#Marvin Tate

[paintgroove]

Paint Groove #122 “Autumn Lullaby”

1. The Golden Lamp - Pharoah Sanders

2. Flamengo Até Morrer - Marcos Valle

3. Floating With an Intimate Stranger - Mike Reed, Ben LaMar Gay, Bitchin Bajas, Marvin Tate

4. YOU'LL NEVER GET TO HEAVEN - Sam Gendel, Sam Wilkes

5. Quando O Carnaval Chegar - Quarteto Em Cy

6. Gloriosa - Amaro Freitas, Brandee Younger

7. Space 7 - Nala Sinephro

8. La Forma del Esqueleto - Diles que no me maten

[iiiiiiits-m]

hey! awesome Dr two brains profile pic and did anything ever happen with that FiddAuthor Falsettos AU you commented about in, like, september? I fear you may have been cookin with that

I totally didn’t forget about this au

It’s mostly something that resided in my brain, although I did attempt to make a lil animatic with the song Tight-Knit Family that I quickly lost steam on cause I forgot how much I hate animating. I am still in school, so my free time is limited unfortunately for such projects :(

If we’re being honest, I can’t remember where I got the idea for this au, or if I posted about it or happened to comment on someone else’s post and you saw

The overall AU puts Fidds in place of Marvin, Emma-May in place of Trina, and Tate in place of Jason. Ford acts as Whizzer, though in this au instead of being sex obsessed he’s work obsessed and keeps trying to lure Fidds back into working on the portal with the promises of sex (though like Marvin and Whizzer their relationship evolves to be healthier by act two. I can’t figure out who from GF would become the lesbians from next door…

I’ve also got a Paul McCartney and John Lennon au for them

[pk-freezer-burnt]

[who-canceled-roger-rabbit]

Definitive Reservoir Dykes fancast:

Miriam Margolyes as Jo Cabot

Aidy Bryant as Nice Gal Eddie

Salma Hayek as Ms. White (Señora Blanca maybe?)

Janelle Monáe as Ms. Orange

Gwendoline Christie as Ms. Blonde

Catherine Tate as Ms. Pink

Kate McKinnon as Ms. Brown

Maggie Smith as Ms. Blue

Tatiana Maslany as Marvin Nash

Danai Gurira as Detective Holdaway

Kristen Stewart as the radio DJ

[incorrectolivia]

i have had to say goodbye to some of my fave girls on tv this year and now tabitha and bess have joined the list! some fictional characters just end up having a bigger impact on you than you ever imagined! like it's just a tv show but why does it feel deeper than that? I'll be holding on to my best girls as long as I can😭🤎

[dustedmagazine]

Mike Reed — The Separatist Party (Astral Spirits)

Photo by Liina Raud

Well into our fourth year living with COVID, the effects remain. People continue to suffer long-term medical consequences, cycle through repeat infections and negotiate the breakdown of civility gnawing at the heart of social and political life. The Separatist Party is the first of a trio of collaborative albums on which Chicago drummer and composer Mike Reed explores seclusion and isolation. Cornetist Ben LaMar Gay, multi-instrumentalists Rob Frye, Cooper Crain and Dan Quinlivan from Bitchin Bajas join Reed on tracks which flow easily over Reed’s dexterous rhythms. Poet Marvin Tate adds a gritty presence as he moves between rough improvised soul and browbeating spoken word.

Opener “Your Soul” builds from a minimalist South African rhythm with circular keyboard and guitar motifs as Tate riffs around the line “Your soul is a mosh pit” an intensely energetic contrast to the easy lope of the music. Frye’s tenor and Gay’s cornet helm “A Low Frequency Nightmare” trading licks over woozy keyboards and Reed’s drums which build from a straight-ahead almost komische drive into a syncopated excursion around his kit. On “Hold Me” Gay nags and wheedles as Tate’s exhortations to touch, talk, understand and his kiss-off lines, “The truth is layered, layered/bone, flesh and politic/You never like the way I kissed/and I never cared for your race play/too predictable and historically inaccurate” capture miscommunication that slides too quicky into dispute. The tonal difference between this and tracks like “Floating with an Intimate Stranger” “Our Own Love Language” in which Frye’s flute, Crain’s guitar and Gay’s cornet trace filigreed windmills in the pastoral air can be jarring but The Separatist Party works as a mosaic of mood and styles that demonstrate the often contradictory emotional and artistic responses to common experience.

Across a range of styles that mirror the musical range of the participants, Reed and company find ways to meld their influences into a cohesive whole. Tate’s declamatory poetry hits hard, but the essence of this project lies in the reciprocity of the sextet’s playing. Each member maintains their identity and brings it forth in service of the whole in a display of mutual respect that provides a pathway back into the world. A powerful lesson indeed.

Andrew Forell

[kickmag]

Media Questions Of The Week

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Is Larenz Tate right about Hollywood placing a higher value on Black British actors? 

Are AI-generated songs of artists like Ghostwriter's  Drake and The Weeknd "Heart On My Sleeve" duet really a threat to the artists whose work gets used? 

Did Ed Sheeran plagiarize Marvin Gaye's "Let's Get It On" for his single "Thinking Out Loud?" 

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Who painted over the Frankie Knuckles and Juice WRLD murals in Chicago? 

[weepingchoir]

DOCTOR WHO SERIES 14: A FULL SEASON REVIEW

Another decade, another frantic Doctor Who resuscitation. (Not that there were news of potential cancellation, but things must’ve been dire for the BBC to sell one of their most storied shows to the Mouse.) Chibnall is out, Moffat on retainer, Russell “Thee” Davies is in. The theme song is the best since Matt Smith, which, through weird and inexplicable coincidence, was also the last time I watched Who with any serious interest. Good start.

The Star Beast

While not technically part of the season, the specials preceding series 14 signal the beginning of a shift in tone and rules for Doctor Who, including the introduction of the new Doctor. Not yet, though. First we get an OLD DOCTOR FUCK YES DAVID TENNANT IS BACK.

I already know Tennant won’t stick around, and I’m glad. That would’ve stunk of Disney nostalgia-raking. Nevertheless, as a returning viewer, I’m grateful for the breakfall. “The Star Beast” doesn’t yet carry the magic that’ll characterize Gatwa’s series. It’s a standard scifi monster of the week serial, and the monster rules. Looking for returning companion Donna Noble, the Doctor runs into the Meep, a no-pronouns gremlin-Yoda puppet living in Donna’s shed, under the care of her daughter, Rose.

UNIT comes under attack by Kamen Riders. The Meep tears off the blorbo mask to reveal a genocidal dictator on the lam from the Intergalactic Criminal Court. It’s a hilarious turn in an episode whose emotional core relies on Rose’s transgenderedness. Pronouns are a real-time strategy game and evil space aliens are better at it than humans.

Quick dustup on weird plot shit: if Donna remembers the Doctor she dies. She has to remember anyway, in order to stop the Meep’s ship from taking off. Turns out that she’s since become immune to Time Lord neuron overload by offloading it on her daughter. Donna and Rose expel the toxic memories by harnessing their feminine emotional intelligence.

I don’t want it to land. Facing the Doctor, who was a woman one episode ago, Rose says that a man could never understand how she just harnessed the divine feminine. Nevertheless it passes, maybe because any representation of a transgender woman as through-and-through female is a gasp of fresh air. For better or worse, this also cues the season’s cardinal rule: what you feel is true is more important than what makes sense.

Wild Blue Yonder

The TARDIS crashlands at the edge of the universe and disappears when it senses danger, one of those things that it’s never done before and will only do again if it’s funny or cool.

The “edge of the universe” is a spaceship floating in ink-black, with Marvin the Paranoid Timebomb making its way down the hall, one step at a time. This is a great opportunity to ease us into the budgetful new Doctor Who, with sleek but understated shots of the spaceship’s exterior. When the Doctor and Donna split up to fix the ship, they converse with each other’s doppelgangers: “not-things” from beyond reality, looking to assimilate physics. Communication with the not-things goes awry as an eerie set of medium close-ups pull back to reveal their overlong limbs.

Backed with half a decade of set chemistry, Tennant and Catherine Tate ace all four characters in this bottle episode. Much of the runtime consists of the Doctor and Donna’s mind games against each other. It’s less a restatement and more a self-justifying exploration of why bother with a last hurrah for two fan favorites. Well-earned, too, as the Doctor nearly leaves the real Donna to die in the ship’s explosion. It’s impossible to be done exploring the fullness of a relationship. But one day, and soon, we will have to move on.

The Giggle

 Two crucial stopgaps against the not-things. One, a line of salt on the floor, which the Doctor tricks them into thinking they can’t cross, since they’re sorta vampires. Two, cognitive dissonance. It’s hard enough for the uncreatures to assimilate beliefs, let alone simultaneous contradictory ideas.

The Doctor fears that, by invoking fiddly rules at the edge of reality, he’s opened a door for fell mythos. This episode stars the Toymaker, a villain from a partially restored First Doctor serial. Originally a Fu Manchu caricature, the new Toymaker is Neil Patrick Harris putting on a German accent, which he can always do, it’s never racist.

The Toymaker has snuck a mind-warping signal into every screen, starting with the 1925 Stookie Bill experiment. Now mankind is mad , reacting with explosive hostility at any confrontation. Over the last decade, as writers have moved from mocking subsets of people for being on phone to everyone being on phone, we’ve uncovered more cohesive portrayals of what 24/7 connection is doing to us. Writ large, more and more of us are looking to win arguments. Even losing is a thrill.

It’s a contrived plan for a villain whose power transcends mere limitless control over physical matter. The only thing that binds the Toymaker is the rules of the game. We can trace the evolution of TV drama by comparing his first appearance to his last, William Hartnell’s almost congenial gotchas to Tennant’s panic at genuine omnipotence. The Toymaker traps the Doctor and Donna in a theater for a puppet play about the many deaths of the former’s companions. The Doctor, ever the hero, denies them three times.

Well, are they dead? These specials have proven that, even in the megacorp mines, fan favorite returns don’t have to be Rise of Skywalker gruel. Donna, and the Fourth Doctor’s returning Mel Bush, bring necessary continuity to the transition into new-new Who.

Not everything, at least, has to end in tragedy. When the Toymaker commandeers the giant laser gun the government is cool with UNIT keeping in uptown London, the Doctor bigenerates, splitting into straight Tennant (presumably) and gay Ncuti Gatwa. Together they beat the Toymaker at catch, which banishes him for good.

From here on, we follow Gatwa’s Doctor. Tennant stays with Donna. There is movement in rest, organic, within. Their relationship may continue to develop, just where we can’t see it. Not everything is for screen consumption.

The Church On Ruby Road

Every time I see this episode’s title I get Hüsker Dü’s “Girl Who Lives On Heaven Hill” stuck in my head, except the Inter Arma cover because that’s the first time I heard that. The Doctor is fortunate enough to run into one of the few actresses that can match his energy, Millie Gibson as Ruby Sunday: songwriter, orphan and ingenue. Ruby lives a zoomer kitsch apartment with string lights on the walls, alongside her adoptive mother and grandmother. She suffers from a curse of bad luck, bewitched by an airshipful of baby-eating goblins.

The Doctor and Ruby stop the goblins from eating a baby, to the tune of an R&B paean to Jabba-the-Hut, the only logical step from the Toymaker’s Spice Girls lipsync sequence. The goblins retaliate by traveling in time to eat baby Ruby, abandoned by her mother on Christmas day on the porch of The Church That Lives On Ruby Road. Watching Ruby’s mother go, Gatwa cries his series-first tear of silent grief. He’s very good at that.

The Doctor’s rule of no self-interaction has fucked his opportunity to let Ruby meet her biological mother. Pay attention, this’ll be on the test. Other than that, “The Church” is an easy, fun, low-stakes introduction to the Doctor’s companion and many of the season’s dominos, only some of which will receive a proper knockdown.

Space Babies

The first real ostentatious show of Disney budget is a quick but lush visit to James Cameron's Mesozoic. A CGI diplodocus doesn’t have to be bad. CGI baby mouths, on the other hand.

Budget cuts strand a colony spaceship, replete with babies in a bizarre state of semi-suspended animation: they’ve been toddlers for six years. Only accountant Jocelyn remains. The babies are terrorized by the Boogeyman, a snot monster generated by glitched-out educational software. Jocelyn almost airlocks the Boogeyman until the Doctor reminds her that it’s kind of her baby also.

The Doctor’s memory of Ruby Road changes to feature Ruby’s mother pointing at him. It starts snowing indoors, another magic plot puzzle piece. Cue tear of silent grief. There’s not much else to say about “Space Babies”. It’s a lot of terrible ideas, executed with functional neatness: quoting a friend, the platonic ideal of a Russell T 6/10.

The Devil’s Chord

1925 again! There’s a whole pantheon of Toymaker-type evil gods. This one’s Maestro, the god of music, played by a spectacular Jinkx Monsoon. Over the course of four decades, Maestro ruins music so thoroughly that even Abbey Road sounds like dogwater.

The Doctor and Ruby negotiate with the Beatles, who make dodgy gestures towards the whole of music being an embarrassing business. It’s never made clear how Maestro has convinced the world of this, or, like the Toymaker’s giggle, why they bothered when they have the power to eat music itself. We’ve crossed into the realm of magic. It’s not about the method, but the goal: within a hundred years, musicless mankind will self-exterminate to vent its anger, leaving Maestro to enjoy pure aeolian tones.

It’s hard to agree that music is the salve keeping mankind from abject violence when contending with the history of, Burzum, Chris Brown or Meni Mamtera. Nor does the idea that Maestro can be defeated by a seven-note scale available to basic Western music theory hold much water. “The Devil’s Chord” is an altogether less cohesive “The Giggle”, and only three episodes after its predecessor, too. On the other hand, as a piece of musical cinema, it’s a brilliant watch for Monsoon’s performance, the playful metanarrative gestures, and the closing number, ‘There’s Always A Twist At The End’.

Boom

On the ravaged planet of Kastarion-3, there is only war. A landmine vaporizes a guy, attracting an 'ambulance' automaton to euthanize his friend Vater by reducing him into an awesomely gross flesh tube.

Gatwa leaves the TARDIS in a super-sexy leather jacket and steps on a mine. What follows is ten agonizing minutes of the Doctor and Ruby figuring out the logistics of the situation. The Doctor can’t move off the smart mine or exhibit high emotion. On finding Vater’s tube, Ruby convinces the Doctor to let her hand it to him to use as a counterweight, in a move that almost kills them both. The pressure is immense, achieved with nothing but close-ups to tears of silent grief and a silly prop of a landmine with LEDs.

Vater’s daughter finds the duo, triggering the flesh tube to generate a grief counselor hologram of her father. Ruby gets shot while managing a haywire ambulance. The only way to get the ambulance to treat her is to admit that the Kastarians never existed. With a full third of characters dead, Cyber-Vater betrays its parent corporation to end the war. This is the most stressful Doctor Who gets, in all the best ways. For a second, and against all logic, I was even convinced it might be the end of Ruby Sunday.

“Boom” is the closest Gatwa’s Doctor has to a companion capsule episode. This focus on their relationship might’ve gone over even better if it’d been earlier in the run, especially given “The Devil’s Chord” has the opposite problem. I suspect the prime reason why it’s placed in an awkward middle slot is to not give away the game: “Boom” front-and-centers Susan Twist, who’s played minor roles in almost every episode since “Wild Blue Yonder”, as the face of the combat ambulance AI. There’s always a twist at the end, remember?

73 Yards

The Doctor’s always stepping on some bullshit. After intruding on a ritual circle, he disappears, leaving Ruby alone with a mysterious woman that’s always standing 73 yards away. Everyone who talks to the woman flies goes no-contact with Ruby: a hiker, a bar-goer, UNIT, even, in a harrowing turn, Ruby’s adoptive mother. So Ruby spends the next twenty years alone. Without her family, and also alone in this ethereal way where she’s meant to be on startlit adventures, not half-there on a wine bar date.

Gibson carries this mammoth episode on her shoulders, evolving from panicked 20 year old to middle-aged, purpose-driven mercenary. The closest thing to a co-star is the cinematography, following her eyes towards the woman-shaped hole in the near horizon. This is one of the subtler metanarrative moments of the season: the woman is impossible to photograph, blurry in pictures just as she’s never in focus for the camera.

Ruby makes up a mission: save the world from ‘Mad Jack’ Roger ap Gwilliam, a presidential candidate whom the Doctor off-hand warned would lead the world to nuclear ruin. Infiltrating, Jack’s presidential campaign, she maneuvers the woman into manifesting next to him, which makes him run screaming from office. The world is saved. Ruby isn’t. As she lays dying of old age, alone, the mystery woman is revealed to be herself, traveling back in time to warn the Doctor off the circle.

This is the furthest Doctor Who can stray from its own standards before becoming a different show altogether. The theme song doesn’t even play (shame). Not a coincidence, it’s also the episode to most demand that we trust emotion over logic, and it pays back that trust with dividends. It doesn’t matter that we never find out why there was a shrine to Mad Jack atop a cliff in Wales twenty years before his time, or the mechanism by which Ruby created a closed time loop. The important bit is the emotional resonance, the click of catharsis when we discover just enough details to let it rest.

Dot and Bubble

I feared, as “Dot” opened on a woman so dependent on social media that she can’t navigate her immediate surroundings without GPS, that this would be the Phone Bad episode “The Giggle” had managed to surpass. The truth is more complex: Finetime’s residents can afford to spend all day Whatsapping because they’re the offspring of another planet’s leisure class, here on permanent vacation.

Giant man-eating slugs have invaded Finetime, and the Dot-Bubble navigation system is walking people straight into their maws. Our lead is neither Gatwa nor Gibson, but Callie Cooke as Lindy Pepper-Bean in yet another of the acting masterclasses that characterize this season. An ongoing tension point is whether Lindy can keep her Bubble down long enough to string together two tasks. This means the season’s highest ratio of close-ups to other shots. Cooke carries this focus with recidivist disdain, processing the situation in arbitrary bursts only to default to anger at the Doctor for intruding on her groupchat, or elation at meeting a celebrity singer.

The slugs are an invention of the Dot, which, after years of servicing Finetime, has learned hate. Huddled outside the habitat dome, the all-white survivors reject the Doctor’s 'dirty' safe passage, and strike out to colonize the wilderness, ‘like their ancestors’.

Laterally to Phone Bad, an ongoing trend in wronghead fiction is Rich Bad. Movies like Bodies Bodies Bodies portray the bourgeoise as a self-obsessed bunch who will fall snarling on themselves at the first provocation. This is not what makes the bourgeoise dangerous, but in fact the exact opposite: because the rich have everything to lose, they will close ranks against you, no matter how much good you’ve done for them, no matter what you could yet do.

Rogue

Before the season ends, anybody want to defend England one last time? Playing nobility at a Regency London ball, the Doctor runs into Rogue, a bounty hunter who mistakes him (at gunpoint) for a shapeshifting, murderous Chuldur.

The Chuldur are fans of Bridgerton, on Earth to cosplay it to death. In order to lure them out, The Doctor and Rogue publicize their whirlwind romance. If “Dot and Bubble” was a response to the idea that Gatwa might run into racism if he travels to the past, “Rogue” is its inversion: the plan works because the modern Chuldur can’t resist the titillation of wearing a black gay man. They run after the hypervisible Doctor, while the white Rogue becomes “the other one”. He’s less problematized, less interesting, the one you get stuck with if you don’t call intersectional shotgun.

After the trap is sprung by accident, Rogue's banished alongside the Chuldur to a random dimension of nobody’s knowing. The Doctor declares it’s impossible to find him. We’ll see about that.

For all its nods towards fandom, “Rogue” isn’t a po-faced condemnation of fan culture. Ultimately, the Chuldur too are defeated through cosplay. Plus, it’s a straight beat-by-beat of the strongest points in Who structure: strong side characters, scifi logistics, a villain as goofy as it’s horrific. Whether its back-to-back placement with its thematic mirror, or as a segue to the season finale, is ideal, is anyone’s guess. 

The Legend of Ruby Sunday

The Doctor asks for UNIT’s help in figuring out why Susan Twist follows him everywhere. On 2024 Earth, she’s Susan Triad, tech CEO on the verge of releasing some kind of Alexa thing. But before we get to that, the Doctor decides now’s the time to meet Ruby’s biomom.

Using a ‘Time Window’, Ruby visualizes The Church That Lives On Ruby Road. Ruby cries: the Window refuses to show her mother’s face. The machine goes all creepypasta on some UNIT boot. Panicked, the Doctor chases down Triad, who reveals she can remember her past lives in dreams.

Triad pulls away to her conference. Though she’s live worldwide, her soundstage is empty, the crowd canned. Where much of this season has dealt with the phenomenons of mass media and TV, “The Legend” digs into a grief specific to Doctor Who, an ill-kempt archive of decades forever on the verge of cancellation.

Little else happens, for two good reasons. First, this episode is a two-parter. Second, much of its runtime is dedicated to extracting maximum stress out of the situation. Ruby is too compromised to act, while the Doctor and UNIT are late from the start, only just figuring out the situation in time to witness it unfold. The big reveal paying off all this anxiety, crossed purposes, fear and despair is, unfortunately, a CGI dog with a hat.

Empire of Death

Sutekh is a Fourth Doctor villain who’s been locked in the Time Vortex for thousands of years or a dozen seasons, whichever’s longest. He has spawned harbingers like Triad in every planet that the Doctor’s visited, and his “dust of death” has the power to kill nost just everyone, but everyone at every point in time. In the era of streaming television (and stream-only television), the C-suite can overnight erase all evidence that a show ever existed.

Through a bit of absurd circular logic, the Doctor declares that the Time Window’s memory of a TARDIS is in fact a functioning TARDIS. The crew escapes to roam a deserted universe. The memory TARDIS begs to tie long-dangling plot strands into knots of neat logic. Instead, a bunch of nonsense dialogue happens. When Ruby asks the Doctor why Sutekh has a The Mummy thing going on, the Doctor answers “cultural appropriation”, and fails to elaborate. Laterally, when Ruby casually lists the chameleon circuit’s AOE as 73 yards, the Doctor asks how she knew that. She’s not sure. Nothing comes of this.

Because Sutekh is incapable of seeing Ruby’s mother, the Doctor decides it’s all tied together and heads to a government office in Mad Jack Britain, containing the UK’s forcibly harvested genetic data. Much more cohesive commentary on racism than reminding us cultural appropration is a thing Doctor Who has done. Armed with knowledge, the Doctor baits Sutekh into the Time Vortex, where he forces him to, like, kill death and then die in turn.

It’s a fantastic turn of character for the Doctor, who oft makes a spurious point of not killing in order to condemn villains to fates worse than death, or adopts a ‘War Doctor’ persona which kills a bunch of people anyway. It’s a matter of framing, but also a genuine point of no return. As for less satisfying character beats: Ruby gets to meet her mother, who’s just some middle-aged Instagrammer with a bad haircut and a passion for rocky beaches.

So why was this character immune to everyone from the Time Window to Sutekh, and the unwitting carrier of Ruby’s inherited power to make it snow? Because, the Doctor explains, we cared about her.

Which begs the question: who is we?

The easiest answer is: the last people left alive in the universe. But Ruby’s been making it snow since “Space Babies”. Not proximity to the Doctor either, else the Doctor himself would have magic powers: on the contrary, he’s spent the whole season grappling with his limited ratfic ability to deal with the supernatural. And there’s millions of orphans out there. Ruby is, in this regard as in most else, not special.

Taken all together along with the season’s metanarrative overtures, which keep going right up to the last second of “Empire”, the only answer is that we are the audience. Or the audience and the crew, anyhow: the camera, the screen, Ruby’s protagonism and the people that accept it. We have imbued Ruby Sunday with transcendental power, because we would like her to transcend.

This doesn’t work unless I am more emotionally than narratively invested in Ruby Sunday.

Not that I didn’t get torn up when Ruby met her mother. But that’s just cinema trickery. A season’s worth of promises, a bit of music, very good acting: of course I was going to care. Not more than I care about finding out what the fuck was going on, though. As an explanation, this all rounds out to: what was going on is what was going on. Ruby’s mom was important because she mattered to us, and it mattered to us because she was important. Me, I refuse to be complicit.

There is an unpleasant extreme to the logical lens, the CinemaSinners combing through scripts, sacrificing the greater story to the tendentious idol of Plot Holes. Doctor Who has long been plagued by these types, pitfalls of being an easy-watching BBC show with a large audience. Series 14 scans like a concerted effort to not give these guys an inch. In overcorrecting, it created a maudlin mess of unfulfilled promise.

That is as far as the season's connected plotline goes. Fortunately, most of the episodes are gems, directed with a sense of fun almost unseen in the revival series’ longstanding gloom. The Doctor has turned into a killer, maybe for good. We are promised that his tale will end in tragedy. I hold out hope that, next time the story tries to hit me where it hurts, it’ll follow through.

7/10

[projazznet]

Quincy Jones – Gula Matari

Gula Matari is a 1970 studio album by Quincy Jones.

Pepper Adams – baritone saxophone Danny Bank – bass and baritone saxophones Hubert Laws – flute solos Jerome Richardson – soprano saxophone solos Freddie Hubbard, Danny Moore, Ernie Royal, Marvin Stamm, Gene Young – trumpet/flugelhorn Wayne Andre – trombone Al Grey – trombone solos Toots Thielemans – guitar and whistle solo Herbie Hancock, Bob James, Bobby Scott – keyboards Grady Tate – drums Don Elliott – bass marimba on “Gula Matari” Jimmy Johnson, Warren Smith – percussion Ray Brown – bass Ron Carter – bass on “Gula Matari” Richard Davis – bass on “Gula Matari” Major Holley – bass and voice solo Milt Jackson – vibes Seymour Barab, Kermit Moore, Lucien Schmit, Alan Shulman – cello Valerie Simpson, Marilyn Jackson, Maretha Stewart, Barbara Massey, Hilda Harris – vocals

[ometochtli2rabbit]

13.0.12.2.7

ox[3] MANIK'/KIEJ [deer]- lajun[10] MAC

galactic tone: action/rhythm

sun sign: deer/black/west

be of service to others - MAYA

yei[3] - MAZATL[deer]

Chalchihuitlicue | Tlaloc

huactli[falcon]

lord of the night: Tepeyollotl

trecena[3]: Xiuhtecuhtli

x: nahui[4] - tozoztontli - NAHUA

Potential Negative Traits:

Angry, bothersome, addictive, opportunistic, foolish, and demanding. Causes trouble and sorrow for others. - [www.mayan-calendar.com]

for those born on these days, these are potential traits to avoid. and as a service to others, i'm trying to reduce my own sadness. so, some songs with SAD in them:

Elton John: Sad Songs (Say So Much) & Sad

Halsey: You Should Be Sad

Robert John: Sad Eyes

Roy Orbison: Sad Eyes

Taylor Swift: Sad Beautiful Tragic

FKA Twigs: Sad Day

Bruce Springsteen: Sad Eyes

Alicia Keys: Why Do I Feel So Sad

Elvis Costello: Sad About Girls

Sheryl Crow: Sad Sad World

Metallica: Sad But True

David Byrne: Sad Song

Billy Ocean: There'll Be Sad Songs (To Make You Cry)

Bebe Rexha: Sad

Oasis: Sad Song

Deer Tick: The Sad Sun

The Pixies: The Sad Punk

The Cars: Sad Song

Christina Perri: Sad Song

The Velvet Underground: Sad Song

Kacey Musgraves: Happy and Sad

Ronnie Milsap: Nobody Likes Sad Songs

No Doubt: Sad For Me

Buck Owens: Let the Sad Songs Roll On

Bob Dylan: Sad-Eyed Lady of the Lowlands

England Dan and John Ford Coley: It's Sad to Belong

Toni Braxton: Another Sad Love Song

Marvin Gaye: Sad Souvenir

Roberta Flack: Ballad of the Sad Young Men

Pearl Jam: Sad

The Jam: So Sad About Us

Eagles: The Sad Cafe

Fleetwood Mac: Sad Angel

Tate McRae: Don't Be Sad

Humble Pie: The Sad Bag of Shaky Jake

Buffalo Springfield: Sad Memory

The Rolling Stones: Sad Sad Sad

Sam Cooke: Sad Mood

The Everly Brothers: So Sad (To Watch Good Love Go Bad)

Lana Del Rey: Summertime Sadness & Sad Girl

Muddy Waters: Sad, Sad Day

George Harrison: So Sad

[mrsterlingeverything]

the Kylie post was so 2015 coded I think we should pool together monopoly to buy you a property on Marvin gardens

Ok shit i have addison rae lips. Tate mcrae lips. I was born in 2014

[noloveforned]

putting together stuff for tonight's no love for ned on wlur at 8pm. you can catch a repeat of last week's show immediately after at 10pm to give you four solid hours of whatever it is i do on the radio. as is the new norm, last week's show is below and streaming on mixcloud for those of you with more exciting friday night plans!

no love for ned on wlur – july 21st, 2023 from 8-10pm

artist // track // album // label the certain someones // sad salvation // murderecords 7" singles 1993-1998 compilation // murderecords the edsel auctioneer // slouch // simmer // decoy cheerbleederz // cute as hell // even in jest // alcopop! guardian singles // pit viper // feed me to the doves // trouble in mind the ape-ettes // hearing protection // simply the ape-ettes // snappy little numbers the dad // 2nd best friends // 7 a.m. 7" // unread snooper // pod // super snõõper // third man dr. sure's unusual practice // carol // remember the future? live from the future // marthouse keel her // boner hit // with me tonight 7" // o genesis uppendix // desire's not the one // bliss is solipsis // discontinuous innovation famous mammals // comets for poets // instant pop expressionism now! // siltbreeze private lives // hit record // hit record // feel it andrew savage // thanksgiving prayer // several songs about fire // rough trade prairiewolf // sage thrasher // prairiewolf // centripetal force matthew sage // tilth dawn rustles // paradise crick // rvng intl. laraaji and kramer // ascension // baptismal // shimmy-disc anton lukoszevieze, alexander hawkins and heather roche // variations vii and ix (excerpt) // jack cooper 'arrival' // astral spirits carlos niño // brooklyn zoom, brooklyn zoom // international anthem at public records volume four, december 10th, 2022 // international anthem mike reed featuring marvin tate // call off tomorrow // flesh and bone // 482 music john coltrane // impressions // evenings at the village gate // impulse! napoleon da legend and giallo point // game plan // coup d'etat // fxck rxp billy woods and kenny segal featuring quelle chris // soundcheck // maps // backwoodz studioz kenny g featuring barry johnson // hi, how ya doin'? // g force // arista wendell harrison // the glamorous life // the carnivorous lady // rebirth snoh aalegra // be my summer // be my summer digital single // atrium bernice // underneath my toe // cruisin' ep // telephone explosion ivy // get out of the city // apartment life demos // bar/none bonne idée // it will be back // a dream of you 7" // cloudberry lily konigsberg // at best a #3 // the best of lily konigsberg right now // wharf cat u.s. highball // see you in hell // no thievery, just cool // lame-o the particles // driving me // 1980s bubblegum // chapter music

[bigboimoose]

TRUE OR FALSE: The 2018 NBA Draft is one of the greatest draft classes of all-time

1. Luka Doncic

2. Shai Gilgeous-Alexander

3. Trae Young

4. Jalen Brunson

5. Jaren Jackson Jr.

6. DeAndre Ayton

7. Mikal Bridges

8. Anfernee Simons

9. Michael Porter Jr.

10. Collin Sexton

11. Miles Bridges

12. Gary Trent Jr.

13. Wendell Carter Jr.

14. Mitchell Robinson

NOTABLE PLAYERS

Bruce Brown

Donte DiVincenzo

Robert Williams III

Duncan Robinson

De’Anthony Melton

Moritz Wagner

Kevin Huerter

Grayson Allen

Jarred Vanderbilt

Lonnie Walker IV

Devonte Graham

Josh Okogie

Shake Milton

Troy Brown Jr.

Mo Bamba

Marvin Bagley III

Landry Shamet

Jae’Sean Tate

Solid draft. It may end up top 5

[popmusic101]

Flashback: Ghetto Supastar - Pras feat. Mya & Ol' Dirty Bastard

25th September 2023.

Doja Cat is still hanging onto that #1 spot with 'Paint the Town Red', although there's a bunch of new songs which have rocketed into the top ten this week, so it'll be interesting to see what happens going forward. Will 'Paint the Town Red' remain in the top spot, or will one of the new contenders in Kenya Grace, Tate McRae, SZA, Drake, or Tyla, edge it out?

While we wait to find out, let's flashback twenty-five years to 1998 when the #1 song in the country was 'Ghetto Supastar' by Pras.

'Ghetto Supastar' was part of the soundtrack for the movie Bulworth by the way, which is why Halle Berry, Warren Beatty, and Oliver Platt are all wandering around in the music video.

The story behind the song is pretty interesting too: in 1997ish the members of the band the Fugees (Lauryn Hill, Wyclef Jean, and Pras) all began working on solo projects. Wyclef Jean and Pras co-wrote 'Ghetto Supastar', pulling in 'Ol Dirty Bastard from Wu-Tang Clan and R&B singer Mya who had just released her own debut album.

The song samples Dolly Parton and Kenny Rogers' 1983 song 'Islands in the Stream' which peaked at #2, being kept off the top spot by Billy Joel's 'Uptown Girl'.

I love Dolly's little "excuse me, Kenny!" and her subsequent giggle at 2:22 in this video. She's great! 'Islands in the Stream' was written by The Bee Gees and originally meant for Marvin Gaye or Diana Ross, so there's a lot of star power behind the song.

And not only that, but 'Ghetto Supastar' also samples James Brown's excellent 'Get Up, Get Into It, Get Involved' from 1970. Brown's highest charting song on the NZ charts was 'Living In America' which peaked at #5 in 1986.

But back to 'Ghetto Supastar' - it was incredibly popular, hitting #1 in nine countries and getting a Grammy nomination for Best Rap Performance By A Duo Or Group, which it lost to Beastie Boys' 'Intergalactic' ('Intergalactic' peaked at #4 in the NZ charts and is Beastie Boys' highest charting single).

This was Pras and 'Ol Dirty Bastard's only #1, but Mya went on to score another two #1 singles. 'Ghetto Supastar' has become a fairly iconic song I would say, to the extent that the Bee Gees even incorporated the chorus into their version of 'Islands in the Stream' on their 2001 Greatest Hits compilation. And, Weird Al also included it in his polka-style medley 'Polka Power!' You know your song is big when Weird Al covers it.

See you next time when we'll see if Doja Cat can maintain the #1 spot for a seventh week!

[severingt]

SoulPM Playlist 2nd September

70 - Come Together – Chairmen Of The Board

65 - I Hear A Symphony – Isley Brothers

65 - Nowhere To Run – Martha And The Vandellas

67 - Cold Sweat – James Brown

68 - Gangster Of Love [Parts I & II] – Jimmy Norman

69 - I Want To Hold Your Hand – Al Green

69 - My Whole World Ended (The Moment You Left Me) – David Ruffin

72 - 8 Days On The Road – Howard Tate

72 - Chug Chug Chug-A-Lug Part 2 – The Meters

72 - Getting Uptown (To Get Down) – United 8

72 - It's Just Begun – Jimmy Castor Bunch

72 - Nuki Suki – Little Richard

72 - You Gotta Know Whatcha Doin' – Charles Wright

73 - Everything I Do Gonna Be Funky – Claudia Lennear

73 - Funky To The Bone – Freddi Henchi And The Soul Setters

73 - Try It Again- Bobby Byrd

74 – Fire – Ohio Players

75 - Fly Robin Fly – Silver Convention

75 - I Ain't Lyin' – George Mccrae

75 - Its In His Kiss – Linda Lewis

75 - Love Ain't No Toy – Yvonne Fair

76 - Cajun Moon – Herbie Mann

79 - Bad Girls – Donna Summer

81 - Give It To Me Baby – Rick James

82 - Just An Illusion – Imagination

84 - Electric Avenue – Eddy Grant

86 - Midas Touch – Midnight Starr

86 - Rockin' After Midnight – Marvin Gaye

88 – Endlessly – Mavis Staples  

One from Grapevine

72 - I’ve Just Gotta Tell Somebody – Gloria Lynne

[ccandd96]

This brand-new book is the perfect thing to pick up to cap off summer! Scars Publications just released the Down in the Dirt‘s May-August 2024 issue collection book “A Library of Collaboration”! This 422-page volume is a great way to stock up on issues if you didn’t buy all of the issues making this a GREAT deal! A listing of all the contributors and titles is available at Scars online, and authors are also listed in the description now online through Amazon throughout the U.S. and Canada. They can also be ordered in the U.K., all of Europe, and even Japan and Australia!

https://www.amazon.com/dp/B0DBDBH1HK

https://scars.tv/2024May-August-issue-collection-book/A_Library_of_Collaboration.htm

The contributors to this book (of writing and art) include A.R. Williams, Alan Ford, Alexandra Dark, Angela Carrozza, Anthony Thomas Voglino, April Fikstad, April Goodwin, Bill Tope, Binod Dawadi, Brenda Mox, Brian Beatty, Brian Connelly, Cailey Tin, Cameron D. Alexander, Camille Akers, Chitralekha Hore, Christopher Strople, Ciara M. Blecka, Clarence Allan Ebert, Clive Aaron Gill, Corey Smith, Corey Villas, Daniel de Culla, David J Tate, David Sapp, David Sowards, Debra Wilson Frank, Devin Sparkman, Dick Yaeger, Donald Reed Greenwood, Dorthy LaVern McCarthy, Doug Hawley, Douglas Young, Dr. Adyasha Acharya, Drew Marshall, DS Maolalai, Duane Anderson, Edward Michael O’Durr Supranowicz, Eleanor Leonne Bennett, Elena Botts, Eric Brown, Erik Priedkalns, George Beckerman, Gil Hoy, Greg Beckman, Hannah Ferris, Hasan Chaudhry, Helen Bird, Holly Day, Isabel G. de Diego, J. Ray Paradiso, Jackie Bayless, Jake C. Elliott, James Bates, James Nelli, Janet Kuypers, Jerry Guarino, Joan Mach, John F. McMullen, John Farquhar Young, John Grey, John Riebow, John Zedolik, Joy Myers, June Wolfman, Justine Fleming, Kassan Jahmal Kassim, Katarina Pavicic-Ivelja, Ken Weiss, Kris Green, Kyle Hemmings, Kyle Trenka, L. Sydney Abel, Latoya Kidd, Laura Bota, Lee Hammerschmidt, Madelyne Timmons, Mark Pearce, Mark Wolters, Marvin Reif, Matthew McAyeal, Megan Mealor, Michael Gigandet, Mike Rader, Mykyta Ryzhykh, Norm Hudson, Oleksandr Gorpynich, Olivia G. Benson, Olivier Schopfer, Paul Stansbury, R.T. Castleberry, Raha.M, ReLand, Richard K. Williams, Ronald Hernandez, Roseann Bauer, Rowan Tate, Roy N. Mason, Rykard Plaque, Salvatore Folisi, Sandip Saha, Sarah Das Gupta, Scott Taylor, Sean Meggeson, Shawn McMichael, Shontay Luna, Simon Kaeppeli, Steevie Karnes, Sterling Warner, Steven Grogan, Susie Gharib, Terry Sanville, Tom Ball, Toney Dimos, Tony Covatta, Vern Fein, and Westley Heine.

https://www.facebook.com/janetkuypers/posts/pfbid02X79WiLxMhVQRAjyUJdASt2iJ2LHeLrvTuYK2i1RmvSVzDMBcK7cPwCQbxzY67dkwl