#i finally gave cowboy carter a listen

[solstheimtxt]

Just some thots in the tags since if i post this on tiktok i will get Annihilated(tm)

[x-aefx]

Hey, I have a request if that's okay!

We comfort billie after the grammys :(

I seriously just want to give her the biggest hug ever. She deserves so much more.

NEEDING YOU - BILLIE EILISH X FEM!READER

A/N: sorry this took so long I was away skiing and had little time to even open this app. Hope you like it🤍

Fluff

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You stared up at the stage, watching the presenters introduce the next award and nominees, anticipation nagged at you knowing how important this award was.

Billie watched too, doing her best to conceal her anxiousness. Her hand remained in your lap, seeking your touch as a source of comfort. You gave that comfort to her as best you could in this nerve wrecking moment, giving her hand light squeezes, caressing her knuckles with your fingers, and occasionally placing small kisses on the back of her hand.

The nominees were introduced, you smiled proudly when you seen Billie's picture on the stage.

When the moment finally came and the winner for album of the year was about to be announced, you gave Billie a gentle kiss on her cheek, knowing how nervous she must be. She smiled at your gesture, the anticipation clear on her face.

You both stared up at the stage, the crowd around you cheering and urging the winner to be revealed. Some held their breath and others looked confident.

"As selected by the thirteen thousand voting members of the recording academy, the Grammy goes to-"

Their was a pause as the crowd waited. You took a deep breath in, bringing the back of Billie's hand up to you mouth, and placing a gentle kiss on it.

"Cowboy Carter!"

Your heart dropped as the winner was announced and the room began cheering. All around you people began cheering, standing up and showing love. You began clapping too, knowing if you didn't show respect you would face backlash online.

You turned to face Billie. Her eyes were glossy with tears, there was no mistaking it. She had a small smile on her face as she tried to hide her disappointment as she clapped and watched Beyoncé walk onto the stage. You took her hand again and leaned in close to whisper in her ear.

"You'll always be a winner in my eyes. I'm so proud of you."

Billie turned to look at you with a grateful smile. It should have relieved you to see her smile, but you knew her too well, you could tell she was hurting you could see it in her eyes.

The smile you had fallen in love with wasn't quite as big, and her eyes that you thought were the most beautiful thing, weren't as bright.

Billie didn't say anything. Her eyes were trained on Beyoncé as she gave her acceptance speech, her music fading as she spoke. You didn't push Billie to speak further, knowing this wasn't the time or place, especially with cameras all around the room, ready to catch any glimpse of vulnerability or opposition to the winner.

When the award ceremony was over Billie had slowly come back to herself but still you could tell something was wrong, you waited for the perfect time to talk to her fully, until you found it you made sure to keep checking up on her throughout the Grammys after party.

You had found yourself talking with a few people, getting completely swept in a conversation, mostly about the people you had seen or what they were wearing.

"It's a vintage dress, only worn twice before." You listened as the woman in front of you talked, nodding along and sipping on your wine.

Suddenly you felt two arms wrapping themselves around your waist, then you inhaled the familiar vanilla scent and felt her body press up behind yours.

Billie remained quiet as she rested her chin against your shoulder. Her eyes slowly shut for a second as she swayed your body along with yours, she had a small frown on her face as she tightened her grip around you.

The lady I front of you stopped talking once she seen Billie, she took one glance and looked up at you knowingly. "I'll leave you two to it." She smiled.

You nodded at her, giving her a small 'goodbye'

"Home?" Billie mumbled once the woman had left. She seemed too tired or either too sad to say a full sentence.

You kissed her forehead as you interlocked your hand with her's. "Yeah, let's go home." You agreed, leading Billie to the suv that would take both of you home.

The car ride home was quiet and quick. Billie leaned her body against your side, her head resting on your shoulder as she looked out the window on your side, the streetlights shining against her face as the car passed them. You played with her hair, which calmed her down and relaxed her.

When you arrived home Billie stayed quiet, unlocking the front door and leading you upstairs to her bedroom which you shared. A small sigh left her as she sat down on the edge of her bed, her shoulders dropped as she stared up at the ceiling.

She suddenly looked far more defeated and sad then she had earlier. You supposed that was because finally she was in the comfort of her own home, free from camera's and watching eyes, finally not having to wear a mask over her true feelings.

Your heart sank as you took in her sad expression, hating to see it. You smiled sympathetically at her as you walked over to her. When you stood only a foot away from her, Billie rested her forehead against your stomach as she remained seated on the bed whilst you were standing. Your hands caressed the side of her neck and her cheek, offering her comfort in the small ways you could.

"I worked so hard on that album." Billie whispered against the fabric of your dress, her voice slightly breaking.

"I put my everything into it, the lyrics, the meaning, the cover, the production, the videos-" With each word Billie slowly began getting more frustrated, her voice raising.

Noticing this you put both your hands on her shoulders, pulling her body away from yours and making her look up at you.

"The award doesn't define the worth of the album." You reminded her.

Billie sighed rubbing her hands over her face. "I know, I know." She muttered, but you didn't believe it.

You sat down on the edge of the bed beside her, Billie turned to face you as you spoke.

"Remember how excited you were the day you got to make the album cover? How proud you felt when you seen the finished work?" You asked her. Billie just nodded her head.

You continued, "or when you couldn't stop laughing when your mom was in complete silence when you played 'lunch' for her the first three times? How everyone cried when they heard 'skinny', everyone's shocked faces when they heard the beat drop in 'l'amour de ma vie'? The excitement when people found out 'blue' was being released?"

Billie sniffled as she listened to, chuckling softly at the fond memories you talked about.

"Most importantly, how happy you felt when you finally were able to put your feelings into songs, exactly as you wanted them? The love your friends and family showed the album, the praise online and in real life. You can't forget all the people who related and felt seen by the songs, who danced and cried to them, just like you did. That's what matters."

Billie smiled up at you, her eyes teary as she leaned her forehead against yours.

"Billie you made the most special, creative and authentic album that you worked so hard on. No award could ever change its brilliance or reduce the effort you put into it." You spoke firmly to her, wanting to make sure she was hearing what you were saying and that she believed it.

Billie looked up at you with big, thankful and loving eyes. She sniffled and messily wiped away the tears staining her cheeks with her hands.

"You love the album right?" You asked her, "and your proud of it?"

Without hesitation, Billie nodded her head as a yes. You smiled at that.

"Well, that's all that matters." You muttered as you pressed a kiss to her lips. As you were pulling away Billie's hand found the nape of your neck. She pulled your face back to hers and connected your lips once more, this time for a longer and a more passionate kiss.

Her other hand gripped the side of your thigh firmly, not letting you move away from her.

You cupped her cheeks, your fingers dancing in patterns over her soft skin.

When you both pulled away for air, your foreheads rested against each other, faces dipped downwards as both your breathing was heavy. Billies hands found your waist and gave you a slight squeeze.

"Thank you for cheering me up." Billie whispered.

You smiled at her words, kissing the tip of her nose. "Anytime." You giggled.

At the sound of your laugh, Billie looked up at you with her familiar big and bright smile and something akin to mischief in her blue eyes.

"You tired?" She asked you with a smirk.

You shook your head no.

"Good." Billie said. She pushed you down onto the bed, her body ontop of you as you both laughed and giggled. The sadness that had previously filled the room quickly disappearing.

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[yesbiffwritesthings]

“don’t get your hopes up too high”: An Exhaustively Curated 2018 Playlist

So, since time immemorial I have been putting together year-end playlists and for a long time they were pretty sloppy affairs overall.  Last year, I decided to make up some kind of formula for putting these playlists together.  Basically what it comes down to is, from every new album I listen to, released in the given year, I pick one song.  No repeating artists because that gets to be too much (although featured acts aren’t subject to this rule).  When deciding what releases are going to get my attention, aside from my own personal tastes (skews toward alt. rock and punk a lot of the time) and releases from longtime favorites (this year we saw releases from Metric, and Animal Collective, as well as a long-awaited A Perfect Circle album, and even a Spotify single from the Yeah Yeah Yeahs), I try to get give more of my time to queer artists (and this year there were TONS of queer acts releasing great music--Adult Mom, Laura Jane Grace & the Devouring Mothers, Janelle Monae, Snail Mail, SOPHIE, etc. etc. etc. hallelujah).  I also try to make an effort broaden my musical worldview by making time for artists that operate within genres I don’t always naturally gravitate towards.  This was a great year to get back into hip-hop (Rico Nasty, Cardi B, Tierra Whack, Black Panther OST) after not really vibing with some of the directions it has taken in the past ten or so years.  I have also tried to include a track by every band I saw in 2018, providing they actually released something in 2018 and it is available on Spotify (strong apologies to Partner, Bully, Shellshagg, Kimya Dawson, Rozwell Kid, Los Campesinos, the incomparable Liz Phair, and the legendary Fleetwood Mac--y’all didn’t release anything this year).  I give myself until the end of January of the following year to finalize my expansive, year-end playlist, and here we are.  This years playlist is over 15 hours long--almost long enough to put on while you’re doing all that laundry you've been putting off.  I hope you enjoy.

Full list of songs:

The 1975 - “Love it if We Made it”, from A Brief Inquiry Into Online Relationships

Ab-Soul - “Bloody Waters” [ft. Anderson .Paak], from _Black Panther _OST Adult Mom - “Drive Me Home”, from Soft Spots Amanda Palmer - “Mr. Weinstein Will See You Now” [ft. Jasmine Power], from “Mr. Weinstein Will See You Now” single Amen Dunes - “Miki Dora”, from Freedom American Pleasure Club - “New Years Eve”, from A Whole Fucking Lifetime of This Animal Collective - “Jake & Me”, from Tangerine Reef Anna Burch - “Quit the Curse”, from Quit the Curse Anna Calvi - “Don’t Beat the Girl Out of My Boy”, from Hunter Antarctigo Vespucci - “Not Yours”, from Love in the Time of E-Mail Arctic Monkeys - “Four Out of Five”, from Tranquility Base Hotel & Casino Ariana Grande - “No Tears Left to Cry”, from Sweetener Ava Luna - “Centerline”, from Moon 2

The Bascinets - “Jangle Bee”, from 378 Vol. 1 EP Bat Fangs - “Bad Astrology”, from Bad Astrology Beach House - “Last Ride”, from 7 Bear Hands - “Back Seat Driver”, from “Back Seat Driver” single Bettye LaVette - “What Was it You Wanted” [ft. Trombone Shorty], [Bob Dylan cover], from Things Have Changed Big Freedia - “Karaoke” [ft. Lizzo], from 3rd Ward Bounce Billie Eilish - “When the Party’s Over”, from “When the Party’s Over” single Black Belt Eagle Scout - “Soft Stud”, from Mother of My Children Bleachers - “Alfie’s Song (Not So Typical Love Song)”, from Love, Simon OST Blood Orange - “Charcoal Baby”, from Negro Swan Bob Dylan - “He’s Funny That Way” [Gene Austin cover], from Universal Love: Wedding Songs Reimagined Booji Boys - “Locked (Barely Open)”, from Unknown Pleathers EP Boygenius - “Bite the Hand”, from Boygenius EP Brandi Carlile - “Every Time I Hear That Song”, from By the Way, I Forgive You The Breeders - “Walking With a Killer”, from All Nerve  Bristletongue - “Thistle Among Roses”, from Femme Florale EP Brockhampton - “Thug Life”, from Iridescence

Camp Cope - “The Opener”, from How to Socialise & Make Friends Cardi B - “Ring” [ft. Kehlani], from Invasion of Privacy Caroline Rose - “Bikini”, from Loner Caroline Says - “Cool Jerk”, from No Fool Like an Old Fool The Carters - “Apeshit”, from Everything is Love Cat Power - “Wanderer”, from Wanderer Celine Dion - “Ashes”, from Deadpool 2 OST Chai - “Fried”, from Pink Chance the Rapper - “My Own Thing” [ft. Big Purp], from “My Own Thing” single Childish Gambino - “This is America”, from “This is America” single Christine & the Queens - “Girlfriend” [ft. Dâm-Funk], from Chris Chvrches - “Get Out”, from Love is Dead Closer - “This Year”, from All This Will Be Cloud Nothings - “So Right, So Clean”, from Last Building Burning Company of Thieves - “Window”, from Better Together EP Comrade Question - “Never Change”, from Four Seasons Con Connections - “Low, Low, Low”, from Foreign Affairs Control Top - “Type A”, from “Type A” single Courtney Barnett - “Charity”, from Tell Me How You Really Feel Cupcakke - “Total”, from Ephorize

Damn the Witch Siren - “I Don’t Want to Say I’m Sorry”, from Red Magic Daphne & Celeste - “You & I Alone”, from Daphne & Celeste Save the World Dashboard Confessional - “We Fight”, from Crooked Shadows David Byrne - “Everybody’s Coming to My House”, from American Utopia Death Cab For Cutie - “Gold Rush”, from Thank You For Today The Decemberists - “I’ll Be Your Girl”, from I’ll Be Your Girl” A Delicate Motor - “Do For Self”, from Fellover My Own didi - “Haru”, from Like Memory Foam Dilly Dally - “Bad Biology”, from Heaven Dirty Projectors - “I Found it in U”, from Lamp Lit Prose Django Django - “Beam Me Up, from Marble Skies Downtown Boys - “Fotos y Recuerdos” [Selena cover], from “Fotos y Recuerdos” single Drake - “In My Feelings”, from Scorpion Dream Wife - “Spend the Night”, from Dream Wife DRAM - “WWYD?”, from That’s a Girl’s Name EP Drinks - “Pink Or Die”, from Hippo Lite

El Perro Del Mar - “We Are History”, from We Are History EP EMA - “Dark Shadows”, from Outtakes From Exile EP Empath - “The Eye”, from Liberating Guilt & Fear EP Empress Of - “Love For Me”, from Us Ezra Furman - "Suck the Blood From My Wound", from Transangelic Exodus

Father John Misty - "Disappointing Diamonds Are the Rarest of Them All", from God's Favorite Customer Fatoumata Diawara - "Nterini", from Fenfo (Something to Say) Fields & Planes - "Alice", from Press First Aid Kit - "It's a Shame", from Ruins Fischerspooner - "Discreet", from Sir  Flasher - "Business Unusual", from Constant Image Florence & the Machine - "Hunger", from High As Hope Frank Ocean - "Moon River" [Audrey Hepburn cover], from "Moon River" single Franz Ferdinand - "The Academy Award", from Always Ascending The Frights - "Over It", from Hypochondriac Fucked Up - "Tell Me What You See", from Dose Your Dreams

Gabby's World - "Winter, Withdraw", from Beast On Beast Gerard Way - "Baby You're a Haunted House", from "Baby You're a Haunted House" single Gia Margaret - "Smoke", from There's Always Glimmer Girlpool - "Picturesong", from "Picturesong" single The Go! Team - "The Answer's No--Now What's the Question?", from Semicircle Goodbye Honolulu - "Lorry Can't Love", from More Honey Goat Girl - "The Man With No Heart Or Brain", from Goat Girl Greta Van Fleet - "When the Curtain Falls", from Anthem of the Peaceful Army Gymshorts - "Ding Dong Ditch", from Knock Knock

H.E.R. - "Lord is Coming", from I Used to Know Her: Part Two EP harunemuri **- "sekaiwotorikaeshiteokure", from harutosyura Hatchie - "Sure", from Sugar & Spice EP Hinds - "To the Morning Light", from I Don't Run The HIRS Collective - "Not For You" [Moor Mother remix], from Friends, Lovers, Favorites Hop Along - "Not Abel", from Bark Your Head Off, Dog Hovvdy - "Late", from Cranberry Hozier - "Nina Cried Power" [ft. Mavis Staples], from Nina Cried Power EP

Iceage - "Take it All", from Beyondless  Idles - "Smaritans", from Joy As an Act of Rebellion Illuminati Hotties - "The Rules", from Kiss Yr Frenemies Interpol - "If You Really Love Nothing", from Marauder The Interrupters - "Gave You Everything", from Fight the Good Fight Iron & Wine - "Milkweed", from Weed Garden EP

Jack White - "Over & Over & Over", from Boarding House Reach Janelle Monae - "Pynk" [ft. Grimes], from Dirty Computer Japanese Breakfast - "Dreams" [The Cranberries cover], from Spotify Singles Jay Rock - "Redemption" [ft. SZA], from Redemption Jeff Rosenstock - "Let Them Win", from POST- Jenn Champion - "O.M.G. (I'm All Over It)", from Single Rider Jenny Hval - "Spells", from The Long Sleep EP Jorja Smith - "I Am", from Black Panther OST Joyce Manor - "Fighting Kangaroo", from Million Dollars to Kill Me Juice WRLD - "Lucid Dreams", from Goodbye & Good Riddance Julia Holter - "Turn the Light On", from Aviary Juliana Hatfield - "A Little More Love" [Olivia Newton-John cover], from Juliana Hatfield Sings Olivia Newton-John  Jupiter & Okwess - "Ekombe", from Kin Sonic

Kacey Musgraves - "Space Cowboy", from Golden Hour Karen O - "YO! MY SAINT" [ft. Michael Kiwanuka], from "YO! MY SAINT" single Kendrick Lamar - "All the Stars" [ft SZA], from Black Panther OST Kero Kero Bonito - "Time Today", from Time 'n' Place Kesha - "I Need a Woman to Love" [Janis Joplin cover], from Universal Love: Wedding Songs Reimagined  Khalid - "Love Lies" [ft. Normani], from Love, Simon OST King Princess - "Pussy is God", from "Pussy is God" single Kimbra - "Right Direction", from Primal Heart Kississippi **- "Adrift", from Sunset Blush Krimewatch - "The Big Picture", from Krimewatch Kurt Vile - "Check Baby", from Bottle it In

Lala Lala - "I Get Cut", from The Lamb Laura Jane Grace & the Devouring Mothers - "Reality Bites", from Bought to Rot Laura Stevenson - "Maker of Things", from "The Mystic & the Master" single Lauren Ruth Ward - "Well, Hell", from Well, Hell Leikeli47 - "Top Down", from Acrylic Leon Bridges - "Bet Ain't Worth the Hand", from Good Thing  Loma - "Relay Runner", from Loma Long Neck - "Elizabeth", from Will This Do? Lord Huron - "Wait By the River", from Vide Noir Low - "Rome (Always in the Dark)", from Double Negative  Lowpines - "Parasite", from In Silver Halides Lucius - "Woman", from Nudes Lucy Dacus - "Timefighter", from Historian Lykke Li - “Jaguars in the Air”, from So Sad, So Sexy

The Men - "Come to Me", from Drift Meshell Ndegeocello - "Smooth Operator" [Sade cover], from Ventriloquism Metric - "Dressed to Suppress", from Art of Doubt MGMT - "One Thing Left to Try", from Little Dark Age Middle Kids - "Edge of Town", from Lost Friends Mister Moon - "Plastic", from Codes EP Mitski - "Nobody", from Be the Cowboy Mountain Man - "AGT", from Magic Ship Mourn - "Candle Man", from Sorpresa Familia Muncie Girls - "Jeremy", from Fixed Ideals Mungbean - "Wednesday", from "Wednesday/Aimed at You" single

Natalie Prass - "The Fire", from The Future & The Past Neko Case - "Gumball Blue", from Hell-On Night Flowers - "Head On", from Wild Notion Noble Vices - "Wheelhouses", from "Wheelhouses" single Noname - “With You", from Room 25 Nothing - "Us/We/Are", from Dance On the Blacktop Now, Now - "Window", from Saved

Ohmme - "Icon", from Parts The Ophelias - "Lover's Creep", from Almost Ought - "Disgraced in America", from Room Inside the World Ovlov - "Stick", from TRU

Palm - "Swimmer", from Rock Island Parquet Courts - "Normalisation", from Wide Awake! Peach Kelli Pop - "Parasomnia", from Gentle Leader Peggy Gou - "It Makes You Forget (Itgehane)" [edit], from "It Makes You Forget (Itgehane)" single A Perfect Circle - "So Long & Thanks For All the Fish", from Eat the Elephant Petal - "Stardust", from Magic Gone Phoebe Bridgers - "Friday I'm in Love" [The Cure cover], from Spotify Singles Pinky Pinky - "Robber", from Hot Tears  Poppy - "Play Destroy" [ft. Grimes], from Am I a Girl? Preoccupations - "Espionage", from New Material Princess Chelsea - "I Love My Boyfriend", from The Loneliest Girl Protomartyr - "Wheel of Fortune" [ft. Kelley Deal], from Consolation EP

Q-Tip and Demi Lovato - "Don't Go Breaking My Heart" [Elton John cover], from Revamp

Radattack - "Rock & Roll Party Queen", from "Rock & Roll Party Queen" single Rainbow Kitten Surprise - "Hide", from How to: Friend, Love, Freefall Remember Sports - "Making it Right", from Slow Buzz Rico Nasty - "Oreo", from Nasty Robert Delong - "Favorite Color is Blue" [ft. K-Flay], from See You in the Future EP Robyn - "Missing U", from Honey Rolling Blackouts Coastal Fever - "Exclusive Grave", from Hope Downs Ron Gallo - "Really Nice Guys", from Really Nice Guys EP Rosalia - "Di Mi Nombre", from El Mal Querer Saintseneca -  ” Good Hand", from Pillar of Na Say Lou Lou - "All Love to Me", from Immortelle Screaming Females - "Deeply", from All at Once Shame - "Concrete", from Songs of Praise Shannon & the Clams - "The Boy", from Onion Shannon Shaw - "Golden Frames", from Shannon in Nashville Shilpa Ray - "Shoot This Dying Horse", from Nihilism The Sidekicks - "Twin's Twist", from Happiness Hours SiR - "Summer in November", from November Skating Polly - "Free Will at Ease", from The Make it All Show Sleep - "Marijuanaut's Theme", from The Sciences Slothrust - "For Robin", from The Pact Smashing Pumpkins - "Silver Sometimes (Ghosts)", from Shiny & Oh So Bright, Vol. 1: No Past, No Future, No Sun Snail Mail - "Pristine", from Lush Snarls - "Lonely", from Snarls EP SOB X RBE - "Paramedic!", from Black Panther OST Soccer Mommy - "Cool", from Clean SOPHIE - "Immaterial", from Oil of Every Pearl's Un-Insides Souther - "Enough", from Blume EP Spiritualized - "On the Sunshine", from And Nothing Hurt SSION - "1980-99" [ft. Patty Schemel and Sky Ferreira], from O St. Vincent - "Los Ageless" [piano version], from Mass Education Stef Chura - "Degrees", from "Degrees/Sour Honey" single Sunflower Bean - "Burn It", from Twentytwo in Blue Superchunk - "Erasure" [ft. Stephin Merritt and Waxahatchee], from What a Time to Be Alive  Superorganism - "Night Time", from Superorganism Swearin' - "Big Change", from Fall Into the Sun

Tanya Tagaq - "Run to the Hills" [ft. Damian Abraham] [Iron Maiden cover], from "Run to the Hills" single Tanlines - "Row, Row, Row Your Boat", from Presents EP Teenage Wrist - "Dweeb", from Chrome Neon Jesus They Might Be Giants - "Let's Get This Over With", from I Like Fun Third Eye Blind - "In the Fade" [Queens of the Stone Age cover], from Thanks For Everything EP Thumpers - "Tenor", from Life All In EP Tierra Whack - "Fuck Off", from Whack World Titus Andronicus - "Above the Bodega (Local Business)", from A Productive Cough Tom Misch - "Isn't She Lovely" [Stevie Wonder cover], from Geography Tomberlin - "You Are Here", from At Weddings Toto - "Hash Pipe" [Weezer cover], from "Hash Pipe" single Tracyanne & Danny - "It Can't Be Love Unless it Hurts", from Tracyanne & Danny  TT - "Take One", from LoveLaws tune-yards - "Colonizer", from i can feel you creep into my private life Turtlenecked - "Knocked Down By Another Ghost", from High Scores of the Heart TV Girl - "King of Echo Park", from Death of a Party Girl Twin Shadow - "Saturdays" [ft. Haim], from Caer

U.S. Girls - "Rage of Plastics", from In a Poem Unlimited Ultra Beauty - "Pegasuss", from Ultra Beauty EP Unknown Mortal Orchestra - "Hunnybee", from Sex & Food

Vacation - "Action Road", from Mouth Sounds #2699 The Vaccines - "Surfing in the Sky", from Combat Sports Valerie June - "Mad About the Girl", from Universal Love: Wedding Songs Reimagined

Waxahatchee - "Takes So Much", from Great Thunder EP Weaves - "Neighborhood #3 (Power Out)", from "Neighborhood #3 (Power Out)" single The Weeknd - "Wasted Times", from My Dear Melancholy EP Weezer - "Africa" [Toto cover], from "Africa" single Westerman  - "Albatross", from Ark EP Wished Bone - "Ohio", from Cellar Belly The Wombats - "Dip You in Honey", from Beautiful People Will Ruin Your Life  Wussy - "Cake", from What Heaven is Like Wye Oak - "I Know It's Real", from The Louder I Call the Faster it Runs

Yeah Yeah Yeahs - "Thirteen" [Big Star cover], from Spotify Singles Young Fathers - "Fee Fi", from Cocoa Sugar Young Guv - "Ain't Fallin' in Luv Again", from 2 Sad 2 Funk Yowler - "WTFK", from Black Dog in My Path Yungblud - "I Love You, Will You Marry Me", from 21st Century Liability

https://open.spotify.com/user/barfwalker/playlist/7mCLnG6CZG1yB4q8uhzcys?si=Ip-Lka-0TOWCWRLMXGZ26w

[tmarie82]

Dance with Me

Pairing: Maxwell x MC (Rosie Carter)

Book: The Royal Romance (Book 1)

Word Count: ~2,300

Rating: PG-13 (pretty tame, with some language and innuendos)

Author’s Note: This is a fic request for my new, extremely talented friend @klaudiana-beaumontkk. If you haven’t seen her photo manipulation work, you should really check it out! (Here’s a great example of her work, as well as the pic in the aesthetic below.)

We were arranging a barter (of sorts) and I told her I would love to do a fic request for her. She asked for a Maxwell x MC fic from the first book, a situation where the two friends could have hooked up. I’ll be honest, I was nervous to do this as (most of you know!) I’m a die-hard Drake stan . . . but this was actually really fun. I enjoyed getting out of my (Drake-centric) comfort zone and I’m pleased with how this turned out.

Anyway, I hope you enjoy this read and, most importantly, I hope this lives up to your expectations @klaudiana-beaumontkk!

~~~~~~~~~~

Maxwell leaned his back against the bar, vibrations from the loud music reverberating down his spine. He took a sip of his whiskey on the rocks and tried to keep a nonchalant appearance as he surveyed the bar. It was a cool place alright, with rustic decor and hardwood floors throughout and even a mechanical bull in an “arena” in the corner. Modern country played through the booming sound system, causing people to spontaneously break out in line dancing on the dance floor.. Not his usual scene, but the company was good, the drinks were strong and the music was . . . tolerable.

He scanned the dancefloor casually, trying not make it obvious who he was looking for. When he found her he quickly scooted his eyes away, but he couldn’t fight that nervous feeling in the pit of his stomach. Rosie looked HOT tonight. Wearing cowboy couture, a low-cut flowered dress that showed off her legs topped off with a cowboy hat, she fit right into the scene . . . . but she would definitely never blend in looking like that. It took every bit of strength he could muster to not stare at her as she laughed and hopped around the dance floor with Hana.

Maxwell didn’t know when, but things with Rosie had changed. At least, they’d changed for him.

Two months ago he’d shown up at her apartment the morning after she’d walked into all of their lives . . . more specifically, into Liam’s life. Sure, they’d all been charmed by her in New York as she showed them around her city and they’d ended up at her favorite desolate beach cove. He’d seen the spark between her and Liam, it was impossible to miss. That’s when the idea popped into his head . . . the chance to redeem House Beaumont with a potential suitor in the running for Liam’s hand in marriage. And what he hoped was a good chance given the chemistry between the two.

During the two months since they’d arrived in Cordonia, he and Rosie had become close friends. She had reassured his feelings of inadequacies that Bertrand constantly reminded him of and make him smile at her impressions if his uptight olde brother. And he had been a trusted advisor and a shoulder to cry on as she competed with the other suitors to become Queen, and all the heartbreak and pettiness that came along with it. They enjoyed many of the same things, discussing the newest movies and singing catchy pop songs while he assisted her in choosing the perfect outfit for every event. Somewhere between the early morning wake-up visits and late night chats, Maxwell had realized he was falling for Rosie.

“Beaumont.” Called a gruff voice approaching him. He turned to see Drake walking towards the bar, motioning a “two” on his fingers to the bartender and pointing to the glass of whiskey in Maxwell’s hand. “I figured I’d find you on the dancefloor instead of in my territory.” He handed him a fresh glass of whiskey before taking a big swig of his own.

Maxwell laughed. “Yeah, just not really feeling the vibe in this place. I enjoy my clubs a little more. . . clubby.” And maybe a little less . . . distracting.

As Maxwell and Drake continued to drink by the bar in silence, the rest of the gang began to migrate over to them. Liam had just shown up and was obviously just as taken by Rosie’s outfit as he was. As Rosie and Hana chatted with Liam, he could see the tiny beads of sweat settling on her neck and collarbone. She laughed almost breathily, as if she was still tryin to catch her breath from the boisterous line dance. Maxwell swallowed hard as she caught his gaze and stilled, giving him a small smile of acknowledgement. Fuck, man. Just act normal! He attempted to smile back convincingly, but he was pretty sure it had turned out cheesy. Liam said something to Rosie, grasping her attention again, and he quickly took the opportunity to turn away from the group and fiddle with his drink on the bar.

He could smell her perfume before he felt her edge up next to him, the fresh floral aroma he’d grown familiar with. “Hey you.” She said in a playful tone as she nudged her shoulder against his. “I’ve been missing you on the dancefloor. Come dance with me? No one else out there can keep up with me.” He glanced over at her, falling into her deep blue eyes before she quickly winked one at him. He grinned, starting to loosen up a bit at her cheerful mood.

“Well, this music is not exactly conducive to my particular dance style. Too twangy and too many cowbells.”

“Hmmm, so that’s it. Let me see about that.” With that she pushed back from the bar in one swift movement and started walking towards the DJ table. She leaned over and whispered in his ear, glanced through his playlist before pointing to one and nodding. She smiled and patted the DJ on the shoulder before turning and walking back towards Maxwell.

“Alright, what was that about?” Maxwell couldn’t help but get excited as she approached him with a smirk on her lips.

“Something you will thank me for in a minute. I know you too well.” Rosie paused as the upbeat country song came to an end, then beamed as she heard the first few notes of . . .

“Thriller!” Maxwell exclaimed, laughing. “You know I can’t pass up doing the choreography for this!”

“I know. Now let’s get out there and show these folks how it’s done!” Emma grabbed his hand and dragged him to the middle of the dancefloor before jumping right into Michael Jackson’s infamous dance moves.

They danced in sync, gathering a few other dancers and a small crowd cheering them on. Maxwell couldn’t help but to laugh as they flowed through the movements and sang out loud.

As the song came to an end, Rosie came over to him and grabbed him in a big, sweaty hug and gave him a quick peck on the cheek. She stepped away, hands gripping his forearms and gave him a knowing look. “See, I knew you wouldn’t be able to resist! Thank you, I’ve been missing my dance partner tonight.”

He peered into her eyes and chuckled, still trying to calm his breathing as his heart rate slowed down. “No, thank you. I’m so glad you set that up, I needed that tonight.” As he finished speaking, a slower song started to play in the background.

“You know I’d do anything for you, Maxwell. You’re my best friend.” Her eyes twinkled as she gazed up him. “Here, dance this one with me while we catch our breath.” She placed his hands at her waist before looping her own around his neck.

Suddenly, Maxwell felt like a pubescent teen with his first crush. He feared she could feel his nerves pulsing in his veins through his fingertips or feel the sweat he felt beginning to accumulate on his neck. They swayed in silence for a while, then Rosie gently placed her head on his shoulder and nestled in close to him. And then he didn’t feel nervous anymore, he felt only . . . content.

“Maxwell?” Rosie asked softly. “I have a confession to make.” She didn’t lift her head, but continued to move with him and listen to his heartbeat.

“Hmm?” Maxwell felt his heart in his throat, anxious for what came next.

She paused, then took a deep breath before her confession. “I . . . I can’t marry Liam.”

With that he stilled. He didn’t move at all, couldn’t even remember how to breath. Finally, all he could say was “Oh?”

She pushed away from him and peered up at him with tears in her eyes. “No. No, I can’t, Maxwell. I’m so sorry. I don’t love him.” She inhaled a sharp breath, then continued. “I’ve always known I could only marry for love. I want to live the rest of my life with my best friend.” She looked almost as if she were questioning him, not making a statement.

Maxwell looked down for a moment, unable to speak. Finally he muttered “Bertrand will be disappointed. We will of course support you in whatever you need to do . . . . “ his voice trailed off. He gazed at her, then said softly “I just want you to be happy, Rosie.”

She took his hand and cupped his palm on her cheek. “I know you do. I’m your Little Blossom.” There was that look again. That look like she was asking him something . . . and suddenly, he panicked.

He dropped his hand to his side and stepped back. He stared at a spot on the floor next to her feet and cleared his throat. “I . . . I should go inform Bertrand. He will know what to do next.” He glanced back up at her. Was that disappointment in her eyes?

“Yes, of course.” She muttered. And with that, he turned and walked briskly out the door.

~~~~~~~~~~

The conversation with Bertrand had not gone well. As Maxwell had explained the situation, all Bertrand could speak of was “obligations” and “imminent ruin.” Geez, no pressure Bro, Maxwell thought.

As Bertrand plotted how to best remedy the situation, Maxwell’s mind wandered back to Rosie’s confession. He could still feel her in his arms, tucked in perfectly like the missing half of him. He remembered the asking in her eyes as she spoke, as she waited for his response. He heard her soft whisper. “I’m your Little Blossom.”

Suddenly he felt a surge of determination and purpose. You are in love with her, you idiot. Go tell her. He quickly stood up, startling Bertrand in the midst of his rant. Bertrand gave him an odd look. “She made up her mind, Bertrand. We need to let her live her life by her own rules, not ours.”

As Maxwell hurried toward the door, Bertrand shouted gruffly. “Where are you going? We need to devise a plan!”

“The plan will work itself out, Bertrand. Now I have somewhere I need to be.” He swooped through the doorframe without a look back at his perplexed brother.

At first he walked briskly towards Rosie’s room, full of resolve to share his feelings with her. But as he neared her door, he slowed down to pace himself and gain his composure. He stared at the door, frozen. This simple act of knocking, that he’d done so many times before . . . but this time, it was different. He took a deep breath, then knocked three times on the door and waited.

The room was silent, and he wondered if she’d not come home yet. But then he heard a faint shuffling, followed by footsteps and then the click of the door handle as she opened it. She looked surprised to see him, her brow furrowed in confusion. Her eyes were slightly red and puffy, and she sniffled a bit as if trying to hide the tears that she’d been crying. Yet to Maxwell, she’d never looked more beautiful. Her hair was disheveled and face bare of makeup, nothing to mask the red eyes and blotchiness. She was wearing a baggy long-sleeved “Cordonia U” t-shirt and pajama shorts and big fuzzy socks. She was a mess. A remarkably beautiful mess.

“What do you want Maxwell? Did you come to tell me how mad Bertrand is? How I ruined everything?” Her eyes filled with tears again and she looked away as she brushed them away with her sleeve.

“No. No. . . I mean, yes, Bertrand is mad, but . . .” he stuttered.

“Then what?”

He took a deep breath, exhaled, then blurted it out. “I’m falling in love with you, Rosie.” There, no going back.

She faltered at his statement, a perplexed look on her face as if he were speaking a foreign language. “What?”

Maxwell looked deeply in her eyes, trying to portray his intention as he spoke. “Look, I know I brought you here for Liam. To become Queen and to save House Beaumont. But somewhere along the way I started falling for you. You’re my best friend, and I can’t imagine . . .”

Rosie grasped his face in her hands and stood on her tiptoes to press her lips firmly against his. He stood there stunned for a moment, then wrapped his arms around her and kissed her back with relief. The kiss was passionate and fierce, a confession finally out in the open. Then as they slowed to catch their breaths, Maxwell began placing short sweet pecks around her lips, cheeks and chin, causing Rosie to giggle with happiness. They just held each other in a warm embrace for a moment before separating.

“I thought, tonight . . . I thought you didn’t feel the same way. I thought you were mad about what would happen to House Beaumont.” Rosie smiled up at him and traced a line from his eye down his cheek. “But deep down inside I hoped . . . I knew that you felt the same way.”

Maxwell bent down to catch her lips again in a slow kiss. “Of course you knew. You know me better than anyone.”

Rosie giggled. “If my intuition was off, then I should have at least known by your behavior earlier tonight. You couldn’t even look at me without blushing.”

“Did you see yourself tonight? Can you really blame me?”

“Well maybe I was hoping you’d look.” Rosie grinned wickedly, then placed her hand in his and pulled him forward. “Now, are you going to come in here or what?”

Maxwell didn’t blush this time, but let her lead him into her room willingly. “Of course, my Little Blossom.”

END

[themusicenthusiast]

Thursday, December 6th, 2018 – Colter Wall Shares Some Songs of the Plains and Other Tales, Maintains an Intimate, Singer-songwriter Vibe at His Largest Dallas Show Yet

It turned out to be a dreary day in North Texas, the occasional shower and near constant drizzle leading one to want to minimize their time outside. Because of that, the Granada Theater acted as an ideal respite from the gloomy weather, especially for anyone who wanted to see one of country music’s rising stars. Colter Wall is a fascinating figure in the world of country music, given that the genre has largely shied away from its roots, mainstream country artists being pop acts as much as anything. Yet the twenty-three-year-old man from Saskatchewan, Canada is a country purist, one that identifies with the old guard more than anything and has developed a sound to match. And while that may have fallen out of favor with the mainstream crowd, Wall has, rather quickly, won over a throng of loyal supporters through the intricately crafted stories that he tells and the relentless touring he has done to support his albums. His visit to Dallas on this Thursday night was in support of the nearly two-month-old Songs of the Plains (out via Young Mary's Record Co./Thirty Tigers), a near sold-out crowd welcoming him back to North Texas, eager to hear some new music along with experiencing their favorites of Wall’s once more. Presented by Spune, the event boasted a mostly Texas-based lineup thanks to Joshua Ray Walker and Vincent Neil Emerson acting as the supporting acts. The latter has been on tour with Wall and performed as a trio, and while the listeners enjoyed Emerson and company well enough, it was Walker who set things on fire and had people raving. A rising talent within the D-FW music scene, the singer-songwriter acted as if he had something to prove as he made quick work of ten songs. Spectators were shocked to discover he hailed from right in their own backyard; and it was impressive to see a man that practically nobody there was familiar with, armed only with a guitar and his voice, command the crowd in the way that he did. It was evident the songs meant something, many striking an emotional chord, the melancholy tones that pervaded throughout the majority of them making one just want to break down and cry, even if there was no real explicable reason for it. They just had that touch, that emotional weight that allowed them to connect with people; a hallmark of a talented musician. They weren’t the only Texas artists to be seen this night. As the screen concealing the stage was raised, fanfare filling the room to welcome Wall out, concertgoers were instead addressed by Paul Cauthen. The Austin-based musician piled on the praise as he spoke of his good friend Colter Wall, promising everyone an excellent evening before the man of the hour finally emerged. “My name is Colter. I appreciate you guys coming out…” His greeting was followed by an explanation of his first song, his “favorite kind of song”, a traditional one, and one that was a cowboy song no less.

The first few cuts were all him and his acoustic guitar, evoking a singer-songwriter vibe, one that was conducive of storytelling. The chattering that had been ongoing during the previous two acts ceased. The rare clank of a beer bottle being thrown into the waste bin was the only noise that punctuated the music and even that was done carefully as the near one thousand patrons gave Wall their absolute attention. His rendition of “Bury Me Not On The Lone Prairie” was stunning. Mournful and teeming with emotions he made it feel like something he had penned, giving credence to the notion that Wall is an old soul; his booming voice and heavy drawl creeping out as he assumed the identity of the character he was singing about, leaving the nonchalant demeanor of his own persona that he had displayed well behind. He shared some anecdotes for the two originals that proceeded that opener, speaking of how “John Beyers (Camaro Song)” came together, noting that it was about two guys who drove around in matching Camaro’s who had their differences and ultimately took it out on one another’s car. (It was an early highlight of the set.) He then earned some laughs upon mentioning the idea for “The Trains Are Gone” came to him after reading a book, quipping, “If you can believe that,” regarding the reading part. That segment seemed to have been carefully curated -- even if those tracks were recorded as bare-bones numbers. Live you could experience the full scope of what they were going after, such as mortality in the case of “The Trains Are Gone”, and just how powerful they were. All by himself Wall had proved himself to be a force to be reckoned with, one capable of captivating a sea of spectators, and that was sure to only be bolstered by the addition of his band. From a drummer and bassist to a pedal steel guitarist who dabbled on a dobro as well as a backing vocalist/harmonica player, he welcomed his band mates to the stage as they proceeded to raise a more of a ruckus. The autobiographical “Thirteen Silver Dollars” did just that as the quintet dove right in to the lead track from Wall’s self-titled release. They livened it up immensely, to the point that the tune about an unexpected run-in with law felt like a party anthem, something that felt as if it were indicative of how the remainder of the set would play it. To an extent that was true, though the rest of this 74-minute long set was much more nuanced than that, the primary focus not being on invigorating the listeners so much as it was immersing them in the stories that were being shared and making them feel authentic enough that everyone could believe they had lived it. The attendees were all the more enamored with that approach as it better showcased Wall’s natural abilities. While comprised largely of original material, the setlist was fleshed out by more than half a dozen covers. It was a surprising move, considering most artists keep covers to a minimum, if they’re even included at all. In most instances I would say that was excess, but in Wall’s case that actually worked. Be them old traditional songs or ones from respected singer-songwriters, they all fit well within Wall’s wheelhouse and were spread out; “Big Ball's in Cowtown” being one of the country music staples that received a subtle makeover from Wall and had several people dancing along. Yet at other times, even with the bolder sound the full band brought, patrons remained still, utterly transfixed by the character driven songs like “Thinkin' on a Woman”. The reflective nature of it was heightened significantly as Wall placed everyone in the passenger seat of that big-rig with its driver as he assesses his failures. That was what made this night so special: the remarkable vividness of the tales that unfolded. Wall injected a certain amount of character into them that made them transcend a standard song, instead standing out as a compelling story that was artfully guided by his strikingly smooth and rich voice that echoes back to a bygone era. His rendition of Wilf Carter’s “Calgary Round-Up” was another incredible example of that as he embodied the persona of a cowboy out on a cattle drive; while the haunting murder balled that is “Kate McCannon” found Wall channeling his inner Johnny Cash more so than any other number this night, cheers erupting from the crowd as soon as they recognized the gentle chords that got the song underway. With about a third of the set yet to go Wall and company continued to make quick work of things, mixing in some covers of revered Texas musicians with his remaining originals, even pairing things back momentarily where he was accompanied only by the pedal steel guitarist for “Wild Dogs”, which was nothing short of breathtaking. Throughout the night a handful of fans were adamant about hearing one particular song, routinely shouting its title, hoping that might accelerate things. To wrap it all up Wall and his band mates finally got to “Sleeping on the Blacktop”, much to the audience’s delight. Fans frequently sung along to various track this night, though that was just about the lone one where nearly everyone seemed to chime in, the fans taking it a step further and even stamping their foot along to the percussion. It was one of those classic concert moments where for the time being everyone was unified. No one needed any sort of direction, that was just something they all felt compelled to do in that moment, and it was amazing to witness. That was a rousing way to conclude the show, though no one was ready for that to be the end. All of that stomping and hollering had subsided only moments before it again filled the Granada, this time as a way to demand an encore. “ENCORE! ENCORE!” went the simply chanting that steadily grew louder until Wall and his fellow musicians reemerged, happy to oblige the request. There would be a lone encore, and it was possibly the most crucial song of the night. Wall was deep in the heart of Ray Wylie Hubbard country – the institution of the Texas music scene even having graced the stage of the Granada numerous times over the years – so to do one of his songs was a sink or swim moment. It was a resounding success, at least based on the way the spectators enthusiastically sang along with the refrain of “Up Against the Wall, Redneck Mother”. The boisterous sing-along moment encapsulated the joyous spirit that was felt at every turn during this performance, summing up the overall fun atmosphere that had been cultivated (even during the more poignant numbers); the slightly updated spin Wall put on the song, changing “hippies” to “hipsters”, earning some hearty laughs. There was no better room in Dallas to have hosted Wall. The acoustics are topnotch and highlighted the natural talent he was overflowing with as he made this whole endeavor appear effortless. Despite the sizable room it felt more like club show. I dare say that out of the sixty plus concerts I’ve caught at the Granada that none have had quite the intimate feel that this one did. The way Wall initiated it was instrumental in that as he offered everyone a glimpse of himself not just as a musician but a person thanks to the dialogue he engaged in, providing some insight on his songs and those that resonated with and shaped him. He worked to develop that rapport with everyone and it persisted throughout the night, that same charm punctuating several songs even after he transitioned from solo artist to frontman. It felt like he was baring his soul to each individual in attendance, and that connection made him absolutely riveting. This was the first time that I had the privilege of seeing Colter Wall, and what you hear is precisely what you get. Even though he has drawn inspiration from some more recent influences Wall has forged a sound that evokes such a sense of nostalgia that it almost sounds too good to be true. His mighty set of pipes accented by a heavy drawl demand one’s attention; and none of that is aided by any “studio magic”. It’s all raw talent that grips you when listening to Wall’s recorded works and is downright arresting when experiencing it live. He is, indeed, a purist. There were no sorts of frills involved, nor were they needed. The music carried the show – as it should; Wall’s gritty yet refined talent shining through at every moment, the emphasis constantly on his impeccable storytelling. Clearly, there are still people who care for and prefer music with substance and meaning over something that’s catchy. Colter Wall is living proof of that, at least based on the strong turnout of avid supporters that he had this night. He champions those merits that used to be prerequisite for any act to make a significant impact in the music industry; his work ethic also reflecting those ideals, given that the road is more or less a second home to him. A genuine musician who still has his whole life to invest into his career there’s no doubt that Wall will continue to raise his profile, and in time, he may well come to be as revered as the greatest of the greats of the country and folk genres. He more than possesses the potential. Colter Wall’s current tour will run through December 14th when it concludes at the El Rey Theatre in Los Angeles, CA. He’ll return to the road in mid-January, that leg kicking off on the 17th in Portland, OR at McMenamins Crystal Ballroom. Some of the other dates include a performance at The Showbox in Seattle, WA (January 20th); the Mystic Theatre in Petaluma, CA (January 26th); and the Scoot Inn in Austin, TX (February 7th). A European tour is also slated for March 2019. A complete list of Wall’s upcoming tour dates can be found HERE. And if you haven’t yet purchased Songs of the Plains be sure to check it out in iTUNES or GOOGLE PLAY. Set List: Solo 1) “Bury Me Not On The Lone Prairie” (Traditional; cover) 2) “John Beyers (Camaro Song)” 3) “The Trains Are Gone” 4) “Night Herding Song” (Traditional; cover) Full Band 5) “Thirteen Silver Dollars” 6) “Saskatchewan in 1881” 7) “Big Ball's in Cowtown” (Hoyle Nix cover) 8) “Thinkin' on a Woman” 9) 10) “You Look to Yours” 11) “Calgary Round-Up” (Wilf Carter cover) 12) “Motorcycle” 13) 14) “Kate McCannon” 15) “I Been to Georgia on a Fast Train” (Billy Joe Shaver cover) 16) “Wild Dogs” 17) “Plain to See Plainsman” 18) “White Freight Liner Blues” (Townes Van Zandt cover) 19) “Burn Another Honky Tonk Down” (Wayne Kemp cover) 20) “Sleeping on the Blacktop” Encore 21) “Up Against the Wall, Redneck Mother” (Ray Wylie Hubbard cover)

[nedsecondline]

Vivian Cash — First Wife of “I Walk the Line” Johnny Cash

Bad on the movie - covering or cloaking the truth of Cash's history. Need a remake sometime based on the truth.

BLACK IS AN INVISIBLE COLOUR

Y’all know I’m a country girl. I grew up on a farm. I’m a Native Texan. I like cowboys, big hats, big trucks and country music. :) Country music is in my blood. My Twitter pal @GrooveSDC says his family are ‘black red necks’, I tweeted to him, I guess I’m a black red neck too. :) I loved listening to Johnny Cash, Merle Haggard & Willie Nelson.

Until yesterday, I never knew, Vivian Cash, first wife of Johnny Cash existed. What a gorgeous woman. And those 4 beautiful daughters belong to Johnny and Vivian. You learn something new everyday. Talk about shocked!

……….

I used to say I like every kind of music except Country. That was until my good friend Steve Abel made me sit down and listen to ‘Johnny Cash at San Quentin’, recorded live at the infamous prison. I was an instant fan.

So when “Walk the Line”, the Johnny Cash biopic, was released in 2005 I was eager to see it. I thought it was a great movie, with some brilliant scenes, like the one where Ma and Pa Carter see off Cash’s dealer with shotguns as he quits cold turkey. They seemed to epitomise the best of White Southern Christian Decency, in contrast to the usual treatment we see of Southern hypocrisy, malice and racist cruelty.

The romance between Johnny Cash and June Carter was of course the main thread of the movie. It winds around his protracted wooing of her and ends with a caption celebrating their 35 year partnership on and off stage after she finally agrees to marry him. His first wife Vivian is portrayed as a woman just never suited to be his wife and who drove him away with her bitterness, jealousy and resentment. I remember idly wondering what she was really like, and whether this was a fair portrayal of her character, as the story moved back to his great love for June.

The Cash sisters. Rosanne is in the red and Kathy is in the dark blue.

Vivian Cash & daughter Roseann Cash

Watching the movie for a second time the other day I was again swept up in what a nasty, bitter woman Vivian was, even as another part of my mind again questioned the representation. In the garden with my wife the following day, we began deconstructing the movie as we worked. As we talked through different elements of the plot, I began to feel more and more uneasy. Later I decided to google Vivian Cash. I found a review of her book ‘I Walked the Line’, written after the film came out. Not surprisingly it gave a very different story to the film, suggesting that their marriage had been very happy until June stole John away. What WAS surprising, though, was when I looked at photos of Vivian. Turns out that she was a black woman.

You’d never know from reading any of the articles about her.

You’d certainly never know from watching the movie, where she is played by Ginnifer Goodwin.

In fact the only thing I found in my admittedly brief search that referenced her ethnicity was a newspaper headline from when he was busted for drugs that says “ARREST EXPOSES JOHNNY CASH’S NEGRO WIFE”. Presumably exposes her for the sin of being black in the USA.

Interestingly, in contrast to the newspaper article from the time, the film shows him leaving court alone and coming home to her censorious displeasure. It is shortly after this arrest that the chronology of the film shows them separating.

I’d noticed before that there are almost no black people in the film. Two shoe shiners are the sum total are far as I remember. I imagine the director, James Mangold, justifies this by saying that there are no black characters who are important to the story. That is if you don’t include his first wife.

Suddenly the treatment of Vivian makes complete sense. In the world of American Country music, of course the black woman is the villain of the story – even when her husband leaves her and her four daughters for another woman. June and John are considered one of the most iconic couples in country music history, and no black woman is going to undermine that narrative. Her character has to be destroyed. But even that is not enough. Her very identity is robbed from her, made invisible by whitewash.

They say that black is not a colour, it is the absence of light. That certainly seems to be true in Hollywood.