#S.O.T.I

[slashdementia7734]

GT // CHARLOTTE'S POOL // 2024.

[gaywatch]

Dear Brittany,

Hope this ask finds you well, I'm writing this so I can satisfy my curiosity about one specific topic:

Do you know about the Thai BL Omegaverse AU, Non-traditional alpha/beta/omega dynamics, somewhat X-Men AU, alpha/alpha, power bottom, car racing, I promise omegas actually exist in this world, it's gonna get really fucked up in the future Live Action? AKA PitBabe The Series

That's it, that's the question.

Love,

S.O.T.I

Lol, I am Aware, yes. It's not up my alley but a couple blogs I follow are watching it so if a Particularly Good Scene happens I'll likely know about it.

[ao3feed-rhink]

S.O.T.Y.

read it on the AO3 at https://ift.tt/2LSX2fy

by loudspeakr

After winning one of the biggest awards of the night, the three of them end up celebrating the only way they know how.

Words: 1867, Chapters: 1/1, Language: English

Fandoms: Rhett & Link

Rating: Explicit

Warnings: No Archive Warnings Apply

Categories: Multi

Characters: Rhett McLaughlin, Link Neal, Jessie McLaughlin

Relationships: Rhett McLaughlin/Link Neal, Jessie McLaughlin/Rhett McLaughlin, Jessie McLaughlin/Link Neal

Additional Tags: Gratuitous Smut, Semi-Public Sex, Blow Jobs, Come Sharing, OT4-Compliant

read it on the AO3 at https://ift.tt/2LSX2fy

[groovesnjams]

||| GROOVES N JAMS   S.O.T.Y.   2019 |||

__________  n0. 5 of 50  __________

“People” by The 1975

DV:

My actual favorite song The 1975 made this year is “The 1975 (featuring Greta Thunberg)” but MG wouldn’t let me pick that, so. I like that this song is attempting to grapple with our onrushing extinction, and I like that it’s grappling with the idea poorly: by grasping for signifiers from angry classic rock, by trying to suggest a solution but mostly just raging incoherently, by directly anger semi-lucidly outwards and siding with “the kids” that the band no longer is. I like this because it’s how I feel most days, minus the actual platform, and I’m flailing right alongside this dumb famous band that can’t even get the politics right within its own bad country, much less figure out an actual path forwards. Maybe, very probably, one doesn’t exist: as Greta says in that other song, “We must do the seemingly impossible.” We live in an era that’s grasping for escapist heroes, fed by corporations that co-opt and exploit and market these black-and-white narratives on an utterly unprecedented level. I think Matty Healy wants to be a hero; I think that’s absolutely impossible, a massive problem, and one of the most compelling things about him. Heroes aren’t going to save us, and maybe we don’t deserve to be saved. But I want to try, want all of us to try, and it’s unexpectedly encouraging to hear Healy trying too. 

MG:

Whew, this might be a bit much, but I’m going to quote what DV just wrote because it’s more or less exactly what I wanted to say about “People.” He said: I like this because it’s how I feel most days, minus the actual platform, and I’m flailing right alongside this dumb famous band that can’t even get the politics right within its own bad country, much less figure out an actual path forwards. To that I can only add that I expected Matty Healy to identify unsettlingly specific micro-emotions that shoot through my brain too quickly for me to recognize them myself. I expect to connect with their more therapeutic songs, the “Sincerity is Scary” and “I Always Wanna Die Sometimes” of the last album cycle. I don’t tend to like melodic ruminations about how the world is on fire and we’re all gonna die. Jesus Christ, who needs that? But, ah, the republic is a banana? And that’s when these dopes got me, again. We are all the 1975 because we all know everything is wrong and yet everything just keeps getting worse. I don’t think Matty publicly or constantly or even thoughtfully endorsing Corbyn would have made any fucking difference. I don’t want any US-equivalent preener (and I especially don’t want Matty Healy himself) to endorse Bernie like that’s the thing that’s going to make all the other wrong things right. I don’t have a problem with Matty only being able to put across a super simple, obviously true idea like “stop fucking with the kids” and then performing that idea every night for the next however long it takes for the earth to claim her final revenge. It’s on brand. As much as I wanted it to, the beautiful, perfect, forever I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It did not fix anything for me. I am still the same grief-stricken, angry, anxious person I was when I got that first taste of salvation. But, also, my world is better for having this artefact of that happened and it’s better still to have apocalypse-WOO. Nothing’s gonna save us, guys.

[mr-kim-rose-blog]

Probably S.O.T.Y (Song Of The Year)

Proud World

[renolfoto]

@felipecarosella Desde @2010 ya nos advertía de esta bestia! Gran experiencia haberlos conocido y experimentar de cerca la progresión del skateboarding!! @miltonmartinez S.O.T.Y. @thrashermag Felicidades!!! Fotos del “Sesión Latinos Tour 2010” en Costa Rica 🇨🇷 #renolfoto #robandoinstantesaltiempo https://www.instagram.com/p/B5wM_8TDkyM/?igshid=uucpglu6j9ek

[strawtten-blog]

troubled // Felix x reader // chapter IV

heartthrob

Felix and I went to xx mall to get the smoothies. He got a banana one while I got a strawberry one. "Can I try yours?" Felix asked after taking a sip of his smoothie. "Just don't drink it all" I giggle and give Felix my cup. After tasting it he groans. "Waah... Yours is so much better." he pouts and gives me his banana smoothie. Ugh, it tastes really bad. Like somebody used rotten bananas. "Oof. Welp, we can share mine then."

After walking around the surrounding area and talking about random and pointless things we decide to go back to the bench we sat at before. I throw out the now empty cup and ask. "Hey, I didn't get the chance to ask you how you got into S.O.T.Y." Felix stayed quiet for a moment before answering. "You gave me an honest answer so I guess I have no choice but to be sincere too." he took a deep breath as he looked down at his shoes "My parents always said that I have a lot of potential to achieve 'great things' but I didn't want to do what they were forcing onto me," he said with his voice slightly shaking. "Once I actually tried pretending that I enjoy the things that they wanted me to do, but I wasn't being myself. They... They have never supported me for who I am, they... Have never even treated me like I'm their son... So they just sent me away to this school... To get rid of me I guess." When he finished I could see that he was so wistful. I couldn't bear to see him on the verge of tears so I tilted my head to face him and said "It's gonna be okay... I-It is okay. I'm here. Here for you. Okay?" God, couldn't I have thought of something better? That's not gonna help him. Why couldn't I have said something actually helpful?? Felix's fingers intertwined with mine making me snap out of my thoughts. He looks... Happy? Why? It can't be because of what I said. Right? "Thanks." he shone with warmness. He untangled our fingers and pulled me into an embrace full hug. The hug got tighter with every single heartbeat. I'm so close to him. I can hear his every breath. And now the only place I can call home is his arms. After a moment of silence, he broke it by saying "Ah! Okay enough of these serious conversations today!" he made the situation less blue. "It's getting dark anyway. We should head back." he smiled.

As we were walking back our hands were brushing up against each other, aching to be held, but they stayed in place making my heart throb.

https://www.wattpad.com/715028189-troubled-felix-x-reader-chapter-iv

[p-velasco]

From up here the city lights burn like a thousand miles of fire.

S.O.T.Y.

[absannecy]

Janvier 1981, premier numéro de @thrashermag , crée par Kevin Thatcher, Eric Swenson, and Fausto Vitello. Le magazine est né à S.F et est édité par High Speed Productions, Inc. Ils sont les créateurs du King of the road en 2003 et surtout du fameux S.O.T.Y en 1990, Tony Hawk fut le premier Skater Of The Year et Kyle Walker en 2016. Le magazine papier sort tous les mois et leur site web est la référence absolue des sites de skateboard .

[groovesnjams]

[[ GROOVES N JAMS S.O.T.Y. 2018 ]] [ nO. 5/50 ]

“The Heart is a Muscle” by Gang of Youths

DV:

One of my favorite things about Gang of Youths’ “The Heart is a Muscle” is that they covered Joni Mitchell’s “Both Sides Now” before releasing it, just as Carly Rae Jepsen covered “Both Sides Now” before releasing “Your Heart is a Muscle” in 2012. It’s a weird, wonderful coincidence, though they use the idea a bit differently: Jepsen’s song hinges on the double entendre of “we can work it out”, while Gang of Youths go with a more direct “I wanna make it strong”. Their “Heart” is a song about striving and working and wishing, but it’s a self-affirmation at its core. There’s a listener, a “you”, but that listener is passive - secondary to singer David Le'aupepe’s drive to find new love. Which in one sense is solipsistic, especially compared to the duality and unity of Jepsen’s take on the concept. But it’s ultimately what makes Gang of Youths’ “The Heart is a Muscle” so powerful, the way it embraces the idea that love is a personal choice - a decision you make, something you have to be willing to accept and struggle and live for. Love isn’t just you, but it can’t happen to you, either; when Le'aupepe sings of wanting someone to “tuck my hair behind my ears and touch my soul again”, he’s also admitting he doesn’t have the confidence to be open to that without work. It doesn’t hurt that he’s doing it with that voice, over a driving rhythm and arena-ready dynamics, but what makes the song is how completely he turns this potent metaphor into his own.

MG:

No band encompasses the truth that love is a verb more than Gang of Youths. “The Heart is a Muscle” is a song that works. It drives and roves and paces. Le'aupepe is ready to do the work of love, in fact, one way he’s doing that work is by singing. A huge part of what makes this song work is the gravitas of his voice. That deep rasp bestows wisdom on his lyrics and suggests that he’s already labored, significantly, to find the truth in each line. “The Heart is a Muscle” has an air of Springsteen, but Springsteen is mostly grim stuff. Gang of Youths manage to accomplish something that decades worth of rock bands have attempted -- they’ve married the optimism of Springsteen’s sound with actual, human optimism. I have a soft spot for every band that aims, fires, and hits schlock, but it’s incredible to hear it, again, work. This is the sound of true believers. 

[groovesnjams]

[[ GROOVES N JAMS S.O.T.Y. 2018 ]] [ nO. 13/50 ]

“Love It If We Made It” by The 1975

DV:

This was the year Matty Healy said he wanted to make The 1975′s own OK Computer, clearly meaning only that they’d recorded a song with Siri doing spoken word, and credulous critics (specifically, those who’d previously dismissed the band) took him seriously. “Love It If We Made It” is the perfect song for them, and for this year. With a lyric assembled like an index’s worth of trending topics, it tries to both catalog and replicate the experience of being Extremely Online (or perhaps just vaguely alive) in 2018, and it’s a pitfall trap with sharp stakes at the bottom. 

Of course the concept sounds important and meaningful and so on, but ultimately it just centers Matty Healy as much as any of his more personal narratives: the title omits the song’s most important word, but as always with The 1975 it’s “I”. So maybe it’s best not to take Healy’s word for what he’s doing, or at least not to take it without a shaker full of salt. His charm lies in his ability to balance between insightful and insufferable - and if you don’t believe he’s balancing there at all, you probably don’t hear any charm whatsoever. I think he’s managing it, at least so far, and what I hear is Healy trying and failing to create a Message Song for a new generation, largely failing to have anything interesting to say, and as a result creating something much more honest - or at least relatable - about the mess we’re in now than if he’d written something much cleaner. “Love It If We Made It” is an anthem both in spite and because of Healy’s flaws, which is to say it’s a 1975 song. To quote my favorite bit of awful online wisdom, which I fully expect to wind up on one of their future albums, (perhaps pieced together from fans’ Snapchats once that platform goes under) they’ve shot for the moon and even though they missed, they wound up among the stars.

MG:

I came late enough to the cult of 75 that I don’t mind seeing them get bigger and bigger, knowing that I’m sharing with people who don’t care in the same ways I do (not to shade with “less” or “more,” we’re all fans, I’m assured.) In that way, The 1975 are a microcosm of everything, something to feel ownership of, something to cherish, but also something that is not yours, something that people can get wrong. And boy did they get this song wrong! If you listen to this barrage of headlines, quotes, trends, and abominations and feel heard, known, recognized -- oh, fuck. “Love It If We Made It” isn’t a diagnosis, it’s a list of symptoms. Compare it to Parquet Courts’ “Violence,” which sums up the problem in a single word. “Love It If We Made It” won’t commit to believing there is a problem, it’s keen to observe from a safe distance. Just to be clear, Matty Healy’s refusal to indict isn’t my indictment of him. 

Because after all the shock and rasped half-raps is a forgone optimism that only Healy can manage. It’s not an “if,” for him; we will, of course, make it. Or he will, good enough. Healy is our own personal Jesus. He’s assessed himself and found that he’s got enough intellect to find this convulsive moment both funny and terrifying. He’s well-read but also well-scrolled. He understands the juxtaposition of dead wildlife and modernity. And he extends all these checkmarks to us, the listeners. If we’re cognizant enough to hit play, we’re gonna make it. That’s what I love, about this song and this band and Matty Healy. My guilt isn’t absolved, but I can store it on his cloud. 

[groovesnjams]

[[ GROOVES N JAMS S.O.T.Y. 2018 ]] [ nO. 4/50 ]

“Missing U” by Robyn

DV:

If she made Body Talk Part 4, she wouldn’t be Robyn. The woman who walked away from Max Martin, the one who released an album in 3 EPs and then used that success to explore a series of collaborations over the past decade: Robyn was never gone, she just wasn’t doing the obvious thing, wasn’t making the most commercial or easiest choice. So it only made sense that Honey wouldn’t sound quite like anything she’d done before; the surprise was how directly and immediately she set about contradicting any expectations to the contrary. “Missing U” works with the shimmering synths of Robyn's Body Talk work, but turns them toward a straightforward house beat and - crucially - robs the song of the kind of catharsis that made jams like “Dancing on my Own” into club staples. Thematically, it makes sense: the song is about an absence, a sense of loss, it builds to the emotional devastation of “All the love you gave, it still defines me”. There’s no lyrical release, so there’s no musical one either - “Missing U” comes, it overwhelms, and it goes. It was a bold move for Robyn, but what hasn’t been?

MG:

It seems strange to acknowledge this, given what a pillar Body Talk is probably anyone engaged with music writing and especially to this particular blog, but I’ve enjoyed Robyn’s wandering detours more in the past decade. Body Talk is encased in amber for me, so pristinely of that moment that it can’t be relevant to this one. It can’t be. I do remember listening to those songs every single day and feeling like, with regards to love and sex, all I needed was a little nerve and a little vulnerability and I’d get by just like Robyn. It’s only with hindsight that I can hear the posturing. It’s not a bad thing, it’s a defining quality of that time of life, but, generally, you don’t want to posture for more than 10 years. Body Talk is gorgeous but it’s not useful, not to me, not anymore. And that’s why “Missing U” is such an unusual gift. There’s no other artist of that era that’s revisited their manifesto and provided an afterword. The catharsis of “Dancing on my Own” is a front. “Missing U” is frustrated and lonely and no crash of drum pads can cure it. Maybe we’ll get more music from this Robyn archetype, but if we don’t, there’s no finer ending. 

[groovesnjams]

[[ GROOVES N JAMS S.O.T.Y. 2018 ]] [ nO. 18/50 ]

“Wilson (Expensive Mistakes)” by Fall Out Boy

DV:

Three years after the extremely spotty American Beauty/American Psycho, Fall Out Boy returned with: another spotty album. Which is fine (their only solid LP is Folie à Deux). The important thing is that while it took them a while to get here - three albums into their reunion, and five singles into that album cycle - in “Wilson (Expensive Mistakes)” they’ve managed a song that stands alongside the very best of their pre-hiatus work, a song so good it not only justifies the whole reunion project but reminds me why I fell in love with the band to begin with. Quoting Wednesday Addams and Bill Murray gives the chorus a kick, but originals like “don't you know/ I hate all my friends/ I miss the days when I pretended with you” more than match those reference points. And man do they tear into that hook, the kind that begs for an arena crowd to shout it but does that so well it’s impossible to begrudge it anything. Fall Out Boy were already one of a a handful of bright points in the past decade’s cycle of reunions: they’ve never embarrassed themselves or ruined their legacy, they mostly just picked up where they left off and kept chugging along. “Wilson (Expensive Mistakes)” is the first time I’ve thought they might have something new to add to their canon, and that’s a thrilling possibility. And until then, it’s a jam in its own right.

MG:

Okay. To deny “Wilson (Expensive Mistakes)” would be, profoundly, to deny MIA’s “Paper Planes” and as a recession graduate, I will never be comfortable doing that! But, are there some serious and confounding flaws also present, even heaped on top of the slightly faster and slightly beefier “Paper Planes” backing track? Yes, of course. To enjoy “Wilson (Expensive Mistakes)” is, profoundly, to feel every confusing second of the now all at once. It’s jarring and you’ll catch yourself asking no one in particular “...what?” but it’s also endearing in its place in both Fall Out Boy’s oeuvre and in the broader pop culture. Like, it’s lame to quote Moonrise Kingdom, right? Or am I the only person who is just fucking sick of Bill Murray? Shtick like that is played right alongside shtick like “I know it’s just a number/ but you’re the eighth wonder” which reminds me of “I’m just a notch in your bedpost/ but you’re just a line in a song.” It’s my estimation that Pete Wentz is right at the height of his lyrical powers, a spot that is also always the nadir. 

[groovesnjams]

[[ GROOVES N JAMS S.O.T.Y. 2018 ]] [ nO. 25/50 ]

“Venice Bitch” by Lana Del Rey

MG:

As polished, listenable, and intriguing as the near 10-minute “Venice Bitch” is, it’s definitely Lana Del Rey in transition. She’s experimenting, expanding, using LSD, and it all sounds so much better than it has any right to. The signature Lana-isms are all here (jeans and leather, the American Dream, various sweet things) but they disappear after the first third of the song and are replaced with, well, Lana’s first novel. She’s post-modern, dropping in The Outsiders, Lolita, The Killers, and Valley of the Dolls either opaquely or through direct reference. As astute and lyrical as Lana always is, she’s never quite been literary until now. “Venice Bitch” is a crash course in the classics -- not just thematically, but in the way it sprawls, the way Lana sometimes disappears from the song completely. She’s both the auteur author and the unreliable narrator at the same time. Norman Fucking Rockwell is sure to be weird and divisive, whatever follows will be a universal masterpiece.

DV:

I’ll take something messy and transitional most days, and Lana repeating “crimson and clover” in a spaced-out haze for the duration of a normal song is the most interesting thing she’s done sonically in a long while. It’s hard to embody decadence in four minutes - or even six - but she’s made a career of it nonetheless, of lush and aspirational tragedy, and she’s largely done it under the formal confines of 2000s radio-length songs. So as “Venice Bitch” stretches close to ten minutes, it starts to feel like Lana’s finally got the space she needs to try some weird, or at least some indulgent, shit. The lyric is secondary to the song’s dreamy, dreary denouement: there’s not much she’s saying in there, but how she’s saying it is fascinating.

[groovesnjams]

[[ GROOVES N JAMS S.O.T.Y. 2018 ]] [ nO. 29/50 ]

“All My Dreams” by Róisín Murphy

DV:

I’m sure there were better places to start with Róisín Murphy’s oeuvre than “Sorted?” but that’s where I was in 2003 and while I understood the appeal on some intellectual level it never connected with me otherwise (it’s a Pulp remix/cover done as a b-side for the Pulp single “Bad Cover Version”; for the record Nick Cave did one too and fared no better). So it’s possible I was doomed by that start, but the both Murphy’s solo work and her releases as half of Moloko left me consistently cold. This preamble is to say that I was caught completely by surprise when “All My Dreams” gripped me like a vise. But this song is a tension machine! It’s visceral and utterly, captivatingly melodramatic: from the breathless chant of “so as I/suicide” that opens the song to the “Ridiculously sexy/ This is ridiculous” couplet in the hook, with Murphy delivering each syllable like a dagger. It’s thrillingly taut and seemingly unbounded, unpredictable. “All My Dreams” is good enough to make me reevaluate an opinion I’ve held for 15 years now: if this is what everyone’s been hearing from Murphy for the past few decades, maybe I need to listen again.

MG:

“All My Dreams” sounds like a love letter to post-punk, from the dry panting that follows “suicide” to the “I Want Candy” drums. Everything is wiry, dark, and chilly -- it’s a place I’m pretty comfortable, even when things are going well. My context for this song is the same as Murphy’s, all the other, old songs we’ve both listened to. I can’t be sure I’ve ever heard another Róisín Murphy song and, in my mind, despite that, she’s alongside Regina Spector, Anna Nalick, and Ingrid Michaelson -- singer-songwriters who are a bit twee, a bit quirky, bright and pretty. A decade on, I now realize these were artists hemmed in by their labels and somewhere inside those effortless hits was an undoubtedly immense frustration. “All My Dreams” plays like a demented, inverted b-side of “Fidelity” and I wonder what kind of mixtape we’d have if all these women were cut similarly loose. 

[groovesnjams]

[[ GROOVES N JAMS S.O.T.Y. 2018 ]] [ nO. 1/50 ]

“Nobody” by Mitski

DV:

The piercing directness that distinguishes Mitski’s lyrics reaches a new zenith with “Nobody”, the most triumphantly sad song I heard this year. There was no other lyric that knocked me over quite like this song’s prechorus: “And I know no one will save me/ I just need someone to kiss/ Give me one good honest kiss/ And I'll be alright” is as absolutely stunning now as it was 300 listens ago. If something came close to matching that impact, it might be the casually devastating way Mitski links her desire first to the planet Venus and then to the destruction wrought by climate change, a dazzling shift in perspective that's at once too much and exactly right. And that’s “Nobody” as a whole: this a song of excessive emotion and obsession repetition, one that’s focused on as universal an experience as loneliness with the precision of a laser and the idiosyncratic worldview of an artist in complete command of her craft. By the time Mitski is singing the title as a rapturous wish for “no body”, I’m flat on the floor with her.

MG:

Loneliness, as a broad concept, is certainly universal, but the loneliness that informs “Nobody” is specific enough that I’ve never experienced it. It’s the loneliness of missing anyone -- not someone who was there and is now gone and not someone who was never there and never will be -- anyone at all. The aching is open and messy and everywhere from the song’s opening lines: “My God, I’m so lonely/ So I open the window/ To hear sounds of people.” Presumably, also to let the loneliness breathe a little, to hope that it drifts on the breeze and finds someone else’s loneliness. I’ve avoided or not bothered reading about “Nobody” because it’s simply lazy to say that this is a song about what everyone experiences and, oh, haven’t we all been here? I know that’s what much of the writing will be and that writing underrates and devalues what Mitski gives us with “Nobody.” 

Mitski is a genius. I know we throw that word around too much and that i’m underrated and devaluing just like everyone else, but that’s how you know you can trust me. She’s said that she knows people like her and that with each creative turn she takes, she puts a wedge between herself and that like. “Nobody” isn’t about your loneliness, it’s the exact opposite, and that’s what’s so brilliant. On top of that, all the narrative misdirection, this is a song that’s part jazzy and part sweeping epic. It’s about the only music to pair with a song that everyone will perceive as being for them (sweeping epic) that’s only about being you (jazz.) It’s amazing that “Nobody” works, that it’s so profound and arresting and affecting, and it’s all down to Mitski. Give it up to her.