#drummer!pope

[princessbrunette]

with that being said, i desperately need drummer!pope to sit me on his lap and let me go absolutely ham on his drums just to get me all smiles n giggles after a bad day n then fuck me silly afterward - 🍓

ᘏ ⑅ ᘏ   ഒ    zᶻ

at first he tries to lay his hands over yours and guide you, trying to help you play something that actually resembles a rhythm — but after a challenging ten seconds you wave him off, wriggling and groaning something about being stressed. he sits back with a simple smile, knowing what you’re like by now and nodding at the drum set.

“okay, have at it.”

you smash away until you’re cracking yourself up, and popes chuckles rumble from behind you — eventually softly grasping your arms and bringing you to a slow as you pant.

“okay, i think my ears are officially bleeding now. you all done?” he pecks your cheek like he just can’t help himself.

“mhm, think so.” you smile back, twisting your body for a full kiss. you’re not quite sure how it gets to the point it does, but soon — right there in the rehearsal room, your boyfriend has his hand down your shorts, fingers curling up against that sweet spot inside of you as you pant against his mouth, neck still twisted uncomfortably at the angle.

“ah, ahh…” you mewl and he pulls back just a tad to glance down between the two of you.

“yeah? that’s the spot, right?”

he keeps doing what he’s doing when you whimper in agreement, humping against his hand. “maybe you just needed to cum, instead of you know, nearly breaking my beloved drum set.” he jokes lowly against you, but you’re too focused on chasing your orgasm to react.

ᘏ ⑅ ᘏ   ഒ    zᶻ

[crookedteethed]

18+

⋆ ★ You weren't even a fan, but here you were fucking the band's drummer in his tour bus. <3

Pairing: band!rafe x fem!reader

(a/n: posting this so y'all don't think I passed away😍😍😍 ps: I imagine rafe being a pouge in this. )

"For fuck sakes Cameron! Would'ja unlock the goddamn door?!" JJ, the bands guitarist struck the bus door as if it been his electric guitar.

"I'm coming, hold your horses!" Rafe yelled back, his voice muffled by the thick door. You could picture him rolling his eyes and a smirk playing on his lips. "Just giving our guest here the grand tour."

The bus fell silent for a moment--beside from the squelching slick of your cunt--and you could almost feel the confused glances being exchanged between JJ and Pope. Then, a loud groan reverberated through the door.

"You mean to tell me you brought a groupie on board? We have another show in a few hours, Rafe! This isn't the time for your extracurricular activities." Pope, their bassist, voice carried a hint of frustration and concern.

"Oh, shut up, Hayward. It's not what you and Maybank think," Rafe retorted, his hand still gripping possessively on your hip, his cock slotting in and out your sopping wet cunt. "Open the damn door and see for yourself!"

"It's locked you asshole!" You heard Pope quip, causing Rafe to laugh like the little shit he was.

"Oh yeah, guess you'll have to wait then!" Rafe shouted.

You wondered if they could hear you--the little whimpers that laced your lips at every rock of Rafe's hips--as you had heard them but actively decided to ignore them. 

"Rafe hurry up." you whined, tilting your head back to rest on Rafe's shoulder. "They're waiting."

"You think I give a shit about them waiting?" he asked you, his rocking movement stilling for a moment, and because you didn't want the pleasure to end, you quickly shook your head 'no.' 

Rafe had you bent over the tour bus dining table, your leg hitched upon the carbon steel, as he gave it to you from the back, repeatedly.

Your leather skirt and bra were bunched at your waist, and your shirt was on the ground somewhere. Rafe's impatience had torn the fishnets you had on earlier to shreds. 

You felt Rafe's hands grip your hips tighter, pulling you back onto him with each thrust. The table dug into your stomach, a contrast to the pleasure that pulsed through you.

The tour bus's windows had been tinted, but you could feel the eyes of the other band members on you, cupping their hands to the glass, but you didn't care. 

This was always how it was after a show for Rafe—the rush of performing, the need to let go, and the freedom of the open road, and the girls, girls, girls!

Rafe had realized he'd been a lucky man because every night after his band had done a set, there would be a queue of girls waiting to do whatever he said. 

He'd fucked girls in the East and the Midwest, and the South that had pretty decent pussy, but the girls in the West pussies never seemed to fail Rafe--like yours per se. 

Rafe breath was hot against your ear, his desire matching your own; Rafe almost wanted to kiss you. 

You pulsed around his cock at the sensation.

Fuck, did Rafe love your pussy, he really did.

"You'resofuckingwarm." Rafe words jumbled. 

Your cunt was the type of warmth you'd feel after being outside in the cold all day or, as Rafe imagined, the type of warmth you get from hugging a dead loved one, per se, like his mother. 

A moan escaped your lips as Rafe's tip hit a particularly sensitive spot, and you knew you were close.

The bus bounced slightly with each of Rafe's eager movements, a rhythm that matched the pounding in your chest.

The sight of your heart-shaped ass backing into Rafe's pelvis--equally as eager as him to reach your peak--almost made Rafe say, "fuck it." and let you make an honest man out of him. 

You wanted to prolong this moment, but the pleasure was too much.

"I'm close," you panted, your voice hoarse with need.

Rafe's response was a low growl, his hips snapping faster, driving you further towards the edge.

Rafe's hands then switched from gripping your hips to both his hands, palming your plush breast and forcefully pushing you back on his cock, causing the table to creak beneath your weight, the sound adding to the erotic symphony of the moment. 

And then, with one final, deep thrust, you cried out, your body shaking as pleasure washed over you.

"Ah, fuck." you panted. "Fuck." your head was spinning. It felt like someone had just put your brain in a blender, and pressed start--metaphorically speaking.

Rafe followed a hoarse groan tearing from his throat as he found his release, his cock twitching inside for every stride of his cum.

For a moment, you both stayed still, catching your breath. Then, with a soft laugh, Rafe pulled out and turned you to face him.

And you were pretty too?! Rafe had thought to himself, because this was the first time he ever really saw your face that wasn't in the dark bar light.

Rafe was glad that he hadn't been drunk or high in the moment, because he could see himself now getting down on one knee and popping the big question.

Rafe had watched you get yourself back together, he handed you you're discarded shirt on the floor, and then asked:

"Can I see you again?"

You took the shirt from Rafe, feeling a mix of emotions. On the one hand, you were flattered by his apparent attraction; on the other, you knew your personalities were likely incompatible. "I'm not much of a groupie," you replied with a small smile. 

Rafe couldn't help but burst out laughing at your response. "Well, I guess I'll just have to settle for this one unforgettable fuck then," he joked.

"Rafe it's just that--" you paused. "I know your type. You're the type to hit it and quit it, right? Leave girls once you get sick of them?"

"Funny, I didn't take you as a tabloid junkie. You shouldn't believe everything the magazines say, y'know?" Rafe said with that boyish charm of him--the same charm that landed you getting fucked in the back of his tour bus.

You laughed, a rich, full sound that surprised you both. "Fair enough," you conceded, slipping your shirt back on.

"But I'm serious, Rafe. I'm not looking for a fling, and I don't want to be another notch on your bedpost." You paused, considering your next words carefully. "I like you, and this was… incredible. But I'm not sure we're meant for anything more."

Rafe's face softened, and he took your hand in his. "Hey, I get it. I've got a reputation, and it's not exactly a good one." He squeezed your hand gently. "But maybe, just maybe, we could try something different? Something real?" His eyes searched yours, and you could see the sincerity in them.

You bit your lip, torn between your better judgment and the pull you felt towards this enigmatic man.

"Sorry, cowboy. My 'no playboys' policy is firm," you playfully jested, causing Rafe to flash a grin.

"Oh, really?" he responded, drawing you closer. "I suppose I'll have to sway your opinion then."

"I suppose you will."

And with that, time would tell if he could win you over or not.

[kisslovegoodbye]

Shuhada' Sadaqat (8 December 1966 – 26 July 2023)

Sinéad O'Connor is widely regarded as one of the most influential female performers of the 90s, not only for her sensational performances and raw vocal emotion but also for her outspoken confidence to express herself publicly.

Sinéad was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 protégés In Tua Nua, while singing wedding covers in the city. After co-writing the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music. She relocated to London in 1985.

Her debut album, The Lion and the Cobra produced two alternative hits ‘Troy’ and ‘Mandinka’ and would go on to be one of 1987’s most critically acclaimed LPs. Follow up, 1990’s I Do Not Want What I Haven’t Got confirmed her as a major artist with the Prince-written Nothing Compares 2 U reaching number 1 in the UK, the US and globally.

A series of public gestures have tended to interrupt the critical focus on O’Connor’s artistry including her infamous performance on SNL where she ripped up a photograph of Pope John Paul II. However, Sinéad’s ability to move through Pop, Rock, Folk, Reggae and incorporate multiple influences into her complex and powerful sound is in evidence all throughout her now three-decade long career.

Her death comes a year after the mother-of-four's son Shane, 17, took his own life in January 2022 after escaping hospital while on suicide watch. 

Farewell, beloved one...

[theunderestimator-2]

Lou Reed performing at Copenhagen in September 1973, as captured by Jan Persson.

"For that 1973 world tour, Reed had put together a fantastic and very energic band they were all from Detroit and they all knew their business. The concept of the tour was to deliver «Berlin» to an eager public. As Reed had been musically brought up in the Warhol’s factory, he had become a master of manipulation and he knew how to bring the hysteria element within his crew. Very high on diverse drugs, Reed silently enjoyed it when all his staff, manager, musicians, roadies and friends, fussed around his person. Andy Warhol had found out the lights concept by himself: «What is needed» suggested the Pope of Pop» is to borrow the light effect conceived by Albert Speer» for what will later be known as the «Hitlerian ceremonies»: White light spots, (whiter than white) and with a tremendous intensity all focussed on Lou Reed on an immense black background. And that’s what they did. The Tour started on September 17 at the Paris Olympia, with eleven European dates to follow. On stage, Lou Reed was wearing black leather. His face was a livid mask and he had an Afro. In Amsterdam, the bootlegers stroke, and realeased a Pirate album called «RocknRoll Animal» That made him laugh and «now here is a title for me» will he declare. Every nights, his big black Mercedes will take him to different venues, and every nights, he’ll arrive at the last moment. And his Roadies had to practically carry him up on stage where he had to stagger to reach the mike. The tour was a colossal success thanks particularly to his guitarists who had found a way to «metallize» his repertoire. His band was driven by an tremendous rhythm section: the drummer Pentti Gian played ocasionally with Steppenwolf, and the bassist Prakash John, had just resigned from Funkadelic to be replaced by Bootsy Collins. The lead guitarist Dick Wagner, had debuted with Frost, a band used to the Grande Ballroom. And so that’s why Steve Hunter was the perfect counterpart: a veritable virtuose who loved to put danger in his technique. Hunter, had once belonged to Detroit (behind Mitch Ryder) and already in the old days he used to cover the Velvet Underground «RocknRoll» on a rather hard mode, and that’s been the option adopted from the beginning to the end of that mythic tour. Every night the two guitarists will have guitar duels in front of eager crowds. Lou Reed was taking all kind of drugs, and his roadies will confess: he took everything coming his way: coke, speed, weed, valium and Johnny Walker Black Label and the roadies had to hide bottles for him into the amps. Rock critics will put it that way: «It’s been like a black mass into a Gothic Cathedral with Heroin as a God». jltambo.wordpress.com

(via)

[satelitis]

˗ˏˋ 𝐑𝐎𝐁𝐈𝐍’𝐒 𝐁𝐈𝐑𝐓𝐇𝐃𝐀𝐘 𝐂𝐄𝐋𝐋𝐘 ´ˎ˗

୭- 𝐁𝐎𝐘𝐒 𝐃𝐎𝐍𝐓 𝐂𝐑𝐘 : standard tumblr games (cym, whos most likely, kmk etc,etc.)

🕸- 𝐅𝐀𝐒𝐂𝐈𝐍𝐀𝐓𝐈𝐎𝐍 𝐒𝐓𝐑𝐄𝐄𝐓 : send me a trope and a character and i will make headcanons about it. (drummer!butch jojo, baker!peter parker)

⋆-𝐋𝐔𝐋𝐋𝐀𝐁𝐘 : matchups!! send me a short desc. of yourself and i will match you up with someone (please include fandom and gender preference)

୭- 𝐋𝐎𝐕𝐄 𝐒𝐎𝐍𝐆 : moots only!!! i will associate you with a song, artist, color, book, movie and character!

🕸- 𝐅𝐑𝐈𝐃𝐀𝐘 𝐈𝐌 𝐈𝐍 𝐋𝐎𝐕𝐄 : give me a specific mood/ vibe/pastime and i will give you a movie, song and book rec!

⋆- 𝐏𝐈𝐂𝐓𝐔𝐑𝐄𝐒 𝐎𝐅 𝐘𝐎𝐔 : your turn!! tell me who you ship me with!! you can write little headcanons or thoughts <33 (please do this one if you do ilysm!!)

DISCLAIMER!! : please only stick to one request per ask! and only the fandoms i write for!! keep the reqs sfw!! I AM A MINOR!!! also if a character is canonically lesbian or gay then only req for that gender specific reader please (no robin buckley x male reader)!!! this event is running from 1/07-1/31 !! have fun loves!!

TAGGING MOOTIES!! : @mictodii @spaceagebachelormann @dizzyntrr @juneberrie @solutopia @spiderst4rgirl @spiderfunkz @stvrlighttgabss @isitoversnowtvs @jaidens @dljcem @doyouknowwhoyouare13

CHARACTERS I'M WRITING FOR : tasm! peter parker , miguel diaz, johnny lawrence, daniel larusso, anthony larusso, hawk mozkowitz, robby keene, tori nichols, dallas winston, ponyboy curtis, steve randal, two-bit matthews, darry curtis, johnny cade, sodapop curtis, butch jojo, brick jojo, boomer jojo, sirius black, regulus black, james potter, remus lupin, marlene mckinnon, ron weasley, fred weasley, george weasley, cedric diggory, harry potter, hermione granger, luna lovegood, ginny weasley, lee jordan, bradley bradshaw, nick bradshaw, pete mitchell, tom kazenzky, anakin skywalker, luke skywalker, leia skywalker, han solo, richie tozier, stanley uris, eddie kaspberak, beverly marsh, ben hascom, mike hanlon, bill denbrough, mike wheeler, eddie munson, robin buckley, steve harrington, max mayfield, lucas sinclair, richie white, john b routledge, jj maybank, sarah cameron, kiera carerra, pope hayward. ask if a character you would like isn't on this list!!

[yiiyiiwrites]

Masterlist

Outer Banks

- Burnt out, overachieving kook x obx characters - Enemy to lovers 🏹

- obx boys x spiritual girlies

- obx boys x fitness girls

Outer banks sibling fics

JJ Maybank fics: The punch [series] JJ x pogue baker JJ x burntout kook & Extra prompt here JJ x kook girlfriend

Drummer JJ > [moodboard]

JJ x younger brother

JJ x reckless younger bro

JJ x younger sis

Rafe Cameron fics Rafe x burntout kook (extra prompt here)(Confession)

Friend or foe (1) (2)

Pope Heyward fics: Pope x burnt out kook [part 2] Pope x burnt out kook Elwin Pope x older Maybank sister - High Pope Pope x older Maybank sister headcanon

John B fics: John B x burnt out kook

John B guitarist

Kiara Carera fics: Kiara x burnt out kook

✨ will be adding more sibling fics soon :) - Yiiyii

[stephschoices]

Cinder Block Gardens -- side characters for @infamous-if

did I make a whole band just so I could have a character to ship with Pope? Maybe. 🥺

🌇 Cinder Block Gardens is a 5 member band that leans towards the singer/songwriter genre with a little country and pop mixed in. They average about 900k monthly listeners on Spotify. Did not audition for battle of the bands because they are currently on a small tour of their own.

🌇 Info on the individual members below!! ⬇️

Rosemary "Romy" Rainn

She/her

Lead singer

Writes the majority of songs

Cinder Block Gardens got recognition because Romy has kinda popular YouTube channel where she does vlogs and gaming

Real name is Rosemary but goes Romy ("row-me")

Some netizens don't believe her and Reese's last name is actually Rainn, it is lol

Some netizens also don't believe her heterochromia is real, it is!!

Likes to wear the bracelets her fans give to her a lot

Rooting for Soft Violence in BOTB

Relationship status: single, has a big crush on Pope from Soft Violence (some fans theorize her and Atticus are together, they are NOT)

Reese Rainn

He/him

Drummer

Older brother of Romy (by 1 year)

Clown of the band, likes to make people laugh

Rooting for Soft Violence in BOTB

Relationship status: taken (by @griffin-wood 's oc Liliana 💕)

Atticus Kiser

He/him

Guitar & back up vocals

A big teddy bear tbh

Rooting for Soft Violence and [mc's band] in BOTB

Relationship status: single

Nia Borden

She/her

Bass & back up vocals

The intimidating one of the band. Don't be rude to her or her friends, you'll regret it

Rooting for [mc's band] in BOTB

Relationship status: single

Nik Aiken

They/them

Keyboard/synthesizer & back up vocals

Quiet, first time meeting them you'd never guess they're actually a great singer! But they prefer the keyboard

Rooting for [mc's band] in BOTB

Relationship status: single

[retromotherfuckers]

OBX Rock Band AU (headcanon)

Characters:

jj maybank, john b routledge, pope hayward, kiara carrera, sarah cameron

Word Count:

~700

A/N:

i have no idea if this has been done before but the idea came to me the other night in the shower lol. i’m in a band so you can guess what i loosely based this on

JJ - Drums

is my opinion biased on this one? probably

my favorite band member and character

the one with the most problems

drinks a little too much,  stoner

personal life in shambles most of the time

once he found the drums as an outlet he dove into it, eventually becoming an intensely devoted musician 

that drum set has seen some things

jj lets his anger out on that poor, innocent drum set

all the different pieces have had to be replaced so many times because he beats the living shit out of them

the one that got john b into rock music and the rest was history

he's not one of the chill drummers who just shows up and does their thing, this man is a show-off

so many tricks

long solos whenever the chance arises for one

flirts with the entire band

music genres: rock, grunge, alt, metal

bands/artists: Sex Pistols, Led Zeppelin, AC/DC, Nirvana, Guns N’ Roses, Def Leppard

John B - Lead Vocals/Rhythm Guitar

a no-brainer. this is practically canon

no i will not be hearing opposing opinions at this time

he's the frontman

the one most people's eyes are drawn to right away

controls the vibe in the room

him and jj put on a show

stoner

is naturally a gifted singer, but had a vocal coach for a little while to get some pointers

rhythm guitar because most rock songs need at least two guitars and he's played guitar since he was a kid just for fun

music genres: country, rock, alt, pop when jj isn't around

bands/artists: The Rolling Stones, Paramore, Fall Out Boy, Aerosmith, Taylor Swift, Johnny Cash 

Pope - Lead Guitar/Band Manager

he's just there to vibe but also an incredibly skilled guitarist 

the one that tries extremely hard to keep everyone on track, but can't because no one listens to him

also the one that found kiara and Sarah

he's classically trained, but he only did classical as a kid because that's what he thought the smart kids were supposed to do

he plays like Slash: relatively controlled body language, but his fingers fly back and forth on the frets 

music nerd

everyone can tell he loves what he's doing

manager because who else would manage these fools?

music genres: rock, alt, indie rock

bands/artists: Falling in Reverse, Foo Fighters, Arctic Monkeys, Green Day, Hozier, The Killers, The 1975

Kiara - Bass

i will not be accepting arguments on this one

she 100% grew up on cello, but wanted to rebel against her parents as a teen and switched to rock but realized she fucked with it

this girl is hot as all hell and knows it, but has nothing to prove

she's one of the more responsible members of the group but also super laid-back

stoner

effortlessly keeps everyone in check 

she just wants to vibe and play some songs

flirts with the entire band

weird, hippie, earthy screams bass player

music genres: indie rock, r&b, pop punk, anything from the '60s and '70s

bands/artists: Janis Joplin, The Strokes, Young The Giant, Hozier, Paramore, Joan Jett, Whitney Houston

Sarah - Backup Vocals

she was definitely an attention seeker in her young years and would've hated backup, but now she's perfectly content chilling in the background with some killer harmonies 

she has a few songs she leads in the set when john b needs a rest

she absolutely KILLS them

but she loves playing with the melody and adding a harmony on something that you wouldn't expect

this girl has perfect pitch so harmonizing takes about 3% effort from her

if a song is too low for her or too high for john b, she transposes everything (perfect pitch and all)

she will. not. touch. an electric guitar with a 10-foot pole. 

don't ask, i have no explanation for that one

on the occasion a song needs keys, she's the go-to

music genres: she's a retired theatre kid so she listens to just about everything under the sun except country

bands/artists: Taylor Swift, The Beatles, Queen, Marvin Gaye, Stevie Knicks, Amy Winehouse

[nolanhollogay]

HALF DOOMED, SEMI SWEET (an obx band au)

Pogues 4 Life - a band consisting of singer Edgar Ramirez, bassist JJ Maybank, guitarist John B Routledge, and drummer Pope Heyward - have just dropped their sophomore album to unprecedented success. After three years of blood, sweat and tears, (and JJ going viral on Tik Tok) they're finally becoming the band they've always known they could be.

Of course, the next step is to go on tour.

There's just one problem: their opening act, an all female band called, Not Your Princess.

The girls themselves are kind enough, if a little confusing with their nonstop relationship drama - though their lead singer, Kie, seemingly wants JJ's head on a spike - but their fans hate P4L and all that they stand for, whatever that means. There's no way for this tour to work without the crowds getting into fist fights at best, and killing each other at worst.

So the bands' teams hatch a plan: JJ and Kie will pretend to date, at least until everyone learns how to behave.

It would be a great plan, if JJ didn't hate everything about Kie, and if he wasn't hopelessly in love with Edgar.

taglist: @witchofinterest @kentaroranda @partiallypearl @eddysocs @dogscomplex @compoundvee @hiddenqveendom @daughter-of-melpomene @bibaybe @joshdiaz @arrthurpendragon@shades0frainbow@xoteajays

(psd creds)

[princessbrunette]

moony mentioned pope enjoying being edged on her blog and it’s got me thinking about drummer!pope who is an obsessive perfectionist who forced you to test his stamina and endurance by edging him. it’s almost like torture at this point. self inflicted harm.

he always saw sex as something like pounding out an hour long non stop drum solo, full on whiplash 2014 style. your arms are aching, at first its this pleasurable sort of tingle that sparks all down your spine and dwindles in your biceps, pushing you to slam harder against the drums and smash the cymbals like your life depends on it — but as time goes on, you look for moments of relief. you start to really ache, and that was his weakness. what kind of musician would he be if he constantly yearned for the break? the relief? you told him it was okay to give yourself moments to recover. he responded that he wanted to be perfect. you told him it was his virgo placements. he nodded like he understood. pope was always more of a science guy anyway.

so there he is on his back, jaw clenched in determination as you milk his cock dry of precum, unsurely taking your hand away each time he’d tap you.

“nah, keep on going.” he strains, squeezing his eyes shut because each time he looks into your doe eyes that border on concern, he’s pushed closer to eruption.

“pope…s’okay to let it go. want you to—”

“shh, shush… please. i’m sorry just… i need to focus. please keep jerking me… yeah, just like that.” you’re instantly silenced, both hands wrapped around him starting to move once more. your knuckles are all slicked with his precum and then added coconut oil you were jerking him off with— the wet schlick-schlick-schlick sound of the moment making you shift around in arousal, your panties wet and neglected.

you take one hand off him to massage his balls. “s’so heavy popey.”

his eyes are closed and his hips roll upwards, fucking into your hand. he looks concentrated, but replies anyway.

“mhm, practically blue, i know it.”

“wanna lick every drop of it—”

“don’t.” he warns in practically a whimper.

“wish you’d just do it inside me. m’so wet for you, popey. want it in me…” you complain as he pants, squinting an eye open with his brows furrowed.

“m’tryin’ to— baby you gotta stop talking—”

“jus’ want it leaking out of me ‘til my pussy is all fat n’ sore ‘cus you fucked it all night—”

“ssssshit, fucking shit!” he practically yells, before his jaw drops with a devastating groan and he shoots ropes all over his bare stomach. you keep twisting your hand around him until he’s twitching in overstimulation, unable to catch his breath like he’s having an asthma attack. when you roll the flat of your tongue over his tip to taste him, he throws a hand over his mouth, squeezing his eyes shut and groaning against his palm. eventually, he musters the strength to bat your hands away. “you killed me. you just fucking killed me.” he speaks, hilariously monotone as he catches his breath.

“you’re not the only horny one, you know.” you mewl pathetically as he opens his eyes.

“and i’m a selfish asshole. c’mere. i’m eating you out.”

[dirtandspitoftheworld]

hii!!!!! it was me who sent the ask abt the music videos yesterday!!!! thank u so much for replying, i was this 🤏🏽 close to giving up on using marilyn mansons example in my project 😭😭😭😭😭😭😭

HI!!! I had fun doing this, I've actually never sat down and watched every single music video until now, there were a few i'd never watched! :)

this is LONG, there's 42 videos, to my knowledge.

TL;DR: There's actually extremely few satanic or occult symbols in any of Marilyn Manson's music videos. In fact, the only thing I saw was a couple inverted crosses in Tourniquet (which aren't even satanic! That's Saint Peter's cross!). Other than that, it's all Christian symbols and imagery. The only other symbol that appears consistently is Manson's own "Celebritarian" cross, which is a symbol of celebrity worship that he often criticizes. (Worth noting: it's an inverted form of the Patriarchal cross)

Comprehensive notes:

Spooky Kids/Portrait Of An American Family Era:

Get Your Gunn: Nothing, aside from Manson's goat head tattoo (left bicep). Anytime I say "nothing" from now on, i'm excluding his tattoos.

Lunchbox: One of the band's T-shirts at this time was a parody of the Salvation Army logo which said "The Satanic Army, and drummer "Sara Lee Lucas" (Frederick Streithorst Jr.) is wearing it.

Dope Hat: Nothing.

Sweet Dreams (Are Made Of This): at 3:10, Manson is wearing a 3-horned headpiece. May or may not mean anything.

Antichrist Superstar Era:

The Beautiful People: Nothing.

Tourniquet: There are a few inverted crosses on the walls, as well as some symbols that I THOUGHT were alchemical symbols, but I can't find them anywhere.

Cryptorchid: Nothing, though the video is reminiscent of the film "Begotten"

The Man That You Fear: Nothing Occult, but there's a clear parallel to the death of Christ, washing of feet, being walked through the desert and killed. The music video heavily references "The Lottery" by Shirley Jackson, as well. As a side note, Marilyn Manson is unbearably beautiful in this video.

Antichrist Superstar: I think you asked about this one specifically? Other than snakes and flies, which may possibly be associated with Lucifer and Beelzebub respectively, I don't see anything in the way of satanic or occult symbols.

Apple Of Sodom: Nothing. Medical stuff again.

Long Hard Road Out Of Hell: Christian imagery, both visually and in the lyrics. Manson is shown as both Mary and Jesus. And naked! Again, he's VERY pretty in this video. If this video doesn't trans your gender, nothing will. There's a secret alternate version where he's covered with blood.

Mechanical Animals Era:

The Dope Show: Nothing.

I Don't Like The Drugs (But The Drugs Like Me): Manson is crucified on a cross made of CRT TVs, and drags it around on his back.

Coma White: Crosses and Christian idols can be seen throughout. He's crucified on a wooden cross this time.

Holy Wood Era:

Disposable Teens: Manson is dressed as a pope for much of the video. There's other Christian imagery. He's also shown rising out of water, which could POSSIBLY be connected to Revelation 13:1 (And I stood upon the sand of the sea. And I saw a beast rising from the sea...) BUT he doesn't have horns, so it could just be a cool image that means nothing.

Fight Song: Nothing.

The Nobodies: He has horns again.

Tainted Love: Nothing.

Golden Age Of Grotesque Era:

mOBSCENE: Nothing.

This Is The New Shit: Nothing.

(s)AINT: Nothing. But there's so much explicit nudity that i'm surprised this video is on youtube. There's pussy eating in this video!!!!!! i maybe saw a sliver of cock too. can't be sure.

Personal Jesus: Manson has bandaged stigmata on his palms, and there's some sexy nuns. This video has one of my favorite makeup looks of all time.

Eat Me, Drink Me Era:

Heart-Shaped Glasses: Nothing.

Putting Holes In Happiness: Nothing.

High End Of Low Era:

Arma-Goddamn-Motherfuckin-Geddon: Nothing.

Born Villain Era:

Overneath The Path Of Misery: Two women have their heads shaved, seemingly in a ritualistic fashion. There's some images of christ on the cross, and a burning cross. Again, a lot of sexual imagery that i'm surprised is allowed on youtube uncensored.

Hey, Cruel World: Nothing.

The Pale Emperor Era:

Deep Six: Nothing.

The Mephistopheles Of Los Angeles: Manson is shown preaching and baptizing people.

Third Day Of A Seven Day Binge: Nothing.

Heaven Upside Down Era:

WE KNOW WHERE YOU FUCKING LIVE: Sexy nuns with guns. The image of the "Celebritarian" cross appears.

SAY10: Nothing. But Johnny Depp is in this one!

KILL4ME: Celebritarian cross. Johnny Depp again!

Tattooed In Reverse: Celebritarian cross.

God's Gonna Cut You Down: Some crosses.

We Are Chaos Era:

WE ARE CHAOS: Nothing.

DON'T CHASE THE DEAD: Nothing.

[Title Pending] Era:

As Sick As The Secrets Within: Nothing.

Raise The Red Flag: Nothing.

[purraspera]

casanova satanic pope and his arm candy drummer ghoul🤭🤭

they're everything to me . might drop lore rambles now and then but idk where to start so if anyone want got a question abt them.. *wink wink*

[jpbjazz]

LÉGENDES DU JAZZ

REGGIE WORKMAN, LE CONTREBASSISTE ACTIVISTE

‘’Si on ne fait rien pour la maintenir en vie, la musique disparaîtra.’’

- Reggie Workman

Né le 26 juin 1937  à Philadelphie, en Pennsylvanie, Reginald Workman avait d’abord joué du piano, du tuba et de l’euphonium. Mais à l’époque, Workman ne s’intéressait pas tellement à la musique et il avait abandonné le piano pour se consacrer aux sports.

Workman avait finalement adopté la contrebasse durant ses études secondaires. C’est le cousin de Workman, Charles Biddle, qui l’avait convaincu de jouer de la contrebasse. Il expliquait:

‘’Now the bass started in eighth or ninth grade; that’s when I actually began playing. But the interest started earlier, because my cousin Charlie Biddle, he’d hold me and the bass — he’d have me standing on the chair, holding the bow, and he’d make the sound. He’d say, “This is the way it feels and this is the way it sounds and this is how you feel the vibrations.” And I said, “I want that to be my vocal chords, my voice; I want that to be my sound.”

Workman explique comment il était passé à la contrebasse:

‘’And then in eighth grade, at first they gave me a tuba, because that’s what was available. And finally they gave me the bass, my first bass. And Philly Joe Jones — there’s another name — he was one of the guys who had some fun with me, because I had to carry the bass to school. You know, Philly Joe was a trolley car driver, and I ran into him a couple of times on my way to school, and he would laugh at me, carrying my bass.’’

À Philadelphie, Worman avait grandi avec plusieurs futurs grands noms du jazz comme Archie Shepp, Donald et Stanley Wilson, Rashied Ali, Owen Marshall, Tommy Monroe, Johnny Splawn, Odean Pope, Sonny Fortune, Albert ‘’Tootie Heath’’, Eddie Campbell, Clarence Sharpe, Jimmy Smith, McCoy Tyner, Nelson Boyd, Buster Williams, Richard ‘’Groove’’ Holmes, Henry et Lee Grimes. L’un des mentors de Workman était Eddie Mathias.

DÉBUTS DE CARRIÈRE

Workman avait amorcé sa carrière professionnelle à l’adolescence en se produisant avec des groupes de jazz, de gospel, de rhythm and blues et de doo-wop de Philadelphie. Décrivant ses débuts dans la musique, Workman avait commenté:

‘’At the YMCA for dances, and at the town hall and different cabarets where people used to have their birthday parties and different celebrations. And there were the Holmes brothers — one was a drummer and one was a guitar player — who used to hire us. And we used to go out to Willow Grove, which is where Bud and Richie Powell lived, and we would play gigs with the Holmes brothers, which was R&B. So we had all kinds of situations, musical situations.’’

Dans une autre entrevue, Workman avait précisé:

‘’Au lycée {high school}, je suivais des études classiques. Au moment où j’aurais dû m’orienter plus sérieusement dans cette voie, je travaillais déjà beaucoup dans la communauté jazz. Et avant de m’en rendre compte, je faisais l’aller-retour entre Philadelphie et New York. Je jouais dans les clubs, j’avais des groupes, et je voyais que c’était ce que je voulais faire le reste de ma vie. A cette époque, il se passait beaucoup de choses dans la musique. La ville était pleine d’énergie.’’

C’est en jouant avec McCoy Tyner à Philadelphie que Workman avait fait la rencontre de John Coltrane. Workman poursuivait:

‘’McCoy and I had a trio with Eddie Campbell, who was a drummer; he died young. And we worked at the House of Jazz in Philadelphia and we were the house trio and the club would bring in names {...}. And one of the names they brought in was Coltrane, because McCoy was there and McCoy and John Coltrane were good friends. So the club owner told him, “Call John.” And that’s where I got to hear — and not just hear, but experience — how great he was. That was back, I guess, in the ‘50s, the late ‘50s.’’

Après s’être installé à New York en 1957, Workman avait commencé à travailler l’année suivante avec Freddie Cole et Gigi Gryce. C’est d’ailleurs avec la compagnie de disques de Gryce que Workman avait enregistré pour la première fois dans le cadre de l’album ‘’Sayin’ Something’’ en 1960. Relatant sa collaboration avec Gryce, Workman avait précisé:

‘’Gigi Gryce était très actif dans l’industrie musicale. Il avait monté son groupe, et il savait que je venais à New York. Il y avait aussi Richard Wyands, Richard Williams et Mickey Roker. Gigi était un musicien de studio, et il travaillait beaucoup. Et il me faisait travailler. Il me trouvait des engagements à Brooklyn où il était alors très actif. La rencontre de Gigi a été une étape très importante de ma vie.’’

La même année, Workman avait également collaboré à l’album ‘’Byrd in Flight’’ du trompettiste Donald Byrd. Workman poursuivait:

‘’Je ne me souviens plus exactement comment j’ai rencontré Donald Byrd. C’était peut-être dans la rue ou à une jam ou à une session d’enregistrement. C’était toujours un plaisir de travailler avec Donald Byrd. Il savait ce qu’il voulait. C’est une belle personne et un grand musicien. Nous avons essayé d’apporter quelque chose de positif à la communauté, et Donald n’y a pas manqué.’’

Au cours de cette période, Workman avait aussi joué avec Red Garland, Duke Jordan, Booker Little et Roy Haynes. En 1961, Workman avait pris la relève de Steve Davis dans le quartet de John Coltrane, avec qui il avait participé à des enregistrements légendaires comme Live at the Village Vanguard, Olé Coltrane (sur lequel il avait partagé le rôle de contrebassiste avec Art Davis), Impressions, My Favorite Things et Africa/Brass. Workman avait aussi participé avec Coltrane et Eric Dolphy à une émission d’une demi-heure tournée en Allemagne de l’Ouest. L’émission est aujourd’hui disponible sous le titre de The Coltrane Legacy. Workman explique comment il avait commencé à travaillé avec Coltrane:

‘’Avant qu’il ait son propre groupe, John et moi avions beaucoup travaillé ensemble à Philadelphie. Si John était en ville, parfois il m’appelait avec McCoy et d’autres. Parfois les clubs l’appelaient, parfois ils appelaient la section rythmique et on jouait avec lui pendant quelques semaines. Quelques temps plus tard, il a monté son groupe et comme j’étais à New York… Je travaillais avec Roy Haynes au Showplace où Mingus avait son workshop. John était au Village Gate, et il est venu me voir jouer. Et puis, il m’a appelé. Bien sûr, j’étais émerveillé qu’il pense à moi. Ça a été le début d’une période importante de ma vie.’’

Workman avait quitté le groupe de Coltrane à la fin de 1961, après avoir participé à une tournée en Europe.

Après avoir été remplacé dans le groupe de Coltrane par Jimmy Garrison, Workman avait pris la relève de Jymie Merritt dans les Jazz Messengers d’Art Blakey de 1962 à 1964. Parmi les autres membres du groupe, on remarquait Freddie Hubbard, Wayne Shorter et Cedar Walton.

De 1964 à 1965, Workman s’était produit avec Yusef Lateef. Il avait aussi travaillé avec Herbie Mann et Thelonious Monk (1967) et collaboré à un hommage à Coltrane avec le saxophoniste Archie Shepp dans le cadre de l’album Four for Trane. 

Reconnu pour son habileté à jouer dans n’importe quel style, Workman était devenu le bassiste attitré des disques Blue Note jusqu’au début des années 1970, collaborant avec des musiciens aussi diversifiés que Booker Ervin, Abbey Lincoln, Lee Morgan, Max Roach, Archie Shepp, Pharoah Sanders, Wayne Shorter, Sonny Stitt, Charles Tolliver, Julian Prester et Mal Waldron. Au cours de cette période, Workman avait également travaillé avec les plus grands noms du jazz d’avant-garde, dont  Marilyn Crispell, Andrew Hill, Jeanne Lee, Butch Morris, David Murray, Sam Rivers, Pheeroan akLaff et Cecil Taylor. En 1978, Workman avait fondé le Super Jazz Trio avec le pianiste Tommy Flanagan et le batteur Joe Chambers. Dans les années 1980, Workman avait aussi participé à la fondation du groupe Great Friends.

Workman avait également créé ses propres groupes dont le quartet Top Shelf dans les années 1970. En 1982, Workman avait fondé le Reggie Workman Ensemble, un groupe composé des saxophonistes John Purcell et Don Byron, de Jeanne Lee (instrument ?), de la pianiste Marilyn Crispell, du batteur Gerry Hemingway et de Jason Hwang (instrument ?). En 1985, Workman avait formé le Trio Transitions avec le pianiste Mulgrew Miller et le batteur Freddie Waits.

En 1998, Workman avait fondé un autre groupe, le Trio Three avec le saxophoniste Oliver Lake et le batteur Andrew Cyrille. Il avait aussi formé le septet Ashanti’s Message ainsi que d’autres groupes comme Brew (avec le batteur Gerry Hemingway et la kotoïste Miya Masaoka), Extravaganza et Groove Ship.

Workman avait aussi été directeur musical du New Muse Community Museum de Brooklyn. En 1983, Workman avait également été co-fondateur de la On Time Jazz Series.

Très impliqué socialement et politiquement, Workman avait participé au milieu des années 1960 aux activités de la Jazz Composers Guild, une coopérative fondée par Bill Dixon en 1964 afin d’aider les musiciens d’avant-garde à se produire dans d’autres salles que les clubs. En 1967, avec les revenus de sa tournée avec Herbie Mann, Workman avait co-fondé le groupe Art Expansions avec Hart LeRoy Bibbs. L’organisation, qui présentait des concerts tous les dimanches, intégrait également d’autres disciplines artistiques comme le théâtre, la poésie et la danse.  En 1969, Workman avait aussi co-fondé le Collective Black Artists, un groupe qui avait été créé pour faire face à l’évolution du monde de la musique depuis l’avènement du jazz-fusion et de la musique électronique. Le groupe se produisait dans les écoles, les prisons et les ateliers d’artistes. Évoquant les débuts du groupe, Workman avait expliqué:

‘’Nous étions nombreux. Il y avait Jimmy Owens, Don Moore, Warren Smith, Billy Harper et d’autres. Nous nous sommes rapprochés par ce que la scène commençait à se tarir. On ne travaillait pas beaucoup. Il fallait faire quelque chose. Nous avons créé des emplois et des espaces où jouer. Nous avons construit nos bureaux près du studio de Warren Smith où on se réunissait. Nous avons compris que ce que nous devions développer devait être autour de la musique, donc nous avons créé un big band qui est devenu le CBA Ensemble. On a appelé tous les musiciens qui s’étaient impliqués à contribuer à l’ensemble. Il y avait beaucoup de musiciens formidables, et nous avons donné de beaux concerts. L’ensemble jouait avec des invités comme Randy Weston, Max Roach, Art Blakey, Philly Joe Jones. Slide Hampton était le chef d’orchestre et s’occupait de la musique. La plupart d’entre eux faisaient tout pour que la musique existe.’’

Workman poursuivait:

‘’On faisait ce qu’on pouvait pour intéresser la communauté. Les épouses se sont occupées de l’organisation. On s’adressait à tous ceux qui étaient prêts à écouter de la musique. Même si on ne nous voyait pas à la télé, on faisait tout pour présenter cette musique. On allait partout où on pouvait, dans le Queens, à Brooklyn, à l’Apollo Theater, au Village Gate, etc. C’était beaucoup de travail. On avait un journal qui s’appelait Expansions. Des artistes, des écrivains, des photographes, des musiciens, des éducateurs y participaient. Des juristes faisaient des ateliers sur le côté juridique de la profession. De là est né le workshop de Bill Lee pour encadrer le droit des bassistes. Il y avait des ateliers comme pour apprendre à faire sa promo. Tout ça était nécessaire pour survivre.’’

Workman avait également participé à des ateliers destinés à sensibiliser les musiciens à la défense de leurs droits. Workman fait également partie des co-fondateurs de Professionals Unlimited, une association professionnelle ayant pour but d’aider les contrebassistes à résoudre les problèmes particuliers à leur métier (transport de l'instrument, amplificateurs, etc.). Au cours des dernières années, Workman avait aussi participé à la campagne ‘’Justice for Jazz Artists’’ de l’Association des musiciens de New York visant à obliger les clubs de la ville à cotiser au régime de pension des musiciens de jazz.

ÉVOLUTION RÉCENTE

Workman enseigne à la New School for Jazz and Contemporary Music de New York depuis 1987. Il a également enseigné à l’Université du Michigan et au New School College of Performing Arts (COPA). Comme professeur, Workman avait également créé des programmes comme le Jazz Ensemble Workshops, le Futuristic Music Ensemble, le Coltrane Ensemble et la Jazz Master Class Series. 

Mentor de plusieurs étudiants, Workman avait partagé ses connaissances approfondies de l’histoire du jazz dans le cadre de ses cours. Plusieurs des étudiants de Workman sont devenus par la suite des musiciens de jazz reconnus. Parmi ceux-ci, on remarquait notamment Lakeisha Benjamin, Avishai Cohen, James Francies, Robert Glasper, Roy Hargrove, Marcus et E.J. Strickland, Jose James, Becca Stevens, Peter Bernstein et Brad Mehldau. Décrivant son travail de mentor, Workman avait commenté:

‘’And working with young people, I find there are many young people in the school who have tremendous ability to play their instruments and learn all the theory, but they haven’t made their own sound. And so I try and help them to discover what that is — so they can feel that this is me, this is the sound I want, this is what I want to develop in my musical career. Somehow they don’t think about their personal input to what they’re doing. They don’t realize that they have their own sound, their own thing to give.’’

En 1998, Workman avait fondé la Montclair Academy of Dance & Laboratory of Music (MADLOM), une organisation à but non lucratif devant servir de laboratoire aux jeunes âgés de trois à dix-huit ans.

Saluant le travail de Workman comme enseignant, Francies avait déclaré: ‘’Reggie Workman was one of my biggest mentors at The New School... {he} provided valuable knowledge about the history of the music, but allowed me to be who I was. Most great teachers not only teach, but they also help you to find and articulate your individual choice.’’  En 1993, Workman avait enregistré l’album Summit Conference avec Sam Rivers et Andrew Hill.

En 1998, Workman avait également fondé le African-American Legacy Project. Le projet, initialement créé pour rendre hommage à John Coltrane, avait été élargi progressivement pour inclure d’autres compositeurs afro-américains. Workman expliquait:

‘’J’ai dit à Charles Tolliver que j’avais une idée pour célébrer la musique de Coltrane et créér une organisation comme on l’avait fait dans le passé. Comme il a une vraie expertise dans la transcription, je lui ai proposé de transcrire la musique de John. L’idée était de faire jouer cette musique avec un chœur. La musique de John était très spirituelle, et nous voulions que les églises écoutent cette musique. Pour faire ça, nous avons mis sur pied un orchestre et un chœur: l'African-American Legacy Project est né comme ça. On a commencé avec John, mais l’idée est de poursuivre avec d’autres compositeurs.’’

Workman avait aussi entrepris une carrière de producteur, notamment dans le cadre de la série Artists Alliance en 1985. En 2006, Workman avait co-fondé avec la chanteuse Francina Connors le Sculptured Sounds Music Festival, un festival qui explore des concepts musicaux futuristes et des pièces de théâtres. Géré entièrement par des artistes, le festival, qui a lieu en février de chaque année, s’étend sur une durée de quatre semaines. Workman expliquait: ‘’Ça concerne près de 90 musiciens. L’idée est de créer un contexte qui donne du travail aux musiciens et qui garde la musique en vie. Nous jouons à la Saint Peter’s Church, à New York. Si on ne fait rien pour la maintenir en vie, la musique disparaîtra.’’

Lauréat de plusieurs prix, Workman a été élu ‘’Jazz Master’’ par la National Endowment for the Arts en 2020. Les autres récipiendaires du prix cette année-là étaient Bobby McFerrin, Roscoe Mitchell et Dorthaan Kirk. Workman avait accepté son prix en lisant la déclaration suivante: "It is indeed a humbling and inspiring experience to be acknowledged and awarded by the NEA, one of our nation's most prestigious institutions, which has been known for years to be supportive of this nation's artists. I am glad to join the illustrious NEA alums as we collectively work toward the world's harmonious existence through music."

La Mid Atlantic Arts Foundation avait également décerné à Workman un Living Legacy Award en 1999. Workman a aussi été nommé ‘’Living Legend’’ par l’African-American Historical and Cultural Museum de Philadelphie. Workman a aussi remporté le Eubie Blake Award, un prix Meet the Composer, le NYFA Opportunity Grant et le Doris Duke Impact Award (2015). La Jazz Foundation of America a également récompensé le travail de Workman comme professeur en lui décernant un Life Achievement Award en 1997. Workman a aussi obtenu une citation de l’International Association of Jazz Educators la même année.

En 2020, Workman avait également décroché une bourse en composition de la Fondation Guggenheim.

Workman s’est produit avec plusieurs grands noms du jazz au cours de sa carrière, dont Art Blakey, Thelonious Monk, Max Roach, Freddie Hubbard (notamment sur l’album Hub Tones en 1962), Lee Morgan, Eric Dolphy, Gigi Gryce, Booker Little, Roy Haynes, Wayne Shorter (album ‘’Juju’’ en 1964), Red Garland, James Moody, Abbey Lincoln, John Coltrane, Sonny Stitt, Charles Tolliver, Alice Coltrane, Geri Allen, Marilyn Crispell, Pheeroan akLaff, Cecil Taylor, Jeanne Lee, Booker Ervin, Horace Silver, Benny Golson, Art Farmer, Cedar Walton, Elvin Jones, McCoy Tyner, Jason Moran, Curtis Fuller, Yusef Lateef, Randy Weston, Pharoah Sanders, Herbie Mann, Archie Shepp, Clifford Jordan, Sam Rivers, Andrew Hill, Bobby Hutcherson, Sonny Fortune, Butch Morris, Billy Harper, David Murray et Tommy Flanagan.

Reggie Workman réside à Montclair, au New Jersey.

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

[thecameronchronicles]

12 Days of Christmas

TW: Fluffiness.

SUMMARY: Pope’s final gift for his 12 Days of Christmas plan leaves you to consider your future…

WORD COUNT: 1100

*ORIGINAL CONCEPT*

12 Days of Christmas

Pope had a way of making everything special. It didn’t need the glamor of a Kook’s touch or an expensive price tag to make you proud to flaunt whatever gift he had given you. But as you stood at the edge of The Chateau for the final day of his ‘12 Days of Christmas extravaganza’ that had every day bringing you a gift in following with the song, you didn’t understand what this had to do with the final day ‘12 drummers drumming’. And to make your anxiety worse, you were left in wait well beyond the time you were summoned for, which was unlike your boyfriend as he prided himself on being punctual, if not early. So to leave you waiting, especially when he made every day special, aside from the 5th day as he was caught working the holiday rush, you found it nerve wracking and even considered something had happened to him. But in the final moments where you would return to The Chateau and to your phone, you watched him move into the direction of the dock. 

“I was beginning to worry…” He nervously offered a lift of his shoulder, before slowly nodding in your direction while your fingers began to fondle the first gift he’d given you for his ‘plan’. The partridge in a pear tree that had been in the form of a necklace, twisted in the pads of your pinched touch until sliding through your hair held behind by two berets made of turtle doves, a gift from the second day. 

“Can I have you look this over? Just to make sure?” You gave a curious glance before he produced a handwritten list of the song, lyrics drawn out with his notes set along the side of each gift you’d been given.

“Um…There is one…But you’ve already done so much-”

“No, if it’s on there, I need to know if I missed anything…”

“The fifth day…” You eventually confessed as he continued to push.  His eyes narrowed for a second in thought before he looked over the list. 

“Five golden rings…” He sang to himself for a second before pulling a box from his pocket. 

“I knew I forgot one-”

“You were working, and Pope, you have been doing this all month, it’s-”

“And you deserve it. You deserve more than one day or one gift so…” With this, he slipped the velvet box closer to you as you opened it to reveal a beautiful dual set of diamond earrings. 

“Pope!”

“The first set were my mom’s…and the second were my grandma’s…” Tears filled your eyes as you shook your head in disbelief, knowing it was polite to say you couldn’t accept them, but finding it too heartwarming of a moment to do anything but admire them. 

The weight behind them was freeing to you as it was a commitment to his love for you. More than anything else could be as this came from his family, something he held as close as the Pogues set on the deck at your back, in view of something you weren’t quite prepared for happening. 

“One…two…three..four…dammit, there’s only four…”

“It’s okay-this is-This is so…Pope, really-”

“It must have dropped…it was something from my great grandma…” Your eyes immediately darted as he pointed to the direction further down the dock. 

“Is THAT something?” He made you turn your focus to the far side of the wood beneath your feet as you bent over to try and analyze what must have been a mirage for his gaze. 

“I don’t see-” As you turned back to face him, you found him on one knee, the final gift now broadcast in his hand, a stunning diamond ring collecting the Carolina sun. 

“I didn’t forget about the last ring or the fifth day…This was actually the first thing I got out of everything…”

“Pope-”

“It killed me not to say anything and honestly to not do this first, but I knew it would be worth it…for that smile…That smile I want to see everyday for the rest of my life…” You chuckled in disbelief, tears coming down your cheeks, “That laugh I wanna hear…those tears I want seldom, but to be there to wash them away and make them a rarity…” He took a deep breath, collecting himself before continuing.

“You have made me the happiest I have ever been and more than I ever thought I could be. You make me feel so strong when I’m weak and powerful when I’m less than. You have my entire heart and I want to give you my entire future…because you’re it. You in it, you’re all of it.”

“Oh my God…” You pulled your hands to your face in further disbelief while your name was spoken in its entirety. 

“Will you please make me the happiest man on the entire planet-any other ones surrounding us, promising to marry me? Will you marry me?”

“Yes! Yes Pope, I will!” You were taken into a tight hug, the ring temporarily in abandon as you took in the feeling of his embrace, an embrace that was now promised to you for the rest of your joined lives. 

“I can’t wait to put it on-” He broke the kiss you shared once feeling your tears on his cheeks. You nodded, extending your left hand to him before he slipped it on that special finger, a silent announcement to any who saw, that you were officially engaged to the man you loved. 

“There is one thing else…” You added as his brows raised. 

“12 drummers?” You asked as he cocked his jaw. 

“Drum roll please?!” He called to the pogues as they beat on the wood of the deck. 

“You thought of everything, didn’t you?”

“Almost…” You were suddenly swept in his arms and taken to the porch of The Chateau. 

“I want to give you a little preview of what it will be like to be Mrs. Heyward…” Your smile widened at the mention. 

“Everyone out!” He called as the Pogues commented in a playful nature how they felt used before you were taken into the bedroom, an engaged woman on this very Christmas, your heart as full as his hands were with your hips as he committed to you in every way as the evening snow began to coat the ground of a perfect Christmas.

Taglist: @hopebaker @iovdrew @penny4yourthoughts @magnificantmermaid @pickingviolets @lovedetlost @trikigirl271 @maybankslover @slut4starkey @slvtherinseeker @obxiskewl @obxxrxfes @bluesongbird @slut-era @ailee-celeste @rafesbae @camilynn @sweetestdesire @onmykneesforrafe @drews1love

[respective]

My taste in music in 20 albums

On Instagram I was challenged by @piahinckle to choose 20 albums that greatly influenced my taste in music. One album per day, for 20 consecutive days. No explanations (mostly), no reviews, just cover images on my Instagram @rialdrummer.

Proceeding from the first posting on December 11.

Max Roach and the M’Boom ensemble “Re: Percussion” the album is sometimes called. I heard this in the early ‘80s at a time I was getting interested in the history of jazz and particularly jazz drummers. Had the good fortune to see Max’s quartet (Cecil Bridgewater, Odean Pope, Tyrone Brown) at the old Yoshi’s, around the time of the “Scott Free” album.  This M’Boom record planted a seed for my later musical explorations in the ‘90s and started an appreciation for me of Max Roach as bandleader and conceptualist. I’d already heard some of his work with Charlie Parker. A decade later my band was covering “Morning / Midday” and “Jamaican Sun” by this group and I was email pals with Omar Clay’s partner.

The Mamas and the Papas “A Gathering Of Flowers”.  On the turntable constantly during my late high school years. Released between the ’68 breakup and the ’71 reunion. Interviews on the record with Cass and John hint at the glories and disappointments felt in the group.

Van Morrison “Tupelo Honey”. Great songs, ace band. The title track is really a classic (Cassandra Wilson’s cover is further evidence). Gary Mallaber (vibes) and Ronnie Montrose (guitar) stand out to me.

Family “Fearless”. United Artists was a label that took chances on musical artistry and signing Family was a commercial risk.  I found this album in 1973 in a cutout bin and it had only been out for 18 months.  The album is in turns gritty and pretty. All songwriting, playing and singing contributions are excellent, with John Wetton playing a key role on guitar, bass and vocals.

Rory Gallagher “Irish Tour ‘74”. Songs burned into memory from my days as a record store clerk and DJ. Most of my friends in the day were Rory fans going back to his band Taste and a few of us saw him at UC Santa Barbara around 1974.  If I had to pick one Rory record…  Watch him on YouTube.

“The Drums”. Prez Records in Santa Rosa was a destination store for me in the ‘80s and I found this used 3-album set for cheap there.  Introduced me to Art Blakey (“Ala Mode” remains a favorite song of mine), Connie Kay playing with Milt Jackson, Dannie Richmond, Paul Motian and many more great tracks.

Iain Matthews “Valley Hi”. Michael Nesmith cut a lot of great sides within and after The Monkees. To my ears almost nothing by him surpasses the achievement of helming this album.  I’ve followed Matthews’s career going back to his brief time in Fairport Convention up to the last decade and I know he’s not crazy about this record but to me it’s absolutely a gem.  Songs by Randy Newman, Jackson Browne, Steve Young (“Seven Bridges Road” before the Eagles recorded it) among others.

Gil Scott-Heron “Pieces Of A Man”. It had to be a long shot that an AM rock station would put “Lady Day and John Coltrane” on their playlist but that’s what KRLA in Pasadena did. And so I heard it and began an appreciation of Gil Scott-Heron that I continue to hold.

Marc Benno “Minnows”. This was another AM radio long shot in 1971 and KRLA won the day again for “Speak Your Mind”. A ballad that ebbs and flows in intensity.  Jim Keltner’s drumming first caught my ear on this song. This was around the time that Benno was playing rhythm guitar with The Doors on the L.A. Woman sessions, and after his collaborations with Leon Russell on the Asylum Choir albums. Many friends of mine also appreciate this album.

Weather Report “Sweetnighter”. Previously unaware of Wayne Shorter and Joe Zawinul, I saw Weather Report in July of 1973 and “Boogie Woogie Waltz” convinced me that I needed to dig more deeply into this music.

Fairport Convention “What We Did On Our Holidays”. Along with the records that Nick Drake would make a few months later, sums up for me some great years of British “folk rock”.

10cc “Sheet Music”. Between their first two albums this one comes out on top for me. It’s close. I was a fan from the release of “Rubber Bullets”.

Harry Belafonte “Calypso”. “Jamaica Farewell” was likely the first set of song lyrics I memorized. Mum had his playing often in our apartment in the late ‘50s.

Brinsley Schwarz “Nervous On The Road”.  I like this best of the band’s records (it may be because adding Ian Gomm to the band was so complimentary to the talents of Nick Lowe, Brinsley, Bob Andrews and Billy Rankin). For this pick I could have swapped out Dave Edmunds’s “Get It” or the Rockpile album “Seconds of Pleasure” but since the list is supposed to describe how my tastes were influenced it makes sense to refer to early period Brinsley.  Made me a Nick Lowe fan for life.

The Monkees “Pisces, Aquarius, Capricorn & Jones Ltd.”.  My introduction to the group. I hadn’t seen the tv show at that time (November and December 1967) at least as far as I recall. Coming at them strictly through these tracks I was impressed by songwriting, production, vocals, guitars and humor.  Not bubblegum, at all.

“Pat Metheny Group” By September 1978 I was being introduced to ECM albums by a friend. I’d enjoyed previous ones but that month when I heard the first notes of “San Lorenzo” something resonated with me that hasn’t stopped.

Graham Parker and the Rumour “Stick To Me”.  This is a rough-and-ready collection produced by Nick Lowe. Drumming by Steve Goulding, guitar leads by Martin Belmont are highlights. The title song, “Soul On Ice”, “Clear Head” are standouts in a great set making this my favorite GP album for all time.

The Gary Burton Quartet with Eberhard Weber “Passengers”.  I think this was probably the beginning of my awareness of Gary Burton’s albums. A great introduction. As a vibes player myself there are major lessons and enjoyment for me throughout his catalog.

Love “Forever Changes”. Surrounded by Love fans in my 20s but not giving the group much time of day then, I locked into the band’s and Arthur Lee’s artistry in my 40s. Like so many people I now appreciate every song on this classic album. Was fortunate to catch the 2003 edition of the band at The Fillmore.

Gene Clark “No Other”. After leaving The Byrds, Clark wrote and recorded many excellent songs showcasing his poetic and melodic gifts. This album is the top of the mountain for me, and public appreciation for the songs and the production have grown greatly in the 50 years since its release. YouTube has video of a tribute tour for the album from a decade ago.

RUNNERS-UP

Elvis Costello and the Attractions “Imperial Bedroom” and “This Year’s Model”

XTC “English Settlement”

Beach Boys “Summer Days (and Summer Nights!)” and “Sunflower”

(Many) Iain Matthews records across the decades, along with titles by his Fairport mates Sandy Denny, Dave Mattacks, Richard Thompson, Ashley Hutchings, Judy Dyble. A nod too to drummer Martin Lamble who had a playing style so well suited to their early records.

Buffalo Springfield “Retrospective”

Carpenters “Ticket to Ride”

Rolling Stones “December’s Children”

The Move “Shazam”

Joni Mitchell “For the Roses”

Bruce Springsteen “The Wild The Innocent and the E Street Shuffle”

Beatles single “Rain” b/w “Paperback Writer”

Man (The Man Band from Wales) "Back Into the Future"

[burlveneer-music]

Borja Flames - Nuevo Medievo

He has three brains, a thousand lives, past or parallel, and his name is Borja Flames. Spanish, Parisian, Burgundian, cosmonaut, we don’t know anymore. His head is that of a pope, a king, a lion, a faun or a melancholic centaur. He is well dressed, with pot holes and beard : Merovingian. We knew him in June and Jim of which he was the southern face (the northern hemisphere being Marion Cousin), a duo recently transfigured under the name of Catalina Matorral, real electronic pastoral. We saw him reshuffle his cards for the first time in 2016 with Nacer Blanco, the first album under his name, whose tipsy clocks, totems like the Tower of Pisa and bony madrigals evoked Moondog, Robert Wyatt and the Postman Cheval, one inside the other, helter-skelter. After which Rojo Vivo (2018) a blend of pale house and tenebrous preachings made us fear and pleasure and dance. Nuevo Medievo which appears today (Les disques du Festival Permanent / Murailles Music) is even more beautiful, more striking. From the very beginning, sung on tiptoe, the silvery voice with robotic effects on a synthetic bedside rug spiked with cymbals makes us feel bareheaded in a vast cabinet of stars, we are captivated. There are laser beams, oracle lyrics with vocoder. Paul Loiseau, the Morse drummer, makes the kitchen set sound like an orchestra of stoned calculators, then Borja Flames accelerates the record’s pulse with the diction of a fed-up TV news anchor before a jungle background until Marion Cousin and Rachel Langlais make everything capsize, she of saturnian vocalization, she of a strangely regulated synth. Then on, the hits fall here, there, everywhere, real ones, a shower of asteroids. Negro Negro is suave, mysterious, moving, as surprising as a kiss we no longer expect. We would gladly listen to her only but then comes Magnetismo making us giddy with joy. Then Marioneta, dry and airy as a Sign O’The Times period Prince, which one could dance to endlessly, even alone, head tucked under arm. Nuevo Medievo moves this way throughout, stiff and groovy, cerebral but exploding with dreamy tumors. Powerfully entertaining, filled with odd rhythms, computer choirs, keyboards that slide and are slippery. Nuevo Medievo is a bit reminiscent of the synth-wave scene and 80s Iberian post-punk. It also evokes lo-fi versions of Franco Battiato‘s panoramic SF hits from the album No Time No Space (far away worlds, sound research, fat refrains), Arthur Russel disco, or even Porque te vas, yes yes, Sade, Motown B-sides played at the IRCAM one evening of blunt slackness, Marvin Gaye and Tammy Terrel in a full-on slow dance under the anachronistic neon lights of a chicha bar or Blade Runner rushes with the Miami Vice original soundtrack. If Nuevo Medievo, like all of music loving cannibal Borja Flames’ records, summons a certain number of other artists, it does so to organize unexpected meetings between them, and to dissect each one in a scientific, erotic, amorous and gastronomic impulse before freeing himself from them and drawing in all the diagonals of authentically unheard features. Throw him a party. Txt : Sing Sing Translation : Cathérine Hershey Music & Lyrics by Borja Flames. Produced and arranged by Borja Flames with the collaboration of Marion Cousin, Paul Loiseau and Rachel Langlais. Recorded in Lucy-sur-Cure, Cinq-Mars La Pile and Saint-Aubin du Cormier. Mix by Manuel Duval at Grange Cavale. Mastering by Harris Newman at Grey Market. Personnel : Rachel Langlais (synths, vocals), Marion Cousin (synths, vocals, percussions), Paul Loiseau (percussions, vocals, synths), Borja Flames (vocals, guitar, synths, percussions, programming, samples).