#its got songs from the era and modern songs

[f-imaginings]

Since billford is becoming popular again I figured I might as well post my trusty Billford playlist for folks to enjoy.

This playlist helped keep me inspired while writing Knowing Me Knowing You and has some great songs for both Ford, Bill and the changing nature of their relationship at different points.

(Also I love when ppl put song lyrics beneath fanart and there are some bangers in here, go nuts!)

[desire-mona]

what i think my mutuals look like

u may be in here, u may not, doing as many as i want, if ur not in here then that doesnt mean i dont luv u :3 i hav a lot of mutuals

naut - i actually know what he looks like but in my mind. raggedy anne

harper - a mix between abed and gillian anderson

kiwi - young hugh laurie

my one tomska mutual - youll never guess

kae - meeks but somehow gayer?

kola - that one rsl photo combined with her actual face

ok computer - her pfp LOL

grey (musi) -s1 wilson

eli - i know what they look like actually so just. their face

joan - elvira

ami - abed, funnily enough

joel - straight up a dog

lisa - neil perry but specifically that one photo used as a pfp at one point

shui - also abed

john - phoebe from friends?

tiffany - again, i know what she looks like

marley - also s1 wilson but its different. like younger

sun (both of you) - ethan hawke in Dad specifically

bones - spock

reese - also spock but if spock was cosplaying neil perry

housewifemd - if house and wilson steven universe fused

ghostie - if jesse pinkman cosplayed frank n furter

joon - gender swapped neil perry

clara - gender swapped pitts

sid - richard cameron

tyty - his face!

ania - a vague cross between ginny danburry and gender swapped steven meeks

autumn (nocti) - her pfp

indie - also richard cameron

finn (occams chainsaw) - s1 gregory house

finn (puckspoetry) - neil perry but like. modern au?

bubble - gender swapped todd anderson but pink?

manda - thirteen (specifically thirteen with bangs)

tristan - his face. but also jesus

lovechild - NOT TAYLOR SWIFT. her face actually cuz i got secret access

dream(duality) - house when he went to that one migraine guys lecture thing

aspen - his face if it was more taublike

chandler - HIS face but more houselike

syd - allison cameron in black and white specifically

soph - rose tyler

hunny bun - martha masters

rain - i newly know what she looks like however she does still look like house in my mind

katie - neil perry at the play specifically

pinkie pie - pinkie pie

raph - steven meeks if he was dan howell circa 2009

dewi - charlie dalton

regulus - all 4 beatles combines into one being

jareth - todd anderson with white hair?

gil - his face mixed with rsl circa 2001

lesbians for trobed - trobed combined into one being

elmo - carrie

luke - thirteen (no bangs)

will - helena bonham carter in frankenstein (1994)

cuntstruck - that guy who wrote let it go (not the frozen song)

zeth - zeth

blue - allison cameron

blue - dick grayson

(im sure the blues can tell who is who)

thiam - jschlatt circa 2020 SORRY

valerie - martha masters allison cameron steven universe fusion

ash (crow king) - stretched james wilson

nico - stick dead poets society if he was also tyler joseph

percy - robin williams if he was a teenager

ashy - her face mixed with belle

nick - rsl and winona ryder steven universe fusion

matthew - youll never guess. anyone but barry boys next door

el - richard cameron AGAIN

sammy - their face mixed with neil perry gayface

birdy (demon or) - james wilson circa s3 ALSO U JUMPSCARED ME WITH THE PFP CHANGE I WASNT EXPECTING A FOOTBALL ERA

daisy bell - dana mythic quest

maddie - abed in her artstyle specifically

missy - TROY TIGER!!!!!!!

rubester - daria? idk why

[daisynik7]

“Into you” by Fabolous for Connie Springer- smut + fluff

(S4 connie ofc)

Into You

I think you’re truly something special, just what my dreams are really made of

Pairing: Connie Springer x f!reader

Rating: Explicit – MINORS DO NOT INTERACT

Word Count: ~2.4k

cw: super fluffy, kinda cheesy, college au, modern day au, lots of basketball terms (applies specifically to NCAA and NBA), explicit language, smut – PIV sex (cowgirl position), implied creampie

Summary: You and Connie Springer have been close since childhood, growing up as next-door neighbors and best friends. The bond the two of you share is undeniable, but you’ve never been able to admit how deep your feelings are, either to yourself or to him. You continue to support him as his friend while he pursues his career as a basketball player, trying to get drafted into the NBA. Though the journey has its ups and downs, one thing is for certain: The two of you will always have each other, forever and ever. 

Author’s Notes: Hi anon! Thanks so much for requesting this song for the y2k karaoke party because it’s one of my FAVORITES! It really gives me Love & Basketball vibes, another favorite of mine that also happens to be a classic in the y2k era. This little fic is very loosely based off of that, so I hope you enjoy! Also, all the basketball/NBA tidbits are mostly from being with my boyfriend, who is a huge NBA fan, so yeah, sorry if any details are inaccurate lol. Likes, reblogs, and/or comments are always appreciated, thank you for reading and I hope you enjoy! MDNI banner credit to @/cafekitsune. Header image from Pinterest (Slam Dunk manga).

“You have to pinky promise, okay?” Connie sticks his tiny finger out, wiggling it in front of your face, sucking on his cherry-flavored lollipop, lips and tongue-stained red. You’re both five years old, sitting cross-legged in the front of his yard, taking a break from playing hide-and-seek.

“What am I pinky promising?” you ask, voice squeaky and curious.

“That we’ll be best friends forever and ever! No matter what!” he exclaims, beaming at you with his eyes wide, twinkling earnestly. 

You only need to think for a few seconds before you’re hooking your pinky with his, committing to this promise for the rest of your lives. 

~~~

Ten years later, Connie makes it on the varsity basketball team in your high school. It’s rare for a freshman to make it to varsity at Ragako; the coaches must have seen that spark in him that you and his family have witnessed since he started playing at ten-years-old. You used to shoot around with him out in his driveway, where his father set up a little hoop. Eventually, the little one got upgraded to a real one, where the height was adjusted appropriately as Connie grew. You became his practice partner, no longer able to compete with him. Instead, you passed him the ball, watching in awe as he made shot after shot, sometimes deep from the street. He’d pick you up and spin you around, the two of you cheering together, impressed by his skills.

Year after year, he only improved. The way he handled the ball, expertly dribbling it between his legs, behind his back, one-handed, without looking. Or the way his feet gracefully shuffled along the court, the distinct squeak from his shoes echoing off the walls as you watch him on the bleachers, playing three-on-three against some of his buddies at the gym. One time, his friend Jean teases you. “You know, you should stop hanging around here or else people might think you’re his groupie.”

Before you can think of a smart comeback, Connie interjects, shoving Jean hard in the arm. “Hey! Leave her alone. I want her here. I only play like this when she’s around. And she’s not a groupie. She’s my best friend.” He wraps his arm around your shoulders, leading you towards the exit while Jean sputters apologies that go ignored. “Sorry about that,” he whispers to you. “Jean is an asshole. I want you around, got it? Forever and ever.”

You smile, leaning into him. “Forever and ever.”

~~~

It’s at the championship game during senior year that you realize that you’re in love with Connie.

Scouts have already contacted him about full-ride scholarships to university, recruiting him for their team. He’s the most celebrated point-guard in your school’s history, his average points and assists per game breaking records. Ever since he joined, your school has made it in the final round each year, last year resulting in a win, this year leading to a second. 

With seconds left on the shot clock, tie game, Ragako with possession, Connie makes his move. He inbounds the ball to his teammate, quickly taking position at the right wing, his sweet spot. As quickly as it leaves his hands, the ball is passed back to him. He shoots it, and as it flies out from his fingers into the air, the buzzer rings, and he makes it. The crowd goes wild; one side of the bleachers erupting into a frenzy, jumping up and down with excitement. Connie’s parents hug each other first, then surround you in their arms, elated. You don’t expect him to celebrate the win with you, not with his entire team huddling around him, splashing water on his head, cheering his name. Not with all the cheerleaders and fans gravitating toward him, eager to be in the presence of a sure-to-be star in the making. So, it surprises you when you see him maneuver his way through the crowd, heading straight towards you. He pounces on you, giving you the biggest, sweatiest hug with tears streaming down his face. It’s a split second where the surrounding noise goes blank and it’s just the two of you there, basking in each other’s warmth. Soon, his parents join you, also crying happily, and it’s in this moment that you realize this is where you want to be: with him. Forever and ever.

~~~

It's no surprise that the two of you attend the same college together. Most people will see it as you following him, but in actuality, Connie agrees to go wherever you go. Lucky for you both, your top choice is a D1 university where he’s offered a scholarship to play for their basketball team. It works out perfectly, as if it were meant to be. 

He’s busy from the get-go, practicing every day until the season starts in November. You become preoccupied with classes, and naturally, the two of you travel your different paths, meeting in the middle whenever you can. When the season official starts, you attend all his home games, cheering for him from the sidelines surrounded by the other students also chanting his name. Weeknights, he’s often too tired to hang out, retreating to his dorm room to fall asleep, only to repeat his busy schedule again the next day. He grows close with his teammates, spending most of his time with them instead of you, which is to be expected. After all, you and Connie are just friends. Sure, you’re completely and madly in love with him, but he’ll never know that. So, you watch from afar as he pursues his career without you in the way. It’s the way it has to be. 

By the time spring semester rolls around, you and Connie barely see each other. You’ll still text, sometimes video chat or talk on the phone. He mostly vents to you about teammates or coaches that have gotten on his nerves that day. He’ll catch you up on the other schools they’ve defeated or the ones that they’ve lost to. Your school’s record is quite good thanks to Connie, who’s only gotten better since high school. If they continue at this rate, they will win the conference tournament, meaning a trip to March Madness, the most prestigious competition in college basketball. Most importantly, it’s one step closer to the NBA.

As expected, the team does win the conference tournament. That night, the entire campus is lively with students buzzing in school spirit, ready to party the rest of the weekend. All you think about is calling Connie to congratulate him, hear his voice and tell him that you’re so proud of him. You debate with yourself for nearly fifteen minutes, staring at his name on your screen, fingers so close to dialing his number. You decide not to go through with it, certain that he’s too busy with his team, too busy with his fans. He’s not thinking about you, not when his whole world is about to change. And you can’t blame him; you’re just friends, and this is the way it has to be.

The following night, your school organizes an impromptu homecoming for the basketball team, welcoming them as they arrive on the bus, fresh from their championship win. They have a  couple days of rest before they leave for the NCAA tournament, but you’re sure they’ll be busy with press and practice until then. You’re not there to greet them when they step off the bus; instead, you’re sulking in your room, buried under the covers, feeling sorry for yourself for ever falling in love with Connie Springer. It’s a sad, pathetic sight, but at least you’re alone for the weekend to do it while your roommate is out visiting her boyfriend out of town. 

You’re surprised to see Connie’s name flash on your phone a few hours later. You let it ring twice before answering. “Hello?”

“Where are you?” he asks. There’s shuffling in the background, as if he’s walking outside. 

“I’m in my room.”

“I’m coming over now.” He hangs up, not giving you any time to respond. You sigh, mentally preparing yourself for what’s to come.

When you open the door to let him in, he wraps his arms around you in a snug embrace. “I missed you.” He pulls off to hold you by the arms, glaring. “Why didn’t you greet me off the bus?”

“I…” you start, unsure how to respond. 

“I was looking for you and you weren’t there. Where were you?”

“I was studying in the library.” This might be the first time you’ve ever lied to him. You feel guilty and gross. 

“Oh,” he says sadly, still staring at you. 

“Congratulations, by the way. It was an amazing win.” You give him a weak smile, blinking away the tears welling in your eyes. You don’t even know why you’re crying; Connie did nothing wrong. You’re letting your emotions get the best of you, and you can’t help but crumble in front of the only person who knows you better than you know yourself. 

“I don’t care about that right now. I care about you. What’s wrong?”

“It’s nothing, Connie, I promise.”

“Don’t promise me shit like that. I know you’re upset. Tell me. Please.” His eyes search yours, desperate for an answer. 

You look at his feet, fixating on his shoes, scuffed on the sides from playing. Tears start to drop from your face and on the carpet. “I just…I missed you too. I miss you, Connie. I…I love you.” The confession slips from your mouth in a sniffle, and you’re so upset with yourself for letting it slide in this crucial moment. Neither of you needs the drama of your unrequited love right now. Not you, knowing he’ll be leaving again soon, and especially not him, who has bigger and better things to focus on. 

He gapes at you, stuttering, “You love me?”

You nod, biting your lip.

“Like, love love? Or love like a friend?”

You’re tempted to lie, just to make it easier. But you owe it to Connie to be honest with him. “Love love.”

His mouth is open, eyes bugging out, completely shocked by your admission. Before he can respond, you add, “I’m sorry, Connie. I shouldn’t have told you this right before the tournament, but…I don’t know. It just came out. I’m sorry.”

He stammers, “You’re sorry? This is the best fucking thing I’ve heard in my entire life.” He breaks into a smile, laughing hysterically, an even more bizarre reaction. 

You cross your arms, getting impatient with his ridiculous behavior, eventually grabbing his shoulders to shake him out of his fit. “Connie, what the hell?!”

He wipes his eyes, crying from giggling, beaming at you. “I’ve been in love with since we were kids. Been dreaming of hearing you say that since we were five-years-old.” He hugs you tightly, nuzzling his nose to the top of your head. “I love you and I want to be with you. Forever and ever, right?”

You nestle into his chest, inhaling the familiar scent you missed since he’s been gone. “Forever and ever.” 

~~~

The two of you spend the night together, making love for the first time. His lips are soft against yours, and you smile into his kiss, remembering the day you pinky promised that you’ll be best friends forever and ever, no matter what. His lips were stained red with cherry-flavored candy, looking sickly sweet as he smiled at you. And as you kiss him now, he tastes just as sweet as you imagined he’d be after all these years. 

You kiss him sloppy as you ride his lap, his cock buried deep in your pussy, filling you up to the brim. He moans your name into your mouth as he laps at the saliva collecting on your tongue, slurping your spit, swallowing it thickly. “Fuck,” he groans, hands gripped to your hips, rocking you back and forth on his thighs. “I’ve dreamed about this for so long, baby. So long.”

“Me too,” you whisper, starting to bounce on him, close to your climax. 

“What would you think about? Tell me,” he demands, thumb pressed to your clit, rubbing it raw.

You whine from his touch, increasing your pace, resting your head on his shoulder. “You and me, just like this,” you huff, short of breath. 

“Yeah? You thought about me deep inside you, huh? Fucking this sweet pussy until you come all over my cock, huh?” He thrusts up into you, grip tightening, fingers digging into your flesh. He’s close too, you can feel it.

You moan into his skin, sweat beading on your forehead, throwing your ass back against him in tandem with each pump of his cock. A few more strokes and the two of you come together, the mess spilling onto the sheets as soon as he pulls out. 

He wipes you down with tissues and baby wipes you have handy on your bedside drawer. As soon as you’re both clean, he cradles you in his arms, spooning you from behind. 

“I know this is going to sound super cheesy, but I truly feel like a winner now,” he says, kissing the nape of your neck. 

You chuckle, squeezing his hand in yours. “Wait until you win March Madness. Then you’ll really be a champ.”

“Even if I lose, I’ll still have you. And that’s been my dream all this time.” 

You shift your body to face him, gazing into his eyes. “I thought your dream was to make it into the NBA?”

He smiles, booping you on the nose. “It’s part of the dream, sure. But I wouldn’t be anywhere near where I am now if it wasn’t for you. You kept me going all these years. Knowing you were always on my side gave me the strength I needed to get here. As long as I have you, I’ll be living the dream.” He kisses you on the forehead. “I’m going to love you for the rest of our lives.”

“Forever and ever?”

“Forever and ever.”

~~~

In an upset, your school loses in the Final Four. It’s the furthest they’ve gotten in university history, and a large part of that is due to Connie and his extraordinary performance as their point guard. His efforts do not go unnoticed; his coaches and many prospective agents have contacted him, encouraging him to apply for the NBA draft. 

June of the same year, Connie Springer is drafted tenth in the first round and you’re sitting right beside him with his parents, cheering for him. Just as you have throughout all these years, and just as you will for the rest of your lives. Forever and ever. 

[kaiserin-erzsebet]

tell us more about your complicated feelings about the accuracy of shows like Bridgerton, please!!!

Thank you for asking. I've been wanting to get it out of my head.

First off, I think "historical accuracy" can be a somewhat impossible standard. We don't know the past well enough to do a one-to-one recreation, and even if we did, it would probably be kind of uninteresting. We understand that romance or mystery fiction isn't a one-to-one recreation of modern life either, even if it is set in our own time.

I hold historical accuracy to the same standards as book accuracy when it comes to adaptations. Something is going to change between mediums and that is a pretty neutral thing on the face of it. I often look for an understanding of themes (or predominant concerns of the period) and vibes more than I look for accuracy. And I let the media itself tell me how serious it wants to be about recreating the past.

I love this scene from Marie Antoinette for capturing Rococo excess, and there is a pair of Converse in it:

When I talk about shows like Bridgerton, I mean the ones that exist in this kind of "less than serious, but recognizably historical setting." Overtly self-serious works like a certain recent Napoleon movie that everyone panned are easy to critique on the grounds of historical accuracy, because they are presenting themselves as trying for that.

Bridgerton, on the other hand, is Regency with a giant asterisk. The sparkly dresses and pop song covers tell you that. I feel like it occupies a similar niche to something like Reign, where the aesthetics and the music and the story tell you it is more about romance than about serious history. You're here to have fun and watch pretty people kiss. Yet, there are recognizable historical figures in it at points, which keep it from being full fantasy.

And I don't have anything against something that is interested in being fun and romantic. My own media diet isn't exclusively serious stuff either.

The complicated part of my feelings come more from reception than anything the show is necessarily doing. To me, a historian who consumes a lot of historical media, it's pretty obvious that the show is wearing "not that historical" on its sleeve. And generally, I give that more grace because it is being clear about what it is.

However, in the wake of the show's popularity, I've seen people engaging with it in a way that gives me pause. For example, on a video of a woman making a dress for a Bridgerton premiere, a lot of people in the comments were trying to tell her to do a "period accurate" Regency dress. Period accurate. For Bridgerton. The show that takes actual Regency fashion as a suggested base that they build off of.

I've similarly seen videos along the lines of "POV a Bridgerton era girl doing [x]" that seem to be thinking Bridgerton is a representation of the time period rather than existing in its own bubble. Or people discussing it saying things like "back then [insert thing] was true" trying to draw from the actual Regency period (usually rather badly).

It's like the popularity has broken through to people who don't usually consume history or historical media, who simply miss how much the show is saying that it isn't history. It's a sort of undiscerning audience who isn't catching the blatant, intentional differences from a serious period piece because they know very little about the period. And then things merge into how they think about actual history (see also: people who bring up plot points from Reign to characterize actual Mary QoS in Mary vs Elizabeth discussions, or people who talk about "back then" with GoT or HotD)

And my complicated feeling is this: I don't actually think these shows could do more to differentiate themselves from actual history. They're giving you all the clues to say they aren't trying to do that. Yet, I can't help but think that there are still ways that they bleed into perceptions of history. And I wonder if that is an inevitability with loosely historical media.

[crazylittlejester]

I need to know. Would Modern au Wars be a swiftie?

In my heart I think he is and Twilight gives him shit for it, but has been caught humming one of her songs whilst doing housework or something.

(I love your modern Au)

yeah I think he’d listen to some of her older stuff, like 2014 era (Shake It Off kinda stuff) which Twi can’t say shit about because he too craves the nostalgic 2014 pop music. Wars listens to a lot of music from the shows he’s in, old stuff he skated to, Britney Spears, Sabrina Carpenter, and also Lady Gaga (Just Dance got banned FAST because he and Wild go a Little too hard whenever a Lady Gaga song is involved and last time they BOTH ended up hurting themselves because they act like their future depends on their game score. because this is what happens when you take two highly competitive retired skaters who both suffered bad injuries who also used to view each other at rivals, there is no friendly competition it’s all life or death /j). Wars also regularly cries in his car to Mitski and Hozier because he IS sad and also gay /hj and he will not be caught DEAD crying in his room, no thank you

now SKY is the real swiftie if it’s any of them, and Wars and Twi are a bit suspicious because they have no idea because he just hasn’t said anything, but Sky does know the lyrics a little to well for a guy who just “listens to it when its on the radio” or “whenever my gf plays it in her car”

ALSO IM GLAD YOU LIKE THE AU :) theyre my sillies aldkkdkd :3

[canmom]

hi cuba i'm dad

I watched I Am Cuba, whose not-so-recent restoration was playing at the GFT. insanely well shot film, like the level of choreography to pull off those long takes and supercomplicated crane shots with no steadicams or anything is just mind bending. absolutely wild that the soviets didn't say "wow we have a banger on our hands here comrades" and play it everywhere - as a propaganda film, it did its job! definitely leaves you fired up to fight the Cuban revolution.

it is certainly a very didactic film, with the lesson of each vignette being pretty clear. but it is able to lend enough depth to the archetypal characters - the struggling sex worker from a slum who has to hide her relationship serving american visitors at a jazz club, the salt of the earth sugarcane farmer whose land is sold out from under him, the student revolutionary who hesitates to pull the trigger, the other farmer who only wants peace - to get you really engaged, though definitely the revolutionary characters (probably closest to the experience of the filmmakers) feel like they're the most fleshed out.

the third act, in which a revolutionary student plans to assassinate a regime cop (unnamed) but hestitates when he sees the man with his family, only to see that same cop murder first his friend and them himself, is maybe the most spectacular, with huge scenes of rioters getting blasted with water cannons, or the incredible funeral shot...

but it's not just these flashy huge shots; it's a gorgeously lit greyscale film (absolutely crazy detailed looking with the 4k scan, so cheers for that one Scorcese), ingeniously augmented by infrared photography in places to make it extra stark. more than that and so many shots have really elaborate blocking and camerawork, with the camera drifting from actor to actor, effortlessly sliding between closeup and longshot like it's in the hands of Ichirō Itano, which is wild for live action.

one relatively simple scene towards the end I noticed had a revolutionary arriving at a farmer's house and sitting down for the meal; the men argue, and the farmer goes to stand at the door, allowing the camera to perfectly frame the two of them and almost nothing else in the shot.

it is otherwise very happy to linger on a musical sequence, such as the intense club scenes at the beginning, in a way that feels way more modern than you'd think for the 60s.

the architecture of revolution-era Cuba is just as striking - some buildings, like the rooftop where Enrique tries to line up his shot, look like they could easily be modern buildings. compared to the romantic picture of something like Chico and Rita, of course, this is a film determined to remind you how bad things are, not just show you the touristy bits of Cuba. much of the film revolves around the question of violence - certainly from an agitprop angle, like act 3 is sorta should you hesitate (no), and act 4 is like will you be OK if you keep your head down (no); many of the revolutionary songs are in major part about how it's good and righteous die for the country.

when first shown, it was criticised in Havana for stereotypical depictions of Cubans - which doesn't entirely seem unfair, they are kind of stock characters for the most part, although portrayed with a lot of humanity. in the Soviet Union, meanwhile, it got criticised for not being propaganda-y enough, which is wild because to my mind it works better at getting its emotional message across than most oldschool propaganda films I've seen. that said, I definitely need to watch more critical Cuban films from the same period like Memories of Underdevelopment, or recent ones like Strawberry and Chocolate, for some contrast.

all in all cool film, big shoutout to @hamiltonianflow for suggesting we watch it together <3

[bitterrobin]

Announcement!!! I've finally created a Dick Grayson playlist I have curated enough to be shared!

As with my other playlists, this is loosely in order from childhood to adulthood/present time.

Some notes:

This playlist will continue to be edited and added onto! If you have recommendations please share through my asks!

I deliberately chose a cover from Dick's 90's era because so many other playlists use modern art from Nightwing 2016-onwards. Not that its a bad thing, I just want to evoke a more specific era/characterization here.

Songs in French are included, for the same reasons that Arabic songs are included in Damian's playlist -- I like implying heritage in ways that don't just include songs in English. As for why French specifically, theres no real canon basis but an acclaimed Dick Grayson truther (Tumblr user: mysterycitrus) really got me onto the hc that Dick was born in France/Mary was French Roma.

Also, in line with the above, I found some great French-Romani guitarists that I put into the playlist too.

I try really hard not to include songs that haven't been in other Dick Grayson playlists already, but there a few that fit well enough I need to put them in for the vibes.

EDIT: Looking back on it a lot of song choices here are kinda depressing, so if thats not your thing....don't listen.

[desmon1995]

A Ghost Train and The Apparition of Classism

The most iconic scene of the Warriors 1979 is their train ride home Coney Island.

The most striking scene during this series of events is when a group of yuppie prom kids enter the train and sit across the Warriors.

We as an audience are made to compare and contrast between these two groups with one being the golden standard and the other being less than ideal.

Ultimately, the Teens are supposed to be a reflection of what the Warriors could have been if they got their lives together.

" Maybe they could have been coming back from a night of fun instead of barely surviving the night if they were on the right track"

The concept album not only flips this on its head, but flat-out rebukes the conclusion the film came to .

The Same Train Home is not only one of the most beautiful songs in the entire album, but ties together all of the themes regarding social hierarchy, unification, classism, and bigotry that Cyrus talked about to come to a more radical notion

The song (as many before me have pointed out) basically frames the subway as a metaphor for the afterlife and makes the assertion that "death comes for us all and it is the great equalizer"

There are several different characters all from different social classes present .

The Warriors- an all-female gang of color who are still rationalizing the intense misogyny and trauma they've been forced to endure.

A Single Mother- who's performing a song in her native language for change with her baby strapped to her back.

Then there's the after mention Rich Kids who just got back from their luxurious night and spend most of the song judging the Warriors but particularly Mercy based off of the fact that she .... Exist I guess?

You may notice that the song spends an awful lot of time on these snotty brats, but this is no mere coincidence.

This is what we call in writing The Man behind The Man.

These arrogant teenagers are a representation of the social elites that uphold the system that causes police like Barnes and Victor to run loose and use whatever means necessary to crush those beneath them to uphold a pseudo vision of paradise for them.

In some ways this is the Warriors staring the true villains of the entire album right in the face.

They're completely unaware of the trouble people like them cause for society and are more fascinated by the fact that they're in the presence of marginalized people and are probably annoyed because of it

That's where everything sort of comes together.

The reason this ethereal vibe we get isn't just because this is the same track where Captain Victor brutally murdered Fox, but it shows that life nor death discriminate.

It doesn't matter whether you were born into a marginalized community or a more privileged one we are all going to need the same fate eventually.

Moreover, this completely vindicates Cyrus's message from the beginning of the album and shows just how fruitless the actions of the police and even Luther were.

It doesn't matter how many artificial doors the system and the elites that perpetuated try to manufacture to keep marginalized communities down, they're still are going to have to leave their comfort zones and acknowledge that different walks of life exist whether they want you or not.

All things must live in Union and trying to fight that is pretty much like fighting death because regardless of if you accept it it will happen regardless of your opinion.

On that note, Mercy starts to become insecure because of all of the rude gawking the teenagers are giving her and it starts to make her feel very uncomfortable.

That's when Swan delivers a passionate lesbian kiss that's been foreshadowed since they met in orphan town.

This moment is pretty significant because I need to remind you'll that this is the 1970s!

A period that modern-day conservatives uphold as being the pinnacle of the golden era.

Where things like queerness and "Wokeism" didn't exist yet all of us know that this was never true and classist hoods are forced to engage with the fact that there are identities that exist outside of their privilege bubbles and it's pretty good writing all around.

Classism is essentially a Scooby-Doo like phantom that we as a society are forced to believe in because people with billions of dollars tell us to and they try to spend a narrative that fits lower class people against each other when really nothing truly separates us.

All of these characters regardless of where they came from are all on a train going to their set destinations and at least for the teenagers this is probably the only time they've seen more than one black or brown person in their entire lives.

It's probably up there as one of my favorite moments in the entire album this for how it kind of makes me rethink everything that's happened so far.

[frogcoven99]

My Thoughts on Wish 💫💜🌳🐐🫧

⚠️SPOILERS AHEAD⚠️

FUCK I’M SORRY THIS TOOK SO LONG

First of all, this review is dedicated to that one Wish stan on Twitter who said I have "no media literacy" when I tried to say that Magnifico wasn’t really threatening, but wasn’t trying to start off a big fight or anything.

I hope that person is having a wonderful day, and I hope this review proves that I do actually have media literacy 🥰🥰

Now, back to the film:

I really wanted to like this movies guys. A film about the origins of the wishing star sounded amazing!

And after I saw the film TWICE in theaters, I was in love. I thought surely my opinion wouldn’t change.

But…the more I thought about the movie, the worst it got.

For example, the songs. I don’t think I need to explain to you guys why "I let you live for free and I don’t even charge you rent" and "throw caution to every warning sign" and "watch out world here I are" DO NOT WORK.

I don’t blame the songwriters for this, because I’m sure they are very talented people.

But they were clearly not the people who should have been in charge of the music.

Not to mention the fact that Julia Michaels was given TWO WEEKS to write “This Wish”….

The Characters

Asha 💜

I like Asha’s design enough, like her braids. But her personality is as bland as a scoop of vanilla ice cream (jk, vanilla ice cream is goated).

Lots of people have complained that the “adorkable” leading lady trope has worn out its welcome.

I used to disagree since those “quirky” characters were some of my favorites (Like Rapunzel, Mirabel, and Moana), but Asha has definitely reached my limit with them.

Rapunzel, Anna, Moana, and Mirabel all feel like distinct characters from each other (yeah stfu ModernGurlz), but Asha feels like an imitation of them, like the cheap Walmart version.

And she’s not really interesting either, she has a passion for art, but the film doesn’t do anything with it. In fact, nothing about her feels genuine. She feels so hollow and like she only has two personality traits: Quirky and the protagonist.

Like, during “This Wish” (which is probably the worst Disney “I want” song ever) I never felt connected with her. It just felt like, oh this is the Disney “I want” song because this is a Disney movie.

I didn’t understand what Asha wanted, “something more for us than this”? Okay…what about you? What do you want?

With all the other Disney “I want” songs, I could feel a connection and what the character wanted.

So yeah, Asha is probably the worst protagonist in the modern era of Disney. At least in terms of writing.

And while I did say I like her design, I prefer her concept arts.

King Magnifico 🫧

Chris Pine seems like he is having a blast in the recording booth, and I gotta say his performance was pretty good. But it wasn’t enough to save this character :/

So, the main problem with his character is that I can kinda agree with him on the whole wishes thing. But, I also barely found him threatening.

The most threatening things he does in this movie is crush a bunch of balls (that’s what she said) that make people feel sad and chain everyone to the ground.

Not only that, Magnifico’s use of his magic is SO LAME! Another major reason I was never intimated by him is because he never did anything really scary or threatening with his magic, all he could do was create giant hands and chain people up. Like…ok? Is that all you got? Really? 😑

Also, I don’t think I need to tell you that his villain song SUCKS ASS. You know it, everyone knows it. I’m not getting into it. Go listen to a real villain song like "Hellfire" or “Friends on the other side" instead.

As for the other characters, I don’t have much to say about them unlike Asha and Magnifico.

Star ⭐️

The Star was really really cute, even tho they were just a Luma/marketable plushie. And also REALLY reminds me of a squish mallow, am I the only one who sees that?

I should definitely mention how he was originally gonna be a StarBoy, but we’ll get to that later don’t you worry. That is a VERY important element in our discussion.

The Other Characters This Movie Has

Amaya is so BORING! She barely has a character outside of being the queen and Magnifico’s wife, she was just…there. You could remove her from the movie with very little tweaking and nothing would change.

I would’ve preferred it if she was also a villain like Magnifico, which WAS originally in the script. But like StarBoy, that is something we will get to later.

The Teens are fine, but really forgettable. I like how they are all based off the Seven Dwarves, that’s cute. But it feels like they didn’t have any character outside of that.

Yeah, Dahlia is Asha’s bestie, but there wasn’t enough scenes between them to show me their dynamic to make me feel like their friendship was genuine.

Simon ended up snitching out on Asha and betraying the Teens in the middle, but I literally couldn’t have cared less because what do we know about this guy other than he’s sleepy and gave his wish to Magnifico?

As for the other Teens, just like Amaya, they could’ve been removed from the script and barely anything would change. The grumpy one had some sassy moments, and he’s voiced by Harvey Guillén (Perrito’s VA) so that’s something I guess. The shy one had this one gag that had comedic potential, but wasn’t really expanded.

And as for the other Teens…uh…I can’t remember a single thing they did honestly.

And then there’s Valentino…fuck that goat man. 😑 I love Alan Tudyk and his roles in other (better) Disney movies, but yeah Valentino is definitely my least favorite role he’s ever done.

All of his jokes were unfunny, and were mostly butt jokes. Which is probably my least favorite form of comedy ever that I cannot stand for the life of me.

Speaking of which, this movie just was not funny. None of the jokes made me laugh or chuckle or even smile.

Raya and the Last Dragon is a Disney movie that I really don’t like, but there were some jokes that got a chuckle or smile out of me. Wish didn’t even have ONE good joke.

Uhh…Asha’s grandpa was build up as someone important but he just peaces out in the middle of the movie with Asha’s mom, who did not do a single thing other than a ball getting shattered making her sad.

And that’s all the characters in this movie.

Legacy Nods, why they do not work

Alright, what else is there to talk about?

Maybe the endless amount of Disney references? I get it’s the 100th anniversary film and all and Disney has had Hidden Gems like that in their films. But the difference is the ones in previous films were subtle and hidden in the background, and it would probably take you a rewatch to see it.

But in Wish? They all feel shoved down your throat. It’s like: “HEY REMEMBER THIS MOVIE??" “REMEMBER THAT??” “DON’T YOU WANNA WATCH THAT MOVIE???” It’s so exhausting.

When I heard the movie was gonna have “legacy nods” as they liked to call it, I was excited and thought it would be so much fun to point them all out and to pay closer attention to the background.

But instead every nod was thrown at my face and was heavily obvious. Disappointing 😔

The Animation

Let’s get to the animation now. It’s probably (one of) the most discussed things about this movie, especially when the teaser first dropped last year.

Lots of people were complaining it looks like a Disney Junior show or Ai and said it looks unfinished. Even one of my best friends who was just as excited for this movie as I was admitted it looked weird.

At first, I loved this art style and thought it was beautiful. And I was determined it would look even more beautiful on the big screen.

And now? I…actually still like it. I definitely don’t hate it, and thinks it gets some getting used to. I think it’s actually kinda pretty.

Apparently it’s supposed to be watercolor and combined with 2D animation, which is neat.

But compared to the films like the Spider Verse films or Puss In Boots 2, yeah it’s not the best.

I personally would’ve preferred it if the film was in 2D, Disney’s 100th anniversary would’ve been a PERFECT time to return 2D animation! But, nope 😒

Yeah it’s bad, but…

I know I’m making it seem like I hate this movie, but I really don’t. I’m disappointed in it more than anything.

If anything, I’m thankful this movie was still made.

Why?

Well, easy.

It allowed many people to be able to tell their own version of the story.

I’m sure we’ve all heard of StarBoy and the cut Evil Amaya.

And yeah, these concepts could’ve made this movie 1000x better.

But because of these concepts, so many amazing people have been given the opportunity to rewrite the movie and give amazing stories.

I have read so many wonderful Wish rewrites, which are so much better than the film.

At the end of the today, Wish is a bad movie.

But, I’m glad it exists.

Without it, we wouldn’t have gotten so many amazing stories.

I’m gonna give Wish a 4/10, still bad, but I appreciate its existence for the rewrites alone.

[rhapsodynew]

#everything you need to know about rock

Britain's first guitar hero who influenced everyone 

Hank Marvin was born in Newcastle upon Tyne on October 28, 1941 and grew up in a two-story family home with an outdoor toilet and no running water. From an early age, he showed an insatiable craving for music: he tirelessly mastered the banjo and piano.

But the fascination with blues, folk and skiffle inevitably led the young enthusiast to the guitar: 

"I was trying to learn how to play skiffle tunes, copy what I heard on the radio, learn how to play the melody that the singer was humming, as well as any saxophone or orchestral phrases."

At the age of nine, Hank Marvin was upset that he was prescribed glasses:

 "I was a skinny, pimply, insecure kid. And I got the big round glasses of the National Health Service in a tortoiseshell frame."

But then a cool author and performer Buddy Holly appeared from across the ocean, who forever changed the opinion about bespectacled people. Soon after, Marvin's life changed. His glasses suddenly became a fashionable rocker accessory. He got a job at an electrical engineering firm to earn money for a train to London.

Events were developing rapidly. Hank Marvin left in April 1958, in September he met the young vocalist Cliff Richard in Soho, who was trying on a jacket in an atelier, and immediately joined him on tour. When Hank returned to his native Newcastle, he was already a star and performed in front of an audience of screaming girls.

Cliff Richard's band was named The Shadows. Their music is instrumental rock classics, which to this day has not left the current repertoire. It is the "Shadows" They released the legendary hit "Apache", written by English songwriter Jerry Lordan and influenced a legion of aspiring guitar heroes. Including on the VIA "Singing guitars".

After becoming a star, Hank Marvin absorbed everything the music world had to offer: 

"I wouldn't believe it if I was told at the age of 16 that we were going to have incredible success. We played concerts all over the world. We performed in African villages. They caused riots in Germany when there were so many people on the streets that the limo almost overturned. It's an incredible experience, some frightening, and some just wow!"

Cliff Richards and The Shadows have created quite a few era-defining hits. Hank's band continued to come out and record. The line-up broke up between 1968 and 1973, but was reformed. In 1975, The Shadows took second place in the Eurovision Song Contest with the song "Let Me Be the One".

Hank Marvin began his solo career in 1969 with an album of instrumental compositions, in which guitar parts were accompanied by arrangements for the orchestra. He experimented with styles and materials, recording instrumental records, albums with vocals, acoustic guitars.

Hank Marvin's guitar can be heard in the recordings Roger Daltrey and Jean-Michel Jarre. Its unique sound has always remained instantly recognizable. Hank did not seek to increase the volume, preferring a light vibrato and giving his parts vocal qualities.

In the late 1970s, The Shadows impressed even punks: "During the release of the album "20 Golden Greats", people came to our concerts who looked completely out of place. When we asked why they were here, they replied, "We like the economy of your music. It's like early punk." I didn't quite understand what they were talking about, but it was nice."

With his melodic playing style and expressive "singing" phrasing, Hank Marvin inspired George Harrison, Eric Clapton, David Gilmore, Brian May, Tony Iommi, Pete Townshend, Jeff Beck, Jimmy Page. One of the most loyal fans is Mark Knopfler from Dire Straits. Hank Marvin's red Strat struck his imagination as a child. They subsequently performed together.:

Even the patriarch of Canadian rock paid tribute to the leader of The Shadows as one of the architects of modern music Neil Young. No wonder one of his songs is called "From Hank to Hendrix."

He was one of the first to bring instrumental GUITAR music to the top positions. Before that, there were cool guitarists, even pioneers, some by sound, some by melodies. But The Shadow (and Marvin, as a lead guitarist, of course, occupied a dominant position) were, if not the first, then at least one of the first to bring the guitar instrumental to a leading position.

The epoch!

[emceescha]

can i ask why you dont ship with the newer(i forgot the word but like. 2021/current) cabaret emcees? no hate just curious!

it's okay anon! i figured someone would ask eventually. it's kind of a lot so i’m putting this under a read more, but i preface it all by saying GO WATCH CABARET. 

the ‘93 mendes off-west end production (which was cut for tv) & the 2014 revival (broadway, based on the ‘98 revival) are both free and available on youtube in their entirety. you can also find the film ‘72 film easily online, but it's quite different than the previous two.

okay preface over.

tl;dr they kind of made him a representative of nazism, but without making him a nazi. not only does it ruin the character (who has been primarily represented as a queer jewish man for 30 years now) but also the core of what makes cabaret so powerful of a story. 

warning: something near 1200 words of cabaret/emcee analysis ahead

so. before i can talk about current cabaret, i kind of have to go over previous cabaret. if you are entirely unfamiliar, it is a musical that takes place in 1930s weimar republic-era germany. you can see where this is headed, i’m sure.

it's wholly a musical about the consequences of political indifference, and a LOT of what makes it so powerful thematically is that there is no happy ending, famously, and the audience is very much meant to feel uncomfortable. we all know what happens in the 40s in germany. even your most basic world history knowledge will assure you that. throughout the story, there is an ever-increasing presence of nazi ideology, and we see the trickle down of indifference and support of the nazi party begin to affect our characters lives, until the main plot (which is a love story) becomes overshadowed by the very real presence of modern (diegetically modern, at least) politics. the sentiment is echoed very much so at the end, either with characters stepping up outside of the narrative to quote themselves (“its just politics, what does it have to do with us?” and the like) or in the case of the film, literally showing the titular cabaret’s audience littered with nazis. it's quite the shock to those who are unfamiliar, but so, so powerful a message in the end, that there is no ignoring it. and such a message is so very very relevant currently.

so. now onto emcee, a character that exists only within the frame of the cabaret (the kit kat club, as it's named within the story). there's kind of two ‘types’ of emcee: emcee as a concept, and emcee as a character. 

in the original productions, he was definitely more a concept than a character. like of course he was physically present, but his role was really more about what he represented; all of his songs mirrored plot points and cultural sentiments -- i’ve seen a lot of people interpret him as the devil in the film? i am guessing because he is so disconnected to the rest of the cast, and because he is so very grounded only in the thematic representation of how the culture in germany allowed the nazis to rise to power without explicit consent. he isn't a nazi or anything, just this indifferent figure with a sort of sinister vibe, he doesn't do a whole lot otherwise. we don't know anything about him, really. he's just kind of an off putting little pervert. i kinda dig it though.

but, flash forward to what a lot of people think of as the definitive production, in 1993. sam mendes absolutely fucking KILLED it with this one. the production had a modern taste to it, no longer was cabaret stuck in the aesthetic of the old burlesque, the new aesthetics and theming was really like nothing else. the show got far more explicit, from the dingy visuals of the club and all its inhabitants to the raunchy, in your face humor, the emotional acting of every performer, it was an entirely an incredible interpretation, somehow still so alluring, it was easy to find yourself drawn into this world (or rather club) that frames the show -- which made the ending hit so much harder. 

in this version, emcee is more a character than a concept. still one we know very little about, of course, and still existing only within the club, but a character nonetheless. i always say this is an emcee you can see going home to some shitty, dingy, waterlogged studio apartment. alan cumming kills the role, and brings a nuanced emotional performance to a character that, before, had little but aloof apathy to his surroundings -- even down to a subtle character arc. he begins as this grand hedonist, and following the arc of the story, slowly degrades, even down to subtle detailing implying he is an addict (this is more explicit in later productions), desperate and alone, and doing really anything to survive, including feigning indifference to everything. 

the ending of this production has him center stage, in full camp stripes (bearing both jewish and homosexual insignias, i may add, which establishes him as a queer character for the first time despite it being very heavily implied -- honestly i'm inclined to say downright stated -- throughout the show, and which has since become a staple of his character) and ends with him being killed there. it's a fucking shock, given he is someone that has seemingly not existed outside of the club (i’m compelled to quote his purposefully ironic repeated line, “we have no troubles here”) or within the political turmoil and problems that exist outside of the kit kat's walls, facing this very real consequence of the rise of nazis to power. 

so, yeah. it's kind of a lot. but the point is, the ending is what makes it so effective. it establishes that no matter who you are, no matter if you take a side, they will come for you. there are no ‘good ones’ to them. 

the ‘98 production hones in on perfecting the emotional development of the characters really, including the emcee (this is where his drug addiction is fairly explicit, and you can see his facade begin to crumble throughout the show, among a few other details that really tie his arc together) and refining the parts that didn't quite work in the ‘93 production, but we don't have a recording of that. the 2014 production is replicating ‘98 (as are other smaller productions, like the 2019 olney theater production with mason alexander park who was later cast in the 3rd broadway revival, which is to say the ‘21-’24 productions i will talk about momentarily) so if you choose only one to watch, i cannot recommend the 2014 production enough. 

now, the ‘21 london (and onward, including the current broadway run) productions are…strange. they take the aesthetics of the ‘93/’98 productions and mash them with the upbeat/kind of ethereal tone of the original. it's not bad per se, just really bold. i think it would put off a lot of potential fans on presentation alone.

for some god fucking forsaken reason, they also decide that instead of showing nazis explicitly, they're going to dress people up in this corporate-drone getup? which is so….??????? okay? but they still set the show in 30s germany and show swastikas? ?????

in this production, instead of the slow decline of emcee from this aloof character divorced from the outside world to a frightened, broken queer man facing death (i will never overstate enough how good they handle him in ‘98/’14), he begins to dress..conservatively. from the near-naked, striptease outfit to…a suit. and a blonde wig. and no makeup. and…yeah. you get it. in the end, there is no resolution to his character, which may i remind you is the WHOLE ending in ‘93/’98/’14. that's what hammers the “you need to fucking ACT” part of the theme, which is to say ALL OF IT. he's just suddenly a representation of nazism, without being a nazi. i guess they're trying to go back to “emcee as a concept” except…it's so ineffective. the show just ends. no call to action. instead of leaving audiences with the reminder they WILL come for you, that there is no “indifference,” only silent consent, you're leaving them…with the idea that they're a nazi? except 99.9% of the audience will walk away saying “well i’m not a nazi, so…”

it takes the first step of “indifference is just as bad as support” without the second half of “and now they will come for you anyways.” it's SO dumb. i could rant forever about it. 

so, yeah. i don't care for the new productions. and i don’t care for the desecration of a character that makes the show as powerful as it is. and i really fucking hate they made him kind of a nazi.

[stuckinmymind22]

franky is totally a classic rock guy, but does listen to modern rock (only if it sounds like classic rock though). likes songs that have stood the tests of time, but only if they have at least one electric guitar. if he had to pick a specific era for classic rock he would be torn between the 50s/early 60s (rock is in its infancy, therefore the most classic of the classic rock) and the 80s (glam rock)

i can just see him taking a performance/dance break for some of these songs

see the other one piece playlists

wanted dead or alive bon jovi - would have sang this after he got his bounty tbh (probably after he left water 7 though)

burning love elvis presley - man loves elvis tbh, probably has dressed up as him at least once (it's likely a regular occurrence, and you know the franky family cheered that shit on) suggested by @caoticdragonv19

johnny b. good chuck berry

(i can't get no) satisfaction the rolling stones

raise hell dorothy - this would be one of the few "modern" rock songs (2016)

london calling the clash - of course he loves this song

i fought the law the clash - changes the lyrics to "i fought the law and i won" everytime they escape the marines

highway to hell ac/dc - this song demands a break from whatever it is that he is working on

[psychedeliclush]

( INFORMATION AND EXAMPLES OF EACH GENRE UNDER CUT )

POST-GRUNGE !

Artists: Foo Fighters, Creed, Seether, Superheaven, Nickelback

Most popular Era: Late 90s - early 2000s

Basic definition: Post-grunge emerged in the late 1990s, following the commercial success of grunge bands like Nirvana and Pearl Jam. It combines the raw energy and angst of grunge with a more polished and radio-friendly sound. Post-grunge bands often feature distorted guitars, melodic hooks, and introspective lyrics that explore themes such as alienation, heartbreak, and self-discovery.

Song examples:

POST-PUNK REVIVAL !

Artists: Interpol, The Strokes, Bloc Party, Editors, Electrelane, Arctic Monkeys

Most popular Era: Early - mid 2000s

Basic definition: Post-punk revival is a music genre that emerged in the late 1990s and early 2000s, drawing inspiration from the original post-punk movement of the late 1970s and early 1980s. Characterized by its energetic and guitar-driven sound, post punk revival bands often feature angular riffs and danceable rhythms. Bands like Interpol, The Strokes, and Yeah Yeah Yeahs helped popularize the genre, bringing a modern twist to the classic post-punk sound.

Song examples:

( honestly post-punk revival was so hard to find examples for, most sources said bands like the strokes and arctic monkeys were PPR but there were a couple of people saying "that's not real post punk revival 😡😡" so it was a bit confusing, i tried my best though! let me know if i got anything wrong and i'll fix it ASAP! )

[thispunforhire]

For as much as people talk about the variety of shows that get produced in the streaming era, I think they undervalue the kind of weird and (to a modern eye) unmarketable stuff that got made in the 80s and 90s.

You could make a 30 minute workplace sitcom written and directed by the creator of "Escape: The Piña Colada Song" set at a Pittsburgh radio station during the 1940s.* It would run for 4 seasons.

You could make an hour-long supernatural comedy-drama about a man (Kyle Chandler) who starts receiving the newspaper a day ahead of time and uses his foreknowledge to change the future for the better.** It would run for 4 seasons.

In the excitement following the wild success of Raiders of the Lost Ark, you could make a show in the mold of the old adventure serials, about a 1930s seaplane pilot in the South Pacific.*** It would run one season but the concept would get ripped off to make Talespin, another unbelievable concept on its own. (You know the bear from Jungle Book? He flies a plane, and King Louis runs a Casablanca-style cabaret.)

*Remember WENN

**Early Edition

*** Tales of the Gold Monkey

[crystalstunes]

crystal's tunes #2: WORRY. by Jeff Rosenstock (2016)

i was going to wait a while before talking about this album, but i mean come on, it's literally got a track called June 21st. if i was gonna do it any day it'd be today.

WORRY. is an album that's very special to me. i originally discovered it via James Acaster's book Perfect Sound Whatever (named after the closing track of the album), and in the years since it's become one of my most listened to albums of all time. i'm not going to link any specific songs here, because i feel like the album is meant to be listened to in its entirety.

this was the second studio album Jeff released after the end of his previous project, ska-punk collective Bomb the Music Industry!, which in itself was born out of the end of his previous-previous project The Arrogant Sons of Bitches. this album really feels like a culmination of all of his work leading up to this, refined to a T and bursting with energy.

"We're not stupid people but this financial oppression has got everyone believing all that we can do is nothing/'Cause we organise through avenues they lace with advertisements so the ones we rage against are still lining their pockets" - Festival Song (Track 3)

thematically, the album discusses a variety of issues with modern-day America, such as landlords/gentrification, the coroprate sponsors of festivals and culture, social media mining your data, police brutality, and how the world just keeps getting worse due to capitalism in general. this is especially evident on tracks such as Festival Song, Staring Out The Window at Your Old Apartment, Blast Damage Days, HELLLLHOOOOLE, and The Fuzz, but is present throughout the album. he also touches on some more personal issues, such as alcoholism and the struggles of being a DIY musician.

the production here is absolutely top-notch, every single element is balanced perfectly, guitars are clear and crushing when they need to be, drums are punchy, vocals cut through well and instruments such as saxophones, glockenspiels and synths are used in certain songs to offer various different sonic textures. its not just the instruments that are varied here though, he also travels across a number of styles such as his classic ska-punk on the 91 second track Rainbow, to more hardcore punk on 30 second track Planet Luxury.

the A-side of this album is fantastic, with tracks like We Begged 2 Explode, Pash Rash and Festival Song becoming fan favourites and staples of his live sets, but i think this album really comes into its own during it's B-side. every track from Blast Damage Days through to the final track Perfect Sound Whatever perfectly transition into each other, creating a medley of different punk subgenres that is absolutely incredible. it's cathartic and danceable all in one, and its one of my favourite things he's done on an album.

"Whenever we feel ashamed, being alive and awake in such an era of hate and military police/These are the mass murder days, we are the blast damage age, where we can't love anything, because they keep us afraid/Oh, I will be there, kicking, fighting, beating, screaming 'There's no fucking way I'm ever letting go of you!'" - Blast Damage Days (Track 9)

the album builds up in energy until its final anthemic, gang vocal repetitions of "Perfect always takes so long, because it don't exist/It doesn't exist!", which is one of Jeff's main mission statements creatively. the first Bomb the Music Industry! album Album Minus Band has anti-piracy hiss throughout from various plugins he used the demo versions of instead of buying, and a track that's project files corrupted so he couldnt mix it properly, but all of that just adds to the artistry of it all. nothing can ever truly be perfect, so just be honest and authentic and do what you want, because in both art and people, our imperfections are what make us whole. i'm not a perfect person, and that's alright. i may have my own anti-piracy demo plugin hiss in my brain, but that's just part of what makes me myself - i wouldn't truly be me without it, and that's beautiful.

i think this album is truly great because despite the overwhelmingly negative topics being discussed, in the end its hopeful, even if the world or your life seem like theyre fucked, there's always a light at the end of the tunnel. the penultimate track ...While You're Alive, ends with the verse "And it's not like the love that they show us on TV/It's a home that can burn, it's a limb to freeze/It's worry/Love is worry". this can just be taken at face value as the fact that when you love someone you worry about them, but i interpret it a different way, especially with the context of the rest of the album.

when the government and systems are against you, you're fighting your own brain, and you're overwhelmed with worry, that worry is coming from a place of love, because you wouldnt worry about something you dont care about. you love yourself, you love the world, and in a way, your anxieties are really just a form of expressing your care and love even if it feels like fear, and anger, and sadness. and, for me at least, that's one of the most reassuring messages i've ever been given from an album. thanks, jeff.

"Because it's June 21st, and this winter was the worst we've ever seen, but we made it through the freeze/And now it's June 21st, and this winter was the worst we've ever seen, now it's 84 degrees forever." - June 21st (Track 14)

[borisbubbles]

Eurovision 2024: #20

20. LUXEMBOURG Tali - "Fighter" 13th place

Decade Ranking: 73/153 [Above Electric Fields, below Emma Muscat]

For a grand, greatly anticipated return, "Fighter" has always been just there for me. It's summery, upbeat, lightweight and frivolous. Not a shabby, nor a moneymaker. This entry is an FFF (Fun Finale Filler) and it knows it.

How do I know that it knows itself? Well,

BADLY ANIMATED CGI LEOPARDS 😍 😍. You know how I feel about staging tricks like that. They're tacky and ugly and stupid and transparently try to cover up a middling composition.😍 idk, I love Leopards and I love the colour purple, so maybe it was just tacky ENOUGH to be funny, but I stan the decision-making because Tali > Ochman.

It was quite amusing 2 me that Luxembourg made their grand return after 31 years, only to try to throw vast swaths of cash at unnessecary embellishments because they KNEW it wasn't a high flier and needed to throw in SOMETHING, ANYTHING to make it work. Shirtless sexy dancers, badly animated VR, all the pyrotechnics in the world. It feels... very emblematic to them as a country even though this was their first ever modern era contest? "Money fixes everything", no wonder the EBU wanted their opulent arses back.

And it is funny they staged "Fighter" like that because "Fighter" always kind of worked, anyway? It was a plucky power-up song, and a clear qualifier in semi 1 no matter from which position it performed.

It didn't NEED the leopards

it didn't NEED the gratuituous sexual tension lmao

The way to go with a song such as "Fighter" is by finding a balance between tough and cute. The balance swung a bit too heavily in favour of "tough", because "Fighter" just isn't that kind of song, despite the reworks Lux tried to force. It's whimsically French foremost and while "France was historically a militaristic powerhouse,"toughness" suits France historically, nearly everyone associates it with cultural sophostication and romance. (hence why France is always culture focused in Civ, and never the feudal, chivalry-themed warmongering menace it actually was for most of its history ♥)

As ridiculous Fighter's staging got (and how lowkey BAD Tali'Golergant vas Eshkoli's styling was), it still vibed as a fun time. It might just be my latent alcoholic ass imprinting on the tequila sunrise colous scheme, but still. Tali took command of her dancers, showed her inner strength by fistpumping the air and thickened her braids so they no longer resembled antennae.

And she kinda ate those lives, yo.

In semi 1 Lux made for an excellent palate cleanser, a burst of energy after the period of inaneness Rim Tim Tagi Dim left in its wake. I love Raiven dearly and I really like Iolanda, but excitement was not their game. Tali came to the rescue when needed.

In the finale it was less necessary, though it did make Israel stand out as even more miserable to me, so there is that.

Sigh, I have to address the Israeli thing, don't I?

Look, I don't fucking CARE that Tali is proud of her Israeli-Jewish heritage. Nor that she visits the fake country twice a year. Nor that her song was produced by that other israeli Tali. I think her views on the matters are misguided and warped, but I get it. She's going to stick up for her OG country and her people, and we'd be foolish to expect her to do a 180° turn just because we believe she should. She has her stance, I disagree with it, but I can respect it. Civilians aren't responsible for whatever bloodthirsty maniac rules the roost or their actions, regardless of whether they elected them directly or not.

(though I will say that her transparent and overtly cheerful agreement with Joost's DQ all "YAY! HE BROKE THE RULES AFTER ALL ^_^ :claps:" made me ALOL. That DQ is still a grim affair, but lmfao what a scrump cheerleading bitch ♥).

But in a sense I wish Tali had been Israel's entrant himself. The only thing that erases Israel's controversy is their withdrawal, true, and Tali would have beenthe perfect horcrux, but if we WERE to have that country at Eurovision, I'd rather have them with Plucky Apolitical Filler (ft. Three Giant Leopards) rather than Teary Propaganda Ballad (Eurovision Reskin), y'know?

Also note, dear Israeli's, that -by my knowledge- Tali was NOT shunned by the other acts or the fan community, nor by the media and the professional juries, despite being half-Israeli and Jewish and zionistic. The few strays that she did end up catching were by the usual dumbfuck bigots on social media and amounted to nothing. So much for antisemitism, huh?

It's difficult to end the write-up after that rant that had little to do with the performance, so I will just say this: Tali's placement, while a tad high, proved that there's always a place for positivity and acceptance at Eurovision, no matter your background or your political colour.

With retrospection on our side, it makes sense juries would vote for "Fighter" as everyone agreed Nemo should win anyway, allowing them to siphon away twelves like a vacuum on amphetamine. With Croatia, Italy and France picking up the scraps, anyone with a modicum of inoffensiveness would be favoured to do well, (since this finale was HIGHLY jury unfriendly) which also favoured Lux because of the novelty coming with their return.

Ultimately it's our choices in life that define us, and Tali's were to give us a fun time unburdened by shackles of war, and that, in THIS FUCKING YEAR, was worth a lot to me.

THE RANKING: