#adolescent sex album

[phil-fuckin-lewis]

David Sylvian 💙

"In Love With My Friend"

> 1978 <

You were fixing your makeup, you wore some glamorous purple dress, then you finished and now sat on the bench and when you less expected, Sylvo gets in

He looked at you, suprised

"Wow, S/N! How can you look so... oh my god!" He smiled and walked towards you, who smiled

"Thanks David, i appreciate that!" You smiled

"You look GORGEOUS! S/N you should look at yourself more than once!" He exclaimed and turned you to the mirror

And now you were looking at yourself in the mirror again, you did REALLY look gorgeous!

"I don't know where you got this dress but it was not a bad choice. It fits really well with your body shape." David smiled and looked at you, again from your head to your feet

You smiled again, you could see David turning around and grabbing something from some of the tables around his dressing room, then he comes over to you

You looked at him by your mirror view, he had a hair brush with him, he started brushing your hair softly

"Your hair's beautiful!" He smiled as he brushed your hair

You didn’t even reply, but by the blushing, it was clear that it kinda made you happy

"I won't brush it much" David stopped brushing your hair

He embraced you by behind your back and you blushed, so did he!

— She's so cute! I want her for me!" David's thoughts said to him himself

You smiled and feels him leaning his head onto his shoulder, then you did the same. The view of his bleach blonde hair to your hair color made a nice match

Also the different haircur models

You spent 2 minutos embraced with Sylvo, when someone knocks on the door

He opened the door and said :

"Oh, hi! Steve! What's going on?"

"Well, nothing happened. I was just looking for you. Anyways, time to go! We're done with everything. Rich, Mick and Rob had left already" Steve said

"Oooh, okay!" David said and then turned back "Hey, S/N!"

"Yeah?" You turned over

"Wanna come with us?" He asked

"Of course i do!" You smiled and grabbed your backpack

He smiled and took your hand with his, everyone left David's dressing room

The other members have already left, and now there was just you and the Batt brothers

You all got home, Steve closed the door and David sat on the couch

"S/N!" Steve called ya

"Oh! What?" You turned joined him in the kitchen

"There is this chocolate right here, i decided to give you because it was the only one left, also that i know you love strawberry flavoured desserts. So, take it! That's yours!" Steve smiled

"Ooh, nice. Thank you, mate! That's so sweet from you!" You smiled

Steve was not in love with you, but he was also your best friend so of course he would give something really sweet, like ; exactly, some chocolate!

You drank some water and then sat next to David in the living room, he said :

"Oh hey, lovey!"

"Hello again!" You smiled and hugged him

"Is there any leftovers? I'm so lazy to make dinner!" Steve said as he opened the refrigerator

"Oh god, lemme go there" David said "And Y/N, have some rest, you need it"

"I really do!" You giggled and got up, holding your backback

You got into David's room and then you wore your pijamas after having a soft and warm bath, you brushed your teeth and then you got hair down and lied down on his bed

You covered yourself with a blanket, then David got into his room

He smiled to see you and then :

"Hey, love... dinner's almost done, would it bother you to get up and go?"

"Oh, no it wouldn't! I'm going" You got up

You walked downstairs with him and everyone had dinner, it was delicious and then everything was sleeping

David embraced you while you slept, and that's how he fell asleep

•

First time writing a Japan/David Sylvian fanfic, really happy

Hope you like it, mostly Japan and David fans

I worked hard on it and i hope it's worthwhile 🤍

- Maria 🤍

[metagenesisplasmodium]

Bought it at a second-hand market

Maybe third hand…

But it's still in good condition!❤️❤️❤️Very worthy!

[soft-dark-vintage-blog]

I think it's so fucking clever that Hozier put Jackie & Wilson and Someone New back to back in his self-titled album. I mean, they're two ends of the same situationship and depict so well the current dating culture in general. Jackie & Wilson is that needy, hopeless, lonesome state where u just really long for companionship, connection, and stability. It doesn't matter with whom, it doesn't matter where, it doesn't matter how. Every person who crosses your path seems the one because you craft an idealized version of them in your mind. On the other hand, Someone New, besides keeping partially the idealizing strangers theme, goes for a more hedonistic route. It rejects the prospect of a stable relationship that leads to the traditional path of marriage and family in favor of exploration, the pleasures of the flesh (not necessarily only sex), adventure, and excitement. Yet it gets even more interesting if you consider that the persona is the same in both songs, but in different moments of their life (we all have been in both positions at least once). It beautifully captures how the experience of being a young adult is so much different than it once was. It brings up the contemporary developmental psychology that rejects that view of adulthood as the absolute end of development. 

I particularly like to think about these songs through the concept of emerging adulthood and how, due to the cultural and economic changes of our times, the self-exploration, construction of identity, and the "not really knowing what you wanna do with your life", that is usually expected only in adolescence, stays with us for longer nowadays. We're always changing, we'll be always developing till the day we die, and developing doesn't necessarily mean going forward.

Sometimes we take a few steps back, and that's completely okay. We can be Jackie & Wilson one day, Someone New the next one and then Jackie & Wilson all over again. So in this essay, I will discuss Hozier's discography through the views of contemporary developmental psychology and the common themes with 20th century Latin American poetry…

(My grammar in English is not the best, but I swear I'm not that illiterate in my first language)

[tavolgisvist]

The dash of Beatles magic comes as they reach the end of the verse and bounce together on the strung-out “pleeeeeeease . . .” answered by Paul’s solo “ . . . love me do.” The spirit in the harmony and the expectant silence that follows heightens the sense of anticipation...

<...>

In the drawn-out “plee-ee-ease” of “Love Me Do” the lilting harmonies yearn politely—in “Please Please Me” it’s dirty and polite all at the same time. John and Paul’s verse duet gains on the Everly formula: Paul stays on the initial high note as John pulls away beneath him (“Last night I said these words to my girl”), putting the Everlys’ “Cathy’s Clown” lilt to a brighter beat. The rasp in Lennon’s voice on the repeated “come on”s is far from innocent—he wants this woman to do more than just hold his hand. As they hit the second “please,” Paul and John leap away from the pleasantry of the first, soaring up to convey a real adolescent sexual frustration. Even the sound of the band has more rough edges than the thunking bass of “Love Me Do.” Where the first single is genuinely coy, the second makes a “polite” demand on the female, and Lennon deliberately tries to stir up a reaction.

<...>

Although John and Paul can be worlds apart (as this album [“Please Please Me”] demonstrates), when they harmonize the common brilliance they achieve is breathtaking. The two share a space of musical effervescence that only they know how to reach for, and they hit it with uncommon grace.

<...>

The first and last songs on the album, “I Saw Her Standing There” and “Twist and Shout,” are its bookends: both revolve around the idea of falling in love on the dance floor. But where Paul gets the dance floor jumping, Lennon makes the earth move. It’s as raunchy as anything the Beatles ever recorded, and it stands up beautifully to records with raunchier reputations (like the Stones’ “Satisfaction”). Where the opening tune suggests an adolescent sexuality, “Twist and Shout” conveys a loss of innocence; where Paul’s singing is charged but charming, Lennon’s delivery is nothing short of lustful.

<...>

Throughout rock, and throughout the history of music—from Bach’s French Suites to Ravel’s La Valse—the image of the dance in music has been linked to the act of sex.

<...>

After two verses [“Twist and Shout”], the singers—John with Paul and George in support— back off to play their guitars for a verse, as if resting for the final round. When the voices come back in, the personalities we’ve heard throughout the record stack up one by one for the rave-up, building the chord with mounting excitement. At the top of the ladder, they spill over the edge with hysterical screams, the musical dam breaks, and before we know it they’re into the last verse. It’s the musical equivalent of an orgasm, and it counts among the most exciting moments in all their music.

<...>

It’s not that they’re telling teenagers to dance or have sex: they’re simply enjoying life so much that they can’t contain themselves—they want the beat to seduce the whole world into having fun.

(Tell Me Why by Tim Riley, 1998/2002)

[braedenslover]

🎞 SONGS WALLOWS SHOULD COVER .ᐟ.ᐟ

the playlist :3

definitely you - feed me jack

COLE VOCALS ARE YOU KIDDING ME. this song already sounds like him. AND THE SCATS OR WTV IN IT SOUND LIKE BRAEDEN. mr preston and mr lemasters get in that studio rn. mr dylan minnette you can do the woahs idc i just NEEEEEEED them to cover this song oh my good golly god.

electric u - kid bloom

HELLOOOOO BANGER ALERT!! dylan on main vocals and braeden on the backup ones yesyes ofc. this is one of my fav songs probably ever so it makes sense why i'd want my fav band to cover it LMFAOO. but fr. need. this. immediately.

good vibrations - the beach boys

a beach boys song being on here is expected me thinks. idk who would sing what ngl but i just know i need it

carried away - passion pit

idk who would sing this i just want it to happen LMFAOO

hometown - twenty one pilots

BRAEDEN LEMASTERS PLEASE. PLEASE SING THIS.

next semester - tøp

dylan. get up in that studio rn. also i just think they'd have so much fun doing this, if that means anything :3

somebody that i used to know - gotye, kimbra

DYLAN AS GOTYE AND BRAEDEN AS KIMBRA. THAT'S IT. THAT'S THE EXPLANATION. THAT'S WHAT I WANT.

don't let me down - the beatles

braeden on main PLEAAAASSSEEEE

northern downpour - panic! at the disco

SUGARCAAANNNEEE INNN THE EEEAAASYYY MORNINNNN!!! braeden as ryan ross plsplspls + dylan as brendon obvs.

summertime - my chemical romance

idk just give it to me

always - p!atd

dylan bc i said so.

there she goes - the la's

braeden vocals!!! needneedneed!!! also this song is just so nostalgic and i think they'd capture that beautifully no matter if they change the style of it or not :))

stuck on a puzzle - alex turner

erm braeden vocals again bc duh

12:51 - the strokes

COLE?? PERCHANCE?? but literally any 3 of them could take this and spin it if they wanted and i'd EAT IT UPPPP

cough syrup - young the giant

yeah that's braeden lemasters thank yewww

undercover martyn - two door cinema club

and if i said braeden again??

speed racer - her's

both dylan and braeden on this yupppp YUUUPPPP

eat that up, its good for you - tdcc

braeden on main and a mix of dylan and cole on backup. bc brae's voice fits so many songs with accents i'm sorry

hold it in - jukebox the ghost

okay so i was gonna say braeden again (who's shocked) but lowkey highkey i want cole on this SOOOO BADDDD like this IS HIM i fear. i now hear cole every time i listen to this.

televised - hunny

either both dylan and braeden or one of them, i'm sat for it

runaway - jack stauber

BRAEDEN LEMASTERS BRAEDEN LEMASTERS BRAEDEN LEMASTERS BRAEDEN LEMASTERS!!! THIS IS HIM!!!

florescent adolescent - arctic monkeys

once again, BRAEDEN LEMASTERS.

no fun (bonus track) - sex bob-omb (from scott pilgrim vs. the world)

dylan as stephen, cole as kim, and braeden as young neil.

blue lips - her's

idc WHO SINGS (braeden. it'll always be braeden.) but i wanna hear them play this so bad PLEASE THIS SONG IS BEAUTIFUL AND I JUST KNOW THE VOCALS WILL EAT.

god only knows - the beach boys

another beach boys song yuppp!!! i can lowkey see all of them singing this in their own way or together and i think this song is very them + its from their fav album (pet sounds) so i'd love to hear their interpretation of this!!

change your mind - the killers

ONE OF MY FAVVVV SONGSSSS!! my heart yearns for braeden, but my mind says dylan for this. maybe a secret cole version for funsies (i beg for cole vocals omfg)

okay that's it. my playlist will probs be updated over time and MAYBE i'll explain them (better than what i did for these)

BUT LMK IF YALL LIKE THESE LITTLE IDK SONG WANTS?? COVER WISHLIST?? IDFK GO STREAM MORE!!

[strawberrycheri]

06/2024

ᯓ★bambi's record: June

―୨୧⋆ ˚ Artists of the month ⋆｡‧˚ʚ♡ɞ˚‧｡⋆

ᡣ𐭩 Lana del rey

My queen my love and my inspiration. I think she could be on top of my artists list for long enough. I've been listening to her much more recently

ᡣ𐭩 Chappell Roan

Love this wiw princess. Her songs resonate with me deeply and with my personal romantic experience with women.

ᡣ𐭩 Ayesha Erotica

Who doesn't love this sl*tty big juicy woman? Heavy bimbo energy femme fatal but make it pink and sparkly

ᡣ𐭩 Night club

Band that doesn’t disappoint. I love their retro style with electronic vibes

ᡣ𐭩 Ten (10) CM

Korean calm chill artist. Loved him since day one and go to his profile every time i need something relaxing or little bit sad but beautiful

―୨୧⋆ ˚ Top 10 tracks ⋆｡‧˚ʚ♡ɞ˚‧｡⋆

01 ᡣ𐭩

fluorescent adolescent by artic monkeys

I love monkeys with my whole heart more then almost any band, this months i felt extremely nostalgic with them and lana and couldn't resist listening to this song

02 ᡣ𐭩

flesh & bone by sammy rae & the friends

I LOVE this kind of jazz and you should too!!

03 ᡣ𐭩

stupid in love by max, yuniin

I can't describe how much i love this song it’s just perfect in every way, it's catchy sounds gentle and voices!!!! their voices just HIT

04 ᡣ𐭩

the girl, so confusing version with lorde by charli xcx, lorde

girly girl song! hearing this song legs ask to move move

05 ᡣ𐭩

licky hérve radio edit by larry tee

Ive been listening to this song a lot imagining myself in edits or like in a runway as a model

06 ᡣ𐭩

andromeda by weyes blood

need a song to slow dance to? or maybe cry? this one is for you

07 ᡣ𐭩

le temps de l'amour by françoise hardy

do i need to say anything? just check it out. it's sexy and sensual

08 ᡣ𐭩

you wish by flyana boss

you must've heard this song in tiktoks, it's so groovy and bad bitch energy coded

09 ᡣ𐭩

war isn't murder by jesse welles

great touching song about war. you can get a hint it's about Palestine mostly but about any other war too. folky sounding!

10 ᡣ𐭩

black rose by taemin, kid milli

taemin and everything he does is epitome of sex what else can i say

―୨୧⋆ ˚ Albums ⋆｡‧˚ʚ♡ɞ˚‧｡⋆

ᡣ𐭩 AKMU, Love episode

akmu makes me see the world through gentle rose glasses

ᡣ𐭩 Charli Xcx, Brat

slaying this queer a*s

ᡣ𐭩 The smiths, hatful of hollow

Classy band everyone should listen to at least once

ᡣ𐭩 Fiona apple, Tidal

Everyone knows this wonderful singer nothing add besides how good she is and she is

ᯓ★Editor’s note

Hii!! I’ve been inspired by @huellitaa and decided to do my own monthly records.

I love music dearly and want to share stuff that i found or hyper fixations i got this time! Hopefully you will like it~ You can text me your songs recommendations i will happily check them out ⋆⭒˚.⋆𝜗𝜚

[cherrylng]

Green Day interview - UNO! DOS! TRE! [ROCKIN'ON (September 2012)]

The fastest interview just before Summer Sonic! The band talks about their new album trilogy in its entirety!

UNO! DOS! TRE! GREEN DAY

Interview by AKEMI NAKAMURA Photographs by YURI HASEGAWA

"It's unmistakably a 100% “Green Day album” and we can now say we're in the prime of our lives because we're able to do that."

What the fuck is this! They've made not one, but three incredible albums, bursting with outrageous energy that make you want to scream. Green Day is extremely ambitious in releasing their ninth album as a trilogy called "Uno!", "Dos!", and "Tre!", one album every two months starting in September, an unprecedented and ambitious feat that no one will ever pull off again. The reason this masterpiece, which could be called Green Day's version of the "Rock Encyclopedia", was created in the first place is because of "American Idiot", which they completed in 2004 and which is considered the most important album of the first decade of the 21st century. An outright critique of the Bush administration in an America that had fallen silent in the wake of the 9/11 attacks, the all too righteous album was arguably the riskiest gamble in their career history, but the most politically charged album ever sold 15 million copies worldwide and was greeted with great acclaim. And they continued their momentum with 2009's 21st Century Breakdown, their second rock opera, which went to number one in 21 countries around the world. It is truly astonishing. Having pierced the zeitgeist so boldly and shared it with the masses around the world, Green Day did not grow weary here, but instead accumulated an unprecedented sense of achievement and positive energy. And the creative solution to releasing all that energy was this high-powered "party" trilogy. Feeling that they had done it all, the band came back to their 'roots' and tackled this work with a fresh start.

The good news for long-time fans is that the band themselves have revisited Green Day's early golden years, including "Dookie," and started production with the aim of "returning to their roots". However, after attempting to "return to their roots", they went further back in time, to their youth, and revisited the origins of rock music for themselves. The result is a work that is both autobiographical and a summary of Green Day's history, tracing the band's path from there to the present day. If we organise the three albums, "Uno!", which aims for arena rock like AC/DC and power pop like the early Beatles, is a work that depicts a longing for the youth, while "Dos!", which resonates with garage rock influenced by the Stooges, depicts the "sex, drugs, and rock and roll" of adolescence. And the third album, "Tre!", is an epic work that sums up the current Green Day, who have already released two historic rock operas. The trilogy of 37 songs and 130 minutes in total is so thoroughly high-tension that you can't help but wonder if this is a new album from a band that has been together for more than 20 years.

More importantly, their new Green Day Sound, which is more about jubilation, excitement and emotion than political messages, is needed here for American rock, or even America as a whole, which has become introspective in the decade since the terrorist attacks. In other words, the band, who became America's heroes in the post-terrorist conflict, have once again made a new chapter for America here, and once again have created a work that will lead America to a new chapter and break out of its shell, at an excellent time. Green Day is always right!

With Summer Sonic coming up soon, there is no doubt that they will come in with the super high tension of having created a triumphant return to their roots, so it is essential to head to the venue with high enthusiasm and high expectations! -Akemi Nakamura

BILLY* JOE ARMSTRONG & MIKE DIRNT & TRE COOL INTERVIEW

"The first one is a little foreplay, the second one is sex, and the third one is something we have to apologise for (laughs)."

First of all, when I heard that you were going to release three albums this time, "Uno!", "Dos!", and "Tres!", I thought it was a crazy idea, but also genius in many ways. The previous two albums were very political, had strong messages, and had a rock opera concept, but this time, even the title tells us that you've removed the seriousness. However, the sheer volume of the album also clearly shows that you guys have not lost any momentum. In that sense, I came here today with quite high expectations, and I just listened to all three albums and was blown away. It's like you've been reborn, and the content makes me feel like you're starting something new, and the energy and tension was so high that I was overwhelmed. So, first of all, I'd like to ask you frankly how on earth this came about. Billie: 「Anyway, after making “21st Century Breakdown”, I really felt renewed and refreshed. With “21st Century Breakdown”, I had the distinct feeling that one era of us had ended. So it seemed like we had the freedom to carve out a new era from there, and it was up to us to use that opportunity or not. So we started writing songs straight away, and the first ones we wrote were “Nuclear Family”, “Stay the Night”, and “Carpe Diem”, which happened to be the first three songs on the album (laughs). Then we decided to go in the direction of power pop, and we ended up with a lot of melody-driven songs, with lyrics that were more personal and not so much political in their message, and the album as a whole became a work that was not dark, but had a sunny feel to it.」

In short, is it just the sense of achievement after "21st Century Breakdown" and the fresh feeling you got from it that allowed you to generate so much high tension and energy again? Mike: 「Yes, I suppose so. Anyway, we started off by trying to get back to a garage-rock approach, and we decided to just jam together. And whenever we jam together, it always feels like a new connection is formed, and as we kept rehearsing, a new groove was born. And then we got into it. It was so intense that no one could stop us.」 Tre: 「Of course we were influenced by a lot of things on the way here, and you could say that we developed very naturally while vaguely absorbing them. For example, the starting point for such an epic songwriting career had to do with witnessing the birth of the "American Idiot" musical. That was a very significant event. We were surrounded by so many talented and creative people that it really stimulated our creativity. Also, the "21st Century Breakdown" tour was great. Basically, we had a sense of accomplishment that we had accomplished everything we had to do with "American Idiot" and "21st Century Breakdown". That's why I think we were like, "Now it's time to have fun and play to our heart's content!" It was like, "Let's have sex!" (laughs)」 Everyone: 「(laughing)」 Mike: 「Let's just take our pants off! (laughs)」 Tre: 「Let's take our dicks out! (laughs)」 Mike: 「(laughs) Let's have some fun.」

(laughs). You recently stated that you guys are ‘currently in the most creative period of your career’, but I imagine it's pretty rare for people to start a punk band at a young age, and then to be in the most creative period of your career at a year when you are all turning 40 this year. Billie: 「It's like we've been getting better and better and now we're here. So, for example, I think it's the same with jazz musicians, but sometimes it's only when you get older that you really hit your stride. I think we've always developed slowly and naturally as a band while making albums, and we've always tried to do that. We've never tried to force ourselves to go in a direction that we thought was right in our heads, we've just tried to make something that comes from our truth. So sometimes we look back and realise how much we've changed with each album. So, because we've been building up our experience over the years, we had a huge pool of creativity when we made this album. So it's like we've got a lot of weapons in our arteries, we can rock really hard, we can write ballads, we can do garage rock, we can do power pop, and we could make all of that sound like "Green Day". That's how this album came about. Only we could have made this album, it's unmistakably a 100% "Green Day" album, and I think we can say that we're in the prime of our lives now that we're able to do that.」

So, when I listened to these three albums, it seemed to me that these were three complete albums as a whole, did you ever think of releasing all three at once? Mike: 「I thought it would be better to put them out one at a time separately. Because I thought that way everyone could really understand and digest each one. And it was made in such a way that the moment you finish listening to one album, you'll be excited and think, "I want to hear the next album!" So we set the time period between albums to be six weeks, so there wouldn't be too much time between albums. I also thought it was an exciting way to release something like this. On the other hand, if you suddenly gave me three songs at once, I'd be absolutely overwhelmed (laughs).」 Tre: 「So, you know, you can think of it like this. If we released it as a triple album, there would be one Green Day album this year, which means that the fun would end after just one release. Instead, we're going to have three new Green Day albums! Wouldn't that be great? Simply put, this year is all about Green Day. This year is all about Green Day. So get ready! Come along!」 Mike: 「So, (the first one) is a little foreplay, (the second one) we had sex, and then at the end is something we have to apologise for (laughs).」 Tre: 「So from now on, when people ask me what year it is, I have to say 'The year of Green Day!' We'll have a dragon face with three of our faces added to the Chinese zodiac (laughs).」

(laughs). These three albums seem like a movie depicting a certain coming-of-age story. The first one focuses on your early teens and youth, and is the starting point for rock listeners, the second one is about the struggles of becoming an adult, and the third one is a song about actually becoming an adult, or rather, it seems to have a development that summarises what you learned in each era. Did you intend to depict each album as you grew older? Or did you have a theme for each album? Billie: 「Yeah, the first one is definitely about youth, as you say, but the second one is about sex, sexual desire, and has a red-light district vibe, so it's more of a garage rock, party record. So the third one is definitely epic, but at the same time it's about self-reflection and self-projection.」

The second one, then, is a "sex, drugs & rock'n'roll" album, isn't it? Everyone: 「Yes!」

So, I'd like to ask you again about the lyrics of the first album: where on earth did lyrics like ‘I kissed your lips’, ‘I don't wanna say goodbye’ and ‘Will you be my girlfriend*’ come from? Where do they come from in terms of youthfulness, haste, eternity and a perspective on life from an early teenage point of view? Billie: 「Well, there's a point here where I kind of wrote the lyrics with my voice as an instrument to express something, and I didn't put too much emphasis on what I was actually saying there (laughs). So, for example, the song that says something like ‘Will you be my girlfriend’ is called "Angel Blue", and in that song…… Yeah, it's definitely like a look into my past, and I guess you could say that it's a footprint of my teenage years. It's like, "You're Angel Blue with teenage traces / Angel Blue with pretty faces". So, yes, I think you could say that the first album is a look back at my innocent days.」

Right. But why did you decide to look back at your youth now? Billie: 「Well, maybe I'm………… Hmmm well…… I wonder why?」 Mike: 「Because sometimes you just don't think about it.」

"We didn't set a goal to make three albums from the beginning, but it ended up being three. I mean, I think it's a testament to how much we enjoyed making music together."

(laughs) I think it's too specific and focused to have come out without thinking about it. So, for example, your son. Billie: 「Okay! So this is what I mean. So with the first one, we wanted to make a great record that really represents our origins, the classic "Green Day" record. So we looked back to the days of "Dookie" and "Kerplunk", but we wanted to bring it back as a modern interpretation. Because people often ask me, "Are you not going to make any more albums like the ones you made back then?" And every time I say, "Of course I will!", but if I were to make such an album, I should make it when I really want to make an album like that, not because I've had an idea that it's time to live my youth again, but only when I feel that this is the only way to make it now, when I really feel it in my heart. And now was the time.」

Instead of making three albums this time, did anyone ask you if you could pick a few songs from each and make them into one album? I think kids these days are happy listening to just one song from an album, and the fact that it's three albums means you're challenging your audience in these times. So I think there must have been a necessity amongst you guys that this album had to be three albums by all means. Billie: 「Yeah, but there wasn't a particular reason why it had to be three albums, and in this case, there was no assignment like, “I have to write about this”. However, first and foremost, we just wanted to make music and write songs. Of course, we've always done everything on an epic level…… But in this case, we didn't even intend to do that at all, and it just ended up like this. We didn't set a goal to make three albums from the beginning, but it ended up being three. I mean, the album came from such a really pure place, and I think it's a testament to how much we enjoyed making music together. Because it really felt like a whole new rebirth, like we were starting a band from scratch. It felt like we joined a whole new band without breaking up the band. So, ultimately, that's what this album is about, just playing music and having fun. So I think that's clearly reflected when you listen to the songs. Every song is really tight and it's clear that all three of us are on the same page.」

The first album is power pop and the second is garage. Can you be a bit more specific and describe the direction you were aiming for in terms of sound and the bands you were influenced by on each album? Billie: 「Well, for the first power pop album, I would say we were influenced by Cheap Trick's “Surrender”, the early sound of The Beatles, and even The Knack. And for the second garage album, I went from the “Nuggets” compilation to aiming for the Amboy Dukes and The Stooges. And for the third album, I can't really explain it, but it reflects more of what Green Day is now, or it expresses what we've learned from our past. So I don't really think about the musical influences, it's just what I wanted to play at the time.」

You said you wanted to make a classic Green Day album for the first album, but did you have any big goals for the three albums? From power pop to garage and the current "Green Day sound," it's like a depiction of the growth process of one person's life through music, and it felt like a Green Day version of the "Rock Encyclopedia." I felt like you were also playing a role in that, for example, if a child who wants to listen to rock music asks you which albums they should listen to, you could just tell them to listen to these three albums. Billie: 「Actually, that's what we thought too, and we thought it would be great if the kids could listen to these three albums and decide which one they liked best out of them. Because I'm sure there are parts of these albums that each of us can relate to, and I felt like they would reflect who we are as human beings. I thought that would be interesting. I wanted people to listen to all three albums, and of course I wanted them to like all three, but I also wanted them to decide which one they liked best. I mean, I thought that would be the audience's projection of themselves, and of course our projection of ourselves. It would be great if each person could collect their favourite songs and make a compilation album out of them.」

"We’re “No Future” and that's why we're living every moment to the fullest. I think that's exactly what this album represents."

So you didn't set any special goals, but the result is an album that you hope people will listen to in that way? Mike: 「Yeah, we just wanted to make good music.」 Billie: 「Yeah, we didn't have any clear goals, we didn't really know what our goals were or what the future was, and we didn't really think about those things from the beginning. Especially with this album, there was no agenda, and that's the beautiful thing about this album. So I don't think there are any typical singles on this album. It's true that "Oh Love" will be released as a single, but I think this album has the potential to go beyond that and expand in many different ways. So I'm thinking of doing a multi-media, home-video kind of video on YouTube, and I'm also thinking of making a solid music video. Anyway, the possibilities are all there, but we haven't decided anything about the future yet. We're "No Future" and that's why we're living every moment to the fullest. I think that's exactly what this album represents.」

Last year was 2011, the tenth anniversary of the 9/11 terrorist attacks, and I personally thought about what was the most important thing in the music scene of the last decade, and I still think the most important album of the last decade was "American Idiot". America was almost frozen in silence for three years after the terrorist attacks, and we had always thought that rock music was strong in the face of adversity, but in reality, other than you guys, Bruce Springsteen was the only one who could speak for what we wanted to say and turn the tables on the situation. And the more time passes, the more I realise the greatness of that album, including how it was expressed. Earlier, you said that you depicted party time in this album because of the sense of accomplishment you felt from "American Idiot" to "21st Century Breakdown" and the musical "American Idiot." Because you made an album that strongly connected to those politics and times, you felt that it was time to move forward as a feeling within the band, but at the same time, did you feel that this kind of work was necessary to lighten the mood a little and move forward, for example, for the whole of America, to not to take the atmosphere too seriously anymore? Billie: 「I would say that such things should follow the laws of nature, or let nature take its course. So I think the American government should let things move forward naturally in the direction that things are going. So, for example, if it were now, I think it's already time to establish a health insurance system in America, so I think we should follow the natural flow and establish it without going against it…….. In a way, we allowed ourselves to make these three albums, it's a bit like establishing a health insurance system, I mean, we didn't want to go against the laws of nature that came from within us (laughs).」 Mike: 「Well, because we've created this, there's even the possibility that we'll be in a crisis where we'll absolutely need to establish a health insurance system (laughs).」 Everyone: 「(laughing)」 Tre: 「We felt like with this album, once again, we've kind of filled a hole in what's missing in the world today.」 Billie: 「Yeah.」 Tre: 「When “American Idiot” was made, there were no people anywhere who were saying what needed to be said at the time, so we filled that missing hole with “American Idiot”. So I don't think there's anyone out there now making music that people really feel something. So we wanted to fill that hole now. I mean we wanted to make music that would make those people really feel something.」

So it's a festive album, but if the audience can really feel something from this album, you really want them to feel something from it. Tre: 「Yes, that's right. Besides, there's so much more to feel on this album.」 Mike: 「Really, seriously (laughs)」 Billie: 「Yeah, yeah. I think so…… Um, well…… I don't know…… But anyway, I mean, you know, seriously, because I think it's really, really crazy. I think it was a really crazy idea. So, quite frankly, I myself still can't believe the fact that we've actually completed something like this.」 Mike: 「(laughs)」 Billie: 「Because I think the idea of doing three albums could have easily gone wrong. But we actually did it. And no one had ever done it before, and I don't think anyone will ever do it again. And we've done it. Yeah.」

"In the world today, there is no one who is making music that people can really feel something. So we're trying to fill that hole with this album."

That's right. You said that it's something that people feel now. For example, I thought that "Kill the DJ" from "Uno!" was the best song that Green Day had ever made, but judging from the title alone, it seemed like it was a rebellion against the dance scene, which is now huge and empty, especially in America. Mike: 「I had been telling Billy for a long time that I wanted to write a song with a dance beat, with four beats. I wanted to see what would happen if Green Day did that. So, while we were working on the album, Billie actually came in with a song he'd written to try it out, played it and said, "Tell me what you think?" and Billie walked out of the room. And the moment the song started, I was like, "Oh man, are you serious?" (laughs).」 Tre: 「"Yeah!" (laughs)」 Mike: 「Then we took it from there and jammed on it as a band in a rock 'n' roll style and finished it. It's also about the noise that surrounds us, so "Kill the DJ" is a metaphor, I'm not actually saying I want to kill the DJ, but I might want to kill the VJ. For example, kill that guy from TMZ (news/gossip website)! (laughs).」 Tre: 「It's also funny that even though it's a dance song, he sings "Kill the DJ".」

We're running out of time, so I'd like you to tell me a little bit about a few songs, firstly about the single "Oh Love" and then the magnificent and epic "Forgotten" that closes the three albums. Can you tell us about them? Both of them touch on love, how did they come about? Billie: 「"Oh Love" was written as a spotlight ballad. I started with a guitar riff and it almost sounded like a cross between AC/DC and Queen, but a Green Day version of it. And then, umm, I wrote that song with the intention of just grabbing your heart and never letting go. It's almost like a love addiction. Well, I wrote that song with that in mind, and then the last song, "Forgotten," is kind of a song that kind of reflects and embodies everything you've heard on "Uno!", "Dos!", and "Tre!" It's the song that sums up the three albums, the real grand finale. It's also a torch song, so it's like a sentimental love song.」

What about "Amy" from "Dos!"? Billie: 「Amy Winehouse.」

Why did you want to sing about her? Billie: 「I was really sad that she passed away because I thought she was a really great artist and I thought the music scene lost a really big presence because of her death. She was someone who could sing modern versions of old soul music, and I think it's really hard to find someone like that these days.」

Finally, you are all 40 this year and show no signs of slowing down. In the almost 25 years since you formed the band, how far have you come, and where do you plan to go from here? Billie: 「Wow (laughs). Weeeeeell, let's see. We…… So we're all alive at the moment, you know. So as long as the three of us are alive, we'll keep making music. Other than that, I can't think of any other plans at all.」

Understood. Thank you very much! Everyone: 「Thank you!」

Translator's Note: A few things to note.

-Yes, that is a typo on Billie’s name and I’m keeping it there for posterity’s sake, no matter how much Google Docs is trying to correct me. And in case you’re wondering, this is the second time that I encountered this typo. It will not be unusual if I encounter it again in some other magazine.

-In the text of the interview, it really did say “Will you be my girlfriend? (僕の彼女になってくれないか)”, and Billie did confirm that it was from the song ‘Angel Blue’, but the line in the lyric was really written as “Won’t you be my bloody valentine?” So I assume that for some reason, the editor chose a far more polite wording and I chose to keep it that way.

Please do support me via my ko-fi! ☕

[goongiveusnothing]

Harry Styles is a total creepy PERV and he looks the part too. His weird obsession with sex especially his weird obsession with alluding to gay sex for his female fans to freak out is weird as fuck. If you take away the fact that he’s “Harry Styles” he’s literally just some hideous grown man covered in dick jewelry and sex related t-shirts talking about sex and edging and choking to a group of adolescent girls who think it’s acceptable. All while trying to keep the babygirl aesthetic. I won’t even speak of how disgusting the combination of the babygirl aesthetic and the pervyness is. He’s nasty as hell and hasn’t changed at all from his pulling-his-dick-out-backstage days. He even still walks around in his underwear backstage according to his friends🤮. I hope these girls wake up one day and realize this is creepy behavior and the only reason they think it’s ok is because he’s a celebrity

YES the baby girl thing he does while he makes sure to be as gross and visibly overtly teenage boy sexual is actually honestly sinister. it's very manipulative.

he has only gotten away with all of this because of his queerbaiting too, his fans justify how gross he is by claiming he's gay so he's alluding to his sexuality, as if that justifies it. imagine a gay man acting this way about dicks, sex and women in public?

i think it's interesting this is how he's launching his new album era too. you'd think being in his 30s he'd actually start maturing, but he has no idea how to be anything other than a creepy teenage boy sexual harassing weirdo who feigns he's actually a lil princess baby boy.

[rickallensbarefeet]

Japan/Steve Jansen appreciation post because I love him. Everybody go listen to their album Adolescent Sex RIGHT NOW

[phil-fuckin-lewis]

David Sylvian Fluff where reader falls off bed while sleeping and wakes up on the floor please! 🥺❤

David Sylvian 💙

"Are You Okay, Hun?"

>< 1978 ><

•••

It was a boring, rainy afternoon ans you were taking a nap at a hotel in England

David was smoking his cigarette in the porch while looking at the landscape in front of his beautiful blue eyes

And you were peacefully asleep

You moved and somehow you fell off the bed, that's when you woke up

You gasped and looked all around, scared

Then you sat up, but still didn't leave the floor

"S/N?!" David called you and ran over

"Ouch!" You exclaimed to yourself and tried to get up

"Ooh, dear!" David walked towards you and helped you get standing "Take care, how did you move so much? You're not like this usually"

"I don't, i just did!" You said and sighed "ouch!" You complained

He could see you couldn't take your hand off your wrist

He grabbed your hand and softly massaged your injured wrist, hurts a lot

He got some ice and put it on the injury, it melted and then both of you lied down, but before this, Sylvo got up to throw his very worn cigarette away

Both of you fell asleep, together ♡

[depoteka]

album 71: peter gabriel - peter gabriel

Heard it before. Don't know how many of his albums are on the list (already got So before) but they're all gonna get a good score. Love you, Peter

4/5

album 72: talk talk - the colour of spring

Heard a different Talk Talk album before. They do have some nice songs but eh, this album doesn't really have any

2/5

album 73: t. rex - electric warrior

Heard it before. T. Rex makes such sweet music, it puts me in a good mood and inevitably makes me think about Billy Elliot

3/5

album 74: pixies - doolittle

Heard it before. I have a complicated relationship with Pixies because in theory it should be something I like. But I just don't. I think something about Black Francis' vocals pisses me off? The music is quality tho so I will still give it a good score

3/5

album 75: x-ray spex - germfree adolescents

Heard it before. Sex Pistols wish they were X Ray Spex

3/5

album 76: james brown - james brown live at the apollo

Heard various James Brown songs before but never an album. Quite fun but at the same time nothing special

2/5

album 77: elvis presley - elvis presley

Heard it before. It's a charming little album

3/5

album 78: jimi hendrix - axis: bold as love

Heard bits of it before. I do respect Jimi (fellow leftie) but this album just doesn't click for me

2/5

[respectthepetty]

RTP! Your post about the posters in Sand’s room made me go and listen to AM and I’ve had it on a loop for days that album fucks SO HARD

Anon, it was actually @colourme-feral's post -> link here.

I just added my love for Arctic Monkeys' AM in the reblog because I really love the album. Like I wrote, the album feels like the vibe of the show since every song deals with messy relationships and sex.

I love that Jojo is making playlist for each character to show how integral music is to the series because I LOVE music. I still mute my shows, but I do appreciate the influence of music on the series, and how it is used to conjure up the emotions that go along with the song.

Which is why I love that Jojo mentioned the opening sequence was inspired by Fiona Apple's "Criminal" because . . .

"What would an angel say, the devil wants to know?"

When the video came out, there was backlash because of the song's lyrics and the nature of the video. The Wikipedia entry doesn't do it justice with its notes that "it explores themes of voyeurism and adolescence" and "the song is about 'feeling bad for getting something so easily by using your sexuality.'" People wanted the video off the air, and slut shamed the singer. On top of that, the director is Romanek, who also directed a lot of famously controversial videos like Nine Inch Nails "Closer" and if you don't know that song, it features lyrics like "I wanna fuck you like animal. You get me closer to God" and the video features BDSM and crucifixes (VegasPete anyone?).

The video for "Criminal" shows the singer in different layers of undress, but it was a testament to the "heroin chic" style many supermodels (e.g. Kate Moss) portrayed at the time aka looking super skinny and having sunken features like they had done heroin, and how models also looked almost childlike, so it was Lolita, but with adults.

Then, a taste of the lyrics:

I've been a bad bad girl I've been careless with a delicate man And it's a sad sad world When a girl will break a boy Just because she can Don't you tell me to deny it I've done wrong and I want to Suffer for my sins I've come to you 'cause I need Guidance to be true And I just don't know where I can begin What I need is a good defense 'Cause I'm feelin' like a criminal And I need to be redeemed To the one I've sinned against Because he's all I ever knew of love

It sounds familiar right? The entire opening sequence is inspired by the video, but one person in particular just really resonates with CRIMINAL!

And after this last episode . . .

Heaven help me for the way I am Save me from these evil deeds Before I get them done I know tomorrow brings the consequence At hand But I keep livin' this day like The next will never come

Boston is the devil.

[brltpop]

So i was tagged by the always lovely @sibelin to list 9 albums I've been listening to lately, thank youuu 🥰

Tagging: @wellenklavier @cochinitapibil @jeffament @wereonlydollparts @like-a-million-suns @jaz-zmatazz @ruztyryan and whoever wants to do this!

The color scheme wasn't on purpose, i just arranged them to look satisfying hehe ALSO I'd be lying if i said I've been listening to aaaaaall the songs from these albums so I'll just list the ones I have:

• from Adolescent Sex: Don't rain on my parade, transmission

• from Everybody wants to shag... : Soft enough for you, sex (pussyface)

• from Afraid of sunlight: Live forever, mirages, king, icon.... ugh this album is so good 😩

• from Solitude standing: In the eye, wooden horse, calypso, iron bound/fancy pantry... 😗👌

• from Fourever: Sad ending, let me love you

• from Black friday: Answer phone, black friday and spinning

• from All things must pass: Let it down, i'd have you anytime

• from Naked eyes: WHEN THE LIGHTS GO OUT, voices in my head, promises promises

• from Amor minimal: La ironia de las rosas, amor minimal

✌😎

[bubblesandgutz]

Every Record I Own - Day 783: Neutral Milk Hotel In the Aeroplane Over the Sea

I'm not sure when In the Aeroplane Over the Sea became so divisive. It's a love it or hate it record. Even its early advocates have taken to a certain reevaluation of Neutral Milk Hotel, with the asinine "they're not even the best Elephant 6 band" hot take becoming fairly standard music snob commentary. If Olivia Tremor Control or Apples in Stereo had blown up instead, I'm sure they'd face the same criticism. Honestly, I'm not even sure when this album became popular enough for it to have an intense cult following and adamant detractors, but for me, this album was a complete game-changer when it came out in 1998.

I had a college radio show when the station manager added Aeroplane to the "indie" rotation. DJs were required to play a certain number of songs from the three-dozen-or-so albums in the rotation of their assigned genre, and being that I was officially an "indie" DJ, I had to break up my playlists of hardcore records with the occasional "college rock" tune from the station manager's weekly picks.

I abhorred the majority of stuff in the indie rotation, but I didn't have much of a choice in the matter. I remember begrudgingly picking out the Neutral Milk Hotel CD simply because it was on Merge Records, which meant it might at least sound like Superchunk, and playing it on air without previously hearing a note of their music. I don't even remember which song I played, but I was so blown away that I smuggled the CD out of the DJ booth and took it home.

Stealing from the radio station was bad business, though I knew more than a few fellow DJs who supplemented their personal music libraries with stolen promo albums. I mean, who was going to miss a Big Boys LP from the station's neglected vinyl closet? But to steal a CD that was currently in rotation? That was risky.

I couldn't help it. I was so fascinated by what I'd heard that I was willing to risk getting busted. I took the CD home and immediately put it on the stereo, sat on the couch, and listened to the whole album with my undivided attention.

It was 1998 and I was a twenty-year-old hardcore kid. I had begun to feel a little bored and underwhelmed by the lack of sonic diversity in the punk world and had begun listening to a lot of folk and country music when I got tired of listening to music where I was getting yelled at. So when the opening chords of acoustic guitar kicked off "King of Carrot Flowers Pt. 1," my ears perked up. Jeff Mangum's voice---double tracked and compressed to a rich, almost-in-the-red saturation---comes in with his cryptic lyrics describing a tumultuous childhood and adolescent sexual awakening. An accordion and bass creep into the mix as the song builds to the climax, only for the band to switch gears into "King of Carrot Flowers Pt. 2 and 3," where Mangum repeatedly professes his love for Jesus Christ against a backdrop of fuzz bass, dissonant singing saw, and tape manipulations. The song eventually explodes into a blown-out punk-tinged pop tune where everything---acoustic guitar included---is cranked to the point of distortion.

Every song seemed to offer something new: the horns and woeful singing saw of the title track, the austere performance and stream-of-consciousness lyrics on "Two Headed Boy," the mournful Eastern European-influenced instrumentation of "The Fool"... it all flowed together like some strange collage of yesteryear sounds, but pushed to the limits of a DIY recording studio's compressors. And in the center of it all was Jeff Mangum---an untrained singer with crystal-clear diction weaving Burroughs-esque vignettes that were purportedly inspired by Anne Frank. There were references to the loss of childhood innocence, war, death, sex, communism, and religion, but all described in a detached and surrealist manner. The music exuded joy, but the lyrics seemed more like excerpts from The Naked Lunch.

I can't understate how much this recalibrated my brain back in 1998. The year prior, all my friends had fallen head over heels in love with OK Computer. While I have since grown to appreciate Radiohead, I did not share my peers' initial enthusiasm. As far as I was concerned, any major label band with a big recording budget and a hot producer was capable of making a lush record with all kinds of cool sounds and wild guitar effects. But Aeroplane? This sounded like a bunch of down-and-out weirdo college kids with their grandparents' instruments making magic in some basement recording studio.

I loved the music, but I was particularly drawn to Mangum's lyrics. I gravitated towards punk as a teenager because the music actually seemed to mean something. Minor Threat sang about being an outsider. Dead Kennedys sang about the cultural climate of the late '70s / early '80s. Minutemen sang about history and how the present reflected the past. Even my love for country and folk music centered on protest songs, outlaws, and earnest heartbreak. But I was reaching the point where it felt like all the bands I loved were singing about the same thing. Rebellion felt codified. You had to sing about certain things or the zines wouldn't like you. And along came Neutral Milk Hotel where the lyrics were somehow borderline non-sensical while simultaneously seeming far more earnest and honest than anything else I was listening to at the time.

Aeroplane didn't leave my 5-CD disc player for the remainder of the '90s. And I am still upset that I was just a few months shy of turning 21 when they opened for Fuck at a bar in Seattle that summer. Within a year Botch would write and record "C. Thomas Howell as the Soul Man," a song that's essentially about feeling that the earnestness and honesty of hardcore was being replaced by lyrical formulas. In hindsight, I can't help but think that Neutral Milk Hotel had showed me that you didn't have to sing about animal rights or hating cops to be profound or passionate. And I also can't help but wonder if the fuzz bass breakdown in that song was a subconscious homage to the bass tone on Aeroplane.

Twenty-five years later, I can't say that I listen to Aeroplane all that much anymore. At some point I learned every lyric and chord progression on the album. I'd heard bands like Bright Eyes and The Decemberists borrow heavily from Neutral Milk Hotel without actually capturing any of their wonder, mystery, or charm. Long story short, I got too familiar with the record and bummed on the imitators they spawned. So maybe in some sense I do understand why people are so critical of the album. But listening to it this morning, I still think it's a fantastic record and I can't deny how it completely altered my listening habits. Aeroplane is one of those records that impacted me in a way only a handful of other albums have in my lifetime. And for that reason, I'll always be a fan.

[daggerzine]

“I am a Cliché” A documentary film about Poly Styrene of X-Ray Spex (2021- review by Dina Hornreich)

There is a so-called “Afro Punk”

<https://www.spoonersnofun.com/afropunk> movement which is yet another tangent to consider upon adding the social construct of race to this ongoing mix of sex & gender rock’n roll activism which allows us to arrive at another level of understanding entirely.

Kimberlé Crenshaw calls this approach “intersectionality” which (in a nutshell) can be explained thusly: if we all live under this male white corporate tyranny which favors a “mythical norm” (cf: Audre Lorde) by promoting greed, violence, & misogyny (i.e. toxic masculinity); then black men may have some advantages because (at least) they are still male, and white women may have some advantages because (at least) they are still white.

But what do black women have working in their favor? <insert cricket noises here>

Enter Marian Elliott (i.e. Poly Styrene) who was a pioneer amongst the outsider world of rock’n roll n*ggers (sic) who found little camaraderie amongst the punks in whom she sought substantial inspiration in the late 1970s. She was very different amongst the regular lot of Sex Pistols inspired bands like Joy Division or even the Slits <https://www.slitsdoc.com/>.

However, her legacy continues to inspire droves of feminist/black punks who also perpetuate this unending dire feeling that needed, wanted, and deserved to express share with an audience. From zines like Osa Atoe’s “Shotgun Seamstress” <https://softskull.com/books/shotgun-seamstress/> to Rachel Aggs’ variety of bands (Shopping, Trash Kit, and Sacred Paws) <https://www.lostmap.com/visitations-rachel-aggs>, her influential contributions remain impeccably unassailable.

When I first discovered her music in the summer of 1995, I was living on a kibbutz in Israel near the city of Netanya which was likely the optimal time and place for me to best appreciate her shrieking critiques of consumer culture and its perpetuation of misogyny, racial oppression, and gender essentialism. It remains the first and only time that I ever looked at the cover art for a recorded album and felt entirely at home in my own skin (before I even opened the package!); and then listening to her music clearly solidifies that sentiment even further.

At that time, there was little else that could validate at the same level of impact that purchasing a copy of “Germ-free Adolescents” at a record store in the bus station in Tel Aviv as it did for me in 1995. In fact, when I returned to the US for my junior year of college at the end of the summer, my male friends relentlessly teased me about the obvious similarities I shared with Poly; and then refused to concede that she was equally important to the movement as Joe Strummer more readily gets recognized. The only legitimate piece of music writing that I could find which seemed to do her work justice was a brief chapter in Richie Unterberger’s 1998 book “Unknown Legends of Rock'n'Roll" <http://www.richieunterberger.com/ulrhome.html>.

The radical ways in which she was spotlighting the propagandistic nature of advertising as it relies heavily on manipulating (and otherwise exploiting) human emotional vulnerabilities (involving guilt, shame, and blame) just to sell consumers a completely fabricated self-concept of gender identity. As a young British woman of partial Somali descent (on her father’s side), there is no respite from her internalization of the stigmas that her innate differences invited (given the experiences that her appearance manifested); and so the overwhelmingly complicated struggles that she faced on a regular basis made every waking moment of her life an arduous endeavor. It was a relentless onslaught of arduous challenges with very little recognition for the substantial emotional investment that she threw into her every effort with almost nothing to show for it at the end. Pills, drugs, and similar remedies are poor distractions from this harsh realization.

The film reinforces how the “punk” label often reveals itself to be an increasingly illusory category – given some of its more “miscellaneous” categorical aspects – and an overall lack of coherent focus which only suggested that its purpose was merely allowing for our ongoing right to be asserting our existence in a cruel and unjust world.

We are not people who were built with the solid foundation to layer on so much pressure given that fragility; as such, she eventually collapsed (mentally, physically, and socio-emotionally) from the toll that trying to find validation in a scene that only mocks any level of commercial or mainstream validation at its outset. So she escaped to the religious fervor of the Hare Krishna movement in India; and struggled in her more conventional roles as wife, mother, etc. I’m not clear on how she elected that particular community, as I’m inclined to think her father may have been Muslim, but I am not really sure how supportive they were for those endeavors.

Because she stood up for herself in these unsustainably creative and political ways leaving herself immeasurably depleted while lacking the resources to keep herself going, there was no escaping the stigmas of successive “breakdowns” – and other concomitant pathologies which only punish her for taking that kind of artistic risk in her work in the first place. (It seems inappropriate for her estranged daughter to even weigh in on such matters, in the first place.)

It’s not clear if she was ever able to take a step back to fully appreciate such influential contributions, and it seems Celeste made this film simply to be able to do that work for her own healing in order to have a more peaceful ending. (Eventually, there was another iteration of her band, X-Ray Spex, involving collaborations with her daughter prior to her eventual passing to breast cancer.) I often wonder how successful most “rockstar” types can be as parents given the demands of that kind of career; especially back in the 1970s. It’s a very demanding lifestyle even though music is considered “the language of the spirit” (and punk didn’t always have that unifying, healing kind of creative vibe).

“I am a cliché” clearly provides ample testimony to the limitations for trying to thrive as a feminist punk rocker while trying to negotiate a suffocating oppression that is created by male white corporate tyrants looking for “the next big thing.” No matter how much Poly tried to find solace from being a trailblazer, the limited availability of resources for supporting this kind of endeavor made the toll of that risk completely unsustainable. There is no glamorization of her life despite these accomplishments, but her legacy remains all the more significant as a result.

www.polystyrenefilm.net

[juliewsz]

Álbuns da minha vida!

Eu vi meu amigo compartilhando os álbuns favoritos dele (link) e achei muito legal, então vou fazer o meu também!

⚠️ Aviso: Os álbuns não estão seguindo uma ordem específica!

Grace - Jeff Bucley

claro que "Grace" tinha que estar nessa lista.

Esse é o único album do Jeff buckley e que recentemente fez 30 anos que foi lançado! A sonoridade da voz do Jeff é perfeita, é triste mas que tem uma força enorme. As letras das músicas desse álbum são lindas e fazem me questionar se ainda existe algum homem com o amor tão profundo quanto o de Jeff.

Também amo o jeito que ele mudava a letra the "lover, you should've come over" na versão ao vivo.

The New Abnormal - The strokes

esse álbum praticamente descreve meu ser. Eu sinto que ele é um álbum muito pessoal, as composições são algo que refletem algo maduro e nostálgico.

Também amo que escolheram uma arte do basquiat para a capa do álbum.

"But then it don't make sense when you're trying hard

To do the right thing, but without recompense

And then you did something wrong and you said it was great

And now you don't know how you could ever complain"

Cigarretes After sex - Cigarretes after sex

eu AMO todas as músicas desse álbum.

É claramente um slowcore que é tão equilibrado que é quase ambiente, as musicas parecem fumaça no ar.

As letras são românticas e doloridas com significados por trás.

Submarine - Alex Turner

que trilha sonora incrível.

é leve, calmo e romântico. Me traz muito o sentimento de entardecer frio e assistir o por do sol na praia.

2 - Mac Demarco

É um álbum com letras realistas e sinceras.

Com uma sonoridade nostálgica e gostosa de se ouvir.

Fuzzy Brain - Dayglow

esse álbum é extremamente nostálgico pra mim. Eu escutava muito ele e um da clairo quando descobri ter um estilo meio indiezinho.

É fofo, animado e nostálgico, deveria ter mais reconhecimento.

Favorite Worst Nightmare - Arctic Monkeys

Esse álbum é muito tumblr 2014, e aqui estou eu colocando ele no meu blog depois de 10 anos.

Esse marcou muito o início da minha adolescência quando eu finalmente decidi ouvir as músicas que minhas primas escutavam na minha idade.

Pra mim é um álbum muito sentimental, que tem um mix de emoções. Assim como estar na adolescência.

É isso, tem muitos outros álbuns que eu amo muito, mas esses que eu citei tem um lugar guardado no meu coração. 💕

Créditos ao Rafael que fez um post lindo que me fez refletir sobre esses álbuns que são tão especiais para mim!