#it'd be the wildest concert of my life

[junk-whunk-punk]

yes your melkor faceclaim is nikki sixx

OHHHH MYYYY GOD i'm going to open it to the full screen to thoroughly kiss every inch every centimeter every millimeter of these picture mmm it would be nice if it was possible to kiss them in reality (nothing personal but maaaan🫦)… but i can only kiss pictures… and the screen with your account page open…

i forbid you to condemn me for my desire to draw them

@angbangweek day 4 - au. 

ofc i had to go w my 80s rockstar au. i have a lot of thoughts on this, some of them r gonna be in a longer fic im writing, some of them are purely au and don’t fit. but maybe in some oneshots or smth.

[dollarbin]

Dollar Bin #41:

Edie Brickell and New Bohemians'

Ghost of a Dog

At 13 years old I actively longed for three things in life: young love (please God, let some pretty girl like me) and new records from Tom Petty and Edie Brickell.

I literally dreamed of these three events: I had weird dreams. The girl would look just like Edie Brickell, only she'd be 13 years old, just like me; she'd take my hand and present herself publicly to the world as my girlfriend without me doing anything whatsoever to initiate our relationship. (After all, how did one go about getting a girlfriend? I had no idea whatsoever.)

The new Tom Petty record would be even wilder and weirder than Full Moon Fever; Petty would change his middle name from Earl to Nathan mid-song in honor of his biggest fan (that would be me).

And the Edie Brickell's new record would be the musical merging of those other two cherished dreams: it would sound like a Tom Petty record as sung by my new, amazing 13 year old girlfriend; it'd be full of swirls and positivity and the songs would describe teenage make out sessions.

Edie Brickell: wow! She was cute and quirky; she had unthreatening dance moves and carried herself like the older sister in The Wonder Years. Plus she had enormous, luminous eyes that looked into my very (young) soul.

It remains incomprehensible to me that the first of these three cherished dreams to become reality was the girlfriend one. Ghost of a Dog, Edie Brickell's sophomore record with the New Bohemians, came out in the fall of 1990 when I was 14 and in ninth grade. That was 8 or 9 months before Tom Petty released Into the Great Wide Open and a full 4 months after an incredibly pretty girl took me by the hand and led me out into the moonlight during our end-of-week-dance at summer camp.

Petty's and Brickell's records did not fulfill my wildest dreams; Jeff Lynne and the Stan Lynch could not come together and make anything other than a safe and staged record, despite some occasionally fantastic songwriting from Petty.

And Ghost of a Dog sounded, to my 14 year old ears, alternatively boring and threatening; it was either totally bad or totally over my head; I was never sure which. And when I saw Edie and her manfriends in concert that same fall it was more of the same: Brickell had a rug on which her legs pretzeled into bizarre configurations and, compared with the frantic keyboard player in Blue Rodeo, the band that opened, and especially compared with the summer camp girl I'd been snogging, their whole thing was kinda... boring.

34 years have passed. I know nothing even vaguelly current about that first girlfriend, to whom I remain forever grateful: she may be a mathematician, she may be a carpenter's wife. I don't know how it all got started; I don't know what she's doin' with her life.

But me? I'm still on the road, heading for... oh enough already! Sorry about that. Where were we?

Oh yeah: I believe it's high time that I - and you - listen to Ghost of a Dog again. I'm guessing the record will make more sense to me as an old man than it did at age 14...

But before we get into it, let's set the stage through the band's timeless song - yes, I stand by that moniker, after all, What I Am could have been a hit in any decade.

In 68 The Mamas and the Papas could have come together with the Grateful Dead to lay the song down as a one-off joint single. Ten years later, in 78, Fleetwood Mac could have put a coked-up spin on the thing, spending 16 months and 16 million dollars just to work up a rhythm track.

In 88 Edie actually made it a hit, but picture a late-period Mazzy Star ten years later rebranding the song as a turtle-paced sonic death march, or Radiohead in 08 rejecting their increasingly incomprehensible trip-top phase to make the song once again quiver.

By 18 Dead and Company could have suddenly made themselves relevant to more than a few thousand freaks by covering What I Am with Fiest guesting on vocals.

And let's hope that in '28 my famous brother's band will headline the Super Bowl halftime show with my almost famous niece handling lead vocals with What I Am as their centerpiece. Then in '38 Edie can do a 50th anniversary tour and play the White House with my daughter - or yours - standing by as the leader of the free world. After the show Edie and my/your daughter - our President - will jointly introduce Christine Blasey Ford as their nominee to finally replace the Supreme Court's last male member, Brett Kavanaugh.

But the band has got to be more than just that one great song and the cool debut album around it, right?

I hope so. Let's find out:

Ghost of a Dog opens with Mama Help Me, which was clearly intended as a hit follow up to What I Am. It's catchy! Plus it rocks harder than anything on the first record. But the video traded groovy for edgy, Edie was wearing a power suit instead of a goofy grin and no one is gonna sing this song at the White House any time soon.

Black and Blue follows and it sounds like there are 7 drummers involved, all of them graduates of Joe Freakin' Lala University, plus one really tubby bass player. Everyone's laying down swooping pulses on us.

Edie probably wrote this song while snatching some me time away from her Colonel Brandon of a boyfriend, the ancient Paul Simon. He was 50 years old at that point, bald and hiding it, and five foot nothing. I was 14, not yet bald (so not yet hiding it) and five foot 2 (and still growing!) - why didn't Edie choose me instead?

Anyway, the song is alright... But the possibility that this is a concept record about physical abuse is wafting about at this point and that's not what anyone hopes for from a hippy party band; I haven't heard anything yet that wins me over to this record in substantially new ways.

Carmelito is where things go further south. Here's a Spanish-tinged immigrant song from Edie and the boys, all of whom strike me as, well, very white. Happily, this song clears the air entirely of any Berlin II concept record vibes. But why does the song exist? It's not I Pity the Poor Immigrant-level cringy to our modern ears but there are another 6 drummers involved, plus someone hired an accordion player. Adulterous imagery pops up and the guitar solo is pretty sweet but way back then, and still today, I want Edie to sing about the smile on a dog. Not this.

Happily, the fourth track, He Said, is perhaps the best thing on the record, and it's a song that I definitely did not appreciate back when I was working my way through Algebra 1 and buying tickets to the first Teenage Mutant Ninja Turtles film so as to ignore it and bang a gong middle school style for two hours straight with good old what's her name in the dark. Rest assured: we were quite chaste.

He Said is a natural kissing cousin to one of the greatest, and saddest, relationship songs ever written. We're talking about Paul Simon's Hearts and Bones, written a decade earlier, in which Simon and his previous, also way-younger-than-him lady friend, Princess Lea, do not make out like teenagers; rather they work through some very adult stuff.

In both songs "he" says elusive things, and so does "she". We worry about them: will they make it? Is the guy a total creep? Even so we root for them, whether they are passing through the Sangre de Christo mountains without lightsabers or whether she's ditching Methuselah/Simon (momentarily anyway; Edie and Paul are still married) so as to walk away from misery.

It's hard to love. It's not TO love. He Said is not on Hearts and Bones' big deal level. But it's totally good! Edie clearly worked through things with Simon by listening to his old records. It didn't lead to another hit single. But, so what. Ghost of a Dog!

Track 5, Times Like This, is the first of 3 or 4 acoustic, largely solo, Edie numbers on the record. Shooting Rubberbands at the Stars has just one of them: the revelatory I Do. As a kid I taped that first album off someone else's copy; always a miserly environmentalist, I shut down my recording the moment the record seemed over, saving the remainder of the 45 minute Maxwell blank so as to cram something else on there later. And so I simply didn't have I Do on my tape; for all of the twentieth century I didn't know the song even existed.

Years later I saw this track listed and thought, "huh, "I do" must be a secret message from Edie meant just for me: Keep Coming Back is the last song then it says "I Do". Edie "keeps coming back" I guess. I should too!

Eventually some hipster set me straight about the song's existence and I'm glad they did. I Do shows off a lot of Brickell's charm as a singer-songwriter: she's alive, humble and fully human on the song, full of good humor and warmth, no longing to be Whitney Houston anywhere in sight. A lot of white kids my age wandered around their middle schools, then their high schools, then their colleges and then their first jobs wondering where all the Edie Brickell-types were hiding.

10,000 Angels comes next on the record. It sounded dull when I was a kid too, but it does not sound dull anymore. It sounds like a Disintegration outtake with Robert Smith stepping aside for, well, Edie Brickell. If Edie hadn't packed it in and put the band on permanent hiatus after this record and tour to start a family with The Ancient Still Rhymin' Mariner, songs like this could have turned them into a big deal, long term, jam band. Imagine a world with them headlining summer festivals instead of The Black Crows. Sounds magnificent.

The album's title track follows and, as a kid, the song just sounded lazy and slight. Where was the depth, where was the safely flirtatious groove? Edie sings about a dog getting run over and she sounds wistful, repetitive and vague. What was the point?

Well, I don't know about you but I find the track pretty damn exciting 34 years later, much like the dreamscapes Neil Young summoned up in Without Rings and Music Arcade later in the decade, only a little less harrowing. Give it a try:

Personally speaking, I've got some ghosts to reckon with. There are a few people I ditched; a few who ditched me. A few who died. I hear them all in this song. They're flying through the back yard: elusive, yes, But also vital.

So go forth Dollar Binner, track down this album! Now that you're no longer 13 it is neither boring or over your head. Sure, things fade out a bit in the second half with Edie singing a Shaggy Dog story about her bra and some less memorable tracks. But there are choice bridges to be found and there's plenty of groovy grinning.

It's way too late for a new Tom Petty record and way, way too late for any of us to cuddle it up during a Teenage Mutant Ninja Turtles film. But it's never too late to get into Edie Brickell, people!

Just be like J:

[topconfessions]

Do you think T. Swift do some type of magic or something like that ? because I think her music is bad I don't understand the hype also she sing horrible on live concerts

Of course she does and the illuminati heads use to always use this Satanist woman who looked exactly like her as a connection lmao. All I am going to say is her music is somewhat like BTS current American singles in the sense that its mainstream easy to churn sounds that childern eat up. I've been at a place that is kids related a lot lately and when her music plays its grating to my ears (minus some tracks like wildest dreams. And I also love reputation in general*) cause it sounds like overly cookie cutter childish fodder intended for kids, teens and immature adults who still feel like they are in that stage of life. She's smart in that aspect, she makes tracks she knows the general public will eat up. Talented song writer though I will give her that.

But yes I believe she knows of spirituality or at least things like crystals and meditation. But she gives me a vibe that she either does it privately or keeps it secret idk.

Also I want to say Kanye West did mold and elevate her career in 1 night with that fiasco. Idc what anyone thinks: she would not be the artist she is today nor would she be where she is if Kanye never interrupted her that night and that's a fact. He didn't lie when he said he made her famous. He took her to megastardom indirectly and I don't believe she'd he a monster hit had he never did that to her and I believe she knows it deep down hence why she never 100% cut him off.

She's not my cup of tea and I avoid people who are her stans cause like Ariana Grande and Demi stans (Obviously not all) a majority her stans have horrid personalities and are beyond manipulative and emotionally immature. I notice you can see traits of artists in the stans these days. I heard shake it off today at work and I was sleepy as hell / mentally checked out so I didn't feel anything nor seriously have a knee jerk reaction in terms of what I'm about to say with my opinion but honestly, it was the silliest and most immature just pointless subject matter of song but very catchy and great for the melody sake. Like are you really a grown woman making a kids bop sounding jingle responding back to normal everyday life criticisms that don't even need remotely any attention?

IDK she's the type of person I just never want to meet. I will randomly say witchcraft or gym routine, she looks better with weight on than off. But I'll never like her for trying to slick and manipulative by working the public sympathy cords by saying she waw mega thin by all these issues to fit a mold etc like nah sis you were thin cause it was trendy during those years, it was the beauty standard and you wanted to be a mega mainstream star so you knew your thin body type would help you endure in the end with teens, kids and young adults 19-24 and men who like that body type. You dont get to promote that body type then come back and say it's this and that or an excuse. Truth or not. It'd be like Beyonce saying she was skinny at times back in the day (minus for films) cause of social pressure which would be a good face lie. She morphed her body image to suit what angle she was doing although she has always been a very slim thick girl.

But yeah she has adopted a lot of Beyonce's formula and that's how her lives are just so entrancing. That whole interruption scandal feels like a ritual set up even if she couldn't see it coming. Kanye was the launching pad and Beyonce was the blueprint on how to expand and become a mega star.

Just my observation.

Yet again black stars making mega stars out of these white artists who didn't do anything for them before or after. Chileeee.