Yibo had some famous replies (and one interaction*) on his Instagram post. Pro skateboarder Shane O'Neill, and gold medal snowboarder (and GG co-star in The Wolf), Su Yiming. He's had public social media interactions with them both in the past (linked via their names above).
I am a big fan of both athletes, so it's always exciting to see them connect with Yibo!
*He didn't reply publicly to Shane, but that could have been because he decided to reply by contacting him directly.
David Long & Shane O’Neill — And you can’t dream that (Country Pylon)
Photo by Noel Farrell and Sabrina Colley
And you can't dream that by David Long & Shane O'Neill
David Long and Shane O’Neill are two Irish musicians of a certain age, who had their brush with the mainstream a few decades ago, Long with the stark Joy Division-influenced post-punk of Into Paradise, O’Neill with the early 1990s new wave Blue in Heaven, which seems to have taken a page from the Bunnyman handbook. Both groups had their fans, but neither broke big in the way that, likely, everyone hoped. The two work together in the guitar-fuzzed, hook happy Supernaut and, since the turn of this decade, in a series of duet recordings: a pair of singles, the soundtrack for the short film Whelve, an EP called the Age of Falling Stars and now And you can’t dream that. This latest album is quite good, surprisingly varied and utterly beguiling, as good as an argument as you could construct for making music for the joy of it.
“The Last Night” is a shambling, shuffling, bittersweet beauty, akin to vintage Teenage Fanclub the way that blistered guitars erupt from wistful melodies. It mourns the gentrification of Dublin, not likely something that would have bothered Long or O’Neill in their heyday, but that’s the only hint of age. “Memory” moves faster, a blur of guitar propulsion that recalls the Feelies. It’s a delicate balance of romp and daydream. The hard backbone of drum and riff melt into echo-sheathed rainbows.
“It Comes and Goes” dips back into the two musicians’ post-punk-into-new-wave beginnings, a rifle shot beat puncturing romantic flourishes of string, baroque swoops of sung melody. The title track saunters trippily, a miasma of overtones enveloping Primal Scream-ish slashing drones. It’s the black leather basic rock song of this particular disc, a little blues in its slanting vamp. Elsewhere the floor pulses with strobe flashes, as on pulsing “Taxi,” a psychedelic raver wrapped around confessional songwriting.
The point is that the songs are all different in subtle ways and all quite good. These songs have soft, self-revealing centers, but bristle with banging rock noise. Here’s to second acts that sound like they could be first ones, and records made for their own rewards.
Really loving the description in this book abt the ulster planatations of the diet of the ulster irish in the late 16th century seemingly consisting mostly of butter in various forms. we must bring this back
Shane O'Neill was an Irish chieftain of the O'Neill dynasty of Ulster in the mid-16th century. Shane O'Neill's career was marked by his ambition to be the O'Nei...