#best albums of 2011

[f0restpunk]

Julianna Barwick - The Magic Place Best Albums of the 2010s Playlist (ongoing)

[deadbeat-h0liday]

This song is so fucking good

I know you're nervous sometimes It's a game, do you know what I mean?

BLINK-182 // NO FUN

[doyoulikethissong-poll]

Gotye featuring Kimbra - Somebody That I Used to Know 2011

"Somebody That I Used to Know" is a song written, produced and performed by Australian musician and singer Gotye, featuring vocals from New Zealand singer Kimbra. The song samples Luiz Bonfá's 1967 instrumental song "Seville", with additional instrumentations of beats and a xylophone playing a melody based on "Baa, Baa, Black Sheep". The song was released in Australia and New Zealand on 5 July 2011 as the second single from Gotye's third studio album, Making Mirrors (2011). It was released in December 2011 in the UK, and 20 January 2012 in Ireland and the US.

In Australia, the song won the Triple J Hottest 100 poll at the end of 2011, as well as ARIA Music Awards for Song of the Year and Best Video, while Kimbra was voted Best Female Artist, and Gotye was named Best Male Artist and Producer of the Year. The song came ninth in the Triple J Hottest 100 of the Past 20 Years, 2013. At the 55th Annual Grammy Awards, "Somebody That I Used to Know" won two Grammys for Best Pop Duo/Group Performance and Record of the Year.

Commercially, "Somebody That I Used to Know" was a global success and became both artists' signature song. It reached the top of the charts in Australia, New Zealand, the UK and the US, as well as 25 other official charts, and reached the Top 10 in more than 30 countries. Globally, "Somebody That I Used to Know" has sold more than 20 million copies, becoming one of the best-selling digital singles of all time. Gotye paid tribute to the overwhelming number of cover versions of the song by personally creating a video remix, released in August 2012, using segments from hundreds of online covers to create a new, unique version of the track, titled "Somebodies: A YouTube Orchestra".

"Somebody That I Used to Know" received a total of 87,6% yes votes!

[midnightsslut]

A Guide to Red - The Quintessential Taylor Swift Album

After the release of The Manuscript, the role of Red and Red (Taylor’s Version) in Taylor’s life and discography has been highly discussed. A lot of people have referred to it as her magnum opus and most formative album. I have decided to compile a condensed list of about a dozen key interviews, performances, speeches, posts, and videos from 2011 all the way until 2024 that illustrate the importance of this record for Taylor’s personal life and career. I’m putting the list under a cut because it got pretty long. You don’t have to go through all of these, obviously, but I would suggest at least one per era. The bolded ones are essential in my opinion.

Pre-Red - These interviews hint at Taylor’s emotional state at the time and thus the content that will be explored on the Red album

2011 The New Yorker profile

Taylor Swift reveals new album is all about heartbreak - Extra TV

Bonus: an article going through Taylor’s arm lyrics on the Speak Now World Tour, which she described as mood rings for any particular show

Lover diary entries from the making of Red (credit to @cabincreaking for the scans)

- All Too Well lyrics first draft (February 2011)

- Random bursts of happiness and anxiety during the Speak Now Tour (June 17, 2011)

- Red (September 8, 2011)

- Holy Ground (February 2012)

- Nothing New (March 2, 2012)

- Working with Max Martin (June 10, 2012)

Red era - Listen to the original sixteen songs on the Red album at this point.

Red announcement livestream + Q&A

Red prologue

2012 Rolling Stone interview

2012 The Guardian interview

2012 Billboard interview

2012 Esquire interview

Sirius XM Town Hall - an hourlong interview from the day Red came out

Good Morning America - this is the first mention of the ten-minute version of All Too Well

Red track-by-track descriptions

Random interview where she discusses the connection between writing Speak Now and Red

I Knew You Were Trouble music video

Diary entry about how love is fiction and she might move to New York after all (January 6, 2014)

Diary entry from Grammy night (January 25, 2014)

Red Tour London performance of All Too Well - any performance of this song from 2013-14 will work here, but this one has a pretty comprehensive speech

Final performance of All Too Well on the Red Tour - just listen to the speech here

Post-Red era - Over the course of these interviews, you’ll see her relationship to the album evolve.

Taylor’s description of Clean (skip to 11:18)

2014 BBC Live Lounge interview

1989 World Tour interview where she mentions thinking she’d never sell as many albums as she did with Red before 1989 came out

Clean speech - a lot of these will work, but these two best describe her relationship with the Red era and heartbreak in general

All Too Well (The 1989 World Tour live)

2015 GrammyPro interview

All Too Well Super Saturday Night performance

Reputation Tour All Too Well speech

Red into Daylight performance - 2019 City of Lover concert in Paris

Re-recordings era - at this point, listen to the red vault

2020 Rolling Stone podcast

Red (Taylor’s Version) prologue

2021 Saturday Night Live performance

All Too Well: The Short Film + Behind the Scenes

Seth Meyers interview

2022 Tribeca film talk OR TIFF (both are equally good. I have a slight preference for the former, but there are some interesting new details in the latter). You could also watch directors on directors from the same year as a bonus, but it’s less comprehensive.

2022 Graham Norton - How All Too Well (10 Minute Version) came about + how the re-recordings inspired Midnights

Also listen to Midnights

The Eras Tour

All Too Well speech (Glendale Night 2 & Atlanta Night 1) - any of the speeches from March and April 2023 will work, but these two really illustrate how she feels about this time in her life now and how the fans changed the Red album for her. Obviously credit to @cages-boxes-hunters-foxes for the transcripts!

Maroon first ever live performance (‘This is a song about something that happened a long time ago, but it took place in New York’)

Aaaand finally listen to The Tortured Poets Department, especially The Manuscript

This is a lot, but it’s worth it. Enjoy!

[hotvintagepoll]

Propaganda

Brigitte Bardot (Contempt, And God Created Woman)—unbelievable charisma off the charts, post-war France could barely handle her because she just radiates sexuality in the deepest, hottest way. i've never seen a woman who fit so clearly in my head the "beautiful woman" category. also i'm including her little suit number because why not [pic below]

Vanessa Redgrave (Camelot)—Partially submitted as justice for her father, and you should all know her birth was announced to a theatre audience by Laurence Olivier. But for herself, she is a wild untameable beauty who was in some of the best avant garde cinema of the period.

This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Brigitte Bardot:

"Los Angeles Times in 2011 ranked her as the second most beautiful woman in film, she won a David di Donatello award and was nominated for a BAFTA. Literally nicknamed a sex kitten, she used her fame to promote animal rights. And God Created Woman was so scandalous to US audiences that some theater managers were arrested for screening it"

"She was a sex symbol and her style is influential even today"

"She's just so iconic! Wikipedia extracts because why not : "In 2011, Los Angeles Times Magazine's list of "50 Most Beautiful Women in Film" ranked her number two" "The Guardian named Bardot "one of the most iconic faces, models, and actors of the 1950s and 1960s" "According to the liner notes of his first (self-titled) album, musician Bob Dylan dedicated the first song he ever wrote to Bardot. " I mean of course she is iconic in France, but she inspired many women outside of France"

"She wasn't just a sex symbol because men found her attractive and then that imagine of her was further promoted. But she was actually one of (if not) the first women to stand for emancipated women in a sexual way in a time when women were considered to mainly exist to please their man. She was famous for portraying women who lived their sexuality for their own pleasure and knew what they wanted. Very important! And also what's hotter than a woman driving men wild because they don't even know how to handle a woman with her own ideas and needs lol"

Vanessa Redgrave propaganda:

[kamotecue]

the one that got away ❆ l. williamson

pairing: leah williamson x fem!reader

summary: after you had torn your acl, it was deemed that you weren't able to return to your football career. so, what happens when you pursued something different, that the one you love, ended up being the one who got away? singer!reader

agony was what the blonde defender felt, it was the agony of losing you - the one that got away, for the english captain it was a relentless ache, the haunting melody of memories that lingers long after the music has stopped. her silent screams, the tumultuois storm of her emotions that threatens to consume every one of her thoughts and feelings. it was definitely a rollercoaster ride of emotions, the experience you both had together as a couple - the deep sense of grief and loss, the emptiness feeling that was impossible to feel, how every thought is consumed by the memories of you - how you'd both dance in the rain, her watching in amusement as you would always make blanket forts during movie nights, how she held onto you close as if you were going to disappear, and lastly, her favorite - the way she'd kiss you in private, how she showed you what it's like to be loved.

yet there it was, the winter of 2011 - you had suffered an anterior cruciate ligament injury making everything fall down, as much as you tried there was nothing that you could do. and so, you had left the football world, despite being the arsenal prodigy. a knock was heard, as you gazed at your bedroom door - the blonde defender had carefully opened the door, she looked at your eyes to see them filled with tears, knowing how this moment would change everything. your career ending injury, the one you sustained was not just a blow to your body, but a devestating blow to your dreams. you had worked so hard, sacrificed so much, to reach the pinnacle of yourcareer, only to have it all taken away in an instant.

"i won't be playing alongside you, as we thought, lee." your voice broke as you buried your face into the crook of her neck. the blonde reaching to softly rub your back, in an attempt to calm you which it did. the sniffles was heard throughout the house, yet all she could do was be there for you. it took you a while to accept circumstance, so you moved onto something else - music was the second, no third thing you loved - besides football, and the english defender. a year later, you took off into the music industry with a storm - you decided to form a band with your childhood friends, performing in sold-out stadiums, releasing a whole album - and it was even worse when the band had even gotten more famous.

in the early days, the love between you two was a bright flame, burning fiercely and passionately. but as your music career soared to unimaginable heights, the glare of fame cast a shadow over their relationship, changing everything. you had never anticipated the level of fame and scrutiny that would come with the band's success. everywhere you went, you were followed by a throng of fans and paparazzi, eager for a glimpse into your glamorous life. in which the pressure to maintain your image became suffocating, and you knew that any hint of scandal could spell disaster for your career. asmuch as you loved the blonde defender, you also knew that being seen with her in public could invite unwanted attention and speculation. that's why you couldn't bear the thought of her being surrounded by the media, or having her privacy invaded - as she loved being private. and so, with a heavy heart, you made the painful decision to push her away, thinking it was for the best.

at first, lee was confused and hurt with the way you acted, the unnesscary coldness. you tried to explain it, to make her understand the pressure you were under, but the damage had already been done, the trust between you two had been shattered, despite your best intentions - it couldn't be repaired. so as the distance between you two grew, your love began to wither and fade - the bright flame that had once burned so brightly was now nothing more than a flicker, barely illuminating the darkness that crept into the relationship. in the end, you were alone - your fame and success, a hollow comfort for the love that you'd lost. you often find yourself pondering, if you made the right choice, if pushing her away had been the only option, but deep down, you knew that the price of fame had been too high, and that you'd always regret the day that you'd let her slip away.

yet there you were, in front of her eyes - performing in front of 90,000 fans. she still loves you, and a part of her is hoping that you still do. and you do, you still do - there are countless nights were you're looking up at the hotel ceiling, a lingering ache in your heart for the love you had lost, the one that could've been yours if fate had not intervened. you'd often wondered how things could've been different if the acl injury had never happened, perhaps you would've never pursued music with such fervor, instead choosing a quieter life by her side. the lazy mornings spent in bed, tangeled in each other's embrace, and peaceful evenings watching as the sun would set, hand in hand. but reality was cruel, and the injury shattered not just your dreams but also the future you had envisioned with her. and as the final notes of your song had faded away, you closed your eyes, imagining for a brief moment that she was there in the crowd, that the blue eyes you had fallen in love with - and when you opened them, she was. a wide smile was seen on her face, as you noticed the tears in her eyes that were begging to drop, she was watching you with pride and love.

the crowd had cheered, as you looked away - greeted them with a small smile, as you bid goodbye. her eyes followed as you left the stage, a concerned look was seen throughout your bandmate's eyes. the crowd began to leave, one by one - yet a dazed look was shown on her face, you saw her, yet you haven't made the effort to do anything. maybe you shouldn't, maybe you couldn't or maybe you didn't have to.

"come on, lee - the concert is done." beth, her club and national teammate said, as a soft sigh was heard. she didn't notice a tour staff had walked her way. you had given orders to invite her teammate's backstage. the defender had only looked up when she took note of the unfamiliar ones, her eyes locked onto someone in uniform, the lanyard confirming that she worked for, or with you.

"ms. williamson, i presume? i was ordered to give you these backstage passes, as well as to escort you backstage." the worker said, as her eyes gazed to the passes in her hands, beth and a few others, their eyes had widened in shock. she slowly stood up before nodding to the girl, as every step began to feel a bit heavy for the defender, you walked back in forth in your changing room - wondering if it was the right choice.

it was, as the team had been led backstage, leah had caught the eyes of your three childhood best friends - people that she also knows, as she formed a friendship with the trio while you were dating. an amused look was seen on oliver's face, as he stood up to greet the team.

"never thought i'd see you again, lee." oliver's charming voice was heard, catching the eyes of his two other bandmate's "childhood friends". a soft smile was shown on archie's and adeline's face.

"neither did i" the english captain's voice was calm, gaining the attention of oliver who softly hummed.

"we've missed you, but she misses you more." oliver replied, he gazed at your dressing room door - it opened, revealing you.

[gluttons-for-punishment]

MY LIFE WITH QUEEN

One day in 1974 I was reading the paper and it said that "the Queen" was going to be on Top Of The Pops. Obviously this was a bit of typical puerile stupidity on their part. The Queen wasn't appearing on Top Of The Pops.

Queen were.

And they did. Seven Seas Of Rhye was their first hit, and I quite liked it partly because of the fun outro. Music had joy in it, back in the day.

The likes of Slade and Wizzard and Gary Glitter didn't take it all too seriously. They were all regulars on TOTP and it was a lot of fun.

Queen were on again a little while later with their follow-up, Killer Queen. Everyone liked that. Their lead singer was weird, exotic, almost Oriental-looking with big white teeth. He fitted into the now jaded Glam Rock aesthetic but with an edge, and more class than all the others.

I was listening to the radio the following year and I heard this strange record going "Mama Mia! Mama Mia!" and I thought what the fuck? That ain't Abba!

Then I heard the whole thing, Bohemian Rhapsody in its entirety, all five minutes and fifty-five seconds of it, and I was hooked for life. Queen were like a breath of fresh air, a sparkling gem amid all the Osmonds / Bay City Rollers / David Essex dross that was stinking up the airwaves. I set about investigating their back catalogue.

Someone taped their latest album A Night At The Opera for me. My mate Bernie had Sheer Heart Attack, so I got a copy of that too. Once I'd saved up enough pocket money I went out and bought Queen II. From this album, The March Of The Black Queen has consistently remained in my top three for nearly half a century.

That Christmas Eve, Queen's concert at Hammersmith Odeon was transmitted live on The Old Grey Whistle Test. I took an audio recording of the show on my little portable cassette recorder. The quality was pretty dismal but I played that tape to death and learned it all by heart. In the intervening years it's been repeated over and over again by the BBC, always in a savagely truncated form. It was finally given an official full-length deluxe box set release in 2015 under the title A Night At The Odeon, forty years after the initial live broadcast.

In the scorching endless summer of 1976 Queen announced that they were going to play a free concert in Hyde Park. I wasn't going to miss that. So I set off early in the morning of 18th September with a mate from school (whose name escapes me) after a fry-up made by my sister. We got to Hyde Park and sat on the grass with 150,000 other fans and stared at the empty stage. There was a middle-aged couple sitting behind us who may or may not have been Brian May's parents. A young hippy who looked like Jesus wandered through the crowd giving out cherries.

The first band of the day was Supercharge. Their lead singer was a big fat guy who came on stage wearing a leotard like the one Freddie wore. Next was Steve Hillage, whose endless noodling bored me to tears. Then it was Kiki Dee, who was in the charts at the time with her duet with Elton John, Don't Go Breaking My Heart. She performed the song with a cardboard cut-out of Elton, with the audience singing Elton's lines (Elton was actually present backstage at the time, but didn't appear on stage as he didn't want to steal Queen's thunder).

Then at dusk Queen finally came on with a blinding flash and blew me away. They opened with Procession and a clip from Bohemian Rhapsody and went straight into Ogre Battle.

"Welcome to our picnic by the Serpentine!"

By now, everyone had got to their feet and moved closer to the stage. I got separated from my mate. I didn't care. All my attention was focussed on the band.

The best bit was Freddie, solo at the piano, performing the as yet unreleased You Take My Breath Away. That was amazing. A flawless performance that's included for posterity on the 2011 re-release of A Day At The Races.

They finished with In The Lap Of The Gods... Revisited but didn't play an encore: apparently the show was running late and the band had been threatened with arrest if they went back on stage, due to the huge numbers of people out there in the dark.

My first ever concert experience was absolutely euphoric. It was like losing my virginity. I was still on a high as I drifted away in the dark to get the tube home.

Their next album, the first new one to come out after I became a fan, was A Day At The Races. I got the LP for Christmas, some two weeks after its release, but by some careful snooping I'd found it hidden in my mum's bedroom and played it a couple of times beforehand. When I finally got my hands on it, I played it to death.

By now I was a member of the fan club, and used to ring them now and again to see if there was any news about forthcoming releases (the music press were always a few days behind). I'd sometimes pop into their offices at South Audley Street if I happened to be in the West End, always hoping there'd be one or two band members present. There never were. One day I was up there with my mate Mark and we casually asked the fan club secretary if there were any plans to re-release I Can Hear Music, the pre-Queen single Freddie had recorded with the engineer Robin Cable and released under the name Larry Lurex in 1973. She said no, but she had a few copies for sale. Were we interested?

Hell, yeah! It was a one-sided white label seven-inch single, a test pressing as it later turned out. I was disappointed that the far superior B-side Going Back wasn't included, but it was the elusive and rare Larry Lurex so I had to have it. We got one for our mate Andy too. 75p each. Bargain!

My copy disappeared into the ether decades ago, but Andy still has his. And apparently it's one of the most collectible Queen items (second only to the 1977 Bo Rhap blue vinyl single) and sells for an absolute fortune.

[Whilst visiting and working in the West End in the late Seventies I went past Trident Studios in St Anne's Court, off Wardour Street, many times without really realising its significance. Standing opposite Dark They Were And Golden-Eyed, a fantastic science fiction bookshop (where I acquired loads of quirky unofficial Tolkien stuff when Tolkien fandom was an underground movement rather than a multi-million-dollar industry), this was where Queen recorded their first three albums. Elton, Bowie and The Beatles had recorded there, too. Further on from the studio, towards the Dean Street end, was a tenement brothel where the ladies would sit by the open windows and call out to you as you walked past.

Of course, it's all gone now. Dark They Were closed in 1981 and there are shops and offices where the ladies of the night used to ply their trade. Trident is now a post-production facility.]

My second experience of Queen live was at Earls Court with Mark and Andy, high up in the balcony, miles from the stage. I snuck my little Kodak 126 camera in with me and succeeded in getting a series of very muddy, very distant images of the massive crown-shaped lighting rig. At one point Freddie was performing You Take My Breath Away at the piano when, at a particularly quiet part of the song, someone knocked over the drum kit (at least, that was what it sounded like). Freddie looked startled for a moment then, like the total professional he was, continued as if nothing had happened. This was followed by a performance of White Man that was powerful enough to blow your bollocks off. Freddie: "This is a real bitch of a song that's really fucked up my voice."

For the encore, Freddie strutted on stage in a shimmering silver leotard that sparkled like a glitterball. A brief but brilliant segment of Saturday Night's All Right For Fighting was included in the rock'n'roll medley.

Later that year I went on holiday to Italy with my family. When I returned home on Saturday 8th October there was a postcard waiting for me from the fan club.

My postcard is long gone. This is someone else's that I found online.

I read the first couple of sentences and thought "oh! fantastic! I'm gonna be in a Queen video!" but then as I continued I realised that the event had come and gone and I'd missed it by two days.

Mark and Andy were there. They said the band ran through the new song - We Are The Champions - a few times so the audience would be familiar with it for the recording, and after three takes played a surprise fifty-minute concert. What a unique experience, that I missed out on by two fucking days.

Empire Pool, Wembley was a much nicer venue than Earls Court. I got to see Queen there three nights running in May 1978. On this tour they opened with the fast full band version of We Will Rock You and included the brilliant It's Late, which for many years was my all-time favourite Queen track, in the set. The low point was probably Get Down, Make Love, but the gigs were brilliant. Electrifying.

Following this tour they released the Jazz album, which was a bit disappointing. For the first time, there were more duds than gems on a Queen album. The only track I really liked was Jealousy.

I was in the HMV shop in Oxford Street one day in 1979 and there were three or four copies of Live Killers for sale, autographed in gold ink by all four members of Queen. I didn't buy one because I'd already got a copy of this (disappointing and lacklustre) album. I wish I had. They go for between five hundred quid and a grand these days.

Later that year they released Crazy Little Thing Called Love. I gave it a listen. "That's fucking crap," I spat. "The worst thing they've ever done. The final nail in their coffin."

You could say it grew on me after a while.

Queen went on tour at the end of the year. It was called the "Crazy Tour", as they were playing small venues. I got to see them three times that year, first at the Lyceum in central London on 13th December - fantastic, me and Kate were right at the front! The following day I was so hoarse from cheering and singing my lungs out that I was sent home from work by a manager who thought I was suffering from a bad throat infection.

The following evening it was the Rainbow in Finsbury Park. But the best was yet to come: their gig at the Tottenham Mayfair (formerly the Royal nightclub) five days later remains the best concert I've ever been to. A full account of this concert is elsewhere on this blog.

A year later, another tour, to promote the albums Flash Gordon and The Game. Two nights at Wembley Arena (formerly the Empire Pool) this time, 9th and 10th December. I woke up on the morning of the 9th to the devastating news that John Lennon had been murdered. That took the shine off the prospect of going to see Queen.

I still went. I was in the balcony, with a side view of the stage. At one point in the concert, with no announcement or fanfare, they played Imagine. Just Freddie and Brian. Freddie had the lyrics on a sheet of paper. It was the best moment of the whole evening.

My enthusiasm for Queen nosedived in the early Eighties after the release of Under Pressure. I didn't bother buying Hot Space until a few weeks after its release, and then only after I'd heard Back Chat. Bowie had replaced Queen as my favourite, and I just wasn't interested any more. Consequently I didn't bother to see them on the 1982 tour: the closest venue was Milton Keynes Bowl, and it just wasn't worth the effort.

Next time around, for the tour promoting The Works in 1984, they played Wembley Arena again so I grabbed a couple of tickets. Me and my friend Claire were in the balcony again for this show. At one point I mentioned how brilliant it would be if Bowie would appear with them to perform Under Pressure, but Claire pointed out that as the date was 4th September, it would more likely happen the following evening, on Freddie's birthday (it didn't).

Queen's "show-stopping" appearance at Live Aid (13th July 1985) has gone down in history as one of the greatest rock performances of all time, but at the time it was hard to figure out why: to an experienced fan like me, it wasn't really anything out of the ordinary. They were always that good. Usually they were better. But it was a revelation for the general public who'd seen them as some kind of novelty act or bunch of glam-rock throwbacks, and as a result they gained millions of new fans. I watched it live on the BBC that Saturday, recording it on VHS and - in stereo!!! - on cassette from Radio 1.

I missed the Magic tour, their final tour with Freddie as it happened. Following their Live Aid appearance, everyone wanted to experience them in concert so the shows got bigger and bigger. Wembley Stadium and ultimately, Knebworth Park. It was essentially a greatest hits show, with the band playing mostly their hit singles with little room for the deep cuts which were much more appealing for veteran fans like me.

I watched the Wembley Stadium concert on TV though, and they were on top form. The broadcast and subsequent home media release successfully capture the essence of the atmosphere you'd feel at a Queen concert.

As the Eighties faded away the AIDS crisis became more and more prevalent. The vindictive gutter press gleefully jumped on the bandwagon and harrassed any gay celebrity they could think of, including Freddie. Following his gaunt and frail-looking appearance at the Brit Awards in February 1990, they quite literally hounded him to the grave. For over a year these vultures were camped outside his home, hoping for a scoop and a hysterical headline, and every time he emerged into the outside world there were intrusive and sensationalised pictures of him all over the papers.

Not surprisingly, the vile S*n was the biggest culprit.

I thought: "you fucking wankers." - Roger Taylor on the British press

Like most fans, I was in denial. I didn't believe he was ill. I couldn't bear to believe it. There were repeated rebuffs from the Queen camp - "Freddie's fine, he's as fit as a fiddle" - that we latched on to. This became harder when the videos for I'm Going Slightly Mad and Headlong were released. Freddie did look ill.

Sunday, 24th November 1991, the headlines screamed: FREDDIE: "I'VE GOT AIDS". Just after 7:00 the following morning, Monday 25th, I was woken by my girlfriend rushing into the bedroom declaring "Gary! Freddie Mercury's died!"

They make his life a misery and hound him to his death, then pretend they care. Fucking wankers.

Monday morning. That was a very hard day to get through. At work, there was wall-to-wall Queen on the radio. The jokes started up already: rotten seamen, etc. I was so stunned that I could hardly concentrate on anything else. Queen had been a more or less constant presence in my life from adolescence through to my thirties, and now that was suddenly wrenched away.

That evening, the other half was out so I had the flat to myself. I got a few beers in to toast Freddie and settled down to watch the tribute shows on TV. I was able to keep it together until the premiere showing of Freddie's final video, These Are The Days Of Our Lives. He looked so ill, so thin and frail, so sad. What he must have been through, how he must have suffered. It was hard to believe that was actually the same man on the screen. I sat there and cried my eyes out.

Bohemian Rhapsody got a re-release and became Christmas number one again. John and Roger and Brian announced a tribute concert that would take place the following Easter. A plethora of cash-grab tribute books and magazines were rush-released; I bought them all.

The tribute concert took place at Wembley Stadium in April 1992. I went with a mate from work, Allan Harvey, but we got split up in the 72,000-strong crowd before the concert began (echoes of Hyde Park). The concert itself was a mixed bag: some genuinely emotional moments, and a hell of a lot of shite. Roger Daltrey and Robert Plant were just fucking terrible. Paul Young was OK. Bowie's performance wasn't exactly inspiring: he seemed to be making an appearance for the publicity, rather than to pay tribute to Freddie. And his "Lord's Prayer" moment made me (and the rest of the world) lose the will to live.

Elizabeth Taylor made an appearance, giving a speech about the AIDS crisis (man in crowd: "Get 'em off!" Liz: "I'll get off when I'm finished!"). Elton John gave a solid performance of The Show Must Go On and duetted with the notoriously homophobic Axl Rose on Bohemian Rhapsody. The climax of the show, featuring Liza Minelli (one of Freddie's favourite performers) trying to sing We Are The Champions was just plain embarassing.

The highlight of the show was, without a doubt, George Michael. He gave a fantastic performance of Somebody To Love, '39 and, with Lisa Stansfield, These Are The Days Of Our Lives; as live performers go (those that I've seen, anyway) he's second only to Freddie. I still think this was the only part of the concert that stands up to repeated viewing.

Three years later Made In Heaven, Queen's posthumous fifteenth and final album, was released. This was ingeniously cobbled together from bits and pieces Freddie had recorded before he got too ill, outtakes from previous albums, and a couple of re-worked Queen versions of Freddie solo tracks. Despite a couple of crappy fillers (My Life Has Been Saved, indeed) it was their best album for years. I bought it on the day of release and sat there that afternoon getting hammered on Tungsten lager and listening to these precious sounds.

These days "Queen" (minus John) are still touring with American Idol contestant Adam Lambert as their frontman. I'm not really interested. I'm not a fan of Lambert, I don't like the Broadway-style approach the band take these days, though a few people I've spoken to have said it's a good show. I'm content with the eleven Queen concerts I attended in the Seventies and Eighties with Freddie Mercury at the front of the stage (even though the last one was over forty years ago).

It's fairly safe to say Queen have stood the test of time. They're still immensely popular some fifty years after their first release, even though increasingly these days their fanbase weren't even born when Queen were in their heyday. Those of us who experienced Freddie Mercury on stage are beginning to die off now. But Queen still keep bringing joy to new ears, and I'm quite confident that their body of work will still be appreciated in another fifty years.

QUEEN

My experiences

Hyde Park: 18th September 1976

Earls Court: 1st July 1977

Empire Pool, Wembley: 11th / 12th / 13th May 1978

The Lyceum: 13th December 1979

Rainbow Theatre: 14th December 1979

Tottenham Mayfair: 19th December 1979

Wembley Arena: 9th / 10th December 1980

Wembley Arena: 4th September 1984

Freddie Mercury Tribute Concert, Wembley Stadium: 20th April 1992

[the-nation-of-today]

BVB Discography // Rebels Rebels is Black Veil Brides' first EP. Released on December 14th, 2011, the EP features the song “Coffin”, originally cut from their previous album, and two covers, Billy Idol’s “Rebel Yell” and KISS’s “Unholy”. “Unholy” also features Zakk Wylde, best known as the lead guitarist for Ozzy Osbourne.

[miser4ble-lie]

September 28, 1987 - Strangeways, Here We Come release date

37 years of absolute art, my favorite smiths album ever and although it is their last studio album, it almost feels like they saved the best for last 💐

[crimsonglittered]

GLITTER & CRIMSON, also known as G&C, is a Korean, Canadian, Australian and Chinese all-male band under GC Global, previously known as SUPERSTAR Entertainment. the group consists of four members: ARDEN, CADENCE, SUNGSOO, and LEON. the group was scouted around the globe in numerous international auditions to find the perfect four. established officially in 2011, each member trained for exactly four years before debuting in 2015 with the mini album titled FULL OF CRIMSON. the concept of GLITTER & CRIMSON is the emotional process of how it feels to grow up too early. all members are best known for producing the group's music themselves since 2016.

group name glitter & crimson

company gc global

debut song dream boy!

debut album full of crimson, the 1st mini album

debut date may 08, 2015

fandom name rubies

fandom color #94CBE0 ➝  "morning glory"

THE MEMBERS . . .

ARDEN [ 1995 ] drummer, sub-vocalist

CADENCE [ 1997 ] leader, frontman, bassist, main vocalist

SUNGSOO [ 1998 ] electric guitarist, sub-vocalist

LEON [ 1998 ] maknae, rhythm guitarist, sub-vocalist

comment/reblog your bias(es) to join the taglist !

[ibroughtumybulletz]

MCR’s Ski Masks at the NME awards explained:

(credit for the gif: @rubbish78 )

A Master Post Because I couldn’t find one! Lmk if I missed anything :)

.

.

So way back in 2010, the British magazine NME (New Music Express) published a multi-page spread about the band. In that article, “journalist” Luke Lewis wrote:

Both men are rail-thin something Way attributes to not eating, rather than exercise, which he hates. For the new albume he wanted to look staving and on-the-run, though he actually looks healthy, certainly in comparison with his Xanax and cocaine days pre-Black Parade, when he ballooned to 200 pounds and got so blitzed his trousers fell down onstage. Back then, unkind souls dubbed him the emo Meat Loaf, such was his shambolic demeanour. Now he looks more like Christina Ricci. In the background lurks guitarist Ray Toro the archetypal heavy metal nerd, with corkscrew hair and a wheedling voice. He doesnt look starving and on-the-run: when he takes off his Randy Rhodes, I notice doughy love handles spilling over his belt.

(Here’s a link to the scanned article)

Ray responded on his Twitter:

MCR was set to preform at the NME music awards a few months later, in February of 2011. At that show, they preformed in ski masks.

(credit for the gif: @rubbish78 )

When Frank and Gerard were asked about why they did so, in an interview, Frank explained:

“[it’s] about the music, not the messengers, you know?”

(at about 3:20)

My Chemical Romance received the award for “Best Music Video” that night, and when present with the award Gerard said this in his speech:

“Don’t ever let the media tell you what your body is supposed to look like. You’re beautiful the way you are. Stay beautiful[…]”

(at about 8:30)

[doyoulikethissong-poll]

Green Day - American Idiot 2004

"American Idiot" is a protest song by the American rockband Green Day. The first single released from their seventh studio album American Idiot, the song received positive reviews by critics and was nominated for four 2005 Grammy Awards: Record of the Year, Best Rock Performance by a Duo or Group with Vocal, Best Rock Song, and Best Music Video. It is considered one of the band's signature songs. In advance of Donald Trump's visit to the UK in July 2018, a campaign to get "American Idiot" to the top of the UK song charts was launched. On the Official UK Charts dated 13 July 2018, the song re-entered the UK Singles Chart at 25 and the UK Singles Downloads Chart at number 2. In 2019, Billie Joe Armstrong began changing the lyric "I'm not a part of a redneck agenda" to "I'm not a part of a MAGA agenda" during live performances.

The single peaked at number 61 on the Billboard Hot 100, becoming Green Day's first Billboard Hot 100 chart entry. The appearance of "American Idiot" on the US singles charts occurred just prior to Billboard's inclusion of Internet download purchases into their Billboard Hot 100 chart data, which would have made a significant difference in the song's peak had it benefited from the new chart tabulation system. "American Idiot" became Green Day's first top-five single in the UK, peaking at number 3, and it debuted at number 1 in Canada, their only #1 single there. In Australia, the song reached number 7. At MTV's Video Music Awards, the music video won the Viewer's Choice Award and was also nominated for Best Art Direction. "American Idiot" was ranked the number 13 Single of the Decade by Rolling Stone magazine in 2009. VH1 also placed the song at number 13 on its Top 100 Songs of the 2000s in 2011.

"American Idiot" received a total of 94% yes votes!

[jostystyles]

one direction song fic challenge

long time no see besties! i myself and probably some of you because we all know the 1d to hockey fan pipeline have been missing 1d lately due to certain events. so why not host a fic challenge!

rules:

choose one song and a player from this list

only one song per fic, you can choose two songs if you like as long as they’re separate pieces!

if choosing more than one song (limit two so it’s only fair) please send one ask per song!

first come first serve, i’ll be posting in order of asks so make sure to look and see what’s been claimed already

minimum word count of 600 but no maximum!

fics must be submitted by january 4!

if you’re writing smut you must be 18+

you don’t have to be following me but it would be appreciated! happy writing, tracks are below!

ALBUM 1: UP ALL NIGHT (2011)

track 1: what makes you beautiful || jack hughes by @tonyspep

track 2: gotta be you

track 3: one thing

track 4: more than this

track 5: up all night

track 6: i wish

track 7: tell me a lie

track 8: taken

track 9: i want

track 10: everything about you

track 11: same mistakes

track 12: save you tonight

track 13: stole my heart

track 14: stand up

track 15: moments

bonus track: another world

bonus track: na na na

bonus track: i should’ve kissed you

ALBUM 2: TAKE ME HOME (2012)

track 1: live while we’re young

track 2: kiss you

track 3: little things

track 4: cmon cmon

track 5: last first kiss

track 6: heart attack

track 7: rock me

track 8: change my mind

track 9: i would

track 10: over again

track 11: back for you

track 12: they don’t know about us

track 13: summer love || luke hughes by @wineauntie

track 14: she’s not afraid

track 15: loved you first

track 16: nobody compares

track 17: still the one

bonus track: truly madly deeply

bonus track: magic

bonus track: irresistible

ALBUM 3: MIDNIGHT MEMORIES (2013)

track 1: best song ever

track 2: story of my life

track 3: diana

track 4: midnight memories

track 5: you & i

track 6: don’t forget where you belong

track 7: strong

track 8: happily

track 9: right now || elias petterson by @ilyasorokinn

track 10: little black dress

track 11: through the dark

track 12: something great

track 13: little white lies

track 14: better than words

track 15: why don’t we go there

track 16: does he know

track 17: alive

track 18: half a heart

ALBUM 4: FOUR (2014)

track 1: steal my girl

track 2: ready to run

track 3: where do broken hearts go

track 4: 18

track 5: girl almighty

track 6: fools gold

track 7: night changes

track 8: no control

track 9: fireproof || undecided player @mattyanonwrites

track 10: spaces

track 11: stockholm syndrome

track 12: clouds

track 13: change your ticket

track 14: illusion

track 15: once in a lifetime || nico hischeir by @fallinallincurls

track 16: act my age

ALBUM 5: MADE IN THE A.M. (2015)

track 1: hey angel

track 2: drag me down

track 3: perfect

track 4: infinity

track 5: end of the day

track 6: if i could fly

track 7: long way down

track 8: never enough

track 9: olivia

track 10: what a feeling || undecided player @mattyanonwrites

track 11: love you goodbye

track 12: i want to write you a song

track 13: history

track 14: temporary fix

track 15: walking in the wind || quinn hughes by @writingonleaves

track 16: wolves

track 17: a.m. || brady skjei by @jxmieoleksiaks

remember, once a track is claimed it’s gone! tagging some moots: @laurenairay @comphy-and-cozy @mattyanonwrites @2manytabsopen @lam-ila @ilyasorokinn @senditcolton @cellythefloshie @fallinallincurls

[themultifandomgal]

From 2010- YN’s Wiki So Far

YN YLN in 2015

YN YLN, Born 13th April 1994, is a British singer and songwriter. She is known for being part of the British pop group One Direction. In 2010, YLN auditioned as a solo artist for the British television series The X Factor. She was eliminated as a solo artist before going to judges house, however joined the then boyband One Direction.

YN attended Shrewsbury Secondary school, taking part in the schools drama department and choir. In addition to singing, YLN has also appeared in television and film, including the Nickelodeon series iCarly and the autobiographical concert film One Direction: This Is Us.

YLN along with bandmates Niall Horan, Zayn Malik, Liam Payne, Harry Styles and Louis Tomlinson, has released five commercially successful albums, performed on a worldwide tour, and won several awards, including two BRIT Awards and four MTV Video Music Awards.

Early life

YLN was born in Shrewsbury Shropshire to parents Thomas and Lisa YLN. She enjoyed singing from a young age, putting on shows for her parents.

At the age of 14 her mother was diagnosed with stage 4 cervical cancer and unfortunately lost her battle in 2009, a year before YN’s appearance on the X Factor.

Music career

YLN finished in 3rd place alongside her bandmates on the TV show the X Factor. Not long after the show it was announced that the band had been signed by Simon Cowell and his record label Syco records. They began working on their first album in 2011. One Direction released their first studio album, Up All Night, in 2011, followed by their second, Take Me Home, in 2012. One Direction: This Is Us, a documentary about the band directed by Morgan Spurlock, was released in August 2013. The film grossed more than $30 million worldwide its first weekend in theaters. The band's third studio album, Midnight Memories, was released on 25 November 2013. The band release their fourth studio album Four in 2014. Their final album, Made in the AM was released on 13th November 2015.

YN has announced she will be releasing her first solo album very soon.

Personal life

YLN was in a relationship while on the X Factor, but they soon split up. YLN then started dating Alex. Unfortunately her whirlwind relationship came to a halt after Alex passed away in 2012.

YLN had an on and off relationship with actor Liam Hemsworth from 2013 until 2014. She had been single since, however many speculate that YLN and bandmate Harry Styles have had a secret relationship during their time in One Direction, but nothing had been confirmed.

YN has a dog named Cookie who lives with YLN’s dad or best friend Emma when YN was on tour.

[hotvintagepoll]

Propaganda

Brigitte Bardot (Contempt, And God Created Woman)—unbelievable charisma off the charts, post-war France could barely handle her because she just radiates sexuality in the deepest, hottest way. i've never seen a woman who fit so clearly in my head the "beautiful woman" category. also i'm including her little suit number because why not [pic below]

Sara Montiel (Vera Cruz, Serenade, Run of the Arrow)— She began her career in the 1940s and became the most internationally popular and highest paid star of Spanish cinema in the 1960s. She appeared in nearly fifty films and recorded around 500 songs in five different languages. She always tells how when she met Marlon Brando, she cooked fried eggs for him and he said they were the best eggs he had ever tasted. She confronted Franco himself first by rejecting his invitation to sing at his Christmas party, and then when she went to the barracks to ask that the police let the homosexuals that they had detained be let out. She defended them tooth and nail, and that's why they returned all the love by turning her into the icon of the gay community in Spain.

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Brigitte Bardot:

"Los Angeles Times in 2011 ranked her as the second most beautiful woman in film, she won a David di Donatello award and was nominated for a BAFTA. Literally nicknamed a sex kitten, she used her fame to promote animal rights. And God Created Woman was so scandalous to US audiences that some theater managers were arrested for screening it"

"She was a sex symbol and her style is influential even today"

"She's just so iconic! Wikipedia extracts because why not : "In 2011, Los Angeles Times Magazine's list of "50 Most Beautiful Women in Film" ranked her number two" "The Guardian named Bardot "one of the most iconic faces, models, and actors of the 1950s and 1960s" "According to the liner notes of his first (self-titled) album, musician Bob Dylan dedicated the first song he ever wrote to Bardot. " I mean of course she is iconic in France, but she inspired many women outside of France"

"She wasn't just a sex symbol because men found her attractive and then that imagine of her was further promoted. But she was actually one of (if not) the first women to stand for emancipated women in a sexual way in a time when women were considered to mainly exist to please their man. She was famous for portraying women who lived their sexuality for their own pleasure and knew what they wanted. Very important! And also what's hotter than a woman driving men wild because they don't even know how to handle a woman with her own ideas and needs lol"

Sara Montiel: