#Steven J. Horowitz

[lizzygrantarchives]

Billboard, January 13, 2012

The viral (and now Interscope) star incorporates hip-hop producers and nabs an ‘SNL’ slot before her album debut—finally, her voice is bigger than her controversial persona.

RARELY IS A BREAKING ARTIST as polarizing as Lana Del Rey.

The 25-year-old songstress became one of 2011’s most seemingly organic upstarts. Following the release of her breakout single “Video Games” and its vintage-shaded video, apparently filmed and edited on her Macbook, the Lake Placid, N.Y., native racked upwards of 13 million YouTube views and has sold 20,000 copies of her double A-side “Video Games” single since its October 2011 release, according to Nielsen SoundScan. It debuted and spent three weeks at No. 1 on Billboard’s Hot Singles Sales chart. Joining Ellie Goulding and Jessie J, Del Rey recently signed with Next Model Management.

But it’s her all-important authenticity that’s had the Internet atwitter. Multiple blogs have painted a target on Del Rey, whose previous musical incarnation as Lizzy Grant, her birth name, was almost entirely wiped from the Web. On the surface, her tactics could appear calculated: Del Rey’s 2010 5 Points Records debut, Lizzy Grant aka Lana Del Ray, was on iTunes for only two months before vanishing from the store, while her website and social networking profiles were deleted and relaunched under her current guise.

Has a major label been silently orchestrating one of 2011’s greatest indie viral success stories? With her Del Rey debut, “Born to Die” (Interscope), arriving Jan. 31, the pillow-lipped singer/songwriter is the new year’s buzziest commodity, becoming the first artist since Natalie Imbruglia in 1998 to play “Saturday Night Live” (Jan. 14) before releasing her first major-label LP. She’s confirmed for “Late Night With David Letterman” on Feb. 2 and scheduled to appear on “The Ellen DeGeneres Show” later the same month. Still, character assassination attempts on the Internet are a daily threat, even if acclaim outweighs the conspiracy theories.

“The Internet’s been well-established for 14 years,” Del Rey says. “It’s not like 1962 where you can’t find out about me. My intention was never to transform into a different person. What other people think of me is none of my business. Sometimes, it hurts my feelings. But I have to just keep going. The good stuff is really good. Some of the other stuff is difficult, but I’ll be able to tour now, probably sing for a while. That’s nice for me.”

ACCORDING TO DEL REY, SHE WROTE more than 70 songs during her time in England, and soon filmed DIY videos for “Diet Mtn. Dew” and “Video Games.” A verbal agreement with Stranger Records to commercially release the latter gave Del Rey’s camp wiggle room to reacquire the song rights in case of a major-label signing. “[It was] a very free single deal. If we got a record deal for an album, they would let her take the single back and get the rights back,” Mawson says. “I just realized the other day we didn’t sign anything… It was a verbal agreement from chatting and then we confirmed by email.”

Labels came full circle when the BBC’s Radio 1 played “Video Games” last summer, thanks to Mawson’s European connections, and her Internet buzz kick-started. The artist began fielding offers from imprints that previously denied her, deciding eventually on a joint deal with Interscope Records in the United States and Polydor Records in the United Kingdom without holding any grudges.

“Signing someone and spending a lot of money, it’s a very dangerous thing to do. Largest failure-to-success rate in any industry,” Del Rey says. “I never had any help, and I really needed help.”

The timing of the deal and her video’s viral release raised eyebrows in the blogosphere. News of her signing broke in late October, but the ink on the contracts had dried in July, fueling conspiracy theorists to assume that the machine had helped with the clearance of copyrighted material included in the videos and promoted her material. It’s not unusual for labels to pull invisible strings for new artists, but rarely is the artist afforded both the creative and marketing freedom that Del Rey has had.

It’s here where her labels, which provided her a budget for videos and album completion, as well as hired a publicity firm (Shore Fire Media) in August, deviate from standard practices. Polydor president Ferdy Unger Gamilton says, “Apart from the strength of the song and the video [for “Video Games”], this shows how the world operates now. Something like this can just gather its own momentum. So many have been reached by it without traditional media or marketing.”

The viral factor of “Video Games” paralleled several breakout Internet sensations of 2011: Del Rey associate the Weeknd, and Frank Ocean. And for Del Rey, the gone-viral marketing method, which often hangs still on quality of music and artistic mystique, was key for convincing label executives wowed by her ability to navigate different Web cultures. She was embraced beyond genre lines, a Net star on sites like Stereogum and Pitchfork, and also popping up on sites like In Flex We Trust, MissInfo.tv and 2DopeBoyz.

“I don’t think she’s any sort of heavy-handed marketer. I think she basically has it down from start to finish. That’s what’s the allure is, in terms of what I saw and what other people are seeing. You have an artist and it’s all just so honest,” Interscope executive VP of A&R Larry Jackson says. “There’s no video treatment we’ve come up with. We haven’t produced the records. It’s 100% solely her. That’s the most honest part. And that’s all that matters. The honesty is the marketing.”

TRANSLATING HER MUSIC TO THE LIVE STAGE after a two-year hiatus, Del Rey tested new material at Brooklyn’s Glasslands in September, taking the stage for a secret show under the alias Queen of Coney Island. Not meant for review, the gig drew criticism from attending writers, tipped off by rogue tweets, who criticized her shaky delivery and live band of session musicians.

“I was noticeably scared,” says Del Rey, who popped her gum into the microphone throughout the performance. “I don’t get onstage trying to be spectacular. I act like it’s sort of still about the singing for me, because that’s all I have so far, are the songs.”

Del Rey didn’t allow the litany of mostly harsh comments on YouTube clips from the show deter her. She upgraded her official New York debut to Bowery Ballroom, where she performed to a sold-out crowd, and then played to packed houses in London and Los Angeles. The reviews have turned laudatory. (“The comment-board fights and blog posts don’t detract from the fact that she can actually sing,” the Village Voice wrote of her Bowery gig.)

On her tracks, Del Rey, who initially described herself as the “gangster Nancy Sinatra,” disaffectedly intones about both eternal and finite romance over cinematic arrangements garnished with hip-hop drums. Though indie artists like Bon Iver and St. Vincent shape-shift to respectively appear on cuts by rappers like Kanye West and Kid Cudi, Del Rey casually massages hip-hop into her stand-alone compositions, working directly with such producers as Jeff Bhasker (West, Jay-Z) and Emile Haynie (Cudi). Bypassing the almighty guest feature has supplied her enveloping tracks with a unique twist on indie-pop.

“I brought Emile in because the beats were still raw and hard to get… sort of the danger I wanted to incorporate,” says Del Rey, who slings hip-hop slang (“You so fresh to death”) on her cowgirl anthem “Blue Jeans.” Friendships with the Weeknd’s Abel Tesfaye bolster her hip-hop credibility, but it’s her effortless infusions that punctuate her tunes. “She wanted to integrate hip-hop into it because she loves [it] and added some beats to make it a bit more radio-friendly and palatable for a broader audience,” Mawson says.

Just last month, the Internet fanfare reached new heights following the unauthorized leak of the intensely slick video for “Born to Die,” making her a top trending topic on Twitter and earning praise from West, who broke his social network silence to post the clip to his account. For Del Rey, the relief wasn’t the assurance of reaching a global audience, but rather having a budget for her art. “The good thing is that the record is beautiful. And I get to do so many things that I love. I get to work with [director Yoann] Lemoine and finally, I don’t have to make my videos by myself anymore. Thank God. It’s embarrassing,” she says. “I’m just going to get help in all the right ways.”

For an artist whose homemade approach shifted her career out of obscurity, her labels aren’t concerned with losing her indie prowess. “It’s not about old-school label tactics and all of that crap. It’s really about helping an artist who has a clear-cut vision for herself, really bringing the muscle to make this work on a worldwide level,” Jackson says. Unger Gamilton adds: “The real brilliant artists move the mainstream toward them, not the other way around. She’s doing something that no one else is doing, and it’s just going to draw people in. It’s already drawing people in.”

In anticipation of “Born to Die,” the voluptuous-voiced songstress has been teasing the Web with sneak peeks of the project, releasing a graphic, found-footage video for “Off to the Races” and a YouTube clip of her song “Yayo.” Her single, “Born to Die” was recently iTunes’ Free Single of the Week. Del Rey also plans on “extensively touring” the international circuit through the new year. But she’s almost entirely unplugged from the online realm, save for sporadic tweets and Facebook updates.

“I’d rather it was just as simple as being just the songs and no one else talking about it at all, because it makes things more bittersweet instead of just clear and easy,” she says. “It just seems to have taken a funny turn. I’m not really sure if it’ll come back around. I don’t know. But the record is really good. I have that.”

Originally published on billboard.com, and in the January 21, 2012 issue of Billboard.

[ulkaralakbarova]

Chris is the top brain who just wants to party, Mitch is the 15-year-old college wiz kid. Supposedly hard at work on a lab project with a mysterious deadline, they still find time to use their genius to discover new ways to have fun. Credits: TheMovieDb. Film Cast: Chris Knight: Val Kilmer Mitch Taylor: Gabriel Jarret Jordan: Michelle Meyrink Professor Hathaway: William Atherton Kent: Robert Prescott Major Carnagle: Louis Giambalvo Lazlo Hollyfeld: Jon Gries CIA Man Decker: Ed Lauter Shuttle Pilot: Stacy Peralta Laser Ray Victim: Daniel Ades Bartender: Andres Aybar Air Force General: Charles Shull George: Beau Billingslea Larry: Charles Parks Boy at Science Fair: Sean Frye Girl at Science Fair: JoAnn Willette Old Lady: Ina Gould Student at Science Fair: Nadine Vix Mr. Taylor: Paul Tulley Mrs. Taylor: Joanne Baron Darlington Recruiter: Harry Johnson Sherry Nugil: Patti D’Arbanville Dr. Dodd: Monte Landis Mrs. Meredith: Sandy Martin Dr. Meredith: Severn Darden Cornell: Randy Lowell Carter: John Shepherd Reid Bodie: Tommy Swerdlow ‘Ick’ Ikagami: Mark Kamiyama Math Professor: Martin Gundersen Carpet Man: Brett Miller Milton: Dean Devlin Fenton: Yuji Okumoto Chris’ Girl at Party: Lynda Wiesmeier Ick’s Girl at Party: Penny Baker Cornell’s Girl at Party: Marcia Karr Girl at Party: Isabelle Walker Girl at Party: Marii Mak Girl at Party: Cheri Wells Girl at Party: Catherine MacNamara Student: Johnny Vasily TV Makeup Man: Ed Garrabrandt TV Stage Manager: Isabel Cooley Waitress: Robin Stober Susan: Deborah Foreman Student in Hall: David Marvit Air Force Gate Guard: Michael Crabtree Air Force Gate Guard: Charles Sweigart Air Force Gate Guard: Peter Parros Computer Technician: Ronald Taylor Air Force Major: James Carrington Air Force Controller: Michael Backes Air Force Sergeant: Corki Grazer Laser Technician: Jeanne Mori Engineer: David Ursin Congressman: Joe Dorsey Laser Specialist: Will Knox Air Force Technician: Kevin Hurley Girl in Popcorn (uncredited): Kimberly Spak Film Crew: Director: Martha Coolidge Set Decoration: Phil Abramson Camera Operator: John J. Connor Producer: Brian Grazer Casting: Jane Jenkins Production Design: Josan F. Russo Hairstylist: Edie Panda Visual Effects Supervisor: Richard L. Bennett Casting: Janet Hirshenson Screenplay: Neal Israel Screenplay: Pat Proft Editor: Richard Chew Makeup Artist: Zoltan Elek Original Music Composer: Thomas Newman Art Direction: Jack G. Taylor Jr. Special Effects Coordinator: Phil Cory Executive Producer: Robert Daley Director of Photography: Vilmos Zsigmond Screenplay: PJ Torokvei Associate Producer: Sam Crespi-Horowitz Music Supervisor: Becky Mancuso-Winding Music Supervisor: Michael Papale Supervising Sound Editor: Julia Evershade Sound Designer: George Budd Music Editor: Ted Whitfield Costume Supervisor: Marla Denise Schlom Costumer: Joseph Roveto Costumer: Michael F. Hamer Visual Effects Supervisor: David Stipes Stunts: Kenny Alexander Stunts: Shane Dixon Stunts: Kenny Ferrugiaro Stunts: Linda Lee Franklin Stunts: Allan Graf Stunts: Marian Green Stunts: Debby Porter Stunts: Bernie Pock Stunts: Spiro Razatos Stunts: Edward J. Ulrich Stunts: David M. Graves Unit Production Manager: Billy Ray Smith First Assistant Director: Stephen McEveety Second Assistant Director: Joseph P. Moore Set Designer: Erin M. Cummings Set Designer: Steven Wolff Other: Alex Tavoularis First Assistant Camera: Ken Nishino Second Assistant Camera: Robert Samuels Second Unit Director of Photography: Frederick Elmes Key Grip: Richard W. Deats Grip: Jerry D. Deats Best Boy Electric: Robert Jason Additional Editing: Arthur Coburn First Assistant Editor: Albert Coleman Other: Alexandra Leviloff Other: Deborah Cichocki Other: Bill Wilner Sound Editor: Anna Boorstin Sound Editor: Virginia Cook-McGowan Sound Editor: Cari Lewis Sound Editor: Marshall Winn Sound Editor: Roxanne Jones McCarthy Supervising ADR Editor: Beth Bergeron ADR Editor: Lauren Palmer Assistant Sound Editor: Paul C. Warschilka Assistant Sound Editor: Christy Richmond Sound Effects: John P. Fasal Sound Effects: Doug Hemp...

[ncisfranchise-source]

All I ever wanted was cake.

Over the past 20-plus years, CBS’ NCIS has blown through many a milestone — 100 episodes! 200 episodes! 300! 400! — and usually with party that served a Cake Shaped Like a Number.

Each and every time, the running joke went, I would nag the show’s publicity team about my never getting a slice, despite my ongoing coverage of TV’s most-watched franchise — all while of course knowing that my being based out of the East Coast, 3,000 miles away from NCIS’ Santa Clarita nerve center, was a stumbling block.

But when CBS and CBS Studios officially celebrated the start of filming of the franchise’s 1,000th episode, which airs this Monday at 9/8c, I am happy to report that I finally got my piece of a Cake Shaped Like a Number.

Plus a walk-on role, as icing on said cake….

Photo : Robert Voets/CBS

I have no lines in the episode “A Thousand Yards.” And if you blink when Gary Cole and Spencer Moore II step off the elevator into the squad room, midway through the episode, you will miss me. But it is me, Mom, playing Federal Agent Intently Walking a Very Important Folder Across the Room.

While not as splashy a role as, say, Body of Proof gravedigger, playing Special Agent Key — the name that I and only I gave him (as in kilo/1,000) — required some prep and grooming. Shortly after arriving at set, I was whisked away to Vicky Stevens in wardrobe, who handed me a very federal agent-y grey suit, complete with well-worn wingtips that I can most charitably describe as “government-issue.” (I guess Uncle Sam frowns on Bruno Magli.)

Upon fully “suiting up” back at wardrobe, I bumped into and chatted up Bones vet T.J. Hynes, who was guest-starring in the episode as a tech titan. (Scoop!) By keeping my eyes and ears open, I would also glean that Daniela Ruah and Vanessa Lachey would appear in this milestone episode, as NCIS: LA’s Kensi and NCIS: Hawai’i’s Jane. (More scoop!) I also spent a minute hanging out with Christopher Waild, who wrote the episode and teased some of the Easter eggs he’d scattered throughout. (More scoop!)

Shh, don't tell McGee I sat at his desk.

Photo : Matt Mitovich

Easy enough, yes. But I assure you that the first thought that enters your head — especially if you learned anything from Smash‘s Karen — is: Gosh, I hope I don’t pull focus from Gary Cole! So at first I went with a thousand-yard stare, which given the episode’s title seemed fitting. But after the first take, I started doing some “character work” and asked myself: Why is Agent Key approaching this female agent as a stranger, when they’ve quite possibly been working together for years? So for the next couple of tales, I adjusted my gaze from being “detached” to one of familiarity. (I shared my “process” with Patricia Flores, the background actor who played the recipient of my folder, and she was, I want to say, amused.)

Plot twist! Just when I thought I had my performance nailed, Jeb came up to me with new direction from the milestone episode’s director, Diana Valentine: “Can you walk faster? Double-time it?”

I gotta say, this threw me a bit, especially since I hadn’t done any stretching — plus my government shoes were a bit slippery — but I channeled everything that Strasberg, Hagen, Meisner et al had taught me and amazingly didn’t end up accidentally shoulder-checking Gary Cole a single time. 

Scott Williams, Gary Cole, Katrina Law, Rocky Carroll, Sean Murray, Brian Dietzen, Amy Reisenbach, Wilmer Valderrama, George Cheeks, Diona Reasonover, David Stapf, Chris O’Donnell, David J. North, Christopher Silber, Steven Binder, Charles Johnson, Christopher J. Waild and Mark Horowitz

Photo : Courtesy of Robert Voets/CBS

Once the scene was filmed to Diana Valentine’s satisfaction, I changed back into my Matt Mitovich wardrobe while the squad room set was modified into serving as an event space, where dozens upon dozens would soon assemble for the official “1,000th episode” ceremony.

NCIS co-showrunners Steven D. Binder and David North were joined by their entire cast as well as visiting NCIS: LA alum Chris O’Donnell and — appearing via Zoom — onetime NCIS: New Orleans front man Scott Bakula (in New York for the Broadway musical The Connector), the NCIS: Hawai’i cast (congregated in their own HQ) and co-showrunner Jan Nash, and NCIS: Sydney leads Olivia Swann and Todd Lasance.

Following several laudatory speeches and (many) permutations of group photos taken with The Cake Shaped Like a Number, the actors and NCIS showrunners chatted with me and a select few peers on a short press line.

Cole’s first words to me were kudos for my performance (ha!), after which I asked/begged the showrunners not to cut me from the episode. Brian Dietzen and I had a nice moment, having Zoomed/both gotten emotional just days earlier about the David McCallum tribute episode he’d penned; Diana Reasonover absolutely crushed the NCIS trivia quiz I was running by everyone (alas, that video ran into a snafu), whereas Wilmer Valderrama… didn’t; Sean Murray (now the longest-running cast member) gave some great teases; and you don’t need me to tell you it’s always great to see the effervescent Katrina Law in person.

Once the press line wrapped, I sat with Rocky Carroll at lunch, then dove into my slice of NCIS cake that had been 1.5 decades in the making.

SPOILER ALERT! The Cake Shaped Like a Number? Turns out it is usually just a frosted foam prop used for the photo op, while the actual slices served to everyone come from a regular ol’ cake.

Even so, my experience as Agent Key was a sweet one, indeed.

[universomovie]

Charli XCX lança novo single ‘Von Dutch’ e anuncia lançamento de verão do sexto álbum ‘Brat’

By Steven J. Horowitz Courtesy of Harley Weir Charli XCX fez seu grande retorno com o lançamento de seu novo single “Von Dutch” e o anúncio de que seu próximo álbum “Brat” chegará neste verão. A estrela pop aproveita sua era PC Music em “Von Dutch”, que ela lançou com um vídeo. No clipe, dirigido por Torso, ela assume o aeroporto Charles de Gaulle, em Paris, causando o caos ao se dirigir para…

[cyarsk52-20]

When these songs were played on the radio, we shook with dread. Here’s the songs that we wished we could unlisten

p.s: toxic gossip train by colleen ballinger aka Miranda sings isn’t included because it’s basically another tone deaf YouTube influencer/celebrity apology video except it’s a lot worse than the typical influencer apology videos and thats saying something . Unfortunately there’s also no dishonorable mentions on this list but songs like lil mabu “mathematical disrespect “, Morgan wallen “last night “ , the steve aoki remix of The Beach Boys classic “fun , fun , fun “, and any song from Tom Macdonald and Adam Calhoun collab album “the brave 2” among others have received mixed to negative reviews (although some of the songs that have been featured on hated songs lists have also garnered positive reviews as well in this case with Morgan wallen)

btw, if you enjoy any of these songs more power to you, everyone’s got their own opinion and taste of music and that’s fine.

what song did you love this year?

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Dec 22, 2023 8:25am PT

The Worst Songs of 2023

By 

Chris Willman, Steven J. Horowitz

Awfulness in music came in so many forms in 2023. Nothing makes for a good annus horribilis like songs that promote xenophobia, racism or just overall divisiveness in the interest of trolling — so here’s a round of Fudge Rounds for strange bedfellows like Jason Aldean and Kanye West. But it’s understandable if you might think that the real scourge of the last year was the plague of songs built on lazy interpolations, which manage to ruin perfectly fine oldies as well as introduce fresh rottenness into the world. We’re looking at you, David Guetta, Jason Derulo, et al. 

Is there anything much worse than a remake no one wanted — see 2023’s prime offenders, Fall Out Boy? How about the phenomenon of bad self-remakes… hello, Roger Waters? Duets Mixing sex, drugs and race into a questionable cocktail landed the combination of Travis Scott and the Weeknd on our list. Meanwhile, all due credit is due when someone seems to be inventing a brand new subgenre of cringe as effectively as Meghan Trainor does on the unfortunately unforgettable “Mother.”

Here’s a 20-song sampling of the misbegotten tracks from this past year that most made our ears bleed, or our spirits, or both.

1

'Try That in a Small Town,' Jason Aldean

Aka “Try That in a Sundown Town.” This was a year when other country stars were making huge crossover strides, inviting curious new fans and even international markets to check out the genre. And what was Aldean’s contribution to that welcoming wave? Releasing a hostile anthem of proud xenophobia that basically amounted to putting up a “Stay the hell away… or else” sign. His defense of the song was that no one could be against the violent crime described in some of the lyrics, but these words — which sound like they were assembled in random order in a five-minute writers’ room session — weren’t nearly coherent enough for anyone to definitively state what the song is against, besides the big city. Legitimate protests were conflated with carjacking, both meriting a vigilante beatdown. (Also the epitome of big-city life: “cussing out a cop”… something that has never, ever happened outside a small-town bar, we’re certain.) As far as setting the music video in a historically well-known lynching setting, let’s be generous and give Aldean credit for not knowing about that sinister history before he shot the ominous visuals there. We could even give him credit for proabably not being consciously aware of how much the lyrics echoed the anti-civil-rights threats made in small towns in the ’60s. Now, imagine if we could just give him credit for something greater, like being a country music uniter instead of divider. Or just picking less hacky songs. —Willman

2

'Vultures,' Kanye West and Ty Dolla Sign featuring Bump J

“How am I antisemitic? I just fucked a Jewish bitch.” Enough said. —Horowitz

3

'We Didn’t Start the Fire,' Fall Out Boy

Imagine the brainstorming session behind Fall Out Boy’s rewrite of the 1989 “classic.” “Let’s remake a Billy Joel song! Our fans are clamoring for it.” “Great! What’s one of his most beloved songs?” “Too easy. Let’s go for the one universally considered most annoying — not only in his catalog, but maybe of the 20th century.” “Awesome idea. But should we update the lyrics?” “Of course, but only if we put everything in completely random, non-chronological order, unlike the original. Our only criteria should be to make the juxtapositions as jarring as possible.” “Cool — I was thinking ‘Afghanistan’ next to ‘Cubs.’ Hey, what rhymes with ‘John Bobbitt’? Did ‘The Hobbit’ get published after ‘89?” “Just make it ‘Bobbitt, John.’” “But we do need to maintain a rhyme scheme through the whole thing, right?” [Dirty looks are exchanged as the clock shows 12 minutes of studio time remaining.] —Willman

4

'Baby Don’t Hurt Me,' David Guetta, Anne-Marie and Coi Leray

We’ve apparently come to the age in time where sampling tracks from the 1990s — or even the early aughts — has become de facto, encouraged even. And it was a perennial stitch in 2023’s side. Sampling in and of itself is an art form, and when done effectively, it can transform the master track into something new and inspired (see: Beyoncé’s “Renaissance”). Which isn’t the case for David Guetta’s “Baby Don’t Hurt Me,” an empty rehash of Haddaway’s 1993 club smash “What is Love.” “Baby Don’t Hurt Me” feels stiff and sapped of vitality, a recreation of a classic without intent. Guetta has had a decades-long career translating the sound of the club into something more palatable for top 40 listeners, and this signals a misstep. —Horowitz

5

'Money,' Roger Waters

I’m not even one of the people that thought it was inherently a bad idea for Waters to remake the entirety of Pink Floyd’s “The Dark Side of the Moon” album as a solo effort, with subdued instrumentation and mostly whispered vocals. It’s… interesting. And “interesting” counts for at least a little when it comes to what mostly set-in-their-ways classic rockers are up to in 2023. But, that said, there’s something deeply perverse about doing a remake of one of the most-loved songs in the 1970s rock canon, cutting out the instrumental solos, and replacing David Gilmour’s contribution in the middle of the tune with a four-minute poem about… boxing. Well, not really about boxing, I’m sure, but I haven’t summoned the will to parse the actual metaphorical meaning of muttered lines like “Through toad lids he squints his vision of the world.” If you’re looking for positive assessments of this bizarre re-do, it’s no surprise that they’re giving none away. —Willman

6

'Mind Your Business,' Will.i.am and Britney Spears

Listeners were quick to call Will.i.am’s bluff on “Mind Your Business” as a collaboration with Britney Spears that was scooped off the cutting room floor. And wouldn’t you know, it was. The Britney Army has long been skeptical of the Black Eyed Peas frontman, namely for his contributions to the underwhelming “Britney Jean,” and while prior collaborations including “Scream & Shout” and “Big Fat Bass” generally escaped the pitchfork’s pointy end, “Mind Your Business” took the brunt full-on. There’s nothing original happening here, and the canned synthesizers suggest that Will.i.am’s musical sensibilities are stuck in 2009. (Or, 2000 and late, if it were.) Where Spears’ duet with Elton John on “Hold Me Closer” felt tasteful (even if it plays like marketing as music), the release and sound of “Mind Your Business” couldn’t have been more poorly timed. Clearly, with Spears fresh out of a conservatorship, the last thing she needed was to revisit blunders of the past. —Horowitz

7

'Vulgar,' Sam Smith and Madonna

One of the reasons that Sam Smith’s 2023 album ‘Gloria’ so effectively resonated is because it positioned the singer as a star reborn anew, confidently embracing their sexuality in a pop arena that’s rarely accepting of such liberating queerness. “Vulgar,” their one-off collaboration with Madonna timed specifically to Pride month, flung that notion off the deep end. An overt bid to cater to ball culture, the track sees Sam and Madonna (get it? S&M?) settling beneath their artistic integrity, with production that sounds like a ‘Drag Race’ runoff and a severe lack of performative dynamism. Those seeking a melody will come up empty-handed by the song’s end, left with mere hollow, iconoclastic boasts with little to justify it. —Horowitz

8

'Rich Men North of Richmond,' Oliver Anthony Music

He came so close — so close! — to being able to claim an anthem for a working-class generation that just about everyone could claim some sympathy for. The non-specificity of most of the lyrics could have led it to be embraced by both right and left, even if they didn’t agree on which Washington fat cats or which money-wasting government policies he was protesting. But then he had to go and punch down… and despite his disavowals, there’s no other way to read the “5’3″ and 300 pounds,” except as some kind of right-wing editorial-cartoon caricature of welfare recipients. Victim-blaming? Oh, fudge. —Willman

9

'Search & Rescue,' Drake

Credit goes to Drake for his ability to maintain his chokehold on music this far into his career. His eighth album “For All the Dogs” arrived in October as an overblown compendium of songs that feature Drake being Drake, with largely strong returns (at least, according to his devoted fan base). But he warmed up audiences with one of his snooziest attempts to date in April with “Search & Rescue,” a song that’s by no means offensive but feels like a half-attempt. Drake is at his best when he actualizes a thought in its entirety, and “Search & Rescue” scans as shapeless, something akin to a stream-of-thought freestyle that escaped the studio. Woe-is-me Drake is often when he glimmers brightest, and yet his yearning for a partner to meet him eye-to-eye lands uninspired. —Horowitz

10

'I Won’t Back Down,' Lara Trump

One of the more tertiary of the Trumps offers a “Come and get me, coppers!” cover of one of Tom Petty’s greatest songs, practically daring the Petty estate to try to take it down, after the heirs’ previous public disapproval of her dad-in-law using it at rallies. Instead, it met the fate met by most amateur crooners using a cover to try to break into the biz: invisibility. Maybe we could recommend some other selections from the ex-president’s rally playlists for Lara to try her hand at, like “YMCA,” as long as she’s not backing down from a music career. —Willman

11

'Mother,' Meghan Trainor

Meghan Trainor has had nine lives in the pop industry, and rightfully so. Since she hit it big with “All About That Bass” in 2014, she’s consistently defied the odds by doing what she does best: crafting unshakeable pop songs that break through whatever noise surrounds her. Last year, she did it yet again with “Made You Look” on the back of a TikTok trend that found crossover ubiquity. But lightning rarely strikes twice in a row these days in pop music and “Mother” couldn’t touch down. In a year of songs bursting with samples, “Mother” rebuilds The Chordettes’ “Mr. Sandman” as a double entendre, referencing her literal motherhood and the more colloquial definition of being “mother.” What results is a schticky putdown of overzealous men that weirdly crams “mansplaining” into the chorus. “Mother” slots musically into her discography, but it’s simply unforgivable to use the “bum bum bum” sample to refer to someone as a bum. 

12

'Boycott Target,' Forgiato Blow and Jimmy Levi

It’s a hip-hop song that comes Marjorie Taylor Greene-endorsed, so you know it’s gotta be good. Forgiato Blow, a self-described “MAGA rapper,” went into an actual Target store to shoot the video for this proudly homophobic and transphobic protest song, which rails against the chain “targeting your kids.” And as evidence that Target is going after children, the video shows the rapper brandishing Bud Light and champagne with a rainbow label, two products obviously aimed at tykes. “We need а clean-up on every aisle / Inside this storе Satan resides / Wash it with the blоod of Christ… / God is coming for revenge,” they rap. At least they resisted the temptation to portray blood flowing through the beer section, but there’s probably only so much you can accomplish in a five-minute rogue video shoot. —Willman

13

'Hands on Me,' Jason Derulo featuring Meghan Trainor

The interpolation craze may have hit rock-bottom with this soul-destroying adaptation of Ben E. King’s “Stand by Me”… which, take it from me, could ruin your appreciation of that classic oldie forever. (Do not click on the video, above. You’ve been warned. We place it there only in the hope that, like “The Grudge,” the curse can be passed on.) Surely whoever owns the publishing for this 1961 Lee/Leiber/Stoller composition violated some federal law by allowing this desecration. If not, now is the time for Congress to act to avoid similar tragic violence in the future. As much as the musical arrangement packs a kind of bubblegum it’s hard to imagine anyone over the age of 9 cottoning to, the lyrics are right out of an old-school porn scenario: Derulo tells his foxy neighbor she can come over to borrow some sugar any time, so she comes over dressed in a robe, which, according to his reportage, she drops as soon as she’s in the front door. “I won’t be afraid,” Derulo sings, in the only line left over from “Stand by Me,” but anyone exposed to this veritable horror movie should be afraid… very afraid. —Willman

14

'My Body,' Coi Leray

This isn’t a knock on Coi Leray as an artist whatsoever. In fact, over the past few years, the Grammy-nominated artist emerged as one of the most promising young emcees with her punctual rhymes and fluid ability to toggle between a rap-sung cadence. But the buck stops at “My Body,” a single included on her 2023 album “Coi” that crassly samples Leslie Gore’s classic “It’s My Party.” On it, she transforms the naïveté of the source material into an exercise in self-aggrandizement: “It’s my body, I could fuck who I want to / It’s nothin’ new, you just mad it ain’t you.” Where rappers of yesteryear have mutated big band songs into fresh takes—Missy Elliott’s “Big Spender” comes to mind—“My Body” feels like a stumble, one that leans on nostalgia without offering anything of value. —Horowitz

15

'K-POP,' Travis Scott featuring Bad Bunny and the Weeknd

This counts as a bit of a troll — tricking some music fans and search engines into thinking the song is a salute to Korean pop when it’s really about the seductive effects of the ketamine lollipops pictured in the single art and video and loosely described in the lyrics. When Scott and his guests put this out back in July, it was many months before ketamine became most famous for apparently killing off one of television’s most beloved stars, so maybe the pro-drug stance of “K-POP” shouldn’t be judged by December 2023 standards. Still, if you were thinking it’s possible to make a good song about the drug, this wasn’t it, marking a low point on a Scott album that was otherwise pretty well-received. Naturally, the Weeknd’s guest verse had all the quotably decadent lines you’d expect (“We gon’ fuck till we seasick,” etc.). And he was the one who brought race into it: “Even though she Korean / Get her wet like tsunami.” There’s no double-entendre like the kind where all the entendres are equally risible. —Willman

16

'Cinderella Snapped,' Jax

Where to begin. Jax may not be a household name, but listeners may recognize her as a third-place finisher on “American Idol” or, later, a TikTok star. While she’s been releasing music for years, she hit her mainstream stride last year after “Victoria’s Secret,” a body-positivity anthem that took the lingerie company to task, became her first single to chart on the Billboard Hot 100. The from-the-hip lyrics resonated with fans seeking a takedown of the impossible cultural standards imposed on women. But on her follow-up, “Cinderella Snapped,” Jax invokes Disney princesses and reimagines their storylines to cringy effect. “Rapunzel shaved their head so there was nothin’ to climb on / Jasmine made out with Mulan / Sleeping Beauty sued the dude who kissed her while she was asleep / And Ariel was confident without any feet,” she sings. It trudges on from there. Fantasy is nothing new to pop music, but attempting a rewrite of the entire Disney oeuvre to shoehorn unintended narratives feels antithetical to the magic of what made those stories so endearing in the first place. Sure, the intention here feels genuine, but the execution is farcical at best. —Horowitz

17

'Alone,' Kim Petras featuring Nicki Minaj

What was poised to be Kim Petras’ solo breakthrough following the runaway success of “Unholy,” her collaboration with Sam Smith, ended up fizzling upon arrival. Billed as her “debut album” (despite the fact that she has numerous “debut albums” on her resume), ‘Feed the Beast’ felt less like the glossy risk-taking fare that largely drives her discography and more like a thin, conventional bid for mainstream crossover. There are certainly bright spots on the album—“Uh Oh” and “Revelations” rightfully earned spots in the Petras hall of fame—but it was with the lead single “Alone” featuring Nicki Minaj that the momentum slowed to a crawl. Mining from a sample of Alice Deejay’s classic ‘90s club banger “Better Off Alone,” the single strips away the urgency of the original, cutting the pace nearly in half for a trudge of a single that could very well have tickled fans’ desires. Much of its detriment is due to the inversion of pace from verse to chorus: The drums pitter patter across the former, only to cut out as Petras hits her vocal stride on the latter. Remixes of “Alone” tried to course-correct, but the damage had already been done. —Horowitz

18

'Chevrolet,' Dustin Lynch featuring Jelly Roll

Speaking of Chevys — as Oliver Anthony was, earlier in this list — Lynch sings an ode to the brand with “Chevrolet,” which is set to a full-length interpolation of the Dobey Gray classic “Drift Away.” (Or should we say the Uncle Kracker classic “Drift Away”? Snce that 2002 cover is the likelier place for Lynch to have picked it up.) This song seems like it was crafted solely to get adopted by the carmaker itself for an ad campaign, the way that Applebee’s adopted Walker Hayes’ anthem after the fact. But the lyrics don’t exactly represent a realistic scenario. Lynch is trying to seduce a woman in a bar, and she’s telling him she wants to go get down in his Chevy, but since they just met, you’re thinking: Really? Bragging “I have a Malibu parked out back” was one of your pickup lines? Also, since the music is lifted entirely from “Drift Away,” did it really take three Nashville songwriters just to come up with lyrics so terrible you’d think not even one of them would want credit? —Willman

19

'Justice for All,' Donald Trump and the J6 Prison Choir

There’s a perception that you’d have to look to hip-hop to find as many felons or possible soon-to-be-felons gathered on one track, so thanks are due to the former president and the insurrectionists behind bars on his behalf for correcting that. —Willman

20

'I Wanna Be Software,' Grimes

Artificial intelligence became a prominent talking point in popular music over the past year, namely due to producer Ghostwriter gaining traction with an AI-generated track featuring mimetic vocals from Drake and The Weeknd. Grimes was just one musician quick to fall in line with the growing trend, encouraging musicians to use AI to resemble her voice on a track of their creation in exchange for a share of the profits. She took it one step further with “I Wanna Be Software,” and oh, how far we’ve strayed from the light. Where Grimes has built a career retrofitting experimental turns in electronic music into a pop format, she goes quite literal on “Software,” a computer glitch of a song that ambles as much as it wobbles. Over production that could very well be a Garage Band preset, she sing-raps about, you know, wanting to be software. “You can write me, you can design,” she deadpans. If only she’d put as much effort into the track itself. — Horowitz

Read More About:

Best of 2023,

Jason Aldean,

Kanye West,

Oliver Anthony,

Roger Waters

Sent from my iPhone

[whatsonmedia]

Variety's Best of 2023: 10 Albums You Can't Miss!

Lucy Dacus, in her balladic anthem "True Blue," captures the essence of music's power to make us feel understood. Reflecting on 2023, key albums from diverse artists like Olivia Rodrigo, Brent Faiyaz, and Doja Cat resonated deeply. Whether navigating shared emotions or providing the perfect beat for challenging times, these albums formed a sonic connection with listeners. Variety's music staff, including Jem Aswad, Thania Garcia, Steven J. Horowitz, and Chris Willman, share their top 10 lists, offering a diverse range of musical experiences from the year. Explore their recommendations to catch up on the standout albums that shaped 2023. 1. Brent Faiyaz - 'Larger Than Life' Fusing Neo Soul with contemporary vibes, Faiyaz delivers the pinnacle of Neo-Neo Soul. The album, featuring A$AP Rocky and Missy Elliott, echoes D’Angelo and Mary J. Blige, embracing both sexy grooves and hip-hop DNA. https://open.spotify.com/album/26rTTXIEtEeSTan28AiLaV?si=CuaD3rRzTY6B-siC4ymktg 2. Jamie XX - Live at Forest Hills Stadium, Queens, NY, June 16 Jamie XX's dynamic DJ set showcases eight years of musical evolution. Laden with ricocheting beats and eclectic samples, it offers a kaleidoscopic hour of music, highlighting his song-focused approach. A must-listen, evolving with each performance. https://youtu.be/K-l3xiboV-0?si=oFdBRfiJd0ko_iZi 3. Doja Cat - 'Scarlet' Doja Cat's evolution shines in 'Scarlet,' her first full-on hip-hop album. Blending soft textures with hard-hitting raps, the album explores a unique sound. Doja emerges as a fearless, sex-positive rapper, leaving behind her quirky beginnings for a bold, empowering musical journey. https://open.spotify.com/album/6DmPNcfpkXBVRJsEIJY9tl?si=BWM_Tj57TZiQ3m8KPSe6Xg 4. Sam Smith - 'Gloria' Sam Smith's fourth album, 'Gloria,' marks a musical rebirth. Departing from familiar heartbreak ballads, Smith embraces an adventurous mix, including dance anthems and the sexually charged "Unholy." A wild night out that redefines Smith's artistic identity. https://open.spotify.com/album/3Uq1jNGnD412ZvCb6j2DKV?si=-5txT1YQTxeYeLRh0BVW1Q 5. Christine & the Queens - 'Paranoia, Angels, True Love' Héloïse Letissier's experimental-pop masterpiece unfolds over 20 songs and nearly 100 minutes. Collaborating with Mike Dean, the album offers synth-pop, Portishead menace, ballads, and more. A slow reveal of Letissier's pristine voice complemented by Dean's groovy touch. https://open.spotify.com/album/2Yg3Rha1y4PDlIWh5vy6rJ?si=WcYqvhmgTlGZABNYFUimqA 6. Kali Uchis - 'Red Moon in Venus' Kali Uchis blends R&B, dance, Latin, and hip-hop into a lush and luscious third album. While the music exudes chill vibes, Uchis surprises with impactful lyrics. 'Red Moon in Venus' is a sensory experience conjuring visions of luxury with an occasional jolt. https://open.spotify.com/album/5OZ44LaqZbpP3m9B3oT8br?si=TZ1ZbTfjSsyeIWlaQ0tnUg 7. Caroline Polachek - 'Desire, I Want to Turn Into You' Polachek's collaboration with Danny L. Harle reaches new heights, creating a lush backdrop for her powerful voice. After Chairlift and songwriting for Beyonce, Polachek embraces her true self, delivering innovative melodies and captivating vocals. https://open.spotify.com/album/22PkV1Le9P3X4RY4xtmK0q?si=IVZ4PSF2R2mFNY_T2SUFmQ 8. Scowl - 'Psychic Dance Routine' EP Bay Area rockers Scowl captivate with a blend of hardcore and melodic rock. The EP showcases their ability to mix genres seamlessly, offering a fearsome yet melodic sound. Also Scowl excels both in concerts and on this gripping EP. https://open.spotify.com/album/6D01SHeT4jDonHaDkKn8a7?si=rNLSH02RSC-E3DnFszImqQ 9. Sigur Ros - 'Atta' Iceland's otherworldly-sounding group, Sigur Ros, enchants with 'Atta.' The album, spanning an hour with seamless transitions, immerses listeners in a majestic soundscape. A mesmerizing experience reminiscent of nature's time-lapse. https://open.spotify.com/album/4QHM0MaR2dPDWIaKhTt7hd?si=Cr8EY4tzShm4aaAMdHjhJw 10. Uncle Waffles - 'Asylum'/'Solace' South Africa-based DJ, Uncle Waffles, emerges as a rising star with three albums in under two years. However, her Amapiano-leaning sound is both propulsive and undemanding, featuring mid-tempo grooves and captivating vocals. An artist to watch, rocking festivals worldwide. https://youtu.be/ld8BFbJ_N8o Read the full article

[brookstonalmanac]

Birthdays 10.1

Beer Birthdays

John Courage (1761)

Valentine Blatz (1826)

Albert Fisher (1852)

Joseph Fallert Jr. (1867)

Jon Graber (1960)

Five Favorite Birthdays

Daniel J. Boorstin; historian (1914)

Jimmy Carter; 39th U.S. President (1924)

Paul Dukas; classical composer (1865)

Walter Matthau; actor (1920)

George Peppard; actor (1928)

Famous Birthdays

Julie Andrews; English actor (1935)

Faith Baldwin; writer (1893)

William Boeing; aircraft manufacturer (1881)

Tom Bosley; actor (1927)

Matt Cain; San Francisco Giants P (1984)

Rod Carew; Minnesota Twins 2B (1945)

Stephen Collins; actor (1947)

Herb Fame; pop singer (1942)

Zach Galifianakis; comedian, actor (1969)

Richard Harris; actor (1930)

Laurence Harvey; actor (1928)

Donny Hathaway; singer (1945)

Stanley Holloway; actor (1890)

Vladimir Horowitz; Russian classical pianist (1903)

Cindy Margolis; model, actor (1965)

Mark McGwire; Oakland A's/St. Louis Cardinals 1B (1963)

Esai Morales; actor (1962)

Peter Muhlenberg; Revolutionary War general, politician (1746)

Youssou N'Dour; Sengalese singer (1959)

Tim O'Brien; actor (1946)

Larry Poons; artist (1937)

Randy Quaid; actor (1950)

William Rehnquist; U.S. Supreme Court chief justice (1924)

Marc Savoy; Cajun accordion engineer (1940)

Stella Stevens; actor (1936)

Richard Stockton; signer of the Declaration of Independence (1730)

Christopher Titus; comedian (1964)

Louis Untermeyer; writer (1885)

James Whitmore; actor (1921)

Roger Williams; pianist (1924)

[bunyanya]

the only celebrity reaction that matters *BIG SIGH*

[eretzyisrael]

We, the undersigned faculty of USC, have followed the case of Rose Ritch and her resignation from student government with great dismay. As described in the supportive statement by President Folt, and fully detailed in the statement by the Alliance for Academic Freedom of August 24th, Rose Ritch was subjected to vicious online harassment, and her qualification to hold elected office was questioned on the basis of her professed Zionism.

We find it unacceptable that such blatant discrimination on the basis of a student’s belief, identity, or national origin could take place on our campus.

We reject in the strongest possible terms any and all attempts to associate Zionism with such inflammatory accusations as racism, colonialism, and white supremacy, which are diametrically antithetical to Zionist ideas and aims. We are appalled that such characterizations of Zionism were the basis for calls for Rose Ritch’s resignation, and continue to be voiced by certain organizations on this campus.

As supporters of the Zionist idea — the right of the Jewish people to a homeland and self-determination — we stand by the rights of all people, including Israelis and Palestinians, to freedom, dignity and peaceful coexistence, and to advocate for their causes with fairness and respect on our campus and in the world.

Contentious issues concerning the Middle East conflict must be engaged by encouraging students to study the history of the conflict and to participate in discussions regarding its possible resolution. Only in that way can USC foster a campus culture that is truly inclusive and respectful of diversity.

As dedicated members of the USC faculty, we are concerned about the long-term impact of Rose Ritch’s resignation on the morale and well-being of supporters, or presumed supporters, of the State of Israel. This includes Jewish students, faculty, and staff at USC, dedicated contributors to this campus’s excellence and visibility, whose fitness to continue their service may come under attack. We call on our university’s leadership to uphold the values of open and civilized debate, so that USC can continue its mission of fostering excellence in education and advancing knowledge in a civil and respectful manner.

Respectfully,

ROBERT ADLER, MD, MS.Ed., Chief Medical Officer, CHLA Health System, Senior Advisor to the Chair of Pediatrics

LISA AZIZ-ZADEH, Associate Professor of Psychology and Occupational Science and Occupational Therapy

YEHUDA BEN-ZION, Professor of Earth Sciences, Director of Southern California Earthquake Center

JACK M. BERGER, MS, MD, Ph.D, Professor Emeritus of Clinical Anesthesiology

LISA M. BITEL, Dean’s Professor of Religion and Professor of History

DION DICKMAN, Associate Professor of Biological Sciences

URI ELKAYAM, MD, Professor of Medicine

SUSAN R. ESTRICH, Robert Kingsley Professor of Law and Political Science

DONALD FEINSTEIN, MD, MACP, Professor of Medicine Emeritus

HENRYK FLASHNER, Professor, Department of Aerospace and Mechanical Engineering

MYRON F. GOODMAN, Professor Biological Sciences and Chemistry

MIKE GRUNTMAN, Professor of Astronautics

JEFFREY B. HIRSCH, Adjunct Professor, Annenberg School for Communications & Journalism

STUART J. HOFFMAN, D.M.D., MS, Adjunct Clinical Professor, Division of Orthodontics, Herman Ostrow School of Dentistry

ELLIS HOROWITZ, Professor of Computer Science & Electrical Engineering

GABRIEL KAHN, Professor of Professional Practice

ANNA I. KRYLOV, Professor of Chemistry, Member, International Academy of Quantum Molecular Science

PAT LEVITT, PhD, Chief Scientific Officer, Vice President and Director, The Saban Research Institute, Simms/Mann Chair in Developmental Neurogenetics, Children’s Hospital Los Angeles. WM Keck Provost Professor of Neurogenetic, Keck School of Medicine

RICHARD LUBMAN, MD, Associate Professor of Medicine

DINA MAZYLIN, Professor of Marketing

GERARD MEDIONI, Professor Emeritus of Computer Science

JERRY MENDEL, Emeritus Professor of Electrical Engineering

DAPHNA OYSERMAN, Dean’s Professor of Psychology

RICHARD S. PANUSH, MD, Master, American College of Physicians, Master, American College of Rheumatology, Professor of Medicine

HANNA REISLER, Lloyd Armstrong Jr. Professor in Science and Engineering

MICHAEL RENOV, The Haskell Wexler Endowed Chair in Documentary, Professor of Cinema & Media Studies, Vice Dean, Academic Affairs, School of Cinematic Arts

STEVEN RICHEIMER, MD, Chief, Division of Pain Medicine, Professor of Anesthesiology & Psychiatry

REMO ROHS, Professor and Section Head, Quantitative and Computational Biology

ILAN ROTSTEIN, Professor and Chair, Herman Ostrow School of Dentistry

LUCILLE ROTSTEIN, Clinical Associate Professor, Herman Ostrow School of Dentistry

DAN SCHNUR, Adjunct Professor, USC Annenberg School of Communications

HAROLD SLAVKIN, Professor and Dean Emeritus, Herman Ostrow School of Dentistry

DOUGLAS C. SOLOW, DDS, MBA, G. Donald Montgomery Professor of Dentistry, Associate Dean of Clinical Affairs, Director, Herman Ostrow School of Dentistry Faculty Practice

WILLIAM STOHL, MD, PhD, Master, American College of Rheumatology, Professor of Medicine

ANDREW VITERBI, Presidential Chair Professor of Electrical Engineering, Member, National Academy of Engineering

CHERYL WAKSLAK, Associate Professor of Management and Organization & McAlister Associate Professor in Business Administration

ARIEH WARSHEL, Nobel Laureate, Dana and David Dornsife Chair in Chemistry, Member, National Academy of Sciences

MARK WEINSTEIN, Associate Professor of Finance and Business Economics Emeritus

RUTH WEISBERG, Professor, Roski School of Art and Design

GARY WEXLER, Adjunct Lecturer Annenberg

ALAN WILLNER, Steven and Kathryn Sample Chair in Engineering, Member, National Academy of Engineering

CURT WITTIG, Paul A. Miller Professor of Letters, Arts and Sciences

VLADIMIR ZELMAN, MD, PhD, Clinical Professor of Anesthesiology, Foreign Member, Russian Academy of Science

[just-a-girl-and-her-ships]

Slibbs Writers - David J. North

Season 15

Fake It Till Ya Make It (15 x 05) dir. Thomas J. Wright

Tim is made into a McMeme. First scene introducing herself to Nick, Tim and Ellie. She also works well with the team to help solve the case, bringing the "victim" to autopsy to view the body.

High Tide (15x11)

Cowritten with Steven D. Binder

Directed by Tony Wharmby

First instance of Jack at her dartboard. 😊

The Numerical Limit (15 x 19)

Cowritten with Steven D. Binder

Directed by Leslie Libman

Episode involving a little girl that is connected to La Vida Mala. Jack and Gibbs share a nice scene as Elena is asleep in Gibbs' home.

Fallout (15x23) dir. Terrence O'Hara

(Teleplay credit with Christopher Waild. Waild wrote the story.)

Introduction of Phil Brooks.

Season 16

A Thousand Words (16x07) dir. Alrick Riley

Great scenes in this episode....Jessica and goat yoga, Princess Bride talk with Slibbs. "Good Talk". 🥰 This is the episode with Ritz and the stolen wall.

Once Upon a Tim (16x14)

Cowritten with Stephen D. Binder

Directed by Tony Wharmby

Rule 99 : Never tell Gibbs he's being audited.

"She IS the first girl you ever kissed." "Who said that?" "Sloane." "How would Sloane know?!?!" 🤣

Mona Lisa (16x18)

Cowritten with Brendan Fehily

Directed by Alrick Riley

Vance shows Jack the necklace he is about to give Mallory. "No jewelry is ever too much. Always remember that."

...and Executioner (16x22)

Cowritten with Christopher J. Waild

Directed by Terrence O'Hara

Sloane and Gibbs share a moment in observation. Gibbs had just recovered from being shot at, in the parking lot of the diner. "After everything that's happened with Leon, Clarke, you..." Then she holds his hand. 💕💕

Season 17

Institutionalized (17x06) dir. Tony Wharmby

Kasie's friend is accused of murder. Another nice scene in observation.

On Fire (17x14)

Cowritten with Steven D. Binder

Directed by Mark Horowitz

The episode when Nick is run down by the Russian who has sovereign immunity.

"These are the only kids I have left."

Great scene in Jack's office where Gibbs checks out Jack's ass. Prove me wrong. 🥰

[mawvsi]

⭐💡.The 2, 300 Musicians: Music That Everyone In This World Should Know. (2020)

-1- ☁️

Author: Maxine Van Stellanidou. 🕊️✨

1. The Beatles.

2. The Rolling Stones.

3. Queen.

4. The Beach Boys.

5. Bob Dylan.

6. David Bowie.

7. Led Zeppelin.

8. The Doors.

9. Pink Floyd.

10. Elvis Presley.

11. Duke Ellington.

12. Elliott Smith.

13. Jeff Buckley.

14. Lou Reed & The Velvet Underground.

15. Sex Pistols.

16. Ramones.

17. Talking Heads.

18. Maxine Van Stellanidou.

19. Elton John.

20. Miles Davis.

21. Charlie Parker.

22. Thelonius Monk.

23. Louis Armstrong.

24. Patti Smith.

25. Sigur Ros.

26. Bjork.

27. Mum.

28. 2pac.

29. Eminem.

30. Johnny Cash.

31. Run DMC.

32. Philip Glass.

33. Chet Baker.

34. Wolfgang Amadeus Mozart.

35. Ludwig Van Beethoven.

36. Arnold Schoenberg.

37. Igor Stravinsky.

38. Sergej Prokofiev.

39. J. S. Bach.

40. Joseph Haydn.

41. Frederic Chopin.

42. Erik Satie.

43. Edvard Grieg.

44. Benny Goodman.

45. Dizzy Gillespie.

46. Ornette Coleman.

47. Little Richard.

48. Morton Feldman.

49. Julia Wolfe.

50. John Cage.

51. Arvo Part.

52. Sergej Rachmaninov.

53. Dmitrij Shostakovich.

54. Toru Takemitsu.

55. Maxim Keyfman.

56. Jaakko Eino Kalevi.

57. Serge Gainsbourg.

58. U2.

59. Jacques Brel.

58. Francoise Hardy.

59. XXXTentacion.

60. Coldplay.

61. Vladimir Visotsky.

62. Brian Eno.

63. John Lennon.

64. Johann Johannsson.

65. Nico Muhly.

66. BTS.

67. Antonio Vivaldi.

68. Franz Schubert.

69. Michael Jackson.

70. Nirvana.

71. Janis Joplin.

72. Robert Johnson.

73. Jimi Hendrix.

74. Amy Winehouse.

75. Nine Inch Nails.

76. Joep Beving.

77. Max Richter.

78. Olafur Arnalds.

79. Otis Redding.

80. Yann Tiersen.

81. Bill Evans.

82. Leonard Bernstein.

83. George Gershwin.

84. The Notorious B. I. G.

85. Leadbelly.

86. Moondog.

87. Gustav Mahler.

89. Howlin Wolf.

90. Simon & Garfunkel.

91. Paul McCartney.

92. George Harrison.

93. The Who.

94. Joy Division.

95. Taylor Swift.

96. Jay-Z.

97. Kanye West.

98. Lil Uzi Vert.

99. Green Day.

100. Linkin Park.

101. My Bloody Valentine.

102. Billie Eilish.

103. Petr Tchaikovsky.

104. Modest Mussorgsky.

105. Glenn Miller.

106. Billie Holiday.

107. Ella Fitzgerald.

108. Aretha Franklin.

109. Jean Sibelius.

110. Alexandre Desplat.

111. Hildur Gudnadottir.

112. Linkin Park.

113. Bruno Mars.

114. Bruce Springsteen.

115. Angelo Badalamenti.

116. Radiohead.

117. Vangelis.

118. Sufjan Stevens.

119. Christian Loffler.

120. Metallica.

121. Kendrick Lamar.

122. Frank Ocean.

121. Ennio Morricone.

122. AC/DC.

123. Daniel Johnston.

124. Nick Cave.

125. Yes.

126. Arctic Monkeys.

127. Nino Rota.

128. Georges Bizet.

129. Giuseppe Verdi.

130. The Kinks.

131. Funkadelic.

132. Ray Charles.

133. Frank Sinatra.

134. Nina Simone.

135. Harry Styles.

136. One Direction.

137. David Lang.

138. Benjamin Britten.

139. Ralph Vaughan Williams.

140. John Towner Williams.

141. John Tavener.

142. Maurice Ravel.

143. Claude Debussy.

144. Alfred Schnittke.

145. Robert Schumann.

146. Johannes Brahms.

147. Franz Liszt.

148. Wojciech Kilar.

149. Edward Elgar.

150. Henry Purcell.

151. Guns N Roses.

152. Gabriel Faure.

153. Frank Zappa.

154. Camille Saint-Saens.

155. Frank Sesar.

155. Hector Berlioz.

156. Placebo.

157. Iannis Xenakis.

158. Karol Szymanowski.

159. Krzysztof Penderecki.

160. Ignacy Jan Paderewski.

161. Olivier Messiaen.

162. Karlheinz Stockhausen.

163. Alban Berg.

164. Gyorgy Ligeti.

165. Pierre Boulez.

166. Bela Bartok.

167. Niccolo Paganini.

168. Felix Mendelssohn.

169. Asian Kung Fu Generation.

170. Eazy E.

171. Dr. Dre.

172. Ice Cube.

173. Vladimir Horowitz.

174. Glenn Gould.

175. Sviatoslav Richter.

176. Emil Gilels.

177. Mstislav Rostropovich.

178. Yehudi Menuhin.

179. Martha Argerich.

180. Claudio Abbado.

181. Herbert Von Karajan.

182. Judy Garland.

183. Andy Williams.

184. Marilyn Monroe.

185. Marilyn Manson.

186. Green Day.

187. Beach House.

188. Slowdive.

189. Twenty One Pilots.

190. Clint Mansell.

191. Slash.

192. Blind Lemon Jefferson.

193. The Clash.

194. Madonna

[ulkaralakbarova]

Two women, Nic and Jules, brought a son and daughter into the world through artificial insemination. When one of their children reaches age, both kids go behind their mothers’ backs to meet with the donor. Life becomes so much more interesting when the father, two mothers and children start to become attached to each other. Credits: TheMovieDb. Film Cast: Jules: Julianne Moore Nic: Annette Bening Paul: Mark Ruffalo Joni: Mia Wasikowska Laser: Josh Hutcherson Tanya: Yaya DaCosta Jai: Kunal Sharma Clay: Eddie Hassell Sasha: Zosia Mamet Luis: Joaquín Garrido Brooke: Rebecca Lawrence Levy Stella: Lisa Eisner Joel: Eric Eisner Waify Girl: Sasha Spielberg Clay’s Dad: James MacDonald Bartender: Margo Victor Sous-chef (uncredited): Stuart Blumberg Waiter (uncredited): Diego Calderón Pregnant Woman (uncredited): Amy Grabow Partygoer (uncredited): Nino Nava Film Crew: Writer: Lisa Cholodenko Producer: Daniela Taplin Lundberg Production Design: Julie Berghoff Producer: Gary Gilbert Producer: Jeffrey Kusama-Hinte Producer: Celine Rattray Producer: Phillippe Hellmann Director of Photography: Igor Jadue-Lillo Costume Design: Mary Claire Hannan Editor: Jeffrey M. Werner Producer: Jordan Horowitz Stand In: Toni Kallen Additional Editor: Nancy Richardson Stunts: Cassidy Vick Hice Stunt Coordinator: Mark Norby Writer: Stuart Blumberg Original Music Composer: Carter Burwell Co-Producer: Charles E. Bush Jr. Executive Producer: J. Todd Harris Executive Producer: Neil Katz Co-Producer: Todd J. Labarowski Executive Producer: Riva Marker Co-Producer: Joel Newton Executive Producer: Galt Niederhoffer Executive Producer: Anne O’Shea Casting: Laura Rosenthal Executive Producer: Andy Sawyer Executive Producer: Steven Saxton Executive Producer: Christy Scott Cashman Executive Producer: Ron Stein Co-Producer: Bergen Swanson Art Direction: James Connelly Set Decoration: David A. Cook Co-Producer: Camille Moreau Movie Reviews: Filipe Manuel Neto: **A “gay friendly” film that manages to be minimally neutral to also please those who are out of political and ideological struggles.** The troubled causes have never been so popular as they are today: from abortion to euthanasia, from the historical question between colonizing and colonized countries to the return of looted artworks by European museums, passing through the causes of the Gay Movement, whose acronym grows every year, to embrace any new definition invented for each way of feeling and living sexuality, reflecting a need for affirmation that is felt more strongly than the convenience of presenting a certain union in the ranks. This “gay friendly” film fits perfectly into a growing list of cinema works dedicated to scrutinizing the dynamics of these new families. The advantage of this film is that it is not overly militant. The script introduces us to two mature women, who live in a stable lesbian relationship and who decided to get pregnant, by artificial insemination (obviously the more traditional method was discarded for obvious reasons), the semen donor was the same and the children who were born are, therefore, half-siblings on the part of the father (whom they do not know). It is precisely the search for her biological father and the creation of a closer relationship with him that takes the plot forward, with the introduction of this friendly and uncomplicated man totally destabilizing the life of that house. I liked the movie in general. At the same time that it tries to deny that idea, much replicated, that two lesbians would instill their own sexual orientation in their children, the film seeks to create a question around the inviolability of the anonymity of the donors of seminal material… I cannot speak for everyone, but I would never donate semen if I suspected that, years later, someone might have knocked on my door and said he was my son. Anonymity is something that should be inviolable and sacred here, regardless of the will of those involved. It was the point in the script that bothered me the most, but there were a few more. For me, the strongest poi...

[ncisfranchise-source]

CBS RENEWS ALL THREE HIT DRAMAS IN THE NCIS FRANCHISE FOR THE 2022-2023 BROADCAST SEASON

#1 Broadcast Series “NCIS,” Top Freshman Drama “NCIS: Hawai’i” and

“NCIS: Los Angeles” Set to Return

CBS has renewed all three hit dramas in the NCIS franchise for the 2022-2023 broadcast season. The returning CBS Original series are #1 broadcast series NCIS, top freshman drama NCIS: HAWAI`I and NCIS: LOS ANGELES. Additional renewals will be announced in the coming weeks.

“NCIS, one of the most popular and enduring series in the world, and fan favorite NCIS: LOS ANGELES have been hugely successful on the CBS schedule for years,” said Kelly Kahl, president, CBS Entertainment. “With the strong new addition of NCIS: HAWAI`I, we are able to expand the strength of this formidable franchise across our schedule. We couldn’t be more excited to have all three talented casts and creative teams back to bring more compelling NCIS stories to viewers in the U.S. and around the globe.”

About NCIS

NCIS is the #1 broadcast series this season, delivering 11.11 million viewers and improving its new Monday 9:00 PM time slot by +149%. This season, NCIS has amassed over 95.8 billion potential social media impressions.

Sean Murray, Wilmer Valderrama, Brian Dietzen, Diona Reasonover and Katrina Law, with David McCallum, Rocky Carroll and Gary Cole, star. Steven D. Binder, Chas. Floyd Johnson, Mark Horowitz, Mark Harmon, Scott Williams, David North and Donald P. Bellisario serve as executive producers. NCIS is produced by Belisarius Productions in association with CBS Studios. The series will return for season 20.

About NCIS: HAWAI`I

NCIS: HAWAI’I is currently averaging 8.29 million viewers and is a time period winner on Monday at 10:00 PM, improving the time slot by +26%. In addition, it’s virtually tied for #1 new drama. The series has amassed over 11 billion potential social media impressions during its freshman season.

Vanessa Lachey, Alex Tarrant, Noah Mills, Yasmine Al-Bustami, Jason Antoon, Tori Anderson and Kian Talan star. Matt Bosack, Jan Nash, Christopher Silber and Larry Teng serve as executive producers. NCIS: HAWAI`I is produced by CBS Studios. The series will return for season two.

About NCIS: LOS ANGELES

NCIS: LOS ANGELES is averaging 7.27 million viewers and is the top scripted program in its competitive time period Sunday at 10:00 PM. Season to date, it has amassed over 6 billion social media impressions. The show’s 300th episode will air Sunday, May 8. The series will return for season 14.

Chris O’Donnell, LL COOL J, Linda Hunt, Daniela Ruah, Eric Christian Olsen, Medalion Rahimi, Caleb Castille and Gerald McRaney star. R. Scott Gemmill, John P. Kousakis, Frank Military and Kyle Harimoto serve as executive producers. NCIS: LOS ANGELES is produced by CBS Studios.

In addition to CBS Studios producing NCIS, NCIS: HAWAI`I and NCIS: LOS ANGELES, as previously reported, the Studio is expanding globally and producing a local version of the brand for Australia, with NCIS: SYDNEY for Network 10 and Paramount+ Australia.

[britishassistant]

Nana: Part 4

Johnny Powers belongs to Anthony Horowitz. I just made a version of him for the Nanbaka universe, which belongs to Futamata Shou. Warning for violence.

Somewhere in the outskirts of Tokyo, far from the island Nanba Prison was situated on, a group of Englishmen were celebrating.

They were a fairly large group, all crammed into the closest equivalent of a pub that could be found. Their rowdiness and threats towards anyone who happened to glance over for a moment too long had caused all but the most unperturbed and unnoticeable patrons to leave the establishment.

The manager ought to have kicked them out long ago, but all he was doing was standing in the back, giving orders to his staff to facilitate the group’s drinking and feasting, smiling so widely that all of his teeth were showing and his eyes were tearing up from the force of it. The wait staff and any of the chefs who had left the kitchen to see what was causing all the ruckus bore the same expression.

The high school girl who was the only Japanese member of the party seemed to have it carved into her face, as she giggled at a pitch similar to a scream and translated everything her English compatriots told her to, leaning into the arm of the boy who seemed to be at the center of it all.

For the seventh time that night, one of the men stood on his chair, his beer sloshing unsteadily in his glass. “A—a toasht!” He cried, “A toasht t’ the besht, sm-smartesht, and shtrongesht bosh of— of the whole bloody world! The firsht man to break outta—outta—whatever the hell that prishon was called!! To Johnny!”

All the other men in the room cheered and downed as much of their liquor as their mouths could hold, some of them overestimating their capabilities.

Johnny Powers gulped down his rum and coke, and smiled.

Everything had gone off smoothly in the end. Sure there had been a few hitches, but what could ya expect from a bunch of bozos who were better at scraping and cowering than thinking for themselves?

Still it was a little ridiculous that it took seven tries for them to find a suitable replacement. The kids they brought back were downright insulting— too much acne, too chubby cheeks, squinty eyes that were too close together, crooked teeth, big ears with detached lobes, the wrong jawline—honestly, he had an image.

If a kid arrived at Nanba who didn't at least somewhat resemble his own good looks, there was no way they would have been able to pull it off.

“Don't use that kinda language in front of my boy, Stevens.” Barked a stern looking middle-aged woman with a bruise on her right cheek and muscles to rival some of the most experienced fighters in the world.

“Sh-shorry Ma!” Stevens tried to make a conciliatory gesture, and fell off his chair, cracking his head and his glass on the table, much to the mirth of the room.

Johnny looked up at his Ma with adoration. Of course she’d be the one to sort this all out, even at her own expense. She was his Ma after all. “‘S your cheek alright Ma?”

“Never better Johnny. Can't even feel what that brat did to it anymore.”

“I’m glad.” The thirteen-year-old beamed happily. It was the same smile he’d give to bank guards asking where his parents were before unloading a clip of bullets into them. “I still think ya should’a let me repay him for that. I wouldn't have cut him up that much, honest.”

Ma Powers stroked her boy’s soft hair. “But we’d gone through all the trouble to find one that looked like ya, Johnny boy, we didn't have time to get another one after you got through with him. Besides, he’s paying for it already by taking your place, isn't he?”

“Suppose.” Johnny shrugged. The seventh replacement was the closest to his ideal looks, but only just. Kid had pissed him off by pretending to be brave and growling that he didn't know who Johnny was, but he was going to make Johnny regret this.

It was hilarious when seven started screaming as number six offed itself by slamming its head into the the boat’s wall over and over, legs scrabbling on the floor and body straining towards the imperfection against the guys holding him back, begging it to stop even after six’s lifeless body had slumped to the floor. Six’s death wasn't as entertaining as when five had chewed through his own wrists, but it got the job done.

The fear in seven’s eyes as he realized that Johnny had done that, and that would happen to him if he disobeyed the orders which embedded themselves into his very being was something that Johnny would treasure for a long time.

Nails Nathan, cheeks flushed from trying the Japanese rice wine he called “sake”, began giggling to himself as he nibbled on the stubs that served as his fingernails. “We did good by getting that one, didn't we Johnny? That one was almost a perfect match for ya?”

“Yeah, yeah, ya sap.” Johnny flapped an arm in his direction, wrapping the other around the arm candy he’d picked up back in the port after they’d successfully dropped off the seventh replacement. “How’d ya get that one, anyway?”

Nails puffed himself up. “Well, me and Ma was driving along this one road to get to the port where they was going to be shipping you off from Johnny, when all of a sudden I see this kid standing on the side of the road, thumb up like hitchhikers do, ya know?”

The fifteen year old tried to imitate the gesture, giggling uncontrollably when his hand wavered under the effects of all the alcohol he’d consumed.

Another gang member yelled “Get on with it!” as the others also settled in to hear the story, conversations dropping to a low lull.

“So, so I tell Ma to get into the back, and once Ma’s in the back, I pull up and ask the kid “hey, you wanna ride?” And now I’m close I can see the kid looks a lot like ya, Johnny, and the kid says “yeah, I need to get to town” and the accent is English, so it sounds a little like ya if, like, ya were making ya voice really high-pitched, right Ma?”

Ma Powers grunted. “A little.”

“So I tell the kid to hop on in, and when she does and closes the door, Ma slaps the chloroform over her face! Kid put up a fight, elbowing Ma in the face, kicking the windscreen and me before the drug finally kicks in, then the kid’s out like a light until we’re already on the boat and out to sea! Think I did a good job on shaving her long hair all short, kinda like yours, and giving her the tattoo, though she woke up during that part so I got worried that she would move too much and mess it up. But that kid really did look almost exactly like ya, didn't she?! Shows that y’are just as pretty as a girl, doesn't it Johnny?”

Everyone in the room had fallen quiet as all gazes pinned the storyteller and his primary spectator. Even Ma Powers and the perpetually grinning high school girl shifted away minutely.

Johnny had stopped smiling. “Nails.”

“Y-yes Johnny?” Nails, even in his drunken stupor, suddenly began to feel slightly uneasy.

“I think I must have heard wrong. Could ya correct me? ‘Cause I could’ve swore I heard you say that the kid you picked up to replace me in a male prison was a girl.”

The unfortunate teenager turned ashen. He gulped, fingers twitching.

“L-look J-Johnny, it-it was—th-that kid looked just like ya, yeah? A-and none of the o-other boys were-were good enough, so-so I figured that-that anyone wo-would do, and—pl-please Johnny, I-I’m sorry, God, pl—”

“Nails.” Johnny ordered, his Conquerer’s Voice taking advantage of the squirming adolescent’s fear to impress his orders into the boy’s being, so even his own mind could not prevent his body from carrying them out. “Go break every bone in your fucking hands for ever thinking that it was a good idea to send a girl in drag into a men’s prison as MY replacement, You MORONIC RETARD!!!”

Nails Nathan stood up, tears streaming down his spotty cheeks. He walked to the bar at the back of the restaurant, pushing past a server who half-heartedly tried to stop him from going behind the bar. There was a steel door that had been left open for the servers to come and go from the kitchen.

Nails Nathan placed his hand in the frame, and slammed the steel door on it as hard as he could.

His scream could be heard from the street outside. He moved his hand up, and did it again. And again. And again. Until every last bone in his hand had broken and his throat was nearly hoarse from screaming.

Then he started again on the other one.

The gang kept their heads down, trying to avoid flinching at every sickening crack and screech. The wait staff’s expression never dropped from the smiling rictus they’d been ordered into, though several of them had tears streaming down their cheeks as they mechanically continued to serve. The high school girl was unable to even do that, as she had been ordered not to a day or so after she was kidnapped from her home on the coast by the boy next to her.

The boy himself was breathing heavily, almost hyperventilating in rage. His fists shook and his eyes were wild like a mad dog’s as he muttered a never-ending litany to himself in a high-pitched voice. “Need to find another, truth will be out too soon, need to get out of here, cover will be blown, need to get an eighth—”

“Easy Johnny boy, breathe.” Ma soothed. “Even if Nails did something stupid, its alright—”

“HOW!?! HOW IS IT ALRIGHT MA?!” The voice that escaped the gang leader’s throat was like that of a hysterical child preparing to throw the biggest tantrum in the history of tantrums.

“—because if it wasn't alright, we wouldn't have made it this far away, would we?” Ma continued, unperturbed at the tone her son was taking with her. “It’s been two weeks, Johnny. If anyone was gonna find out about the replacement, they woulda done it in the first few days. That we’ve lasted this long without that means the kid’s following ya orders. She knows she’ll die the moment someone finds out, so she must be doin’ a really good job hidin’ it.”

Slowly, Johnny’s breathing calmed. His hands relaxed from their clenched fists. “…Ya’re right. Ya’re right, Ma. They woulda…it’s still safe. Can't defy my voice. No one can defy my voice. Still, I wanna get home to London quick-like, just in case she cracks in the next few days.”

“That’s fine, Johnny. That’s just fine.” Ma soothed, stroking his hair. “We’ll drop the slag off at a waste disposal and catch a plane first thing in the morning, ok? An’ I’ll make ya favorite moussaka when we get home.”

“Hot and bubbling with cheese melted on top?” For the first time since coming to Japan, Johnny sounded like a hopeful and excited, like a boy his age should, instead of like he was an old man who enjoyed the pain and suffering he caused wearing a young child’s face.

Ma Powers smiled. “Just the way ya like it.”

Johnny relaxed, and chatter started up among the gang again as they sensed the danger had passed.

Nails stood up from where he’d been curled in a fetal position behind the bar and hobbled back over to his leader. His hands were bruised black and blue, with several of his fingernail stubs bleeding. “J-j-Johnny, I-I’m sorry, I—”

“Ah, stop blubbering, ya great baby. It doesn't hurt that much.” Johnny ordered. “Water under the bridge and all that.”

Nails’ pinched expression loosened as the aching in his hands vanished. “Y-yeah. W-well, something like that won't happen ever again, Johnny, I-I promise.”

“Good.” Johnny stretched out, wrapping an arm around the high school girl and taking no notice of how she had been trembling ever since Ma had mention getting rid of her in the waste disposal. “Now ya lugs better enjoy yaselves while ya can, cause tomorrow we fly for home.”

“Yes boss!” The men cheered, and the party resumed in full swing.

Nobody, not Johnny, not his Ma, not his gang, not the high school girl, not the wait staff, noticed as a salaryman got up, paid his bill, and quietly left.

Walking home in the cool night air, the man turned over what he had learned in his mind.

A famous English criminal at large in Japan! One who was brutally violent and had mysterious abilities to compel others to obey him! Who escaped from the inescapable Nanba Prison no less!

The reporter smiled to himself.

He never expected that he’d get the story of a lifetime when he went to get dinner tonight.

[megakidgrace-blog]

Lil Peep

Hey guys its Grace. Today for this week's blog i'm going to be talking about the terribly underrated song Move On, Be Strong by Lil Peep from his 2016 album hellboy. The genre of this song, though Peep says he feels we stop catagorizing artist into genres, in is a blend of rock and punk. His mesmerizing musics lyrics have a consent theme of being about depression, drug use, suicidal thoughts, and past relationships. He had been described as the future of emo by Steven J. Horowitz of online magazine Pitchfork.

 This song Stay strong, Move On starts up playing an electric guitar already giving the impression of this being a more up beat “hardcore” song. The first verse of the song Peep comes in hard:

Move on, I'm gone, baby, I'm not comin' back, nah

Be strong, you're wrong, girl, I'm not comin' back

I'd kill for you, I'd die for you, but I'm not coming back

Blood spilled for you, I get high for you, and your new man's fuckin' wack (I'm not comin' back)

To translate the lyrics into what I thought Peep meant is that he was deeply in love with a girl but then somehow the relationship had come to an end. As Peep screams the words to the song its clear he is very hurt and in pain by what happen between them. The 3rd line expresses how he did the most for her yet he still lost her but now he’s changed. Those things he would have done before for her he will not be doing anymore. Last line of this verse talks about once again he would've done anything for her yet this time he reveals the reason she left was because of another guy whose apparently “wack”.

In the bridge the lyrics are a repeat of title of the song:

I'm not comin' back

Move on

Be strong

Be strong

I'm not comin' back

Though Peep is hurting he's telling himself and her to move on and to be strong showing that he still cares even enough to want her to be okay.

[Interlude]

(I.. I love you)

The interlude gives the impression that this is not only a song but a conversation with this girl that left him for another. She says I love you but shes too late Peep already is aware she isn’t good for him and that she doesn’t appreciate all he does for her.

Lil Peep’s music is a bop. His life story is a trip of hard times but he doesn’t let this bring him down. He is very inspirational. On Peeps face he has a large tattoo above his eyebrow that says “Cry Baby” to remind himself to be grateful for everything he has and to not dwell on the bad. Literally came from nothing and turned himself someone who will be remembered forever. If you listen to any one of his interviews you can tell how chill he is and how much of positive mindset he has. Every word Peep says is encouragement. A man who uses his music to express his inner thoughts and let himself be free. RIP Lil Peep you will be missed.

https://soundcloud.com/lil_peep/move-on-be-strong-prod-smokeasac-x-lil-peep-x-yung-cortex