#lucy hammond

[lovetopullmicke]

Lucy ( and Zach ), owned by @Furious_art

[lgbtqreads]

Happy (Upcoming) Trans Day of Visibility 2024!

March 31st is Trans Day of Visibility, and we’re celebrating as we do by highlighting a whole bunch of wonderful trans books! For even more recs, check out previous years’ posts.  Books to Read Now Middle Grade Magical Princess Harriet by Leiah Moser “To put it simply, Harris Baumgartner was late to school on the first day of the seventh grade because something he saw in the abandoned lot at the…

[transbookoftheday]

Lucy, Uncensored by Mel Hammond and Teghan Hammond

A road trip through gender identity, self-expression, and the thorny process of figuring out where you fit after high school as an out-and-proud transgender teen.

Lucy imagines college as more than a chance to party with other drama nerds and be roommates with her best friend Callie. College will be her fresh start. For the first time, she'll be able to introduce herself as Lucy to people she hasn't gone to school with since kindergarten. Plus, she happens to live an hour away from one of the most prestigious theater programs in the country. She's always dreamed of going to Central, but when she finally has a chance to visit, it's not what she imagined.

While Lucy and Callie are on their campus tour, two kids from their high school make the typical transphobic comments Lucy's gotten used to in her small town. She starts to worry that her dream school might end up being High School 2.0. What if she belongs somewhere else? Somewhere that she can truly have a fresh start?

When Lucy finds a beautiful school with a great theater program on a list of the most LGBTQ+ friendly colleges, it seems like fate—except that the school is hundreds of miles away. And there's something unexpected about it: it's a women's college. As far as she can tell, they've never admitted a trans woman. Will they let Lucy in? There’s only one way to find out: road trip!

[chmisgod]

Just watched the trailer for The Grand Tour: One For The Road and the song playing is called The Eclipse of The Heart by Bonnie Tyler.

Now, as a Gen Z who used to listen to her dad's playlist, it's my first time hearing the song so I searched for it.

How interesting the singer said it was a vampire love song and a Guardian article said it was 'Either way, the lyrics idealize the parallel between a dimming of the heavens and the extinction of a romance.'

Now...I know it's gotta be a fave with the boys but I wonder deep down in my heart...

Do you think they read the fanfics?

[dustedmagazine]

Michiko Ogawa & Lucy Railton — Fragments of Reincarnation (Another Timbre)

fragments of reincarnation by Michiko Ogawa & Lucy Railton

The Berlin-based Harmonic Space Orchestra takes its name from a concept devised by the late James Tenney. He posited that harmony could be understood not as the limited, mathematically irrational system derived from equal temperament (your standard western tuning system), but a potentially infinite thing comprising mathematically rationale intervals. Its members meet weekly, and collaborate with each other on the development and realization of work made using just intonation and associated tuning systems. Fragments of Reincarnation, which was made by HSO colleagues Michiko Ogawa and Lucy Railton, investigates when different tuning systems coincide.

Both musicians are immigrants, who have found in Berlin a place where community and opportunity conspire to make it possible to get experimental work done. In Ogawa’s case, she has found the freedom to shift evolve from being a classical clarinetist into a more self-directed and less fixed musical identity. On this album she plays sho, a mouth organ traditionally used in Gagaku music, and a beat-up Hammond organ that was rescued gravestone-maker’s workshop and currently resides in her apartment. The long tones she plays on each throughout this peace require patience, precision, and responsiveness to outside influences, but not the virtuosity that a person who plays clarinet in a conventional orchestra must maintain if they want to keep their job. The sho, which was recorded first in performance with Railton, is tuned for Gagaku (a long-standing form of art music), and the Hammond, which was subsequently overdubbed, is in equal temperament modified by its mechanical decrepitude. Railton plays cello, which of course can be retuned as it is played.

The progress of the music is dictated by the duo’s intent to explore what happens when tunings are juxtaposed. Elaborate melodies are out of the question, since they’d just get in the way of the consonances and dissonances that result when sounds from different tunings manifest in the same space.  The vibrations of sho and organ create a psychoactive sonic space that corresponds to Tenney’s conception of harmony. Said space is simultaneously evident and insubstantial, like air currents flowing over the listener’s head. Railton’s contributions arc through that space, refracting Ogawa’s long-held chords so that one’s attention will be drawn to the roiling eddies left in her wake. It’s a zone eminently suitable for zoning out.

Bill Meyer

[next-crisis]

I do love this one. My second favourite film from the 1940s.

(The first being Blithe Spirit (1945) — I adore Kay Hammond as Elvira, so much.)

TANYA’S 2k FOLLOWERS AND 10 YEAR ANNIVERSARY CELEBRATION! ↳🎥 (Favorite Film of the Year) + 1947 for @thyla

The Ghost and Mrs. Muir (1947) dir. Joseph L. Mankiewicz

[legallybrunettedotcom]

BUFFY READING LIST

As promised @possession1981 and I have compiled a list of Buffy the Vampire Slayer (and Angel) related academic text and books. I think this is a good starting point for both a long time fan and for someone just getting into the show, or just someone interested in vampire lore. I have included several books about the vampire lore and myth in general as well. Most of these are available online.

BOOKS

Fighting the Forces: What's at Stake in Buffy the Vampire Slayer; edited by Rhonda V. Wilcox & David Lavery

Buffy the Vampire Slayer and Philosophy - Fear and Trembling in Sunnydale by James B. South

Buffy Goes Dark: Essays on the Final Two Seasons of Buffy the Vampire Slayer on Television, edited by Lynne Y. Edwards, Elizabeth L. Rambo & James B. South

Buffy the Vampire Slayer: Myth, Metaphor and Morality by Mark Field

Televised Morality: The Case of Buffy the Vampire Slayer by Gregory Stevenson

Undead TV: Essays on Buffy the Vampire Slayer by Elana Levine

The Aesthetics of Culture in Buffy the Vampire Slayer by Matthew Pateman

Girls Who Bite Back: Witches, Mutants, Slayers and Freaks by Emily Pohl-Weary

Why Buffy Matters: The Art of Buffy the Vampire Slayer by Ronda Wilcox

Into Every Generation a Slayer Is Born: How Buffy Staked Our Hearts by Evan Ross Katz

The Lure of the Vampire: Gender, Fiction, and Fandom from Bram Stoker to Buffy the Vampire Slayer by Milly Williamson

Blood Relations: Chosen Families in Buffy the Vampire Slayer and Angel by Jes Battis

Sex and the Slayer: A Gender Studies Primer for the Buffy Fan by Lorna Jowett

Diseases of the Head: Essays on the Horrors of Speculative Philosophy; edited by Matt Rosen (chapter 2 Death of Horror)

Public Privates: Feminist Geographies of Mediated Spaces by Marcia R. England (chapter 1 Welcome to the Hellmouth: Paradoxical Spaces in Buffy the Vampire Slayer)

Open Graves, Open Minds: Representations of Vampires and the Undead From the Enlightenment to the Present Day; edited by Sam George and Bill Hughes (chapter 8 ‘I feel strong. I feel different’: transformations, vampires and language in Buffy the Vampire Slayer)

The Contemporary Television Series; edited by Michael Hammond and Lucy Mazdon (chapter 9 Television, Horror and Everyday Life in Buffy the Vampire Slayer)

Joss Whedon and Race: Critical Essays; edited by Mary Ellen Iatropoulos and Lowery A. Woodall III

Buffy and the Heroine's Journey: Vampire Slayer as Feminine Chosen One by Valerie Estelle Frankel

The Existential Joss Whedon: Evil and Human Freedom in Buffy the Vampire Slayer, Angel, Firefly and Serenity by J. Michael Richardson and J. Douglas Rabb

Buffy the Vampire Slayer 20 Years of Slaying: The Watcher's Guide Authorized by Christopher Golden

Reading the Vampire Slayer: The Complete, Unofficial Guide to 'Buffy' and 'Angel' by Roz Kaveney

Hollywood Vampire: The Unnoficial Guide to Angel by Keith Topping

Buffy the Vampire Slayer: The Monster Book by Christopher Golden

Slayer Slang: A Buffy the Vampire Slayer Lexicon by Michael Adams

What Would Buffy Do? The Vampire Slayer as Spiritual Guide by Jana Riess

ARTICLES, PAPERS ETC.

Bibliographic Good vs. Evil in Buffy the Vampire Slayer by GraceAnne A. DeCandido

Undead Letters: Searches and Researches in Buffy the Vampire Slayer by William Wandless

Weaponised information: The role of information and metaphor in Buffy the Vampire Slayer by Jacob Ericson

Buffy, Dark Romance and Female Horror Fans by Lorna Jowett

My Vampire Boyfriend: Postfeminism, "Perfect" Masculinity, and the Contemporary Appeal of Paranormal Romance by Ananya Mukherjea

Buffy, The Vampire Slayer as Spectacular Allegory: A Diagnostic Critique by Douglas Kellner

"Buffy the Vampire Slayer": Technology, Mysticism, and the Constructed Body by Sara Raffel

When Horror Becomes Human: Living Conditions in "Buffy the Vampire Slayer" by Jeroen Gerrits

Post-Vampire: The Politics of Drinking Humans and Animals in "Buffy the Vampire Slayer, Twilight", and "True Blood" by Laura Wright

Cops, Teachers, and Vampire Slayers: Buffy as Street-Level Bureaucrat by Andrea E. Mayo

"Not Like Other Men"?: The Vampire Body in Joss Whedon's "Angel" by Lorna Jowett

Buffy the Vampire Slayer and the Domestic Church: Revisioning Family and the Common Good by Reid B. Locklin

“Buffy vs. Dracula”’s Use of Count Famous (Not drawing “crazy conclusions about the unholy prince”) by Tara Elliott

A Little Less Ritual and a Little More Fun: The Modern Vampire in Buffy the Vampire Slayer by Stacey Abbott

Undressing the Vampire: An Investigation of the Fashion of Sunnydale’s Vampires by Robbie Dale

"And Yet": The Limits of Buffy Feminism by Renee St. Louis & Miriam Riggs

Meet the Cullens: Family, Romance and Female Agency in Buffy the Vampire Slayer and Twilight by Kirsten Stevens

Bliss and Time: Death, Drugs, and Posthumanism in Buffy the Vampire Slayer by Rob Cover

That Girl: Bella, Buffy, and the Feminist Ethics of Choice in Twilight and Buffy the Vampire Slayer by Catherine Coker

A Slayer Comes to Town: An Essay on Buffy the Vampire Slayer by Scott Westerfeld 

Undead Objects of a “Queer Gaze” : A Visual Approach to Buffy’s Vampires Using Lacan’s Extended RSI Model by Marcus Recht

When You Kiss Me, I Want to Die: Gothic Relationships and Identity on Buffy the Vampire Slayer by Ananya Mukherjeea

Necrophilia and SM: The Deviant Side of Buffy the Vampire Slayer by Terry L. Spaise

Queering the Bitch: Spike, Transgression and Erotic Empowerment by Dee Amy-Chinn

“I Want To Be A Macho Man”: Examining Rape Culture, Adolescent Female Sexuality, and the Destabilization of Gender Binaries in Buffy the Vampire Slayer by Angelica De Vido

Staking Her Claim: Buffy the Vampire Slayer as Transgressive Woman Warrior by Frances H. Early

Actualizing Abjection: Drusilla, the Whedonversees’ Queen of Queerness by Anthony Stepniak

“Life Isn’t A Story”: Xander, Andrew and Queer Disavowal in Buffy the Vampire Slayer by Steven Greenwood

S/He’s a Rebel: The James Dean Trope in Buffy the Vampire Slayer by Kathryn Hill

“Once More, with Feeling”: Emotional Self-Discipline in Buffy the Vampire Slayer by Gwynnee Kennedy and Jennifer Dworshack-Kinter

“The Hardest Thing in This World Is To Live In It”: Identity and Mental Health in Buffy the Vampire Slayer by Alex Fixler

"Love's Bitch But Man Enough to Admit It": Spikes Hybridized Gender by Arwen Spicer

Negotiations After Hegemony: Buffy and Gender by Franklin D. Worrell

Double Trouble: Gothic Shadows and Self-Discovery in Buffy the Vampire Slayer by Elizabeth Gilliland

'What If I'm Still There? What If I Never Left That Clinic?': Faërian Drama in Buffy's "Normal Again" by Janet Brennan Croft

Not Gay Enough So You’d Notice: Poaching Fuffy by Jennifer DeRoss

Throwing Like A Slayer: A Phenomenology of Gender Hybridity and Female Resilience in Buffy the Vampire Slayer by Debra Jackson

“You Can’t Charge Innocent People for Saving Their Lives!” Work in Buffy the Vampire Slayer by Matt Davies

Ambiguity and Sexuality in Buffy the Vampire Slayer: A Sartrean Analysis by Vivien Burr

Imagining the Family: Representations of Alternative Lifestyles in Buffy the Vampire Slayer by Vivien Burr and Christine Jarvis

Working-Class Hero? Fighting Neoliberal Precarity in Buffy’s Sixth Season by Michelle Maloney-Mangold

A Corpse by Any Other Name: Romancing the Language of the Body in Mary Shelley's Frankenstein for the Adam Storyline in Buffy the Vampire Slayer by Amber P. Hodge

Sensibility Gone Mad: Or, Drusilla, Buffy and the (D)evolution of the Heroine of Sensibility by Claire Knowles

"It's good to be me": Buffy's Resistance to Renaming by Janet Brennan Croft

Death as a Gift in J.R.R. Tolkien’s Work and Buffy the Vampire Slayer by Gaelle Abalea

“All Torment, Trouble, Wonder, and Amazement Inhabits Here": The Vicissitudes of Technology in Buffy the Vampire Slayer by James B. South

Staking Her Colonial Claim: Colonial Discourses, Assimilation, Soul-making, and Ass-kicking in Buffy the Vampire Slayer by Jessica Hautsch

“I Run To Death”: Renaissance Sensibilities in Buffy the Vampire Slayer by Christine Jarvis

Dressed To Kill: Fashion and Leadership in Buffy the Vampire Slayer by Christine Jarvis and Don Adams

Queer Eye Of That Vampire Guy: Spike and the Aesthetics of Camp by Cynthea Masson and Marni Stanley

“Sounds Like Kinky Business To Me”: Subtextual and Textual Representations of Erotic Power in Buffyverse by Lewis Call

“Did Anyone Ever Explain to You What ‘Secret Identity’ Means?”: Race and Displacement in Buffy and Dark Angel  by Cynthia Fuchs

“It’s About Power”: Buffy, Foucault, and the Quest for Self by Julie Sloan Brannon

Why We Love the Monsters: How Anita Blake, Vampire Hunter, and Buffy the Vampire Slayer Wound Up Dating the Enemy by Hilary M. Leon

Why We Can’t Spike Spike?: Moral Themes in Buffy the Vampire Slayer by Richard Greene and Wayne Yuen

Buffy, the Scooby Gang, and Monstrous Authority: BtVS and the Subversion of Authority by Daniel A. Clark & P. Andrew Miller

Are Vampires Evil?: Categorizations of Vampires, and Angelus and Spike as the Immoral and the Amoral by Gert Magnusson

BOOKS ABOUT VAMPIRE LORE AND MYTH IN GENERAL

The Vampire Lectures by Laurence A. Rickels 

Our Vampires, Ourselves by Nina Auerbach

Vampires, Burial, and Death: Folklore and Reality by Paul Barber

The Secret History of Vampires: Their Multiple Forms and Hidden Purposes by Claude Lecouteux

The Vampire Cinema by David Pirie

The Living and the Undead: Slaying Vampires, Exterminating Zombies by Gregory A. Waller

Vampire Forensics: Uncovering the Origins of an Enduring Legend by Mark Jenkins

Slayers and Their Vampires: A Cultural History of Killing the Dead by Bruce A. McClelland

The History and Folklore of Vampires: The Stories and Legends Behind the Mythical Beings by Charles River Editors

Encyclopedia of Vampire Mythology by Theresa Bane

Vampires of Lore: Traits and Modern Misconceptions by A. P. Sylvia

The Vampire: A New History by Nick Groom

Vampyres: Genesis and Resurrection: from Count Dracula to Vampirella by Christopher Frayling

Race in the Vampire Narrative by U. Melissa Anyiwo

Vampires, Race, and Transnational Hollywoods by Dale Hudson

[bookaddict24-7]

(New Young Adult Releases Coming Out Today! (October 8th, 2024)

___

Have I missed any new Young Adult releases? Have you added any of these books to your TBR? Let me know!

___

New Releases:

The Art Thieves by Andrea L. Rogers

The Dividing Sky by Jill Tew

Red in Tooth & Claw by Lish McBride

If You're Not the One by Farah Naz Rishi

Divine Mortals by Amanda M. Helander

I Shall Never Fall in Love by Hari Conner

Lucy, Uncensored by Mel Hammond & Teghan Hammond

The Terrifying Tales of Vivian Vance by Joshua Ulrich

Light Enough to Float by Lauren Seal

Giddy Barber Explodes in 11 by Dina Havranek

Wrongs Answers Only by Tobias Madden

Zodiac Rising by Katie Zhao

Sally's Lament by Mari Mancusi

A Vile Season by David Ferraro

Fledgling by S.K. Ali

Only for the Holidays by Abiola Bello

Twenty-Four Seconds From Now... by Jason Reynolds

New Sequels:

Under All the Lights (When It All Syncs Up #2) by Maya Ameyaw

___

Happy reading!

[battyaboutbooksreviews]

💖 Sapphic Books Coming Out October 2024

🩷 Good afternoon, bookish bats. By now, you know that sweet, sapphic romance books have a special place in my heart. Here are only a few of the amazing sapphic books hitting shelves in October 2024.

💖 Which ones are you adding to your TBR?

Contemporary 💖 Stand Up! - Tori Sharp 💖 I'll Be Gone for Christmas - Georgia K. Boone 💖 Haunt Your Heart Out - Amber Roberts 💖 Most Wonderful - Georgia Clark 💖 Make the Season Bright - Ashley Herring Blake 💖 Make My Wish Come True - Rachael Lippincott & Alyson Derrick 💖 How Does That Make You Feel, Magda Eklund? - Anna Montague 💖 Turning Twelve - Kathryn Ormsbee & Molly Brooks 💖 Sweet Home Alabarden Park - T.J. O'Shea 💖 Lucy, Uncensored - Mel Hammond & Teghan Hammond 💖 New Horizons - Shia Woods 💖 Writ of Love - Cassidy Crane 💖 What It Meant to Survive - Mala Kumar

Fantasy 💖 Metal from Heave - August Clarke 💖 Whispers Most Foul - Emma MacDonald 💖 Fang Fiction - Kate Stayman-London 💖 House of Frank - Kay Synclaire 💖 The Ghostwing's Lie - Rebecca Mix 💖 This Dark Paradise - Erin Luken 💖 Chai Jinxed - Emi Pinto 💖 The Bloodless Princes - Charlotte Bond 💖 Skysong - C.A. Wright 💖 The Forbidden Book - Sacha Lamb 💖 Until We Shatter - Kate Dylan 💖 Witchwood - Kalyn Josephson

Paranormal/Horror 💖 Haunting Melody - Chloe Spencer 💖 All the Hearts You Eat - Hailey Piper 💖 The Bloodred Moon - H. Noah 💖 Strange Beasts - Susan J. Morris 💖 Feast While You Can - Mikaella Clements & Onjuli Datta

Historical 💖 Women's Hotel - Daniel M. Lavery 💖 I Shall Never Fall in Love - Hari Conner 💖 Outlaw Hearts - Lori G. Matthews

Mystery/Thriller 💖 Staying the Course - Rebecca K Jones 💖 Long Time Gone - Hannah Martian 💖 Johnny-Boy - A. F. Carter 💖 This Ends Now - T.M. Payne

Sci-Fi 💖 On Vicious Worlds - Bethany Jacobs 💖 Sargassa - Sophie Burnham 💖 Villain - Natalie Zina Walschots

[burlveneer-music]

Lady Blackbird - Slang Spirituals EP - bigger arrangements than the stripped-down instrumentation of Black Acid Soul, but her powerful voice remains at the center (there is a full LP out now but it's not on Bandcamp)

In October 2024 Lady Blackbird, producer and guitarist Chris Seefried , Foundation Music Label head and A&R Ross Allen, and Lady Blackbird’s travelling band of Kenneth Crouch (Keys), Tamar Barzilay (drums) and Johnny Flaughers (bass) took a break from extensively touring “Black Acid Soul” to lay down some tracks in Los Angeles. They decamped for a week long recording session to legendary LA studio complex East West (where the Beach Boys cut “Pet Sounds”) to put down tracks that Lady Blackbird and Chris Seefried had been writing whilst on the road… Some magic happened, the bare bones of a record and then some went down. They then moved to analogue whizz Pete Min’s “Lucy’s Meat Market” studio in Highland Park, where synths and strings were overdubbed, taking the basic tracks to the next level and often into outer orbit, with ARPs, Steinways, Mellotron, Hammond B3, Solina, Buchia synth, Bells, Moog, Pump organs, Wurlitzers, Fender Rhodes, Sitars, Clavinet, plus all manner of other cosmic analogue trickery and a string quartet lead by ace arranger Paul Cartwright. The record was taking shape….there was too much music - hence this EP - and it just needed balancing. That job fell to one of the best mixers in the world, Ken Takahashi, a man who engineers and mixes for some of the best around including current production legends Danger Mouse and Inflo.

[diceriadelluntore]

Storia Di Musica #304 - Bob Dylan, Bringing It Al Back Home, 1965

Ogni anno ho raccontato un disco di Bob Dylan. Prescindere da Dylan è impossibile per il rock, e arriva in luoghi, stili e musicisti che a prima vista sembrano lontani anni luci da lui. Eppure, il suo è uno degli ingranaggi cruciali che mette in moto la macchina della musica popolare occidentale (e non solo) che è arrivata fino ad oggi. Il disco di oggi è l'occasione per un viaggio alquanto insolito, che svelerò alla fine, per chiudere il 2023 musicale. Il disco di oggi nasce da alcune idee che erano state scartate per quello precedente, Another Side Of Bob Dylan del 1964. Sebbene ancora legato al folk, quel disco scopre un lato introspettivo che il Dylan di quei tempi ancora doveva scandagliare: inizia quindi a mettere di lato (sebbene non lo abbandonerà mai del tutto) il lato politico e sociale (dello stesso anno è The Times They Are A-Changin') per quello privato. Inoltre c'è la necessità musicale di legare insieme il folk dei primordi con le nuove pulsioni del rock'n'roll, che secondo Dylan gli permetterebbero maggiore libertà creativa. Decide quindi di andare a vivere in una piccola villetta di campagna a Woodstock, proprio a pochi km dalla spianata che pochi anni più tardi fu teatro di una immensa folla rock, casa di proprietà del suo manager Albert Grossman. Dylan adora quel posto, e ci passa tutta l'estate. Dopo pochi giorni, è raggiunto da Joan Baez, che racconta la routine del menestrello di Duluth: passava la giornata alla macchina da scrivere, accompagnato incessantemente da sigarette e bottiglie di vino, e spesso nel cuore della notte avendo avuto una intuizione si metteva a scrivere senza soluzioni di continuità. Dylan è cauto, e affina tutti i particolari: alla prima sessione di registrazione canta da solo acustico. Il giorno dopo, 14 Gennaio 1965 che nella storia del rock è un giorno importante, si presenta con una band elettrica: i chitarristi Al Gorgoni, Kenneth Rankin, e il grande Bruce Langhorne, il pianista Paul Griffin, i bassisti Joseph Macho Jr. e William E. Lee, e il batterista Bobby Gregg. Registrano per ore, e le canzoni volano veloci e in poche ore, quando è notte fonda, è pronto metà disco. La sera successiva, il 15 Gennaio, Dylan dopo cena si presenta con una nuova band, tra cui John P. Hammond, che diventerà suo fido braccio destro negli anni a seguire, e John Sebastian, che diventerà famoso con i Lovin' Spoonful. Di questa sessione però non fu salvato nulla, così il 16 torna in studio con tutti i musicisti e finisce di registrare il disco. Che secondo il racconto dei presenti fu tutto di first takes, cioè canzoni registrate e considerate buone dopo solo una registrazione. Dylan, timoroso che il passaggio totale alla musica elettrica fosse un passo troppo lungo, decide di dividere il disco a metà con canzoni vecchia maniera musicalmente, ma che nei testi e nelle idee lo propongono del tutto nuovo: un surrealismo fantastico che lega Rimbaud alla beat generation, e che inizia a popolare lo scenario della musica giovanile di luoghi e personaggi che diventeranno archetipi.

Il 22 Marzo 1965 viene pubblicato Bringing It All Back Home dalla Columbia. Verrà distribuito in alcuni paesi con il titolo di Subterrean Homesick Blues, nome del primo singolo, ma ciò che importa è che è uno dei più grandi dischi di Dylan, ergo, è uno dei più grandi dischi della storia del rock. Perchè riesce nell'intento che si era prefissato, cioè trovare un legame credibile tra la tradizione folk, il blues e il nascente rock, creando paesaggi lirici che sconvolgono, consegnando alla storia canzoni mito su cui tutti hanno preso spunto. La sequenza di canzoni è ormai a quasi 60 anni dall'uscita un greatest hits: Subterrean Homesick Blues è il biglietto d'ingresso nel mondo elettrico, e passa anche alla storia per l'innovativo videoclip, famosissimo e stracitato, di Dylan con i cartelli di parole chiavi del testo, con Allen Ginsberg che passeggia sullo sfondo di una vecchia fabbrica in rovina. Il testo, che utilizza anche espressioni da strada, è una infinita carrellata di riferimenti, più o meno chiari, alla società, alla politica, al giornalismo, e inizia a creare delle espressioni che diventeranno futuri slogan tra studenti, manifestanti per i diritti civile e così via (il più famoso You don't need a weather man\To know which way the wind blows). She Belongs To Me è l'ennesima novità stilistica: la prima figura di "donna ammaliatrice" (definizione di uno dei massimi studiosi di Dylan, Robert Shelton) con cui esiste un rapporto difficoltoso, sebbene non si sappia chi sia realmente l'spirazione, le più accreditate sono Suze Rotolo, la sua ex fidanzata che sta con lui sulla copertina di Freewheelin' Bob Dylan, Joan Baez, sua sodale, Nico, la cantante svedese che conobbe alla Factory di Warhol e che canterà con i Velvet Underground o forse Sara Lownds, quella che diventerà sua moglie poche settimane dopo l'uscita del disco. Ogni canzone diventerà un'icona: Maggie's Farm, probabilmente un blues contro ogni forma di sfruttamento; On The Road Again è una dichiarazione profetica sul rapporto Dylan-successo, dove il primo spesso sceglie la lontananza e l'autoesilio, impaurito da quello che succede; It's Alright, Ma (I'm Only Bleeding), tutta acustica, è uno dei massimi capolavori lirici dylaniani, con una carrellata drammatica per tensione e suggestione di immagini e sensazioni che esprimono un impellente desiderio di critica nei confronti dell'ipocrisia, del consumismo, dei sostenitori della guerra, e della cultura americana contemporanea, che rispetto al Dylan folk stavolta non si risolve in un ottimismo rivoluzionario, ma in un arrabbiato status quo da osservare. Ricordo altre due perle: It's All Over Now, Baby Blue, Dylan alla chitarra acustica e all'armonica a bocca e William E. Lee al basso come unica strumentazione, è un'altra ballata storica, dai mille significati (chi sia o cosa sia Baby Blue, per esempio) ma la canzone più famosa è senza dubbio Mr. Tambourine Man, altra canzone dai mille significati e simbolismi, che diventerà un soprannome dello stesso Dylan, e oggetto di centinaia di saggi, anche accademici, alla ricerca dei messaggi più reconditi di questo vagabondo con tamburo intento a suonare una canzone per lui mentre la notte sta per terminare avviandosi verso il mattino tintinnante.

Il disco è un successo: numero 6 nella classifica americana, addirittura numero 1 in Gran Bretagna, dove in quei mesi inizia una vera e proprio Dylanmania. E sarà uno dei più coverizzati di sempre: i Byrds lo riprenderanno quasi del tutto, e molte delle loro versioni di questi brani diventeranno famose, anche per l'uso nelle colonne sonore, da ricordare quelle in Easy Rider. Ma non tutti furono folgorati, e non posso non ricordare l'episodio che avvenne al Festival Di Newport: il 25 luglio 1965 Dylan si presentò sul palcoscenico non come cantante solista con chitarra e armonica come suo solito, ma con una chitarra elettrica accompagnato dalla Paul Butterfield Blues Band, formidabile band di blues elettrico. Qui succede questo: non si sa nemmeno bene se fosse colpa dell'acustica che non funzionava, ma il pubblico iniziò a fischiare Dylan, che dopo un paio di brani lasciò il palco; gli organizzatori lo convinsero a ritornare, solo con armonica e chitarra, per una sessione solo acustica che leggenda vuole finisca con It's All Over Now (Baby Blue), da allora canzone anche per sancire un passaggio epocale nella vita delle persone deluse dai cambiamenti.

Rimane da raccontare la copertina: Daniel Kramer con una lente distorsiva fotografa Dylan in un salotto con una donna, Sally Grossman, moglie dell'allora manager di Dylan, Albert Grossman. Sul tavolino tra i due dischi famosi Keep On Pushing de The Impressions, King Of The Delta Blues Singers di Robert Johnson, India's Master Musician di Ravi Shakar, Sings Berlin Theatre Songs by Kurt Weill di Lotte Leyna e l'amico Eric Von Schmidt con The Folk Blues Of Eric Von Schmidt; dietro Sally Grossman, seminascosto da un cuscino, c'è il lato superiore della copertina dell'album Another Side Of Bob Dylan, e sotto il suo braccio destro, una copia della rivista Time con Lyndon B. Johnson in copertina. Sulla mensola del camino, alla sinistra del dipinto, si vede l'album di Lord Buckley The Best Of Lord Buckley. Compare un gatto, che si chiamava Rolling Stone, Dylan indossa dei gemelli regalati da Joan Baez e in primo piano, in basso a sinistra della fotografia, campeggia un cartello con su scritto Fallout Shelter (rifugio antiatomico). Questo tavolino sarò il punto di partenza di nuove storie, nel nome di Dylan e di uno dei dischi fondamentali della storia.

[lgbtqreads]

New Releases: October 8, 2024

Young Adult Lucy, Uncensored by Mel Hammond and Teghan Hammond Lucy imagines college as more than a chance to party with other drama nerds and be roommates with her best friend Callie. College will be her fresh start. For the first time, she’ll be able to introduce herself as Lucy to people she hasn’t gone to school with since kindergarten. Plus, she happens to live an hour away from one of the…

[rotomblr-island]

Islander List

Sylvan Kirsche, @cherrytree-irl

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(mention limit)

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[hannahhook7744]

Stranger Things Next Gen (Part 2);

Serena Mae Claudia Henderson. Bio daughter of Dustin Henderson and Suzie Bingham.

Weapon of choice is usually whatever invention she's rigged up or whatever tools she can get her hands on.

Theme song: "People Are Strange" by The Doors.

Bethany Sue Sinclair-Mayfield. Bio daughter of Luas Sinclair and Mac Mayfield.

Weapon of choice is her dad’s Wrist-Rocket slingshot.

Theme song: "Who’s Afraid of Little Old Me?" by Taylor Swift.

Kenneth ‘Kenny’ Vincent Hargrove. Bio son of Neil Hargrove and an unknown woman.

Weapon of choice is a shotgun but his backup is whatever he can get his hands and hit someone with.

Theme song: "Hitchin’ a Ride" by Green Day.

Lucy Teresa Hopper-Byers-Wheeler. Bio daughter of Mike Wheeler and Jane 'El' Hopper-Byers (she was adopted legally by Joyce and hyphenated her name).

Weapon of choice is a staff she uses to hit people.

Theme song: "Let's Go On An Adventure" by Barney.

Ivan ‘Ives’ Andrew Hopper-Byers-Wheeler. Bio son of Mike Wheeler and Jane 'El' Hopper-Byers (she was adopted legally by Joyce and hyphenated her name).

Weapon of choice is a shovel.

Theme song: "The Outside" by Twenty One Pilots.

Joy Darlene Byers. Adoptive daughter of Will Byers.

Weapon of choice is perfume.

Theme song: "Freak" by Molly Sandén.

Bob 'Bobby' Jim Byers. Adoptive son of Will Byers.

Weapon of choice is his bottle.

Theme song: "Hang In There Baby" by Bridgit Mendler.

Dagger Lance Walsh. Bio son of Anthony 'Troy' Walsh.

Weapon of choice is his knife.

Theme song: "Praying" by Kesha.

Tiffany 'Tiff' Esther Hammond. Bio daughter of Benny Hammond and one of his ex-wives.

Weapon of choice is her sword.

Theme song: "Fight For Your Right" by Beastie Boys.

Casey Shannon Holland. Bio sister of Barbara Holland.

Weapon of choice is an axe.

Theme song: "That's Not My Name" by The Ting Tings.

[abwwia]

ART HERstory: A.I.R. Gallery

Barbara Zucker and Susan Williams, two artists and friends, confronted the challenges of finding a dealer and decided to look for other women artists to start a co-op. Feminism at that time had barely penetrated the New York Art scene and a 1970 Whitney Museum protest drew attention to the less than 5 percent female representation. Directed by activist art critic Lucy Lippard, the two, together with Dotty Attie and Mary Grigoriadis, visited 55 studios to select and invite women artists to form a co-op.

At the first meeting on March 17, 1972, in Williams' loft, women artists met, among them were Maude Boltz, Linda Vi Vona, Nancy Spero, Louise Bourgeois, Howardena Pindell, Ree Morton, Harmony Hammond, Cynthia Carlson and Sari Dienes. For the artists themselves, their work and exhibition goals were all about quality. Still, having to deal with feminist politics was in the center, which meant fighting prejudices and fears that the showings would be considered second-rate. After the opening, one man said grudgingly, "Okay you did it; you found 20 good women artists. But that's it." via Wikipedia From the Gallery's page: Since 1972, A.I.R. Gallery has been leading the way in championing women artists, increasing their visibility and the viability of their endeavors. Click here for a quick lesson of A.I.R's long history. here

[ethancrossmedia]

I have exciting news for you Loud Crowd, and Sonic fans.

Soon this summer, I'm going to get a Lori Loud lithograph to be signed by Catherine Taber at Retro Expo in Fort Worth, TX (Dallas-Fort Worth area, I have Filipino-American relatives living there), meeting Grey DeLisle and Roger Craig Smith in person at Fan Expo Chicago next month. I'm also as well going to greet Grey her early birthday there, as her birthday is 7 days after my visit there maybe this Saturday.

Catherine Taber joins in my Loud sisters autograph collection after I got ones from Cristina Pucelli (Luan Loud), Grey DeLisle (Lana, Lola, and Lily Loud) in 2019, even her son, Tex Hammond (Lincoln Loud in seasons 3-4) in 2020, Lara Jill Miller (Lisa Loud) in 2021, Jessica DiCicco (Lynn and Lucy Loud) in 2023, and Nika Futterman (Luna Loud) earlier this year in 2024. Liliana Mumy (Leni Loud) is the only Loud sister voice actress, I have yet to get an autograph from as I'm currently actively planning to send a fan mail to her, and send back the my fanmade Leni Loud lithograph signed autograph back to me. I only have a Cameo video from Liliana Mumy, I have both from Grey DeLisle, Jessica DiCicco, and Nika Futterman. I'll be one of the only Loud Crowd, that will have all digital and physical pieces of media from the voice actresses of the Loud sisters. Over nearly a decade since 2016, my arts and entertainment brand has been recognized by the Los Angeles-based union (SAG-AFTRA) voice actresses of the Loud House and animation, notably with my voice acting idols, Grey DeLisle and Jessica DiCicco.

@catherinetaber

@jessicadicicco

@greydelislegriffin