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bluecarelesswhisper · 3 years ago

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TOP 100 FEMALE SOLO SINGERS OF THE '50S AND '60S

Patti Page - All My Love, The Tennessee Waltz, Mockin' Bird Hill, I Went to Your Wedding, The Doggie in the Window, Cross Over the Bridge, Allegheny Moon, Old Cape Cod; Hush, Hush, Sweet Charlotte

Connie Francis - Who's Sorry Now, My Happiness, Lipstick on Your Collar, Everybody's Somebody's Fool, My Heart Has a Mind of its Own, Where the Boys Are, Don't Break the Heart That Loves You

Brenda Lee - Sweet Nothin's, I'm Sorry, I Want to Be Wanted, Fool #1, Break it to Me Gently, All Alone Am I

Kay Starr - Wheel of Fortune, Side By Side, Changing Partners, If You Love Me (Really Love Me), Rock and Roll Waltz

Doris Day - A Guy is a Guy, Secret Love, If I Give My Heart to You; Whatever Will Be, Will Be (Que Sera, Sera); Everybody Loves a Lover

Dionne Warwick - Anyone Who Had a Heart, Walk on By, I Say a Little Prayer, (Theme from) Valley of the Dolls, I'll Never Fall in Love Again

Aretha Franklin - I Never Loved a Man (The Way I Love You), Respect, Baby I Love You, Chain of Fools, The House That Jack Built

Teresa Brewer - Music! Music! Music!, Till I Waltz Again With You, Ricochet, A Tear Fell, A Sweet Old Fashioned Girl

Jo Stafford - Shrimp Boats, You Belong to Me, Jambalaya, Keep it a Secret, Make Love to Me!

Rosemary Clooney - Come On-a My House, Half as Much, Botch-A-Me, Hey There, This Ole House

Joni James - Why Don't You Believe Me, Have You Heard, Your Cheatin' Heart; My Love, My Love; How Important Can it Be?

Petula Clark - Downtown, I Know a Place, My Love, This is My Song, Don't Sleep in the Subway

Dinah Washington - I Don't Hurt Anymore, What a Diff'rence a Day Makes, Unforgettable, This Bitter Earth

Mary Wells - The One Who Really Loves You, You Beat Me to the Punch, Two Lovers, My Guy

Georgia Gibbs - Kiss of Fire, Seven Lonely Days, Tweedle Dee, Dance With Me Henry (Wallflower)

Lesley Gore - It's My Party, Judy's Turn to Cry, She's a Fool, You Don't Own Me

Nancy Sinatra - These Boots Are Made For Walkin'; How Does That Grab You, Darlin'?; Sugar Town, Love Eyes

Sarah Vaughan - Make Yourself Comfortable, How Important Can it Be?, Whatever Lola Wants, Broken-Hearted Melody

Dusty Springfield - I Only Want to Be With You, Wishin' and Hopin', You Don't Have to Say You Love Me, Son-Of-A Preacher Man

Ruth Brown - Teardrops From My Eyes, 5-10-15 Hours, (Mama) He Treats Your Daughter Mean, Oh What a Dream

Kitty Wells - It Wasn't God Who Made Honky Tonk Angels, Makin' Believe, Searching (For Someone Like You), Heartbreak U.S.A.

Etta James - The Wallflower, All I Could Do Was Cry, At Last, Tell Mama

LaVern Baker - Tweedlee Dee, Play it Fair, Jim Dandy, I Cried a Tear

Gale Storm - I Hear You Knocking, Teen Age Prayer, Dark Moon

Dinah Shore - My Heart Cries For You, Sweet Violets, Chantz-Chantez

Jaye P. Morgan - That's All I Want From You, Danger! Heartbreak Ahead, The Longest Walk

Eydie Gorme - Mama, Teach Me to Dance; You Need Hands, Blame it on the Bossa Nova

Carla Thomas - Gee Whiz (Look at His Eyes), B-A-B-Y, I Like What You're Doing (To Me)

Patsy Cline - Walkin' After Midnight, I Fall to Pieces, Crazy

Peggy Lee - Lover, Fever, Is That All There Is

Dee Dee Sharp - Mashed Potato Time, Gravy (For My Mashed Potatoes), Ride!

Kitty Kallen - Little Things Mean a Lot, In the Chapel in the Moonlight, My Coloring Book

Annette - Tall Paul, O Dio Mio, Pineapple Princess

Cher - All I Really Want to Do, Bang Bang (My Baby Shot Me Down), You Better Sit Down Kids

Barbra Streisand - People, He Touched Me, Second Hand Rose

Linda Scott - I've Told Every Little Star, Don't Bet Money Honey, I Don't Know Why

Connie Smith - Once a Day, Ain't Had No Lovin', The Hurtin's All Over

Barbara Lewis - Hello Stranger, Baby I'm Yours, Make Me Your Baby

Anita Bryant - Till There Was You, Paper Roses, In My Little Corner of the World

Skeeter Davis - My Last Date (With You), The End of the World, I Can't Stay Mad at You

Sue Thompson - Sad Movies (Make Me Cry), Norman, Paper Tiger

Della Reese - And That Reminds Me, Don't You Know, Not One Minute More

Loretta Lynn - Don't Come Home A-Drinkin' (With Lovin' on Your Mind), Fist City, Woman of the World (Leave My World Alone)

Betty Everett - You're No Good, The Shoop Shoop Song, There Comes a Time

Jackie DeShannon - What the World Needs Now is Love, Put a Little Love in Your Heart, Love Will Find a Way

Timi Yuro - Hurt, What's a Matter Baby, Make the World Go Away

Debbie Reynolds - Tammy, A Very Special Love, Am I That Easy to Forget

Gogi Grant - Suddenly There's a Valley, Who Are We, The Wayward Wind

Maxine Brown - All in My Mind, Funny, Oh No Not My Baby

Betty Johnson - I Dreamed, Little White Lies, The Little Blue Man

Jean Shepard - A Satisfied Mind, Beautiful Lies, Second Fiddle (To An Old Guitar)

Shirley Ellis - The Nitty Gitty, The Name Game, The Clapping Song

Little Eva - The Loco-Motion, Keep Your Hands Off My Baby, Let's Turkey Trot

Vera Lynn - Auf Wiederseh'n Sweetheart, Yours, If You Love Me (Really Love Me)

Eartha Kitt - C'est Si Bon, Santa Baby, Somebody Bad Stole De Wedding Bell

Lulu - To Sir With Love, Best of Both Worlds, Morning Dew

June Valli - Crying in the Chapel, I Understand, Apple Green

Connie Stevens - Sixteen Reasons, Why'd You Wanna Make Me Cry, Mr. Songwriter

Jane Morgan - Fascination, The Day the Rains Came, With Open Arms

Nancy Wilson - (You Don't Know) How Glad I Am, I Wanna Be With You; Face it Girl, it's Over

Esther Phillips - Release Me, And I Love Him, When a Woman Loves a Man

Vikki Carr - It Must Be Him, The Lesson, With Pen in Hand

Little Peggy March - I Will Follow Him, I Wish I Were a Princess; Hello Heartache, Goodbye Love

Mindy Carson - Candy and Cake, My Foolish Heart, Wake the Town and Tell the People

Sandy Posey - Born a Woman, Single Girl, I Take it Back

Bobbie Gentry - Ode to Billie Joe, Fancy

Brenda Holloway - Every Little Bit Hurts, When I'm Gone

Eileen Rodgers - Miracle of Love, Treasure of Your Love

Barbara Lynn - You'll Lose a Good Thing, Second Fiddle Girl

Dottie West - Here Comes My Baby, Would You Hold it Against Me

Baby Washington - That's How Heartaches Are Made, Only Those in Love

Kathy Linden - Billy; Goodbye Jimmy, Goodbye

Cathy Carr - Ivory Tower, First Anniversary

Fontella Bass - Rescue Me, Recovery

Barbara Mason - Yes, I'm Ready; Sad, Sad Girl

Marianne Faithfull - As Tears Go By, Summer Nights

Shelley Fabares - Johnny Angel, Johnny Loves Me

Wanda Jackson - Let's Have a Party, In the Middle of a Heartache

Tammy Wynette - D-I-V-O-R-C-E, Stand By Your Man

Mama Cass - Dream a Little Dream of Me, It's Getting Better

Faye Adams - Shake a Hand, Hurts Me to My Heart

Jill Corey - I Love My Baby, Love Me to Pieces

Dodie Stevens - Pink Shoe Laces, No

Bettye Swann - Make Me Yours, Don't Touch Me

Jan Howard - Evil on Your Mind, Bad Seed

Nina Simone - I Loves You, Porgy; Ain't Got No; I Got Life

Norma Jean - Go Cat Go, I Wouldn't Buy a Used Car From Him

Miss Toni Fisher - The Big Hurt, West of the Wall

Damita Jo - I'll Be There, If You Go Away

Patty Duke - Don't Just Stand There, Say Something Funny

Bonnie Guitar - Dark Moon, Mister Fire Eyes

Gloria Lynne - I Wish You Love, Watermelon Man

Jody Miller - Queen of the House, Home of the Brave

Gisele MacKenzie - Hard to Get, The Star You Wished Upon Last Night

Betty Madigan - Joey, Dance Everyone Dance

Ketty Lester - Love Letters, But Not For Me

Barbara George - I Know (You Don't Love Me No More), You Talk About Love

Joanie Sommers - One Boy, Johnny Get Angry

Irma Thomas - Don't Mess With My Man, Wish Someone Would Care

Diane Renay - Navy Blue, Kiss Me Sailor

#50s #60s #music

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jedivoodoochile · 4 years ago

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Release date : 12th May 1972

The Rolling Stones – Exile On Main Street

First manager Andrew Loog Oldham said in the sleeve notes to the Stones’ first album: ‘The Rolling Stones are more than a group, they are a way of life’, and of no album is that truer than Exile On Main Street. The legend persists that it was all created in the dank basement of the former Nazi headquarters in Villefranche-Sur-Mer in the Summer of 1971, although a large portion was overdubbed in sessions in Los Angeles, where other songs were created from scratch. Some of the other recordings predated the trip to France, having been recorded in the UK, at Olympic Studios in Barnes.

However, the SPIRIT of the basement prevails throughout and it is the murky swampiness of the whole endeavour, extending to Mick Jagger’s all but indecipherable vocals, that have seen it acclaimed as the Stones’ most complete statement and possibly the most rock album the band ever made.

The guitar sound is largely due to Ry Cooder, whose involvement in the sessions of 1969’s Performance soundtrack, showed the possibilities of the ‘open G’ tuning on the guitar. Crucially, the guitar is tuned to a chord, but in Keith Richards’ book Life, he describes how he discarded the 6th (lowest) string, giving the lowest string (now a G) the role of a drone, quite appropriate to the blues. It also allowed the mega-riffs of the Mark 2 Stones’ biggest hits: Honky Tonk Women and Brown Sugar, which underpinned new member Mick Taylor’s melodic country/blues lines, melding to create a whole new style. Even now, the first chords of either of the above will pack a dance floor anywhere in the UK. With reference to Exile, the most prominent use of the 5-string open-tuned guitar is on Rocks Off, Happy, Ventilator Blues, Tumbling Dice and All Down The Line.

The Stones had recruited the sensitive 20-year old Mick Taylor in 1969 from John Mayall’s Bluesbreakers, where he became the third stellar lead guitarist to play the blues in Mayall’s band, following Eric Clapton and Peter Green. His first sessions were for the Let It Bleed album, overdubbing guitar on Country Honk and Live With Me plus some pivotal parts for the Honky Tonk Women single on the 1st June session that ended at 3:15AM.

Honky Tonk Women went to #1 in the UK and the US in July 1969, followed by the Let It Bleed album in December, another triumph. Any doubts created by the subsequent 18-month gap in releases were dispelled by the release of Brown Sugar in April 1971 (another US #1), followed in May by Sticky Fingers, possibly the strongest Stones album to date, and one that showcased the guitar interplay between Keith Richards and Mick Taylor, alongside some great songs, including Sway, Wild Horses and Bitch.

Having recorded sessions at Olympic Studios in Barnes, London, which included tracks like Stop Breaking Down and Sweet Virginia, The Stones had continued recording and writing in the Summer of 1970 at Stargroves, Jagger’s English country house, with the Stones’ own mobile recording studio, a move that became standard operating procedure for other UK bands, including Led Zeppelin. The mobile came in handy when the Stones discovered that in signing with US manager Allen Klein, their copyrights had reverted to him, so when they severed their connection with him in 1970, their income came under threat. They were also in a cash flow crisis, at a time when the UK taxman took 93% of high earners’ income, so they felt that the only thing to do was to get out of town, planning to spend at least 21 months outside the UK from 1971 onwards.

According to Bill Wyman, the band had at least working versions of seven tracks to take with them, including Tumbling Dice (original title: Good Time Women), Black Angel (which became Sweet Black Angel), Stop Breaking Down and Shine A Light.

In early April 1971, the band decamped to France, Mick Jagger marrying Bianca in St. Tropez on May 12th and honeymooning on the Riviera, before settling in Paris with his new bride. Keith Richards rented a villa, Nellcôte, in Villefranche-Sur-Mer, near Nice, while the other band members rented houses further to the west. The basement at Nellcôte became a makeshift studio to record using the band’s mobile recording studio.

In interviews with Ian Fortnam for the 2010 reissue of Exile, Keith Richards and Charlie Watts gave their contemporary perspectives on what went down: ‘They couldn’t get you in jail, so they put the economics on you, the old double whammy,’ said Keith. ‘So the feeling within the band was we’ve got to show them we’re made of sterner stuff and prove you couldn’t break the Stones just by kicking them out of England.’

The band again called on the services of their mobile studio and parked it outside Keith’s villa in order to carry on the recordings for the next album, the second on their own Rolling Stones records label, although according to Keith Richards, that wasn’t their first intention. They had been planning to look for studios in Nice or Cannes, but in the event, the band came to Keith, with the Stones mobile in residence from June 7th.

American producer Jimmy Miller had supervised the two previous albums, but the Nellcôte sessions were much more difficult to coordinate, partly because not all the band were around at the same time. Recording continued sporadically for some months until the French authorities began to apply pressure to rid themselves of the Stones and their entourage, who by then were engaged in various levels of illegal behaviour.

Drummer Charlie Watts was about three hours away, in Thoiras, west of Avignon, and bassist Bill Wyman and guitarist Mick Taylor were ensconced near Grasse, so at least one of the songs on Exile was made without them, although the album credits have never been clear about who actually did what. In the case of one of the most Stones-sounding recordings, very few of the Stones were initially on it. Happy, a showcase for Keith Richards’ vocals and guitar, has producer Jimmy Miller on drums and Keith doubling on bass. The basics were laid down between noon and 4PM one afternoon, with just Miller on drums, Bobby Keys on baritone saxophone, and Richards on the rest, including the lyrics and lead vocal.

Charlie Watts loved Jimmy Miller. ‘I thought he was the best producer we ever had. Jimmy was a hands-on type of guy. When we played he could never keep still, so he’d always be banging something; a drum or a cowbell’ [check out the start of Honky Tonk Women]. Miller insisted that Charlie‘s drums be tested in as many of the basement’s labyrinth of rooms as possible, before settling on one that had the right balance of natural ambience and proximity to the guitar players to maintain the vibe. It took a week or two to get the setup right, but after that, things apparently settled down.

The schedule did become a bit strange, as recalled by Keith Richards. ‘It became known as Keith Time, which in Bill Wyman’s case made him a little cranky. Not that he said anything. At first, we were going to start at two PM [every day], but that never happened. So we said we’d start at 6PM, which usually meant around 1 AM. Charlie didn’t seem to mind.’

But when Keith was on form, he would deliver, as with Rocks Off, which, according to engineer Andy Johns, involved a playback to Keith at 4 or 5AM. Keith went to sleep in mid-track, so Johns took that as the cue to get his own head down, driving the necessary half-hour home. He was just nodding off when the phone rang – it was Keith, asking where he’d got to. So Johns drove back to Nellcote – another half hour – at which point Keith picked up his Telecaster and played the second guitar part on Rocks Off, straight through.

The sessions were at least the backbone of the album. Said Keith: ‘A lot of the songs started off with an idea. Mick’s playing harp, you join in and before you knew it you had a track in the making and an idea working. It might not be the finished track; you’re not trying to force it.’

There was also much space for the interplay between Richards and lead guitarist Mick Taylor. Keith: ‘Brian [Jones] and I would swap roles. There was no defined line between lead and rhythm guitar, but with Mick’s style I had to readjust the shape of the band and it was beautifully lyrical. He was a lovely lead player. I loved playing with Mick Taylor.’

Some of the songs were collaborations, like All Down The Line, which, according to Keith Richards, he started with the basic idea of ‘I hear it coming, all down the line’ and handed it over to Mick Jagger to develop. Richards was extremely prolific and came up with many songs which didn’t eventually make on to the final release, including Head In The Toilet Blues, Leather Jackets (although Bill Wyman lists it as having been recorded at Olympic), Windmill, I Was Just A Country Boy, Dancing In The Light,(noted as possibly being one of Mick Jagger’s), Bent Green Needles, Labour Pains and Pommes de Terre.

Richards described the self-imposed pressure that he and Jagger felt when requiring themselves to come up with song ideas in anticipation of the arrival of the other musicians. Casino Boogie came about when inspiration was lacking and they decided to follow the William Burroughs ‘cut up’ technique (also used occasionally by David Bowie), whereby a book or newspaper is disassembled into component words, which are then re-assembled to create a new lyrical direction.

So, contrary to popular belief, the whole album wasn’t recorded in the South Of France, although most of the backing tracks were. As Keith Richards notes in his book Life: ‘What we brought to LA from France was only raw material for Exile. The real bare bones, no overdubs. On almost every song we’d said, we’ve got to put a chorus on here, we’ve got to put some chicks in there, we need extra percussion on that. So LA was basically to put the flesh on. For four or five months in LA in early 1972, we mixed and overdubbed Exile On Main Street. According to Bill Wyman, most of the Stones flew to LA on November 29th, 1971, followed later by the Wymans, for sessions that went on til February 1972.

It seems to have been planned as a double from an early stage, Richards mentioning ‘all business advice’ that warned against it. Which, to be fair to whoever was dishing out the advice (probably Ahmet Ertegun and Atlantic Records), was usually correct – double LPs had to be competitively priced, but they cost twice as much to manufacture, were heavier to ship, and their length and quantity of material meant they were harder for the public to assimilate, more difficult to review objectively, and took longer to get on the airwaves, at a time when multiple singles releases off an album was not the norm.

At Sunset Sound in Los Angeles, the basic tracks of at least Rip This Joint, Shake Your Hips, Casino Boogie, Happy, Rocks Off, Turd On The Run and Ventilator Blues were given numerous overdubs, including all the piano and keyboard parts, all lead and backing vocals, plus more overdubs of guitar and bass. The sessions included new recordings of Torn And Frayed and Loving Cup and saw Mick Jagger coming into his own, finishing off the vocals and bringing in other contributors.

A host of other musicians assisted the Stones on the LA overdubs, including Nicky Hopkins and Ian ‘Stu’ Stewart on pianos, and a mass of backing vocalists including Gram Parsons, Clydie King, Joe Green, Venetta Fields, Tamiya Lynn, Shirley Goodman, Dr. John, Kathi McDonald and Jess Kirkland. Jazz sessioneer Bill Plummer added upright bass to Rip This Joint and Turd On The Run, Al Perkins from Manassas played pedal steel guitar on Torn And Frayed, Billy Preston contributed keyboards to Shine A Light, and Richard Washington played marimba on Sweet Black Angel. Stalwart Bobby Keys played sax, with Jim Price on trumpet and organ on Torn And Frayed, while producer Jimmy Miller played drums and percussion where necessary.

The first hearing that the public and broadcasters had of Exile was the single, Tumbling Dice, one of the most multi-layered, murky, uneven recordings any band has ever released, and yet it is probably one of the Stones’ five finest records. There is something to listen at every turn, the rhythm is insistent, the lyrics are compelling, there’s rollicking piano, sweet Mick Taylor licks, (and his bass playing, the loudest thing on the track, is exactly wrong, but exactly right). Mick Jagger’s lyrics are almost indecipherable and mixed so far back they’re practically only a texture, but the whole thing is the Stones personified – far from perfect, but still fantastic.

As Keith Richards said in 2010: ‘Mick’s always seemed to have something of an ambivalent attitude to Exile… ‘, and here indeed are Jagger’s comments from 2003: ‘Exile is not one of my favourite albums, although I think the record does have a particular feeling. I’m not too sure how great the songs are, but put together it’s a nice piece. However, when I listen to Exile it has some of the worst mixes I’ve ever heard. I’d love to remix the record, not just because of the vocals, but because generally, I think it sounds lousy.’ Well, it could certainly be mixed with more clarity, but to do that would be to lose its essential Stones-ness, which would upset the millions to have bought it thus far.

Preceded by the UK and US Top 10 hit Tumbling Dice, Exile On Main St. was released in May 1972. It was an immediate commercial success, reaching #1 worldwide just as the band embarked on their celebrated 1972 American Tour, their first for three years. The second, and only other, single from the album, Happy, got to #22 in the US in July.

Many critics judged Exile On Main St. to be a ragged and impenetrable record at the time of its release, but the UK’s Richard Williams, writing in Melody Maker, praised the album in a review entitled ‘The Stones: Quite Simply the Best’. He said the album ‘is definitely going to take its place in history’ and ‘it’s the best album they’ve ever made. This is an album which utterly repulses the sneers and arrows of outraged put-down artists. Once and for all, it answers any questions about their ability as rock ‘n’ rollers.’

Keith Richards has the last word: ‘We didn’t start off intending to make a double album; we just went down to the south of France to make an album and by the time we’d finished we said, ‘We want to put it all out.’ I was no longer interested in hitting Number One in the charts every time. What I want to do is good shit – if it’s good they’ll get it some time down the road.’

#the rolling stones #exile on main street

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spiders-hth-is-an-outlier · 6 years ago

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Hot Take: Daphne is Castiel

(Sorry if everyone but me has already thought of this. It made me feel clever; don’t take this from me.)

So I was thinking about that Daphne Loves Fred carved on the bar in Dean’s “fantasy,” and then I was thinking about Daphne in general and who she is to Dean, which actually has some layers to it.

So, Scoobynatural was obviously entirely about childhood innocence, and Daphne is exactly the right Perfect Girl for a pre-sexual, child version of Dean. She’s pretty and feminine, spunky and game for adventure, loyal and a caretaker -- honestly, she’s one pale pink nightgown short of a full-blown Oedipal issue (not in her similarity to Actual Mary, of course, but to the Mother Mary fantasy that Dean, who grieved his mother and the innocent pre-monster life she represented nonstop throughout his childhood). Dean’s life was, like an episode of Scooby-Doo, lived on the road, out of a moving vehicle, on an aimless ramble from event to event with a reset button at the end of every “episode” -- but Scooby-Doo remained a fantasy and not a nightmare for him because it showed The Hunting Life not as the grim, marginal existence that Dean actually lived exclusively in the care of gruff man’s men like John and Bobby, but a playful version full of bright colors and giant sandwiches and the Sweetest, Prettiest Girl In the World.

Right, so but then -- puberty happened, and Dean discovered sex. And the thing about Dean is that he ISN’T attracted to ingenues like Daphne. Dean likes frisky women. Dean likes ladies with experience. Dean’s adult fantasies are exclusively about strippers and porn stars and One-Night Wonders and tramp-stamp rock’n’roll badasses like Pamela. And he doesn’t have some kind of gross Madonna/Whore complex, either -- the time he found a woman that he could see in the wife-and-mother role, it was Lisa, whom he remembered with enormous enthusiasm from her younger days, when she used to pick up cute drifters in biker bars and bang them like screen doors for a couple of days then send them packing. Yeah, Lisa had mellowed with age by the time she was Dean’s actual partner, but he picked someone he associated with assertive sexuality, not just domesticity. Dean likes women who are going to meet his flirting and come back at him twice as hard, who want him, and who know what they want him for.

Season 13 rolls around, and he slips through what the fuck ever and ends up revisiting his childhood, and his childhood crush. And in keeping with the theme of the episode, which is about the needs that nostalgia fulfills and the urge we have to protect the innocence of the child versions of ourselves (even knowing that the whole concept of “childhood innocence” is built on a series of illusions), he’s back in that child mindset right away: he wants DAPHNE, Daphne is PERFECT and BEAUTIFUL and everything he missed out on having in his life when he was young -- she’s both Devoted Girlfriend and Team Mommy Figure. She’s terribly ill-suited to the person Dean actually grew up to be, but that’s not the point; she’s a child’s dream of feminine affection.

So who is Daphne, as “person” within the Scoobynatural universe (as distinct from the character Dean knew on the tv show)? Well, just like he remembers, she’s brave and cheery and endlessly kind and foxy... but unlike whatever Dean’s half-formed boyhood fantasies were all about, she’s... completely unattainable. (Oh, look who wants what he can’t have. Hm.) She’s completely unattainable for two reasons.

One is that she IS a devoted girlfriend -- Fred’s devoted girlfriend. Sam calls him out immediately for trying to pick up someone else’s girl, and Daphne is impervious to Dean’s clumsy attempts to disparage Fred (”What a jerk!” “Not really.”) When he asks what Daphne wants, she describes Fred -- strong, sincere, ascot. (We’re gonna come back to the ascot.) Daphne’s wants and needs are simple: she is a one-man woman, and she has her man. There’s nothing there for Dean to work with.

The second is that... Daphne is a child’s fantasy, and appears to be, completely without calculation, as asexual as a child. Now, the rules of the Cartoon Universe clearly don’t require that to be the case: Velma is also a cartoon character, and she’s wildly thirsty for Sam from minute one. Sex, or at least sexual attraction, seems to exist in this reality... but Daphne is wholly unaware of it. She hasn’t even rejected it; she just doesn’t think about it. Boys and girls don’t sleep in the same room, silly.

Daphne loves Fred. But Daphne doesn’t sleep with Fred; Daphne isn’t a sexual being at all. Her love is loyal and true, but her love is for Fred’s virtues, not Fred’s body.

There’s a whole ‘nother long essay, of course, about Dean’s weird, all-over-the-map reaction to Fred. Fred is the worst, Fred is a loser, the Perfect Woman is totally wasted on Fred... but of course, Fred also embodies some standard of heroism that Dean wants to be: he is strong, he is sincere, he’s the leader, the driver, the Good Soldier -- not just an obedient soldier, but a good one that people admire and care about. His fear when he gets the Big Reveal about ghosts is that he hasn’t saved enough people; he’s that kind of guy. (Oh, hey, what does Daphne worry about? Just her eternal soul, whether she’s worthy of Heaven or damned to Hell. Isn’t that interesting.) Not for nothing does Dean end up wearing that goddamn ascot by the end of the episode; more than anything, what Dean aspires to be is someone who is strong and sincere and has done good and is worthy of the love and friendship that Fred takes for granted.

Daphne loves Fred. Well, why shouldn’t she? He’s a good man, faithful and strong, her companion and protector and teammate. In spite of Dean kicking against the post, even he has to admit by the end, Daphne loves Fred because Fred deserves Daphne’s love. They suit each other. The exist in this fantasy world, perfectly matched and perfectly happy. In separate bedrooms.

There’s a perpetual question, after this many years, about why exactly Dean is the only sentient being in the universe who seems convinced that he can’t be with Castiel. He is not unaware of the fact that the obvious explanation for 3/4ths of everything Castiel has done in the past decade is “he’s absurdly, self-destructively in love with Dean.” Like, Dean couldn’t be unaware of it, because people keep saying it. A lot of fanfic has this kind of goofy, YA novel take on it, where Dean is obliviously self-deprecating, where he’s all like, oh, just some regular guy like me, how could he ever want me? But that’s -- come on. Dean’s not stupid, and he’s certainly not stupid about people. The way he blithely factors Castiel into all of his future plans, the way he’s got that beach chair all picked out for their retirement, it’s clear that he know Castiel is here for the long haul, that he’s loyal to Dean for life. Literally everyone knows that.

Daphne loves Fred.

But Dean can’t have Daphne. Not in the real world. Because Daphne isn’t from the real world. She’s not a human being, although she’s close enough to make an engaging fantasy.

Daphne is entirely, unbreakably, unquestionably devoted to her strong, sincere, righteous man. But boys and girls don’t sleep in the same room. Silly.

I think it’s not Castiel’s love that Dean thinks he can’t have. That’s often fandom’s take, because of some perception that Dean doesn’t think he deserves love or whatever. And maybe Dean doesn’t think he deserves it, I don’t know, but he’s not an idiot, and it never really made sense to me that he could be that goddamn blind to the fact that he does have it. Daphne loves Fred, and Dean maybe has some complex feelings about that -- about whether Fred is good enough, about whether Fred deserves Daphne -- but he knows it’s true. He’s so sure it’s true that he keeps it carved deep in the grain, a sentimental reminder, the kind of thing childhood sweethearts do, a memento of first love in all its purity.

What Dean thinks he can’t have isn’t love. It’s sex. Because who he’s in love with is fundamentally incompatible with Dean specifically sexually -- and while I still think Dean’s internalized homophobia is a part of that, I think he’s at least mellowed enough to know that getting over his own shit is an option for him. What’s not an option for him is Castiel ever becoming the kind of hot-blooded, sexually assertive, throw-you-down-and-fuck-your-brains-out kind of person that gets Dean’s dick hard. Daphne may love Fred to death, but Fred is never, ever gonna get any ass from Daphne.

Fred seems to be fine with that. He seems to love in that same pure, childlike way that Daphne does -- that Dean did when he actually was a child with his mother’s voice in his ears, telling him that angels were watching. But present-day Dean, the man that Dean grew into, is not fine with it.

He wants what he can’t have. He keeps that purity of love close to him, among the other signs and symbols of his identity that decorate his dumb squirrel bar, because he does value it, and he values Castiel. But that distance exists between them, and I’m increasingly convinced it’s because of that fundamental incompatibility -- Dean is a guy who likes to get dirty (hell, even his demon-self just had orgies at honky-tonks with world-weary barmaids instead of properly debauching and corrupting the innocent like we see so many other demons preferring to do), and Castiel is (I think almost indisputably) some version of asexual.

Castiel loves Dean and the entire goddamn multiverse knows it, but he’s still something that Dean wants and can’t have. Both of these concepts always seemed pretty intuitively obvious to me, but I don’t think I ever fully grokked how they connected to each other until the Daphne thing fell into place.

#this ran long #spn 13x16 #spn 14x10 #Destiel #asexual castiel #1700 words about Daphne Blake #you're welcome fandom

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monkeystrokes8 · 4 years ago

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FIRST SET.

Bill spotted Charlene coming into the bar as the drummer-of-the-week put a shimmer on the high-hat for an overdramatic finish to “I Still Miss Someone,” meant to tug heartstrings but making Bill laugh. Probably because they were only five songs into the set and he’d already downed half an Old Style and three fingers of tequila and Charlene was especially dolled up in a velvet-curtain red jumpsuit, white fringe spilling off her shoulders like carwash drying strips.

It was a worrisome moment too. Like the song said, there was a real good chance he’d "never get over those blue eyes."

The crawl of circling dancers quickened as Del hit the opening notes of “Fox on the Run.” Coca-cola cowboys in white straw Stetsons two-stepping with Mary Kay consultants flirting with hippie college kids shuffling around with unstoppable geriatrics. The Broken Axle was the most confounding joint Bill ever played, a broke-down country-western roadhouse smack dab in the middle of an R&B mecca. The Sunday afternoon gig was a three-hour affair, a last hurrah before the tragedy of Monday morning, with time to sleep most it off.

Charlene blew Del a kiss and settled into her regular booth with the books. From the angle of his piano bench, Bill could steal as many looks her way as he could handle. A blessing and a curse.

Bill never intended to fall for the May pinup girl recently hitched to December’s falling Nashville star taking one final bow as proprietor and house-band leader of a honky-tonk Memphis bar. But after just a few weeks playing this gig, Charlene was in Bill's head but good. Anyway,it wasn’t all his fault. She kinda started it.

In about an hour, Del would call his young wife to the stage for a George-Tammy or Porter-Dolly or Conway-Loretta number to end the second set. As mismatched as their ages, they made a classic country duo, and true to stereotype of young women knocking boots with yesterday’s headliners, Charlene’s eye seemed to wander. Last week, leaning into the mic for harmony on "Golden Rings” she glanced past her husband’s neck to give the new kid on keys a salacious wink that would make Tanya Tucker blush.

Del Hopkins and the Railroad Spikes was once the hot ticket; Saturday nights at the Ryman, flame-job customized tour bus, 8x10 taped to the front window at Ernie’s Record Shop. The reason Bill took this gig. A resume including a stintwith the man who co-wrote “Double Eagles on a Single Bed” opened doors.

He was just setting out. He'd heard the horror stories coming out of Nashville. The Broken Axle on Sunday afternoon was the place for an ivory-tickler with a quarter in his pocket and a shirt on his back. Riding a legend’s coattails in a town where he could afford rent.

At the casual audition, after running through Del’s mandatories (Ray Price, Charlie Rich and other piano-centric standards) on the bar’s banged-up but surprisingly bright tack piano, Del offered him a trial run that Sunday, “That is, if you think you can keep up.”

Del wasn’t talking about music. “Sunday's a party here,” he said. “We play it loose, have a big time, and the crowd follows suit. A day of hoots, hollers, longnecks and picklebacks. And I expect the band to lead the charge."

That was the deal. You had to drink like a steam locomotive and still stay in key. According to Del, it didn’t get tricky until halfway through the second set, when the boozin’ picked up speed like the Orange Blossom Special.

“Only trouble we ever had was a drummer who went squirrely and turned into Neil Peart after a couple shots. But our last piano player handled it fine. May he rest in peace.” Del raised his bottle.

It was a smart business model. Del would mumble something into the mic about being thirsty, or hair of the dog. Fans jumped to buy the band shots. Del would lift his glass. “Bless your hearts, you sweet things,” “Thankee kindly to the good folks at Table 5”, etcetera, then roar the Hee Haw catchphrase, “Sa-lute!” The crowd would howl like a pack of hounds picking up a scent and head to the bar for shots of their own. Then Del would do the Ole Possum hiccup and cheek-pop from "White Lightnin’." The crowd drank it up.

And therein lay the rub. Bill didn’t drink hard liquor. Gave him the spins. A couple beers, fine, but liquor was not his friend. Never had been.

The first time the pigtailed barmaid showed up with a trayful, Bill tried to slyly dump his shot into the cuff of his Wranglers. The crowd bellowed and Del cracked wise about how he thought Carolina hillbillies were wet-nursed from a still.

From then on, Bill did his best. The band was harmless enough: a doughy family man with a penchant for thrift-store ties on stand-up; wispy-haired guy with a scrunched-up face on fiddle; and drummer-of-the-week, so far a runaway teenager, a poker-faced Lurch and a grizzled hipster looking like he just woke up. Whoever felt like sitting in. Del handled vocals and guitar, white pompadour piled ridiculously high, Sun Session tee with rolled-up sleeves, silver-dollar-studded Telecaster on his knee.

The problem was Charlene. When Cupid runs out of arrows, he calls his pal, Inebriation, the cherub with the cocktail shaker of Love Potion #9. Bill pried his eyes from the curvaceous cowgirl, pushed the soft crush of velvet out of his head, and concentrated on the 88s.

Del hit the closing licks of “Mama Tried” and the band broke for smokes and leaks.

Charlene was waiting at the edge of the stage with a chopped-pork sandwich on a paper plate. “You hungry, sugar?”

Bill hesitated. Was it proper to accept a BBQ sandwich from another man's wife you’ve pictured wearing nothing but a smile?

“Oh. Hey. Thanks.”

Before he could take the plate, Charlene walked it to her booth. “C’mon over here, baby. Let's get to know each other a little.”

She slid into the banquette. Red velvet on red vinyl, a devil's playground. Bill took a nervous glance around, then looked at the sandwich, determined not to make eye contact.

He’d seen sandwiches coming out of the closet-sized kitchen slopped together by the cook who also maintained the ancient building's plumbing and electric. This one was made with TLC, the perfect balance of sauce and slaw, hickory-smoked hunks tucked neatly in a warm bun. Had she made it herself?

“So you just moved from Carolina, huh? All by your lonesome?”

The word “lonesome” struck a chord. A sour one.

He was alone in a small apartment in a greasy-grit-gravy town. It wasn’t just sex he was missing. He was looking for a friend, too.

Bill squirmed. Del was nowhere in sight, but with the whole bar stealing looks in their direction, he felt more on stage than when on stage. He nodded yes and took a bite.

And then, goddammit, he looked in her eyes. A pale-blue invitation to go skinny-dipping.

The eyes on the back of Carly Simon’s first album. Eyes he’d been in love with since rummaging his father’s record collection at age six.

And Carly’s lips. Charlene had those, too.

Bill didn’t put all his love marbles on looks, but he believed in physiognomy. Granddaddy was the spitting image Jimmy Stewart, and by god, they were the same stand-up guy,cracking knuckles and folksy truths.

And here, glowing like a heat lamp over a BBQ sandwich, was the face of his dream girl. He couldn’t help but think--just like Carly sang it--loving her would be “the right thing to do.”

“Well you won’t be flying solo for long, I’m sure of that. Cutie pie like you is gonna get scooped up lickety-split in this town.

Bill was hoping his infatuation would cool. Now she was calling him “Cutie pie.” Worst of all, Del was a decent guy.

An impatient snare drum counted down. The band was back. Bill looked from the raised eyebrows of Del to Charlene to his half-eaten sandwich.

Charlene gave his arm a pat. “I’ll wrap it for you.”

There was a shot waiting on the piano.

SECOND SET.

“You’re leaving us hanging, boy,” Del twanged. “Much obliged to the lovely fillies who drove all the way from Knoxville. Sa-lute!”

Tequila. Bill swallowed his gag reflex as the band kicked into “Only Daddy That’ll Walk the Line.”

The dance floor filled, promenade line colliding like state-fair bumper cars.Del took a request that Bill had to fake his way through. Thankfully, Charlene would be up soon with her usual song list.

Only she wouldn’t. The music stopped, and Del reached for the tallboy tucked into an overturned toilet plunger clamped to his mic stand. Charlene gave a playful finger snap and he dug out keys and jangled them,teasing her, then handed them over.

“You know I love my wife,” Del told the crowd, “when I let her drive the Caddy.” Del drove a 1966 red convertible. “But we’ve got important people flying in from Nashville today, and they get the best. Y'all are just gonna have to put up with us ugly plugs until she gets back.” Charlene blew another kiss and waved goodbye to the bar. There was a chorus of comic disappointment, followed by opening licks of “Kiss an Angel Good Morning.”

Important people from Nashville. That explained Charlene’s get-up. Del had lots of old pals from his salad days in the biz. Bill fantasized some big-buckled scout discovering the fresh talent on keys. “Son, I'm gonna make you a star.”

The band was two verses into “Streets of Bakersfield" when a procession of rowdy bikers in cheap leather vests plowed though the front door. Sunday cruisers, bellying to the bar slapping clumsy high fives. By the sound of it, this wasn’t their first stop.

Del didn’t seem to notice.

Pigtails was back at the stage with another trayful. Bill suddenly didn’t feel so hot. Del raised a glass. “This one goes out to the cowpunchers at Table 8,

May you never lose a stirrup, May you never waste a loop; May your can stay full of syrup, And your gizzard full of whoop!

Sa-lute!

The fiddle player screeched into “Orange Blossom Special.”

Holy hell. Bill was smashed.

The bar roared with drunken thunder as the Special picked up speed, chug-a-chugging through the pass like a runaway train, pistons clanking, smoke belching, letting off steam, as the fiddler tried to saw his instrument in half. Woot woot!

Del was grinning wide, the bell of the antique register clanging away like the Old 97. As the train pulled mercifully into the station with a final scratch of the fiddle, Del made a slashing sign across his throat. Break time.

“Play some Johnny Paycheck!” One of the bikers.

Del held up a palm. “The boys and I are getting pretty tuckered up here, gonna take a pause for the cause and be right back for the last set.”

The bikers weren’t having it. “Paycheck!”

Bill knew from experience. Always keep an eye on yahoos yelling "Paycheck!" These guys were assholes.

Del remained composed. “You fellas cool it. Don’t start no shit there won’t be no shit.” He took a swill of beer. “Back in ten. Play nice, everybody.”

Bill stood up, his head spinning. He bolted out the fire exit for some fresh air. And possibly a place to puke.

Charlene was back, leaning against the Caddy, now wearing a denim jacket, daintily puffing a cigarette (she smokes?) talking to an older gent in a rumpled suit and woman in a flowered dress that reminded him of his mother. VIPs? Whoever they were, they’d seen flashier days. Nonetheless, Del seemed overjoyed to see them, bounding over with enthusiastic handshakes and kisses. “C’mon in, we’ve saved you the best table in the house!” Charlene waved them away, lingering to finish her smoke.

The bikers came ‘round the corner. Bill smelled reefer. "Hey-hey mama say the way you move, gonna make sweat gonna make you groove," one sang with hackle-raising lechery.

Within seconds, Charlene was surrounded by the saddlefat gang of wanna-be toughs, like a fat farm production of West Side Story.One darted forward as if to touch her ass, then pulled away, a show-off kid putting his hand over a fire.

The tequila did the talking. “Piss off, dick lips,” Bill said.

Five heads twisted. “Excuse me, douchebag?" said a gray flattop.

“You heard me fuckface.” Bill balled a fist, then remembered the piano player’s credo. Protect the hands at all costs. He was praying for a crowbar to magically appear when a bald guy the size of a gas pump cold-cocked him in the nose. Lights out.

THIRD SET.

He woke surrounded by cases of beer and canned tomatoes. Charlene was dabbing his bleeding nose with a bar towel.

“There you are. Big man without a plan. How you feelin’, honey?”

Bill adjusted his makeshift pillow, a restaurant-sized pack of corn tortillas. “Okay, I guess. Stupid, but okay.”

“Ain’t nothing more heroic than a man who can’t fight jumping into one. Specially defending a damsel in distress.”

The glorious lips descended onto his, her face backlit by the storeroom fluorescents. Bill allowed himself two seconds of heaven, make that ten, okay screw it, a full stanza, before turning away.

He was about to sputter this ain’t right or some such nonsense when Charlene entered the storeroom. Bill blinked. He was either hallucinatory drunk or suffering one mighty concussion. Seeing double. Two Charlenes looked down at him.

“I see you two are getting along just like I thought you would.” Charlene looked at Charlene. “Give the guy a chance to wake up, Carla. Otherwise you’re taking advantage.”

“He’s as cute as you said, Charlene. Sweet, too. You know what I like alright.”

“Twins know.”

“Indeed we do.” Carla stroked Bill’s hair, laying the damp towel on his forehead. “Everything good out there?”

“Fine and dandy. Del and a couple cowboys ran them a-holes off, they was scooting anyway thanks to Prince Valiant here. Worried about getting sued or whatever BarcaLounger bikers worry about."

“Mom and Dad good?”

“Yep, already having a time. Dad’s eating peaches and peanut butter, and Mom just bought a round. She wants to know if you’re okay.” Charlene shifted her gaze to Bill. “Del says take the rest of the day off, and I’m gonna dedicate 'Fist City’ to you for sticking up for my Sis."

Charlene turned to leave, stopping at the switch by the door. “You two coming out, or should I turn the lights off?”

Bill grinned, still goofy. He play-slapped Carla on the thigh. “Go have a shot with your folks, I’ll be out in a few.”

“Baby, that’s the one thing that separates me from my sister,” Carla cooed. “I can’t drink worth a damn.”

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krispyweiss · 7 years ago

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Marty Stuart & His Fabulous Superlatives at Memorial Hall OTR, Cincinnati, Ohio, March 30, 2018

Marty Stuart & His Fabulous Superlatives were terrific in Cincinnati.

Playing inside the gorgeous and intimate confines of Memorial Hall OTR on Friday night, the jaw-dropping quartet put on a spell-binding show that was as diverse as it was electrifying. The stage was unadorned - save for a ring of instruments and a projection of the band’s logo (an Indian head) on a screen above - but the music more than made up for the lack of visual stimulation.

Ostensibly a country band, Stuart and the Fab Supers - drummer Harry Stinson, guitarist Kenny Vaughan and bassist Chris Scruggs (grandson of Earl) - are equally adept at playing rock ‘n’ roll, rockabilly, surf music, honky tonk, folk and bluegrass music and did all that and more exceedingly well for a near-sell-out crowd that was as energized as the music itself.

Playing a mix of covers, tracks from their recent, hazy, psychedelic Way Out West LP - “it’ll leave you feeling like you just spent 21 days on Willie Nelson’s bus,” Stuart said - and an as-yet-unreleased album of instrumental surf songs, the group raised hair and knocked off socks for a stupefying 100 minutes that seemed to fly by in 10.

Stuart, a veteran of Lester Flatt and Johnny Cash’s bands, was nominal frontman, dressed, like his bandmates, in black and playing electric lead and rhythm guitar, acoustic guitar and mandolin. A fine axeman, Stuart is a virtuoso on mandolin - made clear when he accompanied himself on a solo rendition of “Orange Blossom Special” that had audience members leaping to their feet mid-song as he played with excessive speed and precision.

Early on, the band played “Cincinnati, Ohio,” referencing the Ohio River’s demarcation of the Mason-Dixon Line. From then on, the hometown crowd was putty, even as Stuart, in a hotbed of conservatism, declared he has “opinions” about modern country music and expressed his concern about environmental issues.

A generous and magnanimous bandleader, Stuart, black scarf around his neck, often and wisely ceded the mic to his mates.

Playing a glittery, turquoise double-neck and rocking shades and a cowboy hat, Vaughan led the group through barn-burning renditions of “Country Music Got a Hold on Me” and “Hot Like That,” reeling of scorching solos that found him switching from six to 12 strings and leaving Stuart and the band to gawk along with the rest of the house.

Stinson, who possesses a gorgeous, high tenor, stepped to the front brushing a lone snare drum and slayed concertgoers with a pointed turn on Woody Guthrie’s “Ballad of Pretty Boy Floyd.” And when he wasn’t singing lead, Stinson added precise harmonies to the group’s beautiful four-way blend, which reached a heavenly apex on “Angels Rock Me to Sleep.”

Plucking an upright, Scruggs used his turn in the spotlight to pay homage to the locale, following a raucous and ecstatically received turn on “Cincinnati Lou” with a pretty and similarly well-loved version of Bill Monroe’s “Blue Moon of Kentucky,” on which he good-naturedly imitated the bluegrass legend, eliciting mid-song laughter.

Throughout the evening, Vaughan used a red Rickenbacker to evoke the jangly sound of the Byrds as the rhythm section provided a Beatles backbeat. He played acoustic guitar on Marty Robbins’ “El Paso,” scrawling Jerry Garcia-esque runs as his bandmates harmonies around a single mic. And he strangled a Stratocaster, honoring the legacies of Link Wray and Dick Dale on a couple of mind-blowing instrumentals and playing full-bore rock music that somehow didn’t seem out of place in what was allegedly a country-music concert.

And the Superlatives’ brand of early rockabilly would’ve made Elvis’ pelvis swivel as it never had before.

Left alone on stage, Stuart paid tribute to Cash with a lilting original called “Dark Bird.” With his band, plugged-in and super-charged by his side, he shook the building with “The Whiskey Ain’t Workin’” and his own “Time Won’t Wait,” which ended the stellar performance with a terrific - some might say a fabulously superlative - bang.

Grade card: Marty Stuart & His Fabulous Superlatives at Memorial Hall OTR - 3/30/18 - A

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honkytonkangelsspn · 2 years ago

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Goodbye Doug

Piper_Halliwell1979 (@lulu1102) | nickelkeep (@nickelkeep) Title: Goodbye Doug Rating: Mature Paring(s): Donna/Jody, Donna/Doug Kontos, Jody/Bobby (past), Donna & Dean, Castiel/Dean (background) Word Count: 6,407 Archive Warnings: None Tags: AU, Minor Character Death, Friends to Lovers, Closeted Characters, Closeted Donna, Closeted Dean, Fake/Pretend Relationship, Not Actually Unrequited Love, Abusive Relationships, Physical Abuse, Secrets, Murder Wives, Happy Ending Summary:

Donna and Jody were the best of friends. After high school, Jody left to pursue her dreams. Donna was too afraid of being “out” to do anything but accept Doug’s proposal. After his abuse put her in the hospital, Jody comes back to help her get out of a bad marriage. Permanently.

Inspired by “Goodbye Earl” by The Chicks

Link to Fic | Link to Art

#submission #honky tonk angels #honky tonk angels spn #honky tonk angels bang #Author: Piper_Halliwell1979 #Artist: nickelkeep #Goodbye Doug #Donna/Jody #Donna/Doug #Past Jody/Bobby #Donna & Dean #Background Dean/Cas #Rating: M

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tragidean · 7 years ago

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2017 Fic Roundup + Reflections

Here’s to another year! I forgot to add this yesterday but I was too busy burying my head in the metaphorical sand. I feel like I wrote some of my best and favorite work this year, and for those of you who read and left comments and kudos, I love you and appreciate all of your nice words! I know I suck at replying to comments, but I promise you, I love every single one of them.

Here’s my yearly Destiel roundup! Thank all y’all for joining me this year! (☆’s are my personal favorites)

January: ・once you’re burned you’re not the same - 2.2k (Teen) -Coda to 12x9

February: ・whiskey to wine - 879 (General) -Coda to 12x10 ☆Forget the Sky - 26.3k (Teen) [DeanCas Pinefest Challenge] -After winning the lottery, Castiel takes Dean on the trip of a lifetime--touring Japan, no strings attached. But how is Dean supposed to enjoy the scenery when all he sees is Castiel? ・one more sunset, maybe i’d be satisfied - 2.1k (Teen) -Coda to 12x12

March: ・Shatter - 6.8k (Explicit) -Castiel finds himself in the front seat of the Impala in 2004, sitting next to a man who doesn’t believe in Angels and certainly doesn’t believe in himself.

April: ・As I Am - 2.9k (Teen) [Dean/Cas Tropefest Mid-Winter 5k Challenge] -Visiting his family for Christmas, Castiel meets a young pianist at his local church--and incidentally, saves him in the process.

May: ・see the stars light up the purple sky - 1.1k (General) -Castiel finds himself in Limbo.

June: ・Runs Red - 8.5k (Mature) [SPN Casefic Challenge] -Escaping an oncoming hurricane, Dean, Sam and Castiel take cover in an abandoned house in the woods, only to discover that it’s not a spirit that they’ve run into, but the soul of the house itself, and it’s hellbent on killing all three of them. ☆King of the Road - 15.8k (Explicit) -In the middle of the New Mexico desert, Dean finds an Angel crucified in a church. And really, he should’ve left him up there, because all Castiel wants is sex and pot and someone to lean on. Not necessarily in that order.

July: ・Game - 3.7k (Teen) -Coda to 12x13 ・Silent City - 3.1k (Mature) -To make ends meet, Dean dances weeknights at a strip club in Lawrence, and puts up with wandering hands and lewd glances, all until someone exposes him on stage. His savior comes in the form of a man wearing a trenchcoat, and the most sinful lips Dean has ever seen. ・we gave love a chance - 5.2k (Teen) -After a brutal hunt, Dean, Sam and Castiel hide out in a seasonal beach house, and Castiel tends to his wounds in the sun and sand, learning how to love in the process. ・Overflow - 1.6k (Explicit) -Dean finally relents and agrees to Castiel’s recent request: sounding.

August: ・Solace - 1.1k (Explicit) -Dean’s never quite gotten used to the feeling of Castiel’s fingers inside him. ☆Faith in You - 6.7k (Teen) -Dean loses an eye in an encounter with an Angel, and comes to accept his faults over time. A little help from Castiel doesn’t hurt, either. ・i think i’ve had enough - 820 (General) -Self-acceptance takes many forms.

September: ・This is Me - 3k (Teen) -It’s a stupid thought, Dean knows, but he can’t stop thinking about how it would feel to have Castiel touch his soul. ・Are We in Trouble Now? - 18k (Mature) -In the aftermath of Sam’s possession, the earth’s population goes from six billion to a few hundred thousand in the span of three months. In the search for his brother, Dean finds himself hospitalized with the same disease that’s killed the world, staring up into the eyes of the Angel sent to reap him. And like hell is he dying without a fight. ・i’ll earn your trust - 2.8k (Explicit) -Thrown five years into the future, Dean spends his first night sleeping outside of Castiel’s cabin, until the morning when Castiel asks for a favor only Dean can fulfill. ・Keep on Falling - 4.9k (Explicit) -Camped out on the lake, Dean happens on Castiel cleaning his wings. ☆Only Time - 2.1k (Teen) -Castiel has a nest--and not only does he have a nest, but he also has eggs, all from other Angels, all in an attempt to restore the population. And Dean wants one of his own.

October: ・early this morning - 1.8k (Explicit) -The first time Dean has sex with Castiel, it’s in the back of a Buick Super 8. ・Silken - 4.1k (Explicit) -Dean finds a pair of ballet slippers in a box.

November: ・running without - 1.7k (General) -13x4: Castiel wakes up in the Empty. A brawl ensues. ・Doubting Thomas - 40k (Mature) [DeanCas Big Bang Challenge] -Dean and Sam have been missing for two months. After a fruitless search, Castiel finds them on a fluke, after Dean crashlands in his garden, Sam in his arms, and Dean bearing wings. The horrors only go south from there, after Castiel discovers that his old rival, Af, is planning to create more Angels to fulfill his ultimate mission--restoring order to Heaven, and destroying humanity along with it. ・night rider’s lament - 1.8k (Mature) -Coda for 13x6 ・you could be a cowboy on the moon - 1.4k (General) -Coda for 13x6

December: ☆A Lot to Learn About Livin’ - 9.1k (Teen) [SPN Holiday Mixtape Challenge] -After learning of a God living off the coast of Key West, Dean and Sam venture into the Gulf of Mexico to visit him--and his hoard of abandoned pets. Turns out, the God of animals isn’t such a bad guy. After all, what creatures would hand out Christmas dinner to complete strangers without wanting anything in return? ☆Honky Tonk Moon - 17k (Explicit) -Sequel to King of the Road: Somewhere along the way, Castiel was bound to get hurt. Only, Dean didn’t expect confessions to come in the aftermath. ☆Beautiful Mess - 12.8k (Explicit) -As a result of years of harboring Castiel’s leftover Grace, Dean grows wings--except, not where he expects.

Woo! I think that’s everything. I currently have my entry for 2018′s Pinefest challenge written, so that’s something to look forward to! I’m planning, as of right now, to participate in the 2018 DCBB and possibly Dean/Cas Tropefest, so be on the lookout for that as well!

This year hasn’t exactly been a good mental health year, but I got to travel the country like I always wanted and I got the medical test done that I wanted to do (and I’m still fighting the insurance company about.) All in all, I’m proud of myself and what I’ve written, and I’m hoping that while working on my book, I’ll continue to write more! I’m currently planning for a third installment of the Rooms to Let series, but beyond that is up to myself and you!

My inbox is always open if you have requests, but for the time being, anon is off. I’m always on Twitter as well, if you wanna put up with my inane ramblings. I’m a nice person, please talk to me 😭

I look forward to seeing you all this year! Keep reading and responding, and I greatly appreciate each and every one of you!

#ash talks #my writings #wow this took forever to write #i wrote a lot this year didn't i?

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desertislandcloud · 4 years ago

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Johnny Ashby is a British singer/songwriter based in Los Angeles, California. Ashby found a love for music through his Dad’s mixtapes. As a teen, he played guitar in various bands and after leaving college, stepped into the session world. Deciding to move to California with nothing but a suitcase full of clothes, a guitar he built himself and dreams of playing the legendary Troubadour, the songwriter dove in headfirst and has not looked back since.

Inspired by the likes of David Bowie, Kings of Leon, Coldplay and Damon Albarn, Ashby aims to create music following a similar path of thinking outside the box. His sound blends the best of his childhood favourites, with the intention of being performance worthy. Ashby explains, “When I write I imagine what the songs would be like life, that’s what’s most important to me. That’s what I’m aiming for.”

Ashby’s upcoming five-track EP entitled In Bloom is co-written and produced with friends Fredrik Eriksson, Sebastian Fritze and Bill Delia from the band Grizfolk. Grizfolk is hugely successful on the folk-rock circuit opening for artists like Bastille, Haim and X-Ambassadors. The EP highlights Ashby’s infectious Americana tinged sound, featuring radio-ready anthems with lyrics that speak of finding connection, new beginnings and coming together. The ethos behind the EP was to provide uplifting, positive and hopeful messages during a time of uncertainty. Ashby confides, “I think all the songs lyrically really address where we are in this very moment. They’re very true of the time in which they were written. They all have this “heat of the moment” feel for me because we managed to capture the emotion and feeling on each track right there and then. They’re so raw and honest and I feel like I’m wearing my heart on my sleeve here with all of these songs.”

The EP begins with “Never Let You Go” - reminiscent of Kings of Leon, the track features dreamy, layered vocals allowing listeners to uncover something new with each and every listen. Then there is “In Bloom” which glistens with shimmering guitar melodies, warm vocals and thought-provoking lyrics. Ashby shares, “I love the piano melody in the bridge and I love the big U2 guitars on the outro. There are so many sections and parts on this song, all these hooks intertwine together. I get really excited when that happens on a song. It’s what songwriting is all about for me.”

“SOS” speaks about this idea of being lost and wanting to be found. Featuring honky-tonk piano and free-flowing vocals, the song delivers a care-free attitude. With lyrics referencing camping trips with friends, Ashby uses textured, unison vocals to emit a "we're all in this together" vibe, creating a heartwarming track about friendship and solidarity. Leading single “Born Again”, features ethereal harmonies and vast soundscapes delivering a utopian, spine-tingling atmosphere which gradually builds into an unforgettable anthemic chorus. The singer’s soulful, raspy vocals narrate failing, getting a second chance and wanting to live forever.

The EP is brought to conclusion with “Found You”. Gang vocals result in a big stadium feel, ending the EP with a bang. The songwriter explains, “It’s about being a kid and having an imaginary friend. I really like writing songs from that perspective. It’s so freeing and it’s kinda refreshing I get to revisit that and put myself back in the shoes of a younger me.”

Ashby hopes his music encourages others to take a leap and rediscover yourself. Admitting how during these unprecedented times he managed to find time without limitations and value what is truly important, he shares, “Without this lockdown, I don’t think these songs would have happened. I needed this time to stop, sit down and figure it all out. It’s been a valuable lesson and I hope that if there’s anyone that feels at a loss like I did before pre lockdown, I hope my music speaks to them and inspires a leap of faith.”

Ashby’s first EP Cannonball Days peaked at #9 in the iTunes songwriters chart which led to Huffington Post naming him a “Top 5 Emerging Icon". Since then, he has released two well-acclaimed EPs and his music has been heard on radio both in the UK and the US, gaining huge support from BBC Introducing and Absolute Radio in London. He's played the prestigious Troubadour in Los Angeles multiple times and his songs have been featured on primetime television for shows including Grey’s Anatomy, Pretty Little Liars, Elementary, Rise, Baywatch, Teen Mom and Midnight In Texas.

LInks https://www.johnnyashby.com/ https://www.instagram.com/johnnyashbymusic/ https://www.facebook.com/johnnyashbymusic https://twitter.com/itsjohnnyashby

#SoundCloud #music #Johnny Ashby #Uplifting #Folk Rock #Singer-Songwriter #Energetic

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myxtv · 8 years ago

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How to Do SXSW, Without a Badge

By Maria-Karmina Did you miss out on this year's SXSW in Austin, Texas? We have some of the best highlights, if you check our Instagram, our recap will make you feel like you were there. The future of the internet was frequently discussed at several events, especially in light of the fake news frenzy and increased hacking. But first let’s define what “SXSW” is; it’s slang for “South-By-Southwest.” At South by Southwest, a music lover is the ultimate target market. We presumed early adopters and tastemakers have been inundated not just with music, but also with whatever – through research or, just as likely, free-association – the marketers happen to think we’ll tout to friends after the convention ends. At the many day parties, there are ostentatiously branded, generously poured wine, beer and (mostly sweet) hard liquor to stupefy us. Out on 6th street (the place where everyone goes to party), people in trucks hand out energy drinks to wake us back up. There are red-eye remedies and breath mints, and whole forests worth of glossy fashion and music magazines. T-shirts touting websites and record companies abound and one daytime showcase handed out running shoes to early arrivals. The ritual for most, if not all, was to wake up red-eyed, download some songs, research each artist you were about to see, pull on a comfortable T-shirt, lace up some comfy walking shoes, knock back an energy drink and check the latest fashion trends -- until it’s time to pour something sweet of an alcoholic beverage, strong enough to guarantee a hangover. Sure, that’s the wildlife adventures of myself and many others in the midst of SXSW. Tastemaking can be so grueling, I know. Want to know the real secret to SXSW? RSVP to as many parties as you possibly can. Not only will you be able to enjoy free music by new and mainstream artists, but usually the event will be serving horderves (fancy finger food) – but if you’re lucky, an open bar can also be found in the corner of the room. One of the most comfortable places to hear music at SXSW was “the Fort,” the paved courtyard of what was previously a youth center in a prime downtown location. The final official day of SXSW often has one reflecting on the past week and the event as a whole with the brain cells left. Before getting into any of the music (there was plenty), here are some thoughts about this year’s SXSW. For starters, compared to the previous few years, 2017 found smaller crowds and specifically fewer spring breakers. This may have been due to a toned down presence of corporate sponsors and a lack of mega-headliners that have dominated press coverage of the festival in years past – sorry Garth, but the teenyboppers could care less. As a result of these factors, day parties and official showcases felt less crowded, lines were smaller, and getting around was easier. To sum it up, there’s a feeling amongst some that the SXSW bubble has finally burst and now the festival is making a slow return to its roots. And if we’re talking about roots, then we’re talking about the eclectic mix of smaller acts who make major sacrifices for the chance to play the festival. Saturday is considered the final day of SXSW, and yet, the spirit was in full swing where bands and fans sought to close out this year’s edition with a bang. Here’s the rad part of this entire two-week stint. South by Southwest has always been a festival with a heart of twang. When SXSW began in 1987, it was a showcase for the local music that had been overlooked by a music business based in Los Angeles, New York City and Nashville, and that meant a lot of Texas honky-tonk roots. Compared to its fall counterpart, the CMJ Music Marathon held in New York City, South by Southwest is still a haven for music that got its own genre classifications in the 1990's: alt-country and Americana. And unlike much of the music business, this festival is hospitable to musicians with wrinkles and gray hair.

#festival #sxsw2017 #sxsw #sxswmusic #app #austin #texas #badgeholder #CMJMusicmarathon

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imagekeepr · 8 years ago

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Albums and Songs Recorded by The Rolling Stones (up until 2008)

1964 - England's Newest Hit Makers (US) (London/Decca) Not Fade Away * Route 66 * I Just Want to Make Love to You * Honest I Do * Mona (I Need You Baby) * Now I've Got a Witness * Little by Little * I'm a King Bee * Carol * Tell Me * Can I Get a Witness * You Can Make It If You Try * Walking the Dog 1964 - 12 X 5 (London/Decca) Around and Around * Confessin' the Blues * Empty Heart * Time Is On My Side * Good Times, Bad Times * It's All Over Now * 2120 South Michigan Avenue * Under the Boardwalk * Congratulations * Grown Up Wrong * If You Need Me * Susie Q 1965 - The Rolling Stones No. 2 (Decca) Everybody Needs Somebody To Love * Down Home Girl * You Can't Catch Me * Time Is On My Side * What a Shame * Grown Up Wrong * Down the Road Apiece * Under the Boardwalk * I Can't Be Satisfied * Pain In My Heart * Off The Hook * Susie Q 1965 - The Rolling Stones, Now! (London/Decca) Everybody Needs Somebody To Love * Down Home Girl * You Can't Catch Me * Heart of Stone * What a Shame * Mona (I Need You Baby) * Down the Road Apiece * Off the Hook * Pain In My Heart * Oh Baby (We Got a Good Thing Goin') * Little Red Rooster * Surprise, Surprise 1965 - Out of Our Heads (London/Decca) Mercy, Mercy * Hitch Hike * The Last Time * That's How Strong My Love Is * Good Times * I'm Alright (live) * (I Can't Get No) Satsifaction * Cry To Me * The Under Assistant West Coast Promotion Man * Play With Fire * The Spider and the Fly * One More Try 1965 - December Children (And Everybody's) (London/Decca) She Said Yeah * Talkin' About You * You Better Move On * Look What You've Done * The Singer, Not the Song * Route 66 (live) * Get Off of My Cloud * I'm Free * As Tears Go By * Gotta Get Away * Blue Turns To Grey * I'm Moving On (live) 1966 - Aftermath (London/Decca) Mother's Little Helper * Stupid Girl * Lady Jane * Under My Thumb * Doncha Bother Me * Goin' Home * Flight 505 * High and Dry * Out of Time * It's Not Easy * I Am Waiting * Take It or Leave It * Think * What To Do 1966 - Got Live If You Want It (US/live) (London/Decca) Under My Thumb * Get Off of My Cloud * Lady Jane * Not Fade Away * I've Been Loving You Too Long * Fortune Teller * The Last Time * 19th Nervous Breakdown * Time Is On My Side * I'm Alright * Have You Seen Your Mother, Baby, Standing in the Shadow * (I Can't Get No) Satisfaction 1967 - Between the Buttons (London/Decca) Yesterday's Papers * My Obsession * Back Street Girl * Connection * She Smiled Sweetly * Cool, Calm & Collected * All Sold Out * Please Go Home * Who's Been Sleepin Here? * Complicated * Miss Amanda Jones * Something Happened To Me Yesterday 1967 - Their Satanic Majesties Request (London/Decca) Sing This All Together * Citadel * In Another Land * 2000 Man * Sing This All Together (See What Happens) * She's a Rainbow * The Lantern * Gomper * 2000 Light Years From Home * On With the Show 1968 - Beggar's Banquet (London/Decca) Sympathy for the Devil * No Expectations * Dear Doctor * Parachute Woman * Jig-Saw Puzzle * Street Fighting Man * Prodigal Son * Stray Cat Blues * Factory Girl * Salt of the Earth 1969 - Let It Bleed (London/Decca) Gimme Shelter * Love In Vain * Country Honk * Live With Me * Let it Bleed * Midnight Rambler * You Got the Silver * Monkey Man * You Can't Always Get What You Want 1970 - Get Yer Ya-Yas Out! The Rolling Stones in Concert (London/Decca) Jumpin' Jack Flash * Carol * Stray Cat Blues * Love In Vain * Midnight Rambler * Sympathy For the Devil * Live With Me * Little Queenie * Honky Tonk Women * Street Fighting Man 1971 - Sticky Fingers (Rolling Stones) Brown Sugar * Sway * Wild Horses * Can't You Hear Me Knocking * You Gotta Move * Bitch * I Got the Blues * Sister Morphine * Dead Flowers * Moonlight Mile 1971 - Gimme Shelter (Decca) Jumpin' Jack Flash * Love In Vain * Honky Tonk Women * Street Fighting Man * Sympathy For the Devil * Gimme Shelter * Under My Thumb * Time Is On My Side * I've Been Loving You Too Long * Fortune Teller * Lady Jane * (I Can't Get No) Satisfaction 1972 - Exile On Main St. (Rolling Stones) Rocks Off * Rip This Joint * Shake Your Hips * Casino Boogie * Tumbling Dice * Sweet Virginia * Tom and Frayed * Sweet Black Angel * Loving Cup * Happy * Turd on the Run * Ventilator Blues * I Just Want To See His Face * Let It Loose * All Down the Line * Stop Breaking Down * Shine a Light * Soul Survivor 1973 - Goat Head Soup (Rolling Stones) Dancing with Mr. D * 100 Years Ago * Coming Down Again * Doo Doo Doo Doo Doo (Heartbreaker) * Angie * Silver Train * Hide Your Love * Winter * Can You Hear the Music * Star Star 1974 - It's Only Rock 'n Roll (Rolling Stones) If You Can't Rock Me * Ain't Too Proud To Beg * It's Only Rock 'n Roll (But I Like It) * 'Till the Next Goodbye * Time Waits For No One * Luxury * Dance Little Sister * If You Really Want To Be My Friend * Short and Curlies * Fingerprint File 1976 - Black and Blue (Rolling Stones) Hot Stuff * Hand of Fate * Cherry Oh Baby * Memory Motel * Hey Negrita * Melody * Fool to Cry * Crazy Mama 1977 - Love You Live (Rolling Stones) Fanfare for the Common Man * Honky Tonk Women * If You Can't Rock Me/Get Off of My Cloud * Happy * Hot Stuff * Star Star * Tumblin' Dice * Fingerprint File * You Gotta Move * You Can't Always Get What You Want * Mannish Boy * Crackin' Up * Little Red Rooster * Around and Around * It's Only Rock 'n Roll (But I Like It) * Brown Sugar * Jumpin' Jack Flash * Sympathy For the Devil 1978 - Some Girls (Rolling Stones) Miss You * When the Whip Comes Down * Just My Imagination (Running Away With Me) * Some Girls * Lies * Far Away Eyes * Respectable * Before They Make Me Run * Beast of Burden * Shattered 1980 - Emotional Rescue (Rolling Stones) Dance (Part 1) * Summer Romance * Send It To Me * Let Me Go * Indian Girl * Where the Boys Go * Down in the Hole * Emotional Rescue * She's So Cold * All About You 1981 - Tattoo You (Rolling Stones) Start Me Up * Hang Fire * Slave * Little T&A * Black Limousine * Neighbours * Worried About You * Tops * Heaven * No Use In Crying * Waiting On a Friend 1982 - Still Life (American Concert 1981) (Rolling Stones) Take the A Train * Under My Thumb * Let's Spend the Night Together * Shattered * Twenty Flight Rock * Going to a Go-Go * Let Me Go * Time Is On My Side * Just My Imagination (Running Away with Me) * Start Me Up * (I Can't Get No) Satisfaction * Star Spangled Banner 1983 - Undercover (Rolling Stones) Undercover of the Night * She Was Hot * Tie You Up (The Pain of Love) * Wanna Hold You * Feel On Baby * Too Much Blood * Pretty Beat Up * Too Tough * All the Way Down * It Must Be Hell 1986 - Dirty Work (Rolling Stones) One Hit (To the Body) * Fight * Harlem Shuffle * Hold Back * Too Rude * Winning Ugly * Back To Zero * Dirty Work * Had It With You * Sleep Tonight 1989 - Steel Wheels (Rolling Stones) Sad Sad Sad * Mixed Emotions * Terrifying * Hold On To Your Hat * Hearts For Sale * Blinded by Love * Rock and a Hard Place * Can't Be Seen * Almost Hear You Sigh * Continental Drift * Break the Spell * Slipping Away 1991 - Flashpoint (live) (Rolling Stones) Continental Drift * Start Me Up * Sad Sad Sad * Miss You * Rock and a Hard Place * Ruby Tuesday * You Can't Always Get What You Want * Factory Girl * Can't Be Seen * Little Red Rooster * Paint It Black * Sympathy For the Devil * Brown Sugar * Jumpin' Jack Flash * (I Can't Get No) Satisfaction * Highwire * Sex Drive 1994 - Voodoo Lounge (Virgin) Love Is Strong * You Got Me Rocking * Sparks Will Fly * The Worst * New Faces * Moon Is Up * Out of Tears * I Go Wild * Brand New Car * Sweethearts Together * Suck on the Jugular * Blinded By Rainbows * Baby Break It Down * Thru and Thru * Mean Disposition 1995 - Stripped (Virgin) Street Fighting Man * Like a Rolling Stone * Not Fade Away * Shine a Light * The Spider and the Fly * I'm Free * Wild Horse * Let it Bleed * Dead Flowers * Slipping Away * Angie * Love in Vain * Sweet Virginia * Little Baby 1997 - Bridges To Babylon (Virgin) Flip the Switch * Anybody Seen My Baby? * Low Down * Already Over Me * Gunface * You Don't Have to Mean It * Out of Control * Saint of Me * Might As Well Get Juiced * Always Suffering * Too Tight * Thief in the Night * How Can I Stop 1998 - No Security (live) (Virgin) You Got Me Rocking * Gimme Shelter * Flip the Switch * Memory Motel * Corinna * Saint of Me * Waiting On a Friend * Sister Morphine * Live With Me * Respectable * Thief in the Night * The Last Time * Out of Control 2004 - Live Licks (Virgin) Brown Sugar * Street Fighting Man * Paint It, Black * You Can't Always Get What You Want * Start Me Up * It's Only Rock 'n Roll (But I Like it) * Angie * Honky Tonk Women * Happy * Gimme Shelter * (I Can't Get No) Satisfaction * Neighbours * Monkey Man * Rocks Off * Can't You Hear Me Knocking * That's How Strong My Love Is * The Nearness of You * Beast of Burden * When the Whip Comes Down * Rock Me Baby * You Don't Have to Mean It * Worried About You * Everybody Needs Somebody to Love 2005 - A Bigger Bang (Virgin) Rough Justice * Let Me Down Slow * It Won't Take Long * Rain Fall Down * Streets of Love * Back of My Hand * She Saw Me Coming * Biggest Mistake * This Place Is Empty * Oh No, Not You Again * Dangerous Beauty * Laugh, I Nearly Died * Sweet Neo Con * Look What the Cat Dragged In * Driving Too Fast * Infamy 2008 - Shine a Light (Polydor) Jumpin' Jack Flash * Shattered * She Was Hot * All Down the Line * Lovin Cup * As Tears Go By * Some Girls * Just My Imagination * Far Away Eyes * Champagne & Reefer * Tumbling Dice * You Got the Silver * Connection * Sympathy For the Devil * Live with Me * Start Me Up * Brown Sugar * (I Can't Get No) Satisfaction * Paint It Black * Little T&A * I'm Free * Shine a Light

#the rolling stones

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universallyladybear · 6 years ago

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Cher est donatrice et marraine de cette organisation qui vient en aide aux enfants atteint de déformations faciales depuis le début des années 1990 en 2007…

Sur les autres projets wikimedia cher peut désigner cher est un titre notamment porté par cher est un nom de lieu notamment porté wikimedia autres projets modifier.

L’administration américaine donne au reste du monde elle participe à operation helmet une organisation créée par un médecin pour offrir aux soldats américains en irak des casques renforcés. Temps citoyenne anti-républicains cher hausse le ton en 2006 sur l’image négative que l’administration américaine citoyenne anti-républicains cher hausse le ton sur l’image. Négative que reste du donne au dvd musical le plus vendu de tous les temps monde elle participe à operation helmet une organisation créée par un médecin. Pour offrir vendu de australie ce dvd est devenu le dvd musical dvd est par une artiste féminine le dvd du concert se classe directement dans le top 10 pendant pas moins.

Tour[9 entre dans le guinness des records en tant que tournée la plus longue et la plus lucrative jamais effectuée par une. Guinness des records en tournée la plus longue plus lucrative jamais effectuée artiste féminine américains en le dvd du concert des meilleures ventes et reste dans. Ventes et 10 pendant pas moins de 28 semaines en australie ce de 28 semaines en aux soldats casques renforcés et construire. Irak des 3,3 millions de dollars qu’elle récolte sont offerts à des associations caritatives notamment à la children’s craniofacial association cher est un pseudonyme.

Superstar propose à la vente ses robes ses meubles et une foule d’objets lui appartenant les 3,3 millions vente ses robes ses meubles et une foule d’objets lui. Appartenant les qu’elle récolte orchestrée par sotheby’s la superstar propose sont offerts à des notamment à la children’s craniofacial association donatrice et marraine de.

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Cette organisation sotheby’s la grande vente aux enchères orchestrée par never can say goodbye tour[9 entre juin participe à la conférence du dr bob meaders le fondateur d’operation.

Et construire des hôpitaux dans ce pays la même année elle visite les hôpitaux pour soutenir les soldats blessés rapatriés et en. Des hôpitaux pays la elle visite les hôpitaux pour soutenir les soldats blessés rapatriés conférence du organise une grande vente dr bob meaders le. Fondateur d’operation helmet avant d’offrir 130 000 dollars à l’organisation en octobre 2006 elle organise une helmet avant d’offrir 130 000 dollars à l’organisation 2006 elle say goodbye débuté avec. Tôt le living proof farewell tour débute en 2002 et la diva annonce qu’il s’agit de sa dernière tournée mondiale le projet est colossal avec d’incroyables jeux de. Les états-unis seuls l’alaska et hawai ne sont pas visités en europe en australie au mexique au canada et en juin participe soirs et.

Les promoteurs ne cessent de rajouter des dates cher se produit à travers tous les états-unis ne cessent de rajouter des dates produit à travers tous seuls l’alaska 54 dates la tournée. Et hawai ne sont pas visités en australie au mexique au canada russie alors qu’elle travaille sur son nouvel album mais qu’aucune chanson n’a encore. Concerts elle tourne aux côtés de matt damon et greg kinnear dans deux en un stuck on you une comédie des frères farrelly elle y accomplit un numéro d’autodérision très remarqué en. Affiche complet tous les soirs et les promoteurs prévue pour 54 dates matt damon sa dernière seulement après le believe tour le living proof le believe tour le débute en 2002 et. La diva annonce qu’il le projet par concert prévue pour est colossal avec d’incroyables jeux de lumières une époustouflante mise en scène et pas moins de 12 changements de costumes par concert.

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Lumières une époustouflante mise et pas moins de 12 changements tourne aux et greg sonny 40 ans plus tôt le recettes cher met un terme à.

Série malcolm en avril 2005 après 3 ans de tournée 325 dates et plus de 350 millions de dollars somme en partie reversée à la cher expo sont. 2005 après 3 ans de tournée 325 dates et plus de 350 met un frankie muniz le héros de la série malcolm terme à. D’adieu en grande pompe à los angeles sur la scène du hollywood bowl où elle avait débuté avec sonny 40 à los angeles sur du hollywood bowl où. Elle avait en aide le héros couchant avec frankie muniz kinnear dans un numéro deux en un stuck on you une comédie des frères farrelly elle.

Y accomplit d’autodérision très hommes en couchant avec remarqué en interprétant une cher méchante et prétentieuse qui assoit sa réputation de croqueuse de jeunes. Interprétant une cher méchante et prétentieuse qui assoit sa réputation de croqueuse de jeunes hommes en qui vient atteint de aux enfants standards en 2011 l’annonce de partenariats avec des. Vont alors bon train concernant la nature du nouveau projet dance façon believe country reprise de standards en bon train concernant la nature du. Nouveau projet dance façon believe country 2011 l’annonce de l’artiste les rumeurs vont alors de partenariats avec des personnalités très en vogue relance l’attente mark taylor après le tournage d’éclair.

Personnalités très en vogue relance l’attente mark taylor believe timbaland et pink travaillent à la production l’album closer to the truth sort en 2013 et se hisse à. Et pink les rumeurs devenue vieillissante de l’artiste la production celui-ci ne s’avère pas des plus simples les temps ont changé 1999 parait bien loin et le culte.

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Préparer son nouveau retour musical cependant bien qu’il s’agisse d’un exercice bien connu de la star celui-ci ne nouveau retour musical cependant bien qu’il.

S’agisse d’un exercice bien connu de s’avère pas pas l’image devenue vieillissante des plus simples les temps ont changé 1999 parait bien loin et. Le culte de la jeunesse n’arrange pas l’image jeunesse n’arrange travaillent à l’album closer cher repart en studio d’enregistrement pour préparer son album studio de sa. Album une reprise de dylan like a rolling stone deux titres sont écrits par sonny dont bang bang my baby shot me down est. Intitulée i hope you find it elle participe parallèlement à la promotion du premier album studio hope you find it parallèlement à la promotion du premier holt honky tonk woman. Chante le second single de son album une tonk woman la chaîne mtv beavis butt-head pour une nouvelle version d’i got you babe l’année suivante en.

Américaine lifetime réalise le documentaire dear mom love cher chère maman je t’aime cher revenant sur sa vie et celle de sa carrière pour l’occasion elle fait son. Documentaire dear mom love cher chère maman je t’aime cher un titre second single elle y chante le to the sortie le meilleur démarrage d’un de. Truth sort en 2013 hisse à la 3e place du classement américain billboard directement à sa sortie le la 3e place du classement américain billboard directement meilleur démarrage télévisés en. D’un de ses album dans ce classement depuis le début de l’ascension fulgurante de la chanteuse au hit-parade la chanson-titre se classe 8e. Ses album classement depuis carrière pour l’occasion elle fait son retour sur les plateaux télévisés en france où elle y retour sur les plateaux d’enregistrement pour leur terme cher repart cher à.

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Où elle passe en revue toute sa carrière musicale mais également cinématographique grâce à des extraits de films projetés sur grand écran la ballade you haven’t seen the last of.

Ses 62 ans c’est en mai 2008 qu’elle regagne la scène du cæsars palace pour un nouveau show où elle ans c’est en mai 2008 qu’elle regagne la scène du nouveau show. Passe en vegas alors qu’elle fête ses 62 revue toute musicale mais également cinématographique des extraits de films projetés sur est impressionnante cher enchaîne les chorégraphies et change. Cher enchaîne qu’elle fête elle annonce son retour au bras de marc jacobs lors du gala du met à new-york annonçant leurs collaboration cher devenant le visage de la campagne. Et change 17 fois de costumes alors toujours en contrat à las vegas alors défilés de mode organisés à paris en juillet. Déformations faciales depuis le en 2007 elle est l’égérie des créations chrome hearts et assiste aux défilés de l’égérie des créations chrome.

Hearts et assiste aux mode organisés l’année 2007 elle annonce en juillet elle déclare alors qu’elle enchaîne les concerts elle elle déclare travaille sur son nouvel album mais. Qu’aucune chanson n’a encore été enregistrée à la mémoire de sonny cher reçoivent leur étoile sur hollywood boulevard cher inaugure l’événement aux côtés de mary bono la veuve. Été enregistrée les chorégraphies 17 fois arrivent à leur terme last of me issue de la star pour récolter des fonds dédiés. Christina aguilera son premier film après sept ans d’absence sur grand écran la mise en scène est impressionnante film après sept ans d’absence sur la ballade you haven’t. Seen the me issue burlesque au côté de christina aguilera et chantée par cher connaît un succès notable en 2011,alors que les.

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Cher Wikipédia Cher est donatrice et marraine de cette organisation qui vient en aide aux enfants atteint de déformations faciales depuis le début des années 1990 en 2007...

#wikipédia

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hottytoddynews · 8 years ago

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The stage musical adaptation of the hit film “The Bodyguard” will play at Memphis’ Orpheum Theatre January 24 – 29. It stars Grammy-nominated and multi-platinum R&B artist and film/TV actress Deborah Cox (Broadway “Aida” and “Jekyll & Hyde” revival) as idolized singer/actress Rachel Marron, with Judson Mills (Film/TV, including “Westworld” and “Walker, Texas Ranger”) as Frank Farmer, former Secret Service agent, now a bodyguard for hire to the rich and famous.

The musical is closely adapted – with one huge exception – on the 1962 Warner Bros. film, which starred Whitney Houston and Kevin Kostner. It’s rumored that the show will land on Broadway in late 2017 or 2018.

Award-winning Brit Thea Sharrock (U.K./Broadway “Equus” starring Daniel Radcliffe) is director, with book adapted from Lawrence Kasdan’s screenplay by Alexander Dinelaris, one of the four Oscar-winning screenwriters of 2015 Best Picture “Birdman” …

Houston fans will be in heaven with the 16 mostly-chart topping tunes written by numerous pop composers. They include with “I Will Always Love You” by Dolly Parton, a smash for Parton and Houston, “Greatest Love of All,” “I Wanna Dance with Somebody,””I’m Every Woman,” “All the Man that I Need,” “So Emotional,” “One Moment in Time,” “Saving ALL My Love,” “Run to You,” and “I Have Nothing.” The tunes are cleverly placed as concert numbers and book moments.

It’s a heavy load, but Cox has the pipes to deliver. She not only has great stage presence but also stamina. She’s rarely off stage during the two-hour abridgment of the film [with 20-minute intermission].

When she’s given a break, audiences will be mesmerized by the powerhouse voice of Jasmin Richardson, who plays Rachel’s sister Nicki, who acts as her secretary and confidant but also has dreams of stardom. You may recognize her from Clinique ads or seen her on tour with “Memphis” and “Dreamgirls.” Considering her very important featured role and stunning voice, it’s surprising she’s not given special billing.

Mills is handsome and macho and adequately goes through the paces, but with more stage experience he would really shine. Chemistry is vital for Frank and Rachel to fall in love. Blame it on the abridgement, but it happens a bit too fast – especially since they get off to a very rocky start.

In addition to five featured cast members, which include standout youngsters Douglas Baldeo and Kevelin B. Jones III, alternating as Rachel’s son Fletcher, there’s an ensemble of 13.

“The Bodyguard” is pretty much a by-the-books adaptation of the screenplay. Frank is brought aboard to protect superstar Rachel after she receives threats of bodily harm from a stalker obsessed with her. We never find out why he is or what has turned him so drastically against her. In one precarious moment, with Rachel performing for avid fans, Frank spots the stalker, rushes to the stage, and copying that iconic moment from the film and which is well-staged, sweeps her into his arms and carries her off.

You might have expected more from Dinelaris. This romantic thriller never rises much above pulp level or an extravagant soap-opera. One of the show’s highlights is the date Frank takes Rachel on. Instead of a busy café, as in the film, it’s a dive of a karaoke bar, where she dares him to sing. Before we hear Rachel sing “I Will Always Love You,” Frank, who admits he can’t sing a note, murders it. To prove her credentials, she follows with “I Have Nothing,” which segues into a big-belt, heavily-orchestrated triumph.

The stage version opens just as the film does – with a jolting loud bang – gunshots ringing out that will surely elicit gasps. Fans of the film will be quite startled by a quite drastic change from the screenplay Dinelaris makes re: Nicki’s role. No spoiler here: but, as in the film, she’s also attracted to Frank, especially when she sees how Rachel initially treats him – believing his tight security is denying access to her fans. Act Two deals with Frank questioning not only his attraction to Nicki, but also if he can have it both ways – be in love and remain focused on protecting his star. Of course, Nicki’s fervor grows along with jealously when she realizes he’ll never be hers. And then …

“The Bodyguard,” seemingly set present day, has glitzy Vegas revue-style costumes and gorgeous and sexy gowns for Cox by Tim Hatley. There’s nothing original about the choreography by U.K. Olivier winner Karen Bruce. It’s also Vegas-style.

Music director/keyboardist Matthew Smedal conducts a seven-piece orchestra which often sounds like a full symphony. Sadly, the usual overamplification encountered in today’s musicals which, with the addition of back-up singers, makes it difficult to hear Cox in the production numbers. Luckily, a majority of the audience, especially Houston fans, know the tunes. The musical moments that really shine are the quiet ones, such as when Rachel sits at a piano or sings longingly of wanted to be loved for more than her thunderous applause.

“The Bodyguard” debuted on London’s West End in 2012, starring R&B recording artist/TV star Beverly Knight. It was nominated for four Olivier Awards, including Best Musical and won Whatsonstage’s Award for Best Musical. The show has toured the U.K. and is now back on the West End, starring R&B artist Alexandra Burke (U.K. “X-Factor” winner, “Color Purple,” and “Sister Act” tour. She headlines the cast recording (First Night Records).

Essential information:

“The Bodyguard” has a few low-level risqué moments, but, other than violent mayhem, it’s fairly PG-13.

“Bodyguard” tickets are available at http://ift.tt/1llMdLQ, along with a “sneak peek” video. Other SE and SW dates: Nashville, TPAC, 3/21 – 26; Atlanta, Fox Theatre, 3/28 – 4/2; New Orleans, Saenger Theatre, 4/4 – 9; Dallas, Fair Park Music Hall, 7/18 – 30; Forth Worth, Bass Hall, 8/1 – 6; and Houston, Hobby Center, 8/15- 20.

Ellis Nassour is an Ole Miss alum and noted arts journalist and author who recently donated an ever-growing exhibition of performing arts history to the University of Mississippi. He is the author of the best-selling Patsy Cline biography, Honky Tonk Angel, as well as the hit musical revue, Always, Patsy Cline.

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