#Ed Singleton

[turcott3]

greedy

ethan edwards x fem! reader

warnings?: alcohol, cursing, fluff fluff FLUFF, and one kiss!

masterlist

-

you found yourself dancing with a drink in your hand, in the living room of none other than, the hockey team.

of course you were looped in with them pretty well, being close with some of the girlfriends, class with some of the guys and one of them you were particularly close with.

the one who got teased for being the only singleton besides luca, but luca was mostly left out of the mess with his dating history. not that it was bad, he just dated one of their sisters and now they want him single, leaving no one else other than ethan.

you danced in the close quarters, hoping and praying that somehow the crowd would push you and ethan closer together so you could finally talk to him. almost instantly, you were pushed along running into him, like your wish was granted.

“oh hey y/n, you look amazing.” ethan says eyeing you up and down. the two of you had a little something going on that you kept a secret, almost against your will. it hadn’t been very long though, you hadn’t even kissed him before.

“hi ethan, thank you.” you reply smiling as the small talk flowed naturally for a few minutes. ethan grew irritated as the guy behind him kept stepping back and leaning on him, you could tell his annoyance was growing by the second.

“hey dude, could you fucking stop.” ethan says loudly. suddenly the guy turns, elbow flying straight into ethan’s nose.

“oh sorry didn’t see you there.” he says in a mocking tone, turning back around. once ethan finally removed his hands you saw the blood start to drip.

“fuck ed, you’re bleeding.” you say tilting his chin up to keep it from dripping onto his white shirt.

“i am?” he asks.

“yes babe, come on.” you reply as you grab onto his hand, pulling him up the stairs and into his bedroom, which conveniently had a bathroom. you shut the door behind you quickly and looked around.

“can you sit on the bed for me? and keep your chin up please.” you shout from the bathroom.

“yes maam.” he teases from a few feet away, a red blush flushing over your features. you rolled up a few sheets up toilet paper and stuck it in his nostril to soak up the mess that could’ve been made.

“that guy was such a dick, did it hurt?” you ask, standing in front of him.

“it happened too quickly i’m honestly not even sure, but it does hurt a little now.” he says, observing that it’s definitely not broken.

“he’s a pussy, he couldn’t even break it.” he laughs. a few minutes go by allowing the blood to dry. carefully you pull the tissue out and toss it to his trash can, handing him one more sheet.

“make sure you’re all done.” you say and he nods, wiping the dried blood from his nostril.

“all good.” he says, setting the tissue on his nightstand.

“good, i kept your shirt from a stain.” you smile as you place your hands on either side of his face, his arm wrapping around your hips and pulling you between his legs.

“thank you for cleaning me up y/n.” he says lowly.

“yeah of course, it’s no problem.” you reply locking eyes with him.

his face inches forward quickly with a smile on his face.

“can i kiss you?” he asks still moving forward, his grin growing wider.

“no, not here ethan, not now.” you giggle, turning your head to the side, his lips hitting the corner of your mouth.

“fuck, you’re better at this than i am.” he sighs, a glimmer in his eye. you wrap the boy up in a tight hug, one of your hands toying with the hair on the back of his head as he presses sweet kisses from your neck all the way across your collarbone to the tip of your shoulder. you smiled as you sighed, loving the intimate moments you shared with him. he kisses left hot impressions on your skin without question. they made you wish you could just make him yours in a house full of people, but you wouldn’t dare. especially not with the door unlocked.

“you’re so damn cute right now, you know that?” he says pulling away, his hands unwrapping from your back straight to your waist.

“thank you handsome.” you say, your arms wrapping back around him as you pressed a handful of kisses to his cheek. you could feel the smile on his cheeks as you hugged onto him, never wanting to let him go. his arms were now one of the few places you really felt comfortable.

“it’s getting late, should i walk you home?” he asks, pulling away for the last time.

“if we can sneak out unnoticed, yes.” you smile as he nods, opening his bedroom door for you.

the two of you made your escape with ease, everyone too drunk to realize you were even still there in the first place. you and ethan remained buzzed, but far from drunk. you walked around the neighborhood for what seems like hours before you finally made it to your front porch.

“this is it isn’t it?” he asks, dropping your hand as you walked up the steps to your front door.

“yep.” you sighs, wanting nothing more for him to just kiss you in this moment. you were alone and far from any possible spies.

“i’ll see you tomorrow?” he asks, placing light hands on your waist, preparing to hug you again.

“of course.” you smile lightly as he pulls you in for one of the warmest hugs he’d ever given you. slowly, he pulls away locking eyes with you before leaning in and locking his lips onto yours.

finally.

his lips fit on yours like a perfect match. they were soft and sweet just like you’d imagined in all the fake scenarios you’d created in your head to make you feel better about your situation. his grip on your waist squeezed one last time before pulling away with a smile on his face and his eyes shut, looking straight at the ground.

“what?” you giggle.

“nothing baby, it’s nothing. god you don’t understand how long i’ve been waiting to do that.” he sighs out in relief.

“well if you were wondering, it was amazing but i think i need a few more to really give you a good review.” you smile, your hands finding their way to his cheeks as he pulled you flush against his chest for another one. this kiss more natural and loving, even better than the first.

“i guess i should be getting back now.” he frowns as the two of you pull away, pressing a kiss to your hand before turning his back to you.

“eddy wait.” you call out to him.

“yeah?”

“i don’t want you walking all that way by yourself,” you half lie, “why don’t you stay with me? my parents aren’t home.”

“are you sure?”

“yes baby, come on.” you reply waving him back, tugging him into your front door by his shirt.

the next morning, you were finally able to wake up by his side for the first time. your eyes fluttered open as the brunette laid peacefully asleep next to you. you took it all in as you both laid there, your fingers raking through his soft hair. he groans after a few strokes, yawning as his eyes flickered open

“good morning sleepy head.” you giggle.

“good morning pretty girl.” he smiles lightly, pulling you to his chest as he pressed light kisses all over your face.

if you could never leave this moment, let alone the last 24 hours, you wouldn’t. you wanted to stay wrapped up in him forever if you could. and maybe you could even finally tell your friends about him.

[thefugitivesaint]

Charles Buckles Falls (1874-1960), 'The White Cat', ''Golden Rod Fairy Book'', ed. by Esther Singleton, 1903 Source

[modelsof-color]

Ajak Deng by Ed Singleton for Elle UK Magazines December 2017

[unes23]

Ajak Deng by Ed Singleton for ELLE UK

[joao-50]

Ajak Deng by Ed Singleton for Elle UK Magazines December 2017

[thebonesofhoudini]

Big Brother - Number Two (1998)

Featuring: Clyde Singleton, Bill Pepper, Johnny Knoxville, Steve-O, Tim O'Connor, Chris Pontius, Kareem Campbell, Kenny Hughes, Gino Ianucci, Daewon Song, Mike Vallely, Andy Roy, Diego Buccheri, Ed Templeton, Johnny Lee Countee, Gershon Mosely, Donny Barley, Jason "Wee Man" Acuna, Heath Kirchart, Jeremy Klein, John Lee, and many more...

[martendoc]

Schatz im menschlichen Körper: Kot im Tresor soll Darmbakterien retten - n-tv.de

Homo Sordidus

sordidus, a, um (sordes), schmutzig, unsauber, unflätig, I) eig.: vestis, Liv.: tunica, Iustin.: catena (Ggstz. aurea), Sen.: lana, Ov.: amictus, Verg.: fumus, Hor.: terga suis, geräucherter Schweinsrücken, Ov.: rura, Verg.: sordido in loco (auf dem Abtritt) sedere, Val. Max. 9, 13, 2 ed. Halm. – II) übtr.: 1) niedrig, gering, armselig, verächtlich, unbedeutend, homo, Cic.: reus, Cic.: sordidi nati, armselige, Hor. carm. 2, 18, 28: verba, Quint.: homo sordido loco natus, Liv.: oratores sordidiores, artes sordidiores, Cic.: ut quisque sordidissimus videbitur, je niedriger in seinen Verhältnissen einer in den Augen der Leute erscheint, Cic.: genus Agathoclis, Iustin.: a sordidis initiis ad summa crescere, Iustin. – 2) niederträchtig, unedel, schmählich, schimpflich, iste omnium turpissimus et sordidissimus, Cic.: multo homo sordidissimus, Cic. – sord. lucrum, Quint.: illiberales et sordidi quaestus, Cic.: sord. adulterium, Liv.: pecuniam praeferre amicitiae sordidum existimant, Cic.: cum quibus comparari sordidum est, Cic. – bes. knickerig, schmutzig geizig (Ggstz. praelautus), homo, Cic.: cupido, Hor.: aedilis, der für Geld pflichtwidrig gehandelt hat, Suet.: caelum fatigas sordido periurio, Phaedr.

Karl Ernst Georges: Ausführliches lateinisch-deutsches Handwörterbuch. Hannover 81918 (Nachdruck Darmstadt 1998), Band 2, Sp. 2735.

__________________________________________

Eine Rezension von Philosophy of Dirt – was bedeutet es, sauber zu sein?

Der Philosoph Olli Lagerspetz beschäftigt sich mit Schmutzigkeit und der Mode für Dreck in der Kunst

PD Smith

Sa. 24. Feb. 2018 07.01 EST (The Guardian)

Der Philosoph Olli Lagerspetz stellt fest, dass es in Kontinentaleuropa ein weit verbreitetes Stereotyp gibt, wonach die Briten „übermäßig gern Badewannen und lauwarmes Wasser mögen … aber ansonsten einen zweifelhaften Sinn für Hygiene haben“. Dies bestätigte sich für ihn, als sein erstes Kind im neu erbauten Singleton Hospital in Swansea zur Welt kam: „Wir wurden in den Kreißsaal geführt, wo der Boden mit einem Teppich geschmückt war. Ein Teppich." Er stellt fest, dass „in den nordischen Ländern nicht an Teppiche in Kreißsälen zu denken ist“.

Die Unterscheidung zwischen sauber und schmutzig ist ein universelles Organisationsprinzip in der menschlichen Gesellschaft, ebenso wie richtig und falsch: „Homo sapiens ist auch Homo sordidus – nicht nur das rationale Tier, sondern auch das schmutzige (und saubere) Tier.“ Heutzutage ist Schmutz in Mode. In jeder modernen Kunstgalerie gibt es Werke, die aus „dem Grundstoff“ bestehen: weggeworfenen Lebensmitteln, Menstruationsblut oder Urin, wie zum Beispiel „ Piss Christ“ von Andres Serrano . Dies sei, so argumentiert Lagerspetz, eine Reaktion auf den von den Modernisten gepredigten Kult der Rationalität und Reinheit: „Das Schmutzige ist jetzt echtes Leben, das Saubere ist Plastik, während unsere Sehnsucht nach Reinheit als Angst vor dem Leben selbst in all seinen chaotischen Details erscheint.“ .“

Lagerspetz‘ Buch untersucht, was wir unter „Dreck“ verstehen und ob es sich dabei um eine tatsächliche Qualität der Welt handelt oder, wie die meisten aktuellen theoretischen Arbeiten uns glauben machen wollen, um eine auf die Realität projizierte subjektive Idee. Lagerspetz dekonstruiert den einfachen Reduktionismus von Theoretikern, für die „Dreck nicht wirklich Dreck, sondern etwas anderes ist“. Dazu gehören Koryphäen wie Mary Douglas (für die Schmutz lediglich „fehl am Platz befindliche Materie“ war) und Julia Kristeva, die seiner Meinung nach Schmutz „in die nebligen Regionen der Symbolik“ verbannt hat. Er glaubt, dass dies ein Fehler ist, der entstanden ist, weil „die Materie nicht als seltsam genug wahrgenommen wird“.

Stattdessen argumentiert er, dass wir „ein zwiespältiges“ Verhältnis zur materiellen Welt und insbesondere zum Schmutz haben. Wir nehmen die Welt um uns herum als eine Ansammlung neutraler physischer Objekte und als ein Netzwerk sinnvoll verbundener Dinge wahr. Für uns ist Schmutz sowohl eine reale Qualität der Welt als auch Teil einer symbolischen, kulturell relativen Ordnung. Lagerspetz argumentiert, dass „keine Seite der Medaille wegerklärt werden sollte“: Homo sordidus braucht beides im Kampf um Sauberkeit. Und ein Teppich im Kreißsaal eines Krankenhauses könnte akzeptabel sein – zumindest in Großbritannien.

• A Philosophy of Dirt wird von Reaktion veröffentlicht. Um ein Exemplar für 15 £ zu bestellen, gehen Sie zu guardianbookshop.com oder rufen Sie 0330 333 6846 an. Kostenloser Versand in Großbritannien über 10 £, nur Online-Bestellungen. Bei telefonischen Bestellungen beträgt die Versandkostenpauschale mindestens 1,99 £

[mibitacoradeinvestigacion]

Evidencias de búsqueda

Referencias bibliográficas

Ministerio de Educación. (2022). Requisitos y perfil del intérprete de lengua de señas peruana (ILSP).

Hsieh, E. (2010). Dimensions of Trust: The Tensions and Challenges in Provider—Interpreter Trust. Qualitative Health Research, 20(2), 170–181.

Myers, S. (2010). "Hearing Children of Deaf Parents: Issues and Interventions within a Bicultural Context" in Psychotherapy with Deaf Clients from Diverse Groups, 2nd ed. with Alan L. Marcus and Randall R. Myers.

Napier, J. (2017). Not just child’s play: Exploring bilingualism and language brokering as a precursor to the development of expertise as a professional sign language interpreter. In Non-Professional Interpreting and Translation: State of the Art and Future of an Emerging Field of Research (Vol. 129, pp. 381–409).

Galloso, R., Candela, D., &Vega, J. (2022). Políticas lingüísticas en torno a la lengua de señas peruana (LSP). Tierra Nuestra, 16(1), 1-12.

Napier, J. (2019). Mediating identities: Sign language interpreter perceptions on trust and representation. Journal of Applied Linguistics and Professional Practice, 14(1), 75–95.

Papin, S. (2020). La identidad CODA (Children Of Deaf Adults) en la adquisición de la lengua de signos como lengua de herencia. Revista de Estudios de Lenguas de Signos, 2, 138–155.

Sausa, M. (2015). En Perú hay 532,000 personas sordas y solo 23 intérpretes. Perú 21.

Singleton, J. & Tittle, M. (2000). Deaf Parents and Their Hearing Children. Journal of Deaf Studies and Deaf Education, 5(3), 221–236.

Reategui, S. (2019). La importancia del intérprete de lengua de señas en los servicios públicos de Trujillo-Perú [Licenciatura en Traducción e Interpretación]. Universidad César Vallejo.

Ruiz, Wong (2019) Proceso de aprendizaje empírico de los intérpretes de lengua de señas.

https://doi.org/10.1558/jalpp.36014

[cubspaediatricdietetics]

The Role of a Paediatric Dietitian

Lauren Gladman is a specialist paediatric dietitian who has worked in tertiary hospitals in Australia and the UK. A Northern Beaches local at heart, she enjoys empowering children and their families with practical eating and feeding advice.

She completed interviews with nurses, doctors and medical students at QECH. The themes that emerged included the importance of nutrition support in critically ill patients and ways to facilitate this care.

Nutrition Assessments

During the nutrition assessment, the paediatric dietitian Sydney will review your child’s growth and medical history, current health needs and dietary intake. They will also observe your child at mealtimes and assess their feeding difficulties if applicable.

Rosemary’s experience in a gestational diabetes clinic and her own twin pregnancies ignited her passion for maternal and children’s nutrition. She enjoys building strong rapport with her clients and empowering them with practical strategies to achieve their nutritional goals.

She specialises in eating disorders, picky eaters and the food intolerances associated with autism spectrum disorder. She has a particular interest in the nutrition needs of young people and adults living with chronic diseases or injuries including diabetes, cardiovascular disease and cancer. She is an Accredited Practising Dietitian (APD) & holds a Masters in Dietetics from the University of Sydney. She has worked at a number of hospitals in Sydney and England and currently works at Lindfield BBraun Dialysis unit and Mona Vale Hospital.

Eating Disorders

Eating disorders are complex mental illnesses with high rates of morbidity and mortality, and a significant impact on physical health. They can be difficult to treat and are often misdiagnosed as other conditions such as depression, anxiety, substance misuse, schizophrenia, and personality disorders.

A multidisciplinary approach to eating disorder treatment is recommended by multiple practice guidelines in Australia and internationally. Dietetic involvement is particularly important, and the inclusion of an Accredited Practicing Dietitian (APD) is supported by government rebates in some jurisdictions.

This systematic review examines the evidence on the role of dietetic intervention in the treatment of eating disorders. The literature was searched using electronic databases, including Medline, EMBASE, CINAHL and ProQuest Dissertation and Theses. In addition, Google Scholar was used to identify grey literature. This study found little consensus regarding the specifics of dietetic intervention in the treatment of EDs. The results highlight the need for a common understanding of the core responsibilities of a dietetic practitioner in this area.

Food Allergies

When a person has a food allergy, their immune system overreacts to a specific food protein and treats it as dangerous. The most severe reaction is called anaphylaxis and can lead to breathing difficulty, a drop in blood pressure, shock or even death.

Most children have food allergies to peanuts, eggs, milk, other nuts and seafoods. These tend to resolve by the early school years.

Unlike food allergies, which are caused by immune reactions, food intolerances are usually triggered by chemicals in foods that cause irritation of nerve endings in different parts of the body. These can be naturally occurring like glutamates, salicylates and amines or artificially added like colours.

Kirilee has a special interest in maternal and child nutrition after having gestational diabetes during her two singleton pregnancies and experiencing feeding difficulties with her own children. She is an Accredited Practising Dietitian with further training in renal dietetics and paediatric dietitian nutrition. She is an experienced clinician and researcher and welcomes both adult and child clients to her private practice.

Nutrition for Children with Disability

A dietitian is a health professional who has trained extensively to understand disease states and how dietary interventions can improve Quality of Life. They are recognised by the Australian government, Medicare and most private health funds as having the highest level of expertise in nutrition and dietetics.

Fiona provides specialised nutrition for children with disability, whether they eat through their mouth, a tube or both. She has extensive experience in assessing the nutritional needs of children with severe and profound disability, working closely with their families.

Jennifer has a particular interest in the nutritional management of children with cancer. She has 15 peer-reviewed publications and was the School of Women's & Children’s Health junior conjoint researcher of the year in 2016. Her research has contributed to improvements in dietary intake for childhood cancer survivors. She has also been involved in delivering education sessions for parents and other health professionals on the nutritional management of child eating difficulties at the Agency for Clinical Innovation, NSW Health Western Child Health Network and Flintwood disability services.

[inviaggiocondante]

Purgatorio XX

Altra giornata lunga. Ma l'impegno è stato mantenuto. Poco fa, con l'aria della notte, mi sono immerso nel XX.. e ho incontrato Ugo Capeto... e la sua discendenza... agli occhi di Dante l'incarnazione fisica della Lupa: vite spese al servizio della cupidigia, dell'avidità, della 'fame' di tutto... a spese degli altri. E con il XX si chiude la 'serie di Singleton'. Così come nel XIV era centrale il lamento per la decadenza della valle dell'Arno e della Romagna... qui si passa alla decadenza dell'Europa intera.... Ed è più di 'lamento' sterile. Dante, con il suo genio, parla della natura dell'Uomo... che può dire "no" e dire "noi".. ma preferisce il 'si' al compromesso etico.. e mette se stesso a centro di ogni cosa "Io.io.io"... sempre affamato, assetato.. non c'è altro. . Viene da pensare all'Ulisse... che guardava se stesso.. e MAI il 'resto'.. portando se e suoi uomini alla rovina. . Ugo Capeto è l'onestà che solleva il capo all'improvviso, si porta gli occhi alla faccia e dice "Che ho fatto!". Ed è tantissima 'roba'. È la differenza tra il dannato e il salvato. Alzare gli occhi dalla propria bolla.. e, consapevolmente, girare pagina.

[deadcactuswalking]

REVIEWING THE CHARTS: 11/02/2023

For a fourth consecutive week, Miley Cyrus is at #1 with “Flowers” on the UK Singles Chart. She may have some competition going forward but for now, welcome back to REVIEWING THE CHARTS!

Rundown

It’s a pretty typical week this time around, with a small but interesting batch of new songs and a decent amount of chart movement, which I’m glad about considering the week I’ve had. As for our notable dropouts, as in songs exiting the UK Top 75 – which is what I cover – after five weeks in the region or a peak in the top 40. This week, the list does include some big hitters like “Dave Flow” by Fredo, “We Caa Done” by Popcaan and Drake, “Bloody Mary” by Lady Gaga, “I Wanna Dance with Somebody (Who Loves Me)” by Whitney Houston, “Rich Flex” by Drake and 21 Savage, “Shirt” by SZA, “Shivers” by Ed Sheeran and finally, of course, “Someone You Loved” by Lewis Capaldi.

As for what’s filling up the gaps, well, we do have some re-entries like “Music for a Sushi Restaurant” by Harry Styles at #71 and “Nobody Gets Me” by SZA at #62 but of course, what’s more important are the notable gains, with SZA appearing in all of these sections so far: “Snooze” is up to #48 off of the debut last week. Additionally, we have “Us Against the World” by Strandz at #42, “Shut Up My Mom’s Calling” by Hotel Ugly at #41, “Here with Me” by d4vd at #40, “As it Was” by Harry Styles at #34 for whatever reason, “CUFF IT” by Beyoncé up big to #30, “TRUSTFALL” by P!nk surging up to #28 alongside “ceilings” by Lizzy McAlpine taking advantage of some losses above it at #27, “Unholy” by Sam Smith and Kim Petras at #21, “Green Green Grass” by George Ezra seeing a TikTok resurgence at #19 (Kill me), “People” by Libianca at #17, “Red Flags” by Mimi Webb at #15 and “Players” by Coi Leray at #12. We also have two new entries into the top 10, the first of which was expected: “10:35” by Tiesto and Tate McRae slides by into the #10 spot thanks to losses above it and the fact it’s been pretty consistent but if you weren’t on the Internet, you’d think PinkPantheress grabbing her first top 10 at #8 with “Boy’s a liar” was out of nowhere... yet it’s thanks to a remix, in my opinion an ill-fitting one, with New York rapper Ice Spice of all people, that it’s here. I’m not complaining – after all, a great song with a bad remix is still usually a good song.

Our top five looks... only slightly different this week. We have “Anti-Hero” by Taylor Swift at #5, “Sure Thing” by Miguel at #4 which is pretty good for a song from 2010, “Kill Bill” by SZA at #3, “Escapism.” by RAYE featuring 070 Shake at #2 – maybe I should stop making any sort of predictions – and of course, “Flowers” at the top. And now, we talk about country music.

NEW ARRIVALS

#73 – “The Kind of Love We Make” – Luke Combs

Produced by Chip Matthews, Jonathan Singleton and Luke Combs

Yeah, out of all people to chart, I suppose it makes sense that Luke Combs is the country export but here we have a song that already reached the top 10 in the US and hence I’ve known about it for months finally arrive over here, and whilst I’m not too in tune with Luke Combs in general, I think this song is great. The country guitar tone is a bit cheaper but the acoustics are warm on top of the more sizzling electric guitar riff that is really infectious and memorable. Luke Combs has an excellent, smoky yet still youthful voice that sells this wonderfully mundane content about just working your asses off and then finally getting that intimate time with your partner and celebrating that. Yes, it’s a country sex song sung by Luke Combs, but he’s got the swagger for it, even if the vocal melody in the verses may not be all too smooth, and I honestly don’t think it needs to be smooth. The passion takes them to a higher place: it’s a mutual collapse into each other after being exhausted and finally having the time to slowly set the scene for romance. It’s kind of beautiful, and with a better guitar solo, I think it’d be outstanding, but as is, it’s a great song that I hope can make a run in the limited space that the UK really has for country in its chart. I hope it doesn’t completely open the floodgates though: just because we want Luke Combs and Zach Bryan doesn’t mean we want Jason Aldean or Morgan Wallen.

#69 – “Ice Cream Man.” – RAYE

Produced by Mike Sabath, BloodPop and RAYE

I don’t think I can do this one justice. Genuinely, the subject matter has a tricky dichotomy of being both intensely personal and sensitive to RAYE yet completely beyond me. I’ve never been sexually abused and I’m not in the music industry, so whilst I can commend RAYE for her bravery in making a song that tackles this systemic issue and is so unbelievably open in her discussion of such, what purpose am I serving trying to critique the song? I mean, the song itself – as all songs on this chart do, by the way – serve much more of a purpose than I do writing about it. I imagine the song resonates way harder for people who have been through this and it’s a heavy listen even for me so I can’t imagine how much this may potentially help someone, especially within RAYE’s demographic. It’s a heart-wrenching song, powered by that alienated hum that takes up most of the instrumental, and opening up in detail about her dreadful experience that is inexcusable and inconceivable in a song that could and will reach millions of people is only something that I can thank and acclaim her for. Turning that trauma into something universal and empowering is by no means necessary for our pop stars especially, and we shouldn’t expect someone who went through this to be as honest and nuanced about their purely emotional experience, but the fact that RAYE went through it, made a God damn excellent song in the process, and the fact that it has millions of streams, makes me hope that at least some justice is felt for someone, somewhere. I know a song isn’t a sentence or any real justice, but if it resonates for the people who need it, she’s done an incredible amount of good.

#65 – “SAD B!TCH” – Anne-Marie

Produced by Billen Ted and Evan Blair

On a completely different note... what on God’s green Earth is this? I understood “PSYCHO” because it was overexaggerated, damn near industrial and had that interplay with Aitch. This has none of the comedy, or if it does, I’m hearing none of it, and it has none of the bombast considering how disappointing the chorus is. The ad-libs are obnoxious, sure, but the chorus is just annoying this time around instead of having any kind of catchy, vindictive edge to it, mostly because the anger is a lot more self-contained and doesn’t feel as nearly as cathartic. It knows how annoying it is too: if she didn’t, she wouldn’t coat her backing vocals in distortion or mention how annoying it was in the pre-chorus. Also, that warping bass in the chorus is so distracting and taunting; it’s like a garbage carnival. If there’s anything I’d prefer to hear from Anne-Marie, it is more of this to be honest: she fills a hole not currently being filled, since there is a certain void for “pop music that sounds terrible in every regard and is almost fun as a result”, but I’d prefer that void to go even more over the top, and be just as absurd as “PSYCHO” was. This just feels like a bit of a shell of itself.

#60 – “Oh Baby” – Nathan Dawe and Bru-C featuring bshp and Issey Cross

Produced by Nathan Dawe, Punctual and Shapes

What a line-up... I suppose. Well, I like the Julio Bashmore vocal loop: it’s got a decent amount of melodrama to it that I think is solid, and Hell, I may even like Bru-C on this. He’s not exactly an impressive rapper but he’s absolutely an impressive club MC, as he sounds like he’s putting in so little effort yet still plays with this beat pretty effectively, and he makes sure to punctuate his dance-ready rhymes with fun, playful ad-libs. The beat itself is just functional if anything, but the looming bass over Issey Cross’ chorus is a nice touch, and it’s definitely a beat with insane levels of personality in just its synth tones and punchy percussion. It sounds particularly factorial in its breakbeats and distant, echoing leads but there’s a human element to how Bru-C raps and how earnest Issey Cross’ performance feels that makes it seem slightly more organic. There’s also a weird drill flip of the beat briefly where the atmosphere gets a lot more cloudy and Bru-C goes melodic that... does not sound out of place. In fact, I feel like this beat could go even weirder places and still pull it off, especially considering how the buzzy build-up clashes into a breakdown by the end that not only goes hard but kind of breaks up the song structure and chorus in an interesting way. I don’t know, maybe this is actually good, but I’m not sure how much credit I can give Mr. Dawe for this considering that vocal charisma is essential to this working... though it’s an intricate beat, even if I’m sure I can credit a lot of it to Punctual, that punches when it needs to and has a certain elegance in some of its restraint. Maybe I’m just too irony-poisoned for me to know a bad song when I hear one anymore.

#58 – “Rush” – Ayra Starr

Produced by Andrevibez and Hoops

Whilst Nigerian singer Ayra Starr has charted before as a feature, this is her breakout solo cut in the UK released in September of last year, and first of all: this is excellent production, which I believe is by the person behind Rema’s “Calm Down”. The chirping chipmunk vocal loops and 90s R&B-sounding keys are so smooth and nostalgic, especially under the low-register Afrobeats production that just sits on top in a really cute, bubbling way. Starr is flexing a lot in this song but it never feels like it’s bringing any “bad energy” as she says because of how seamless the vocal harmonies are, how universal the sing-a-long chorus feels, and how bubbly this production is. I do have some complaints, mostly in that the production – whilst a great foundation – does not change as much as it could, especially since Ayra Starr herself shows great tonal variety here that isn’t really found in the beat itself, though the drum fills are a nice touch and it keeps pretty fizzy throughout. It’s also not that catchy immediately but I feel like with a few more listens, I’ll just be able to fully submerge in this. This is essentially cloud rap in how it wants to be treated and I’ll say it does a damn better job than a lot of cloud rap in just allowing for a solid, wavy vibe throughout, mostly because of how good a vocal presence Ayra Starr is – I’m excited to hear more of her work in the future. For now, I would recommend this and I hope it gains some more traction over the coming weeks.

#57 – “You Only Love Me” – Rita Ora

Produced by Lewis Thompson and Oak

When I said that this was a weird batch of songs, I more so meant that it’s oddly concentrated in the bottom half of the chart and there’s no real focus, but for many kind of filler weeks that is the case. Speaking of filler, this is a Rita Ora song. It is produced by Oak and Lewis Thompson. I like some Rita Ora songs, specifically I like “Let You Love Me”. This song is not one of them. The vocal mix is distractingly loud and over-compressed, and the vague pastiche of a dated tropical house beat mixed with synthwave elements has no punch to it. The content is uninteresting and there is little bombast here aside from braying vocal riffing and manufactured-sounding synths. If you thought this review was robotic, you now understand what Lewis Thompson was going for when he made this song.

Conclusion

Worst of the Week absolutely goes to Anne-Marie for whatever “SAD B!TCH” is, with a Dishonourable Mention for “You Only Love Me” by Rita Ora. The rest of the batch here is honestly quite good, I’d say, with a clear Best of the Week for “Ice Cream Man.” by RAYE – it was never going to be anything else – but the rest are absolutely deserving of the Honourable Mention. I’ll probably give it to Luke Combs for “The Kind of Love We Make” just because I’m more familiar with it, but Ayra Starr may be the winner over time. Hopefully we can continue the normalcy for the foreseeable future, so thank you for reading and I’ll see you next week!

[cecyzinhaaa]

alchrista:

Michael Jackson’s MTV impact

How big an impact did Michael Jackson have on MTV? Put it this way: it took Jackson’s death to get the channel to start playing music videos again.

For the first day and a half after the death of the King of Pop,MTV largely abandoned its usual lineup of reality shows in favor of a marathon of Jackson videos,from the classics like “Beat It” to more obscure ones like 2001’s “You Rock My World” (with a Marlon Brando cameo!).

It’s been often said that Jackson brought about two fundamental changes to the world of music video:he desegregated MTV,and the cost and scope of his videos marked a paradigm shift away from the cheap,unambitious schlock MTV had been showing to that point.

There’s more evidence supporting the former theory than the latter,but Jackson inarguably made as big a mark in the world of video as he did in the world of music itself.

Great as his songs were,many of our strongest memories of him come from television:The early Jackson 5 appearances with Diana Ross.The Rankin/Bass-produced Saturday morning cartoon.Jackson moonwalking to “Billie Jean” on the Motown 25th anniversary special on CBS in 1983,which has to rank alongside the “Ed Sullivan Show” debuts of Elvis Presley and The Beatles among the most iconic moments in the crossover between music and TV.

Most of all,we think of the videos: of Michael as a dancing zombie in “Thriller,” Michael as a tough gang kid in “Beat It,” Michael evading the paparazzi in “Billie Jean,” etc. As he grew from boy to man,it was his dancing as much as his singing that made him the King of Pop,and nowhere was his otherworldly footwork on better display than in his videos.

MTV executives have always denied that there was any kind of prohibition against African American artists in the channel’s early days,while Walter Yetnikoff,who was the head of Jackson’s record label at the time,has always insisted there was.

Yetnikoff wrote in his autobiography, “Howling at the Moon,” that “I screamed bloody murder when MTV refused to air his videos.They argued that their format, white rock,excluded Michael’s music.I argued they were racist (jerks) and I’d trumpet it to the world if they didn’t relent… With added pressure from Quincy Jones,they caved in,and in doing so the MTV color line came crashing down.”

Whether MTV’s resistance to Jackson had to do with color or genre,there was no question that his videos quickly became the channel’s biggest draw.

The launch of the video for “Thriller” a 13-minute pastiche of ’50s horror movies,directed by John Landis and featuring horror legend Vincent Price in a cameo,was presented with all the pomp and circumstance of a movie premiere.Later Jackson videos,notably “Bad” and “Black or White,” got similar treatment.

Whether there had previously been resistance to artists of color on the channel or not,there’s no question that they became more prevalent after Jackson’s ascension.

As for changing the content of the videos themselves,what Jackson and his collaborators accomplished wasn’t so much a matter of kind as of degree.While the reputation of early ’80s MTV was of low-budget videos that were little more than glorified concert footage,many videos of the pre-“Thriller” period were ambitious and/or expensive,like Duran Duran’s “Rio,” or Blondie’s “Rapture.”

But the “Beat It” video cost a reported $150,000,a huge figure at the time.”Thriller” was an epic.Many of Jackson’s videos in later years would debut at an extreme length,then be cut down for regular airplay.

In addition to Landis,Jackson would work with directors like Martin Scorsese (“Bad”),John Singleton (“Remember the Time,”which featured cameos by Eddie Murphy and Magic Johnson),Spike Lee (“They Don’t Care About Us”) and David Fincher (“Who Is It”). (Jackson also got Francis Ford Coppola to direct “Captain EO,” the 3-D movie musical that used to play at Disney’s theme parks.)

And as Jackson put more time,money and artistry into his videos,other singers followed suit.

by Alan Sepinwall

[scintillulae]

[kobikiyama]

Model: Ling Liu

Photo: Ed Singleton

[black-is-no-colour]

Ineta Sliuzaite in "Out of the Blue", photographed by Ed Singleton and styled by Raphael Hirsch for W Magazine September 2014

[krakensmaw]

𝐒𝐓𝐑𝐀𝐍𝐆𝐄, 𝐇𝐎𝐖 𝐀𝐅𝐓𝐄𝐑 𝐌𝐎𝐍𝐓𝐇𝐒 '𝐏𝐎𝐍 𝐓𝐇𝐄 𝐏𝐈𝐍𝐊 𝐑𝐎𝐒𝐄, 𝐉𝐀𝐂𝐊'𝐒 𝐏𝐑𝐄𝐒𝐄𝐍𝐂𝐄 𝐒𝐓𝐈𝐋𝐋 𝐀𝐅𝐅𝐄𝐂𝐓𝐄𝐃 𝐇𝐈𝐌 𝐒𝐎. still set his skin buzzing from the slightest contact of the man's arms wrapped 'round them, however brief in greeting. still narrowed the breadth of their focus 'til all else faded from few, as if enshrouded in fog. 'til there was only jack : a lighthouse. all these months and ed could still crack up on the rocks of him. would have done so WILLINGLY, once upon a time ; the reality is more reluctant now.

they melted, boneless, against the other's embrace for only a moment ere he could steel himself. a thick swallow, jaw set tense. he was grounded by the slow drag of his captain's palm, down to the small of their back. it pulled them from their reverie. ❛ rackham. ❜ an acknowledgement and NOTHING MORE. no further address, no move to embrace the man in return ( every nerve of their body ached for it, begged him to ). surname, because his voice would break 'pon the first.

then he heard IZZY'S VOICE, and it was as though the world shifted back into sharp focus.

their hands twitched at their sides with the immediate desire to reach out. to touch him, to ensure he was real, that nothing had befallen him in their absence. but izzy was tense, professional ; ed knew to wait. knew this was business, and was smart enough to keep his MOUTH SHUT 'til his captain addressed him so.

❛ izzy comes with us. ❜ it leapt from their tongue before ned had even finished prompting him. he bit down on his bottom lip, too late to stop the blatant display of allegiance. their show of cards. well, what's done is done. ❛ if he refuses ... ❜ a pause, brown eyes flit to their dearest friend at last. ❛ then he goes free, no questions asked. if he dies today, so do i. ❜ how it had always been ; the two of them, TETHERED for eternity.

edward cleared their throat and looked back to ned. turned fully to him, offering his full attention, as if the two adjacent them were an after thought. ❛ most of the crew would be assets, captain. disciplined, for pirates, and good fuckin' fighters. the rose pink's about full, but they could swell the ranks of your other fleet ships when we dock next. ❜ a pouted bottom lip caught betwixt his teeth, WORRIED to redness. they knew it was much to ask, to take them all. a concession would need to be made.

❛ those closest to ol' ben would have too great a risk of dissent. i can only think of five who'd be a problem. ❜ head dipped to tuck a dark wave behind his ear that had fallen from his HAPHAZARD bun. their gaze flit, obscured, to jack. quick as a whip. the man had always been hornigold's favourite. ❛ rogers, scott, de groot, singleton ... dufresne. ❜

he couldn't do it. couldn't name jack and throw him to the wolves.

a palm rose to settle at ned's chest. head canted, as if purposeful, to make visible more of the silken collar 'round his throat : a show of their loyalty. ❛ bring 'em aboard an' i'll take care of it myself. i'm sure they'd appreciate a familiar face, 'fore i flay theirs. ❜

Ned eyed Edward's face with interest, thumb running an absent minded trail over his collar. Eyes not moving from their face, he released a sharp whistle, a call for his men to start accepting surrenders. Not all of Hornigold's former crew stopped fighting, some knowing well what Ned and his crew did with prisoners - knowing they were dead either way and better to make it fast. Most however either didn't recognize the danger in surrender or recognized Edward and hoped, perhaps, for some special favor.

Ned was relieved. Edward doing the deed himself, killing his former captain by his own hand was a large step in a greater design. Yes, there had been violence abound since Edward had joined his crew, but nothing so personal. That they managed to do such a thing now without flinching? It bode very well for Edward's future.

And it deserved a reward.

"Tell me dear one. What shall we do with the dead man's crew?" He had a passing interest on what Edward would say, but it was no test - an offer. Ned would follow Edward's requests, just this once, even if they contradicted the usual way of the Rose Pink. He did not want to push too far, too fast. Edward had far too many personal connections on the ship for Ned to feel confident in eviscerating them all without some sort of pushback from the other man.

He had to show restraint for the benefit of the long run, something he had to firmly repeat to himself, as before Edward had an opportunity to answer, the brute arrived. Oh, how Ned would love to show the brute how to use a bullwhip to its full potential. The brute threw his arms around Edward with a greeting that sounded cheerful - if not for the fury in his eyes, "Christ, Eddie! Couldn't have at least said goodbye, you fucker?"

Jack doesn't know how Ed had gotten himself wrapped up so tightly by Ned Low of all people, but he knows that at the moment, surrounded by Low and his crew, there would be no taking out his fear and worry out with misplaced swinging fists or viciously cruel words. He wanted to throttle Ed. He wanted to wrap him up in his arms and never let go. But above all else, he wanted to survive, and when he could feel the eerily cool gaze of a predator on him, a mere few feet behind Ed, Jack controlled himself.

Indeed, Ned was staring at Jack, staring at Edward, eyes cool, but not cold, simply taking mental notes, building on what he knew about this little connection Edward had. Ned lets his hand drop from Ed's neck, runs it down Edward's back, slow, a silent reminder just who they looked to for hugs and other such affection now, before he draws away completely, interest turning at a new approach.

The puppy showed a larger abundance of caution than the brute had, but that was hardly a surprise. Steadfast, dutiful, obedient, smart. Loyal to Edward, who was loyal to Ned. He'd heard much and more about Israel Hands. Edward was in love with him, whether they entirely realized that or not, Ned was unclear - but then, they loved the brute as well. Truly, the boy's heart was so desperate to love and be loved in return that it was a shock none had taken advantage before Ned.

A shallow bow of his head, Izzy greeted not Ed, but Ed's captain, with a gruff, "Captain." First mate to Hornigold, after Ed left, he had a responsibility to his people before he could grab Ed by the shoulders and shake him and ask what the hell are you doing, you dumb twat? "What do you intend to do with the crew that surrendered?" It was taking everything in his power to keep his eyes on Low, to not desperately look over Ed for injury, for wear and tear - the man was so reckless, without Izzy by his side, how often had he been hurt since they last met? How many times could Izzy have saved them pain?

Noting the way the puppy looked to Ned, showed him proper respect, remained almost clinically professional but kept his body angled towards Edward and the brute, Ned wondered if Israel realized how clearly he showed where his true loyalties, his true interests lay. Lips twitching, betraying his amusement, his head lolling almost lazily back to look to Edward, and he drawled, "That is the question, isn't it Edward?"