#and he did a sax solo

[bbboar]

Went to see Ghost yesterday! It was so good!!! Def going to see them again next time theyre touring!

The church set up so fucking cool, the light show was amazing, Mr.Papa Emeritus had multiple outfit changes and the ghouls were so theatrical and really got the crowd hyped (my section screamed each time the guitarist so much as pointed at us).

Also my fellow fans were all dressed up too, which i loved! We were a sea of black (baring a few pastel exceptions). So many people wearing ghost merch, there were a few nuns and a looot of alternative fashion

Oh and at some point the were cannons that blew confetti and these sweet $666 notes. I yoinked one mid air and put it in my bad so fast lmao

[boyguk]

I feel like we've glossed over the fact that namjoon is a saxophonist now

[nemofil]

siren song call of death is so so beautiful

[angelicenjolras]

OK, FINALLY I GOT AROUND TO FINISHING THIS

LES AMIS + OTHERS IN THE HIGH SCHOOL CONCERT BAND AU

My qualification for this is that I've been playing flute in concert Band for 5 years, and been in the top band for 4 years, im extremely qualified/hj

Enjolras: 2nd chair flutist. He's been playing flute since middle school and joined the top band freshman year. Jehan and him often go to each other houses to practice with each other. He gets really bad anxiety on concert day. Also did chorus, but only for a year before quitting. Incredibly good at playing by ear

Combeferre: the only Bassoonist in the band. Started playing bassoon freshman year and joined the top band sophomore year. He would also love to play viola, but he has too much on his schedule. Stays after school to practice, often with Courfeyrac and/or Enjolras. hears the "bassoon in German" jokes way too many times and is sick of it.

Courfeyrac: 1st chair trumpet and also the section leader in marching band. He started playing trumpet when he was really young and joined the top band freshman year. Him, Bossuet, and Bahorel stay after school a lot for brass sectional practices. Every time the band plays Sleigh Ride, he wears a silly horse mask when doing the horse whinny (like what this dude did)

Jean Prouvaire: first chair flutist. Started playing flute really young but only joined band their last year in middle school and joined the top band freshman year. Once stayed overnight at Enjolras' house to help him get down certain parts in Satirical Dances (that song is a nightmare). Puts a little Santa hat on their flute every winter concert (i recommend everyone to do this it's very funny and makes your instrument look very cute). Incredible at playing by ear

Bossuet: Tuba player that doubles on Trombone often. Started playing freshman year and joined the top band sophomore year. Did marching band for a bit but quit very early on. He messed up on his trombone solo once during MPA, and it haunts him since. Instrument gets so out of tune so often it's insane. He loves listening to music and just playing along with it, even if he doesn't know the notes

Joly: plays 3rd clarinet. They played a bit in elementary school and picked it up again freshmen year because Bossuet was joining the band, then joined the top band sophomore year. They're not the greatest clarinet players, but they're having a lot of fun, and that's all that matters. They love to look for sheet music of video game music they likes. They use the schools clarinet, so they clean it excessively before and after they use it. Sucks at playing by ear

(Just adding here, Musichette isn't in the band but in the string orchestra, and she plays cello!)

Feuilly: plays tenor sax. Started playing in the first year of middle school and joined the top band sophomore year. He plays tenor sax in the jazz band. Deep love for soul music and listen to a lot of older jazz. Him and Enjolras did a duet for solo and ensemble once. He would love to learn bass one day.

Bahorel: percussion. Started band freshman year. Really liked the idea of banging on shit and making a nice rhythm. Often, he gets in trouble for playing way too loud, but other than at hes pretty good at most percussion instruments....besides the triangle, somehow. He always wanted to play french horn when he was a kid.

Grantaire: honestly i was stuck figuring out what to make him play, then @ghost4tets mentioned on one of my post how they could see Grantaire playing oboe and thats actually so perfect, I can totally see that, especially because back in my middle school top band one of the oboist did not care about the band at all, and I think that's Grantaire in a way. He would join junior year, and no one has any idea how he even got in the band because he clearly never practices, which was odd to them bc he clearly seem to like music (gose on hours long rants about classical music). The main reason he joined is because he once heard Enjolras playing and thought it was the most beautiful thing he ever heard, and he wanted to hear more of it. Genuinely loves the people in the band, and the band likes him enough to keep him around (even though he's clearly not practicing at all)

Marius: 1st chair Oboist, played oboe a bit when he was younger and joined the top band junior year because courfeyrac told him it was a great way to meet others and a nice hobby to get into (plus the conductor was looking for a oboist who would actually learn and play the music). He has a huge crush on a certain violinist in the sting orchestra. Courfeyrac and him practice a lot after school.

Cosette: violinist in the string orchestra, started to play violin first year of middle school and joined the orchestra freshman year(there is no top string orchestra because there's only a mixed orchestra in the school) became really close friends with Musichette. Her and Enjolras (bc they will forever be twins in almost every au i make) love picking out songs they know and playing together. Very good at playing by ear. Has a crush on a certain oboist in the top band.

Eponine: isn't actually in the band but visits the band room almost every day after school, mostly to talk to Marius. Taught herself how to play piano and loves to play on it whenever she visits the band room. Even though she isn't actually a band member, the band still treats her like she is a part of it and loves her dearly

Ok I think thats it for now

[multiheadcanons]

MARGINAL ANALYSIS OF MERCS THROUGH MUSIC— A LITTLE HEART TO HEART/MEDIC!

i’m gonna take you on a journey. and we’re gonna start this journey with the fact that i only took the music theory class, i did not graduate with a degree of any kind in music theory. and i haven’t been in school in years.

imagine, as the music begins in standard waltz style; you are a question. begging for answers. you stand against the wall, scanning for the man who will answer you, complete you, and put you to rest.

in steps a tall, vivacious german man. a doctor. you hear the quiet woodwinds walk you, very gently, into the beginnings of a dance with this man. a curious step, with a curious man. a standard dance, you would think. as you look into his eyes you see something brewing behind them. and as he dips you, you hold your breath… yet he returns you back to your standing position with a light smile, and you continue to twirl around each other. the woodwinds continue to walk you down, down, down, into another dip.

you wait to be returned to your standing position. but he is done beating around the bush.

the strings begin with insidious intensity, keeping and controlling the woodwind’s pace, repeating that same pattern of eternal, dangerous curiosity as he begins to tinker with, and ponder you. it is a dizzying process of him attacking from all angles as he becomes swept up in his mission of answering a question. as his mind moves faster, the music’s pace picks up, and you are spun faster, and faster, but he is a confident man. he does not falter. each step is firm, calculated, even as you trip over yourself and him he does not budge, the curiosity in fact grows as he becomes enthralled in the beauty of knowledge unknown, releasing you for a moment, but never losing sight of the prize here, as the pace never returns to what one could call, at this point, a mild tempo in reference to the rest of the song.

he is a man who gets results. he is a man who doesn’t stop until he is sated. and literally this is my favorite part of the piece, as the woodwinds drop off to leave you only with the quickening pace of the drum, and the strings— the strings that it sounds like they’re sawing at. they’re putting so much force on the strings that you can just barely hear the squeak of the hair on the string past the rosin. and i love that sound, i don’t know why. it just makes the entire section sound frantic. like they’re being held at gunpoint to play and the conductor just got shot dead. it gives me the feeling of crunching snow but better because i hate snow. even as you are spun away from him at the swell of the completion of the chord, he does not leave you to fend for yourself for long.

it is time to go practice medicine.

the man’s mission is holy; that is undeniable as the chorus cries out over the beats of the war drum and light strums of the harp, and the doctor’s personality begins to truly shine. long, flared, brassy notes as the man’s scientific method reaches new heights of madness, as he recognizes his work simply isn’t complete. he’s getting answers that are of no use to him; answers he knew; the chords remain incomplete as he tries again; a little more meticulous in his approach as the notes are plucked off the instruments. the addition of the bells is insane. still can’t even imagine why it’s there. my brain thinks it could be a fucked up nod to “don’t ask for whom the bell tolls” but in one of the goofiest ways imaginable, which would only make sense for this dumbass. but he is still not getting he answers he wants. the chord remains incomplete as he delves back in completely. unwilling to let it go, unwilling to walk away and regroup. he grits his teeth and pushes through, the horns coming in with even more punch this time, more flare, more grit, leading into the absolute tastiest fucking sax solo. i always imagine the solo as his laughter. he’s just going crazy up there as he finally strikes the gold he’s been searching for, as we get those triumphant horn blares. and i know someone has that meme photo. you know the one.

i think a character’s soundtrack is so vital to understanding the fundamentals of a character. and i think medic is a wonderful example of this. it’s very easy to take a character like the medic and reduce him to “madman” or “doctor”; and throw the rest of what makes him such a wonderful, truly beloved character to the wind. and i think a lot of the nuance of this dr. doofenschmirtz dumbass gets lost very easily in the noise of ships and the noise of more universally beloved characters, but i think when you have a game like this, with characters like these, where it does seem like every hand that was laid on these characters was done with love and care… it’s easy to find what you’re missing. you just have to look.

anyway i love tf2 medic and i love music and i love the valve orchestra

[tempered-grace]

OK ANALYSIS TIME AS I PROMISED

The beginning is really reminiscent of Mine, except it reads more like an invitation especially coming into the pre chorus

It’s so gentle, the image I keep coming back to is coaxing a skittish cat to you with food. It also speaks to leaving behind what held you back, of shedding an old skin and stepping into a true self.

Then the first verse— are you the thing that completes me? The thing that will complement me: not a missing half but a counterpart, something that amplifies and brings out the best parts of you

I’m specifically touching on the “dark light on my culture” because I JUST did this in AP Bio, how a black light can reveal the most beautiful bioluminescence in something otherwise nondescript

Also, the syncopation of the rapping and the drums here is incredible!!!!

Moving on.

I love the cockiness, the feistiness, the “come-and-get-me” of the Godspeed to my enemies line. It reminds me of the “I will be watching for your enemies // to let them know that they contend with me” except now it’s him defending himself, in a way. He has become his own savior, which in a sense is the thesis, or the point that TMBTE is moving towards.

The next verse is interesting to me.

It reads a little bit as an exchange and at first glance I thought it was a “here’s what I can offer you in exchange for your love” type thing. But that’s not quite right. It harkens back to Shelter in “I’m noticing your flaws // they’re exactly what I want” except reversed in a way. The darkness, the space dust and dark days have a purpose now. These flaws, these darknesses, are embraced.

There’s also this theme, throughout, of being alive to bursting, finally wanting to grab life by the throat and hold on. And that’s a huge turning point. It’s the feeling of exhilaration, of being unable to hold in that laugh or whoop or song.

“Tell me what you meant by living past your half life” is also interesting. It speaks to rewriting your own fate, reaching the end of the book and continuing the story on the end papers. Moving on.

Then there’s this echo of Rain, this theme of “I am doomed, marked by something awful.” And yet. And yet he still reaches out. “Darling will you saturate”, “go on and wrap your arms around me.” Except emergence continues it.

You might be the one to break this cycle. You might be the key to finally laying down this heavy head that won’t stop turning.

Now my favorite bit. “nothing else is quite the same as how I feel when I’m at your side.” At your side. Not worshipping as deity, not a follower, but side by side. Equals. Either he has ascended or he has left Sleep behind and sought a true equal, a partner. Or something to that effect.

Also! The vocal run and ornamentation at the end of “my mind go quiet” is the same as the one in “darling will you saturate” — further cementing the song as, in part, a continuation of Rain.

And then of course the beautiful jazzy sax solo 💜

[platadesangre]

we NEED to talk about jcs 1975 madrid cast!

i have come to make camilo sesto justice

UPDATED WITH MEGA LINK

i may be a bit biased, since this was my first jcs.

short story on how i discovered it

my dad used to be an apostle for a bootleg staged playback jcs in peru during the 70s! they used this version.

he had the cd. he also had the mp3 files. i used his computer, so that was how 13 year old me found it.

those were tough times, bc later i started doing catechesis and i kind of got depressed and started questioning my faith lol. judas' character really resonated with me

since this is a recording, i didn't have any footage to reference, so i made up everything in my mind. (this is why it was a bit weird for me to see the english productions, bc they looked nothing like in my head lol)

now, a bit of historical context for spain in the 70's

camilo sesto was a popular spanish singer and actor who went to see the jcs 1971 broadway production in london. he loved it so much that he did everything he could do financially to bring the show to spain.

spain was in a fascist dictatorship at the time

they fought with censorship for years, that's why the lyrics are a bit different (i'll make a post about that too)

they had to remodel the alcalá-palace theater stage entirely

franco (our dictator) died two days after the premiere (about time lol)

the "ultras" (conservatists) didn't like the show so they did lots of crazy stuff (for example, praying for the cast outside the theater or sending BOMB THREATHS?)

anyways, this was the first official translation for jcs!

on the main cast we have

camilo sesto as jesus christ (he wanted the role from the beggining)

teddy bautista as judas iscariot

ángela carrasco as mary magdalene

here's an old pic of them (and some apostles)

(now that i look at it closely, it kind of looks like a bootleg jcs 1973 lol)

on the recording

it's a stereo recording, so use both headphones or you'll miss out on half of it

musically speaking, it's similar to the og concept album (songs ending on fade-outs and shorter trial before pilate) but it has some interesting choices (teddy, the producer and the voice of judas, took a lot of... artistic liberties)

some things this version has

it adds lots of synth. it's very psychodelic. i understand this can be a turn off for some people

they kinda change the key to many songs. maybe to fit vocal ranges idk

teddy just loves to make up new melodies (please give this man some water)

EPIC GUITAR SOLO in what's the buzz

what's the buzz and strange thing mystifying are separated tracks for some reason

camilo sings so good

cute synth in everything's alright ángela has such an angelic voice she makes such a good mary

the drums and guitars during this jesus must die are so danceable

the BEST simon zealotes i've heard. shit goes HARD. he goes CRAY

i really love this pilate, in my rating he would be the best one

camilo's "¡SALVAOS VOSOTROS!" during the temple is really pathetic lol

damned for all time interlude replaced by synths. the SAX SOLO is also replaced by synth (questionable choice)

cool thing happens during the end of this song that i'll talk about in another post

judas' occasional nervous laughter really adds to his character

also he cries a lot

"you sad pathetic man" part during last supper is... fairly different! (i'm looking at you teddy...)

camilo's gethsemane is epic. he's a baladist singer but MAN he can ROCK

cool harmonica during the arrest

i'll never shut up about our pilate (he nervous laughs too)

herod is so fruity

judas' death really hits different when you were depressed and questioning faith (this version is BRUTAL) also lyrics change (i'll talk about it i swear)

teddy's one of the few judas who sing the i don't know how to love him reprise in the higher scale!! it sounds so painful and anguished

the album continues acceptably

other cool things it has

jesus and judas have this interesting accent difference. since camilo is from valencia, he has this pristine and traditional spanish accent. and teddy is from canarias (also lived in the usa) so his accent is rougher and more, crusty? idk how to explain it but it's neat and stablishes their dynamic a bit. (ángela is from dominican republic! but her accent is barely noticeable)

on the footage aspect, we only have old vhs videos and live audios uploaded on youtube. also some old photos

there is a book about this version. it has some anecdotes (only available in spanish)

now we have a 4 episode mini-series about the odyssey that it was to produce this. it's called "camilo superstar" (i won't be watching it bc it's a bit fan-ficy from what i've seen)

the posts i'll make about this production will be tagged as #jcs 1975 madrid

you can listen to it on spotify!

or on youtube (playlist made by me)

all that I could find about this version is here!

[alexthefly]

THUNDERPRIDE GIFT EXCHANGE

Happy Pride everybody!!! Hope you've all enjoyed the month's festivities and all the Thunderbirds-y goodness. I've got a bit of reading and art to catch up on, but what I've seen so far has all been amazing - you're all so damn talented! 😊

For the Thunderpride gift exchange I was lucky enough to be matched with the incomporable @emtb319 ! I've taken their prompt of seaside and kinda run with it, but if you look closely and squint a bit, you might just spot hints of their other prompts - stray cat and green - as well.

Also just to say that although this was meant to be pure Earth and Sky fluff, it did get a bit angsty in the middle (when does it not with me? 😅) But I promise it all turns out well in the end.

Hope you like it. Thankyou so much for the prompts, and happy Pride!

Word count: 2365

Also available to read on AO3

Just You

The morning of the annual Pride beach party had broken warm and bright, and now at mid-morning the place was jumping. Right across the crowded seafront, smiling people draped in banners and flags of every kind thronged together in a cacophony of colour and sound. Grilling stations had been set up along the edge of the beach to cater for the hungry revellers and, on the stage at the far end, performers in elaborate costumes kept the mood high with a joyous concoction of music, spectacle and thumping beats.

From his vantage point on the stone steps leading up from the beach, Scott Tracy was surrounded by the sounds, sights, and smells of a damn good time. Entranced, he took a moment and just breathed the jubilant atmosphere in.

It was intoxicating.

After a few minutes, he sensed his brother draw up next to him, a cool oasis of calm in a tumultuous sea of sensation.

“Quite the scene, huh?”

He breathed. “...Yeah.”

A delicious-smelling package was suddenly thrust into his hands.

“Got you some chips,” smiled Virgil knowingly.

Scott’s spirits soared and he tore into the paper cone immediately. Real British chips - distinct from fries and, according to Parker at least, far superior - were a rare treat that were best enjoyed piping hot.

That first bite of salty, crispy fluffiness elicited a moan of pleasure from him that frankly bordered on the obscene. 

Parker might have had a point.

Thankfully the ambient noise from the party spared him most of his blushes, although of course Virgil’s ever-sensitive ear caught it; but he just chuckled, rolled his eyes and turned his attention to his own similar package.

Over on stage the bands were swapping over, with the new one announcing themselves - Cat Distribution Network - before launching into a cover of some old dance track. It was apparently a popular choice; the crowd on the beach cheered, pulsed and tossed in waves to the beat.

“They sound good,” said Virgil, popping one of his own chips into his mouth. “That song works well pitched lower like that. Makes the chorus more robust. And the sax solo in the middle eight is an interesting choice - I’ve not heard that done before.”

Scott had no idea if the changes to the song were any good or not, but he nodded anyway, happy to hear his brother chatting away about something he enjoyed.

“So, you gonna go change?” 

Unlike Virgil, who was already back in his familiar red flannel and jeans, Scott was still sporting his distinctive IR blues from the opening ceremony earlier.

He shoved another morsel of fried goodness in his mouth.

“Food first.”

Virgil smirked. “Alright,” he said, “but I’m not explaining it to Brains if you end up with grease stains down your jacket.”

It was an empty threat - their uniforms were engineered to be way more than stain-resistant - but Scott made a show of wiping his fingers on his brother’s sleeve anyway, just because. Virgil grumbled, but let it slide. He could hardly complain; oil stains were kind of his signature look.

Scott finished off his chips and, crumpling the paper into a ball, pitched it straight into the recycling bin; nothing but net.

“Show-off,” grumbled Virgil, picking his own attempt up off the floor and spiking it in.

“Gotta make a good impression Virg,” replied Scott, just a little smug. “We’re official representatives at this event, after all.”

Technically it was Tracy Industries who were the actual sponsors for this year’s shindig, but it had been agreed all round that an appearance from International Rescue at Pride was just too much good publicity to turn down. It was also for that reason that a certain green sky-whale was currently parked on a specially-built platform just off the main beach, temporarily adorned with about fifty different painted flags of the LGBTQIA+.

There’d been a lot more than just oil on Virgil’s shirt for the last few days.

But unlike his ‘bird - or a certain squid, who even at this moment was sparkling his way somewhere across the packed beach dressed head-to-toe in pink, yellow and blue sequins - Virgil himself had apparently gone the subtle route with his own attire this year, choosing only a small green and blue pin in recognition of his own identity.

It was a very Virgil move.

“So, didn't fancy getting all dressed up, huh?”

Virgil shrugged. “Nah. I wasn't feeling it,” he said, nudging a stray pebble down the steps with his boot.

Virgil hadn't really ever been the type to draw attention to himself. Not shy exactly, at least not the way John was sometimes in a crowd, he preferred to play a background, backup role to bolder, more adventurous (reckless?) brothers. Sure, he’d done all the usual art student-y things in college - hair colour, nose piercing, his infamous goth phase - but none of it had stuck. 

The truth was that Virgil had never really felt the need to shout about who he was. He just…was. Even with his sexuality, there had been no “coming out” as such; somehow they’d all always known he was gay, just as Virgil had always known that they knew.

Still, it was a surprise not to see him with at least a little glitter in his hair today. Pride was a big deal in the Tracy household. Obviously Gordon was the usual driving force for getting the family into the spirit of things, but Virgil had always been right there behind him, ready to make his little brother’s more outlandish plans happen with all the enthusiasm and creativity that a double masters in engineering and art demands.

So why had Scott been left to source his own fairy wings this year?

“Are you okay, Virgil?” He asked, realising the need to tread carefully. “You don't exactly seem…yourself.”

Brown eyes looked up at him from under thick, slightly knitted eyebrows.

“I’m fine, Scott.”

Uh-huh. Nice try.

“Virg…”

He put one hand gently on the shorter man’s shoulder, noting the tension carried through it. Scott squeezed gently, and was happy to feel taut muscles relax just a little.

“Talk to me, Virgil.”

His brother held fast for a moment, but then seemed to wilt.

He sighed.

“I just… Look, I love Pride. Really I do. It's vibrant and joyful and so so important. But…” He swallowed. “I just wonder if… Is it all worth it?”

Scott tilted his head.

Nope, gonna have to run that by me again. 

“If what's worth what?”

Virgil huffed, clearly struggling for the right words. 

“If… If maybe I’m getting too old for all this.”

There was a moment where Scott knew he should be sensitive and simply listen, but he just couldn't hold back the sudden laugh trying to burst the back of his throat.

“Too old? You?!”

He gave in and let it out.

“Virgil, for god’s sake! If you’re over the hill then I must be at death’s door! You’re not even thirty yet! ‘Too old’...”

Glare-powered daggers stabbed at him as he fought for composure.

“It's a young person’s game, Scott. All of this…” He swept his arm across the scene of the party. “I just don't seem to have the energy for it at all.”

Down the beach, as if to illustrate the point, Cat Distribution Network were on their second encore; a loud, clangy, cymbal-fest of noise that sounded to Scott a lot like the last tropical storm they’d had back home.

Okay, maybe he had a point right this second, but…

“Virgil, you don't have to be young to enjoy Pride. It's not just for teenagers and Gordon; it's for everyone, from stroller to walker, every walk of life. It doesn't have to be the parade or this party - there's all kinds of things going on, from the clubs to the local library. Everyone’s welcome at Pride; there's something for everyone.”

He reached across and pulled his brother closer to him, needing more contact.

“And I know you know that. So tell me, what's really going on?”

Virgil said nothing for a moment, keeping his eyes fixed firmly on the ground, brow furrowed.

Scott waited.

“I guess… I s’pose it's just that these days it's hard to feel connected to that side of me anymore. Being gay, I mean.”

Virgil shifted and sat down on the step, resigned to spilling his guts, and Scott went with him, refusing to let go.

“I guess with what we all do, how busy we are, it doesn't leave a lot of time for other things - dating and whatnot - and that's fine; I love what we do. It's what I signed up for. But lately it feels like… oh I don't know! Like I should be doing more. Being more gay.”

Scott's brain glitched.

“Being more gay?” 

Virgil nodded. 

“Doing more. Making a show of it. No-one ever looks at me and goes ‘oh yeah, there's a gay guy’. I’m not flashy or flamboyant or camp; I don't go to nightclubs or have… Oh, I don't know, posters of Judy Garland on my wall. I’ve never been that kind of person.”

He put his head in his hands, hiding his face from Scott.

“I guess what I’m saying,” he said quietly, “is that I don't really feel as if I belong here. I see all these people showing off their identities and revelling in them and I… I just don't feel…valid.”

There was a moment of silence as each of them processed what had just been said. Virgil seemed to shrink in on himself, spent from the effort of verbalising it all, but Scott remained motionless, brain churning.

Wow.

Where to begin?

How long had Virgil been feeling like this? Feeling like his own identity didn't belong to him? 

His brother was so sensitive to everyone else’s feelings and moods, but he almost never talked about his own; not without being asked, or using them to offer advice to someone in need of it. He was always so busy playing backup to the rest of them, seeming so comfortable in his skin, self-assured, not needing to perform…

Had Scott really misunderstood his brother so badly?

Virgil was still sitting there, not moving, head still in his hands. Slowly, gently, Scott shifted around until he was right in front of him, then reaching slowly out and gently pried his brother’s hands apart, scooching down to try to catch his eye.

“Virgil, I don't…” 

No, that's not right.

He took a breath and started again. 

“I can't know what it feels like to be gay in this world. It's something I’ve never known; never could know. You have all the knowledge of how that feels. All I can tell you is how I see it from the outside.”

“And what I see… is you.”

Virgil looked up at him, brow furrowed.

“Those things you just listed?” Scott continued, resting one hand on his knee. “They're all only one way to be gay; they're not the blueprint. Stereotypes and archetypes aren't the be all and end all; there's as many ways to be queer as there are stars in the sky, and just as many ways to celebrate that queerness.”

Brown eyes dimmed, full of doubt.

“You don't have to perform it for anyone or put on some costume. You painted the flags on Two. You helped Gordon with his costume. You…” 

He could feel himself flailing. 

“Virgil, you love so completely. You live your life with your whole heart, every single day. You do it your own way; you always have.”

He reached out to put one hand on the back of Virgil’s neck, bringing him in closer until their foreheads touched.

“You are you, and you are gay, so being you is showing your gayness. No ifs, no buts. It just is. You don’t have to prove anything. Those two things are inexorably linked, Judy Garland poster or not.”

He felt a small chuckle rumble through his brother’s chest and breathed an internal sigh of relief.

“Just be, Virgil,” he said. “That's all. Just be you.”

A breath. Two.

“...Thanks Scott.”

And suddenly he needed to be closer than just a forehead. Arms acted on their own accord, wrapping around each other in a fierce hug, each of them desperate to reassure the other that they were there, that it was okay.

It was all going to be okay.

From over his shoulder Scott could hear the party clearly still going on strong. Cheers and noise bounced around the beach as the next band struck up on stage, and as the first chords sounded, the crowd roared their approval.

I am what I am,

I am my own special creation…

Scott and Virgil looked at each other, and dissolved into fits of giggles at the serendipity of it all.

Sometimes it was just like that at Pride.

Eventually they managed to get a hold of themselves again. Virgil extricated himself from his brother’s arms and stood up to brush himself off. 

The song was still going into the second verse, with the crowd singing along to every word in raucous harmony.

“Now this?” he said, inspiration dancing in his eyes, “This is a Pride song worth getting a little dressed up for.”

Grinning, he reached across to Scott’s baldric and nabbed his laser cutter. Then working quickly, he bent down and burned a small tear in each jean leg, before ripping them right across the mid-thigh. He kicked off the remaining tubes of denim, leaving him in a pair of ragged shorts. Then he shrugged his shirt off, whipped off his undershirt (drawing interested looks from more than a few passers-by), and finally pulled his red flannel back on, tying the bottom of it tight across his chest, Daisy Duke style.

The effect was striking.

“How do I look?” he asked, standing proud.

Scott smiled.

“Very you.”

Virgil beamed.

“Dance with me?” he asked, holding out a chivalrous hand to him.

Scott took it with a little curtsy. “I thought you’d never ask,” he said, smiling broadly.

And with that the pair of them made their way joyfully down the steps - sand, heels and spirits all kicking high - to join the celebration.

[frogsformax]

Can you hear the rumble?

warning: contains slut papa and bad boyfriend (slapping, name calling)

_______________________________________________

You and your boyfriend were planning on seeing Ghost for a while, but he was extremely jealous of your little crush on the singer. It wasn’t easy getting those pit tickets but you worked doubles every night for two weeks to be able to afford one for you and him. It was such a waste for him since he would pout the whole show about you looking at some other guy rather than him.

You showed up right at doors, sending your boyfriend with your credit card to buy you a shirt and another papa plush while you ran to the pit, managing to snag a spot right at the front of the barricades. Your boyfriend joined you after a while as you scrolled through your phone to get updates on their setlist.

“oh my god, theyre ciricing people again” you said, stunned as you imagined how that would feel if it was you.

“dont get any ideas (y/n) they dont want to even touch you, youre lucky you have me” your boyfriend scoffed, going back to watching videos on his phone and completely ignoring you.

This completely hurt your heart, knowing that everyone heard it because the venue was practically empty. Little did you know Sodo and Swiss were looking out onto the crowd from the wings, seeing and hearing this entire interaction.

-

Finally it was time for your favorite song, you had just finished screaming spillways with some random girl in the pit because your boyfriend wasn’t having it. Sodo walked out on stage and started to slowly but loudly play the opening, the lights engulfing him in a deep crimson red as papa went to put on a coat and take off his robe. You screamed as you reached up to wave to them.

“I feel your presence amongst us” Papa sang into the mic, appearing on stage and strutting over, continuing to sing. Tears streamed down your face as you screamed and cried to your favorite song. Eyeliner smudging slightly as you reached up for him. As the song progressed the excitement and nervousness built inside of you.

“From now our merge is eternal” Papa sang, kneeling down in front of you and taking your hand in his as you screamed out of joy.

“Cant you see that youre lost? Cant you see that youre lost without me?” He sang sweetly, gesturing with his fingers to make you look him in the eyes.

You were bent over the barracaide, holding onto his hand as he sang to you, his eye contact never breaking. The moment was magical, white light shown down on you as you stared into his eyes. His voice like silk echoed in your ears as you were lost in the moment.

“I can hear the thunder thats breaking in your heart, I can see through the scars inside you” he sang, blowing you a kiss as he let go of your hand.

Suddenly your boyfriend yanked you down, making you face him as he screamed at you.

“You dumb fucking bitch you really thought you could just go and do that? fucking throw yourself at other men?!” He slapped you across the face, making papa and the ghouls look over at the commotion as the security guards rushed over to pull him away.

You were crying harder as you picked up your bag of things, turning around and not bothering to help him as the girl you sang spillways with hugged you and brought you back to the front to finish the song.

-

At the end of the concert you were drained, but the memories of your now ex had left your mind. From the sax solo in Miasma to Papa fingering the air at you during Mary On A Cross your spirits had been lifted.

Everyone walked out on stage to say thanks and throw guitar picks to the crowd. Papa walked over directly to you, leaning down and slipping you a piece of paper before winking at you and interacting with the crowd more. You turned to your new friend, screaming as you opened the note.

“Side door. 11:30. Code Emeritus”

Maybe this night wasnt so bad after all…

——————————————————————————

part 2 maybe?? maybe???? only if yall want it

okay i hope yall enjoyed that because woof if he ciricied me i would cum and cry and actually pass away. Also heres some sodo hands from last night and a clip of papa ciricing someone but boy LOOK AT HOW HE MADE HER LOOK AT HIM…

[eebeebackup]

Idk if this makes sense but maybe tali being in band while readers a singer and both classes wanna do like a collab project or something?

Either 1 or 2 band students get paired with 1 or 2 singer students?

Or it’s just the whole classes together planning a big performance for the end of the yr idk

But reader and tali pair up to practice together and than the relationship spirals from there?

Or maybe reader is practicing for a project and they’re allowed to ask for others to help with it so reader wants another background instrument so she wants to ask a band kid. Reader and tali share a class or 2 together and she finds out he’s a band kid playing an instrument that pairs perfectly with her performance idea. Or maybe it’s an iffy pairing but decides to try and make it work to show off her talent and maybe get a higher grade. But its more difficult than she thought especially since tali’s nervous around her so antics ensue of trying to bond more and then they start dating and they play the performance in perfect harmony and it symbolizes that while readers and tali don’t really seem like they’d be a pairing they’re an amazing one

This immediately came to mind and it basically a separate story sorry, but hopefully it somewhat helps or was an enjoyable idea

~⭐️ anon (this account hasn’t been alive for even 24 hrs and I’m already in the inbox hyper fixating)

please keep hyperfixating in the inbox it makes me feel better abt the overall situation

Oh these are so cute! I've already been messing around with dynamics and what not for that group. I'm a very write what I know type person, so I'm def reliving my own band days with this bit. Time to infodump.

I've mentioned before they go to a BIG college, so stuff is fairly competitive there. My main inspiration for their college was actually the University of Alabama. My family is from Alabama, and when I was a kid one of my dreams was to be in their marching band, the Million Dollar Band! Here's some photos I found online to give you an idea of scale.

its a BIG band. for me, someone who grew up in bum fuck nowhere, our marching band was never more than 50 people. this was like. peak to me. This halftime show is a fun one!

I think the last scenario would be most likely! I'm torn between Tali playing sax or trumpet, but that definitely would fit the criteria. I'm leaning more towards sax so he's not playing the same thing as Callon or Alex (Callon plays trumpet, Alex plays clarinet).

The bit I have going on right now in my mind for them is Callon is the asshole that rarely practices but is really good without trying. Alex works his ASS off constantly, but is prone to folding under pressure. Then Tali...well, he's okay. He's not a prodigy by any means, but once he decided to go to college he picked back up the instrument he played in high school nearly eighty years ago, and just hyperfixated on it until he was good enough again to handle the audition material. However, I can see him being a big music theory nerd and being super into jazz. I think this video is very him coded. He would sneak random anime/game motifs in solos constantly. Also I can see an interaction like this happening;

🧡: Oh, it's cause you modulate to f# minor on the V7/IV 🧡: D7 is a ger+6 in f# minor, you'd respell the B# as C 🔵: im sorry what the fuck did you just say to me 🔴: He's saying there's a key change, but it's not written as a key change. You swap to f# minor at measure 10. 🔵: well why didn't you just say that 🧡: it's more fun to explain it :D

Going back to the scenario at hand, there's not a lot of voice/trumpet or voice/sax stuff, so I like the idea that reader's been tasked with rearranging a piece for voice and ? for an arranging class. I'm not sure if this would work, but I really like the idea of Flower Duet, originally written for two vocalists. I like this arrangement for two trumpets a lot too. It'd be fun to see how to get a saxophone and a soprano voice to blend together, I'm not sure it would work, but...hmm. Here's what it sounds like with two soprano saxophones. Actually, a soprano saxophone could work, and Tali probably has only played tenor before. This could be fun...

I have. Ideas.

[invisiblemelonmoose]

Dumb kanjoh ska band au idea that popped into my head that won't go away until I word vomit it up:

Red: Trumpet with a lot of solos. Virtually never talks in interviews. Not musically trained, but has a good ear, perfect pitch, and can play almost anything he's heard once before.

Green: Guitar and singer. One of the few who actually know music theory and understands chord structure. He started off doing a lot more jazz, but slowly fell in love with ska after Red started listening to it more.

Blue: Keyboard. She like improvising and and messing around to find good sounds. She thinks she invents new chords and Green tells her it's just an ionian major 7th chord.

Kotone: Lead singer and sax/oboe player. She make up silly little songs for them to play around with during rehearsals, like about seeing a cute yamper on her way to the grocery store and how soft and fluffy the mareep she saw outside were.

Kris: Bass trombone/trumpet/horn/brass and lyricist. She did a bit of self study on music theory. She played trombone in middle school and high school, but didn't play again until after university when joining the band.

Silver: Electric bass/cello. Kris and Kotone dragged him into the band. He was classically trained and used to be a fairly well known cellist until he cut all ties with his family.

Gold: Drummer. He's been in many failed bands before and he hopes that this is the one that finally works. He was the one to have the idea to start a band with this group of friends.

[johnkatsmc5]

Martin Circus "En Direct Du Rock'n Roll Circus" 1970 + "Acte II" 1971 double LP +  "Acte III" 1974 + "N°1 USA Hits Of The 60's"1975 + "Tu Joues Ton Cœur" 1976 + "Rock'n'Roll Circus"1977 + "Martin "Disco" Circus 1978 +  "Shine Baby Shine" 1979 + "De Sang Froid"1980 + "Story 69-79" 1994 CD Compilation + "Origines" 2001 + "Evolution Française 1969-1985" 2025 LP Compilation France Psych Prog Pop Rock,Disco,Glam Rock

full 

https://open.spotify.com/album/3PbUcUMUeBOGQmJxXtTVZr

full musify

https://musify.club/release/martin-circus-martin-circus-story-1969-1979-1994-855897

https://musify.club/release/martin-circus-tu-joues-ton-coeur-1976-1159150

https://musify.club/release/martin-circus-acte-iii-1974-1739445

https://musify.club/release/martin-circus-shine-baby-shine-1979-1081135

https://musify.club/release/martin-circus-martin-disco-circus-1978-888935

https://musify.club/release/martin-circus-acte-ii-1971-1377540

https://musify.club/release/martin-circus-en-direct-du-rock-n-roll-circus-1970-1082438

Martin Circus is a bit like the French Rubettes. Between pop, rock, disco and variety, they have a string of successes such as the hit that would launch them "Je m'éclate au Sénégal" written by Gérard Pisani, former sax of Johnny Hallyday and Claude François. And yes! the Martin Circus are old hands and have worn out their pants on the benches of the Golf Drouot at the same time as the Black Socks and the Wild Cats. Before Martin Circus, we find all these beautiful people in Alan Jack Civilisation, Capitals or Balthazar. Before Ticky Holgado took care of their career, they released two excellent progressive rock albums. The first is even resolutely pop, even underground, recorded at the Rock'n'Roll Circus, a mecca of counterculture in the 70s. The second will remain in the memory with the unforgettable "Je m'éclate au Sénégal" which manages the feat of being banned from the air on Europe 1. Pierre Delanoë, former program director, found this song distressing, downright useless, unworthy of being broadcast on his airwaves. Another era, the same customs. Then comes the time for covers, starting with the Beach Boys' classics that invite them to the gates of glory. Then it's time for Disco and a track that climbs in the American Billboard. Another feat of arms is their presence in the Musical Comedy (it was called a rock opera at the time...), "The French Revolution" (with Daniel Balavoine, Dani, etc.) and in the cinema, in the film "Les Bidasses en vadrouille" where they replace Les Charlots at short notice. In short, until 1987 and sporadically until 2001, the official date of the end of the band, Martin Circus did not stop surfing on the musical trends of the moment. The result: some great popular successes, no chance of entering the history of French rock, but a reasoned choice for the good management of a bank account. Before Martin Circu The latest version of Alan Jack Civilisation which was released on 45 rpm in French for Alain Pewzner and René Guérin. Balthazar for Sylvain Pauchard and Gérard Blanc. Capitals for Patrick Dietsch who played on the band's only 45 rpm released in 1966. What has become of them? Alain Pewzner and Sylvain Pauchard join Daniel Balavoine on stage and in the studio. Alain Pewzner pursued a career as a "shark" with Jean-Jacques Goldman in particular. Sylvain Pouchard produced tracks for other groups such as Les Avions. He also released a 45 rpm under his name in 1971 with USA/USRR on the B side co-signed with Serge Gainsbourg! A title that can be found in the Martin Circus repertoire in 1980 Gérard Blanc (1948 – 2009) pursued a solo career that would take him to the top of the Top 50 in 1987 with "Une autre histoire". He has also written several titles for Stéphanie of Monaco... They appeared in 2001's Tribute to Trust and a breathtaking cover of "Antisocial". He died of a haemorrhage on 24 January 2009. He was 61 years old. After several 45s in the 70s, Paul-Jean Borowski released 2 albums in quick succession in 1981 and 1982. Patrick Dietsch has three albums to his credit, in 1974 and 1979 for Vogue and again in 2010. He works for Guitarist and Bass Magazine. As for Gérard Pisani, after a few solo attempts, he found himself in 1978 in the pseudo-punk group Bulldozer, where we also met Bob Brault and Paul-Jean Borowski. In 1996, he released a jazz album. Along with Patrick Dietsch and Paul-Jean Borowski, Bob Brault can be seen in the film Camping. They are part of the group that animates the crazy evenings at the Flots Bleus campsite. Bob Brault is also the author of film scores such as Les Sous-Doués pass le bac....~

Martin Circus "En Direct Du Rock'n Roll Circus" 1970

Credits Bass Guitar – Bob Brault Drums – Jean-François Leroy* Flute, Soprano Saxophone, Bugle, Piccolo Flute – Gérard Pisani Guitar – Patrick Dietsch Organ – Paul-Jean Borowski Vocals – Gérard Pisani (tracks: A4, A6, B2, B3, B5, B6), Patrick Dietsch (tracks: A1, A3, A5, A6,), Paul-Jean Borowski* (tracks: A1, A2, A5 to B2, B5, B6) Tracklist La 3ème (Ouverture) 2:50 Moi J'ai Fait La Guerre 3:51 Tout Tremblant De Fièvre 5:25 Tomahawk 2:33 Barbe Bleue 2:50 Moi Je Lis Des Bandes Dessinées 3:00 Le Matin Des Magiciens 3:45 C'est Pas D'la Soupe 2:45 Troïka 4:00 À Quoi Sert Ma Prière 3:40 Nos Larmes Tombaient 5:00 La 3ème (Final) 1:45

Martin Circus "Acte II" 1971 double LP

Credits Bass, Flute, Percussion, Vocals, Narrator – Bob Brault Bugle, Tenor Saxophone, Alto Saxophone, Soprano Saxophone, Clarinet, Flute, Trombone, Percussion – Gerard Pisani* Drums, Violin, Viola, Percussion, Vocals – Rene Guerin* Guitar, Organ, Percussion, Vocals – Alain Pewzner Organ, Piano, Vibraphone, Accordion, Vocals – Sylvain Pauchard Vocals, Guitar, Percussion, Narrator – Gerard Blanc* Tracklist Boudjateelack Pourquoi Tous Ces Cris 6:15 Chevauchée Fantastique 5:04 Poème 8:00 Ti'Bill Poussières 7:05 J'Ai Perdu 6:20 J'Suis Une Groupie 3:52 Ouvrez Vos Mémoires 3:40 Je M'Eclate Au Senegal 4:11 Le Tromblon Magique 4:20 Hyznogod 3:37 Images 2:43 A Dada Sur Paranoïa 4:48 Façon De Parler 7:54 O'Secours Bob 3:50 J'Aimerai Bien Te Faire Flipper Un P'Tit Peu 3:34 Ma Guitare 3:47

Martin Circus "Acte III" 1974

Credits Bass, Flute, Vocals – Bob Brault Drums, Percussion – René Guerin Featuring [Débilités] – Tiki Holgado* Guitar, Vocals – Alain Pewzner Piano, Organ, Keyboards – Sylvain Pauchard Vocals, Guitar – Gérard Blanc Tracklist Docteur 3:36 Fille D'Amour 3:36 Elle Chante Au Soleil 4:08 Je Suis Né Sans Voir 3:49 On Aurait Tout Pour Etre Heureux 4:15 Je T'Aime 3:16 Les Indiens Du Dernier Matin 4:08 La Bossa Blanche 4:18 Un Accident Heureux 3:20 Toi L'Univers 3:00 Les Ballons Nous Emmènent 0:38

Martin Circus " N°1 USA Hits Of The 60's"1975

Tracklist Ma-Ry-Lene 2:39 Judith Sois Discrete 2:50 Prends Le 1er Train 2:57 Un Sourire 3:26 L'amie Des Esprits 2:49 Mets Ton Habit 3:13 Nana - Hey Hey 3:47 Monnaie Monnaie 3:01 Cette Fille Me Rend Fou 2:49 Heureux Tous Les Deux 2:28 Mais Qu'est-ce Que T'as 2:53 Mon 1er Hold Up 2:50

Martin Circus "Tu Joues Ton Cœur" 1976

Tracklist Tu Joues Ton Cœur 3:57 Chicago Dolly 3:37 Priorité A L'amour 3:24 Chasse Mon Blues Au Loin 2:55 C'est Comme Ça 2:21 Direction N.O. 3:26 Si Tu Me Loupes 3:13 Baby Baby Babe 2:38 Ça Rit Ça Pleure 2:48 Vis Ta Vie Ma-Ma-Mie 3:43 Suffit D'un Rien 4:04 L'ami D'un Soir 3:01

Martin Circus "Rock'n'Roll Circus" 1977

Tracklist Rock'n'Roll Circus 5:47 Hey Disc-Jokey 3:48 Roi Du Flipper 2:57 Tu Boudes Mon Téléphone 3:28 Comme Au Bon Vieux Temps Du Rock'n'Roll 3:11 Les Dix Commandements (St Bémol Priez Pour Lui) 4:55 Planche De Skate 2:24 Super Fan Des Rois Du Rock'n'Roll 3:26 Danse Et Tente Ta Chance 3:50 Drague Party (Le Bon Temps Ça Roule) 4:13

Martin Circus "Martin "Disco" Circus 1978

Tracklist Ite Missa Est 6:37 Pour M'En Aller Plus Loin 8:31 Pouêtt 0:22 Disco Circus 14:06 Pouêtt Pouêtt 0:25

Martin Circus "Shine Baby Shine" 1979

Tracklist Number One Woman 4:48 Calling Time 6:28 Each Day 6:07 I've Got A Treat 7:53 Shine Baby Shine 7:01 Happy Ending 5:44

Martin Circus "De Sang Froid"1980

Tracklist Tous Des Robots S.O.S. Aux Galaxies U.S.S.R/U.S.A Bains- Douches Le Tango De L'Espace Arrêtez Tout Banana Baby Tu M'Etranges Plastique Conclusion

Martin Circus "Story 69-79" 1994 CD Compilation

Tracklist Je M' éclate Au Sénégal 4:06 Marylène 2:41 Je Danse Comme Un Pingouin 4:08 Drague Party 3:44 Les Indiens Du P' tit Matin 4:54 Si Tu Me Loupes 3:13 People Réveillez-Vous 4:10 Shine Baby Shine 3:19 Tout Tremblant De Fièvre 3:39 Docteur 3:35 Retour De La Bastille (Français, Français) 1:59 Le Matin Des Magiciens 3:48 J' ai Perdu 6:24 A Dada Sur Paranoïa 4:43 J' aimerai Bien Te Faire Flipper Un P'tit Peu 4:23 Pourquoi Tous Ces Cris 3:43 Ouvrez Vos Mémoires 3:45 Il Faut Rêver 2:57

Martin Circus "Origines" 2001

Tracklist 1 On Aimerait Bien Qu'Ça Change 2 Urgence 3 Je M'Éclate Au Sénégal 4 Tout Tremblant De Fièvre 5 Question De Survie 6 La Planète Des Femmes 7 Vivement Lundi 8 Arc-En-Ciel 9 Nostalgie 10 La Voie Du Milieu 11 Elle Est Pas Belle La Vie 12 Comme Des Dieux 13 Au Même Endroit

Martin Circus " Evolution Française 1969-1985" 2025 LP Compilation

Tracklist Tout Tremblant De Fièvre 3:37 Façon De Parler 6:28 Annie, Christine Ou Patricia 4:05 À Bas Tous Les Privilèges 2:20 Les Indiens Du Dernier Matin 4:10 Mon Premier Hold-Up 2:48 Disco Circus (François K edit) 7:45 Bains Douches 5:06 J'T'Ai Vu Dans Le Canoé 4:42 Pourquoi Tu M'Lâches Pas 4:30

Membres Derniers membres

Alain Pewzner - guitare, orgue, chant (1971-1988, 2001, 2016-2017) Sylvain Pauchard - claviers, basse, chant (1971-1988, 2001, 2016-2017) Tom Bock - chant (2016-2017) Félix Sabal-Lecco - batterie (2016-2017) Anciens membres Bob Brault - basse, flûte (1968-1975, 1988, 2001) Gérard Pisani - saxophone, flute, bugle, chant (1968-1972, 1980, 2001) - († 2020) Paul-Jean Borowsky - claviers, chant (1968-1971, 2001) Patrick Dietsch - guitare, chant (1968-1970, 2001) - († 2021)[11] Jean-François Leroi - batterie (1968-1970) Gérard Blanc - chant, guitare (1971-1987, 2001) - († 2009) René Guérin - batterie, percussions (1971-1978, 1988, 2001) Michel Libretti - guitare, chant (1970) Donald Rieubon - batterie (1970) Charlie Cohen - basse (1978) Serge Haouzi - batterie (1978) Gilles Tinayre - claviers (1978) John Lorck - batterie (1979-1980) Manu Vogel - basse (1980) Pascal Woyciechowski - batterie (1980) Christian Padovan - basse (1985-1986)

Discographie

Album en public 1969 : En direct du rock'n'roll circus (en concert)

Albums studio

1971 : Acte II (double LP)[13] 1974 : Acte III 1975 : N°1 USA - Hits Of The 60's 1976 : Tu joues ton cœur 1977 : Drague Party - Rock'N'Roll Circus 1978 : Disco (bande originale du film Les Bidasses en vadrouille) 1979 : Martin “Disco” Circus (pressage LP US[14]) 1979 : Shine Baby Shine 1980 : De sang froid 1980 : In Cold Blood (pressage LP US) 2001 : Origines

Singles

1969 : Tout tremblant de fièvre (studio) / Barbe-Bleue (studio) 1969 : Le Matin des magiciens (studio) / Moi je lis des bandes dessinées (studio) 1970 : Dis-moi / Chanson pour un cadavre 1971 : Je m’éclate au Sénégal / Moi j’aime bien prendre mon pied 1971 : Sénégal / Dis-moi (pressage italien) 1971 : Je danse comme un pingouin / J’aimerais bien te faire flipper un p’tit peu 1971 : Je m’éclate au Sénégal / Je danse comme un pingouin (pressage allemand) 1972 : Les Indiens du petit matin (part. 1) / Les Indiens du petit matin (part. 2) 1972 : Il faut rêver[15]/ Annie, Christine ou Patricia 1972 : Gotta Keep Flying / Il faut rêver 1973 : Je me suis retrouvé en tutu / Je deviens comme fou fou fou 1973 : People, réveillez-vous / Nous sommes dans ce monde 1973 : La patrie est en danger / Français, Français 1974 : Un coin qui sent le foin / J’aimerais bien t’embrasser 1974 : L’Accident heureux / À vous de jouer Milord 1974 : Docteur / Je t’aime 1975 : Ma-ry-lène / Loin d’ici 1975 : Wonder tube (Ba ! Ba ! Hey ! Hey !) / Ma-ry-lène 1975 : Bye-bye Cherry / Le Violon et la Mélodie 1976 : Si tu me loupes / Un cœur qui bat 1976 : Tu joues ton cœur / Vis ta vie ma ma mie 1976 : Chase the Blues Away / Call Me (pressage allemand) 1977 : Drague Party (Le bon temps, ça roule) / Priorité à l’amour 1977 : Comme au bon vieux temps du rock’n’roll / Roi du flipper 1977 : Les Dix Commandements / Rock’n'roll Circus 1978 : J’en perds mes baskets / Hey disc jockey 1978 : Et puis, tu t’en vas / La Boule à tango 1978 : Pour m’en aller plus loin / Ite missa est 1979 : Disco circus / Ite missa est (pressage canadien) 1979 : Before it gets dark / Disco circus (pressage US) 1979 : Notre meilleur copain, c’est Tintin (vocal) / Notre meilleur copain, c’est Tintin (instrumental) 1979 : Shine Baby Shine / I’ve Got a Treat 1979 : Number One Woman / Each Day 1980 : Look Around / American Trip (pressage italien) 1980 : Bains-douches / Le Tango de l’espace 1980 : Tous des robots / Bains-douches 1980 : USSR / USA / Plastique Conclusion 1981 : Bingo-banco / Mes vœux les plus saints 1983 : Solange / J’t’ai vu dans l’canoë 1984 : Disco Circus / Disco Circus Medley (pressage canadien) 1985 : Trop sentimental / Pourquoi tu m’lâches pas ? 1987 : Je m’éclate au Sénégal / Ma-ry-lène 1987 : Je m’éclate au Sénégal (version 87) / Medley (Intro - Ma-ry-lène - Drague Party (Le bon temps, ça roule) - Si tu me loupes - Shine Baby Shine - Na-na-hey-hey-good-bye - Je m'éclate au Sénégal) 1988 : La Toka-toké (part 1) / La Toka-toké (part 2)

Anthologies

1973 : Tout tremblant de fièvre 1974 : 12 titres + 4 1976 : Greatest Hits : les Grands Succès du... Martin Circus 1979 : Le Double disque d'or du Martin Circus 1979 : Martin Circus chantent leurs succès 1979 : Marylène 1987 : Les Originaux (inclus un titre inédit Columbia signé J-M. Vignon - A. Pewzner - C. Pewzner) 1994 : 69 Story 79 2002 : Singles 69-74 2002 : Ca le fera 2004 : Anthologie 2008 : Les Plus Grands Succès de Gérard Blanc et Martin Circus (inclus cinq morceaux avec Martin Circus et une version solo en live de Je m'éclate au Sénégal)

Martin Circus "En Direct Du Rock'n Roll Circus" 1970 + "Acte II" 1971 double LP +  "Acte III" 1974 + "N°1 USA Hits Of The 60's"1975 + "Tu Joues Ton Cœur" 1976 + "Rock'n'Roll Circus"1977 + "Martin "Disco" Circus 1978 +  "Shine Baby Shine" 1979 + "De Sang Froid"1980 + "Story 69-79" 1994 CD Compilation + "Origines" 2001 + "Evolution Française 1969-1985" 2025 LP Compilation France Psych Prog Pop Rock,Disco,Glam Rock

https://johnkatsmc5.blogspot.com/2025/03/martin-circus-en-direct-du-rockn-roll.html?view=magazine

https://johnkatsmc5.tumblr.com/post/778813175161405441/martin-circus-en-direct-du-rockn-roll-circus

[rastronomicals]

10:44 AM EST December 13, 2024:

Miles Davis - "In A Silent Way/It’s About That Time" From the album In a Silent Way (July 30, 1969)

Last song scrobbled from iTunes at Last.fm

So, the hoped-for reappraisal.

I first bought this when I was 19 or 20, Bitches Brew in the rearview.

And having pretty much liked what it sounded like when Miles Ran the Voodoo Down, In A Silent Way really made no impression on me. I do remember being somewhat surprised by this at the time, but it wasn't happening and the album sat unplayed. Some of the impressionistic shortfall, I think, was that McLaughlin didn't sound like he did on Birds of Fire, and if that was it, I think I may have been listening under unreasonable expectations. Another key component of the music's failure to excite simply may have been the expectations (or fears) created by titles. The way was "silent" and the time was "peaceful." And oh yeah, "Sssh."

I can definitely remember being skeptical about the concept of ambient back then, and if I was adventurous enough to buy the thing, I wasn't enough detoxed from the punk rock and the Iron Maiden to get past the preconceptions.

Maybe. I dunno, maybe it was something else.

But I'm actually kind of happy right now, because, after having a long while ago given away the vinyl I purchased as a young pimply adult, I'm really digging the Columbia Jazz Masterpieces/BMG Music Club CD I bought on Discogs last week. It's mostly electric piano tone clusters and rhythmic vamping underneath some tasteful and restrained sax and trumpet solos, with some nice electric guitar and double bass snippets interspersed, and nothing wrong with that. It ain't rock and it ain't ambient, so let's call it quality jazz, even if Miles really would fly the coop sometime thereafter.

I have of course in the past been disappointed when I find that my mid-50's self and my snivelling potsmoking younger version agree on something. So here I get to dismiss my younger self's taste, which is nice.

But one thing I'm wondering and if you can clarify please do, it's Wayne Shorter and the way he's credited with tenor sax on the 1999 CD I bought, when there are spaces in the music that certainly sound like soprano. Looking around, I see that Lester Bangs in his contemporary review also had Shorter playing tenor, but that Wikipedia, adapting the credits "from the album's 1969 liner notes" has him on soprano. And here's a serious jazz site that says In A Silent Way was Shorter's debut on soprano.

This isn't usually the kind of thing I'd get hung up about, let me be emphatic, but it *is* the kind of thing serious jazz people make a habit of worrying about. And usually end up straightening out as a result. Regardless of my original opinion on the thing, this is considered to be a classic record, right? Yet it appears there's some question about who played what. Which is kind of weird.

File under: Directions in Music

--

  <700x702>

[where-are-the-spooky-gays-2]

I'm back to band gays you can't stop me (both school band and rock band HCs will be present)

School Band:

- despite his chaos, Remus is actually the best player in his section

- Virgil isn't half bad either (going with sax on this one)

- Virgil has a solo once and Remus is staring with such "good googily moogily" desire that he almost misses his section's entrance

- at least one person in his section begging him to just stop being gay for one night so they can have a good concert (he doesn't) (don't they see Virgil with those black piercings to match his suit?) (and that perfect eyeliner?) (why don't they get it?) (Remus is a hot mess)

- Virgil once asked Remus why he was staring by asking "what? See something you like?" and Remus could've barked

- Virgil stares at Remus a lot more than Remus thinks (Remus thinks 0 times) because Remus cleans up really nice for a concert and Virgil's about to be twirling his faded-purple bangs and biting his lip piercings over this boy

- "25 bucks says they're dating before the end of the year" "you're on"

Rock Band:

- they both fumble flirting so ridiculously hard that they don't get each other's numbers and Roman has to give them to each other later (he is Big Disappointed)

- They text for a few days and Roman sees his brother genuinely excited over this boy and Romans like "c'mon, my best friend??? You picked my best friend???? Sorry Pat— MY BEST FRIEND?" but he's not angry just exasperated

- Remus gets brought to many many more concerts now (both as guard dog protection because, while Roman can protect himself and is very certain of it, he still doesn't like going random places alone. Personal headcanon of him, don't mind me AND because Virgil starts inviting him personally)

- How do you feel about Remus drooling over Virgil while he plays guitar? What feelings does this inspire? Why am I reading this like a therapist?

- Virgil will eventually write a song about Remus but it has so many metaphors that it takes Roman two months to figure it out (and the WRATH he rains down upon Virgil because WHY DID HE GET A SONG BEFORE ME WERE BEST FRIENDS but it's all in good fun)

- maybe Roman finds a pookie in one of Virgil's bandmates. Who knows.

— 👑

Y E S I fucking L O V E A L L of this!!! First thing's first I absolutely A D O R E the fact that despite Ree's chaos he's the best in his section (Vee can agree he totally doesn't stare and listen 24/7 no that would just be too Gay what do you mean he got up from his spot just to invade Ree's personal space as he plays /lie) And as for the Rock band one I L O V E them just being too Gay to function while Ro is just like "Holy shit here just have each other's numbers" and is still surprised they even got together XD (Ree D E S E R V E S scary Dog privileges and to answer the question on how I feel about Ree drooling over Vee while he plays Guitar is as he S H O U L D because hot damn that sexy Emo knows how to shred and he wrote a song about him manz is A W O O G Aing hard and I don't blame him)

[jarritos-hetalia]

High School AU but it's Band

America: -> 100% a trumpet player -> "Trumpets, we're waiting on you" -> I can already tell he talks mid class all the time (The Band director is always telling him to shut up) -> He can play really well, but his posture is like... so fucking bad that he sounds like he's dying

Canada: -> I want to say percussion, but he's mainly on Bells or Triangle -> When he's playing Snare and Base he tends to be really quiet, so he's not usually on those parts -> Has been told "Could you play the triangle quieter?" and legit almost threw his stand at the director

France: -> He plays the flute, and he only did it so he'd be with all the women playing flute -> He switched to clarinet after one year -> He dropped out of the band, he just didn't like it -> He did well during solo and ensemble though

England: -> Trombone, but he's like the only trombone that doesn't speak in the middle of class -> "Arthur, you're only allowed to have Water in the band room!" -> Has fought the director on if he should be allowed to have tea in the band room -> Indecisive, they never came to agreement

Italy: -> Playing "Careless Whisper" on the alto sax -> He could switch to Tenor sax, he just doesn't want to -> The one who asks the dumb questions

Japan: -> Clarinet player -> He sits next to Italy and is already tired of the questions -> "For the last time, we don't have the same part."

Germany:

-> The one good Trumpet player -> Switched to French Horn because he thought it'd be fun -> Now he's sitting closer to Japan and Italy, he already regrets it

Sealand:

-> Oboe, and I refuse to explain why I think this -> He's almost always in tune, so all the Flutes are told to listen to him so they can tune -> He takes so much pride in that