#he definitely has set Eras in his career that have a very different sound and visual aesthetic

[likeadevils]

Who do you think are the artists that reinvents the most apart from Taylor?

i’m sure there’s a good handful but if i can be myopic about my hyperfixations for a minute the venn diagram between taylor swift and paul mccartney is large and storied and album-centered reinvention is one of many bullet points

[inchidentally]

https://x.com/safeforlando/status/1750936311563723024?s=20

I don't need to add anything. The best driver duo on the grid without a doubt <3

you're so right to say there's nothing more to say, anon. and yet ! lol

(behind a cut so no one can think I'm literally reporting facts here or that I'm living and dying by my own weird and pointless takes I'm just enjoying over-analyzing for fun)

(I am fully switching off RPF/narrative here)

so temporarily switching off friendships or any kinds of ships and focusing solely on driver partnerships, I love how certain Lando's always been about what Oscar has done for his (Lando's) performance. I think this is where age and generation play some part bc Carlos and Daniel are both firmly in the same age group and separated from Lando to a certain degree bc of that. they both viewed Lando as a little brother type of teammate and their careers were never perceived by themselves as especially tied to McLaren or to Lando. they'd both kind of become the lone wolf type by then which is honestly how most drivers have to be. (even moreso in the Max/RB dominance era)

whereas Lando isn't just toeing the line by saying he's a big team player, he adores working in groups in absolutely every area of his professional life and even having hobbies that put him with a minimum of 3-4 people. he also needs to feel the safety of a support network to be at his best. he's the very opposite of a lone wolf. hell, he literally said 'it took an actual village to raise me'.

he very intentionally developed the shared interests with Carlos and Daniel to create those kinds of bonds and familiarity (that's The Lando Effect). and while it's too much of a leap to say for sure, I think it's likely - at least at the start - that Lando felt like they might each have been his teammate for longer than they were. either way, the shared hobbies and friendly bonding didn't really translate to his time time spent with them in team meetings, speaking to the engineers or in development back at the factory. Lando has said he and Carlos were on completely different planes of experience and ability and Carlos was one foot out the door after what, the first year? and well, we know the lack of synchronicity between Lando and Daniel as drivers that started to set in not long after that first season together.

so when it was announced Lando's next teammate would be a rookie and also younger than him, he didn't really hide that the swapped dynamic worried him - even if he was half-joking. and then Oscar being so quiet and independent a person definitely threw him. he even describes their pre-season interactions as friendly but only really having time to say a few words. Oscar had his own work cut out as a rookie (and as we found out, wanting to prove himself most to the engineers and folks at MTC) and Lando already had a full life running alongside his racing career.

and it sounds all projection-y and armchair psychology to say this but genuinely it's clear to state that unlike the usual PR push that a lot of new teammates partake in, Oscar's been notably disinterested in any of that - not even just overplaying a friendship or a bromance with Lando for the sake of the cameras. that's an especially unusual choice for someone who could really have used the Lando Effect boost to his own image after contractgate with Alpine and the hoards of Ricciardo fans/McLaren fans ready to hate someone they saw as a snake or a pretender (usually both). especially considering Oscar pre-F1 was extremely active on social media and had his own viral moments and a much more colorful, fun personality than what he's allowed F1 fans to see so far - it was a pretty deliberate choice to not carry that over right away to selling the partnership with Lando.

we might be able to glean through the murk of Netflix's highly questionable editing of this upcoming season of DTS how much was really going on behind the scenes between Lando and Oscar around this time. but it really seemed like Oscar was more focused on letting his loyalty to the team and his own driving do all the talking (and Mark Webber often said as much). when you compare a lot of those early Lando and Oscar videos and challenges to his Prema ones, he's so unusually quiet and reserved. so he had absolutely no interest in trying to sell himself as a persona or a character to F1 fans. he was perfectly sweet and polite! and boy, did Lando enjoy having someone with endless patience for him lol.

but it's very marked how, despite whatever was or wasn't developing between them as teammates, Lando has consistently always said the same as he has here about Oscar being so talented and giving Lando that "push" and how "you hate and you like it" bc it made him (Lando) take his own driving to the next level. that healthy competition and 'wow, this guy is bringing it' seemed to strike him immediately. Lando can't lie for shit so if he'd found Oscar to be a crappy teammate in any way there's no way he'd be able to choke out any praise for him even for the sake of the team alsgfljasgfa.

and I liked that here in I think March? he said how he planned to get Oscar into all his own hobbies and bring him out of his shell, but apart from one last minute invite to golf that never really happened. we know they spent a fair amount of down time together but it was always mentioned in passing rather than posting about it online or having anyone film it (that we know of yet). the reason I like it is because Lando went on to say how Oscar has reminded him by example to "keep calm and be yourself". and in this interview he'd said how he considers himself and Oscar to be pretty similar people in terms of their approach to their F1 careers. so instead of them bonding through hobbies and interests or both of them being chatterboxes, I think they bonded (if that's the word?) over not being stereotypical extroverted drivers in terms of their personalities and also that they've so adamantly never wanted to have driver in-fighting make life harder for their teams (and themselves). plenty of guys from F2 and F3 can attest to that for Oscar and of course there's The Lando Effect as far as Lando's concerned.

you could almost say they both needed to be teamed up with the other bc for all that Oscar projects Just a Guy, he also finds himself incredibly awkward when it comes to everything about his job outside of racing the car or talking about the car. Lando's just as much the same but he's learned to charm his way through it. he's still awkward as hell even in Quadrant promo videos and he's been doing those regularly for years now, and with all his friends there! they're both enough off-center that they either need an extroverted teammate to lean on or in their current situation, someone who can sympathize.

which I think considering how much loyalty to the team and a sense of 'home' and consistency are for Lando, it makes all kinds of sense that Oscar was the teammate to show up and really form that partnership that he considers to be 'the strongest' on the grid.

they're the same generation, have the same ethos when it comes to their racing careers and Oscar not only went through a court case to get to McLaren he then extended his contract to 2026 the second McLaren made the offer. Lando's got stability as well as a serious challenge from Oscar. he's more poised than ever for that win(s). and now I just hope he listens to Oscar in other ways like not self-flagellating in front of the cameras so much and focusing on where he has done well.

[foxxear]

14 of my all time favorite albums, because this is my blog.

I like a lot of albums quite a bit, but there aren't a huge amount that become an utmost favorite, in the sense that I really like pretty much every song on it. Many artists have released an album's worth of songs I love, but not quite on a single release. We're going to look at who has pulled it off, and a bit of how.

^ Badfinger - "Straight Up" (1971)

This is my all time favorite "classic rock" album. It's just good. Every song is so listenable, memorable, and generally well constructed. The production is also unusually punchy and high-fidelity for something well over 50 years old. The collective songwriting ability and musicianship on display here has always been very personally inspiring, and many of these tracks are rather special to me. Sometimes one of the songs will make me just weep so good.

This band and all of it's members are rather underrated/unknown amongst the artists of their era. Their career is a shockingly tragic tale of severe mistreatment by the selfish, and that is probably the only reason you may not have heard of them. Seriously. These guys deserved so, so much better. In a different reality, this record is as famous as anything.

Favorite Tracks: "Baby Blue", "Take It All", "It's Over", "Day After Day", "Sometimes", "Flying"

Bonus Favorites from the artist: "Come And Get It", "No Matter What"

^ Paramore - "Riot!" (2007)

Probably my favorite "pop punk" or "emo" record of all time. The material is energetic and hard hitting, with lovely contrast provided by gentler sections, and the production quality is just excellent. Perhaps too excellent for some, because I see people acting like this is just some pop record, not to be confused with a "real band" playing "authentic" material.

Paramore here is as authentic as the next garage band... it's just that they happen to sound good, too. Confusing, I know.

The guitars rip, the drums pound, and the vocals bring delightful musicality & power. I've studied this album a lot to develop much of my own musical style. This thing is also named perfectly — This is definitely music to riot to. Listen to it when you're pissed off.

Favorite Tracks: "For a Pessimist, I'm Pretty Optimistic", "That's What You Get", "Hallelujah", "Misery Business", "Born For This"

Bonus Favorites from the artist: "All I Wanted", "This Is Why", “Careful”

^ Point North - "Prepare For Despair" (2023)

Certainly the newest band in my favorites, Point North is on repeat for me a lot these days. They started out rather "pop punk", and have have been leaning "heavier" with the release of this album. I'm all for it, this thing sounds amazing.

The production is top notch by any standard, and so many of the songs simply sound cool as hell. Jon Lundin's singing is exceptional, and I like many elements of his lyricism. Sage Weeber's drum parts strengthen everything further — He has strong technique, and the crucial ability to walk the line between tasteful and technical. The guitar work deserves similar praise, and it's turned up enough that you can actually hear it. Thanks, Jon.

A few electronic "additional production sounds" pop up on this album, which I can be pretty picky about on "band music", but it's done tastefully enough here for me. This is a great no-skip record, and overall, very inspirational for my own debut album.

Favorite Tracks: "Psycho", "Like A Weapon", "Recover", "Someone" You Don't Know", "Social Suicide"

Bonus Favorites from the artist: "Heartbeat", "Nice Now", "Gasoline", "Dearly Departed"

^ Set It Off - "Midnight" (2018)

Maybe the closest thing to a "pop" album in my utmost favorites, which kinda makes it refreshing. Ironically, Set It Off is a band with emo/scene roots, whom I have seen live a few times. They put on a great show. Naturally, this album brings some punky aggression and passion to the songwriting, but I feel like it's done in a way a lot of people would enjoy. These guys just know how to write memorable tunes, and they blend that with a lot of wonderful & mature messages in the lyrics here. Some of it may surprise you to hear, in a good way.

I am very fond of this record, along with my memories from back when it came out. I think I actually prefer listening to the band's very latest material now, with more heavy guitar work, but I firmly believe this is a really solid album. I'd listen to it any day.

Favorite Tracks: "Hourglass", "Happy All The Time", "Lonely Dance", "Killer In The Mirror", "I Want You (Gone)"

Bonus Favorites from the artist: "Punching Bag", "Wolf In Sheep's Clothing", "Skeleton", "Evil People"

^ Led Zeppelin - "Led Zeppelin" (1969)

I like a LOT of Loop Zoop records, I used to listen to them all the time. I love the grooving songwriting, musicianship, and creativity. I like this album (and much of the early material) for the "blues" appeal. I don't exactly have a deep passion for the blues, or jazz, but I kinda get really into that stuff when it comes on regardless. Don't play this album near me or I'll start talking about "swing" and "feel".

I'm also pretty sure these guys would get cancelled now, like most people in 1969, but I'm not gonna pretend I don't enjoy the sounds of a 55 year old album from my childhood over that. I wish people were better, though

Favorite tracks: "Good Times, Bad Times", "Communication Breakdown", "Dazed And Confused", "I Can't Quit You Baby", "How Many More Times"

Bonus Favorites from the artist: Too many

^ Sueco - “It Was Fun While It Lasted” (2022)

This guy’s debut album was hugely inspirational to me as an artist, in the way that it seems completely unbothered about unity through genre. This album is a collection of songs that, on their own, would arguably be categorized as completely separate genres from one another. Some of the tracks are fully "pop punk", some are entirely "hip hop", some are kinda "emo", and some blur the lines.

You’d think such a track list would feel like a disjoint playlist, instead of an album, but no. Ultimately, the collected songs STILL reveal consistencies in the artist’s personal taste/style overall… perhaps more comprehensively than if he were conforming to the same style concept on every song. The album's sound is unified by the artist's taste, not a restrictive concept, and this makes it sound very him. I like that a lot. Most newer records I listen to deserve similar praise, but it is perhaps most strongly applicable here.

The album drips with authentic enthusiasm and inspiration in everything it does, and the resulting material is very strong. Strong enough that I'm willing to disregard some lyrics that I really do not resonate with, along with the cover image being very "graphic design is my passion". Maybe it looks cool to people from LA, I dunno

Favorite Tracks: "Today", "Loser", "Paralyzed", "It's Going Good", "Toxic Therapy, "Motel 666"

Bonus Favorites from the artist: "Wreck", "novacane:)", "Wanna Feel Something"

^ First four Ramones albums (1976-1978)

These are my all time favorite albums, and they might as well be a packaged set. Despite having their own unique nuances, they were all recorded within a span of two years, and produced by the band's original drummer, who left the group after these were done. They represent the original Ramones' sound, which many would call the genesis of true "punk" music.

I can say more about these than I could ever summarize, but know that they simply never left my regular listening rotation after my early teens. This band captured something special which fascinates me to this day. Their sound, their look, their philosophy... it pushed many important things forward with genuine innovation, and offered a much needed reminder in the mid 70s that "virtuoso guitar playing" is not the only way to make "rock" worth hearing.

Seriously, these guys changed music, inspiring countless artists in countless genres. Many have taken a handful of the ideas presented here into their own work, and perhaps evolved them, or even taken them to greater heights, but nobody has ever done precisely what the Ramones coalesced. And you know what? Nobody else needs to. This band already existed, and these records are always waiting to be played. RIP Ramones, and thank you.

Favorite Tracks: All of them.

^ Bad Drugs - "Old Men, Young Blood" (2014)

You wanna talk about underrated? THIS is an underrated punk album, from an obscure German band. Fantastic musicianship on display here, with exciting songwriting and well-sung lyrics that range from impactful to hilarious. The playing and production is coarse in all the right ways, blending punk and grunge sounds into something aggressive, fun, and perhaps thought provoking?

If a wise old sage released a punk album, I suppose this might be it. You ever heard the phrase "If you can't explain it simply, you don't understand it well enough"? Well. These guys say some important things VERY simply. One such lyric confidently states "Life is about the people, and the world, and how we treat them". It blows by, sung only once, but damn... they're kinda right, aren't they? They say such things like it's all so obvious, and in that moment, you believe it is. This album lets you live in a world of bold yet sensible people at times, not the one we're actually in.

Favorite Tracks: "We Are F*cked (Not)", "This Will Kill Me", "Your RAMONES Coverband Sucks", "Oh My My My", "Superheropower", "You Got The Answer", "Hold On"

^ The Strypes - "Little Victories" (2014)

Dude, my brother and I were vibing with this album when it dropped. "Get Into It"? I think I will. The Strypes were a very blues-influenced "alternative rock" band, and they were like, teenagers. This particular album represents them finding a bit more of their own sound, a bit darker and more versatile than their debut.

I love this record. It's just some kids rocking out, with pretty clear themes of adolescence, and a lot of really catchy melodies. Sadly, the Strypes split up after the album following this one, due to typical creative difference issues. A shame, because they were onto something. They should have stayed into it.

Favorite Tracks: "Get Into It", "Eighty-Four", "(I Wanna Be Your) Everyday)", "Three Streets And A Village Green", "Scumbag City"

Bonus Favorites from the artist: "Blue Collar Jane", "What A Shame", "Hometown Girls", "Angel Eyes"

^ Weezer - "Weezer" (1994)

The blue album

Favorite Tracks: "Buddy Holly", "Undone - The Sweater Song", "Say It Ain't So", "Holiday"

Bonus Favorites from the artist: "Pork And Beans", "The End Of The Game", "Beginning of the End", "Back To The Shack"

^ The Muffs - "Whoop Dee Doo" (2014)

This is such a cool record. The music/production doesn't sound "modern", but it is crisp, thick, and high-fidelity... and the songwriting is so good. Aggressive, hooky, fun, & authentic. If you like the Ramones, The Clash... just the CLASSIC "punk" sound, this album has you covered. I was pretty ecstatic when I just stumbled onto this one.

It is also one of the final releases by The Muffs, a band from the 1990s that made a comeback in the 2010s. Tragically, their lead singer/guitarist Kim Shattuck died in 2019 after a two year battle with ALS, but her incredible work writing, performing on, and producing this album will live on. RIP Kim, you were really cool.

Favorite Tracks: "Weird Boy Next Door", "Up and Down Around", "Where Did I Go Wrong", "Forget the Day", "Like You Don't See Me", "Paint by Numbers"

Bonus Favorite from the artist: "You Can Cry If You Want"

[tlcartist]

24, 26, and 56 for jojo asks?

24. Stand ability you wish you had?

I'm going to say that it's the same answer I've had for any "if you had superpowers what would you want" kind of question. It's the very queer/autistic answer of shapeshifting. idk man having the ability to change yourself to look exactly how you want or to fit any given situation sounds pretty fucking fantastic. Sorry Hot Pants but mom says it's my turn with the spray.

26. Stand ability you thought didn’t suit the character it belonged to?

Hermit Purple. I think it's more due to that being the beginning of the stand era in JoJo. It's not so much that it doesn't suit Joseph, more that it just doesn't feel fleshed out? Like it's missing something that would have made it feel more like his essence.

56. Any headcanons?

OH BOY. Literally too many. JoJo characters just rotate in my brain like they're in a microwave. We'll do one for JoJos 1-6.

Jonathan- Had the whole debacle with Dio not happened the way it did and if he'd lived a full life I think he would have developed stand abilities. I think his stand would be a bridge between hamon abilities and traditional stand powers.

Joseph- Joseph has ADHD. I don't even think this one is much of a stretch. He was a menace in school. Absolute class clown and his teachers ran out of people to have him sit next to in hopes of shutting him up because he's so charismatic and well liked. Erina gave up on having him go to a traditional school and went through so many tutors until she found one who could work with his learning style instead of against it.

Jotaro- This one's not an original one but I like the idea that what set Jotaro on the path of becoming aggressive as a teen was him being bullied for being different. He was only half Japanese. He was tall. His hair wasn't straight. He had light eyes. His classmates took advantage of his meekness when he was younger and gave him shit when adults weren't looking. This also corresponded with his dad's music career taking off so he wasn't around to offer support and he DEFINITELY didn't want to bother his mom with it. So he bottled up his anger until he reached a breaking point and lashed out. And he learned that using his fists earned him respect. Acting tough meant no one would fuck with him and that he'd be left alone.

Josuke- Josuke's fear of turtles also extends to amphibians and other reptiles. He has no idea what sparked the phobia but he's had it since he was a little kid. He meets Giorno when he's an adult and he helps him to slowly overcome his fear by letting him interact with those animals in a safe way. Somehow knowing that the tiny frog he's holding was a stapler 5 minutes ago makes it easier. Plus now he's finally able to talk to Polnareff without getting queasy.

Giorno- Absolutely fucking loves puzzle games of all sorts. Sudoku, Rubix cubes, Tetris, Wordle, you name it he'll play it. Bonus points if they're solitary games. He just really enjoys a good brain teaser and the feeling of figuring things out.

Jolyne- Her parents tried to put her in all sorts of activities when she was a little kid and it took a few attempts to find things she liked. Ballet frustrated her because her teacher was mean and she found the need to be perfect stifling. She liked tumbling but once she got into actual gymnastics she ran into a similar issue, but she loved learning more modern forms of dance like hip hop which allowed more freedom of expression. And then they put her in a karate class at 5 and she absolutely loved it. Didn't keep up with it past 10 or so but she learned some valuable fighting and life skills there. She's still friends with the (now) old man who taught her class and brings his family gifts at Christmas time.

[ylojgtr]

ooh this is perfect! i can tell you all about revolutionary harmonica players!! i will give neil a little credit since he introduced me and im sure many other harmonicists to the instrument, but i assure you there are SO many better players out there

definitely gotta check out deford bailey (pronounced dee-ford). he was a master at and greatly popularized the train imitation and fox chase styles (<this video has flickering for some reason just fyi) and is largely responsible for country harmonica, being a founding member of the grand ol opry

little walter is obviously a must. his approach to the instrument, melodic, dirty and presice, set the standard for chicago blues playing. while he probably wasn't the first to do it, he certainly popularized the use of a microphone while playing which helped the harmonica stay relevant in the age of electric instruments and added a unique distorted tone

sonny terry is also blues, but a very different style. he used a lot of chordal rhythms for accompaniment and really was the first person to play anything like what he did, it's kinda hard to explain

all three of those guys influenced charlie mccoy, one of the most recorded session musicians in history and sort of the pioneer of country and bluegrass harmonica.

there's a direct lineage from mccoy to one of my personal favourite players, jason ricci (solo @1:48), whose mentor pat ramsey (solo @1:50) applied super-fast bluegrass style licks to blues. jason took it a step further, delving into punk, hard rock and funk with an extremely idiosyncratic style. (i had a hard time choosing which song to link but i think this one is a succinct, flashy example of an iconic era of his career. more are in the playlist!)

jason's style also makes heavy use of a technique called overbending, which is probably the most common way to play chromatic notes on a diatonic harmonica. typically, a harmonica is tuned to have only the notes of one major scale, which is why most players have different harmonicas in different keys. but it is possible to play some notes between the scale degrees by bending, which was pioneered by black american musicians before being widely recording, but there are still some notes that can't be played bent

that's where howard levy (solo @1:50 but you should watch the whole thing 😳) comes in (probably my favourite harmonica player ever). he was a jazz piano player before picking up harmonica and decided to start practicing scales on harp the same way he did piano. of course, not all the notes were there, but somehow in trying to bend a note that didn't bend he got a different sound. he ended up becoming the first person to really master this technique, finally bringing the diatonic harmonica into jazz and other more complex music.

last major suggestion, brendan power. his early influences include sonny terry and charlie mccoy but his style has become defined by his harmonica inventions. after learning that charlie mccoy tuned his harmonicas differently (there's a really cool story about how he started doing that) brendan set out to create the ultimate diatonic tuning, since standard tuning wasn't intended to be used in any of the stuff it's used in now, it just happens to work pretty well. but what if it worked PERFECTLY for whatever style you were playing? his most famous tunings include paddy richter (for irish music) powerdraw (for more ease of playing blues) and powerbender (my personal favourite that's great for everything from jazz to hard rock). he also invented half-valving, which i won't get into but basically gives you the ability to bend all notes in different ways, which works on diatonic and chromatic harmonicas. his work has really bridged the gap between the two instruments. he's also created double decker harmonicas, modular reed harmonicas, switchable octave harmonicas, extended range harmonicas and all sorts of harmonicas with extended expressiveness in about a hundred different ways. his playing is also exceptional. he's a very diverse but recognizable player capable of fitting in just about anywhere but you're always sure it's him when you hear that distinctive sound

so those are the main harmonica players id suggest. if you're looking for more id recommend will wilde (hard rock/metal player who uses his own tuning and WILL BLOW YOUR MIND), todd parrott (incredible bluegrass player who takes advantage of modern harmonica techniques in a traditional setting), carlos del junco (a blues/jazz/roots player with a very unique, technical style), jimmy reed (blues singer with a highly influential harmonica sound), joel andersson (innovative european folk player who uses many novel harmonica designs and is also a fantastic harmonica technician), p.t. gazell (western swing and jazz player who uses half-valved diatonics to get chromatic notes instead of overbends) and konstantin reinfeld (he really plays everything, from jazz to classical to hip hop to tango to bollywood music. all on diatonic harmonica)

here's a playlist with all the songs i linked and more! i hope other people will see this post too if there's one thing i can't stand it's harmonica ignorance

Like any person of culture, tonight I sought out a list of musical artists who revolutionized the usage of the humble harmonica. The list I found involved Neil Young's Heart of Gold.

Needless to say, I entered a berserker state.

[reflections-in-a-critical-eye]

Don’t get me wrong, Jungkook’s photos were absolutely gorgeous and I did indeed purchase his photo book, but with all the elements and symbolism we are already seeing from Jimin’s concept in just 2 teasers, I must say that Jungkook’s twilight vampire theme seems pretty basic in comparison. Jungkook’s beautiful face and ability to wear anything well is what mostly carried his pictorial. It’s kind of ironic that with all his tattoos and edgy piercings he often tends to take the safest routes creatively, even outside of the BTS sphere, not just with concepts but with his music as well. I would like to see more from him in terms of depth and variety and I hope he delivers that as his solo career progresses. His My Time solo performance was the closest he has ever come to really surprising me. Meanwhile Jimin is well on his way to meeting and surpassing all expectations I had for his solo era. He keeps me guessing, I can’t figure him out and I love that. He is so intelligent and I’m happy that he is now able to show just how knowledgeable he is outside of the mould of BTS. I am so excited to see what else he has in store for us.

I don't mind making comparisons, I don't believe there's anything wrong with that, despite the message stan twitter is currently sending. When we are presented with a project idea and we have several examples of how it can look (3 until now), it's really difficult not to look at each and compare. There is also a big dose of personal taste and subjectivity which is the main reason why this line of thinking is to be expected and definitely not a way to set up someone for criticism (god, I hate twitter people, they reallt like to flaunt how unneducated they are).

Anyway, back to your actual ask. I also ordered Jungkook's photofolio, I can't wait for it to be delivered, but if I somehow ended up in a situatiom where I had to choose between JK and JM's concept idea and execution, in this case I would go with Jimin. But, I also don't believe that Jungkook's pictorial can be reduced at just being inspired by Twilight, his pretty face and ability to wear the outfits. This is where I disagree with you, simply because I think there's more to it. JK may have said things and used that information in the setting inspired by Twillight, but his theme was time difference. And the result looked more inspired by Anne Rice, than any other pop culture, currently more well known vampire story. The point is, he told a story. His project was indeed conceptual and he was just as involved in every detail, including how dark the teaser should look. I actually think he was once again showing his creativity and using the opportunity to create a character. That's why it stood out so much. And that's why I love Jimin's idea as well. They both chose to be storytellers. Jungkook took a well-known literary reference and perhaps he only played a character and Jimin is creating himself. Their purpose is different, but the means are quite similar.

Perhaps Jungkook did take safer routes (indeed, My Time stands out), but we also have no idea how his solo album is going to sound like or how it's going to be conceptualized. A collab with Puth or some covers are not enough or perhaps very far from what Jungkook would do with his own music. This is something that we can only wait for. Jimin is surpassing all expectations and there is a buzz now because he mostly kept quiet about anything that had no connection to BTS, so the impact is perhaps greater. But I still remember the reaction I had (and others as well) when the first photo teaser of Jungkook was published. Everyone was shocked.

What I'm trying to say is, ultimately, we have our preferences and at the end of the way, we can simply like something more. But as much as my personal taste is closer to Jimin's concept, I do believe that both of them understood what are the possibilities with this project and how they can use it in order to show more about them, and not just as BTS members. That's a huge step forward.

[lurking-latinist]

(also I’d I’m allowed a second ask, I have to once again be predictable and query about the Aftermath Of Trial Story With Brax. because that sounds like a GREAT premise.)

no you may NOT make my askbox more interesting. HOW DARE. lol.

ok so this would be a sort of thematic sequel to The Wrong Idea, my fic about Brax during Invasion of Time. That one's all about Brax thinking the Doctor is a genuine traitor (and probably the real Deadly Assassin) and getting an entirely, well, wrong idea about who he's become.

(The Gallifreyan outsider's POV of the Doctor's career is fascinating--we get a bit of it with Spandrell and Engin in Deadly Assassin, but there's lots more potential. He's a well-connected ne'er-do-well who made the planet too hot to hold him in some unspecified way and fled. Arrested, tried, and convicted, he definitely cuts some kind of secret deal with the CIA [Season 6B]. He eventually leaves them--but does anybody really leave the CIA? they continue to use him for odd jobs--undergoes his sentence and becomes a mercenary. [I mean what would you call working for an alien paramilitary organization in exchange for nice clothes and fancy cars? Even if you don't technically draw a paycheque.] Having regenerated again he is arrested for the murder of the President, for which he gets off by the skin of his teeth, through the most transparent of legal fictions. We've all seen the way he behaves in IoT, even though it's unclear how much of that is eventually remembered. He runs off with the heiress of Heartshaven and apparently misplaces her in a different universe--for which he doesn't seem the least bit sorry. His public reputation, at least among those in the know, is a little better by Five's era, when at least they apologize for trying to execute him for no fault of his own, and he does some national heroics in The Five Doctors and ends up as President again. But then they depose him in absentia and he ends up on trial for his life again. He's a criminal turned the shadiest possible kind of politician turned public figure turned criminal again. Bear in mind that Brax is the respectable one.)

Sorry. Digression. What was I saying?

Oh, yeah, that was all of the misread-backstory that I'm not explaining. I really only have the concept of a scene from this that I'd like to build around. The only way I can make sense of Six not going back to look for Peri is if he tries, and there's some kind of temporal cordon around the whole space-time area that stops him getting there. He keeps getting stopped by CIA agents--proper ones, in uniform--and he's getting very frustrated. He makes a scene. Several scenes. Which reach the ears of Braxiatel, and even though he hasn't actually been part of a We Need To Do Something About Theta conversation for several centuries, he decides that we do, in fact, need to do something about Theta and goes off to find him and give him a talking-to about the terrible mess he's made of his life.

A bunch of old misunderstandings get hashed out, and this is how Brax and the Doctor get from where I left them at the end of The Wrong Idea to, you know, being able to speak to each other in the VNAs.

Oh yeah, I also wanted to do a scene set earlier, during Trial, during the court recess between Mindwarp and Vervoids, where Brax tries to convince the Doctor to accept a court defender. That scene would be a failed attempt at a reconciliation--from Brax's perspective he's trying to help save his thoroughly undeserving brother's life, but from the Doctor's he's just trying to get him ensnared in Gallifrey. And the Doctor, who doesn't know that Brax believes his adventures are those of a professional mercenary and paid agent, has no idea why Brax is treating him with ill-disguised contempt.

[kingstylesdaily]

Playtime With Harry Styles

via vogue.com

THE MEN’S BATHING POND in London’s Hampstead Heath at daybreak on a gloomy September morning seemed such an unlikely locale for my first meeting with Harry Styles, music’s legendarily charm-heavy style czar, that I wondered perhaps if something had been lost in translation.

But then there is Styles, cheerily gung ho, hidden behind a festive yellow bandana mask and a sweatshirt of his own design, surprisingly printed with three portraits of his intellectual pinup, the author Alain de Botton. “I love his writing,” says Styles. “I just think he’s brilliant. I saw him give a talk about the keys to happiness, and how one of the keys is living among friends, and how real friendship stems from being vulnerable with someone.”

In turn, de Botton’s 2016 novel The Course of Love taught Styles that “when it comes to relationships, you just expect yourself to be good at it…[but] being in a real relationship with someone is a skill,” one that Styles himself has often had to hone in the unforgiving klieg light of public attention, and in the company of such high-profile paramours as Taylor Swift and—well, Styles is too much of a gentleman to name names.

That sweatshirt and the Columbia Records tracksuit bottoms are removed in the quaint wooden open-air changing room, with its Swallows and Amazons vibe. A handful of intrepid fellow patrons in various states of undress are blissfully unaware of the 26-year-old supernova in their midst, although I must admit I’m finding it rather difficult to take my eyes off him, try as I might. Styles has been on a six-day juice cleanse in readiness for Vogue’s photographer Tyler Mitchell. He practices Pilates (“I’ve got very tight hamstrings—trying to get those open”) and meditates twice a day. “It has changed my life,” he avers, “but it’s so subtle. It’s helped me just be more present. I feel like I’m able to enjoy the things that are happening right in front of me, even if it’s food or it’s coffee or it’s being with a friend—or a swim in a really cold pond!” Styles also feels that his meditation practices have helped him through the tumult of 2020: “Meditation just brings a stillness that has been really beneficial, I think, for my mental health.”

Styles has been a pescatarian for three years, inspired by the vegan food that several members of his current band prepared on tour. “My body definitely feels better for it,” he says. His shapely torso is prettily inscribed with the tattoos of a Victorian sailor—a rose, a galleon, a mermaid, an anchor, and a palm tree among them, and, straddling his clavicle, the dates 1967 and 1957 (the respective birth years of his mother and father). Frankly, I rather wish I’d packed a beach muumuu.

We take the piratical gangplank that juts into the water and dive in. Let me tell you, this is not the Aegean. The glacial water is a cloudy phlegm green beneath the surface, and clammy reeds slap one’s ankles. Styles, who admits he will try any fad, has recently had a couple of cryotherapy sessions and is evidently less susceptible to the cold. By the time we have swum a full circuit, however, body temperatures have adjusted, and the ice, you might say, has been broken. Duly invigorated, we are ready to face the day. Styles has thoughtfully brought a canister of coffee and some bottles of water in his backpack, and we sit at either end of a park bench for a socially distanced chat.

It seems that he has had a productive year. At the onset of lockdown, Styles found himself in his second home, in the canyons of Los Angeles. After a few days on his own, however, he moved in with a pod of three friends (and subsequently with two band members, Mitch Rowland and Sarah Jones). They “would put names in a hat and plan the week out,” Styles explains. “If you were Monday, you would choose the movie, dinner, and the activity for that day. I like to make soups, and there was a big array of movies; we went all over the board,” from Goodfellas to Clueless. The experience, says Styles, “has been a really good lesson in what makes me happy now. It’s such a good example of living in the moment. I honestly just like being around my friends,” he adds. “That’s been my biggest takeaway. Just being on my own the whole time, I would have been miserable.”

Styles is big on friendship groups and considers his former and legendarily hysteria-inducing boy band, One Direction, to have been one of them. “I think the typical thing is to come out of a band like that and almost feel like you have to apologize for being in it,” says Styles. “But I loved my time in it. It was all new to me, and I was trying to learn as much as I could. I wanted to soak it in…. I think that’s probably why I like traveling now—soaking stuff up.” In a post-COVID future, he is contemplating a temporary move to Tokyo, explaining that “there’s a respect and a stillness, a quietness that I really loved every time I’ve been there.”

In 1D, Styles was making music whenever he could. “After a show you’d go in a hotel room and put down some vocals,” he recalls. As a result, his first solo album, 2017’s Harry Styles, “was when I really fell in love with being in the studio,” he says. “I loved it as much as touring.” Today he favors isolating with his core group of collaborators, “our little bubble”—Rowland, Kid Harpoon (né Tom Hull), and Tyler Johnson. “A safe space,” as he describes it.

In the music he has been working on in 2020, Styles wants to capture the experimental spirit that informed his second album, last year’s Fine Line. With his debut album, “I was very much finding out what my sound was as a solo artist,” he says. “I can see all the places where it almost felt like I was bowling with the bumpers up. I think with the second album I let go of the fear of getting it wrong and…it was really joyous and really free. I think with music it’s so important to evolve—and that extends to clothes and videos and all that stuff. That’s why you look back at David Bowie with Ziggy Stardust or the Beatles and their different eras—that fearlessness is super inspiring.”

The seismic changes of 2020—including the Black Lives Matter uprising around racial justice—has also provided Styles with an opportunity for personal growth. “I think it’s a time for opening up and learning and listening,” he says. “I’ve been trying to read and educate myself so that in 20 years I’m still doing the right things and taking the right steps. I believe in karma, and I think it’s just a time right now where we could use a little more kindness and empathy and patience with people, be a little more prepared to listen and grow.”

Meanwhile, Styles’s euphoric single “Watermelon Sugar” became something of an escapist anthem for this dystopian summer of 2020. The video, featuring Styles (dressed in ’70s-­flavored Gucci and Bode) cavorting with a pack of beach-babe girls and boys, was shot in January, before lockdown rules came into play. By the time it was ready to be released in May, a poignant epigraph had been added: “This video is dedicated to touching.”

Styles is looking forward to touring again, when “it’s safe for everyone,” because, as he notes, “being up against people is part of the whole thing. You can’t really re-create it in any way.” But it hasn’t always been so. Early in his career, Styles was so stricken with stage fright that he regularly threw up preperformance. “I just always thought I was going to mess up or something,” he remembers. “But I’ve felt really lucky to have a group of incredibly generous fans. They’re generous emotionally—and when they come to the show, they give so much that it creates this atmosphere that I’ve always found so loving and accepting.”

THIS SUMMER, when it was safe enough to travel, Styles returned to his London home, which is where he suggests we head now, setting off in his modish Primrose Yellow ’73 Jaguar that smells of gasoline and leatherette. “Me and my dad have always bonded over cars,” Styles explains. “I never thought I’d be someone who just went out for a leisurely drive, purely for enjoyment.” On sleepless jet-lagged nights he’ll drive through London’s quiet streets, seeing neighborhoods in a new way. “I find it quite relaxing,” he says.

Over the summer Styles took a road trip with his artist friend Tomo Campbell through France and Italy, setting off at four in the morning and spending the night in Geneva, where they jumped in the lake “to wake ourselves up.” (I see a pattern emerging.) At the end of the trip Styles drove home alone, accompanied by an upbeat playlist that included “Aretha Franklin, Parliament, and a lot of Stevie Wonder. It was really fun for me,” he says. “I don’t travel like that a lot. I’m usually in such a rush, but there was a stillness to it. I love the feeling of nobody knowing where I am, that kind of escape...and freedom.”

GROWING UP in a village in the North of England, Styles thought of London as a world apart: “It truly felt like a different country.” At a wide-eyed 16, he came down to the teeming metropolis after his mother entered him on the U.K. talent-search show The X Factor. “I went to the audition to find out if I could sing,” Styles recalls, “or if my mum was just being nice to me.” Styles was eliminated but subsequently brought back with other contestants—Niall Horan, Liam Payne, Louis Tomlinson, and Zayn Malik—to form a boy band that was named (on Styles’s suggestion) One Direction. The wily X Factor creator and judge, Simon Cowell, soon signed them to his label Syco Records, and the rest is history: 1D’s first four albums, supported by four world tours from 2011 to 2015, debuted at number one on the U.S. Billboard charts, and the band has sold 70 million records to date. At 18, Styles bought the London house he now calls home. “I was going to do two weeks’ work to it,” he remembers, “but when I came back there was no second floor,” so he moved in with adult friends who lived nearby till the renovation was complete. “Eighteen months,” he deadpans. “I’ve always seen that period as pretty pivotal for me, as there’s that moment at the party where it’s getting late, and half of the people would go upstairs to do drugs, and the other people go home. I was like, ‘I don’t really know this friend’s wife, so I’m not going to get all messy and then go home.’ I had to behave a bit, at a time where everything else about my life felt I didn’t have to behave really. I’ve been lucky to always feel I have this family unit somewhere.”

When Styles’s London renovation was finally done, “I went in for the first time and I cried,” he recalls. “Because I just felt like I had somewhere. L.A. feels like holiday, but this feels like home.”

Behind its pink door, Styles’s house has all the trappings of rock stardom—there’s a man cave filled with guitars, a Sex Pistols Never Mind the Bollocks poster (a moving-in gift from his decorator), a Stevie Nicks album cover. Fleetwood Mac’s “Dreams” was one of the first songs he knew the words to—“My parents were big fans”—and he and Nicks have formed something of a mutual-admiration society. At the beginning of lockdown, Nicks tweeted to her fans that she was taking inspiration from Fine Line: “Way to go, H,” she wrote. “It is your Rumours.” “She’s always there for you,” said Styles when he inducted Nicks into the Rock & Roll Hall of Fame in 2019. “She knows what you need—advice, a little wisdom, a blouse, a shawl; she’s got you covered.”

Styles makes us some tea in the light-filled kitchen and then wanders into the convivial living room, where he strikes an insouciant pose on the chesterfield sofa, upholstered in a turquoise velvet that perhaps not entirely coincidentally sets off his eyes. Styles admits that his lockdown lewk was “sweatpants, constantly,” and he is relishing the opportunity to dress up again. He doesn’t have to wait long: The following day, under the eaves of a Victorian mansion in Notting Hill, I arrive in the middle of fittings for Vogue’s shoot and discover Styles in his Y-fronts, patiently waiting to try on looks for fashion editor Camilla Nickerson and photographer Tyler Mitchell. Styles’s personal stylist, Harry Lambert, wearing a pearl necklace and his nails colored in various shades of green varnish, à la Sally Bowles, is providing helpful backup (Britain’s Rule of Six hasn’t yet been imposed).

Styles, who has thoughtfully brought me a copy of de Botton’s 2006 book The Architecture of Happiness, is instinctively and almost quaintly polite, in an old-fashioned, holding-open-doors and not-mentioning-lovers-by-name sort of way. He is astounded to discover that the Atlanta-born Mitchell has yet to experience a traditional British Sunday roast dinner. Assuring him that “it’s basically like Thanksgiving every Sunday,” Styles gives Mitchell the details of his favorite London restaurants in which to enjoy one. “It’s a good thing to be nice,” Mitchell tells me after a morning in Styles’s company.

MITCHELL has Lionel Wendt’s languorously homoerotic 1930s portraits of young Sri Lankan men on his mood board. Nickerson is thinking of Irving Penn’s legendary fall 1950 Paris haute couture collections sitting, where he photographed midcentury supermodels, including his wife, Lisa Fonssagrives, in high-style Dior and Balenciaga creations. Styles is up for all of it, and so, it would seem, is the menswear landscape of 2020: Jonathan Anderson has produced a trapeze coat anchored with a chunky gold martingale; John Galliano at Maison Margiela has fashioned a khaki trench with a portrait neckline in layers of colored tulle; and Harris Reed—a Saint Martins fashion student sleuthed by Lambert who ended up making some looks for Styles’s last tour—has spent a week making a broad-shouldered Smoking jacket with high-waisted, wide-leg pants that have become a Styles signature since he posed for Tim Walker for the cover of Fine Line wearing a Gucci pair—a silhouette that was repeated in the tour wardrobe. (“I liked the idea of having that uniform,” says Styles.) Reed’s version is worn with a hoopskirt draped in festoons of hot-pink satin that somehow suggests Deborah Kerr asking Yul Brynner’s King of Siam, “Shall we dance?”

Styles introduces me to the writer and eyewear designer Gemma Styles, “my sister from the same womb,” he says. She is also here for the fitting: The siblings plan to surprise their mother with the double portrait on these pages.

I ask her whether her brother had always been interested in clothes.

“My mum loved to dress us up,” she remembers. “I always hated it, and Harry was always quite into it. She did some really elaborate papier-mâché outfits: She made a giant mug and then painted an atlas on it, and that was Harry being ‘The World Cup.’ Harry also had a little dalmatian-dog outfit,” she adds, “a hand-me-down from our closest family friends. He would just spend an inordinate amount of time wearing that outfit. But then Mum dressed me up as Cruella de Vil. She was always looking for any opportunity!”

“As a kid I definitely liked fancy dress,” Styles says. There were school plays, the first of which cast him as Barney, a church mouse. “I was really young, and I wore tights for that,” he recalls. “I remember it was crazy to me that I was wearing a pair of tights. And that was maybe where it all kicked off!”

Acting has also remained a fundamental form of expression for Styles. His sister recalls that even on the eve of his life-changing X Factor audition, Styles could sing in public only in an assumed voice. “He used to do quite a good sort of Elvis warble,” she remembers. During the rehearsals in the family home, “he would sing in the bathroom because if it was him singing as himself, he just couldn’t have anyone looking at him! I love his voice now,” she adds. “I’m so glad that he makes music that I actually enjoy listening to.”

Styles’s role-playing continued soon after 1D went on permanent hiatus in 2016, and he was cast in Christopher Nolan’s Dunkirk, beating out dozens of professional actors for the role. “The good part was my character was a young soldier who didn’t really know what he was doing,” says Styles modestly. “The scale of the movie was so big that I was a tiny piece of the puzzle. It was definitely humbling. I just loved being outside of my comfort zone.”

His performance caught the eye of Olivia Wilde, who remembers that it “blew me away—the openness and commitment.” In turn, Styles loved Wilde’s directorial debut, Booksmart, and is “very honored” that she cast him in a leading role for her second feature, a thriller titled Don’t Worry Darling, which went into production this fall. Styles will play the husband to Florence Pugh in what Styles describes as “a 1950s utopia in the California desert.”

Wilde’s movie is costumed by Academy Award nominee Arianne Phillips. “She and I did a little victory dance when we heard that we officially had Harry in the film,” notes Wilde, “because we knew that he has a real appreciation for fashion and style. And this movie is incredibly stylistic. It’s very heightened and opulent, and I’m really grateful that he is so enthusiastic about that element of the process—some actors just don’t care.”

“I like playing dress-up in general,” Styles concurs, in a masterpiece of understatement: This is the man, after all, who cohosted the Met’s 2019 “Notes on Camp” gala attired in a nipple-freeing black organza blouse with a lace jabot, and pants so high-waisted that they cupped his pectorals. The ensemble, accessorized with the pearl-drop earring of a dandified Elizabethan courtier, was created for Styles by Gucci’s Alessandro Michele, whom he befriended in 2014. Styles, who has subsequently personified the brand as the face of the Gucci fragrance, finds Michele “fearless with his work and his imagination. It’s really inspiring to be around someone who works like that.”

The two first met in London over a cappuccino. “It was just a kind of PR appointment,” says Michele, “but something magical happened, and Harry is now a friend. He has the aura of an English rock-and-roll star—like a young Greek god with the attitude of James Dean and a little bit of Mick Jagger—but no one is sweeter. He is the image of a new era, of the way that a man can look.”

Styles credits his style trans­formation—from Jack Wills tracksuit-clad boy-band heartthrob to nonpareil fashionisto—to his meeting the droll young stylist Harry Lambert seven years ago. They hit it off at once and have conspired ever since, enjoying a playfully campy rapport and calling each other Sue and Susan as they parse the niceties of the scarlet lace Gucci man-bra that Michele has made for Vogue’s shoot, for instance, or a pair of Bode pants hand-painted with biographical images (Styles sent Emily Adams Bode images of his family, and a photograph he had found of David Hockney and Joni Mitchell. “The idea of those two being friends, to me, was really beautiful,” Styles explains).

“He just has fun with clothing, and that’s kind of where I’ve got it from,” says Styles of Lambert. “He doesn’t take it too seriously, which means I don’t take it too seriously.” The process has been evolutionary. At his first meeting with Lambert, the stylist proposed “a pair of flares, and I was like, ‘Flares? That’s fucking crazy,’  ” Styles remembers. Now he declares that “you can never be overdressed. There’s no such thing. The people that I looked up to in music—Prince and David Bowie and Elvis and Freddie Mercury and Elton John—they’re such showmen. As a kid it was completely mind-blowing. Now I’ll put on something that feels really flamboyant, and I don’t feel crazy wearing it. I think if you get something that you feel amazing in, it’s like a superhero outfit. Clothes are there to have fun with and experiment with and play with. What’s really exciting is that all of these lines are just kind of crumbling away. When you take away ‘There’s clothes for men and there’s clothes for women,’ once you remove any barriers, obviously you open up the arena in which you can play. I’ll go in shops sometimes, and I just find myself looking at the women’s clothes thinking they’re amazing. It’s like anything—anytime you’re putting barriers up in your own life, you’re just limiting yourself. There’s so much joy to be had in playing with clothes. I’ve never really thought too much about what it means—it just becomes this extended part of creating something.”

“He’s up for it,” confirms Lambert, who earlier this year, for instance, found a JW Anderson cardigan with the look of a Rubik’s Cube (“on sale at matches.com!”). Styles wore it, accessorized with his own pearl necklace, for a Today rehearsal in February and it went viral: His fans were soon knitting their own versions and posting the results on TikTok. Jonathan Anderson declared himself “so impressed and incredibly humbled by this trend” that he nimbly made the pattern available (complete with a YouTube tutorial) so that Styles’s fans could copy it for free. Meanwhile, London’s storied Victoria & Albert Museum has requested Styles’s original: an emblematic document of how people got creative during the COVID era. “It’s going to be in their permanent collection,” says Lambert exultantly. “Is that not sick? Is that not the most epic thing?”

“To me, he’s very modern,” says Wilde of Styles, “and I hope that this brand of confidence as a male that Harry has—truly devoid of any traces of toxic masculinity—is indicative of his generation and therefore the future of the world. I think he is in many ways championing that, spearheading that. It’s pretty powerful and kind of extraordinary to see someone in his position redefining what it can mean to be a man with confidence.”

“He’s really in touch with his feminine side because it’s something natural,” notes Michele. “And he’s a big inspiration to a younger generation—about how you can be in a totally free playground when you feel comfortable. I think that he’s a revolutionary.”

STYLES’S confidence is on full display the day after the fitting, which finds us all on the beautiful Sussex dales. Over the summit of the hill, with its trees blown horizontal by the fierce winds, lies the English Channel. Even though it’s a two-hour drive from London, the fresh-faced Styles, who went to bed at 9 p.m., has arrived on set early: He is famously early for everything. The team is installed in a traditional flint-stone barn. The giant doors have been replaced by glass and frame a bucolic view of distant grazing sheep. “Look at that field!” says Styles. “How lucky are we? This is our office! Smell the roses!” Lambert starts to sing “Kumbaya, my Lord.”

Hairdresser Malcolm Edwards is setting Styles’s hair in a Victory roll with silver clips, and until it is combed out he resembles Kathryn Grayson with stubble. His fingers are freighted with rings, and “he has a new army of mini purses,” says Lambert, gesturing to an accessory table heaving with examples including a mini sky-blue Gucci Diana bag discreetly monogrammed HS. Michele has also made Styles a dress for the shoot that Tissot might have liked to paint—acres of ice-blue ruffles, black Valenciennes lace, and suivez-moi, jeune homme ribbons. Erelong, Styles is gamely racing up a hill in it, dodging sheep scat, thistles, and shards of chalk, and striking a pose for Mitchell that manages to make ruffles a compelling new masculine proposition, just as Mr. Fish’s frothy white cotton dress—equal parts Romantic poet and Greek presidential guard—did for Mick Jagger when he wore it for The Rolling Stones’ free performance in Hyde Park in 1969, or as the suburban-mom floral housedress did for Kurt Cobain as he defined the iconoclastic grunge aesthetic. Styles is mischievously singing ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight)” to himself when Mitchell calls him outside to jump up and down on a trampoline in a Comme des Garçons buttoned wool kilt. “How did it look?” asks his sister when he comes in from the cold. “Divine,” says her brother in playful Lambert-speak.

As the wide sky is washed in pink, orange, and gray, like a Turner sunset, and Mitchell calls it a successful day, Styles is playing “Cherry” from Fine Line on his Fender acoustic on the hilltop. “He does his own stunts,” says his sister, laughing. The impromptu set is greeted with applause. “Thank you, Antwerp!” says Styles playfully, bowing to the crowd. “Thank you, fashion!”

[ultrahpfan5blog]

Retrospective Review: Skyfall (2012)

So after QoS was generally considered to be a letdown after the impressive success of Casino Royale, there was a bit of a course correction required. It wasn't as if QoS was a bomb. Both Casino Royale and QoS were the highest grossing Bond films till then. But critically they needed to course correct a bit. Skyfall came in with a lot of hype since it came on the 50th anniversary of Bond in films. Sam Mendes came in and knocked it out of the park in Skyfall. In my opinion, Skyfall is second only to Casino Royale in the ranking of Bond films.

What is interesting about Skyfall is that it feels like it takes a significant step away from the previous two films. It feels aesthetically different from the previous two films and Bond himself is reinvented as someone at a different point in his life. While Casino Royale and Quantum of Solace were films with Bond as a new 00 agent. In Skyfall, he is an older agent, considered to be past his prime. So it seems like there is a big time leap in his career. The film has a fantastic opening action sequence, going from car chase, to bike chase, to fight on a train. You really feel Bond being pushed to his limit in this sequence. Yet, there are still very lovely iconic touches like when Bond leaps from the tractor into the train, he checks his cufflinks. Its really a small thing but it lends a lot of Bond's character. Skyfall is probably one of the most known Bond songs and it really lends to the mood of the film to follow.

The film's biggest strengths lie in the film making and in the performances from the actors who are all excellent across the board. The film has makes some bold choices when it comes to plot by making MI6 fallible. M in this movie is not at her best. She makes mistakes and a security leak happens as a result and people die because of the mistakes she made. There is also a legitimate argument to be made that she did wrong the villain and does manipulate Bond. As a result, she becomes an even more interesting character. If there is a true Bond girl in this movie, it is Judi Dench because she is front and center in this movie and the plot really surrounds her. Its by far her more substantial role in the franchise and she really makes the most of it. Her relationship both with Silva and Bond is fascinating, with Silva having almost an Oedipal complex with her whereas there is a clear maternal connection with Bond. Its a very fitting swan song for her.

There are a couple of other Bond girls in the movie. Naomie Harris makes an excellent debut as Moneypenny. If I am correct, I don't think we even know she is Moneypenny until the very end of the movie. But she's pretty badass from the very beginning and she has a nice witty banter with Bond. There is a nice and friendly sexual tension between the two. Its definitely a different Moneypenny from the previous eras but she is a welcome presence. One performance that doesn't get enough credit is Berenice Marlohe as Severine. She is actually pretty fantastic in the movie in a fairly brief role. She is enigmatic and seductive and a deeply tragic figure but her scenes are ones that really stick with me. Definitely the scene in the Casino is excellent.

We also get the reintroduction of Q, played by Ben Whishaw and he's immediately winning. It makes a lot of sense for the modern technology driven Q to be a younger man and its a fun switch of the dynamics between Bond and Q, where previously Q was sort of a mentor figure for Bond, here Bond is the elder person who makes fun of Q's age. One other character who is a surprise is Ralph Fiennes as Mallory. When he is initially introduced, he feels like a stereotypical government employee who is against Bond and M, but you slowly see that there is more to him than meets the eye and he's actually quite a badass himself and ends up being the new M by the end of the movie. Fiennes is great as he normally is. Albert Finney has a fun role in the last act and Rory Kinnear continues on as Tanner.

Javier Bardem's impact on this film is immense. What is interesting is that he doesn't appear until just a few minutes past the halfway mark of the movie. And even in the second half, he disappears for about 15-20 minutes after the hearing shootout. But his impact looms over the entire movie, even when he's not there. And that's a testament to his performance. He is brilliant in the role. He has an outstanding entry scene with a great monologue. You can just tell that Bardem is having a blast in this role. He manages to induce menace, rage, heartbreak, and madness. You genuinely feel some sympathy for his him because he isn't completely wrong. Its a performance that is truly right towards the very top of Bond villains and it elevates the movie a lot.

Daniel Craig is again fantastic here. He continues to give his all, both physically and emotionally in the role. The scenes between him and Bardem on the Island are some of the best acted sequences in the movie. And again, the dynamic between M and Bond sells because of how well both Craig and Dench play off each other. There are little touches that Craig does that I love so much. I already mentioned the cufflinks scene in the opening action sequence. Then there is a fight scene in a Casino where he and a goon fall into a pit and he spots a Komodo dragon and he is startled and points at it even, even when he is being picked up by the thug. Also, when he gets pissed off when he sees the DB5 get blown up in the climax. It doesn't sound like much, but it genuinely adds a lot to the character when you see it. He has good chemistry with all the cast and you even buy him when you see him struggling physically post the injury inflicted in the opening sequence. Its a performances where he delivers the humor, action, drama, emotion etc... and he does it all brilliantly.

As I mentioned earlier, the film making is terrific. Aesthetically, this film stands out and his beautiful to look at. Its no surprise that Roger Deakins is the cinematographer. There are just some gorgeous sequences throughout the movie, be it the fight in the empty office in Shanghai, the sequence in the Casino, the empty old house in the middle of nowhere, or the moors of Scotland in the climax. There is just a wonderful use of light to make every frame stand out. Sam Mendes also keeps the pacing tight. This is almost as long as Casino Royale, and just like that film, you don't feel the time. The only reason I rank this below Casino Royale is that the story telling isn't as tight as it could have been. For example, Silva's entire plan is really implausible when you think about it. No amount of preplanning would have led to everything happening exactly as he planned it because it requires a lot of random actions from people which he could definitely not predict. Then there is the fact that M endangers the ministers and everyone at the hearing despite knowing there is an eminent threat. Also, while the climax is spectacular and I get that Bond wanted to get Silva out of his comfort zone, but I still don't see how isolating himself in the middle of nowhere, with just M for backup against Silva and his entire army was a wise idea. Also, the film sets up the interesting notion that Bond is not at his best physically, but it sort of abandons the idea towards the end with Bond basically taking out Silva's whole army on his own. So there are some loose ends to the storytelling. But its easy to overlook them. The film also makes the brave choice to have Silva actually win since M dies in the end. So it is a bittersweet ending in a way. But its all done in a very satisfying manner.

Overall, its an excellent movie. Definitely top tier Bond and a very fitting movie for the 50th anniversary for Bond. A 9/10.

[binderclipdocs]

Hello! I’m wondering what your take is on Dear Friend (and especially “I’m in love with a friend of mine”?) I find the song a little confusing, and I’ve read a lot of different interpretations. I really love your films and I know you’ve done a lot of research, would love to know what you think. Thanks!

Thanks for your appreciation, anon!  I love Dear Friend and am happy to share my thoughts on this haunting, mournful, mysterious song!

I’ll be the first to admit the lyrics are confusing (like so many McCartney songs!), mostly by virtue of the fact that Paul uses “friend” twice in a row.  Are there two friends, or only one?  By using the word “friend” on top of each other as he does, it suggests either a single friend (the titular “Dear Friend”) in two situations OR two friends, in separate/competing situations.

Dear Friend, throw the wine 

I’m in love with a friend of mine 

Really, truly, young and newlywed

Of course, everyone is entitled to their own opinion, interpretation, fantasy, etc.  and no one but McCartney himself can definitively declare precisely what he meant with this song.  But it’s my opinion that Paul was saying the latter; that he is in love with his friend and new wife, Linda.  This is my conclusion after having deeply researched this period extensively for TWO documentary series (McCartney (2020) and Understanding Lennon/McCartney), an opinion that obviously no one is required to entertain and anyone is free to discard.  But for those who are interested, I’ll share my reasoning below.

Firstly, this is NOT an attempt to disprove that Paul was ever in love with John or vice verse.  They both used this term publicly and therefore probably/possibly did privately with each other as well.  But Paul’s statements in April, 1970 pretty clearly spell out the situation:

“Personally, I don’t think John could do the Beatles thing now. I don’t think it would be good for him.

John’s in love with Yoko, and he’s no longer in love with the other three of us. And let’s face it, we were in love with the Beatles as much as anyone.”

So John and Paul were “in love” (with each other as people, or the Beatles as a concept, or Lennon/McCartney as a team, etc) for a long time.  But by 1970, they both have new spouses and new lives and are following different paths.  Here’s a brief recap of the events that led to this statement:

In a now-famous meeting in September 1969, John told Paul that he was leaving the Beatles and wanted a divorce.  Whether this was an idle threat designed to scare/hurt Paul, or a real desire on John’s part is open to interpretation, but Paul, for his part, took it seriously.  

Allen Klein asked John not to go public with his decision to leave the group and John happily and uncharacteristically agreed to sit on this “news” indefinitely.  Paul subsequently disappeared for 6-8 weeks, mourned the loss of the band privately in Scotland, and then began working on his first solo album. Communication between John and Paul fell apart at that point, and John began a campaign of maneuvers - possibly engineered or facilitated by Klein - to bring Paul back into the Beatles’ fold and force him to submit to Klein’s management and John’s leadership. Backed into a proverbial corner by John, George, Ringo, Yoko and Klein, Paul played the last card he had: he quit.

In April 1970, Paul made the split official (deliberately or accidentally? YMMV) with the release of his first solo LP, and attempted to finalize the divorce with an uncooperative John for the remainder of the year. As is pretty well-documented, Paul tried for a quick and amicable split, requesting a release from the Beatles’ contract. But after John was unresponsive and Allen Klein advised him to set duplicitous legal traps that would prevent Paul from separating from the Beatles, Paul (as advised by his lawyers) decided to sue for divorce by the end of 1970.

By 2020, even the most casual Beatles fans know two basic truisms: 1) that Paul loved John always and 2) that Paul didn’t want the band to break up. Of course there’s more to the story than just that. We have also been told repeatedly that John “left Paul,” but this is not the whole truth either.

Essentially what John did was yell “I’m breaking up with you!” and then block the door every time Paul tried to leave.

As late as September, 1971 John is still saying publicly that he hopes Paul will return.  

Int.: Let's talk a bit about Paul's aversion to Klein. From what we've read it seemed as if this wasn't there in the beginning, even though Paul wanted the Eastmans to run things. But it came on later as things progressed. And yet despite this, we gather that Klein was still hoping that Paul would return to the group.

John: Oh, he'd love it if Paul would come back. I think he was hoping he would for years and years. He thought that if he did something, to show Paul that he could do it, Paul would come around. But no chance. I mean, I want him to come out of it, too, you know. He will one day. I give him five years, I've said that. In five years he'll wake up.

[Narrator voice: Paul did not came back.]

Yes, Paul loved John.  No, Paul didn’t want the Beatles to break up.  

But when John said he wanted out, Paul took him seriously, respected his decision, never made a single attempt to woo John back and showed up 6 months later with a moving van and divorce papers.

When you hear Dear Friend out of context -knowing only that Paul loved John and was sad after the breakup- it’s not wholly unreasonable to think maybe Paul was declaring his eternal love for John here:

I’m in love with a friend of mine really, truly, young and newlywed

But when you experience Dear Friend in the proper context, that interpretation sounds less and less likely.  Here’s Paul:

April 21, 1970

“I’m not blaming her. I’m blaming me. You can’t blame John for falling in love with Yoko any more than you can blame me for falling in love with Linda.

We tried writing together a few more times, but I think we both decided it would be easier to work separately.  I told John on the phone the other day that at the beginning of last year I was annoyed with him. I was jealous because of Yoko, and afraid about the break-up of a great musical partnership. It’s taken me a year to realise that they were in love. Just like Linda and me."

Summer 1970

Paul writes John a 12-page letter requesting that they “let each other out of the trap.” John’s response was a picture of himself and Yoko with a balloon drawn above his head saying “How and Why?”

Paul responded: “How? By singing a paper that says we hereby dissolve our partnership. Why? Because there is no partnership.”

April 16, 1971

PAUL:  “We used to get asked at press conferences, 'What are you going to do when the bubble bursts?' When I talked to John just the other day, he said something about, 'Well, the bubble's going to burst.' And I said, 'It has burst. That's the point. That's why I've had to do this, why l had to apply to the court. You don't think I really enjoy doing that kind of stuff. I had to do it because the bubble has burst-- everywhere but on paper.' That's the only place we're tied now.”

Nov 11, 1971

MM: But John said to me that what you’d done in bringing the [court] trials up and everything was what they all wanted, that you’d just done it a lot earlier than they would have done.

PAUL: Well if that’s true, well… well, come on! That’s – see, I’ve told you… The joke is, though, that we don’t have to do trials. It’s not necessary. If the four Beatles signed a bit of paper, or even ripped the old contract up and said, “This contract is no longer valid, we all hereby said it, we all legally direct the shareholders…” the whole thing, to wind it all up, we could do it. And if that’s really what he wants, he could do it this minute. [snaps fingers]

Furthermore, Paul was deeply in love with Linda during this period, as reflected by: the songs on both McCartney and RAM, the testimony of those around them at the time and by Paul’s own recollections.  The first few years of Paul and Linda’s marriage was their honeymoon period, their era as newlyweds.  It was certainly an awful time for Paul in many respects: ��the business battles of the Beatles were excruciating and extremely stressful and the loss of his three best friends was heartbreaking. Furthermore, the rock press had largely turned against him (sometimes viciously so), and John & Yoko (and Allen Klein) were painting him as a traitor to the counterculture and a villain for destroying the Beatles with his granny music, giant ego and overbearing personality.  Paul and Linda were extremely isolated, partially by choice and partially by force.  

But even though this was a terrible time for Paul in many respects, he was extremely happy with his new family.  He later described this period with Linda as one of the happiest periods of their life. Paul has said numerous times Linda (along with nature and horse-riding) brought him out of depression after the Beatles ended and gave him the strength to push forward with his solo career, at a time when many were rooting against him (and a literal cult was forming that claimed he was DEAD and had been replaced by an inferior imposter- let that sink in for a moment!).  He has been consistent about it over the years, and reiterated it as recently as 2020:

UNCUT: Tell me about the guy in the photo n the McCartney sleeve.  He looks happy. 

PAUL:  I was really happy, yeah.  The Beatles had become such a business machine, and with the arrival of Allen Klein the whole thing, every day was very unpleasant. 

UNCUT: So there you were on the farm, finding solace in a new family... 

PAUL: Yes. I had a little place in Scotland.  So we just went out there. “It’s so remote, no one can be bothered trekking all the way up here for a meeting.” It was a good period. We grabbed our freedom- you know what, we seized the day! Also, I had a new baby; I’d not been a father before, so I was very happy.

In December of 1970, John gave his infamous Lennon Remembers interview to Rolling Stone.  According to the liner notes of the Wildlife reissue from 2018 (and confirmed by the timing of the demo), Paul composed Dear Friend in reaction to John’s comments in that interview (not How Do You Sleep, as is commonly believed).  But he sat on the song for awhile and didn’t record it until late 1971 (for inclusion on Wildlife).  Judging from the tone of Too Many People and other songs on RAM, Paul’s initial sadness, confusion and disappointment gradually morphed into (or perhaps swung back and forth between) anger and defiance, accompanied by a taunting and/or gloating tone.  Having gotten Dear Friend out of his system, it seems it simply didn’t fit thematically on RAM. Perhaps after the release of HDYS, Paul was deflated and despondent enough to return to Dear Friend?  Perhaps Jealous Guy tempered or calmed Paul’s anger?   

Or maybe it was just a genuine attempt to turn the heat down.  We know that immediately following its release, John and Paul agreed (seemingly at Paul’s insistence) to quit bickering in public.

In any case, Dear Friend is a complex songs with a spectrum of emotions. Unlike Jealous Guy it is not apologetic; it’s mournful but also incredulous and slightly accusatory.  Paul appears to be calling John’s bluff:  Do you really believe all the bullshit you’re spewing?

Are you a fool, or is it true?

The John Lennon of Lennon Remembers is without hope or faith, denouncing everything he ever believed in and everyone he ever trusted -with the notable exceptions of Allen Klein, Phil Spector and Yoko.  Paul clearly loves John and hopes to salvage their relationship, but Dear Friend was written at a time when John was being manipulated and exploited by people he later admitted were misplaced “daddy figures.” While Klein and Spector turned out to not be the most reliable friends to John, Paul certainly seems to know and understand John’s vulnerabilities and motivations better than most.  As he sings in the demo:

Are you afraid?  Or are you blue?

So why does Paul mention that he’s newlywed and in love with Linda? Firstly, because he is, and he wants to celebrate with his best friend. We know Paul’s desire was for the two couples to make peace and be friends.  Pour the Wine.  Clink glasses and celebrate their new marriages together.

PAUL: Dear Friend was to do with John, a bit of longing about John. Let’s have a glass of wine and forget about it. A making up song. (July 2001).

This is precisely what the two couples did in December of 1971, immediately following the release of Wildlife.  

JOHN: We were both nervous, the four of us were nervous. I hadn’t seen him for a long time. I’d spoken on the phone [with him]. Uh, it was alright, you know. It was alright.

This is precisely what happened again throughout 1974 (with John & May Pang this time around), which John affectionately called their “Beaujolais evenings.”   

Admittedly, It may seem odd for Paul to mention that he is happily married (and in love with another “friend”) in a make up song to John.  Until you think about the romantic tension between John and Paul and Paul’s bold public recognition of it with this statement:  “It’s taken me a year to realise that they were in love. Just like Linda and me.” Paul acknowledges here that John is in love with Yoko and wants John to acknowledge his love for Linda as well.  

In Dear Friend he’s communicating that there is nothing to fear; they are secure in their respective marriages, there is no need to be hurt or angry or jealous anymore.  We’re no longer partners, but we can still be friends.  “Let’s have a glass of wine and forget about it.”  A softer, gentler version of: Wake up, John. It’s over. Sign the fucking papers already.

So I think of Dear Friend as an olive branch, but not the groveling type some apparently do.  And I most definitely do not think it was a signal to John that Paul was still in love with him, despite being newlywed to Linda. 

I suppose it might seem a bit brutal for Paul to be singing about loving someone else in a song to John (although he’s done it before and I think John has done the same).  But I honestly think it is something Paul believes John needs to hear and accept at this point; that he is “really, truly” in love with Linda and that he’s not about to divorce her or run after the first “blonde with big tits” as Allen Klein so charmingly suggested. 

By September 1971, John still hasn’t seemed to accept Linda, or Paul’s relationship with her:

John: Paul always wanted the home life, you see. [... long, rambling story about being terrified when Paul got a job in 1961 and for a second looked as if he might abandon John and the group] 

 All the other girls were just groupies mainly. And with Linda not only did he have a ready-made family, but she knows what he wants, obviously, and has given it to him. The complete family life. He's in Scotland. He told me he doesn't like English cities anymore. So that's how it is.

Int.: So you think with Linda he's found what he wanted? 

John: I guess so. I guess so. I just don't understand . . . I never knew what he wanted in a woman because I never knew what I wanted.

With comments like this John seems (IMO) to be twisting himself into knots trying to rationalize Paul’s choice of Linda, practically wondering aloud what could she give him that I couldn’t?  He still seems unwilling to face or accept what Paul begrudgingly accepted and admitted years before: that his partner fell in love with someone else.

Here’s 76 year old Paul reminiscing about this tender, bittersweet time in his life, happy and in love with his wife and young family and simultaneously in deep pain over losing his dearly beloved best friend:

I remember when I heard the song recently, listening to the roughs  in the car. And I thought, ‘Oh God’. That lyric: ‘Really truly, young and newly wed’. Listening to that was like, ‘Oh my God, it’s true!’ I’m trying to say to John, ‘Look, you know, it’s all cool. Have a glass of wine. Let’s be cool.’

“Let’s be cool.”  Not “Please take me back,” not “Ignore my just-for-show marriage, I’m still in love with YOU.” To me, Paul is saying “I’m really, truly in love with my friend and new wife, can we please just be happy for each other? It’s all cool.” And for the record, I don’t find this sentiment any less loving on Paul’s part because I don’t think Paul being in love with his own wife (which he was), detracts from his love for John in any way. Again, I agree that the lyrics are slightly ambiguous, and perhaps this is meaningful too.  It could be that the lack of hard boundary between the two friends (John and Linda) reflects how much Paul loves them both; they certainly aren’t positioned as opposites (i.e. I love her but I hate you). Instead they’re both part of the imagined celebration; Paul wants them all to share the wine together- and he wants them to tolerate (love) each other. 

I think the traditional narrative doesn’t account for all of this because the traditional narrative does not acknowledge that John has any feelings for Paul in the first place. How in the world could Paul be asking John to “be cool” and accept the new situation when John didn’t even care about Paul in the first place and had been trying to get rid of him for years?  This perception - of John gleefully blasting Paul with HDYS and Paul replying that he’s in love with John - has taken hold in many minds and has picked up a lot of steam in recent years with so-called “jean jackets” because they fundamentally believe that Paul’s love for John was one-sided. They cannot comprehend that Paul would ever tell John to “cool it” or back off in any way (even in 70-71) because they take the surface story at face value:  John dumped Paul for Yoko and heartbroken Paul spent the rest of his life desperately trying to win John back. This is the narrative depicted in virtually every book I’ve read. My analysis is based on my own research, not this narrative.

I would invite readers of this post to watch (or re-watch) ULM (particularly volume 3 ) for a more comprehensive study of John and Paul’s relationship.  

Lastly, after doing my own independent research for McCartney (2020), I found that the Paul McCartney described by the musicians and collaborators in Paul’s life was dramatically different from the person depicted in books like Man on the Run. My films are free from narration and commentary; I rely on first-hand interviews and information from the people involved, and in my opinion there is a great deal to be learned about Paul from the way he relates to others, especially through music. And although the McCartney series is about his solo career as opposed to his Beatle career, I would definitely recommend it to anyone who is interested in Lennon/McCartney for the insights they could gain. 

Thank you very much for this ask- hopefully there aren’t too many typos!

[cherry-valentine]

Spring 2021 Anime Season

Mars Red is one of two series this season set in one of my favorite periods, the Meiji era. It’s a vampire series that deals a lot with the politics of war as the Japanese military is attempting to establish a vampire unit, supposedly to compete with the British vampire unit (because of course that’s a thing). It focuses on a human military officer named Maeda who is charged with recruiting and managing vampires. Maeda is the type of character I really enjoy. Handsome, a little older than most anime protagonists, chain-smoking, overly serious, and voiced by Junichi Suwabe (who has to have the sexiest voice in all of anime). The series has a classic, romantic feel to it. Its take on vampires is somewhat traditional (they evaporate in the sun, drink blood, sleep in coffins, have super strength and speed, etc.). If it brings anything new to the table, it’s the concept of vampires having different ranks, from S-class down, and how lower ranks naturally fear higher ranks. Still yet, the classic vibe works in the show’s favor. Combined with the historical setting, it gives the show a certain charm. The art is lovely, from the backgrounds to the character designs, and the music is a high point. It easily has the best ending theme of the season.

Fumetsu no Anata e (To Your Eternity) is a unique series. I’ve seen a lot of people comparing it to Mushishi, but with an overarching plot, and that assessment is pretty accurate. The show follows an entity that comes to be known as Fushi. It begins as an orb, and as it makes contact with other objects and creatures, it learns from them and can possibly take their forms. Among the forms it most often takes are a white wolf and a young man. Originally, it’s a somewhat empty shell, incapable of communicating, but as it meets different creatures and learns, it develops a personality and begins to speak. The series is, overall, about Fushi’s journey through this world and all the experiences it gains, both wonderful and tragic. There’s a subtle beauty to the series, with an early focus on nature, but it also has scenes of trauma and violence. The animation is fluid and the facial expressions are amazing. There’s an overall natural feel to it that, like others have pointed out, reminds me of Mushishi (though it’s definitely faster paced than Mushishi). The show also likes to make you cry, so keep that in mind.

Joran: The Princess of Snow and Blood is the other series set in the Meiji era this season, albeit an alternate version of it that has a strange form of technology. To be honest, I’m a little fuzzy on some of the details, but it seems to be about a group called the Nue who work for the government to fight against a growing rebellion. The main character is Sawa, a member of Nue who has some sort of special powers involving her blood, which allow her to transform and battle monsters, or whatever else stands in her way. Her goal is to get revenge for the death of her entire clan (implied to be wiped out because of their power). Sawa is a decent heroine, a woman who craves vengeance and is determined to get it through any means, but is, at her core, a compassionate person who would rather live in peace. It’s this internal conflict that makes Sawa compelling (even if it’s not entirely original). The other characters are interesting, particularly Tsuki, whom I won’t talk much about because it would involve spoilers. The plot and details can get a little convoluted, but the action and animation are solid. When Sawa transforms, the art style changes, and it’s a really cool visual effect. The music is also nice.

Shaman King received a remake this season. I was a huge fan of the original, and so far I’m enjoying the remake, but to be honest, I’m having trouble seeing the point. The art is almost the same (just a lot shinier), the voice actors are the same, the plot is the same. Maybe it’s just that it’s been so long since I saw the original, I’m unable to remember the details and so I can’t tell what’s different. But to me it feels like I’m just rewatching the show. Which is fine, because I loved it to begin with. Maybe it gets different later on. Maybe it more closely follows the manga. I’ll keep watching to find out. For anyone new to the series, it looks like the remake is a solid place to start if you want to get into it. I won’t go into plot details for a story this old, so I’ll just say it’s a top tier shounen fighting series with a unique art style and some very memorable characters. If you like that sort of thing, and missed the original (or you just want a refresher), definitely check it out!

Godzilla Singular Point is a true delight. I’m a huge Godzilla (and kaiju in general) fan. I’ve watched every single Godzilla movie, as well as all the related movies (the Mothra films, Rodan, etc.), but I never watched the previous Godzilla anime that was on Netflix a few years ago. It just didn’t sound like something I’d like. Singular Point, however, is right up my alley. Set mainly in a small seaside town that’s suddenly attacked by bird-like monsters known as Rodans, we have two geeky protagonists using their intelligence to figure out what’s going on while more and more monsters appear. Mei and Yun are excellent heroes. They rely on their wits rather than physical strength, which is a refreshing approach. It’s also interesting that they have little to no face-to-face interaction. Instead, they chat with each other via text as they work separately. They often challenge each other with science questions. It’s adorable. The show’s overall feel is fairly upbeat and energetic. The colorful art and peppy character designs by Kazue Kato (who did Blue Exorcist) help with this feel. It should be noted that Godzilla himself doesn’t fully appear until halfway through the series. It says a lot about the quality of the show that I don’t actually mind that at all. Some of the science stuff does go over my head, but the general plot is easy enough to follow and the action is very well done. It also has fantastic music, with my favorite opening theme of the season. Even if Godzilla isn’t your thing, consider giving this series a shot if you like nerdy science types as heroes.

Burning Kabaddi is a sports anime about an unsual sport. I’d never heard of it before now, and if people in the comments were not talking about the very real sport, I would have assumed it was made up for the anime. The show is aware that the sport is obscure, so it takes great pains to explain the rules and details so that we can all follow the action. The story centers on Yoigoshi, a soccer prodigy who decides to drop all sports once he gets to high school due to all the drama and angst that surrounded him (mostly due to his teammates being jealous of his talent), and pursue a career as a streamer. All the various sports clubs at the school want to recruit him (especially the soccer club, of course) because they’ve heard of his skill and he has an athletic build. He rejects them all, but the Kabaddi club is strangely relentless. He ends up being manipulated into joining (the vice captain of the team straight up blackmails him by threatening to show his online streaming account to the whole school). Despite this rocky beginning, Yoigoshi actually starts to enjoy playing Kabaddi, and more importantly, begins to bond with his new teammates. It’s pretty fun stuff that doesn’t take itself too seriously. The art is serviceable for a sports anime and the music is fine. The series isn’t going to blow your mind, but it’s a fun way to spend twenty minutes every week. Worth a watch if you have a weakness for hot blooded sports anime.

The World Ends With You finally got its anime adaptation and I was so excited. The game is one of my all-time favorites. So far the anime is pretty good. The art is a near perfect replication of the bold, thick-lined art of the game. The battles are exciting and cool. Best of all, the anime often uses music from the game. This is important because the game has one of the best soundtracks, ever. Every time I recognize a song from the game, I almost squeal. If I had a complaint, it’s that the pacing feels a little off at times. It feels like the anime is rushing through the story, but that’s understandable. In the game, it took longer for everything to happen because you were walking from place to place, fighting battles along the way, stopping to scan NPC’s, shopping at stores, spending time in menus, etc. The anime has to cut most of that out, so naturally things are going to move faster. The result is that you don’t get to spend as much time with these characters, and so you feel less attached to them. Anyone watching the anime who didn’t play the game might feel like the emotional beats are lacking. I feel like this anime is definitely meant to be enjoyed by fans of the game, rather than newcomers to the story. But if you are a fan of the game? You should be watching this every week. It’s an excellent refresher on the story, just in time for the second game to come out this summer. Super high on my watch list.

Boku no Hero Academia has a new season. To be honest I don’t remember what number we’re on. This season, so far, focuses on a tournament-style competition between the two main hero classes. I would much prefer the plot to move on to something more exciting involving the villains, but I suppose they have to throw arcs like this in every so often just to remind everyone of which characters have which quirks. The plus point is that instead of being an individual competition, it’s team-based. What this ultimately means is that characters that are viewed as weaker or having more obscure quirks actually get a chance to shine. These are characters who definitely aren’t going to win one-on-one battles. In an individual tournament, it’s pretty much a given that characters like Deku, Bakugou, and Todoroki are going to win most of the matches. But in a team, everyone has to work together. The end result is that the lady characters, all of whom have fairly weak or situational quirks, finally FINALLY get to actually do stuff! Even better, in several of the match-ups, the girls have taken the lead in planning and strategizing. It’s been pretty nice to watch. The girls from the other class have been very proactive as well. I really wish the girls could do more in “real” battles with villains, since it’s clear that they can step up when they need to. Who knows? Maybe this is a sign of good things to come.

86 is a new mecha/sci-fi anime based on a series of light novels. The setup is fairly cool: In a country where everyone has silver hair and eyes, the people live in what looks like a utopia. There is a war going on outside their protected land but all combat is performed by automated robots, so there are no human casualties... or so the government would have the people believe. In reality, there is a district that exists on the outskirts of the country called 86, where people who don’t have silver hair and eyes are sent to pilot the robots and fight to protect the country that shunned them. Most of the pilots are children or teenagers. The mortality rate is high. Only a few people in the government know of their existence, mostly military types that include “handlers”. These handlers each take on an 86 unit and communicate with them through a system called “para-raid”. Using this, they monitor the battlefield from their safe positions and issue commands. Naturally, most handlers view their units as nothing more than tools in the war, and most 86-ers view their handlers as privileged snobs who know nothing of actual battle. The real plot kicks in when Lena, a young Major, becomes the new handler for a particular 86 unit. Lena is sympathetic to the people of 86, but it’s going to be hard getting her notoriously rough unit to accept her. The plot is a bit complicated and the show deals with some weighty themes (racism, privilege, war, child soldiers, death). Lena is a likable enough heroine and the members of 86 are all interesting and fairly well written. The music is fine. The art... well, it’s pretty to look at, but it feels a bit generic to me. A bit too shiny. The mecha designs are great, but I’m not crazy about the character designs, which feel like they could be from any other modern anime. I also find it sad but hilarious at the same time that the women’s military uniforms are clearly designed for fanservice (they include mini skirts, thigh-highs with garters, and a short jacket that opens up just above the chest to show the tight shirt underneath) while the men’s uniforms are just totally normal military wear. To be honest it’s just too stupid to actually be offensive, so it comes across as comical. Thankfully, the interesting setup and plot carry the show, making it good enough to overlook the generic visuals.

Moriarty the Patriot has a new season... maybe? I think it’s technically still season one, but with a split cour. Regardless, it feels like a new season so I’m treating it as such. The series focuses on famous Sherlock antagonist Moriarty, here represented as a trio of handsome brothers (though one of them is clearly the protagonist and the leader of the group) who work as “crime consultants” and basically help the lower classes wage class warfare against the nobility. This season shifts the focus away from the individual crimes Moriarty concocts and instead focuses on larger-scale conflicts that involve government conspiracies, corrupt cops, etc. We’re also treated to a lady James Bond (finally!), fixing one of the very few complaints I had about the first cour (that it lacked strong lady characters). The show remains very compelling, with beautiful art and excellent new opening and ending themes.

Best of Season:

Best New Show: Godzilla Singular Point

Best Opening Theme: Godzilla Singular Point

Best Ending Theme: Mars Red

Best New Male Character: Maeda (Mars Red)

Best New Female Character: Sawa (Joran)

[watching-pictures-move]

Put On Your Raincoats #21 | Double Chinn Double (Double) Feature (with Hyapatia Lee)

By the time the '80s rolled around, Bob Chinn, best known for his collaborations with John Holmes (the inspiration for Boogie Nights), had been directing movies for over a decade. For much of that time, he'd been making them for peanuts (in an interview with the Rialto Report, he recounts being once asked to make a movie for five thousand dollars, which was handed to him in fifties on the spot), but in the early '80s, he was directing for Harry Mohney's Caribbean Films, working with respectable budgets (by porn standards). Some of these films starred Hyapatia Lee, one of the most popular porn stars of the era and one of the first contract girls. Now, I suspect these aren't necessarily the defining works of Chinn's career, and I do intend to get to some of his movies with Holmes. But Vinegar Syndrome had a sale and there were two double features of their collaborations going for dirt cheap, and because I am weak and foolish with money, they ended up in my cart and a few weeks later in my grubby little paws. How did this happen? Through the magic of Canada Post, of course! Anyway, what I found was that these didn't represents any extremes of artistic ambition. They were neither seeking to elevate the genre, nor were they hackwork. Rather, they represent a happy medium, movies that seek to deliver the genre's goods in a polished, diverting package. Slick cinematography, courtesy of Jack Remy. Catchy theme songs that wouldn't sound out of place if you caught them on the radio. Flashy titles. Lee recounted the atmosphere on set as one of professionalism and engagement, where everyone present wanted to do as good a job as possible. Chinn claims to have been losing interest in his work at this point, but the results onscreen are the result of confident execution by somebody who had been doing this kind of thing for years and knew how to put the production's resources to good use.

The first one I watched was The Young Like it Hot, where the operators at a phone company worry about being replaced by computers. To keep their jobs, they scheme to go the extra mile in helping their callers. As this is a porno, most of this help is sexual in nature, as when Rosa Lee Kimball stays on the line while an obscene phone caller played by Bill Margold finishes. (In an interview on the DVD, Margold says after shooting his scene, he was invited to record additional dialogue. Being the method actor that he was, he insisted on whipping it out during the recording session despite the lack of cameras.) Sometimes they are informative, as when Bud Lee (real life husband of Hyapatia at the time) explains why the perineum is referred to as taint ("cuz it taint cunt and it taint ass"). But the highlight of their efforts are Shauna Grant's increasingly life threatening home improvement advice to one poor sap played by Joey Silvera. Hyapatia Lee is ostensibly the star, and has a certain charisma, playing the supervisor, but this is really an ensemble piece, and she's joined by more experienced actors like Kay Parker and Eric Edwards. The latter I've occasionally found bland elsewhere, but he has a nice obnoxious quality that serves him well as the villainous manager whose idea it is the automate the operators' jobs. The movie reflects a very real concern (that's very much still an issue in the modern workplace), but overall this is a breezy, affable comedy.

A bit more serious in tone is Sweet Young Foxes, a coming of age story whose dramatic parts are more sensitively realized than I expected. The screenplay was written by Deborah Sullivan, Bob Chinn's wife at the time, and this is a case where a movie definitely benefited from having been written by a woman, and it seems like an earnest effort to capture the anxieties and yearnings of its young women protagonists. Lee moves closer to a real starring role, and is joined by Cara Lott and Cindy Carver as her friends, who aren't quite as strong actors as her but do have decent chemistry. I can believe they're friends even if their line delivery can be stilted. (That the movie has a good ear for genuine sounding dialogue also helps.) Kay Parker is especially good as Lee's mother, hitting some of the same notes as Taboo, and has a credibly emotional masturbation scene in front of a mirror that did not leave me unmoved. (In what way? That's none of your damn business.) This was shot by Jack Remy, the same cinematographer who worked on The Young Like it Hot. That movie looked nice and slick, but this one is a little more stylish, with the solo sex scenes in particular resembling magazine centerfolds. There's also some nice new-wave-ish music that shows up on the soundtrack, which I certainly didn't mind. I do wish some of the sex scenes didn't run quite as long (the previous movie kept them refreshingly concise) as I'd prefer more of the runtime was dedicated to the dramatic elements, but what's there is still good.

Body Girls goes back firmly to comedy territory, where Hyapatia Lee and the members of her gym are trying to win a bodybuilding contest despite a rival gym's attempts to undermine them. This comes in the form of a pair of schlubs in yellow tank tops who break into the gym after hours to sabotage their equipment, only to be foiled by Hyapatia and her girls who just happened to be having sex in the locker room as people do. Of course, despite Lee's attempts to teach them a lesson (which depending on your proclivities, may have the opposite effect), they don't give up, and during the contest threaten the judge at gunpoint. Not one to take things lying down (okay, poor choice of words here), Lee finds a way to influence the judge back in her favour. (The judge is played by Francois Papillon, bringing a dopey charm to the character as he fumbles through his lines in his French accent.) Her method is pretty ridiculous and certainly in service of genre requirements, but I did laugh.

Now, there's probably a dilemma in audience sympathy here as both Lee and her rivals are cheating, but Lee's methods are more agreeable and directed at the judge instead of her rivals so I guess we ought to root for her. She's also buoyant, charismatic and has a real star quality, and is joined by such fan favourites as Shanna McCullough and Erica Boyer, all of whom sport wildly different hairstyles. As can be expected given the exercise theme, most of the ladies have toned, athletic bodies (and given the decade, voluminous coiffures), with the exception of Tigr, who brings a wiry punkish energy that stood out to me despite her limited screentime, and she also performs the miraculous feat of making a mullet look cute. (I'd previously been moved by her work in Kamikaze Hearts, the great mockumentary about a porn production and her relationship with Sharon Mitchell. She didn't stay in the industry for too long, but I'd be interested in seeing more of her work.) The screenplay was written by Lee with her husband Bud (who plays the judge's assistant with an agreeable presence that's neither too alpha nor too schlubby) and is full of exercise-related dialogue. Most of this is pretty clunky and calling it wordplay might be a bit generous ("sexercise" features at one point), but I did appreciate the effort. Also as is requisite for the premise, the longest set piece in the movie is an orgy in Lee's gym with the various participants snaked around different pieces of equipment. I must note that one of the male actors resembles Barry Gibb and that Francois Papillon is shown to wear a tiger-striped speedo. Did I enjoy the movie? Yes, but not for reasons cited in that sentence.

At the end of Body Girls, Bud Lee suggests to Hyapatia, "Let's get physical", which is the title of the next movie. (Body Girls also features a character looking at dirty magazine with stills from Sweet Young Foxes and ends with a plug for some of these other movies, anticipating the MCU's narrative and marketing strategies by a few decades.) Now, all of these movies have had decent theme songs, but the one in Let's Get Physical has lyrics that are plagiaristically close to those of Olivia Newton-John's 1983 hit. (The delivery however is more shrill but not unpleasing.) This movie is a drama where Lee plays a dance instructor trying to put together a ballet performance despite her strained relationship with her impotent husband played by Paul Thomas. (In the interview I listened to, Lee speaks well of almost everyone she worked with on these films, with the pointed exception of Paul Thomas. If there was bitterness behind the scenes, it arguably helps their performances.)

Lee wrote the screenplay for this one, and unlike Body Girls with its surface level references to bodybuilding and exercise, the dialogue here feels packed with knowledge of the real thing, which is understandable given Lee's real life interest in dance going back to her childhood. (I looked up "Luigi jazz dancing" after finishing the movie and was pleasantly surprised to learn it was a real thing.) This movie goes all in on her star power, and features a number of dance numbers that seem genuinely interested in the form rather than just leering at the performers. (There is one scene where the song Lee dances to sounds suspiciously like "Beat It".) I did appreciate that the sex scenes were kept relatively concise and tied into the dramatic aspects, although in some cases, the choices made could be goofy, like the scene where Lee makes love to her student Shanna McCullough while Thomas, in a dramatically justified but still awkward gesture, watches from another room and jacks off. (I assume he's playing the audience in this scene. Also, McCullough's character remarks "I've never done this before" when going down on Lee, and yeah, okay Shanna.) Other highlights include a car stunt that may or may not have been lifted from elsewhere but still looks decently executed, as well as a dream sequence where Thomas (or his character at least) plays the piano and sings a song. This is held back a bit by the genre's demands, like when it places a completely superfluous sex scene at the end after Lee's reconciliation with Thomas, but on the whole this is probably the best one of the lot.

[curious-minx]

Notable 2020 Video Game Soundtracks That Can Be Enjoyed As Standalone Experiences

Video Game Music is gaining recognition, with many soundtracks receiving vinyl pressings, orchestral concert reviews, and an increasing presence on music streaming platforms such as bandcamp and Spotify. We’re also witnessing the uprise of indie video game development teams where games are being made by the sort of passionate type of game designer that takes soundtracks seriously.  Soundtracks by small teams of developers such as Celeste, Undertale, Disco Elysium, Hollow Knight, RuneScape, and Lisa: The Joyful are titles with soundtracks that easily stand up against the likes of bigger budget productions made by reliable sources of video game music like Square-Enix and Nintendo.

2020 is no exception in terms of having one of the biggest budget soundtracks around with Final Fantasy 7 Remake, which builds upon a legacy of industry-standard-creating soundtrack work. Taken as a whole, Final Fantasy 7 Remake’s soundtrack is clocking in at over 8 and half hours of music. The soundtrack has three composers with the Beethoven of video game music, Nobuo Uematsu, most notably coming out of retirement to get the job done.  Here are some other amazing 2020 video game soundtracks more conducive for standalone background listening:

TETRIS EFFECT by HYDELIC 

Genres: EDM, Ambient Pop and straight up Ambient 

Describing this album makes me feel like I’m some sort of burnt out fanciful raver, head permanently lodged in the clouds. The level of giddy technicolor enthusiasm rivals that of Icelandic Sigur Ros frontman Jonsi, but if he wanted to keep his post-rock firmly planted in the outdoor music festival on Mars territory. Despite the album’s notable two hours runtime, each and every song feels like its own uniquely crafted composition, no repetitive motifs or nostalgia-baiting.

There is unfortunately still a Tetris movie in some sort of shaggy state of development in Hollywood right now. The movie is being billed as a dull biopic about the creator of the Tetris game. Whereas listening to Tetris Effect you imagine a Tetris movie directed by someone more fitting like the Wakowskis. Tetris Effect’s opening song “Connected (Yours Forever)” is a bonafide vocal pop song, like a more sugary CVRCHES-style cooing of the lyrics:

“I’m Yours Forever

There is No End in Sights For Us,

Nothing Can Measure the Kind of Strength Inside Our Hearts,

It’s all connected we’re all together in this life, don’t you forget it

We’re all connected in this”

Try your best not to imagine a cast of Hollywood’s most beautiful plucky orphan mutant misfit youths using the power of Tetris to heal a broken and dying planet!

Notable Track: Next Chapter

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HADES by DARREN KORB

Genres: Progressive Metal, Folktronica, Folk Metal, Dimotika, Greek Folk Music

Darren Korb has become one of the most notable video game composers of the past decade. Korb, an integral member of the Supergiant family, continues to outdo himself with each and every soundtrack. Bastion and Transistor originally found Korb creating a niche for himself with downtempo folk-infused electronic soundscapes and even some vocal pop with collaborator Ashley Barrett. Hades is an altogether different beast for Korb, who much like the developers of Hades, have found themselves at the height of their powers.

Korb also contributes vocals on this album, and I can say without hesitation that these are some of the nicest vocals I’ve ever heard from a video game music designer, because video game musicians are bonafide musicians.The album clocks in at two and half hours and separate from its game is still an absolute thrill ride.

Notable Track: In The Blood

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DEFECTIVE HOLIDAY by MECHATOK

 Genres: Ambient Trance, Balearic Beat, Progressive Electronic, Nature Recordings, Spoken Word, New Age

One glance at the album artwork is all it took for me to know that I must listen to this album. Defective Holiday is an indie walking simulator that is explicit about its intentions: a lightly interactive one hour experience. This soundtrack clocks in at only 31 minutes and it is purely the most conventional album in terms of length.

Last week in late November, Mechatok announced a collaboration with one of the leading zoomer Swedish cloud rap mavericks Bladee, the cofounder of the Drain Gang. Last month gives a pretty clear picture of what kind of circles Mechatok is floating in on. Highly online gonzo vaporwave maestro James Ferraro is another apparent influence on this soundtrack, especially regarding the way the sinister mundane dialogue is woven into the soundscape. There’s one particular track on the Defective Holiday OST, “Rescue Shot Buibo”, that is adorned with standard trap-style drum fills that give the album a shot of energy before wandering back off into the haze. This soundtrack and video game is all about the pure vibe and aesthetic nature that are currently trending in these extremely stressful times.  In a time where all of our holidays were defective from the very start, I think the casual walking simulator will remain a genre high in demand. I have a feeling we’re going to hear a lot more from this empathetic young German.

Notable Track: Valley

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Last of Us II by Gustavo Santaolalla, Mac Quayle (and Ashley Johnson)

Genres: Ambient, Cinematic Classical, Dark Ambient, Spanish Folk Music 

L

The Last Of Us is a horror game where the music itself is arguably playing a critical character role, which can only be expected billing two titans of audio visual soundtracks. Of course Academy Award winner Santaolalla knows his way around a soundtrack. Wielding a resume of astonishing versatility in various TV and film projects, he might have found his higher calling in not only video games but in the horror music canon. Last of Us is an extremely emotional series, and with the wrong soundtrack, the experience could become insufferably bleak. The occasional  splashes of color and light are what make this soundtrack so unsettling and eerie. Not since Silent Hill 2’s Akira Yamaoka has there been such an effective standalone horror video game soundtrack experience. No wonder Gustavo Santaolalla is one of the only video game composers integral enough to the game to warrant a cameo banjo-playing character model based off of him.

As if having one major composer from prestigious TV and movies wasn’t enough, Mac Quayle, composer of the whole Mr. Robot series, contrasts against Santaolalla’s acoustic contributions. The soundtrack itself is sequenced in a way that switches between the two composers. “The Cycle of Violence” composed by Quayle, a track that more than lives up to its name, is immediately followed by Santaolalla’s somber “Reclaimed Memories.” This dance between violence and heart is what the Last of Us excels at as a franchise, and that is why this soundtrack is an effective stand-alone experience.

The only disappointing part of the soundtrack is that Ashley Johnson, voice actor of Ellie’ three songs, is not included in the game’s official tracklist. Ellie’s “Take On Me” a-ha and “Future Days” Pearl Jam covers have made a little history by being the most powerful songs sung by a video game character. When Ellie sings and plays on her guitar they aren’t some little Easter egg idling moments to provide levity for this heavy revenge horror story. These songs are used to make some of the strongest character development choices made by a video game character seen in recent years. Ellie is joining a small club of singing video game characters alongside Parapa the Rapper and  maybe the cast of obscure Atlus title Rhapsody: Musical Adventure.

Notable Track: Unbroken

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Persona 5 Royal Straight Flush Edition by Shoji Meguro 

Genre: Acid Jazz, Alternative Rock, Alternative Metal, Lounge, Jazz-Funk 

This is one of those soundtracks that, much like Nobuo Uematsu’s work in Final Fantasy, is really the heart and soul of the entire Persona franchise (and his work in the adjacent Shin Megami Tensei universe is equally as noteworthy). Persona 5 Royal finds Meguro making his most complete, funky, and otherworldly opus that sounds like no one else in the biz.

You will find many people online scouring message boards, subreddits, bandcamp features, and Yahoo Answers looking for more music like Persona 5. Outside of Metal Gear Solid: Snake Eater, how many other games are packed to the brim with truly foxy songs!? Persona 5 could not predict how badly the title “Throw Away Your Mask” would age, despite the game being more than ahead of its time with the majority of NPCs wearing PPE. Be a good Joker, put on your mask and keep chasing Meguro’s acid jazz-infused dragon through many more semesters to come.

Notable Track: I Imagine

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Streets of Rage 4 by Olivier Deriviere & Various

Genres: Electro House, Nu Jazz, Synth Funk, Acid House 

Composer Olivier Deriviere is a living definition of a video game soundtrack journeyman. He has a career stretching back to the early 2000s working on notable big budget titles like the divisive 2008 Atari fifth Alone in the Dark installment and Remember Me, an unsung buried gem from the PS3/360 era Capcom title. Remember Me is where Deriviere’s electronic leanings started becoming especially prominent in his sound. On the Streets of Rage 4 soundtrack Deriviere has completely come into his own element, developing a whole new sense of campy playfulness.

Electronic French House music can be a divisive genre. For every Daft Punk commercial success there is a band that ruffles feathers like Justice. I sense a strong presence of late departed French House titan Philippe Zdar of Cassius as well. If you’d played this soundtrack for me out of context, I would have guessed an obscure voguing tape from the 80s or a really talented mysterious DJ set. Instead, this is a sequel to a classic beat em up franchise that left a portion of players disappointed by the game’s four hour playtime. The soundtrack is over an hour and fifty minutes long of high octane House music bliss. Much like the Tetris Effect soundtrack, it is truly impressive how much depth these tracks have when they could have easily been nostalgic recycled beats. Sometimes a game’s soundtrack can offer more post game enjoyment than an actual game.

Notable Track: Chill Or Don’t

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Hylics 2 by Chuck Salamone & Mason Lindroth 

Genres: Experimental Rock, Neo-Psychedelia, Hypagogic Pop, Stoner Rock, Jazz-Rock

A soundtrack that comes closest to capturing the experience of hearing the Earthbound or Katamari Damacy soundtracks for the first time. The Hylic indie RPG series is a wonderful and strange beast that is ready to frolic and show its playful side. Hylics is a part of a recent uprising of indie games being developed on the RPG Maker software. 2020 year has left us all with variations of the same stressed out adjectives: Weird. Messed Up. Surreal.

Why not listen to an album from a game that is the perfect embodiment of that surreal mantra? Step away from your computer, draw a bath, and put this album on. Thank me later!

Notable  track: Xeno Arcadia

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Ultrakill: Infinite Hyperdeath (Act I Soundtrack) by Heaven Pierce Her aka game developer Arsi “Hakita” Patala 

Genres: Drum and Bass, Industrial Metal, Ambient, Progressive Metal, Acidcore 

Nothing says “modern indie game development” more than a game built completely from the ground up by one person. Ultrakill’s developer “Hakita” is one of those kindly folkloric DIY figures that make video games such an extensive art form. The game is a painstaking gloriously bloody ode to Dooms of yesteryear but with plenty of its own fine tuned style. The perfect soundtrack for when you’re painting your personal Hell a darker shade of gore, but also would really like to kick your ass into shape if you need an adrenaline boost to your Quarantine blues.

Notable Track: Panic Betrayer 

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Risk of Rain 2 by Chris Christodoulou

Genres: Progressive Rock, Space Rock, Space Ambient,  Post-Rock

Something about the country of Greece brings the best kind of futurism out of the country’s composers. Christodoulou’s Risk of Rain 2 soundtrack is no Bladerunner knock off. This soundtrack for the colorful sci-fi indie rougelike is punchier and less nocturnal than your typical synth-heavy sci-fi soundtrack. Risk of Rain is one of the more successful Kickstarter series around and has the best quality an indie game can have: it feels like a labor of love on all fronts. There’s no reason a rougelike like Rain of Ruin or Hades needs a soundtrack this good, but Christodoulou casts a spell with his electronic-driven prog rock that makes you want to keep respawning. A huge missed opportunity if Christodoulou does not get to soundtrack an earnest sci-fi action-adventure for even big screens. Oh! This soundtrack also features some spoken word segments from Werner Herzog; what more do you need to know?

Notable Track: The Rain Formerly Known As Purple

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Warhammer 40,000: Mechanicus by Guillaume David

A big debut project from an up-and-coming composer Guillaume David. Prior to the making of this soundtrack, David was a video game voice actor who worked on a Resident Evil Devil May Cry crossover voicing the character of “Hunk.” Warhammer 40K might become a franchise that more people will care about solely based on the quality of this installment’s soundtrack. When you see the title Warhammer 40,000, what sort of sounds come to mind? If you guessed “Neo gothic cyber Gregorian chants that seamlessly melds the ancient and futuristic”, you would be correct. A turn-based action game could possibly fall into dull territory, but with a visual identity as strong as Warhammer 40K  melded with a suitable musical atmosphere, the action and world becomes irresistible. This soundtrack is a brisk 56 minutes and the other soundtrack on this list with a more conventional runtime. Not a second is wasted on this dynamic and fantastical soundtrack. Prior to hearing this soundtrack I had no intention of ever looking into playing a game based off of something as convoluted as Warhammer 40K, but now I very much want to know what these robot priests are about. That’s the magic of a quality soundtrack.

Notable track: Millenial Rage

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Honorable Mentions:

Happy Listening! 

[melisa-may-taylor72]

QUEEN BEFORE QUEEN

THE 1960s RECORDINGS

➖➖➖➖➖➖➖➖➖

PART 1:

BRIAN MAY, 1984 & THE LEFT HANDED MARRIAGE

JOHN S. STUART AND ANDY DAVIS DIG DEEP TO UNCOVER THE PREVIOUSLY UNDOCUMENTED AUDIO LEGACY OF ONE OF THE WORLD’S MOST CHERISHED BANDS.

This month the beginning and end of Queen come together like the cosy ending of a contrived Hollywood drama. While fans wait with bated breath for the band’s final album, “Made In Heaven" — completed by Brian May, John Deacon and Roger Taylor with the aid of Freddie Mercury’s last demos — author Mark Hodkinson launches a new book in which, in greater detail than has ever been attempted before, delves into the pre-fame histories of Queen’s musical antecedents.

With previously unpublished photographs of Roger Taylor's the Reaction, John Deacon’s the Opposítion and even more impressively, Freddie Mercury’s Sour Milk Sea, ‘Queen The Early Years’ is a treat fans have waited too long to read. Coincidentally, six months ago, we commissioned Queen historian, John S. Stuart, to research the definitive article on the band’s pre-fame recordings, and as you’ll see, the results complement Hodkinson’s broader picture with hitherto undocumented details of Queen's 60s recordings.

We've touched on Larry Lurex and Smile before, of course, but the vinyl output of those two acts barely scratches the surface, so to speak: literally hours and hours of privately- recorded material of Freddie, Brian, John and Roger survive to this day — as evidenced by the recent discovery of the Reaction’s ‘In The Midnight Hour’ acetate ( see RC 191). So, while the rest of the world comes to terms with the fact that Queen’s recording career is effectively at an end, we unravel the untold history of four individuals' first tentative steps in front of the microphone, beginning with the 1960′s exploits of Brian May. Next month, we’ll embrace Smile, and John, Roger and Freddie's hidden amateur recordings; but first, 1984 and the Left Handed Marriage.

1984

Around late August, or early September 1963, as the Beatles celebrated the birth of Beatlemania with sessions for their “With The Beatles” LP at EMI’s Abbey Road Studios in North London, another rock legend was developing just around the geographical corner. In a semi-detached house in Feltham, Middlesex, electronics engineer Harold May began an 18-month task, helping his sixteen-year-...[ ]

[ ]...old son, Brian, to construct the world's most famous home-made guitar, the ‘Red Special'. In the mean time, Brian would have to be con­tent with thrashing away at the small Spanish acoustic his parents had bought him for his seventh birthday. (Brian evidently mislaid this childhood guitar shortly afterwards; and didn't see it again until 1991, when at a ‘reunion’ of former members of 1984, his schoolfriend and first musical collaborator, Dave Dilloway, returned it to him. Brian was so thrilled, that he featured the guitar in the video for Queen’s “Headlong" single).

By 1964, Brian and Dave Dilloway were already recording amateur duets together, and by linking up their two reel-to-reel tape docks, they discovered that they could lay down guitars on one machine, and perhaps bass, percussion and sometimes vocals on the other. Although the technique was crude, and despite the occasional disaster, the effect was often surprisingly good. One of the earliest tapes from these primitive recording sessions survives to this day, and features Brian belting out Bo Diddley’s eponymous R&B standard, "Bo Diddley".

“This is a mono quarter-inch, reel-to-reel I found buried among various other oddments from the era”,  recalls Dave Dilloway. “It certanly dates from before the formation of 1984. It was recorded in Brian’s back room in Feltham, with Brian on lead vocals and guitar, and myself on bass and drums. The track is basic, but Brian’s vocals are clear and recognisable. The guitar playing is fairly basic as well, but competent, without any real solos as such”.

“ This is the only tape in my collection of those double-track recordings. I’m unsure whether Brian himself has retained the tapes we made at the time, but I believe he usually ended up with the finished versions, so he may still heve them somewhere.”

 The duo also recorded four-track instru­mental cover versions of several Shadows tunes — “Apache”, “FBI”, "Wonderful Land” and "The Rise  And Fall Of Fingel Blunt” — as well as “Rambunkshush”, which they learned from the Shadows’ American counterparts, The Ventures.  Also on the same tape is their reading of Chet Atkins' “Windy And Warm".

 Yet another reel reveals an attempt at Cliff Richard’s "Bachelor Boy", on which Brian, once again, takes the lead vocal. Dave Dilloway's theory is probably correctt; May is known to have a meticulously catalogued personal collection of Queen (and pre-Queen) recordings and memorabilia, which almost certanlly contains unfathomable reels of similar early material.

In the autumn of 1964, Brian and Dave formed a rapidly-evolving band, through which many schoolmates passed, but which eventually settled with a line-up of bassist John 'Jag' Garnham, drummer Richard Thompson, and harmonica-playing vocalist Tim Staffell. After rejecting names such as the Mind Boggles and Bob Chappy & the Beetles, the quintet named themselves after George Orwell’s futuristic novel ‘1984’. Their look was far from sci-fi, however, and they happily adopted the classic, clean-cut beat- group look of the day: jackets, or in Brian's case a cardigan, and narrow trousers; and beat boots. Tim Staffell even acquired that year’s fashion accessory, a pork-pie hat.

The band rehearsed regularly at Chase Bridge Primary School Hall in Twickenham (located next to the rugby ground), and on the 28th October 1964, gave their first public performance at the nearby St. Mary’s Church Hall. It is believed that either one of the rehearsals, or the gig itself, was recorded, but unfortunately, no tape of this debut, perform­ance has survived the years. Although 1984 recorded almost all of their live concerts for their own critical appraisal, to save on the expense of new tape they often wiped over old reels once they’d listened to them. Nevertheless, evidence of Brian May playing live does survive from this period, and the earliest example dates from an unknown gig (Shepperton Rowing Club is the favoured consensus), recorded in late 1965. This wasn’t a 1984 performance, but rather an ad-hoc trio comprising Brian May on bass and vocals, Pete ‘Woolly’ Hammerton (a school friend of Brian’s) on guitar and vocals, and 1984's Richard Thompson on drums. The tape reveals the trio turning in versions of Martha & the Vandellas’ “Dancing In The Street", the Beatles' “Eight Days A Week”, “I’m Taking Her Home” — a song by the group Woolly later joined, the Others — and a brave attempt at the Who’s "My Generation".

The Others comprised older boys from Hampton School, who in October 1964 had issued a single of their abrasive reading of Bo Diddley’s “Oh Yeah", backed by “I’m Taking Her Home", on Fontana (TF 501). “That was good!" claims singer, Tim Staffell. “I’ve still got that record buried somewhere deep in my mind — I remember the singer, Paul Stewart's voice and the quality of the guitar sound. The Others were a pretty significant influence. Maybe not in terms of the music, more in the sense that they were already doing it, which proved it was possible."

As evidenced by the photograph included in this feature, the Others clearly had attitude, something which 1984, or Tim Staffell at least, could only aspire to “If I had tried to push 1984 in any direction," reveals Tim, “then that would have been it. Without hearing any of these tapes of our band — and I didn't even know they existed! — l’d say we probably sounded a lot safer than the Others. Mind you, they were different to us. Their guitar style was very much inspired by American R&B, whereas Brian’s never was. Brian was a unique guitar player: he was able to extemporise a much more original way than most guitar players could. I hope he’ll forgive me for saying so, but I never perceived him as having the dangerous image which was necessary at the time — the cardigan says it all!.

LIGHTWEIGHT

“In retrospect, 1984 was lightweight, a bit fluffy”  concedes Tim. “It was impossible not to be naively ambitious — that was part and parcel of it — and the primary motivation to do it was what we saw in the media as the end results of success. But I guess we were realistic about it — we were at school, after all. Also there was a good deal of pressure in the 60s from our parents, and the conser­vative generation, to conform."

Although a version of “I’m Taking Her Home” by 1984 was captured live on the Shepperton tape, and Brian occasionally guested with the Others on stage, it's worth stating once and for all that — despite the persistent rumours — he definitely doesn’t feature on "Oh Yeah".  In fact, Pete ‘Woolly' Hammerton doesn't even play on the record — he only joined the band formally later on.

In the autumn of 1965, leaving Hampton Grammar with no fewer than four 'A' Levels and ten ‘O’ levels, Brian enrolled at Imperial College in Kensington, London, to read physics and infra-red astronomy. Before breaking up for the Christmas holidays that year, he played the first in a series of gigs with 1984 at the college, a tradition he continued later with Smile, and in their formative days with Queen. Although the exact date of the event has long since been forgotten, a very poor- quality tape still exists of 1984‘s college debut. The set was a typical one, comprising the group’s broad blend of pop, R&B and soul covers, and included the following songs: “Cool Jerk" (originally by the Capitols), ‘Respect" (Otis Redding), "My Girl" (the Temptations), “Shake" (Sam Cooke), “Stepping Stone" (the Monkees), “You Keep Me Hanging On" (the Supremes), “Whatcha Gonna Do Ahout it" ( Small Faces), “Substitute” (the Who), “How Can It Be” (the B-side of the Birds’ final single, “No Good Without You Baby”), “Danc­ing In The Street", “Dream" (Everly Brothers) and the Small Faces’ "Sha La La La Lee".

“Our repertoire was a little too eclectic to have developed into any particular style” reckons Tim Staffell. “But the Small Faces were quite influential. When we were at school, the songs were dredged from all sorts of areas. I’d always liked rhythm’n’blues. Brian’s input would have been Beatles-orientated, Dave’s as well. Richard Thompson would have been more into R&B, and Jag didn't really have an agenda as far as songs were concerned. Because of the nature of the material we covered, our approach to the gigs was almost schoollboy cabaret. 1984 was not a dangerous, moody rock band! Which may have something to do with the way Queen evolved."

1984 oponed 1966 with a couple of gigs at the Thames Rowing CIub in Putney; and once again, a tape recorder was set up to document the group’s progress. Two reels from January that year exist: the first is dated the 15th, and features “Im A Loser” (the Beatles), “I Wish You Would" ( the Yardbirds), “I Feel Fine" (the Beatles), “Little Egypt" (the Coasters), "Lucille” (Little Richard), “Too Much Monkey Business" (Chuck Berry), "I Got My Mojo Working” (Muddy Waters), "WalkingThe Dog” ( Rufus Thomas) and “Heart Full Of Soul" (the Yardbirds).

The second, dated two weeks later (29th January), demonstrates the great variety and confidence of a band which consistently renewed its repertoire. The show began with Jimmy Reed’s  “Bright Lights, Big City", moving into the Cookies' “Chains" (popularised by the Beatles), “Walking The Dog", “Lucille", “Our Little Rendezvous" (Chuck Berry), “Jack O’ Diamonds" (Blind Lemon... (cont)

(cont) Jefferson, popularised by Lonnie Donegan), “I’ve Got My Mojo Working”, “Little Egypt" and Bo Diddley’s “I’m A Man”. The band’s finale was a versión of Sonny Boy Williamson’s "Bye Bye Bird".

For an amateur band with little real pretension towards stardom, or even a serious attempt at securing a recording contract, a staggering amount of live 1984 material has been preserved on tape. Dave Dilloway, for instance, is the guardian of a seven-inch reel-to-reel, which he says reveals either a very long performance or a compilation of various unknown dates.

Either way, the tape is divided into five distinct sections, which might make tedious reading, but is an invaluable reference: 1) “Route 66", (unknown instrumental), “I’m Taking Her Home", “Too Much Monkey Business’, “Yesterday" (featuring Brian May on lead vocals), “Walking The Dog", and “ Lucille"; 2) “Little Rendezvous", "Keep On Running”, “I Feel Fine”, “Walking The Dog”, “Jack O’ Diamonds", “High Heeled Sneakers", “I Want To Hold Your Hand", “I Got My Mojo Working*, and “I Should Have Known Better”; 3) “Little Rendezvous", “Jump Back Baby Jump Back", “I Feel Fine”, “Bye Bye Bird", “Little Egypt", “Crazy House". “Lucille”, “Oh Yeah”, “Heatwave”, “Too Much Monkey Business", “I Should Have Known Better", and “I Got My Mojo Working"; 4) “My Generation", “Little Egypt", “Dancing In The Street", “Whatcha Gonna Do About It", “I’m A Man", “Heatwave", “Lucille", and “Bye Bye Bird"; and 5) “Heart Full Of Soul", “Too Much Monkey Business”, “Something’s Got A Hold On Me", “Keep On Running", “My Generation", "Tired Of Waiting", “Bright Lights. Big City" and “Happy Hendrick’s Polka".

“These are all domestic quality, single microphone recordings of early-era 1984", reveals Dave Dilloway. “It's mostly bluesy material, with some soul and Beatles songs. While the quality is basic, the sound is intelligible, although there isn’t a large amount of identifiable Brian guitarwork. That came later in the band's history, when we included covers of Crearn and Hendrix. Brian's solo vocals on 'Yesterday' (on the first segment) are quite clear, however."

For much of 1966, the band carried on in a similar vein — Brian's and the others' college work permitting, of course. For Brian May and his unsigned, Twickenham-based covers band, the highlight of the following year, 1967, was undoubtedly the gig he secured via through his contacts at the college — supporting Jimi Hendrix at Imperial. The date was 13th May, the day after the release of Hendrix's debut, “Are You Experienced". Brian May idolised Hendrix to such an extent that he'd been nicknamed “Brimi" — a combination of the two guitarists' names—so although 1984 had seen him perform before, it goes without saying they were thrilled when backstage, they actually bumped into the ascending star as they filed past his dressing-room. It’s a familar story, but it's one worth repeating: Jimi enquired memorably, “Which way’s the stage, man?*.

BLOSSOMED

1984's act had certainly blossomed by this point. Their attire was now obligatory Swinging London — or Swinging Middlesex — fare: frilly shirts, Regency jackets, striped hipsters secured with a white belt, and hairtyles extending inexorably over the ears, and indeed the eyes. “Somewhere along the line, there was an external influence there", says Tim Staffell. “There was someone calling the shots. I don’t think all that was self-motivated. It’s something I’ve never been comfortable with, which explains why I split away from it early on — certainly from Smile onwards — because it was going that way; as indeed it ended up with Queen. It's fair enough, but that sort of flamboyance is just not me. I look fairly uncomfortable in the picture of the band from that period. My idea of a rock musician is one with hair down his back, a dirty pair of Levi's on, looking at the floor, thoroughly unconcerned with the visual and external trappings, playing the most extraordinary virtuoso guitar. That was my attitude."

Back in February 1967, Brian’s local paper, the ‘Middlesex Chronicle’ caught up with the band, and captured Tim Staffell in an equally decisive mood; although here, he was more enthusiastic about the latest trend. "Psychodelic music is certainly here to stay”~he claimed. "It makes more of music than mere sound, it makes it a whole and complete art form." Dave Dilloway, who also handled the group's light show, added: “We use everything in our act, including things like shaving foam, and plastic bricks we throw around”.

The ‘Chronicle’ was obviously impressed, and its reporter had this to say about a per­formance by what it called “one of the most foward-looking groups today". “Standards, like ‘Heatwave' receive a very original treatment, mostly due to the sounds that Brian coaxes out of his guitar. Jazz chords and electronic sounds add feeling and nuance to numbers that are often churned out wholesale. Using two bass drums for a fuller sound, Richard's drumming, combined with the full bass riffs of Dave and the steady (rhythm guitar) work of John, provides a firm basis for experiments in sound — an opportunity which is not wasted."

“To be quite honest with you, there’s more substance in the literary content there, than in the musical," laughs Tim Staffell. "If some­one genuinely thought that, then I'm surprised! Brian might have used a fuzz-box. but generally, it was au naturel. I remember in the Smile days, somebody wrote about ‘humming chords of wonder’, referring to my bass playing. The reality of it was that sometimes I did try and play chords on the bass guitar, which might have come out as a deep-throated roar, but actually sounded like a load of crap!"

“We did use to tickle about with a few lights, suggests Dave Dilloway, “but being a local band, money was tight and there wasn’t a fortune to spend on the band." As to 1984's psychodelic sound, Dave adds: “Brian did use a bit of fuzz, yes, and Pink Floyd influences and a bit of screaming guitar. He’d actually built a fuzz box into his guitar, which was fairly unique for the day, but typical Brian. If you look carefully at recent pictures of his “Red Special” you can see the fuzz switch taped over."

In September 1967, no doubt boosted by their praise — sincere or not — in the local press, the continuing evidence of their per­formance tapes and their recent Hendrix support slot, 1984 entered the local beats of a battle-of-the-bands competition at the Top...[ ]

...[ ] Rank Club in Croydon, just south of London. Effectively a promotion for Scotch tape, en­trance to the contest could only be secured via a demo recorded on a Scotch reel. 1984’s effort duly arrived in the form of a two-track master, featuring covers of Marvin Gaye's “Ain’t That Peculiar?" and the Everly Brothers’ “Crying ln The Rain" (on stage, both tracks were usually enhanced by characteristic Brian May guitar solos, but conservatism prevailed, and they were absent in this instance). A copy of this recording still survives, carefully guarded by the custodian of the 1984 archive. “This tape is a quarter-inch, mono reel-to-reel," re­calIs Dave Dilloway. “Tim took lead vocals on 'Ain't That Peculiar?’, and Tim and Brian duetted on ’Crying ln The Rain’. Brian's vocal style and tone can be clearly discerned, if one knows his voice. The songs were recorded in single takes, using a single microphone fed directly to the recorder. There was no mix facility so it has a ‘live' feel, a very good clean sound”. 

The mix was achieved using the old fashioned technique of microphone position and relative volume levels of the amplified Instruments. “As far as I am aware, only the one (master) copy of this tape exists.”

As has been well-documented, after two sets at the competition (one of which saw Brian, Dave, John Garnham and drummer Richard Thompson acting as the back-up band for a singer called Lisa Perez), 1984 won the contest, and walked away with a reel of blank tape (Scotch, of course) and an album each on the CBS label. (Tim took the top prize, Simon & Garfunkel’s “Sounds Of Silence", Brian had to make do with a Barbra Streisand LP, and Dave Dilloway became the proud owner of an album by Irish bandleader Tommy Makem!). More importantly, their demo tape was forwarded to the CBS A&R department for the national showdown, although, clearly, they didn’t win.

True to form, 1984's performance that evening was committed to tape — for an unpublished review by ‘Melody’ Maker, no less — but was probably erased shortly afterwards. The twenty-minute set consisted of the Everlys’ "So Sad", Hendrix’s “Stone Free”, Buddy Knox’s “She’s Gone" and Eddie Floyd's “Knock On Wood". After the gig, the band were invited by a visiting promotor to participate in the all-night gala event which has since gone down as one of the key gigs of the London underground scene: Christmas On Earth Continued, at London's Olympia Theatre, on December 23rd 1967. 1984 was the lowest pro­file act at this decidedly high-profile event, and after Jimi Hendrix, Traffic, Pink Floyd, the Herd, and Tyrannosaurus Rex had all taken to the stage, they only got to perform their humble set of covers at 5 o’clock in the morning. When Brian finally plugged in his ‘Red Special’, 1984 played a thirty-minute set to a very small, and less than enthusiastic, audience.

Also from 1967, and of far more interest, is 1984′s professionally-recorded Thames Television demo tape. During his first-year of study at Twickenham Technical College, Dave Dilloway had made friends with a number of technicians, or trainee technicians, at the Teddington-based ITV company which served the London area. The station had recently invested in new recording equipment, and rather than hire professional musicians at the usual union rate, in a set up similar to the first Queen sessions at the De Lane Lea studios, 1984 were let loose in the studio to record at their leisure. Dave Dilloway's carefully preserved tape still plays perfectly, and includes the following songs: "Hold On I’m Corning", “Knock On Wood“, “NSU", *How Can It Be”, two early run-throughs of the original May/ Staffell composition “Step On Me” (which eventually became the B- side to Smile's “Earth"), “Purple Haze", “Our Love Is Driftin* ”, and medleys of “Remember”/”Sweet Wine" and “Get Out My Life Woman”/ ”Satisfaction". The session ended with a run-through of "My Girl”.

AMALGAM

"What an extraordinary amalgam!" declares Tim Staffell today. “There’s Tamla, Cream, Hendrix, Lee Dorsey . . ‘Our Love Is Driftin' we’d have heard by Paul Butterfield. I’d forgotten there was such a large soul component in 1984!".

Dave Dilloway has the technical details: “This tape is the most re­cent, best and most representative of 1984 that I'm aware of. It is mono, but since it was made on good quality TV studio equipment and was carried out along the lines of a proper studio recording, with separately-mixed microphones for each source, it is remarkably good quality for its age. The material, except for ‘Step On Me', is aII cover versions, but as it dates from the late 1984 era, Brian’s playing is more prominent and effective, with his own style starting to show through. All the performances are competent — particularly Tim’s vocals and Brian's guitar; although the mix is a little heavy on John's rhythm guitar for some reason, probably the ‘ear’ of the recording engineer at the time. All tracks were laid down in one take, i.e., no overdubbing at all, so the sound is predominantly simple, as per our live versions."

And that was 1984′s swansong. In the spring of 1968, shortly afler the Thames recording, mainly due to the pressures of infrequent meetings and university studies — coupled with increasing musical differences — 1984 scaled down their operations drastically. Brian May left the band, and Tim Staffell took over on lead guitar for a while. A little later, Tim himself quit, leaving Dave Dilloway, John Garnham and Richard Thompson to rebuild the group, which soldiered on into the 70′s, content merely to play for fun. They all conceded that 1984 had been a good, solid, and popular local band, but that it didn’t have the necessary spark or originality to transform into a great one.

The Left Handed Marriage

ln the summer of 1965, in another corner of Hampton Grammar School, Brian May’s old friend Bill Richards (who had been a fleeting, early member of 1984 before it acquired its futuristic name), and his colleagues Jenny Hill (née Rusbridge), Henry Deval and Terry Goulds, formed a folk-rock band called the Left-Handed Marriage, named after an archaic form of marrying beneath oneself. By January 1967, the quartet had progressed to the point where they had issued their own privately-pressed album, “On The Right Side Of The Left Handed Marriage", which ran to just fifty copies (and, incidentally, has since acquired cult status among collectors, with a £600 price tag to match).

Although naturally familiar with the al­bum, Brian May as yet had not been involved with the band. That changed in March 1967, after Bill signed a twelve-month contract with EMI's music publishing company Ardmore & Beechwood — a deal secured through the efforts of Brian Henderson, a former member of Edinburgh beat outfit the Mark Five, and more recently, the bassist in Patrick Campbell- Lyons' 60′s psychodelic band, Nirvana. Bill approached Brian to help him create a “fuller" sound for the Left Handed Marriage, with a request to provide guitar and backing vocals on some recording sessions.

On the understanding that the project wouldn’t interfere with his commitment to 1984, Brian agreed. On 4th April 1967, he joined Jenny, Henry, Terry and Bill in AMC Sound, an amateur studio in Manor Road, Twickenham, to record four songs: “Give Me Time” (later changed to “I Need Time"), "She Was Once My Friend", “Sugar Lump Girl” and “Yours Sincerely” (which was basically “Give Me Time" backwards, with new lyrics pinched from the Russian author Pushkin).

The songs were all cleanly-recorded, melodic atempts at 1967 pop (despite the Left Handed Marriage's later classification, there's little actual folk music in evidence). “She Was Once My Friend" is the pick of the bunch, thanks to its Kinks-like structure — complete with Bill Richard's/ Ray Davies-soundalike vocal and, albeit way down in the mix, flashes of that distinctive Brian May 'Red Special’ guitar sound. Acetates of the AMC EP were cut, and the idea had been to release the songs as a commercial EP.  Instead, the set merely became the Left Handed Marriage’s first demo for their publishers, although it did lead to the offer to record at a more professional session — at EMI’s prestigious Abbey Road studios.

The Abbey Road session took place on 28th June 1967, when Left Handed Marriage were joined by Brian and 1984′s Dave Dilloway, who was drafted in to play bass. Two further tracks were cut: the reworked “I Need Time",...[ ]

...[ ] and a new song called “Appointment". At this stage, there was more talk of issuing a record, this time a single, and a release date of August was even discussed. This never materialised either, and again 7″ acetates are all that remain.

Although Ardmore & Beechwood were pleased with the results, they still thought the Left Handed Marriage could improve their sound even further, and on 31st July 1967, they booked the band into another studio, this time Regent Sound in central London. As Dave Dilloway was not available, another friend, John Frankel, was called upon to play bass and piano. The eight-track Regent Sound ma­chine was something of a technological marvel, and the session was flawlessly recorded, resulting in new versions of “I Need Time”, “She Was Once My Friend" (which also remixed and edited for the abandoned single), and "Appointment".

Despite the studio quality of the tape, Ardmore & Beechwood failed to place the songs with a record label, and like so many groups before and since, the Left Handed Marriage quietly disappeared from view. It was left to frontman Bill Richards belatedly to issue the fruits of this last session, when in February 1993, he tagged the three Regent Sound recordings — the final mix of “I Need Time”, the abridged version of “She Was Once A Friend Of Mine” and the final mix of “Appointment” — onto the end of “Crazy Chain”, a CD recorded by the reformed Left Handed Marriage, which itself was prompted by collector's interest in the group’s original 1967 LP,  “The Right Hand Side Of...” . Most of the master tapes for the LHM recordings featuring Brian May have Iong since disappeared along with the Regent Sound studio, and (with the exception of "She Was Once My Friend") the Richards/May collaborations on the CD were digitally remastered from acetates.

RECORD COLLECTOR Nº 195, NOVEMBER 1995

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[passionate-reply]

This week on Great Albums: one of very few albums that I think is truly perfect. John Foxx’s second solo LP, The Garden, is a masterpiece of Medieval mysticism, romantic longing, and modern electronics. Transcript below the break!

Welcome to Passionate Reply, and welcome to Great Albums! In this installment, I’ll be looking at a classic sophomore album, and one which epitomizes the principle of taking one’s sound in a different direction the second time around: The Garden by John Foxx, first released in 1981.

While The Garden was Foxx’s second release as a solo artist, it’s also his fifth LP overall, as he had spent the late 1970s fronting the original incarnation of Ultravox. Foxx’s Ultravox was an eclectic mix of influences from glam, punk, and, of course, electronic pioneers like Kraftwerk, but it would be the latter of these ideas that dominated Foxx’s solo career. His 1980 solo debut, Metamatic, is some of the purest, starkest, and harshest minimal synth around, and remains one of the most iconic early works of the subgenre.

Music: “Underpass”

If you want more like Metamatic from Foxx, you’ll want to skip ahead to the 1990s, because he turned his back on this thin and aggressively inorganic sound remarkably quickly. While he would produce several more LPs in the 1980s, the group of them seems to grow progressively lighter and softer, with less blistering analogue synth, and more radio-friendly love themes. But while Foxx’s third and fourth efforts are often panned, The Garden has actually won nearly as many fans over the years as Metamatic, proving itself to be powerful in its own ways, despite its radically different aesthetic. Where Metamatic dealt in brutalist city blocks and Ballardian psycho-sexuality, The Garden takes place in moldering cathedrals, embracing Gothic splendour and (imagined) Medieval emotionality.

Music: “Europe After the Rain”

“Europe After the Rain” opens the album, and also served as its lead single, becoming a relatively minor hit in the charts. As we hear it, we immediately become aware that Foxx has abandoned the instrumental palette of Metamatic, made almost exclusively with an ARP 2600 synthesiser, in favour of something more lush. On “Europe After the Rain,” traditional instruments like acoustic guitar and piano are impossible to ignore, though the constant bass synth ensures we never forget Foxx’s roots either. It also seems to be a major thematic leap away from Metamatic, with its tender and romantic feel. Still, that may not necessarily be all there is to it--the song is presumably named after a famous painting of the same title, by the Surrealist Max Ernst, executed in the early 1940s as World War II was first beginning. Ernst’s painting is a sort of apocalyptic vision, in which crumbling structures are overtaken by vegetation, and two figures wander through it, seemingly passing by one another. Perhaps Foxx’s “Europe After the Rain” is also a theme for a devastated landscape, its lovers meeting again the last survivors of some nuclear holocaust? Maybe it isn’t too far away from the themes of crushing modernity employed on Metamatic after all.

Note, as well, the emphasis on “Europe,” conceptually--The Garden is, at least partially, a sort of search for a new European cultural identity. The Garden fuses electronics, and hence Europe’s characteristic technological achievements, with a love of more traditional European cultural ideals, namely, the aesthetics of Medieval Christianity. For evidence of that idea, look no further than its most obvious apotheosis, the track “Pater Noster.”

Music: “Pater Noster”

“Pater Noster” is, of course, a setting of the Latin-language translation of the so-called “Our Father” or Lord’s Prayer, one of the most popular and well-known texts in Christianity. “Pater Noster” is the album’s most obvious love letter to the Middle Ages, but an informed listen will show that it has little to do with actual music from that era--I actually could forgive the synthesisers, which might be analogized to the role of church organs, but the percussion-propelled nature of the track is what really makes it feel ahistorical to me. Despite the religious themes of The Garden, Foxx always averred not being any sort of authentic believer in religion or God, and maintained that he was interested in the traditions of the Church purely on aesthetic grounds. Whether you think this sort of appropriation is appropriate and respectful or not, it’s certainly one of the album’s prominent themes, and part of what makes it feel as unique as it does. While I’ve emphasized the themes of romanticism and religiosity, it’s also worth noting that The Garden is not a complete break from Foxx’s earlier works, and in its return to a more guitar-driven sound, it often winds up riffing on something not unlike punk.

Music: “Systems of Romance”

Astute followers of Foxx will have already noticed that the track “Systems of Romance” shares its title with the third and final LP he released with Ultravox, in 1979. Apparently, it was written that much earlier, though it wouldn’t be seen to completion until several years later. Combining a hard-driving guitar, played by Foxx’s Ultravox bandmate Robin Simon, with the inscrutable, sensual, elemental lyricism Foxx employs throughout his mid-80s oeuvre, the track “Systems of Romance” really feels like a bridge between 70s art rock and 80s avant-synth-pop, moreso than anything else on the album. Much as “Systems of Romance” extracts a certain prettiness from punk, so does the aesthetically-oriented “Night Suit,” which plays with appearance, deception, and masculinity.

Music: “Night Suit”

“Night Suit” is the track on The Garden that I feel is the most exemplary of its own time period, a mysterious ode to a mystical garment that could almost feel at home on an album by Visage. The Garden is interested in “romantic” themes, but “Night Suit” truly feels at peace among the New Romantics. It’s got some of the most “believable” rock influences, with a prominent guitar riff from Simon, and yet its emphasis on the power of fashion and appearances, destructive, and perhaps even supernatural, is hard to imagine in a genuine punk context. As it implores us to “be someone” or “be no-one,” it’s easy to fit “Night Suit” into one of the major themes throughout Foxx’s career: the tranquility and liberation of personal anonymity. Why is the “Night Suit” a suit in the first place? The song wouldn’t make sense if it didn’t deal with a garment that is also a non-garment, something to wear that feels default, neutral, and unassuming--not to mention classically masculine.

On the cover of The Garden, the main thing we see is, well, a garden. Despite Foxx’s more obvious personal presence on the albums before and after The Garden, it’s easy to miss him here, dwarfed by the scale of nature that surrounds him. It’s almost like the album is more meant to be about this place, and the concept of “the garden,” than it is Foxx as a person, or any particular perspective of his.

While the actual capital-R Romantics were deeply interested in the “sublime,” and the scenes and moments in which mankind faces its vulnerability and insignificance when compared to the natural world, it’s also worth remembering that a “garden,” by definition, is really not a natural space at all, but rather one which is arranged by human hands. Even if this composition resembles those of Romantic painters, I think it’s worth looking earlier in the European past to interpret this one. Gardens were one of the most prominent symbols in Medieval literature, and scholars have suggested that they serve as symbols for sensuality, romance, and the yoni itself. Through the association with the Garden of Eden, gardens often represent a sort of lost, but longed-for paradise, and a return to innocence which is as tantalizing as it is impossible. In particular, “Europe After the Rain,” with its theme of lovers meeting again after the passage of some time, seems to connect with this idea.

In hindsight, The Garden really stands alone in Foxx’s career, a masterpiece whose precise style he would never attempt again. We might say it became that Garden of Eden, to which the artist could never return. While Foxx’s interest in Medieval spirituality would return on ambient works like Cathedral Oceans, and he would occasionally return to love songs with an electronic backing, the precise combination of lovelorn bardistry with a flair for the baroque that appears on The Garden remains totally singular. Foxx’s follow-up to this album, 1983’s The Golden Section, narrows its thematic focus towards poppy love songs, and its instrumental focus, likewise, is that of a fairly unremarkable mid-80s synth-pop record. But at the same time, I like to think that tracks like “The Hidden Man” manage to maintain a sense of the mystical.

Music: “The Hidden Man”

My favourite track on The Garden is “Walk Away.” While it lacks the severe and tragic grandeur of the album’s title track, which closes the album on a lofty note, “Walk Away” shares some of its delicate qualities, reviving the soft piano that we heard on “Europe After the Rain.” Thematically, “Walk Away” seems to deal with fragility and transience, and the grave significance that a brief, passing moment may have--which makes that “delicateness” feel all the more poignant in context. Its call-and-response outro, featuring one of Foxx’s most anguished vocal performances, really makes it a stand-out. That’s everything for today--as always, thanks for listening!

Music: “Walk Away”

[poppyna]

the visitor ; anton&poppy

timing: earlier in may + last week participants: @poppyvernis & @grantcontrol​ summary: anton gets sent to the hospital. poppy gets a snack a meal plan. content warning: head trauma

In his less than stellar career as an exterminator, Anton was at least able to prove two things: One, he couldn’t dodge bullets, and two, he couldn’t dodge the ground. In retrospect, chasing an overgrown spider on someone else’s roof wasn’t the best idea, but at least it gave him enough time to consider his life choices, as flashes of previously, terribly made ones came running back to him, right before his very eyes, the fall itself peculiarly slow, as if it was intentionally taking an eternity to accommodate this Powerpoint presentation of numerous mistakes and regrets. Then the thud came, and everything else faded to black. 

The next thing he knew, he was coming in and out of consciousness, being wheeled through what smelled like a hospital, what sounded like an introvert’s worst nightmare. What he could see were mere blurs, almost incomprehensible and incoherent images fighting for his attention against the blinding lights of the ceiling. What he could hear were bits and pieces of rushed conversation, none of which he was interested in. 

A familiar voice did ring in his ears, barely making any sense to him, mostly because he was more concerned about the stuffed rabbit he just dropped as they were wheeling him away, his outstretched hand reaching for it but to no avail. “...oh, it’s the exterminator...what happened?” “...fell down a roof…chasing...dog...” “really?! ...well, that’s dumb.” Then the darkness returned, dragging him back into the depths of his own mind, where a haunting shadow patiently lurked. Hello, Anton. You have your mother’s eyes.

Gossip spread through the ER like wildfire, no matter how much the nurses liked to boast about having the perfect mask of professionalism with patients. The ones with strange reasons for ending up there were the hottest topics- at least for a few moments before someone else came with an even more inane reason. Poppy liked to pretend she wasn’t as interested as the rest of them, but even she wasn’t immune to the allure of knowing other people’s business. And the business, specifically, seemed to be an exterminator of some sort who was in over his head.

The reception area had a temporary lull in new faces, and it was her who was tasked with bringing the personal belongings over to the different private rooms. She expected bags of clothes, maybe a phone or two, but not a… child’s toy? The last thing she wanted to see was some sickly child. Those cases always left a bad taste in her mouth. Regardless, she donned a pair of gloves and set out to deliver the goods that had been left.

When she finally came to the room the note on the doll had mentioned, she realized two things very quickly. One, that the doll did not, in fact, belong to some sickly child, and two, that she definitely should not have stepped into that room. Poppy could almost feel the uneasy dream the man laying in the bed was slipping into from her position all the way by the door. She gulped. She definitely should have just asked someone else to do this job. She threw a quick glance behind her shoulder before she slid the door to the room closed with her hip. As she extended her hand to brush over the man’s forehead to enhance the unpleasant dream he had, she noted that this must be that exterminator the staff were all murmuring of. 

“Sorry,” she whispered to herself.

Anton has done his fair share of running. From debt collectors? Check. From adult responsibilities like being a good dad to a young daughter he’s barely met? Check. From bees? Check. The last part, he felt like he’d be doing for an eternity. Or at least until he got tired, which in this place, wherever it was, didn’t feel like it was happening any time soon. Where the hell am I? He wondered, at least for a bit, looking around him as grayish smoke and mist surrounded him, drowning this place as far as he could see. That was, until his attention was once again stolen by the giant bees that were apparently chasing him.

Anton. The voice spoke to him, not as sound in the air but seemingly from deep within, as if the speaker was someone, or something, that resided in his heart of hearts. You cannot run forever. Panting, wheezing, though not actually feeling tired, if only afraid, fearful for what could happen should his feet, knees, fail him, the exterminator continued to run, looking back every now and then to find the giant bees still after him, never speeding up nor slowing down. 

Then he spotted something strange, something new, a face, unfamiliar and out of place, from within the swarming rabble. Sorry, she whispered to him, not as sound in the air but from deep within, only confusing him even more. Who the— He cut himself off as he turned away, colliding straight into something else, something strong enough to knock him back, down on his ass on the ground. Wincing, Anton took his sweet time making sure he was still in one piece before he looked up and saw the man in the beekeeper’s suit, his arms already reaching towards him. I’m already home!

On his bed in the hospital, his physical body twitched and turned, his lips moving, though rare were the words that came out ever coherent. Although the fear was great, his guilt would never come second, and under three words, Anton’s lips moved ever so slightly to allow them a strange passage. “It’s okay…”

Poppy’s brow furrowed for a moment as the visions he saw danced through her mind. What the hell kind of fears did this man have?  She wasn’t creating anything for him to experience- no, this was a nightmare birthed from his own personal hell. If the rush of energy she felt from how terrified some guy and his insects made him feel- she probably would have cared more about that. She rolled her neck and shoulders slowly, head tilting from one side to the other. It felt like a massage to her very core that no physical touch could satisfy. There was nothing better than this feeling, and for a brief second she considered taking it all in that very moment. She wouldn’t need to feed again for quite some time. 

The words that left his mouth snapped her back to reality. She opened her eyes and stared down at him. For a moment, she panicked. Was he awake? What the hell? That had never happened before. Poppy considered her own thoughts that she felt while feeding and bit her lip. The high, warm feeling in her stomach began to fall, leaving her blood buzzing through her veins as though she had just run a race while her heart sat thick in her throat. That’s the monster she pretended she wasn’t. She didn’t even know the poor guy who she just tormented and there she was considering adding a second notch onto her ledger. Fuck.

She retracted her hand slowly, knowing she shouldn’t let it idle on his head for too long. Poppy felt compelled to flee, but there were too many nurses out in the hallways for a fast walk to go unnoticed. The sun had yet to fully set, she couldn’t go intangible and leave, and even if she could the cameras would pick up a door opening and closing on its own, and- and-

Her hold on the stuffed toy in her other hand tightened and she resolved herself to take it face on. Poppy looked behind her, just to check and make sure no other nurse had crept inside while the whole ordeal was unfolding, then took a few steps back. She glided her hand down her face and combed her fingers through her hair, at least trying to make herself look as thought she was a normal human nurse just concerned for a regular patient. 

The Beekeeper was a story Anton’s late grandfather told him and the rest of his cousins whenever they had become too naughty, too rowdy, for the other grown-ups to contain, to rein in. It was a tale of warning, of fear, the title character the appropriate Boogeyman for their family’s line of work. Yet as the years went by, as Anton found himself drifting farther and farther away from his own family, the Beekeeper became more of an afterthought to him, a forgotten string of words from a bygone era, nothing more than the whispers of a past he can never go back to. That was, until he returned to White Crest.

It wasn’t like he was forced to return, however, as his former life in California wasn’t all rainbows and butterflies. He had made mistakes, so many, and though he wouldn’t admit to regretting much, there were major milestones in his life that he dared wish had happened differently. Thus, the move was a welcomed respite from the dark clouds that hung over his head through the years, only to be replaced by darker ones once he arrived in this sleepy town. At the very least, he had inherited the pest control business as well as a better place of residence when that grandfather of his died.

“Am I dead?” The words slithered weakly out of Anton’s lips as his dark brown eyes wandered slowly towards the other person’s very form. Holy fuck, she’s gorgeous. It was a weird first thought, considering the nightmare he had just survived, the fall he had taken. One would assume he’d be more interested in figuring out what had happened, how he got there, yadda yadda yadda. Then again, the exterminator has survived far worse and has taken more dangerous beatings. It seemed that the gates of hell were closed to his soul yet again. “Are you an angel? I’ll go wherever you’d take me.”

It took him more effort than he was used to, but he was able to muster a warm smile, the so-called stone meant to hit two birds: the nurse, as a sign of gratitude for keeping his unconscious body company, and himself, as a distraction from the horrors that he had just escaped from. Groaning, he moved his body around, at least as much as he could, still tired and barely recovered from the fall. When he found a comfortable enough spot, a position that made the rest of him ease a little, he turned to her again, his eyes not wanting to leave her face, his smile unable to falter. There was something about her that drew him like a moth to a flame, a vision of beauty and salvation. Shame that Anton had no idea how that allusion was more dangerous than he could ever understand. 

She blinked. The more conscious he became and the more words that left his mouth, the less Poppy was able to compute what was happening right before her. Her mouth moved to form the first syllables of ‘are you crazy?’, but she stopped herself before she broke whatever illusion had overtaken the man in front of him. This was definitely… different. She was used to crying, used to screaming, even used to people waking up in anger over having vivid terrors ruin their night of sleep. Not once had she gotten a complement. If she could even call a hospitalized man spouting words a compliment.

When more than a handful of seconds of silence passed between them, she blinked and cleared her throat. “Ah... no. Not at all,” she started, rocking back on her heels, “you’re not dead. So… I am not an angel.” A soft chuckle escaped her while her head gestured to the side, trying to point out the walls and machinery of the dimly lit room in an attempt to maybe bring him out of this stupor. (Yet again, she had to hold herself back from saying anything out of turn. There was a reason she wasn’t the one who did courtesy rounds with patients). This had to be a concussion of some sort, a fairly nasty one. That thought stung a bit. Having to wonder if she had just fed from someone with a concussion worthy of putting a professional athlete out of commission was a new low. But upon closer observation, he appeared… “fine” seeing as he just fell off a roof. Well, fine in Poppy’s books. Which had considerably low standards for what humans needed to be “fine”. 

Regardless, Poppy forced herself to put on a mask of kind professionalism, looking back at him with a gentle smile though she made it a point to stare at his ear instead of into his eyes. “Don’t try to move too much- okay? You’re in the hospital. Do you remember what happened?” She lifted the stuffed animal she held and waved it a bit once it was in his line of vision. “Does this help? It seems to belong to you.”

 The smile never faltered on Anton’s lips as he continued to look her over, perhaps even seeing her for the first time. “I beg to differ.” The words slipped out without his consent, though hearing them now, he wouldn’t have even bothered to rein them back if given the chance. He didn’t believe in angels, not as much as he believed in annoying insect monsters that could kill him, that most likely killed his grandfather, but seeing her heavenly face, all that cuteness and innocence, he could definitely see himself becoming a believer.

Slowly, his dark brown eyes wandered around them at her behest, though they didn’t stray long. She had a magnetic presence over him, one he could not seem to ignore. Or at least look away from for far too long, which wasn’t really that long. A part of him feared that she was just a mirage, an illusion, and if he didn’t keep his eyes on her, she would disappear, something he hoped the man in the beekeeper suit was instead. “Oh, hey, Mister Snuffleupagus Von Der Beek!”

His instincts told him to reach out for the stuffed animal, which his body followed and regretted immediately. He didn’t even get to move an inch, his shoulder quickly punishing him for overextending them. “Fuck.” Wincing, he tried to move it around, feeling the pain, before realizing he just swore in front of a goddess. Eyes wide in horror, they found her again, and despite the brief moment of silence, he tried to cover for himself with a warm smile. “Sorry… My shoulder… Pain… You know how it is.”

Anton nodded towards the stuffed animal as he explained further. “That’s the, uhh, favorite toy of my client’s three-year-old. Some overgrown spider tried to grab it and run, but I managed to chase it away and keep the toy but, well, you know… Fall from grace.” He let out an awkward chuckle, not sure if the truth made him look any worse. Couldn’t be any worse than the exterminator who fell off a roof. “I’m Anton, by the way. Anton Grant.” He offered her a hand to shake and winced when even that small attempt made his body hurt. Fucking hell.

While he spoke, Poppy let herself trail over to the hub of machinery at the top of his bed. Her eyebrow quirked at his remark, but other than that, she forced herself not to give any other reaction. Despite the night terrors he just experienced, she could barely feel the residual traces of fear that still clung onto him. All of it had seemingly vanished when he became conscious once more. She hoped that meant that his suspicion for what had caused it was low, too. Though, based on the way he was acting, she was fairly certain there was little for her to worry about in that regard. 

She let herself relax somewhat at that thought, though jumped slightly when the man began to move, caught off guard by his sudden urge to get up. “Ah,” she started, reaching forward with her free hand before pausing, letting it hover a few inches away from him. “Your injuries aren’t horrible, but you still need to lay down. If you try to move too much you might make it worse. And that’ll make your bill worse, too.” A stern look crossed her face for a moment. One that read ‘I mean it, don’t fucking try it’.

Poppy shook her head gently and set the doll down next to his thigh, her hands coming to a rest atop the side railings of the bed. A giant spider? She thought back to his nightmare. Well, if what she had gathered from that was correct and he had experienced some kind of bizarre beekeeper who was out for blood, then the spider story should track. A quiet huff escaped her lips as the corners quirked up. “I don’t… know if I should assume that’s real or fake,” she replied, her voice low with amusement, “but if it is, then… that’s. A nice thing to do. Getting a kid’s doll back.” 

“I’m not your nurse, but… I’m Poppy,” she paused when he attempted to move once more. She used the back of her hand to gently push his down until it laid on the bed once more. “I’m serious about the no moving thing, Mr. Grant.”

Anton has had horrible and worse, numerous times, throughout not just his respective careers as an exterminator and pest hunter but also his everyday life, most of which he will always regret. Her mention of a worsened bill, however, scared him the most, and with a gulp, he resolved to heed the warning, knowing full well his finances were much scarier to deal with than a trio of beeserkers. That look on her face is pretty cute, though. 

His eyes widened in a mixture of horror and excitement as she approached his thigh, though it was immediately replaced with a relieved expression and then disappointment when the doll landed instead of what his crass mind had imagined. Although he was somewhat glad that Mr. Snuffleupagus Von Der Beek was safe and within reach, his thighs craved the touch of something else, someone else. Even in the aftermath of brutality, Anton was still but a boy, hungry for fantastical companionship.

“Oh, it’s real!” He said, almost too excitedly, dark brown eyes beaming with misguided pride. “I really fell down. You see the small rip on Mr. Snuffleupagus Von Der Beek’s right ear?” He winced as he momentarily forgot about all the pain, mostly due to his desire to impress her, and pointing at the spot, straining his arm yet again. His smile only grew wider when she complimented him, as he’s never heard an actual compliment since he came to White Crest, certainly not after he’s been paid at least.

“Poppy?” He mouthed her name over and over again after the word already slipped through his lips, her touch surprising him but in a very good way. He could feel his heart beat race again, her warmth and her scent magnified by his childlike crush. “It’s a pretty name. Perfect for a pretty girl.” He offered her his most charming of smiles, his heart beat rising when she mentioned his name. “Please. Call me Anton.” He tried to distract himself from the loud vibration inside his chest by furthering the conversation. “Is there a way I can choose you to be my nurse? Like a form I can sign or something? I’ll probably need to stay longer now. I’m so hurt, Poppy.”

A quiet hum reverberated from her lips. This definitely was not the first time a patient had acted head over heels for a nurse. And Poppy was sure it wouldn’t be the last, but at least this guy- Anton wasn’t some creepy old man. Just a concussed guy. Who thought she was pretty, it would seem. Her eyebrow raised once more and she stared at him. She’d never encountered someone who acted quite like this before. Even among the strangest of individuals who ended up in the back of the ER.

An idea popped into her head then. Oh. Hey now.  She could make use of an infatuation like this, couldn’t she? The softer voice in Poppy’s consciousness tried to remind her that this was definitely a breach of the Hippocratic oath, but she wasn’t a doctor. She wasn’t even human. Yes, she was pretty certain that oath didn’t account for creatures like her. Who was she to deny free food when presented to her?

“I assume you’ll be kept overnight for observation unless the doctor sees you now,” she said, more to herself than as a response to him. She then let a soft, long sigh leave her lips. “If I transfer to your nurse, would you quit trying to move?” Poppy glanced over to him with that same look, though it was less serious and more teasing than before. She may not have all the schooling that the RGNs had, but she had the same nursing certificate nonetheless. It probably wouldn’t even take much convincing to get whoever was actually assigned to him to let her take over. They’d probably let her take all the patients if it meant getting to sit quietly at the front desk like she did.

“Poppy, I would quit everything for you.” Anton quipped, though part of him was certain that it was true, that he’d actually risk his entire life, change everything including himself for her, for a muse that he could serve. The other part? He’s been there before, a long time ago, and it didn’t end well. He did get a cute kid out of the deal, but she was taken from him, too. Probably best for everyone involved back then. He was, after all, at a terrible place in his life. 

These days, he has most things under control. He had a stable source of income, he wasn’t too bored that he’d do less than legal things for the sheer fun of it all, then a rebellion against his family and everything else, and most importantly, he had a pretty big house all to himself. If he played his cards right, he may find a very attractive, very nurturing nurse roommate. He and the boggarts at Grant Residence.

“Where do I sign? Do I even need to sign anything?” Anton wasn’t quite well-versed with all these medical proceedings. For a long while, he’s been able to skirt out of its way, mostly with help from old acquaintances, accomplices, and his earlier almost rendezvous with death in White Crest introduced him to who both seemed like old acquaintances of his grandfather, Doctor Adams and Detective Lee, the oddest couple he’s ever met. Oh, maybe he’s here! “Oh, by the way, do you know a Doctor Adams here? Weird British guy, has glasses… I actually forgot his first name.” He chuckled, even as pain still lingered within parts of him, dark brown eyes extremely happy at the sight of Poppy.

  “Uh-huh,” Poppy drawled out slowly, her head bobbing once in some semblance of a nod. She briefly wondered if this… infatuation of his was more of a passing side-effect of his concussion rather than anything else. Even so, Anton had definitely made himself out to be an unforgettable person. 

Strange or not, a meal was a meal. “Well,” she looked out toward the door to the room for a moment, then back to him. “I’ll have to go poke my head around and see who’s assigned to your room.”  Her face pinched in concentration. “You won’t have to sign anything, don’t worry, Mr. Grant.”  At his question, her expression softened back to one of neutrality. Doctor Adams, huh? 

“Is… unless he frequents the ER here, I probably don’t. Lots of doctors in the world, you know.” She rolled her eyes half-heartedly, his words sparking a memory of self-righteous doctors that  would sometimes be called down to the ER and throw fits at the state of things. “Alright, I’ll go… run and sort this out. Do you need anything before I go?” She paused. “That, ahem, isn’t me.”

With the devotion of a high schooler suffering a huge crush on his classmate, Anton listened to her intently, a wide grin on his face. Concussion or not, at this moment in time, Poppy was the best thing that’s ever happened to him. The second best was probably waking up from that nightmarish hellscape he found himself in while unconscious, but it was probably just a one-off thing. He’s had the same nightmares before, and although they were never that intense, he did fall off a roof this time, so his brain, as much as it could while working in terrible condition, justified that as a good enough reason. 

“It’s fine. I’ll sign anything you want me to sign.” The words slithered out of his mouth without any thought, none at all. If Anton had been dragged to a network marketing scheme instead of finding his way to the hospital, he’d probably have lost all of his money as soon as he woke up. Thank god for his client, such a kind-natured soul who was probably more worried about cleaning his corpse off her lawn than his actual health. Eh, good enough for me. 

“Yeah, of course!” He laughed at what he perceived to be her quip, already forgetting his question about Doctor Adams. “What isn’t you?” Again, his subconscious tried to help him out, but Anton was presently not 100% whole. A part of him tried to make sense of what was going on, what had happened, but that part wasn’t as strong as the other part of him that catered to his sad, pathetic craving for her companionship. “I’m fine, Poppy. Not as fine as you, but I’m fine.” He grinned, even though his body was obviously not fine, not yet anyway, pain still lingering in his bones and joints. 

As soon as she leaves, however, he mutters to himself, an unnecessary assurance to his own misguided feelings, his still blurry perception of the things happening around him, all while he watched her go. “Oh, yeah. She’s definitely into me.” She was, of course, not that into him, but he needed to believe that lie. At least for now, he felt hope, not as just another lie to trick himself into carrying on but as a warm dream he can aspire to. At least for a couple of days, maybe even weeks. Anton’s romantic relationships never end well, after all.

In the days that follow.

It wasn’t every day that Poppy put a bit of effort into her appearance on a day she went to work. In fact, it was never. Except for maybe the very first week she had landed the job. The long hours and constant moving around and sweating meant that makeup was not the best of ideas. Especially at seven in the morning. But she had been planning for the specific day a certain patient was to be released.  She’d spent much of the time that Anton had been spending in hospital care thinking about what to do. Never before had anyone she’d ever fed on been so… completely unaffected by what she did to them. Not only that, but it was as if the man had been slapped by some cupid’s curse.

Whatever the case might have been, Poppy decided that it would be best to make use of it. These types of things happened for a reason, didn’t they? She told herself such while she put that bit of effort into her appearance. Her hair was pulled back nice, her eyes lined with a gentle wing of brown eyeliner, and her cheeks had a faint dusting of orange blush. Just enough to make her look like she was definitely not a nightmare demon in some human skin.

She walked down the long corridor of the hospital wing and came to a stop outside the door to Anton’s room. Poppy inhaled quietly, then knocked on the wood with the back of her hand. “Mr. Grant?” She asked, opening the door a inch to make sure he was awake, then more so once she saw him. “Good morning. I think I have something you might be interested in.” She raised her hand and waved a stack of papers for a moment. His discharge papers. Fresh and ready to be signed by the doctor.

For the entire duration of his stay, which was like just a couple of days anyway, Anton found the entire thing quite nice. Sure, he’s been having a couple of nightmares here and there, waking up more tired than he expected, but it was probably just the side effect of that fall. Besides, he finally had an excuse to take a day off, and though it probably sets BUG BUSTERS PEST CONTROL SOLUTIONS back for like a few dollars, it wasn’t that heavy of a price to pay. 

Anton could technically take a day off every now and then, but he never did, always consumed by the nagging feeling of guilt and the dread of  disappointing his already dead grandfather. So far, however, the Girl’s text messages, meant to update him on the daily goings-on at the office, were mostly boring “oks” and “someone called but i referred them elsewhere”. If he had known things would be this chill, he would’ve taken a day off a long time ago.

Aside from loafing around in his hospital bed, Anton filled much of his time and attention with the love of his life, his nurse Poppy. Thanks to his concussion, which was a weird thing to be thankful for, the exterminator believed he had finally found his muse. His past relationships all ended terribly for one reason or another, but he had high hopes Poppy would be a different case. If he only knew. 

“Poppy? Please, call me Anton.” He reminded her again, for the nth time, though he didn’t really keep count and consciously didn’t actually mind. The words just felt like the right reply for her calling her future boyfriend Mister. “Good morning!” He greeted her with as much excitement as he could muster, eager to spend another day with her, only to get deflated when his dark brown eyes found out what the papers were. 

“I’m being discharged?!” He turned to her with sadness and despair, as if he was betrayed, rejected, by the girl of his nightmares dreams. How could Poppy do this to me?! “Uhh… There must be some mistake? I still feel, uhm, bad?” Scrambling towards her, he threw off his sheets, grabbing her hands in desperation. “No, Poppy, I’m still in pain... Please. I need you… To take care of me.” He whined. Like a child.

Bingo.

Poppy rolled her eyes playfully and snorted quietly. By that point, she had grown used to Anton’s antics. For the most part, at least. “You say as much, but your doctor says something completely different. Apart from the, uh, bouts of night terrors?” She paused there, sparing a moment to look up at him with some faux-concern. Mostly faux-concern. Seeing the side effects of her noshing still twisted her stomach from time to time, but there was nothing she could really do about that in the end, was there? She still needed to eat. A gentle nudge and she wiggled her hands out of his grip.

“Aside from that, you’re back to being in perfect health.” With that, she set the folder she held down on the rolling table beside his bed. Poppy looked at him with eyes that were both teasing and pitying. “This is a normal part of being in a hospital, you know. You do have to leave at some point.” She tapped a painted nail on the top of the folder twice. 

“It isn’t like I’m going to magically disappear after you leave. I still exist, you know. Is there something I can do to ease the pain of this discharge?”

“Oh, yeah… The night terrors…” Anton simply shrugged. He didn’t really want to talk about them, afraid to unearth a childhood trauma that he may not be yet ready to come face-to-face with. As much as the Beekeeper was but a story his late grandfather used to tell his grandchildren whenever they’d misbehaved too much, the exterminator has seen and experienced otherwise, a part of him certain that there was more to the tale than he was told. With a smile, however, he eased her concern, not wanting to burden the love of his life with his inglorious fears. “Just a side effect of the fall, I think? Nothing to worry about!”

Yet he could not stave off the disappointment and sadness he felt at the idea that this was it, this was the part where they’d, well, part ways, him and Poppy, forever no more. Anton felt his heart wrench, a stinking feeling in the deepest pits of his stomach that almost sent him in a panic. This was the best he’s felt in weeks, months, and now it seems over. Back to lonely nights in his late grandfather’s massive house then. Maybe he should really put that guest room up for rent. “Do I have to?” 

There was nothing normal about him, that much he understood. Certainly, the adjective perfect was rarely used to reference Anton. Poppy was right, however: All things must come to an end, even the good ones, especially the good ones. Life is nothing else but suffering, sometimes tolerable, most of the time annoying as fuck. Still, she offered him hope, and like trout to a lure, he could not ignore it. Forlorn, his dark brown eyes wandered back to her, and he mustered a weak smile. 

“Promise? I mean, I guess it’ll be a little less painful if you, like, I don’t know, keep in touch? By, uhm, giving me your number? There’s, like, a really good restaurant at the docks. Dinner sounds like the least I can do to thank you for keeping me healthy.” 

Poppy smiled. 

She put a finger to her lips, as if to tell him not to tell anyone else. Without saying anything, she pulled a pad of sticky notes and a pen from the pockets of her scrubs. If Anton was anyone else, she would have worried that they might wonder why she precariously had such things in her pocket, but she had learned that by that point, he didn’t seem to care about much other than looking right at her. For a moment she wondered what his reaction would be if he ever figured out what she was. This little façade couldn’t go on forever- at least. For her, time had proven that everything nice would have to end at some point. Would he still be as awestruck if he knew? Or would he finally come back to his senses?

A thought popped in her head. Had she ever cared so much about what a human really thought of her? Really? 

When she glanced up and saw the genuine gleam of desperation in Anton’s eyes, Poppy decided not to worry about it. Whatever he wanted out of her, she could play along. No one else was being hurt- clearly he wasn’t as affected as other humans would have been. As she carefully wrote down the digits to her number, adding a small smiley face at the end, just for the appeal, she spoke: “As long as it doesn’t entail you chasing after some sort of gigantic bug and getting another concussion.” She peeled the note off the pad and flattened it down on the cover of the folder, the ink on the face smearing just-so. 

Poppy took a few steps back and smiled. “Another nurse will stop-by in a bit with some more for you to sign. And then you’ll be a free man once more.”

Anton nodded fervently, dark brown eyes wide in delight as they found themselves glued on the tiny piece of paper that contained Poppy’s number, that he held as tightly as he could, as if he was afraid it would vanish very soon. Committing her contact information to his memory, the exterminator couldn’t hide his triumphant joy, chuckling at her quip. It would be dishonest to not admit that he had thought about doing the same thing again, suffering the fall and the nightmares as an excuse for him to be near her once more, in the same room as the angelic face who woke him up from his nightmare. Her phone number was a safer compromise, though. 

“Thank you. Again. You have no idea how much this means to me, Poppy.” He didn’t either. Not really. Especially all things considered. “I’ll see you on the other side.”

That was the last he saw of her. At least at the time. When he was told to leave, the exterminator unfortunately couldn’t get a hold of the nurse that had a warm grip on his heart. Anton wanted to wait and see her, bid her goodbye at the very least, but she was apparently busy elsewhere and some security guard was being rude, watching him like a hawk does a mouse. With her parting gift, however, he knew it wouldn’t be long until they crossed paths again. Or at least until he’d hear her voice again. Maybe, if she was too busy to have dinner with him tonight, he would at least see her in his dreams. The thought made him smile as he finally made his way out of the hospital, breathing in the fresh air made even better by the memory of his muse.

In fields of poppy,         buzzes this little bee.