard. Were I Anne Neville, I too would have been in love with him from the moment I met him. His voice is like the wind; but a whisper, unless he must needs raise it, and then it is a roar; loud and powerful and terrible. I desire him.”

“He's supposed to be the most villain ever but he's so hot in a wet pathetic way. your kingdom for a horse? no need dicky you can ride me.”

For Will Scarlett:

“Will Scarlett, gorgeous, useless vision in red that you are. Truly the template for the useless vibing Merry Man who does nothing but chill and sing little songs.”

"reasons to vote for will scarlett:

he's useless. he does 0 things that contribute to the story beyond vibes. he is the icon for all of us who would drop into a swashbuckler adventure story and then do nothing besides look fantastic and fuck the hot male lead.

resources are limited and yet for some reason robin hood keeps around a man with 0 backstory, no fighting skills, who wears bright red when they're trying to sneak up on people and reacts to robin actually trying to save lives by looking like this:

"3. he plays the lute. he sings little songs when robin is getting his ass kicked. again, deeply relatable and who we all want to be

4. he is visually linked by wearing scarlet with robin's other main love interest, maid marian, who wears red at the pivotal moment she falls in love with robin hood (will scarlett, already happily esconsed in permanent fuckbuddy status, wears it continually)

"this tournament is full of manly men, heroic men, good and true men. but if we're getting truly hot we need to include some Useless Bastards, and peregrin took can not hold down this important coalition alone."

[moon-simmers]

HAPPY PRIDE MONTH

As every year this is a good date to remember the daily struggle for the rights of the LBGT+ community. It is also a time to learn about the people who made it possible for us to identify ourselves as who we are today without fear of reprisals or being punished by the law. This month I got involved in the history of Argentina and its different movements for the fight for rights through the 20th century. Here I come to share some important figures, some more known than others, but obviously there are a lot that I have left out of this publication.

Sara Facio (1932-2024) & Maria Elena Walsh (1930-2011)

A couple of intellectual artists that would need a separate publication to go deeper into the subject. Sara is one of the greatest Latin American photographers who with her camera contributed to the creation of the most outstanding photographic heritage of the country. Maria Elena is a writer, singer and composer whose children's songs resonate to this day because they are much more profound than they seem and are still relevant today.

Salvadora Medina Onrubia (1894-1972)

She was a writer, militant anarchist, single mother and the first woman to run a newspaper in the country. She was the first Argentinean woman to dare to write about double sinners, lesbians and adulteresses. One of her most valued plays was Las descentradas, premiered in 1929. There, Salvadora honors her own contradictions, narrating women who question monogamous structures, marriage and the traditional family.

Malva Solis (1920-2015)

She was a transvestite writer who lived for 95 years when the life expectancy of this community in the country was under 40 years old. In 1951 founded the first trans organization on record, Maricas Unidas Argentinas. She has the oldest series of trans photographs in the country, dating from 1940 to 1980, when simply having those photographs at home was cause for being arrested. There is a documentary based on the photographs and conversations with her at her home called "Con Nombre de flor".

Jorge Horacio Ballve Piñero (1920-?)

Piñero was a young man from a well-to-do family of the Buenos Aires society at the beginning of the century. Together with his best friend Adolfo and Blanca, he organized gatherings in his apartment in Recoleta, and was a pioneer of male erotic photography. They mixed the privileged social class with workers, dishwashers, gas station workers, sailors and cadets from the Military College. These three characters were involved in a police case involving cadets from the military college, known as the Cadet Scandal. In the police archives remain captive the photographic collection, intended for pleasure and personal aesthetic enjoyment that tragically proved key to incriminate some friends who just wanted to have fun.

Ruth Mary Kelly (1925-1994)

She was a bisexual woman, who worked as a "Wohoo Worker". Founder of Grupo Safo in 1972, the first Argentine lesbian organization, and of the Frente de Liberación Homosexual (Homosexual Liberation Front). In 1972 she wrote Memorial de los Infiernos about her experiences as a "Wohoo" worker and bisexual, persecuted by the psychiatric-prison system.

Manuel Puig (1932-1990)

He was an Argentine writer and LGBT+ activist, author of the novels Boquitas pintadas, El beso de la mujer araña (Considered one of the most recognized LGBT works in Latin America and one of the best works in Spanish of the 20th century) etc. He also fought against authoritarianism and machismo, and was one of the founders of the Homosexual Liberation Front in 1971, one of the first associations for the defense of LGBTQI+ rights.

Mariela Muñoz (1943-2017)

She was the first transsexual woman to be recognized by the state and given a female ID card on May 2, 1997. At the age of 16 she became independent, and it was then that she began caring for children, teenagers and single mothers. She cared for children who had been abandoned by their mothers, whom she loved and cared for. She raised, during her lifetime, 23 children and 30 grandchildren. In a dispute over the guardianship of 3 children in 1993, Argentina was confronted for the first time with the debate as to whether a transsexual person "could be a mother"

Carlos Jauregui (1957-1996) & Raul Soria

Carlos was a History professor and the founder of the Civil Association Gays for Civil Rights, organizer of the first Pride march in Buenos Aires and an essential figure for Argentine activism. In 1984, he broke with the schemes by appearing in the magazine Siete Días embracing the activist Raul Soria, a homosexual person assumed his sexuality in a public way for the first time. He believed that media visibility is fundamental for LGTB people. Leaving aside the fear and silence that other generations suffered for years. In 1985, Raul would present himself as the first gay candidate for congressman in the country.

Roberto Jauregui (1960-1994)

Brother of Carlos, was a journalist, actor and the first activist for the rights of people with HIV in the country. In 1989 he exposed the inequality in access to treatment at that time due to the price of medication. He played a central role in marches, actions, talks and interviews to demand human rights for people living with the virus. A well-known phrase of his is "Showing one's face is not easy in a society that discriminates, censures and separates".

Cris Miró (1965-1999)

Cris was the first visible trans people that appeared in the media and broke with the "transvestite" paradigm. A dental student, she got involved in the artistic underworld and later studied classical dance, musical comedy and acting. Her career was meteoric: the popularity of revue theater catapulted her to the small screen where she became a sought-after figure in the most popular programs. On June 23rd, a series about his life inspired by his biography was released, available on Prime Video.

Alejandro Vannelli (1948-) y Ernesto Larresse (1950-)

They were the first couple in the province of Buenos Aires to get legally married on July 30, 2010 after the Equal Marriage Law was passed. They met in 1976 because of a triple A bomb in the theater where Larresse was performing with Nacha Guevara, then he joined the cast of Vannelli. At the beginning they did not like each other because of Vanelli's appearance as a wealthy young man and Larresse was the opposite, but opposites attracted and they were a couple for 34 years.

Norma Castillo (1943-) y Ramona "Cachita" Arévalo (1943-2018)

They were the of South America's first gay marriage on April 9, 2010. Norma and Ramona were married to two Colombians, who were cousins to each other. During the dictatorship they both went into exile in Colombia and there they fell in love and lived their romance clandestinely, until Cachita separated and Norma was widowed by her husband. They lived their love freely and even opened an LGBT discotheque in Colombia. In 1998 they returned to Argentina and began to work in sexual diversity organizations.

Feliciano Centurión 1962-1996)

He was a visual artist, a Paraguayan painter professionally trained in Argentina. He grew up in a home dominated by women, where he learned to sew and crochet. Inspired by queer aesthetics and folk art, he used to incorporate household textiles and references to the natural world. She handled kitsch art and languages not considered high art with a great deal of knowledge and sensitivity.

Humberto Tortonese (1964-) , Alejandro Urdapilleta (1954-2013) & Batato Barea (1961-1991)

Batato was an actor and "literary transvestite clown" as he called himself, one of the most important personalities of the underground theater movement of the post-dictatorship years. Together with Alejandro Urdapilleta and Humberto Tortonese, revolutionized the underground scene of the 80's - in places like the Parakultural. They disguised themselves, wore make-up and improvised delirious and strident scenes for the decade.

Sandra Mihanovich & Celeste Carballo

Sandra and Celeste are two singers who were visibly lesbians during the 80s and early 90s. Together they released the albums "Somos mucho mas que dos" and "Mujer contra mujer" which became a symbol of belonging for the whole LGBTQ arc in our country. They managed to be part of the rock scene, an area historically dominated by men. Sandra among all her songs is "Soy lo que soy" released in 1984 composed by Henry Jerman.

[sheisjoeschateau]

misha's masterlists

Hi, I'm Misha. Thank you for diving into my stories and supporting my writing :)

My fanfics [+this blog] are dedicated to Steve Harrington. All fanfic series, one-shots, blurbs, etc. listed below are written by me. Do not repost or share anywhere without proper credit. Thank you.

SERIES MASTERLISTS:

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"Oh, so we DO love Steve..."

Steve Harrington x Bauman!fem!reader enemies to lovers, heavy angst, hurt/comfort, upside down mayhem, S2-S4, post S4 universe hot-take, end-of-the-world / dystopian setting, ugly fights turned smut (...but with hella plot). 18+

[PART I] | [PART II] [PART III] | [PART IV] | [PART V] [PART VI] | [PART VII] | [PART VIII]

[Part IX - blurb] | [Part IX - full]

[Part X] | MORE COMING SOON

SUMMARY: WHEN THE UNEXPECTED NIECE OF MURRAY BAUMAN GETS THROWN IN THE MIX, THE GANG HAS NO IDEA JUST WHAT THEY'RE IN FOR. SCRATCH THAT - STEVE DOESN'T KNOW. YOU GET ALONG WITH EVERYONE WELL. YOU BANTER WITH THE ADULTS, WHO APPRECIATE YOUR HELP. THE KIDS LOVE AND WORSHIP YOU. YOU'RE HELPFUL ALL AROUND. BUT AS FAR AS STEVE IS CONCERNED, YOU'RE JUST NUISANCE. AFTER ALL, YOU'RE THE REASON HE LOST THE LOVE OF HIS LIFE AND MISSED OUT ON A LIFE THAT "COULD'VE BEEN." IF YOU HAD JUST KEPT YOUR SORRY ASS OUT OF THE PICTURE... IF YOU HAD NEVER GONE WITH NANCY AND JONATHAN AFTER THEY LEFT YOUR WHACK-JOB UNCLE, MURRAY BAUMAN'S, BUNKER? HE WOULD BE HAPPY. SO F*CKING HAPPY. BUT HERE YOU WERE. YOU WERE BASICALLY THE COOLER (...AND SURE, MUCH MORE ATTRACTIVE) FEMALE VERSION OF MURRAY BAUMAN. YOU WERE SARCASTIC, QUICK-WITTED, TOO SMART FOR YOUR OWN GOOD, AND APPARENTLY BUILT FOR THE WAR. SURE, YOU WEREN'T AS BRASH AS YOUR UNCLE. BUT IN STEVE'S EYES, YOU WERE SOMEHOW FAR MORE OBNOXIOUS. HE DOWNRIGHT HATED YOU.

HE WILL FOREVER HATE YOU...

BUT WILL HE?

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"You're there. You've always been there."

Steve Harrington x OC!fem!reader Childhood friends to lovers. Sloooowburn. Angst. Romance. Smut with plot. Action. Told from second-person view, reader is Nicole (character from S1), different POV, hurt/comfort, upside down mayhem, pre-S1-S4, eventual post-S4 universe.

[PART I] | [PART II]

Summary: Steve Harrington was six years old when he met you: Nicole St. James, the girl who carries the other half of him. Since 1972, the two of you have been inseparably tethered by the soul. You give Steve a home in his big house with no parents, and he gives your introverted heart a longing for someone. The King of Hawkins High and princess of this small town, you tell each other absolutely everything...except that you are in love with each other.

Everything changes that one afternoon at school, when you catch the school's social outcast -- Jonathan Buyers -- has been stalking Steve, his posse and his girl, Nancy. Little do you both know, the monsters in your favorite fairytales are real. And you're both going to have to fight them together.

You both share the best days and worst days, through childhood and teen years, until you both find yourselves roped into the perils that exist beneath your feet in Hawkins.

But through it all, despite all the doubt, Steve knows one thing: you're there. You've always been there.

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"At the Chateau, We'll Be Alright."

Steve Harrington x Jonathan Byers x fem!reader A crossover au inspired by Saltburn and Call Me by Your Name. Additional Inso from Joe's theater performance as in Spring Awakening. Song Inso: "Chateau" by Djo

Strangers to best friends to lovers. Slowburn. Angst. Romance, with polyamory themes and schemes. Smut with hella plot.

[MULTI-PART SERIES] COMING SOON. Click here for a preview.

Summary: The reader lives with her parents at a fancy chateau, in France.  This year, her father offers their home as a housing sanctuary to a select student or graduate.  He decides to invite two graduate students to live with their family over the summer, coming from different working class backgrounds, and help with their academic paperwork as a professor of archaeology.

Steve Harrington: a rich kid from a swanky boarding school with a bad boy reputation and too much charm for his own good.  Surprisingly, his grades say otherwise.  A’s and B’s, his parents claim that is seeking one-on-one tutoring so that he can progress in his studies — but it sounds more like an excuse to ship him off for longer periods of time, giving them an out for having their son around during the summer.  The pretty boy’s all about ladies…but that’s only because he hasn’t met a boy who awakens his bisexuality.  Yet.

Jonathan Byers: a kid from the lower working class, excelling in his studies and AP programs at the same boarding school as Steve which he only got into because of community sponsorship and grants.  Quiet wallflower, little to no friends, a bit cynical.  A closeted gay, he’s more determined to stick with being perceived as “ace” than come out of the closet.  Until he goes to stay at a chateau with a handsome boy, and a beautiful girl who understands him.

Twists, turns and terrifying risks, you all put your hearts on the line that summer at the Chateau. Add the reader's cousin Eddie into the mix, along with her best friend Robin, Steve's ex-girlfriend Nancy, Jonathan's estranged mother and your progressive parents alongside Steve's absent parents -- it's a cruel summer.

[doyoulikethissong-poll]

2Pac featuring Dr. Dre and Roger Troutman - California Love 1995

"California Love" is a song by American rapper 2Pac featuring rapper-producer Dr. Dre and singer Roger Troutman of the funk group Zapp. The song was released as 2Pac's comeback single after his release from prison in 1995 and was his first single as the newest artist of Death Row Records. It reached number one on the Billboard Hot 100 for two weeks (as a double A-side single with "How Do U Want It") and also topped the charts of Italy, New Zealand, and Sweden. The song was posthumously nominated for the Grammy Award for Best Rap Performance by a Duo or Group in 1997.

The first version of the song has three verses featuring Dr. Dre's rapping. 2Pac first heard Dr. Dre's session while at Dre's in-house studio and asked Dre to put him on the song. Producer Laylaw also did an additional remix of the song which is often erroneously credited to Dr. Dre and has been suggested to be one of the reasons for the fallout between Dre and 2Pac a few months later. The remix was included on 2Pac's All Eyez on Me (1996), while this version was put on the UK version of All Eyez on Me.

The original version contains a sample taken from Joe Cocker's 1972 song "Woman to Woman". The remix version contains a sample taken from Kleeer's 1984 song "Intimate Connection". The chorus, "California knows how to party", was sung by Roger Troutman using his characteristic talk box and was taken from the 1982 song "West Coast Poplock" by Ronnie Hudson & The Street People which was written by Ronnie Hudson and Mikel Hooks. In the song where Troutman sings "shake it, shake it baby", he interpolates the chant he used on his 1982 Zapp single, "Dance Floor".

The more famous if its two different music videos was directed by Hype Williams, and the casting includes George Clinton, Chris Tucker, and Roger Troutman carrying a talk box. It was nominated for an MTV Video Music Award for Best Rap Video in 1996.

"California Love" received a total of 65,2% yes votes!

[starkwlkr]

you’re so vain | jenson button

through the decades masterlist

California 1972

The day you met Jenson Button was the day you swore you would never fall in love with, but of course his charming smile had convinced you. But then came the worst part, he had become someone else. If you looked up the definition of vain in the dictionary, a picture of Jenson would be there. Ever since he became the world champion, it was all he could talk about.

“Hey, lovely, why don’t you put down the pen and paper and let’s go drive around? I know the perfect place for you and me. Remember how you used to love driving with me?” Jenson said over the phone one day.

“I would rather die than ever go on a date with you again, Jenson Button.” And you ended the call. You weren’t sure how he even got your number in the first place, but one thing was for sure, you would never go on a date with him.

After dismissing your call with Jenson, you walked back to your recording booth where your band was. You had a melody stuck in your head for the past couple of days and you desperately wanted to write down lyrics for it, but nothing came up.

“Hey, Y/n! Some Button guy keeps calling the landline, says he wants to take you out to dinner.” The drummer of your band said as he entered the room.

“For fucks sake.” You sighed. “Tell him I’m not here, that I left the country or something.”

“Okay . . . ” The drummer, Brad, said confused but went with it. He walked back to the phone.

“Button guy? What’s that about?” The guitarist, Dave, asked.

“He’s a formula one driver, but he’s so egotistical! This one time we went to a party and he walks in like he’s on a yacht! I can’t believe I even went out with him. . .” You sighed.

“Aren’t all formula one drivers a little bit egotistical? Or this Button guy worse?” Brad came back. “He asked if you were writing a song about him and I hung up. Can’t believe you dated him.”

“Don’t remind me,” you groaned. “What’s worse is that we’re supposed to perform at his boss’s birthday party this weekend. He’s definitely going to be there.”

When you were with Jenson, his boss had asked you to perform at his birthday party and you being the kind person, you said yes. Now there was no way of getting out of it.

Brad then spoke. “Well if he wants a song written about him. . . I say you write one and you perform it at the party.”

It didn’t take you long to grab your journal and pen and start writing down lyrics. You had your new song finished it about three hours and spent the rest of the afternoon coming up with a melody with the band. Soon, Jenson Button would hear his song in front of thousands of people.

—

Jenson had arrived to the party as if he owned the place. He had a pretty woman by his side and a beer in his hand. He spotted his friends and greeted them.

“This beauty right here is . . .” Jenson truly couldn’t remember the woman’s name. Sarah? Linda? “Tell them your name, love, it sounds better when you say it cause of your accent. Music to my ears!”

“Amara, nice to meet you.” The woman said with a lovely Italian accent.

“How’d you meet each other?” Jenson’s friend asked.

“Met her in Saratoga.” Jenson replied. In reality, that was all he remembered. What was he doing in Saratoga? Who knows. . .

“Ladies and gentlemen, may I have your attention.” The host of the party and Jenson’s boss announced on the microphone. He stood on the stage with a bright smile. “First off, thank you for joining me and my family this evening. We’ve had a very successful year, thanks to our world champion, Jenson Button!”

A bright light shined on Jenson, who waved to the crowd, clearly loving the attention. Soon enough, Jenson wouldn’t like it at all.

“Now, for the main event, miss y/n l/n!”

You walked to the stage with total confidence. You wore your best dress and heels, ready to sing your heart out. The crowd cheered for you and the band, all but one. Jenson.

“Isn’t that the chick you were dating?” A friend whispered to him.

“Her name is y/n.” Jenson corrected.

“Well hello! You all look very lovely tonight. We are very happy to be here and I hope we all have a great time. So our first song is a new one, but feel free to dance.” You smiled at the crowd as your band started playing.

You walked into the party like you were walking onto a yacht

Your hat strategically dipped below one eye Your scarf it was apricot

Jenson watched as you sang beautifully. He had seen you perform many times before but this one felt different. Even his date was loving the new song. Amara bopped her head as you sang.

It wasn’t until the chorus that Jenson started to realize what was going on.

“You're so vain! You probably think this song is about you!” You sang as you looked at Jenson.

Of course she would do this, thought Jenson. He looked around and saw the crowd living the song. How could they enjoy it?

“I bet you think this song is about you. Don't you, don't you?”

As you continue singing, Jenson remembered the phone call he made several days ago.

“Is she writing a song about me? Oh, poor lovesick y/n can’t get over me.”

This was his song. Fuck.

Suddenly, the confident Jenson was nowhere to be seen. You took that confidence and stomped on it with your pretty little heels. For once in his life, Jenson hated being your muse.

[soulmusicsongs]

Funky Basslines

I’ve compiled another very subjective list with the 15 of the best songs with an awesome funky basslines.

The Devil Is Gonna Get You -The Future Kind (Dave Hamilton's Detroit Funk (Rare And Unreleased Twisted Funk 1967-1975, 2006)

Enfer et Marijuana - Andy Loore (Ambiance Rythmes Vol. 5, 1970)

Good Time - George Campbell (So Much Love / Good Time, 1973)

I Cry - Millie Jackson ‎(It Hurts So Good, 1973)

I Think It's A Big One Coming - Leonard (Lil' Man) Kaigler (I Think It's A Big One Coming / You Got Me Believing In You (Dreamin' 'Bout You), 1974)

Lahilaha Illallahu - Afro Express (Asalam Aleikum,1976)

Let Me Tell You What I Found Out - Herman "Hack" Bartholomew – La La You / Let Me Tell You What I Found Out, 1970)

The Lord Don't Know Nothing 'Bout Unemployment (He's Working Overtime) - Leslie Isaiah Gaines & the Voice of the People (The Lord Don't Know Nothing 'Bout Unemployment (He's Working Overtime) / The Lord Don't Know Nothing 'Bout Unemployment (He's Working Overtime), 1983)

Napoli Si Ribella - Franco Campanino (Napoli Si Ribella (Colonna Sonora Originale Del Film), 1977)

Ratty Ratty - Maskman (Ratty Ratty / Sitting On Your Doorstep, 1972)

Roots Talk - Mabrak (Ital Talk - Liquid Talk, 1976) - Jamaica

Runnin' Wild (Ain't Gonna Help You) - The Scott Three (Runnin' Wild (Ain't Gonna Help You) / Gotta Find A New Love, 1971)

Suffering Wrath - Rudy Love and The Company Soul (Suffering Wrath / Life Ain't So Bad, 1970)

Wait… No Hurry - Grotto-II (Wait… No Hurry, 1978)

Zina - Ouiness (Bahebek Mara / Zina, 1979)

More Funky Basslines

Funky Bass in 21 songs

30 Funky Basslines

Best Funky Bass Lines : 25 tracks

Bass in Gospel: Bass for Believers

More Funky Basslines

Funky Basslines in Soul Music, part 5

Top 10 basslines in Soul and Funk Music, part 4

Top 10 basslines in Soul and Funk Music, part 3

Top 10 basslines in Soul and Funk Music, part 2

Top 10 basslines in Soul and Funk Music, part 1

[hooked-on-elvis]

I'm shocked (not really, but it's shocking to hear this anyway) to learn that at some point in life Priscilla sued Marty Lacker for a money Elvis gave him. She dropped the lawsuit when Marty counterclaimed it. Marty says "She messed with the wrong guy, but she was trying to use me as a test case against the other guys. She is a lovely person."

(1) February 25-26, 1965: Elvis signing autographs for fans in Nashville while he was in town for the recording session for the "Harum Scarum" movie soundtrack. Marty Lacker is seen by Elvis' side.

YOUTUBE - INTERVIEW WITH MARTY LACKER BY JOE KREIN PART 3 (out of 4) (go to 30:00 to listen his story about the lawsuit by Priscilla)

Now, this is just my personal comments on this but for all I've learned about Marty Lacker so far I believe he had the best interests at heart concerning Elvis. He helped EP with his music career A LOT. The way he puts it, it seems he worried with Elvis' name in the business because: 1. Marty knew EP had so much to offer (as everybody else knew), so much talent to go to waste on unworthy movies and its soundtracks and on general commercially weak songs, and 2. I bet it wasn't funny to see people mocking his friend for the kind of music and movies Elvis was making. Marty, as well as some other Memphis Mafia guys, worried about Elvis' personal satisfaction and well-being for multiple reasons... maybe not all of them being selfless but I still believe they did care about Elvis as a friend and human being even if they had hidden interests and whatever was the nature of them.

Now, all of those guys (all the people) around EP were seeing him killing himself little by little while trying to numb the disturbing thoughts in his mind and the sorrow in his soul... they were witnessing all of the sad incidents happening over the years where Elvis would end up hurting himself or almost dead. Marty was one of the few people that would go against Colonel Parker when he convinced Elvis to try something new for his career, something that would end up giving Elvis a great refreshing moment in his life, something he was hoping for deep down but somehow couldn't imagine how to make it happen himself and the ones who were in the place to advice him were too busy with their own personal agendas to care about the King's aspirations for his career.

Marty was the one to manage getting Elvis into the American Sound studio (later at the Stax too), and Marty was also the one to recommend the Sweet Inspirations to work on Elvis' concerts. Just by that alone, ALONE, could you really think Marty deserved a lawsuit for a money Priscilla didn't even need? I mean, where is the gratitude to some of the close friends of the man she allegedly says she loved?

As he said in the same interview, Marty was no saint… he wasn't a leech either. There was a time when Elvis lent him some money and Marty paid him back some time later, so Elvis was deeply touched by it because normally no one would pay him back ever! That shows something, right?

Maybe I don't know enough yet because I'm relatively a new born in the Elvis fandom, and I absolutely don't agree with every statement I've listened/read coming from Marty but in general I see him as one of the good guys from the Memphis Mafia bunch. I mean, every story has two sides. Maybe Priscilla sued Marty after being counselled to do so by some lawyer she had, like she was when she decided take Elvis to the court again in 1973, asking for more money after the divorce settlement had been set in 1972 - and by this I mean she could've been convinced to sue Marty instead of having the idea herself, which at least would make things a little less awful. But any reason she had to do that, I mean... why? There's things in life we just don't do. Even if she didn't personally liked the guy (and we know from Elvis' friends the ones she really liked were Joe Esposito and Jerry Schilling), she had to admit Marty was a great contributor to the Elvis Presley estate from which she benefits until today. I think for all Marty did for Elvis' career it's reasonable to think that any money he could've borrowed from EP would have already made its way back into the Presley's bank account in other ways. Maybe a little bit of gratitude and respect to him wouldn't hurt. I mean, I'm not totally against Priscilla... in some ways I can understand her, I really can, but not on this. Not when it comes to her greediness.

I just wonder what would Elvis think.

(2) The Presley's wedding day, February 1, 1967. Marty with Elvis and Priscilla.

FURTHER INFO: On July 17 1973, "in the papers presented to the court Priscilla's new attorney seeks to set aside the original divorce settlement." - Excerpt from 'Elvis Day by Day' by Peter Guralnick and Ernst Jorgensen. Now in addition to what has been agreed on the August 1972 divorce settlement, from the 1973 new settlement Priscilla would also receive, among other things, Spousal support, additional $625,000 (in cash) to the original $100.000 agreed and 5% of Elvis' royalties.

[m1ssunderstanding]

Understanding Lennon McCartney Rewatch Part 3.2

The thing is Paul just physically can't say what he feels. It's just an impossibility for him. So if he says reading a negative article about himself “doesn't help” or “it's not good” but it “doesn't get home” I just assume he means ‘It hurts, but I can't think about that too hard or I'll go into a self-hate suicidal spiral again’. 

I always love how Paul says Linda. “Linder is er, nature mad.” 

She!!

Hearing Paul talk about watching Mary be born makes me wonder if John was there with Sean? Also I wonder if Linda would talk about the experience so glowingly. Probably. She's tough as nails. I had a lovely experience, personally, after the epidural lol

“Dear friend . . . I'm in love with a friend of mine.” This is such a strange and beautiful song. It's a man who has to apologize to his friend for falling in love with someone else. At least, that's my interpretation. What's everyone else's?

I understand why he's so closed off. I do. But when John is going off every five seconds, we're missing half the picture here and it's turning out warped. They really are such a good study of attachment honestly.

“Nothing will ever break the love we have for each other.” White-knuckling my way through this section with this quote clenched in my fist.

Yoko, talking about John fighting with Paul: any couple will go from swearing to kissing and it's like that. What favors are you doing yourself here, babe? Maybe John's the PR mastermind between the two of them.

I find John's comparison of working with his romantic partner to being ambidextrous very confusing. Does he mean just doing two things at once?

“If I can't have a fight with my best friend, I don't know who I can have a fight with.” -- Intro slutty gender-fluid Wings Paul my beloved -- “Tell me why, why, why do you treat me so bad? So bad? When you're the best friend a man ever had?” I heard on some podcast somewhere. Someone was going on about how forward-thinking the Beatles were to refer to the women in their songs as “friends”. And I was like, nununununu do not give them that credit.

This is just soooo. In this era? 90 minutes in the middle of a recording session?

John: Sorry, my estranged fiance is calling, gotta take a break. Guitarist: again? Drummer: how estranged can they be if they call every three minutes? Yoko: should we just record the other parts or . . . John: (receiver cradled to his cheek, lovesick grin on his face) Hey, how was Heather's school program? Haha, yeah, I bet she was.

Okay, so you've made up with Paul and now you're done being homophobic? *Cardi b voice* well that's suspicious. 

The fact that John's asking Paul to play on stage with him in 1972?? Ugh! If it was just about legalities and money and shit I would be genuinely so pissed at Paul for not going. If only because Come Together sounds incredibly lame without his bass and piano. But also for the obvious fix-it reasons. I have to remind myself of how truly awful Klein was. By being the only one to stand firm against him, Paul actually ended up saving them all from a lot of trouble. But gosh would this have been good!

Things normal people say, for sure, for sure.

Okay in my head it went like this. John calls George and bitches about what an egomaniac Paul is because he won't do anything with him as long as Klein is involved. George gets off the phone and calls Ringo and they make a bet as to how long it is until John decides they should get rid of Klein. 

“Where's your audience, Paul?” “In the theater, Dave.” As he should. The cuntiness is unparalleled. Yeah, maybe people like to see a family friendly eclectic magic pixie sexy hard rock floor show? Ever thought about that, Dave?

Anyway, he seems genuinely pissed when the interviewer even mentions the other Beatles and he refuses to even admit he still talks to any of them. Why? 

John's just so benevolent and selfless. He's completely straight, of course, but he's always offering to do gay shit. You know. To be nice. 

I forget that not only was May their literal employee, but she was ten years younger on top of that. And yet, she managed to do so much good in that relationship. I have so much respect for her. 

There's obviously a lot going on behind the scenes that they don't say in interviews. Duh. But I wonder what it is that caused Paul to be so open and happy in this interview where he's asked about the other Beatles compared to before. I wonder if he and John had a really lovely talk, or if he's heard a demo of “I know, I know.” Or maybe it's just he's so reassured that they've got rid of Klein that he feels safe acting open to a reunion on record. Who knows, Yoko. 

So so smart to pair “In My Life” handwritten lyrics with the matching lyrics of “I know I know” playing at the same time. I forget about that connection (“I love you more”) because it's so overshadowed by the “than yesterday” right after. I seriously wonder if John thought he was being so obvious with this one the way he was with HDYS and half hoped people would ask him if it was about Paul and he could make up for the whole thing. Because it's just so heavy-handed. It's beautiful. I love it. I'm sure Paul loved it. But yeah. John's just beating us over the head with the references here. 

I also wonder (very tentatively!!!) if Paul was maybe a bit more emotionally vulnerable with John than we usually think. I would never think this except for the “you know I nearly broke down and cried” “I'm sorry that I made you cry” and “no more crying!” I don't know. What do we think? 

His little baby smirk. It's so silly and cute. He's being very positive about getting back together, and the interviewer asks if John would initiate that. Just a very coy, “a, well, I couldn't say.” I wonder if at that point if he'd said on live tv that he wanted to get together again if it would've happened. Seems like it might have, but I understand him being scared. 

Elton John taking pictures like a fan and John: I wanna impound all those photos till I get me green card. What a random idea for a commercial. I love it, obviously, it's hilarious. I wonder who thought of it. 

This doc is so good at implication. The smirk as “loving in the palm of my hand” plays. That's not a reference to hand jobs, is it? Certainly not talking to someone with beautiful hands?

Everyone go look up Nineteen Hundred Eighty Five on YouTube. The singing sex is something else, yeah, but I'm always so blown away by the piano part. The fact that he's self taught and doesn't read music and this man will go on to compose symphonies. 

[sissylittlefeather]

We Can Make the Morning

(or Angel Take 7)

A one-shot

A/N: I've had this idea for a while and just decided to go ahead and write it the other day while I was watching Elvis On Tour. I hope y'all enjoy this 1972 Elvis x fem!reader one-shot!

Warnings: 18+ minors DNI, kissing, cussing, handjob, ejaculation, oral sex (f receiving), possible concussion

Word count: ~3.7k

Greensboro, North Carolina. You've lived here your whole life. And you've been an Elvis fan since you heard his first record at the tender age of fifteen. Now you're in your early thirties and you finally find yourself at one of his shows. You've never managed to go to one before and something about this feels like destiny. Still, the best you could afford is a seat at the front of the balcony, but you're next to where he'll walk into and out of the arena. If you push, you might be able to get a pretty good glimpse of him, and that's all you've ever really wanted. You dream of more, but you know better than to think he's going to notice you or anything.

April 14th, 1972 is show day, finally. You get dressed and try to ignore your nerves as you fix your hair and swipe on your makeup. You opt for your favorite bell bottoms and a cropped peasant blouse. It's not the dressiest outfit you own, but it flatters you and shows off all your best assets. Not that it matters much. He'll never see you.

At the arena, you make your way to your seat and try to survey whether you'll be able to get to a place where you can really see him up close. Eventually the lights go down and the music starts up. You head over to the railing, but there's a hundred girls between you and the tunnel. There's no way you can fight through them this time. You'll have to try again at the end of the concert. You head back to your seat with a new determination.

The show is incredible.

He's wearing a dark blue jumpsuit with a belt that has an owl on it, as he points out during one of the songs. Even as far away as you are, you can tell he looks amazing. His voice is on point and his performance is unmatched. You sit in silence with your lips parted slightly and your eyes wide. It's like he's made of stardust. And you're not going to let him pass by without seeing him up close.

He ends the show with Can't Help Falling In Love and then bows with his arms held out holding the silver cape. You know he's going to move fast through the tunnel, so you run to the railing and push your way through all the women gathered there. It's hot and hard to breathe and your heart is pounding. You're pressed up against the railing where it hits you just below the waist. Your position on your platform boots is precarious but you lean over anyway, just in case he reaches up. You feel yourself getting lightheaded from the excitement, but you're not going to miss this for anything, no matter how you feel. Just then, you see him headed for the tunnel. Your ears start ringing and the edges of your vision go dark. You can't believe it's really him. As the blackness envelops you, someone behind you pushes on your back and you feel yourself falling...

******

On stage, Elvis knows he's putting on a hell of a show. The energy from the crowd is electric and the camera crew seems excited by the footage they're collecting. In truth, he's ready to be done with this damn movie. Ready to be done with this damn tour. He enjoys the stage portion but everything in between is grueling. And honestly, the loneliness has been setting in pretty hard for him, especially in the middle of the night. Sometimes he picks up a girl at a show, but most of his encounters are empty. And even if he does find someone he likes, the conversation is lacking or she's so starstruck she can't do much more than giggle or try way too hard to impress him in bed. He longs for a real connection.

On stage, though, he lives his dream every night. This show in North Carolina is particularly satisfying for some reason and he comes off the stage with a smile on his face. He makes his way quickly to the car, heading for the tunnel lined with screaming fans. Looking up briefly, something strange captures his eye.

He reacts quickly without thinking, throwing his arms out to catch you just before you hit the ground. Somehow, you fall perfectly into his grasp and he holds you like a baby. He's stopped running, so his entourage encircles him to urge him forward.

"You can't stop here, man!"

"Put her down; let's go!" He looks down at you in his arms and realizes you're out cold.

"I can't! She's out, guys!"

"You're gonna have to drop her!" He shakes his head vigorously.

"No. I'm bringin' her with me." The guys make eye contact across him. They know when he's like this there's no arguing with him. He starts moving forward again with you in his arms.

At the car, the guys try again to get him to drop you with a security guard, but he refuses.

"It's my fault she's like this! I'm not leavin' her!" He gets into the backseat of his car, holding you on his lap. The other guys roll their eyes and squeeze in with him. It was a tight fit even before you were there, so now it's almost impossible for them to smash into the car. He wraps his arms around you tighter and holds you to him while the guys pile in. Sweat from the show slides down his face and he looks at you in his arms. The gentle lines of your features are intriguing and he wonders what your name is. For a moment, he forgets where he is and does something a little strange. He pulls your face to his and presses his lips to your forehead. That's when your eyelids flutter and you stir.

******

You sit up quickly and look around, trying to figure out where you are. You're in a car of some kind with a bunch of men you don't recognize. You try desperately to remember how you got here.

"Hey, honey. Are you alright?" When you hear his voice, you whip your head around.

"Oh." You answer breathlessly. "It's you."

He chuckles softly and his smile almost causes you to pass out again.

"It's me. I'm sorry, honey, I just didn't want to leave you there in that state."

"State?"

"Do you remember falling over the wall?" You cover your face in embarrassment.

"Oh my god..." He laughs softly again.

"Honey, it's okay. It happens."

"This has happened before?!"

"Well, not exactly..." One of the guys cuts in and you realize you're sitting on Elvis's lap with his arms around you. You fight to keep your composure.

"We're here, boss." The door opens and the guys climb out of the car until it's just you and Elvis.

"I'd like you to stay, so I can keep an eye on you. Is that okay?"

"I'm not sure it's necessary..."

"I say it is. Come on." You're not going to argue with him. He pats your bottom and you climb out of the car, followed closely by him.

On the sidewalk, you stumble a little, still woozy from passing out. He wraps his arm around your waist and steadies you.

"Do I need to carry you, honey?" The concern on his face is so endearing you almost melt into the ground.

"N-no, I think I'm okay."

"Alright. I'm gonna keep a hold of ya, though." You nod and he smiles genially. Then, the two of you make your way into the hotel surrounded by his bodyguards. At the elevator, he tries to dismiss them, and they refuse to leave him alone, but when he speaks sternly and insists that he'd like to be left alone, they listen and watch as he gets on the elevator with just you. Once the doors slide shut, he turns to you and puts both hands on your hips.

"What's your name, honey?"

"Oh! I'm y/n. I'm really sorry about this."

"Don't be." He waves his hand to dismiss your apology. "I just want to make sure you're okay. Do you remember if you hit your head on the way down?"

"I don't. I think I might've been out before I fell."

"You still might've hit your head." The elevator dings and the doors open. He keeps one arm around your waist and ushers you down the hallway to his room. You look at him in his jumpsuit and wonder where he might possibly have a key stashed. He bends down and pulls it out of his boot, standing and unlocking the door. You stumble a little walking across the threshold and he steadies you again, watching you with even more concern. Once you're in the room with the door shut behind you, he seats you next to him on the couch. You yawn and blink slowly. Somehow, you're exhausted.

"Are you sleepy?"

"Mhmm." You answer, yawning again.

"Okay. We need to keep you awake. If you hit your head, you shouldn't go to sleep."

"I don't feel like I hit my head." He reaches out and puts his hand on your cheek.

"I'm not willing to take any chances, honey." You nod slowly and notice that his eyes flick down to your lips. He clears his throat and pulls his hand back. You're a little surprised that he almost seems shy.

"You're sure I can't just lay down?"

"No, baby, you gotta stay awake." He looks down at himself and then to the bathroom. "I need to shower, though. But I hate to leave you alone."

"I really think I'm okay." He looks at skeptically as you yawn yet again.

"No. You're comin' with me. You can wear your underwear in the shower. I won't touch you. C'mon." He makes you stand up off of the couch and takes your hand, walking you to the bathroom. You want to tell him that you'd happily get in the shower with him naked, but you don't. He puts you in first, facing the back of the shower and then you hear him undress and get in behind you. You're dying to peek and see what he looks like without his jumpsuit, but he's being so kind that you can't violate his privacy like that. Still, the knowledge that Elvis Presley is naked behind you in the shower makes you a little crazy. Just when you think it can't get much more endearing, he starts humming. Your heart melts when his humming turns to quiet singing and you're dying to turn around and wrap him in your arms. He's so much more precious in person than you ever dreamed he could be.

You're lost in a reverie when the shower turns off and you feel him turn to face you. You can tell he's looking at you and you want to turn around so badly. Everything inside you is screaming at you to just turn around. But it's like you're frozen where you stand. When he kisses your shoulder, though, your head rolls to the side and you're desperate for him to touch you. He doesn't though. Instead, he whispers.

"You stay here, baby. I'll get you a towel." He gets out of the shower and hands you a towel. "There's a robe hanging on the door. I'm right outside."

You dry off and slip out of your wet undergarments, wrapping the fluffy robe around yourself. When you open the door, he's sitting on the couch with a towel around his waist. He looks up at you in the robe and swallows deeply. You sit on the edge of the bed and smile awkwardly. He returns your smile.

"I'm going to get dressed. Stay here and don't go to sleep."

"Yes, sir." He chuckles softly and moves back to the bathroom. You settle against the pillows and hastily break your promise to stay awake. The warmth of rest washes over you and your eyes close.

******

Elvis puts you in the shower in your underwear facing away from him. It's impossible for him not to notice your figure, though. The curve of your ass in your white panties about drives him crazy. He strips naked and turns the shower on. Through the whole shower, he tells himself not to get aroused just at your proximity. Once he's finished, he pulls the handle to make the water stop and then turns to face you. Your hair and your body are wet from the shower and he wants to touch you so badly that it almost hurts. Without thinking, he leans down and presses his lips to your shoulder. It's an indulgence he should have resisted, but something about you is intoxicating. He breathes deeply and pulls himself away to get you a towel. Once he does, he walks out into the room and sits on the couch. What is it about you that has him so out of sorts?

When you come out in the robe, it takes all of his self control to keep from ripping it off of you. But he wants more from this. He wants to know you, not just fuck you and move on.

"I'm going to get dressed. Stay here and don't go to sleep." You give him a salute and he chuckles, making his way back to the bathroom. After about thirty seconds, though, he has a bad feeling. He doesn't even get his pants on and walks back into the room still in his towel.

He was right. You're asleep.

He moves to the bed quickly and sits next to you, shaking you gently.

"Hey, baby, wake up." You don't stir and he starts to panic. He thinks back to how he woke you up in the car and leans in and kisses your forehead. Still, you stay asleep. He kisses your cheek and then finally, he presses his lips to yours. Finally, your eyes flutter open and he smiles. "You're back."

******

"I am. You kissed me."

"I'm sorry; I was getting desperate." He looks into your eyes and your smiles fade.

"Do it again." You whisper and he nods, pulling your face back into his. He crashes his lips into yours and the kiss moves to a fever pitch as he parts your lips with his and slips his tongue into your mouth. He puts both hands on your cheeks and you sit up on your knees, ready to crawl into his lap. Thats when he notices his erection under the towel. It's impossible to hide and he pulls away, looking down, and trying to push his cock down to make it less obvious.

"Oh, god, I'm sorry, honey."

"Don't be. It's okay." He shakes his head.

"No. It's not. I brought you up here just to keep an eye on you and now this." He's ashamed at his reaction to you. He feels your finger under his chin and you pull his face to looking into yours.

"Elvis, I've loved you for as long as I can remember. Meeting you? Knowing you? It just confirms everything I've ever believed to be true about you." He melts at your words and pulls you in close to him, kissing you deeply. But he pulls away again.

"I don't want to hurt you. I don't know if you should do... this..."

"Then maybe I can do this..." You reach your hand forward and run it down his chest to the top of the towel. Then, he inhales sharply as you move further down to where his cock is erect underneath it. You slide your hand under the towel carefully and take him in your palm. He moans softly as you begin to stroke him, moving his foreskin back and forth gently.

"God, baby, that feels so good. You don't have to-"

"Shhh. You've been taking care of me all night. Let me take care of you." His hips buck into your hand as you continue to pump him. He grunts and leans his head back as you move your hand a little faster.

"Mmm, baby..." He moans as you push his foreskin back and collect a bead of precum that's gathered there, running your thumb across his sensitive head. He leans back and lets you move the towel out of the way to free his cock and stroke it in the open. You pump him a little faster and he groans again. "It's so good, baby."

He feels your lips on his cheek as you move your hand on him and turns to kiss you. He looks into your eyes and puts his hand on your cheek, leaning in to capture your lips again. Then, he presses his forehead to yours and whispers.

"Thank you..." You smile and continue moving your hand up and down on him gently. He throws his head back and his hips buck again. "Fuck, baby, I'm gonna-"

A guttural groan rises from his throat as he cums, hard, and shoots his climax all over your hand. You pump him through his release and he shudders into your palm. He uses the towel to wipe your hand clean and then lays back on the bed.

You giggle a little and lay back with him. He turns and looks at you.

"I haven't been that satisfied with a handjob in years."

"I haven't given one in years." You smile. He rolls over and smothers you in kisses, forgetting for a second that you might be hurt. He pulls back and looks into your eyes, reaching down to undo the tie on your robe. His hand runs underneath it onto your stomach and down to your hip.

"Can I make you feel good too, honey?" You nod frantically and he laughs out loud. Then he stops and looks at you seriously. "Alright, just don't move around too much. I'll never forgive myself if this hurts you."

"I really think I'm fine." He sinks to the floor between your knees and pulls you to the edge of the bed. He spreads your legs, kissing the inside of each of your thighs gently. You moan softly as he leans forward and drags his tongue up your slit to the bundle of nerves at the top.

"Oh, god, Elvis!" You whimper as he continues to move his mouth on you. He swirls his tongue over and around your clit in tantalizing circles. The sensation drives you wild and your pussy clenches around nothing as he licks you. He dips down and pushes his tongue into your slit several times before slipping one of his long fingers inside you. You whine and arch your back as he pumps his finger in and out and goes back to dragging his tongue over your clit. The pressure of your orgasm builds as he works and you know you won't last too much longer. He pulls back a little and flicks your sensitive bud with the tip of his tongue, teasing your orgasm out of you.

"Cum for me, baby." He whispers, pressing his whole mouth to you and moving his tongue on you hard.

"Oh, yes! Yes!" You cry out as your orgasm crashes into you, pumping through your veins like electric shockwaves. He continues working his mouth on you as you ride out your high, your hand in his hair.

When you finally come back down and stop shuddering, he pulls back, wiping his face with his hand and laying next to you on the bed.

"Wow." He chuckles and looks over at you. "No, seriously, I've never had a man...get me there."

"Really?"

"I mean, they've tried, but never successfully. It's like I was waiting for you."

"Honey, I feel like I've been waiting for you too." He rolls over and put his hand on your cheek.

"What do you mean?"

"I can't explain it. Something about being here with you, feels like I was meant to catch you."

"It feels like I was meant to fall." He presses his lips to yours, kissing you deeply. You shimmy out of the robe and get under the covers with him. He holds your naked body close to his own, running his hands over you gently as you talk.

You spend the rest of the night in conversation and soft touches. He tells you stories about his life and listens attentively when you share yours. The connection between you strengthens with each passing hour and each soft caress and each sweet kiss.

When the sun peeks through the curtains of your hotel room, he pushes a stray piece of hair behind your ear.

"I think you're okay, baby. You haven't had any other symptoms and it's probably been long enough now that you would have."

"Should I leave?"

"Not unless you want to."

"I don't."

"Then stay. We made it to the morning. We can rest now." You nod and he settles on your chest. You're both asleep within minutes, wrapped around each other.

Eventually, there's a harsh knock on the door and someone calls to him from the other side of it.

"Hey, boss, we gotta be wheels up in twenty."

"Okay." He hollers back, groaning and stretching.

"I'm sorry I kept you up all night." You whisper.

"Don't be, honey, that's the best night I've had in years." You both get up and start to get dressed. When you're fully put back together, he grabs you and pulls you into a warm embrace.

"I hate that you're leaving." You mumble into his chest.

"Come with me."

"What? No, I can't."

"Why not?" You wrack your brain for a reason, but there's nothing keeping you here. Nothing that's more important than him.

"Okay." You look up into his face, your arms still wrapped around each other.

"Really?"

"Yes. Can we swing by my apartment and let me grab a few things?"

"Baby, I'm Elvis Presley, we can do whatever we want." He leans in and kisses you softly again. "You know somethin'?"

"Hmm?"

"I know I caught you when you fell, but I think you're the one who saved me tonight." He takes your hand to lead you out of the room and into your future. "My own little angel fell right out of the sky. I'm so glad you did."

******

The End

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

Taglist:

@ccab @elvisfatass @elvisalltheway101 @aliypop @18lkpeters @dkayfixates @tacozebra051 @your-nanas-house @deniseinmn @joshuntildawn13 @lookingforrainbows @60svintage @littlehoneyposts @epthedream69 @louisejoy86 @rjmartin11 @from-memphis-with-love @deltafalax @atleastpleasetelephone @cinnamoroll-things

[xwpseaweird]

SOMEWHERE IN TIME

A timeless romance starring Jane Seymour & Christopher Reeve

A tribute to Somewhere In Time (1980) starring the beautiful Jane Seymour (Dr. Quinn Medicine Woman) and the late great Christopher Reeve (Superman).

Synopsis: "In 1972, playwright Richard Collier (Christopher Reeve) becomes fascinated by a photo of Elise McKenna (Jane Seymour), a turn-of-the-century stage actress, while staying at the Grand Hotel in Mackinac Island, Michigan. As Richard's obsession grows, he learns from a friend that time travel may actually be possible through hypnosis. Richard travels in time to meet Elise, and the two appear destined to be together. However, Elise's jealous manager (Christopher Plummer) attempts to keep them apart." Fun Fact: Jane Seymour and Christopher Reeve had a rather intense love affair behind the scenes of this film. To quote Jane, they fell "madly in love." The looks, touches, and chemistry they had on screen was believable for a reason. Their affair came to an abrupt end when Reeve's ex-girlfriend revealed to him that she'd been hiding a pregnancy and was about to give birth to his child. Christopher ended his romantic relationship with Jane as a result, making a point that he needed to do what he thought best...be a father and partner to the mother of his child. Jane recounted that, while she did her best to understand, the news crushed her and she fought back tears during one of their final scenes together on set. Despite how their romantic relationship ended, the two remained very close. If things had gone differently, if Reeve hadn't received the new of his ex's pregnancy, perhaps he and Jane would have went on to enjoy a lasting partnership together. We will never know and, perhaps, that's how it should be.

This film features a memorable score by John Barry, yet the song I chose is Where Does My Heart Beat Now by Celine Dion. It is a song I feel describes the relationship of Elise and Richard perfectly. Hopefully you enjoy it :)

[retropopcult]

"Thirteen" is a song by American rock band Big Star.  Rolling Stone describes it "one of rock's most beautiful celebrations of adolescence", and rated it #396 on their list of the 500 greatest songs of all time. It was written by Alex Chilton and Chris Bell.

The name of the album was #1 Record, which was bitterly ironic, as it ended up selling under 10,000 copies upon its initial release in 1972 (the name of the band also proved to be an unfortunate misnomer, because outside of critics and other musicians, they remained virtually anonymous during their brief time together).

Bell and Chilton wanted to emulate the Lennon/McCartney formula as much as they could, so they shared credit on many of their songs even though there was in fact little writing collaboration between the two. “Thirteen" was in fact entirely Chilton’s creation, and he also delivers the aching vocal that vacillates between hope and heartache and that many cover versions have tried to emulate but never quite matched.

The yearning acoustic ballad focuses on an age that is somewhat underrepresented in pop and rock music. Chilton found that bittersweet spot when innocence still lingers but more complicated emotions start to work their way into the picture.

Over tender guitars, he begins with a question that thirteen-year-old boys have been asking thirteen-year-old girls for generations: “Won’t you let me walk you home from school?” “Won’t you let me meet you at the pool?” he follows, again treading lightly so as not to scare her away. He eventually suggests a date at the dance on Friday; “And I’ll take you,” Chilton delicately sings, as if anything more forceful than a gentle plea will destroy his chances.

In the second verse, the narrator for the first time reveals an obstacle blocking the path to this girl for whom he is clearly falling hard: “Won’t you tell your Dad get off my back?” he asks her. His response to the doubting father is brilliant: “Tell him what we said about ‘Paint It Black.’” By drawing a parallel between his own musical tastes and that of the father, he’s hoping to show that he’ s not just some punk kid with bad intentions.

The final verse finds him struggling as she remains seemingly unknowable (“Won’t you tell me what you’re thinking of?”) resulting in his sweet but awkward follow up (“Would you be an outlaw for my love?”) His final lines redeem him in terms of his integrity and honor, even as they suggest that he’ s losing his opportunity with her in the process: “If it’ s no then I can go/ I won’ t make you.” The final “Ooo-hoo” that Chilton utters is a real killer, tinged as it is with the sting of implied refusal.

Over the decades there have been some fine cover versions of this classic, with brilliant and diverse artists like Garbage, Wilco, and Elliott Smith taking their turns, among many others. But they’d likely all agree they were playing for second behind Chilton’s one-of-a-kind, haunting performance. “Thirteen” is as good as it gets for those looking to relive that moment when life is still rife with possibilities but love seems stubbornly impossible.

Music critic Simon Robinson rates it as Big Star's best song and one of the most important of 1972, praising the "catchy melody and jangly guitars that perfectly capture the carefree and optimistic spirit of youth" and the "simple yet poignant" lyrics that evoke the "experience of teenage romance and heartbreak."

[that-one-enby-ranger]

It's John Richard Deacon's birthday today so that means its time to yap about him so get ready

First of all, I fucking love this man. This man is amazing and has got to be one of the best people I have had the pleasure of knowing about. He is an amazing player, and even though I will admit he is probably not THE best, he is still, in my opinion, one of the best, and will always be my favourite.

This man is such a talented musician and I hate how underrated he is. He is one of the less open members of the band and is not as public, and of course isn't like Freddie, so he is often forgotten about by people who pay more attention to the music instead of the band themselves. He has written great songs for Queen which include Another One Bites The Dust, I Want To Break Free, You're My Best Friend (which he wrote for his wife and I find that so cute), wrote the bass line for Under Pressure (and then forgot it while getting pizza but lets not talk about that), Friends Will be Friends, Spread Your Wings and others

And then he has songs which are extremely underrated in my opinion because they are fucking GREAT. Misfire (great lyrics, truly poetic, can't believe someone could come up with such great words and meanings), In Only Seven Days, You and I, If You Can't Beat Them, One Year of Love, and I don't care what anyone else says I like Back Chat. He wrote other songs as well. Even though he didn't write as many songs as the other members did, he still wrote songs, some of which went on to be massive hits, and he still contributed a lot to the band.

There's a reason why the rest of the band chose him as their bass player. They tried out multiple different bass players and none of them worked out. Then they met John and boom they had the best bass player they could ask for.

John also knew engineering, and he is an electronics engineer by training. He created his own amplifier in 1972 and it is called the Deacy amp. That's fucking cool. I'm not an engineer of any kind, but I would guess that's pretty impressive.

THIS MAN IS A FUCKING FAMILY MAN. He loves his family so much and it is so sweet. His wife's name is Veronica and in an interview (I'm pretty sure it was an interview they did for The Miracle album) he said that one of his favourite songs was a song called Veronica or something like that because it was the name of his wife. He also has six kids which is pretty badass if you ask me. Plus he wrote You're My Best Friend for his wife and that is super fucking sweet especially if you listen to the lyrics and remember that he wrote that for her. "Ooo, you make me live."

We joke about John being the cute baby of the band, and even though he is adorable, he is also a complete badass and I love him for it. According to Brian May, John could make you want to crawl into a ball and die with just a couple sentences. That wasn't a direct quote but it was something similar. There was one time when the band were out recording for an album or something like that, I can't remember the specifics, but John pretty much just fucked off and went to Bali, and left a note on his bass case saying that he went to Bali. He wrote Misfire. He used to throw peanuts into Brian's hair while he was playing his guitar solos at concerts. He learnt to play the double bass in two days because Brian told him as a joke that he would need it to play '39 even though he didn't. He had tons of stitches in his hand from smashing through glass when he was drunk or something and he still played a gig. A photographer couldn't do a photoshoot for Queen so they payed John to do it and he tried to take pictures of Roger's ass. I'm like 80% sure it was Roger I can't really remember. This is just the stuff I can think of at the top of my head by the way, this isn't even all of it. If I could be bothered to get my phone and look through Queen folder to try and find all this shit then I could add more but I'm lazy. By the way, I haven't fact checked any of this shit and I am definetely not going to, this is just shit I've heard, so some of it may not even be true, but I don't care, I like to think it is.

He is the most quite and reserved of the band, especially when it comes to the public and I absolutely repsect that. Just because he's apart of one of the most famous bands in the world does not mean he has to be public outside of that. He didn't have too much attention put on to him during shows, and I can only assume he liked it like that, but he still had his own little prescensse and I love him for it. He had a little cocktail bar behind his amp ad during concerts he would be constantly going back to get drinks, so throughout the show he would be getting more and more drunk and would be getting more hyper most likely. During concerts he did little disco moves and dances and it was the best seeing him hop around in his own little area and do his own little thing.

HIS DECISION TO LEAVE QUEEN AFTER FREDDIE DIED WAS COMPLETELY VALID AND ANYONE WHO DISAGRESS CAN GO TO HELL. I heard somewhere that part of the reason why he didn't want to carry on wasn't just because of Freddie, but was also because when Freddie was with them, he felt that most of the attention would be on Freddie, but after he died, he felt that more attention would be on him and he didn't like that, and honestly that is completely fine and he can decide what he wants to do. He cared so much about Freddie and he apparently cried before going on stage for the Freddie Mercury Tribute Concert and he should not have to carry on with something if he doesn't want to do it

John is such a silly cutie. They all are. But today we focusing on John. I'm writing this while watching John clips and he is so cute and such a silly underrated guy.

Also, I noticed the John Deacon tag here only has like 7.something K followers and THAT IS CRIMINAL HE DESERVES SO MUCH MORE THAN THAT

He did the triangle in killer queen and that is the reason he has a microphone and I found that so fucking funny.

There is so much more I could write about him, but Im gonna stop now because I'm only half focusing on my deacy clips and he deserves more attention so I'm gonna watch that

Here have some photos:

Hot

T-pose Deacy

SUCH A CUTIE HAPPY BIRTHDAY THIS MAN DESERVES THE WORLD AND ALL THE LOVE AAAAAAAAA ❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️💝❤️💝💝💝💝💝❤️💝❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️🎉🎉🎉❤️❤️❤️❤️❤️❤️❤️❤️❤️🎉🎉❤️❤️❤️❤️🎉🎉🎉🎉🎉🎉🎉🎉❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️🎉❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️🎉❤️❤️❤️❤️❤️🎉🎉❤️🎉❤️🎉❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️🎉❤️❤️❤️🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝💝❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️

[singemall-stayallnight]

How the West Was Won - Live album by Led Zeppelin

From Discogs:

Rear of slipcase states: "While I was searching for visual and audio material for the Led Zeppelin DVD I re-discovered these 1972 performances from the 25th June, L.A. Forum and 27th June, Long Beach Arena. This is Led Zeppelin at its best and an illustration of how The West Was Won."

-Jimmy Page, London, March 2003

From Wikipedia:

"How the West Was Won is a live triple album by the English rock group Led Zeppelin, released by Atlantic Records on compact disc on 27 May 2003, DVD-Audio on 7 October 2003 and Blu-ray audio in 2018. The recordings are taken from two 1972 performances in California during their tour of North America: L.A. Forum and Long Beach Arena.

"Guitarist Jimmy Page considers Led Zeppelin at this point to have been at their artistic peak, as is mentioned in the album's liner notes and in an interview he gave to The Times newspaper in 2010."

Here's the relevant excerpt from the interview mentioned above:

"Any standout gigs when you look back on Zeppelin?"

"I think what we did on [the CD release] How the West was Won — that 1972 gig — is pretty much a testament of how good it was. It would have been nice to have had a little more visual recordings, but there you go. That’s the conundrum of Led Zeppelin!"

Immigrant Song (Long Beach Arena) Heartbreaker (Long Beach Arena) Black Dog (L.A. Forum) Over The Hills And Far Away (L.A. Forum) Since I've Been Loving You (Long Beach Arena) Stairway To Heaven (Long Beach Arena) Going To California (Long Beach Arena) That's The Way (L.A. Forum) Bron-Yr-Aur Stomp (Long Beach Arena) Dazed And Confused (L.A. Forum) What Is And What Should Never Be (Long Beach Arena) Dancing Days (Long Beach Arena) Moby Dick (L.A. Forum) Whole Lotta Love (L.A. Forum) Rock And Roll (Long Beach Arena) The Ocean (L.A. Forum) Bring It On Home (L.A. Forum)

[dragonscalie]

Unironically, Willard is probably one of my favorite franchises. It's not only because it resonated with me so hard as soon as I found it, seeing myself in Willard in a very spefifically autistic way. It's just a perfectly obscure yet pop culture that it's in a perfect middle ground where some people know about it but no one is really annoying about it y'know? I'm usually the only one to talk about it in my everyday life, usually people just know it as the rat movie but they don't usually get it.

Usually when I get into a movie and I learn it has a book based off of it I immediately have to get my hands on it and by far Ratman's Notebooks had to be one of the best (with Carnosaur being the worst.) It highlights everything about Willard as a character I love and his descent into becoming worse and worse until his death. I especially love how every single movie seems to be adapting it in its own way which is something that I find myself loving about this franchise. 1971 is probably the best adaptation, especially in the garden scenes which were sorely missed in 2003. 2003 adapts the dog scene and the tire scene the best and adds a nice gothic atmosphere which isn't Willard in my opinion but it's still a nice breath of fresh air. Ben 1972 is most interesting as its a sequel to the story but it still has its own adaptation of the store scene and has a fantastic interpretation of the rat hunt.

Even the songs about this franchise are great, Willard! by Will Wood is something that has definitely got a ton of neurodivergent teens into this over 50 year old rat madness. It's more than just that though, it focuses on Willard and Socrates' friendship which is something that was greatly improved in the 2003 movie which makes the song incredibly heartbreaking.

Ben's Song was made for the second movie by kid Michael Jackson which makes me incredibly sad that they just didn't get him to play the kid in the film. This song is a focus on Ben and Drew's friendship and has the implied acknowledgement of Ben's abandonment by Willard. It and Ben 1972 as a movie is just such a nice end to Ben's character, I kinda love the open ended ending looking back on it. Did Drew live through his heart surgery? Did Ben grow old and die happy in the arms of his best friend? No one knows! I like to think Ben lived long and happy with Drew, as do probably most people.

Speaking of actors, even if I prefer Bruce Davison as Willard I do really think Chrispen Glover did a good job. Even Lee Montgomery did pretty good as Drew, he was charming in a way. I do think Chrispen is too obvious as the Ratman as the entire point was no one expects it to be Willard but that's okay, that goes with his freak charm I guess. I really wish we could see another adaptation of Willard, particularly one that finally involves the rat mask because we haven't seen it adapted on screen at all and I think its a very iconic part of the book its on the cover for a reason.

A new Willard adaptation would do great as a tv show, adapting all the rat shenanigans from the book every episode in-between his office life. I don't know anyone who would be good at playing Willard himself but I vote for Matthew Lillard to take a crack at Mr Martin as he's too old play the ratman himself.

[freddiemercurylegendabovelegends]

🔸Pre-Queen Singles Discography🔸

Today, on June 29th, 1973 - 'Pre-Queen' Story!

'I Can Hear Music' / 'Going Back' released in the UK, Germany and USA

🔸In the summer of 1972, Trident Studios' in-house engineer Robin Geoffrey Cable instigated an experimental project in an effort to emulate the "wall-of-sound" style made famous by Phil Spector. Queen happened to be recording their debut album in the studios at the time, so he invited Freddie Mercury to lay down the lead vocals who, in turn, roped in Brian May and Roger Taylor to provide percussion, guitar and backing vocals - as paid session musicians.

In June 1973, shortly before Queen's own debut album was released, EMI decided to cash in on the emerging glam rock trend and rushed out the resulting recordings as a 7" single under the name of Larry Lurex - an obvious send-up of Gary Glitter.

source ➡️ discogs.com

🔸The Ronettes (and later Beach Boys) classic 'I Can Hear Music' was recorded that summer in Trident Studios and features (per Freddie's insistance) Roger Taylor on drums and Brian May on guitar. The single was released in the UK a week before Queen's first album, becoming the first solo product by a Queen member. Freddie insisted the Queen name not be used for the release, so it was released under the pseudonym Larry Lurex.

🔸'Goin' Back' is best known as a 1966 single by Dusty Springfield. The song written by Carole King and Gerry Goffin and was recorded by a number of artists including The Byrds, Phil Collins and eventually Carole King herself.

The song was used as the B-Side to the Larry Lurex single "I Cant Hear Music".

source ➡️ queenvault.com

👉 'Mother Love' (taken 'Made In Heaven' album, 1995) ends with first strophe of song 'Going Back'

📸 Pic: 2016 Freddie Mercury 'Messenger Of The Gods' Boxed Set 7" Sleeve