#Best Romantic Songs of 1976

[doyoulikethissong-poll]

ABBA - Waterloo 1974

"Waterloo" is a song by Swedish pop group ABBA, with music composed by Benny Andersson and Björn Ulvaeus and lyrics written by Stikkan Anderson. It is first single of the group's second studio album of the same name, and their first under the Atlantic label in the US. This was also the first single to be credited to the group performing under the name ABBA. The title and lyrics reference the 1815 Battle of Waterloo, and use it as a metaphor for a romantic relationship.

In 1974, "Waterloo" represented Sweden in the 19th edition of the Eurovision Song Contest held in Brighton, winning the contest and beginning ABBA's path to worldwide fame. The song differed from the standard "dramatic ballad" tradition at the contest by its flavour and rhythm, as well as by its performance. ABBA gave the audience something that had rarely been seen before in Eurovision: flashy costumes (including silver platform boots), a catchy uptempo song and simple choreography. It was the first winning entry in a language other than that of their home country; prior to 1973, all Eurovision singers had been required to sing in their country's native tongue, a restriction that was lifted briefly for the contests between 1973 and 1976 (thus allowing "Waterloo" to be sung in English), then reinstated before ultimately being removed again in 1999. Watch the performance in Swedish here. Sveriges Radio released a promo video for "Waterloo" that was directed by film director Lasse Hallström, whose first notable English-language film success was What's Eating Gilbert Grape in 1993. ABBA recorded the German and French versions of "Waterloo" in March and April 1974; the French version was adapted by Alain Boublil, who would later go on to co-write the 1980 musical Les Misérables.

The song shot to number 1 in the UK and stayed there for two weeks, becoming the first of the band's nine UK number 1's, and the 16th biggest selling single of the year in the UK. It also topped the charts in Belgium, Denmark, Finland, West Germany, Ireland, Norway, and Switzerland, while reaching the Top 3 in Austria, France, the Netherlands, Spain, and Sweden. Unlike other Eurovision-winning tunes, the song's appeal transcended Europe: "Waterloo" also topped the charts in South Africa, and reached the Top 10 in Australia, Canada, New Zealand, Rhodesia, and the US (peaking at number 6, their third-highest-charting US hit after number 1 "Dancing Queen" and number 3 "Take a Chance on Me"). In 2005, at Eurovision fiftieth anniversary competition Congratulations: 50 Years of the Eurovision Song Contest, "Waterloo" was chosen as the best song in the contest's history.

"Waterloo" is featured in the encore of the musical Mamma Mia!. The song does not have a context or a meaning. It is just performed as a musical number in which members of the audience are encouraged to get up off their seats and sing, dance and clap along. The song is performed by the cast over the closing credits of the film Mamma Mia!, but is not featured on the official soundtrack. It is also performed as part of the story in the sequel, Mamma Mia! Here We Go Again, by Hugh Skinner and Lily James.

The Australian film Muriel's Wedding (1994), features "Waterloo" in a pivotal scene in which lead Toni Collette bonds with the character played by Rachel Griffiths. The film's soundtrack, featuring five ABBA tracks, is widely regarded as having helped to fuel the revival of popular interest in ABBA's music in the mid-1990s. "Waterloo" features prominently in the 2015 science-fiction film The Martian. The song plays as the film's lead, played by Matt Damon, works to ready his launch vehicle for a last-chance escape from Mars. In "Mother Simpson", the eighth episode of the seventh season of The Simpsons, Mr. Burns plays "Ride of the Valkyries" from a tank about to storm the Simpson home, but the song is cut-off and "Waterloo" is played, to which Smithers apologizes, advising he "must have accidentally taped over that".

"Waterloo" received a total of 89% yes votes!

(the video is posted by ABBA's own account, not Eurovision's = safe to watch)

[agronzky]

⠀⠀⠀𝐏𝐋𝐎𝐓𝐒 𝐈𝐍𝐒𝐏𝐈𝐑𝐄𝐃 𝐁𝐘 𝐀𝐁𝐁𝐀 𝐒𝐎𝐍𝐆𝐒. ♡

Below you’ll find five plots created inspired by the songs of the swedish group ABBA. These can be used in romantic plots, but also adapted for other types of narrative.

ONE OF US. ( 1981, The Visitors )

Muse a and muse b had a relationship for a few years, but broke up for having very opposite visions of life. Muse a is an artist, sees the world in color and dreams of knowing more about everything, being an enthusiast of all things creative and artistic. Meanwhile, muse b is a businessperson who comes from a traditional family and has always dreamed of becoming the best in their field and living a peaceful life. A few years after breaking up, they meet again, having achieved some of their dreams. Muse a is a recognized artist, travels the world and can live life according to their own wishes, while muse b has achieved a high position in a global company, is recognized and lectures on business and how to achieve objectives. However, they both feel there is something missing in their lives and cannot feel truly fulfilled. The reunion therefore causes mixed feelings, mainly fights about the past, about how muse a cried for months or how muse b felt too small and useless. But something inside them still shines through and maybe there's still a chance. Or will someone get hurt in this story once again?

WHY DID IT HAVE TO BE ME? ( 1976, Arrival )

In a charming seaside village lives muse a, a talented young violinist whose passion for music sets them apart from the rest. Cheerful as ever, their contagious joy and love of life has always attracted curious eyes, especially those of muse b, an introspective painter who finds beauty in the little things. Their lives take an unexpected turn when a summer festival is announced in the town, promising a talent contest. Muse a and muse b end up getting involved in the planning of the contest, causing them to suddenly grow closer and start spending a lot of time together, whether naturally or not. Because muse a is very authentic and distracted, they get into a lot of trouble to make the contest happen, which forces muse b out of their comfort zone. Feelings begin to emerge naturally, making them think "Why did it have to be me?" and deciding, unaware of the other's decision, to perform in the show as a way of expressing their feelings.

MONEY, MONEY, MONEY. ( 1976, Arrival )

In the busy alleys of a bustling city, muse a is trapped in a routine of debt and financial difficulties. Working tirelessly at a job that barely pays the bills, they dream of a life of luxury and comfort. In a twist of fate, muse a meets muse b, a charismatic businessperson who has always lived in a world where money has never been a problem. When they notice muse a's situation, muse b decides to hide their lifestyle for fear of being attracted to them for that reason alone. Muse a begins to get closer to muse b, having someone to talk to who seems to understand everything. However, muse b's lies start to cause a lot of confusion for both of them and they have to choose whether they really want muse a to live in a lie forever or to tell the truth.

LAY ALL YOUR LOVE ON ME. ( 1980, Supertrouper )

In the picturesque setting of a coastal island lives muse a, a lonely sculptor whose heart was closed after a traumatic relationship. Everything changes when they meet muse b, a mysterious person who arrives on the island in search of a fresh start. As they grow closer, muse a discovers the painful secrets that muse b hides, making their time together a way to begin to heal past wounds. Discovering they've both been through toxic relationships and a series of betrayals, muse a and muse b contemplate the possibility of love no longer existing and have to deal with this situation. But when muse b's former partner turns up on the island looking for reconciliation, muse a realizes that their hearts are no longer closed to love. They're completely won over by muse b and will do whatever to have them.

WATERLOO. ( 1974, Waterloo )

Muse a is a determined and charismatic person who works as a tour guide in a historic town. Their lives change when they meet muse b, a charming and enigmatic historian. Their attraction is immediate, but they soon discover sharing a rivalry in the search for information about an ancient secret of the city. As muse a and muse b compete to unravel the centuries-old mystery in an almost real war of espionage and tactics, they discover how they'll need to combine the information they've collected individually if they really want to uncover the secret. As time goes by, they discover more in common than previously thought, find it much easier to work together and start to having a lot of fun with everything discovering more of the town and themselfs.

[maximumwobblerbanditdonut]

We've lost another entertainment icon! Kris Kristofferson - who may be best remembered as the other half of Evergreen, but has a much greater impact on entertainment and music, at large!

As the songwriter of legendary compositions like "Help Me Make It Through the Night," "Sunday Mornin' Comin' Down," and "Me and Bobby McGee," Kris Kristofferson transformed lyrics into literature, elevating the craft to a legitimate American art form in a way few had done before.

Part Romantic poet, part folk troubadour, part country-music storyteller, Kristofferson died Saturday at the age of 88 in his home in Maui, Hawaii. 💔

The song Evergreen is from the motion picture 'A Star is Born', 1976 directed by Frank Pierson with Barbra Streisand and Kris Kristofferson. The song "Evergreen" reached No. 1 on the Billboard Hot 100 for three weeks and won the Grammy Award for Song of the Year and the Academy Award for Best Song.

The country singer, actor, Rhodes scholar, soldier, and heartthrob epitomised the American Renaissance man.

RIP Kris Kristofferson 1936-2024 🥀 🖤 Thank You For Some Of The Greatest Songs

#kriskristofferson #songwriter @kristofferson #Evergreen #Grammy #AcademyAward #singer #Best Song #AStarisBorn #film

Posted 30th September 2024

[fantom-flower]

fantom's album review #1

I decided I'd go through NPR's The 150 Greatest Albums Made By Women.

Doing all 150 seemed a little too daunting, so I'm just doing the top 50. I'm going in order from 50 to 1, listening to all the albums from start to finish, rating them and writing my opinion.

I'm just doing this for fun, to learn more about the history of popular music and also listen to genres that I'm less familiar with.

All my ratings are based on my own personal tastes, so the following list is HIGHLY subjective.

50. Hole - Live Through This (1994)

7/10  I’ve never been much for 90s grunge. I was a little too young for its heyday (I was <10 when this album came out, hardly the intended audience) and later when I got into 90s music, grunge never really appealed to me. Still, I enjoyed this album, and I think a few of the songs on it will make it into my regular rotation.

49. Ricki Lee Jones - Pirates (1981)

2/10  Wow. I fucking hated this album. Her voice is okay, sometimes annoyingly breathy, and not nearly interesting enough to carry the meandering talk-singing she engages in nearly every song. Best thing I can say about this album is that it ends.

48. Etta James - Rocks the House (1964)

7/10  I don’t like live albums. That being said, this one is actually pretty good. It has a fun energy, with some great call and response with the audience. NPR's review said she “howled her way through” her songs, and that is accurate. Not something I usually enjoy, but aside from the howling, she has a very powerful and lovely voice, and even the howling started to grow on me by the end of the album.

47. Celia Cruz - Son con Guaguanco (1966)

10/10  No notes. I fucking loved this album. Es La Humanidad is my favorite song off of it. Stunning voice, great instrumentals, so fun to listen to.

46. Emmylou Harris - Wrecking Ball (1995)

6/10  A lot of the songs were really hit or miss for me. Largely, I really preferred the accompaniment. Wrecking Ball in particular stood out with this great lonely, yearning sound. Deeper Well is the best song on the album, if the rest had been like that, could have been a 9/10 easily. Orphan Girl was awful.

45. Dusty Springfield - Dusty in Memphis (1969)

5/10 Boring. The Windmills of Your Mind was alright.

44. Heart - Dreamboat Annie (1976)

9/10  Glad to find that Magic Man and Crazy on You are representative of the album rather than exceptions from it. Soul of the Sea is probably my favorite track. Lots of fun to listen to.

43. M.I.A. - Kala (2007)

2/10  I think I like Paper Planes as much as the next guy, but not enough to listen to a whole album of it.  Absolutely chock full of the most annoying sound effects known to man.  This one took me a long time to get through. When it was time for me to listen to music I kept thinking, “I don't want to ruin the pleasant vibe I have going by making myself listen to this.”

42. Ella Fitzgerald - Ella Fitzgerald Sings the Johnny Mercer Song Book (1964)

9/10 Hard to go wrong with Ella Fitzgerald. Name a song of hers that’s not an instant classic. I was surprised to see that this album was from the 60s when I started listening to it. Not the decade I associate with big band. I deduct one point because for me, all slow, soulful, romantic big band songs all kind of sound the same. I like the sound, but I like having some variety. 

41. Tracy Chapman - Tracy Chapman (1988)

10/10  Came into the album only having heard of Fast Car. It lives up to the hype, and the rest of the album does not disappoint! Great sound, great lyrics, great social justice message. Talkin’ bout a Revolution is going to be the next song I listen to over and over again to wring every drop of serotonin I can get from it.

Final thoughts of albums 50-41

Favorite album from this group is Tracy Chapman's self titled album. 

As for my least favorite, it's really hard to choose between MIA and Ricki Lee Jones. They were both so deeply awful to listen to.

What I'm looking forward to in albums 40-31:

Kate Bush and my childhood favorite, Tina Turner

What I'm dreading in the next ten:

Björk. I've been doing my best to listen to all the albums from start to finish even if I don't like it. Björk might break the streak.

[tuesdaytothursday]

when you get this, list 5 songs you like to listen to, publish. then, send this to 10 of your favourite followers ♡ (no pressure on the second part)

This is songs I like to listen to, but like filtered through longtime favorites? Sorted in reverse chronological order, because that’s fairest (and, honestly, puts the best song last). YouTube links because I don’t use Spotify, and you don’t have to have a YouTube account to listen. Song info in case YouTube doesn’t play nice and you have to look it up on your service of choice.

“Spectrum” / Andrew Belle / Nightshade (2021)

Andrew Belle did what I think of as a trilogy of albums, with a similar sound and mood, that I absolutely love. This is from the third album of those. The chorus is one of the most romantic I’ve ever heard. I am a sap.

“December” / Bleach / Astronomy (2003)

Now we jump backwards about twenty years, to a defunct band that people didn’t really know when they were current, and that even fewer people know today. I wouldn’t say Bleach is an amazing band, but damn it I really like this album, and I love this song. The “great day in December” is, for me, one that happened six years after this album came out, or fifteen years before this December. Like I said, I’m a sap.

“Some Might Say” / Oasis / What’s the Story Morning Glory (1995)

Out of all the songs in my iTunes/Apple Music library, this one has the most plays — and the library count is definitely lower than the actual one, since my app says I added this song in March 2017; I’ve been listening for at least ten years longer. Yeah, “Wonderwall” is a fun meme and “Morning Glory” rocks harder, but you really can’t beat the guitar texture and overall mood of this song.

“Breakthru” / Queen / The Miracle (1989)

Funny enough, I got Into™ Queen around March 2017, and The Miracle became one of my favorite albums. I love the choral intro, I love the synth bass, I love what May does on the guitar, and the rapid waviness when the electric bass comes in, and Mercury’s lead. But mostly, I absolutely love the line “Your smile speaks books to me.” It is the logical extension of “a picture speaks a thousand words,” and way more intimate. Like I said, I am a sap.

“As” / Stevie Wonder / Songs in the Key of Life (1976)

Another March 2017 addition. I was embarrassingly late to listening to Songs in the Key of Life. I’d heard singles by Stevie Wonder on the radio or in TV or movies over the years, but never (to my recollection) sat down and listened to album. Shortly after I signed up for Apple Music, I stumbled on a playlist that had this song on it and was blown away when I listened. Not only was it a song that didn’t get played anywhere I lived, but also, it was a mode I don’t think I had ever experienced. It might be the ultimate love song — for the universe, for the earth, for humanity, for acquaintances and friends and family and lovers, for one’s self. It pulls off the amazing feat of feeling both (a) longer than it actually is and (b) not long enough. The choral vocals, once they come in — and they come in early — feel like a never-ending ascension, never returning home, always soaring higher, like we are all rising to meet somewhere in the upper atmosphere, or maybe even some point in outer space, and we are waiting for everyone before and with and after us to arrive. The song ends the only way it can: by fading out. Because how do you stop what feels like the most joyous chorus ever put to tape? Like I said, I am a whole sap. And it does not hurt that the song (like the album) is impeccably produced.

[djuvlipen]

The reason why European politicians (or, tbh, any European) never cared to address violence against Romani women is because they are fascinated by it. We know they are fascinated by it because whenever they talk about Romani women, they constantly write and talk about killing us. You see it all the time in arts and literature. Violence against Romani women is seen as Romantic, is seen as artistic, is seen as a transcending experience. Notre-Dame de Paris is about a sixteen year-old girl identified as Romani who is sexually abused and burned at the stake by a white man, Claude Frollo. The only reason why murdering Esmeralda is seen as wrong is because she turned out to be white and having been stolen as a child by "Gypsies". Carmen is about a Gitana (Spanish Romani) woman who has dozens of male lovers and is eventually murdered by one of them. The murder is said to be motivated by passion and by Carmen's unwillingness to settle for one man. She is being punished for her sexuality and this is justified by the narrative by her behaviour. Gypsies are found near Heaven is a Yugoslav movie directed by a white man, in which it is the Romani man who murders the Romani woman for being too unruly and not giving herself to him. She is once again being punished by the white director, using the mediation of his Romani main character, for her freedom. Singoalla is a Swedish fairytale-like story turned into a French film in which the main character, a Romani woman called Singoalla, is once again murdered by her Romani ex-fiancee upon learning that his fiancee had had a (white) lover before him. Hijo de la Luna is a Spanish song that tells a tale of a Romani woman being murdered by her Romani husband who suspected she had been unfaithful. In those two latter instances, violence against Romani women is not portrayed as fundamentally wrong, as political issues to be engaged with, or as the result of hatred: as tales, they convey wonder and fantasy. Now, tales are often dark so I wouldn't have an issue with this if only violence against Romani women wasn't always dealt as if it were a fairytale or a Romantic story.

You could say that I am nitpicking and that I only came up with five examples. Two rebuttals: (1) there aren't many media portrayals of Romani women to start with, (2) all the examples I have taken are very popular stories from different European countries. Notre-Dame de Paris is one of Hugo's most popular novel and was adapted many times; Carmen is one of the most successful opera ever written; Singoalla started as a medieval legend that got adapted in a book, an opera and a movie; Gypsies are found near Heaven was the most attended movie in the USSR in 1976; Hijo de la Luna is one of Mecano's most successful song, and Mecano itself is the best-selling Spanish band worldwide. Everywhere the trend is the same: white European males fantasize about killing women, they think killing us is Romantic and tale-worthy. Granted, men generally fantasize about violence against all women all the time, but while media portrayal of violence against non-Romani women has been increasingly challenged by feminists, nothing has been done about media portrayal of violence against Romani women. No one ever called out those stories I've mentioned on the basis of their romanticization of violence against Romani women.

[iwashie]

💛𝙱𝙻𝙻𝙺 𝚖𝚎𝚗 𝚊𝚜 𝙱𝚛𝚊𝚣𝚒𝚕𝚒𝚊𝚗 𝚜𝚘𝚗𝚐𝚜 𝙸 𝚕𝚒𝚔𝚎 💚pt2

💚 MIKAGE REO- VAGALUMES- POLLO

He would hunt all the fireflies, he could color the sky another color to see you smile, he would go from Mars to the moon. He would simply make another world just for you if you asked. The guy is the last romantic in the world. (By the way, the music guys hunted so many fireflies that you don't see one of these in Brazil anymore)

💛 OLIVER AIKU/OTOYA EITA- AMIGA DA MINHA MULHER- SEU JORGE

He's with you, but he smiles at others, yes! After all, he's dating and not blind. Keep an eye on him, hide best friends, cousins, strangers, any woman keep them away because this man is a womanizer.

💚 BAROU SHOEI- CACHORRINHO- KELLY KEY

This man is bossy, likes to yell and the whole nine yards, but if there's one person he obeys without a second thought, it's you. There is no boldness within this man that does not undo when you command him. He's your puppy and nothing changes my mind.

💚 YUKIMIYA KENYU- CHEGA- DUDA BEAT

He's this nice and hectic vibe. He has a calm and seductive way of mastering all your thoughts, coming into your life and turning everything around, making everything be about him and his smile. The looks, the urge to kiss him, the tension between you growing more and more. None have comparison, he is unique.

💚 ZANTETSU TSURUGI- ALL STAR- NANDO REIS

Strange it would be if you didn't fall in love with him and everything he does, from the way he misses words to the way he never forgets to brush his teeth because it's the family motto. It would be strange not to fall in love with this strange man.

💛 NAGI SEISHIRO- ESTÚPIDO CUPIDO- CELLY CAMPELLO

He looks dumb enough to get the passion of several, but he doesn't know how to take care of that feeling. your cupid is not very good at work, hit the arrow on the handsome guy who made empty promises. It was good while it lasted, but now you just want peace while still remembering the handsome guy who didn't know how to love you.

💚 ITOSHI SAE- PRECISO ME ENCONTRAR- CARTOLA

the constant search for oneself, the negativity towards Japan and the broken dreams after Spain… "Let him go, he needs to find himself"

💛ITOSHI RIN- ERA UMA VEZ- KELL SMITH

For me he wants to go back to childhood when his brother was with him. Childhood is the most precious memory for him and that's why he has this obsession with his brother. "Because a shredded knee hurts a lot less than a broken heart…"

[proustianlesbian]

3 movies i saw this week and why you should watch them.

(this is my 260th post but the first one i use a title for.)

i hesitated to write this in french but i choose english to be understood by more people.

i'm starting with the first movie i have seen on monday evening with my mom : "kuolleet lehdet" by aki kaurismäki. so at first, we went there not really knowing what to expect, she had read me the summary just before we left and i almost didn't want to go. however, this movie is amazing. the cinematography and the colors are gorgeous and the characters really endearing. there are a lot of songs in finnish (both sang by characters and outside of the film) that gave this already slow and melancholic art piece several moments outside of time. what i love too is the reality of the characters, the situations : they are just two proletarian workers yet they are shown to be deserving to be the main characters. we see them working, being friendly with their colleagues, having fun with them but also facing exhaustion at the end of the day as well as being seen as negligible quantity and easily replaceable by their bosses. the relationship between the two main characters is really sweet as well as their relationships with their own friends and it shows love in a way i particularly love : there is no need to know the name of the other or to do romantic things, just being together and feeling happy with eachother is enough.

the second film i saw on wednesday night was "anatomie d'une chute" by justine triet, it had won the palme d'or at this year's cannes festival. so my mom and i went to see it, again i didn't really know what to expect except that there was actors i love in it and that it was a trial movie also about medias and how they make people percieve things. and this prize was so deserved, every actor and actress was incredible, some scenes were so well made, especially a play with sound and image as well as what we see, what movements did the camera and what it showed us. it sometimes got so close of a documentary more than a fictional movie. i have so many thoughts about it, truly one of the best movies of the year but many people talked about it so i can't really add anything new to say. but if you can, go watch it.

the last film i have seen this week was "le procès goldman", directed by cédric kahn. i saw it just yesterday, alone and i already knew pierre goldman's story very well, i learned about this movie in may in a french tv emission about cannes and have been really waiting to see it since. it is most certainly my favorite but for very personal reasons. the story seems very niche : it is a huis-clos, set in 1976, of the second trial of a far-left activist, son of jewish partisans from poland (and step-brother of a very popular singer, who is still the favorite personality of french people and has been so for years) who was accused of several robberies as well as the murders of two pharmacists, but if he admits the robberies, he claims his innocence for the murders. this movie is not only showing the faillures of the racist police and racist judiciary systems in france but also has very interesting conversations between the characters about being jewish and therefore racialized. but it also touches a subject that is so specific and personal, i never saw a movie talk about it : the feeling that when you come from a family that suffered and/or fought so much, you feel like no matter how much you fight, it will never be enough to live up to this history, even if you're not asked to. you feel like you never deserved to be born and live when you know what your family went through. there is a sentence he said that marked me : "i was born and died on the 22th june 1944.". to me, it is one of the best way the jewish experience in a racist society and racist country like france has ever been represented. and i really urge you, jewish or not, to go see it and especially if you are not so you can understand what it feels like a little bit more. the acting of everyone is superb, showing so well the intensity that reigns in this room, but the main actor, arieh worthalter, is phenomenal. the actors are well casted and look like their real life counterparts. the realisation is really beautiful even if there are around three or four places shown in the movie. i love how everything about the movie is simple : a basic white writing font on a black background giving us the contexte and the title, i think there is no music as well. the costumes are gorgeous too and i love how many details were put into the fabrics, patterns. i really want to meet the director to tell him how this movie made me feel so seen.

[hoperays-song]

Required Information Sheet For The Human AU: Marcus

General Information:

Last Name: Taylor

First Name: Marcus

Middle Name: Christian

Nickname(s): Markie and Mark

Pronouns: He/Him/His

Gender Identity: Cisgender

Sexuality: Demisexual

Birthdate: November 12, 1973

Ethnicity: British

Dietary Style: Vegetarian

Known Languages: English, Hindi, and ASL.

Appearance Information 

Hair Color Hex Code: #AC4F02

Curl Texture: 4b

Eye Color Hex Code: #3B3B3B

Skin Tone Hex Code: #321F0C

Beauty Mark(s): Scattered body scars and tattoos

Glasses/Contacts: Reading glasses that are worn occasionally

Height: 6’4.5”

Weight: 234lbs

Build Type: Rectangle

Clothing Aesthetic: No real word for it but jeans, tank tops, and coveralls. Mechanic?

Education Information:

Past Education: London School of Economics

Skills Education: Automotive Mechanic Apprenticeship at Tower End Mechanic Shop

Degree(s)/Certification(s): Masters in Business Management, Bachelors in Engineering, Certified Automotive Mechanic, and Licensed EMT

Career Information:

Past Employment: Automotive Mechanic

Current Job: Automotive Mechanic and Garage Owner

Company: Taylor Family Garage

Extracurriculars: Parole Work (Meals On Wheels)

Parentage Information:

Biological Parent 1: Ann Grace Taylor

Relation: Biological Mother

Relationship: Nonexistent (Disowned)

Pronouns: She/Her/Hers

Career: Stay At Home Mom

Birthdate: September 11, 1950

Biological Parent 2: Christian Arthur Taylor

Relation: Biological Father

Relationship: Nonexistent (Disowned)

Pronouns: He/Him/His

Career: Insurance Company CFO

Birthdate: April 10, 1945

Sibling Information:

Sibling 1: Lucien Charles Taylor

Relation: Biological Brother

Relationship: Nonexistent (Disowned)

Pronouns: He/Him/His

Education: University of Cambridge

Birthdate: June 30, 1970

Sibling 2: Bethany Grace Taylor

Relation: Biological Sister

Relationship: Nonexistent (Disowned)

Pronouns: She/Her/Hers

Education: University of Bristol

Birthdate: July 20, 1976

Romantic Relationship Information:

Partner's Name: Jia Saanvi Taylor ‘nee Sutar (Deceased)

Partner's Status: Wife 

Relationship: Close 

Partner's Pronouns: She/Her/Hers

Partner's Career: Primary School Music Teacher and Pianist

Partner's Birthdate: February 13, 1975

Child(ren) Information:

Child 1's Name: Johnathan “Johnny” Demarcus Taylor

Child's Relation: Biological Son

Relationship: Close

Child's Pronouns: He/They/His/Theirs

Child's Birthdate: January 29, 2004

Child's Career: Contracted Professional Actor and Singer

Child 2's Name: Nooshy Victor Peart-Taylor

Child's Relation: Adoptive Child

Relationship: Close

Child's Pronouns: She/They/Hers/Theirs

Child's Birthdate: November 3, 2001

Child's Career: Contracted Professional Choreographer Consultant

Assorted Information:

Best Friend(s): Stan Philips (since age 36), Barry Frost (since age 36), and Rosita Peréz-Harrison (since age 47)

Favorite Color(s): Dark Purple and Grey

Favorite Animal(s): Mountain Gorillas and Crows

Favorite Food(s): Glamorgan Sausages, Alu Diye Cholar Dal, and Vegetable Korma

Favorite Sweet(s): Blackcurrant Jaffa Cakes, Murukku, and Paruppu Payasam

Favorite Drink(s): Plain Black Coffee, Masala Soda, and Red Gatorade

Favorite TV Show(s): Top Gear, Chasing Classic Cars, and Wheeler Dealers

Favorite Movie(s): Now You See Me, Baby Driver, and The Glass Onion

Favorite Song(s): Big A Little A by Crass, Oh Bondage! Up Yours! by X-Ray Spex, and Mighty and Superior by Conflict

[unravellingsilencehq]

Can you give some prompts for Rita?

SONGS ON RITA SKEETER'S MIXTAPE COULD BE...

"Her nose job is real atomic. All she needs is an old knife scar. Yeah, she's so dull, come on rip her to shreds. She's so dull, come on rip her to shreds." - Rip Her To Shreds, Blondie (1976) [x]

A notorious gossip, Rita is respected, loved, reveared, hated and feared. You could write about Rita's professional life, maybe the first time her column was published, the first time she recieved backlash or the first time someone recognised her in the street. You could get inside the mind of Rita, is she strictly business, does she care about the people she's dragging, does she care about any negative press she gets for being so cutting? Was there a point she maybe cared and now doesn't? Consider what brought her here and how she deals with fame and all the dark things that come with it.

"It was so strange the way he held my hand. I wanted more than just a one night stand. He had a way of makin' me believe. That he was mine and that he'd never leave." - Pretender, Madonna (1984) [x]

Losing out on someone you like is always hard, losing out to your best friend is even worse. You could stage your sample at the event where Rita watched AUGUSTUS ROOKWOOD [former romantic liaison] kiss her former best friend EMMA SQUIGGLE [rival/former best friend/colleague]. How was Rita feeling during the moment? Did she have to take time out for herself? Did she keep it professional? You could write about how the moment further fuelled her to push forward and achieve her goals and potentially how it impacted her relationships with others. Is she less trusting now? Is she more cold? Consider how this event impacted her and her actions.

"We all know the chosen toys. Of catty girls and pretty boys. Make up that face. Jump in the race. Life's a kick in this town." - This Town, The Go-Go's (1981) [x]

tw: death

Once happy about writing just gossip, Rita's career has expanded somewhat as some for her favourite subjects keep dying. You could write about the death of BOOKER BAGNOLD [person of interest] and how this has changed her career. Does Rita like this style of journalism, does she feel more fulfilled uncovering a killer, or does she only really care about her readership and popularity? You could stage the sample at the wedding of GENEVIEVE AVERY-WILKES [adversary/person of interest] she attended to stalk HARRISON BAGNOLD [person of interest] and ROSALINE DAVIS [person of interest] and her thoughts leading up to the death of Genevieve’s new husband, which stopped her plans, but gave her a new story.

[sheetmusiclibrarypdf]

BARRY WHITE - (THE COLLECTION) Piano Vocal guitar

BARRY WHITE - (THE COLLECTION) Piano Vocal guitar

BARRY WHITE - (THE COLLECTION)Download

About Barry White

Barry Eugene White (September 12, 1944 – July 4, 2003) was an American singer and songwriter. A two-time Grammy Award winner known for his bass voice and romantic image, his greatest success came in the 1970s as a solo singer and with the Love Unlimited Orchestra, crafting many enduring R&B, soul, funk, and disco songs such as his two biggest hits: "Can't Get Enough of Your Love, Babe" and "You're the First, the Last, My Everything". White recorded 20 studio albums during the course of his career, but multiple versions and compilations were released worldwide that were certified gold, 41 of which also attained platinum status. White had 20 gold and 10 platinum singles, with worldwide record sales in excess of 100 million records, and is one of the best-selling music artists of all time. His influences included James Cleveland, Ray Charles, Aretha Franklin, the Supremes, the Four Tops and Marvin Gaye. In 1973, White created The Love Unlimited Orchestra, a 40-piece orchestral group to be used originally as a backing band for the girl-group Love Unlimited. However, White had other plans, and in 1973, he released a single with "Love's Theme" (written by him and played by the orchestra), which reached No. 1 on the Billboard Pop charts. Later, in 1974, he made the first album of the Love Unlimited Orchestra, Rhapsody in White, containing "Love's Theme". White would continue to make albums with the orchestra, achieving some successes such as: "Rhapsody in White"; "Satin Soul"; "Forever in Love"; "Midnight Groove"; "My Sweet Summer Suite", Remake of "Theme From King Kong". The orchestra ceased to make albums in 1983 but continued to support White as a backing band.

Already 20 years without one of the most iconic voices, the hoarse and deep voice of Barry, who sang about love and made dance floors around the world fill with his songs. Barry was born in Galveston, Texas, they later moved to California, in the ghetto, his mother taught him to play the piano and like many others he began singing gospel songs. Few people know that the moment that changed Barry's life was when he heard an Elvis Presley song, “It's now or never”, imagine that he was also in jail serving a sentence for 4 months after having stolen Cadillac tires. I was 16… Later, she released her first album with a band called The Upfronts and produced a group of women called Love Unlimited, who had great success with the single “Walkin' in the rain with the one I love.” Until the 70's he began his career as a soloist, he released 20 studio albums and launched his own record company "Unlimited Gold", with it and as we approached the beginning of the 80's when the euphoria for disco music was decreasing, in the end he had to dismantle it to avoid financial chaos. Barry would continue to perform successfully for years. Barry tiene hits memorables como “My First, My Last, My Everythin”, “Let the music play”, Can´t get enough of your love”, “Just The way You Are”, “Never, Never Gonna Give ya up” One of their biggest dreams was to record with Marvin Gaye and although they were in talks, they did not take into account Marvin's premature death. Barry was married twice and had six children. He died on a day like today, due to complications, he had been suffering from high blood pressure and his kidneys for a long time..

Barry White 's Discography

Studio albums I've Got So Much to Give (1973) Stone Gon' (1973) Can't Get Enough (1974) Just Another Way to Say I Love You (1975) Let the Music Play (1976) Is This Whatcha Wont? (1976) Barry White Sings for Someone You Love (1977) The Man (1978) I Love to Sing the Songs I Sing (1979) The Message Is Love (1979) Sheet Music (1980) Barry & Glodean (With Glodean White) (1981) Beware! (1981) Change (1982) Dedicated (1983) The Right Night & Barry White (1987) The Man Is Back! (1989) Put Me in Your Mix (1991) The Icon Is Love (1994) Staying Power (1999) Read the full article

[musicverse11]

Suresh Wadkar and Bollywood: Iconic Pairings With Music Legends

Suresh Wadkar, a name synonymous with soulful melodies, has been a cornerstone of Indian playback singing for over four decades. With a voice that transcends time, his songs resonate deeply with audiences, evoking emotions and memories. From his humble beginnings in a small town to becoming a celebrated figure in Indian music, Wadkar’s journey is as inspiring as it is melodious.

Early Life and Musical Training

Born on August 7, 1955, in Kolhapur, Maharashtra, Suresh Wadkar was drawn to music from a young age. Recognizing his potential, his parents encouraged him to pursue formal training in classical music. Wadkar honed his skills under the guidance of the legendary Pandit Jialal Vasant, who saw immense promise in his voice. It was under this tutelage that Wadkar developed his foundation in Hindustani classical music, a skill that would later define his playback career.

Wadkar’s dedication to music was evident early on. He earned the prestigious “Prabhakar” degree from Prayag Sangeet Samiti, which is equivalent to a Bachelor of Education in music. This strong academic grounding laid the foundation for his foray into playback singing. He also began teaching music at Arya Vidya Mandir in Mumbai, balancing his passion for singing with his role as an educator.

The Breakthrough Moment

Suresh Wadkar’s journey to stardom began with his participation in the Sur-Singar competition in 1976. His exceptional performance not only won him accolades but also caught the attention of legendary music director Jaidev. This pivotal moment marked the beginning of Wadkar’s playback career, as Jaidev offered him the opportunity to sing “Sona Kare Jhilmil Jhilmil” for the film Paheli (1977).

The song became an instant hit, showcasing Wadkar’s ability to blend classical nuances with mainstream appeal. This debut opened doors to the Bollywood music industry, where Wadkar’s unique voice was quickly recognized as a perfect fit for emotionally rich and melodious compositions.

Collaborations and Iconic Songs

Wadkar’s rise to prominence was marked by collaborations with some of the most iconic composers in Indian cinema. From Ravindra Jain to Laxmikant–Pyarelal, he worked with the best in the industry, delivering memorable performances in films like Chitchor (1976) and Prem Rog (1982).

One of his early masterpieces, “Seene Mein Jalan” from the film Gaman (1978), is a testament to his ability to convey profound emotions through his voice. His rendition of the haunting melody captured the pain and longing of the character, earning him widespread acclaim. Another milestone was his performance in Raj Kapoor’s Prem Rog, where songs like “Bhanware Ne Khilaya Phool” and “Yeh Galiyan Yeh Chaubara” became instant classics.

Throughout the 1980s and 1990s, Suresh Wadkar continued to deliver chart-topping hits, including “Tum Se Milke” from Parinda (1989) and “Aye Zindagi Gale Laga Le” from Sadma (1983). His versatility allowed him to adapt to various genres, from romantic ballads to devotional songs, further cementing his status as a playback legend.

Versatility Across Languages

While Wadkar is best known for his contributions to Hindi cinema, his influence extends beyond Bollywood. He has sung extensively in Marathi, Tamil, and Bengali films, showcasing his linguistic versatility and ability to connect with diverse audiences. His Marathi songs, in particular, hold a special place in the hearts of regional music lovers, with tracks like “Savar Re” and “Aikata Ani Ughadat” becoming enduring hits.

In Tamil cinema, Wadkar lent his voice to soulful tracks like “Naan Mozhi Arindhaen” in Kanden Kadhalai (2009), proving his adaptability to different musical styles and traditions.

Awards and Recognition

Suresh Wadkar’s contributions to Indian music have been recognized with numerous awards. He received the Sangeet Natak Akademi Award for Sugam Sangeet in 2018 and the prestigious Padma Shri in 2020. These accolades are a testament to his unparalleled dedication to the art of singing and his ability to touch hearts across generations.

Legacy and Influence

Beyond playback singing, Suresh Wadkar has made significant contributions as a mentor and teacher. His music academy, Ajivasan, has nurtured countless aspiring musicians, passing on his rich legacy to the next generation. The launch of SWAMA (Suresh Wadkar Ajivasan Music Academy) as an online platform has further expanded his reach, making quality music education accessible worldwide.

Wadkar’s humility and commitment to his craft have inspired countless artists, and his influence can be seen in the works of contemporary singers who cite him as a role model. His ability to balance a thriving career with a dedication to teaching is a rare combination that speaks volumes about his character.

Conclusion

Suresh Wadkar journey from a music teacher to one of India’s most revered playback singers is a story of passion, perseverance, and extraordinary talent. His melodious voice has become a part of India’s cultural fabric, offering solace, joy, and inspiration to millions. Whether through his timeless Bollywood classics, his regional hits, or his work as an educator, Wadkar’s impact on Indian music is undeniable.

As audiences continue to discover and cherish his songs, Suresh Wadkar remains a shining beacon of musical excellence. His legacy is a reminder of the enduring power of melody and the timeless appeal of a voice that speaks directly to the soul.

[mondoradiowmse]

09/11/24 Mondo Radio Playlist

Here's the playlist for this week's edition of Mondo Radio, which you can download or stream here. This episode: "Out Past Midnight", featuring classic power pop and more. If you enjoy it, be sure to also follow the show on Facebook and Twitter!

Artist - Song - Album

Cheap Trick - Hello There (Live) - Cheap Trick At Budokan

Nick Gilder - Frustration - City Nights

Raspberries - I Don't Know What I Want - Greatest

Nick Gilder - Got To Get Out - City Nights

Cheap Trick - Down On The Bay (Live) - Raising Hell: The 1970s

Rock City Feat. Chris Bell - Think It's Time To Say Goodbye - Looking Forward: The Roots Of Big Star

Big Star - In The Street - #1 Record

Alex Chilton - Can't Seem To Make You Mine - 19 Years: A Collection Of Alex Chilton

Big Star - O My Soul - Radio City

The Scruffs - She Say Yea - Wanna' Meet The Scruffs?

Flamin' Groovies - Shake Some Action - Shake Some Action

Dwight Twilley Band - Three Persons - On Fire!: The Best Of 1975-1984

Todd Rundgren - Couldn't I Just Tell You - Something/Anything?

Single Bullet Theory - There Is The Boy - SBT: 1977-1980

Borinquen - Himno De Los E.U.A - Temas Para Recordar …

The Nerves - When You Find Out - 25th Anniversary

The Nerves - Give Me Some Time - 25th Anniversary

The Romantics - Till I See You Again - The Romantics

The Romantics - Girl Next Door - The Romantics

The Wigs - 180 Degrees - Radio Ready: Wisconsin - Lost Power Pop Hits 1979-1982

The Tyrants - Hard To Get - Radio Ready: Wisconsin - Lost Power Pop Hits 1979-1982

The Baxters - What Ya Gonna Do - History In 3 Chords: Milwaukee Alternative Bands 1973-1982

The RPMs - I Don't Wanna Be Young - History In 3 Chords: Milwaukee Alternative Bands 1973-1982

The Shivvers - Please Stand By - Lost Hits From Milwaukee's First Family Of Powerpop: 1979-82

The Shivvers - Teen Line - Lost Hits From Milwaukee's First Family Of Powerpop: 1979-82

M&Ms - I'm Tired - The Roots Of Powerpop

Real Kids - Now You Know - The Roots Of Powerpop

Shoes - Tomorrow Night - Present Tense

Shoes - Too Late - Present Tense

The Records - Rumour Sets The Woods Alight - Crashes

The Spongetones - She Goes Out With Everybody - Children Of Nuggets: Original Artyfacts From The Second Psychedelic Era 1976-1996

The Barracudas - I Can't Pretend - Children Of Nuggets: Original Artyfacts From The Second Psychedelic Era 1976-1996

The Records - The Same Mistakes - Crashes

The dB's - Judy - Stands For Decibels

The dB's - I'm In Love - Stands For Decibels

20/20 - Yellow Pills - 20/20

20/20 - Tell Me Why (Can't Understand You) - 20/20

The Last - Every Summer Day - L.A. Explosion!

The Last - Be-Bop-A-Lula - L.A. Explosion!

The Plimsouls - I Want What You Got - The Plimsouls … Plus

The Plimsouls - Lost Time - The Plimsouls … Plus

Green - Baby Why? - Green

Green - I Play The Records - Green

[laurenlavianafamer]

Blog Post #3: We Need to Talk About Kong

There are certain films that will forever be remembered partly, if not mostly, for their overt racism.  Films like Birth of a Nation (1915) or Disney’s Song of the South (1946) spring to mind. But any list of overtly and undeniably racist films would certainly also include the original King Kong from 1933 (which is sci-fi, I think, so I believe it “counts” for purposes of this course’s scope).  

Sadly, the contrast between the blatant primitiveness of people of color in the film as opposed to the oh-so-“civilized” white people in the film is stark.  But it is not depictions of humans that makes the film so racist; it is Kong himself.  The film is considered an allegory for white fears of Black male sexuality, as Kong not only falls in love with Anne Darrow, but she too develops an emotional, if not romantic, attachment to Kong.  Alternatively, the film can also be understood as a metaphor for granting Black Americans freedom after the Civil War, and Kong’s escape and rampage in New York is understood by some as a neo-Confederate criticism of the consequences of acknowledging the basic human rights of millions of Black Americans.   

Oh yes, the original 1933 movie is racist.  But here’s the kicker.  Could you imagine Song of the South being remade today?  Neither can I. In fact, Disney does its best to never let that movie see the light of day.  Birth of a Nation was remade in 2016, but it hardly resembled the original film at all (thank goodness) and was quickly overshadowed by the serious rape allegations made against its director.  

King Kong, on the other hand, seems to get re-made again and again once every decade or two, and it is always the same story, always the same characters.  When it comes to Kong, we don’t even want much of an update.  We seem to love him just as he is, as he always was (gulp). He also gets pitted against notable opponents, namely Godzilla—the first one of their matchups came out in the 1960s. Then, in 1976, we got another King Kong, in 1998 The Mighty Kong went straight to video, and in 2005 we got Peter Jackson’s King Kong.  

Kong movies have popped up every so often, but in the 2010s something shifted.  The 2010s that saw the most of Kong films, by a long shot.  Since 2010, we got Kong: King of the Apes, MonsterVerse, Kong: Skull Island, Godzilla vs Kong as well as a TV series called Skull Island and just last year, in 2023, we got another feature film, Godzilla x Kong: The New Empire.  

With all of this in mind, we now arrive at an interesting question.  Why?  Why, since 2010, have we been suddenly inundated with King Kong content?  Well, I humbly offer a suggestion. In 2008, Obama won; he won again in 2012.  And seeing a Black man win the presidency brought the racists out of the closet, so to speak.  The memes became uglier, the conspiracy theories (that Obama is Muslim, or that he was not really born in the U.S. at all) abounded.  And all of them had to do with his skin color.  

I propose that King Kong movies become more abundant and more culturally relevant again during upswings in cultural racism in the U.S.  Sadly, that was the case in 1915 and still is the case a full century later in the 2010s.  King Kong in all its iterations is still racist.  It always was.  But for some reason, we’ve become numb to the racist roots of this indelible character and symbol that has become almost as American as amber waves of grain.  But when audiences cheer Kong, when we root for him to kill Godzilla and restore that comfortable feeling of American supremacy if just for a moment, and if only in science fiction, it not just Kong we are cheering on and supporting—it is the racist ideologies that gave birth to him in the first place. 

[maximuswolf]

What are your thoughts on the Australian rock band Mondo Rock?

What are your thoughts on the Australian rock band Mondo Rock? From Wikipedia:Mondo Rock are an Australian rock band, formed in November 1976 in Melbourne, Victoria. Singer-songwriter Ross Wilson founded the band, following the split of his previous band Daddy Cool. Guitarist Eric McCusker, who joined in 1980, wrote many of the band's hits, and along with Wilson formed the core of the group. They are best known for their second album, Chemistry, which was released in July 1981 and peaked at number 2 on the Australian Kent Music Report. Their song "Come Said the Boy" peaked at number 2 in Australia in 1983.Mondo Rock disbanded in 1991, although they periodically appeared at reunion concerts, and reformed on a more-or-less continuing basis in 2014. According to Australian musicologist, Ian McFarlane, "by way of ceaseless touring and the release of a series of sophisticated pop rock albums, [the band was] one of the most popular acts in Australia during the early 1980s". The band had a national tour in 2019, and continues to play occasional dates.I cannot say I am huge fan but one song of theirs I love to the core is "State of the Heart". The feeling of romantic longing and melancholia it evokes is unbeatable. Following lyrics cut straight to my heart, every time I listen to it:You are the moon, I am the seaYou pull me in and gaze on down at meIt has got a fantastic outro as well, with Ross Wilson sort-of howling like a wolf at the moon.Link to Official AudioLink to Official VideoSo, I would like to know your thoughts on this Australian group, who I suspect are not too well-known outside their native country today. Submitted April 24, 2024 at 10:38PM by Hurdy_Gurdy_Man_84 https://ift.tt/dKxMO9Q via /r/Music

[mikijamcf]

Skip Scarborough

Remembering Clarence Alexander "Skip" Scarborough on the day of his birth, songwriter, best known for romantic ballads. A prolific songwriter, Scarborough wrote songs performed by L.T.D., Anita Baker and Earth, Wind & Fire. He co-wrote "Giving You the Best That I Got", which won a Grammy Award in 1988 for Best R&B Song. R.I.P. Credits 1970 "Love or Let Me Be Lonely" (Friends of Distinction) 1973 "Can't Hide Love" (Creative Source) "The World's a Masquerade" (Earth, Wind & Fire) 1976 "Can't Hide Love", (Earth, Wind & Fire, Carmen McRae, Hummingbird) "Earth, Wind & Fire" (Earth, Wind & Fire) "Love Ballad" (LTD) 1977 "Don't Ask My Neighbors" (The Emotions) "Love's Holiday" (Earth, Wind & Fire) "No One Can Love you More" (Phyllis Hyman) 1978 "Lovely Day" (Bill Withers) "Love Changes" (Mother's Finest) "Love Music" (Earth, Wind & Fire) 1979 "It's Alright with Me" (Patti LaBelle) "Love Ballad" (George Benson) 1982 "Love Notes" (Deniece Williams) 1983 "They Say" (Deniece Williams) & (Phillip Bailey) 1988 "Giving You the Best That I Got" (Anita Baker) 1990 "Don't Ask My Neighbors" (Nancy Wilson) 1992 "Sacrifice of Praise" (Edwin Hawkins) 1995 "Feel the Funk" (IMx