#most wilson lyrics of all time

[warlenys]

brand new city, mitski

[justarandombrit]

Believe it or not, I did in fact go to see Spies Are Forever (you'd never know from looking at my blog), and, as usual, I wrote down some notes. My memory is shit so I'll probably update this with additions when I remember more, but for now, below the cut...

Act 1:

. They played Show Stoppin' Number and so many people were singing along

. It started midway through them playing The Guy Who Didn't Like Musicals

. Joey: “Sorry to anyone who thought they were seeing Wizard Of Oz. Although, this show has many friends of Dorothy”

. Emily Proudlock has a beautiful voice. The microphone was struggling a little at the start, though lmao

. THEY GOT AN ACTUAL BANANA PEEL

. Oliver Ormson (Owen) called Curt “Mega” which in the show he doesn't do until he becomes the DMA (not a criticism, just interesting)

. Owen said the “A man needs his privacy”(?) line, so Owen and Barb have officially interacted now

. I love Brian's Informant. His French accent was so over the top

. Brian stared at Clark when he said “The Deadliest Man Alive” until Clark played the keyboard sting. And then whenever anyone else said it throughout the show, he played it.

. They left in a huge awkward silence when the DMA was waiting for Sergio and it was so funny

. Sergio sounded so awkward when he said “You guys can relate, right?”

. Joey fucking SCREAMED “PLEASE!” during Sergio's little Somebody's Gotta Do It reprise

. “The Deadliest Man Alive disarms Mega and escapes”

“He does?”

. Dean John Wilson walked back on stage after his exit, said “The Deadliest Man” and left again

. Okay, so Claire M. Hall is a perfect Cynthia

. You guys are gonna crucify me for this, but I actually liked her Eyes On The Prize I better than Lauren's…

. Joey was making the weirdest faces during Eyes On The Prize II

. Curt cocked his head at Hallucination!Owen and Owen shrugged and mouthed “I don't know” at him

. I LOVE EMILY OOI’S BARB!!!!!! She did a cute little dance during “It's actually a gun!”

. Obioma (Curt) pretending his beard had been shaved lmao

. No Richard Big appearance sadly

. Curt was even more oblivious about Tatiana hitting on him than in the actual show

. The Nazi ensemble stuck around throughout the whole scene and kept gasping when Curt called them villains

. THEY MADE NOT SO BAD… EVEN MORE NOT SO BAD

. “SAY WE GOT A BIT LOST, WITH THE WHOLE HOLO–” *looks at ensemble* “ehh…”

. “WE DID ALL WE COULD DO TO poopoo THE JEW”

. They didn't make the audience chant, which was… probably for the best

. Von Nazi yelled “I'm a big boy! A BIG BOY” at Mega then walked off without using his knees

. Curt groaned and hung his head when the DMA said “I'm gonna torture the living shite outta you”

. Actually gasped at the overlapping “Doesn't even matter if I killed my best friend” and “To show you the horror of staying alive”, even though I knew it was coming

. The homoeroticism 🤌🤌🤌🤌

Act 2:

. I WAS ON THE SAME ROW AS A.J. FUCKING HOLMES AND DIDN'T NOTICE UNTIL JOEY SHOUTED HIM OUT

. Joey shouted out loads of cosplayers still in character as Vanger Borschtit

. Everyone was so excited about Vanger Borschtit, and Joey made everyone cheer for an acceptable amount of time “for his reel”

. The new We Love the Prince lyrics really are so much better (also what did he do to the Pope?!?!?)

. Vanger Borschtit was DISTRAUGHT when the prince died

. Obioma stared so blankly into the audience at “Or whatever it is you boys do in the rumpus room”

. I think out of all of the new cast members, Evelyn Hoskins (Tatiana) sounded the most like the original actor (she was also so cool)

. Obioma actually sung the little “Very good place to start” Sound Of Music reference and Tatiana looked so annoyed

. Tatiana was SO into Doing This up until the kiss (which wasn't a real kiss lmao)

. MRS MEGAAAAAAAAAA

. The lights flashed rainbow after the line “So we're just… friends?”

. Curt looked straight at Barb when he said “Some of us may die”

. Curt paused before he drank the shot, and then started drinking a load and everyone stared at him, really concerned. It was a really neat piece of acting

. Von Nazi kept stressing how he had no idea how Feurgin was killed

. The Informant looked so concerned at the start of NSB reprise, then actually kinda got into it

. Jak Malone (Von Nazi) made his death SO DRAMATIC. He fell to the ground and went “Ow, my back! Ow, my front! Ow, my…self” and then got up and bowed

. Owen stood behind the DMA and they just spun around while Joey narrated

. Joey: “THE DEADLIEST MAN ALIVE FALLS DOWN THROUGH A HIDDEN TRAP DOOR IN THE STAGE–”

. ONE STEP AHEAD JSTSKTKEYYKDKFYFUHDYSWWGDJFKGKFDHSGSTSFJKGKGKGJDSYSYIFKF I'M NOT OKAY

Dean: *Crouch-walks away*

. Owen stared directly at Curt (and addressed him instead of Tatiana) when he said “Don't slip up” and loads of people “Ooh”ed

. Owen seemed actually on the verge of tears in Spies Are Forever (Reprise)

. He also fully yelled “You're a caveman!”

. They changed the line “Taking your advice” to “Moving on”, just like Curt (I think it was Curt? Edit: IT WAS JOEY) wanted in the livestream

. The speech before Spy Again (Reprise) was so good. Everyone came out on stage and it was all just incredible

. SPIES ARE FOREVER, IT'S A MUSICAAAAAAAAALLLLLL……. IT'S ABOUT SPIES!

[kakushino]

Haiku connoisseur

Iguro Obanai x GN!Reader

Sleepy and drunk Obanai mutters everything that comes to his mind under his breath, no matter the place or audience.

Tags: alcohol consumption, fluff, established relationship Word count: 0,8k

Masterlist

AN: Written to cheer one of my dearest friends (read: wives) up. The haiku are written by Kate Miller-Wilson and JS Parker (found on pinterest).

It wasn’t often that Obanai got drunk. The occasion called for it however, as Giyuu had just gotten married. The celebrations went long into the night, the flashy God of Festivals making sure everyone had their cups filled and smiles stretched wide on their faces. 

However, it now left you supporting most of Obanai’s weight as he stumbled along, Kaburamaru wound around your neck instead of his. He kept mumbling nonsense under his breath, steps unsteady, until you heard a few words that made sense.

“-ptured water… Y’hold me.. in y’cupp’d hands…”

“Hm? What are you saying?” you stopped in the middle of the road, trying to listen closely.

“I said- hic - I said,” he said a little louder, his usual raspy voice softer from his intoxication. “I said… Like captured wa- water… Y’hold me in y’cupped hands…” Obanai sighed, his hand gripping onto your yukata tighter. “I flow on y’palm…”

It took a few seconds to realize he had just created a haiku on the spot. A small smile spread across your lips. “Nai… Can you repeat that?” You wanted to remember it and write it down at home. It was too precious a moment not to.

Obanai mumbled a few grumpy curses about not listening to him and repeated it once again:

Like captured water,

You hold me in your cupped hands

I flow on your palm.

Not many knew your love had a softer heart, one meant to awe people, instead of being forced to harden and kill demons. He deserved better, so much better. He deserved to not be ashamed of the art he created to brighten your bleak world.

You wished you could tattoo each of his poems behind your eyelids, so you could forever hold them close. “That’s sweet, Nai,” you told him quietly and started walking again, dragging his form along. At least he wasn’t heavy, you couldn’t imagine dragging Kyojuro, or Gyomei, home.

“I- ‘m not sweet,” he grumbled, and then went on a mumbling rant about everything and anything, slurring his words heavily until his own brain got confused, and he fell silent. You were nearly at his estate when he started to whisper more gibberish.

Once you reached the building, you sat him down on the engawa, making him waver in his seat without your support. You took off his sandals, your own, and helped him stand up on the wooden floor, gripping his hand. 

Obanai refused to take a step further, staring at your joined hands, and intertwined your fingers. “I wan’ f’r all time…” he dragged your hands to his bandaged lips and whispered on against them, a kiss bestowed upon your knuckles, “t’ fill the spaces between… y’r fingers with mine- hic -” 

You were torn between bursting out in laughter and hiding your face, overwhelmed with feelings. Gods, he was completely smitten, wasn’t he? Then again… so were you. “You can always hold my hand - whenever you want to, dearest,” you told him with a smile as blood rushed to your face. Kaburamaru tightened around your neck slightly, seeking the warmth of your skin.

He glared at you, “Good.” The sight combined with his flushed face was too adorable. You wished you could paint it just then.

You smothered your chuckles and started to guide him into your shared bedroom. He would need to handle bathing in the morning by himself, for tiredness made you drag your feet as you struggled to steer your partner out of his yukata and into bed once inside you stumbled inside your room.

“I… ‘ve loved y’soooo long, y’ve… b’come the lyrics to m’ favorite song.” Obanai swayed on his feet as his yukata fell, leaving him only in his fundoshi. “D’you hear me?” he asked with a petulant frown.

“Yes, I heard you,” you grinned, helping him lie down onto the futon before you started to undress yourself. “I love you too.”

“You better…” He blinked a few times, trying to focus on your figure in the dark. The sound of rustling fabric was all that guided his imagination of what you were doing. You walked away from him a few steps and murmured something under your breath, making him realize you were taking care of Kaburamaru. Oh, he could kiss you right now. You were so good to them both he could hardly believe it. 

And if all it took was him telling you haiku to make you happy, he would wax poetics until his voice gave out.

When you laid in his arms at last, snuggling against his warmth just like Kaburamaru did every day, he recited the last poem he had on his mind that day.

You shatter my sleep

All milk-need and petal lips.

You smile, and I melt.

His dreams were as sweet as your scent was.

dividers made by the amazing @benkeibear

idea from @glitchtricks94

Network: @enchantedforest-network

[iliveforyouilongforyouvesuvia]

The Arcana HCs: M6's ringtones

Julian

For Asra: Hot n Cold by Katy Perry

I mean, does it even need explaining? Yes, Asra knows this is their assigned ringtone, and no, they don't mind it at all

For Nadia: Run the World (Girls) by Beyonce

Nadia didn't know that this was her ringtone until you told her, to which she looked flattered and Julian began to stutter

For Muriel: Why Can't We Be Friends by War

Does Julian respect that Muriel is allowed to feel however he wants to about him? Yes. Does the dislike still bother him? ... maybe

For Portia: Sweet Child O' Mine by Guns N' Roses

This was the most sentimental ringtone Portia would allow him to set for her, and only because of the sick guitar intro

For Lucio: Mean by Taylor Swift

He's not going to lie, some of Lucio's accusatory words did hurt a little, especially after he saved his life with that amputation

For you: Can't Help Falling in Love by Elvis Presley

A classic. It sums up his feelings for you perfectly, and if you happen to dial him in earshot he'll croon along for you

Asra

For Julian: Dumb Ways to Die by Tangerine Kitty

There's no hard feelings between them anymore, but the moment Julian decided dying counted as a solution this became his song

For Nadia: That's My Girl by Little Mix

She might not remember how close they were, but after the tea parties they had together, he'll always be rooting for her

For Muriel: Lean On by Major Lazer

Never let it be said that they can't be sentimental. They'll just do it to EDM and cheesy lyrics for maximum teasing potential

For Portia: Drama by AJR

If you think for a second that he and Portia didn't eventually bond over their love of collecting tea, I beg you to reconsider

For Lucio: Stupid Hoe by Nicki Minaj

You can try to shame them for this all you want. They are humming along, and have been known to keep singing after picking up

For you: Tear in my Heart by twenty one pilots

You're the tear in his heart, and that means he's alive. Changes it sometimes to lighten the mood, but always switches back

Nadia

For Julian: Rasputin by Boney M.

She doesn't remember him, but there's one thing she knows for sure - the only thing he does more shamelessly than flirt is dance

For Asra: Daydreamer by AURORA

Doesn't the title of the song say enough? Even if it didn't, the dreamy music fits them too well too deny

For Muriel: Lean on Me by Bill Withers

Here is what she knows about Muriel: Vesuvia failed him, and she wants him to have better. Now if she could just get his trust ...

For Portia: Count on Me by Bruno Mars

The person who sat by her as she slept and took care of her needs after awakening and stuck by her side? She can count on her

For Lucio: Shout Out to My Ex by Little Mix

Never let it be said that Nadia is afraid of growing and getting stronger. Though saying he broke her heart is an overstatement

For you: Halo by Beyonce

Just ... read through the lyrics. She's never going to hear you call her without remembering what you mean to her

Muriel

For Julian: D.I.L.L.I.G.A.F. by Kevin Bloody Wilson

Specifically the chorus - "Do I Look, Like I Give A F***: DILLIGAF." He doesn't plan on getting chummy with him any time soon

For Asra: Stressed Out by twenty one pilots

He knows they both had to grow up and suffer, but he still gets nostalgic for the quieter years they spent as kids in the woods

For Nadia: Kings & Queens by Ava Max

Is she intimidating? Yeah, but he'd pop champagne to celebrate her succeeding Lucio any day. More queens on the throne, please

For Portia: W.I.T.C.H. by Devon Cole

Nadia may be intimidating, but Portia's the one he truly fears the most. This woman is small and mighty and way too unpredictable

For Lucio: When Will You Die? by They Might Be Giants

Does he have any murderous intent towards the count? not really. Will he sleep easier when he knows he's all the way gone? ... yeah

For you: All of Me by John Legend

Well it's true, isn't it? You pulled him back out into the world and earned his total trust. But he's never letting you hear his ringtone

Portia

For Julian: Welcome to the Black Parade by My Chemical Romance

As all younger sisters must, she chose this solely to make fun of him. Julian, on the other hand, is flattered at the iconic song choice

For Asra: Jericho by Iniko

She knows there's better choices out there, but it's just the vibes, y'know? Try convincing her that they haven't been to outer space

For Nadia: Best Friend by Saweetie

Can't resist singing along to it every time it goes off. Which means that she'll always answer with "hi bestie!!" even when she shouldn't

For Muriel: Y.M.C.A. by Village People

1) She doesn't know him that well, 2) it's a really good song, 3) telling him not to feel down is what she wants to do anyways

For Lucio: Girl on Fire by Alicia Keys

*cue gremlin face* sure, she never met him personally, but the dude wasn't a great husband for her bestie. giggles each time

For you: I Will Always Love You by Dolly Parton

Likes to belt this out to you when she picks up. Whether she squeaks on the high notes each time is up to the listener

Lucio

For Julian: House of Memories by Panic! at the Disco

You can't get amputated on the battlefield by a newbie without trauma bonding at least a little bit. Besides, it's catchy

For Asra: Teenagers by My Chemical Romance

Ohh, he remembers when they were a teenager, and he does not want to go back. He had good reason to be uneasy around them

For Nadia: We Are Never Ever Getting Back Together by Taylor Swift

Yes, he knows their marriage ended because he died, but indulge him a little if sometimes he likes to fantasize that he called it off

For Muriel: Sorry by Justin Bieber

Well, what other song are you supposed to give the victim of your past self? Okay so maybe it isn't the best apology, but it is "sorry"

For Portia: Sweet but a Psycho by Ava Max

Oh, he knows that the force truly worth fearing is not the woman you did wrong - it's her loyal and unhinged best friend.

For you: Teenage Dream by Katy Perry

You do make him feel like a teenager again! It's not nearly as glamorous as life used to be, but having you there for it is exciting

[pocket-size-cthulhu]

I hyperfixated and read the lyrics to every Hozier song ✨

I was trying to find out what makes his music so much more comfortable to listen to, as a feminist, than so many other male artists.

It's not like Hozier's music isn't horny or sexual. And just wreathing your meaning in fancy words doesn't necessarily make a gross sentiment feel less gross, so it's not just the flowery language.

I actually think it's the attitude and approach. Where a lot of music is like, "she's so beautiful, she makes me feel so good, i desire her, i must have her," Hozier opts for an expression of awe, captivation and sometimes gratitude in his music. Instead of "i must have her," the sentiment is more like "I'm so lucky that she lets me be in her life for now."

Instead of "i met this beautiful girl and now i want her," Hozier is like, "this is a demanding pagan goddess that i worship", "this is a kind woman inviting a wild animal (me) into her house", "she is fire consuming all of my past lovers", "she dug me up out of the ground on accident with her bare hands", "she is an eldritch horror and i will devote my entire being to her", or "she is literally the sun". Even in songs that are less metaphor-heavy like Jackie and Wilson or Moment's Silence, she ALWAYS has all the power and agency. She's never a thing to be desired, she's a being to be respected, adored, and worshipped, and that one is lucky just to be noticed by.

I think that's really empowering, you know? Besides making for great poetry. Most of the time in pop culture women/femme people (especially those that love men) have to put up with being treated as an object. A precious or mysterious object sometimes, but an object nonetheless. I'd settle for being portrayed as a human with agency, but you know Mr Hozier, "goddess" or "eldritch entity" is amazing too. We love your music.

[omegalomania]

What are some of your favorite aro-/ace-coded fob lyrics?

oh fuck yes a little bowl of seeds just for me

boycott love from disloyal order of water buffaloes is a personal favorite of mine. its a lyric i really really want tattooed at some point. that's not the only lyric i latch onto from an aro perspective but it's probably the biggest one

basically the entirety of it's hard to say "i do" when i don't but a special mention goes to you are appealing to emotions that i simply do not have as well as the only ring i want buried with me are the ones around my eyes

it's true romance is dead / i shot it in the chest and in the head from the music or the misery is also a favorite of mine, also just that whole song in general

i thought i loved you but it was just how you looked in the light in hum hallelujah resonates with a lot of queer folks i've found, and it's no different for me

same goes for it's a strange way of saying that i know i'm supposed to love you from g.i.n.a.s.f.s.

i'm outside the door, invite me in / so we can go back and play pretend from alone together brings me back to when i was trying to perform heteronormativity/amatonormativity even if it was making me miserable

i also hold to a very similar vibe with she said "i love you 'till i don't" / i am just playing house, no idea what i'm doing now from sunshine riptide and also most of burna boy's verse, frankly. i fell in love but i didn't fall down and feel like i'm bulletproof, baby in particular

american beauty/american psycho, particularly the first verse. i think i fell in love again / maybe i just took too much cough medicine

golden is a big one for queer folks in general i've found. the chorus especially hits hard from an aro and/or ace reading. and i saw god cry in the reflection of my enemies / and all the lovers with no time for me

i've got a dark alley and a bad idea that says you should shut your mouth is a heavy song no matter how you slice it. but that chorus gets to me in particular: we can fake it for the airwaves / force our smiles, baby, half-dead / from comparing myself to everyone else around me

the kids aren't alright reads to me as one big anthem for platonic love above anything romantic, which resonates super hard with me. the second verse has a lot of good lines that i latch onto from an aroace lens too. your love is anemic and i can't believe / that you couldn't see it coming from me

pretty much the whole chorus of HOLD ME TIGHT OR DON'T does it for me, and those verses have got some good aroallo vibes too! i never really feel a thing... confidants but never friends...

the whole of fake out is a gimme. that chorus rings real true. starts with love is in the air, i just gotta find a window to break out and finishing with but it was all a fake-out

i've got all this ringing in my ears and none on my fingers is one that has another highly applicable title but the whole refrain of the truth hurts worse / than anything i could bring myself to do to you paired with the one-two punch of that second verse REALLY gets under my skin

and of course, the culminating one: you are what you love, not who loves you from save rock and roll. obviously there are a LOT of ways to read that line

there are a couple other songs i latch onto - wilson (expensive mistakes); a little less "sixteen candles", a little more "touch me"; the (after) life of the party to name a few - but the ones listed above are the big lyrics that resonate with me on a personal level

just in general i have a shitton of fob over on my aro playlist (which doubles as a general aroace/queer playlist but has a lot of emphasis on aromanticism) in case i forgot to mention anything but like i said those are the big ones

[brightwingedbat]

Introducing another character made on a whim. Severa Ribcrack, Iron Legion and Tharrhon Lionheart's mother. 45 during personal story. She's serious and intense, a classic Iron Legion soldier.

Now the reason I made her? I got addicted to this song My Goodbye from Epic - The Cyclops Saga (Thank you @wilsons-journey) that gave me huge inspiraton for adding more story to Rhon.

Prior to joining an order, Rhon as a canonical player character lost most of his warband, and then with Vallus as his sire ended up injuring a lot of adamant guard and killing Emer (though he really did not want to.) so that his father could escape all because he was sentimental.

Severa of course would find out about this, and the shame weighing on her shoulders is massive. Her promising cub having everything dragged down, she'd sooner 'disown' him than live with that shame.

Now comes some of the lyrics of said song-

It's at this point the relationship between dam and cub is irreparably shattered. Even more, Rhon doesn't stick around the legions for much longer. He's soon sent by Rytlock to handle a mission with the Orders where he eventually goes on to join the Vigil.

Severa is left alone, to continue serving the legions the way she sees that it should be. Brutally.

This won't be the last time they see each other though. Icebrood Saga will bring some interesting conflicts.

Song link below readmore

[callsign-mayhem]

southern state of mind

Pairing: Bradley ‘Rooster’ Bradshaw x Reader Word count: 2.7k

You and Jake are best friends, bonded by your hometown and love for line dancing. You take Bradley and Natasha into the city to a country and western bar and teach them to dance, and hopefully to make your move. 

Y/CS - your call sign 

Use of Y/N but no description of reader

A/N: I wrote this with the bar scene from Footloose (2011) in mind. Listen to ‘Fake ID’ by Big & Rich and Gretchen Wilson when you read the final scene.

The music was turned up deafeningly loud and your foot was against the floor and, in your opinion, it was the best way to drive anywhere. Nothing said summer like speeding down the highway at sunset with the roof of the Jeep off and the wind in your hair, and it was even better with company. Taking the top off your car was a somewhat tedious job and you’d enlisted Bradley and Jake’s help earlier that afternoon especially for your little road trip into the city. It had been well worth it as the vibes, to put it simply, were immaculate.

Obviously Jake had called shotgun before you’d even left your apartment but you didn’t really mind; he was one of the very few people who was allowed to have the aux cord in your car. Music had been one of the first things you’d bonded over. That and the fact that you were both from Austin.

Natasha and Bradley were sitting in the back sipping gin and tonic from a can, quite happy watching the world pass them by while you and Jake belted the lyrics to a Jason Aldean song. It had taken a long time for you to get to this point with Jake and you knew most of the squad still weren’t completely sold on him, but you were hoping tonight might help change that. You wanted them to see the side of him he seemed to save especially for you, hence why you were heading into the city to a country and western bar you’d found online. It was one of the rare weekends you were all free and after a lot of convincing, Bradley and Natasha had agreed to go with you.

You locked eyes with Bradley in the rearview mirror. He had his aviators perched precariously on the edge of his nose and when you stuck your tongue out at him, he winked at you. It was damn lucky you didn’t crash the fucking car.

You glanced away in embarrassment and continued your duet with Jake, desperately hoping that he hadn’t noticed the blush dusting the apples of your cheeks. Originally it was just going to be you and Hangman - a friend date if you will - but then he’d had the brainwave of inviting Bradley as a way of finding out if he reciprocated the feelings you had for him. Telling Jake about your crush was probably the worst decision you’d ever had the misfortune of making because he’d been coming up with creative ways to try and get you together ever since. There’d been a few times where you’d almost considered outing yourself just so Jake couldn’t. You agreed to his plan this time, hoping it would be the last time you ever had to, but you insisted on inviting Natasha too. For one, she was more fun on a night out than both the guys put together, but also because you couldn’t imagine spending time with just Jake and Bradley alone. It would be one big dick-swinging contest.

The sun was low in the sky, glinting off all the skyscrapers that made up the gorgeous San Diego skyline. Jake reached into the glove compartment and pulled out your own pair of aviators and you took them gratefully, trying to put them on one-handed. Instead of watching you struggle he snatched them back off you and put them on you himself, poking the tip of your nose once he was done. If you’d chanced a look in the rearview mirror at that moment you would have seen Bradley watching this exchange, eyes hidden behind his glasses again. The only thing that gave his annoyance away was the stubborn set of his jaw, but that was Bradley Bradshaw all over. For the most part, he kept his feelings bottled up until he couldn’t anymore, and then he’d explode when he least expected it.

You didn’t know it, but Bradley had been spending a lot of nights laying awake wondering if he should tell you how much he liked you, weighing out the pros and cons in his cluttered mind. He was a lot of things, but he wasn’t a coward, and he wasn’t hiding it from you because he was scared of rejection. In fact, the only reason he kept stopping himself from grabbing you and kissing you senseless was because of Hangman. The two of you weren’t officially dating (as far as anyone knew) but the way you interacted was more than suspicious. Guys and girls could be friends, he wasn’t that naive, but the way Jake looked at you made him wonder if he wanted it to be more than that.

As for the way you looked at Jake, Bradley wouldn’t know much about that. He didn’t like watching you too closely when the two of you were together, just in case your smile or your eyes gave you away and confirmed his worst fear.

When you finally arrived at the bar you made sure to park as close to the entrance as possible in case your friends decided to get absolutely shit-faced. Agreeing to be the designated driver had seemed like a brilliant idea at the time - you’d be hangover free in the morning and able to enjoy your Sunday outdoors instead of in bed with a huge headache - but now, as Bradley slung his arm around your shoulder lazily and pulled you into his side, you were kind of wishing you’d let him drive. Ever the gentleman, he’d offered to bring the Bronco so you could have a drink, but since it was your idea and you were going to be subjecting him to country music and line dancing all night, it only seemed fair that he be able to have a few beers.

Now you somehow needed to get through tonight without any Dutch courage.

The bar was packed wall to wall with people in denim shorts, flannel shirts, cowboy boots and hats. Being from Texas yourself, you could tell who was just trying to fit the aesthetic and who actually dressed like that on the daily. Natasha and Bradley’s mouths were hanging open as they surveyed the scene in front of them. You’d given Nat one of your gambler hats to wear for the night and it suited her well, but you hadn’t been able to convince Bradley to wear one.

‘Bet you’re regretting turning down my offer now, huh Bradshaw,’ you poked him in the side and he flinched, laughing raucously, ‘Feeling like the odd one out?’

Jake moved the toothpick he was chewing from one side of his mouth to the other and adjusted his own hat, ‘He made the right call. There’s no way he’d be able to pull it off.’

Bradley swiped the hat from your head and put it on, adjusting it so it sat right on his head. Jake scoffed but he was smiling so you knew he wasn’t really trying to insult Bradley, but he flipped him the bird anyway. You stopped in your tracks to get a better look at him. He was wearing a blue flannel over a white tank, 501s and a pair of brown cowboy boots, and the hat was the icing on top of an incredibly delicious looking cake. The hat suited him better than it did you.

‘You’re such an asshole,’ you told him, nudging him in the ribs. He laughed again and shoved you playfully, ‘Can you stop fucking bullying me, Y/N. First you tell me I’m the odd one out, and now you’re calling me an asshole for trying to fit in.’ ‘You’re an asshole because that hat looks better on you than it does on me, and I’ve been wearing it since I was fifteen years old.’ Natasha and Jake shared a knowing look, ‘We’re gonna go get some drinks.’

One of your favourite Dustin Lynch songs was playing and to prevent things from getting awkward after what you’d just said (idiot, idiot, idiot) you took Bradley by the hand and led him out to the middle of the dancefloor. Perhaps ‘dancefloor’ wasn’t the right word since there were people dancing in every spare space in the bar. There wasn’t really anybody sitting at the hightop tables, they were just being used for bags, coats, and half empty glasses, and you were sure it was the same on the second floor. Although it didn’t feel like it, the place was huge and you were kicking yourself for not coming here sooner. Maybe it was a little cringe and slightly over the top (not every bar in Texas was like this) but it felt like you’d come home.

Bradley nearly tripped over your feet a couple times as you dragged him through the swarm of dancing people.

‘I can’t dance,’ he shouted. You spun around, still holding tightly onto his hand, ‘But you sing so well!’ ‘And?’ ‘Usually they go hand in hand.’ He cocked his head like you’d missed the point entirely, ‘You can dance?’ You flashed him your prettiest smile, ‘Obviously.’ ‘Then your logic is flawed,’ the corners of his mouth twitched as he repressed a smirk, ‘because you can’t sing for shit, darlin’.’ God, you wanted to kiss that look right off his face, ‘So you want me to teach you to dance, or what?’ ‘How do I know that what you got to teach is worth learning?’

Jake and Natasha appeared behind you with four bottles of beer. You accepted gratefully - because one wouldn’t hurt - and downed half of it in one long sip. Bradley didn’t take his eyes off you as you handed him your bottle and grabbed Jake’s hand.

‘I’ll show you.’

Bradley and Nat went and stood at one of the high tables, more than happy to watch you and Jake do your thing if it meant they got out of dancing for a little while longer. They were leaning casually, sipping their drinks with the air of two people that weren’t expecting much.

You leaned over and whispered to Jake: ‘Let’s show them how we do things back home.’

The song faded out, transitioning smoothly into another one. It was upbeat - perfect for line dancing - and you knew it well. Jake knew it too he was grinning from ear to ear as everyone moved into position, ready to dance.

It was now or never.

Admittedly, it had been a while since you’d danced like this and you were worried you’d be rusty, but when the song kicked in and you got going it was like you’d never taken a day off. There was something almost sacred about dancing in formation with this many people and the sound of hundreds of pairs of cowboy boots stomping against the floorboards sent shivers down your spine. You hooked your fingers through the loops of your Levi shorts as you dragged one foot across the floor and pulled forward, swaying your hips all the way around in time with the music. When the song reached its bridge, everyone broke off into pairs and you and Jake took the opportunity to really show Nat and Bradley what you could do. You could hear Phoenix cheering for the two of you as you scooted and rambled, completely enthralled in the music.

You spent your days flying fighter jets, but this was the most alive you’d felt in a long time. Your heart was racing against your chest and you could feel a stitch developing in your side, but you honestly couldn’t care less and if you went into cardiac arrest right now, you wouldn’t be mad about it.

When the song was over you headed back over to your friends who were clapping for you, stunned expressions on their faces. Bradley handed you your beer and after catching your breath for a beat or two, you took a sip, your eyes never once leaving his.

‘So, you want what I got to teach or not?’ He shook his head in awe, ‘You’re really somethin’, you know that?’ ‘Oh, I know.’

You headed back out there with Bradley on your arm and Jake and Natasha in tow. Luckily they were fast learners so it only took an hour to teach them the basics and get them dancing relatively confidently. You were taking mental pictures of Bradley dancing the two-step in that damned hat so you could remember them later. He’d told you he couldn’t dance but you were beginning to think he’d just never tried because the way he moved was so enchanting, you had to keep reminding yourself not to trip over your own feet.

‘Shall we put your new dancing feet to the test?’ you said to him.

When ‘Fake ID’ came on you and Jake forced Bradley and Nat out to the very middle of the floor. It was your turn to cheer for them as the song started to pick up and everyone fell into line, boosting their confidence just enough for them to get into it. It didn’t take much and before long, the four of you were in perfect rhythm as you side-stepped and clapped, turned and cross shuffled. You’d never seen Bradley smile like that before and you desperately wanted to take a photo, but you didn’t dare stop dancing.

Why couldn’t you do this every night?

In the middle of the song, everyone broke off into pairs again and somehow you ended up with Jake. This clearly wasn’t part of the master plan to get you together.

‘You need to go get your man, Y/CS. I ain’t going home until you do.’

As nervous as you were to make your move, you knew he wasn’t kidding. You tapped Nat’s shoulder and leaned in to tell her that Jake wanted to dance with her. She wasn’t an idiot, she knew what you were planning to do, and as she passed you mouthed ‘good luck.’

‘What’re you doing dancing with another woman when you’re wearing my hat,’ you teased, ‘That is so disrespectful.’ He raised a brow, ‘Well I wanted to be dancing with you, but you already chose Hangman as your partner,’ he challenged.

His tone was light but there was a question hidden somewhere in that statement; he wanted to know if you liked Jake.

‘I just didn’t know if you could keep up with me.’

In response to you challenging him, he started dancing again, reaching up to take off your hat and put it back where it belonged. You took his lead and started dancing in front of him and he reached out and put both hands on your hips as you swayed them, stepping forward until he was pressed right up against your back. You didn’t think you’d be able to carry on dancing if you got any closer, but then he did the unimaginable and looped his fingers through your belt loops and pulled you back so were flush against him. Black dots filled your vision when you felt his semi through his blue jeans and you couldn’t help but move a little more, shaking your hips and making him even harder.

He wasn’t expecting it, just like he wasn’t expecting you to spin around and wrap your arms around his neck. He was like a deer trapped in headlights as you pulled him down to your lips and finally kissed that shit-eating grin off his face, but when he eventually got over his initial shock, he kissed you back with such ferocity that you had to stop dancing. Nothing could have prepared you for the taste of Bradley Bradshaw, the scent of his aftershave mingling with sweat. If not for the room full of people you would have let him take you right there and then.

‘I think I’m gonna take you dancing more often, Rooster,’ you said against his lips, ‘you really know how to move.’ He kissed you again, dragging your bottom lip between his teeth and drawing a mewl from you. It was lucky nobody could hear the two of you over the music.

‘When we get back later, I’ll show you just how well I can move,’ he promised, ‘but I don’t think you’ll be able to dance for a while afterwards.’

[kakashixhatakesxwhore]

CAN WE GET A ALBUMS YHEY WOULD FUCK WITH PART TWO? any characters u want!!

teehee i didn't know y'all rocked w the first - lmk if i missed anyone, or if you want a girls version/an akatsuki version - thank you so much for the request!! :)

Albums I Think They Would Fuck With 2

They: Choji, Kiba, Shino, Sai, Neji, Lee, Kankuro, Gaara, Shisui, Gai, Asuma, Yamato, Jiraiya

Summary: Which of my fav albums I think each of my fav Naruto men would enjoy the most - also a classic rock recommendation list (if you rock w the character, you'd probably get down to the album)

Fav not here? Try part 1, or send me a request!

Masterlist💿

Choji

Without a Net (Live) by The Grateful Dead

Choji would be soooo salty that he never got to go to a Dead show, because he doesn't think their studio albums hold a candle to their live performances. That said, he would adore the Grateful Dead, without long and experimental their songs are (there's something to appreciate about not having to flip the record for an hour, instead of forty minutes).

Kiba

Pet Sounds by The Beach Boys

Deadass, he would think Pet Sounds is a much better album than Sgt. Pepper, and there is no way to convince him otherwise. Kiba would want to be a Wilson brother.

Shino

Parsley, Sage, Rosemary and Thyme by Simon & Garfunkel

Ugh, so relaxing, so dreamy, and so easy to sing along. Shino would so love this album, because it would relax him in a way that only Si & Garf could.

Sai

Begin Here by The Zombies

Sai would love the shredding vocals and how full the music is, even the sad songs - the lyrics from multiple songs off this album would speak to him on multiple levels.

Neji

Deliver by The Mamas and The Papas

Melancholic but gentle, while still delivering strong, hopeful messages? Yeah, pen Neji down rn.

Lee

Love Grows & Other Gems by Edison Lighthouse

Screaming and crying over this - Lee would be so taken by the love songs, and he'd be whistling the darling melodies all the time. Even the ballads, Lee would be singing so beautifully.

Kankuro

Thirty Three & 1/3 by George Harrison

Would love the jazz, love the symbolism, love George Harrison. Kankuro would find this album chock-full of bangers. Not one of these tunes would be skipped, not until Kankuro has experienced it (he also will turn back the needle if he felt he wasn't appreciating a song properly).

Gaara

The Stranger (Legacy Edition) by Billy Joel

Needs to be the Legacy Edition, because Gaara fucks with the B-side heaviest (y'all need to indulge rn). He literally cries to Billy Joel's voice, and loves to forget about things while he listens to this album.

Shisui

Moving by Peter, Paul and Mary

Happy cries to this album over memories that aren't even his. He wouldn't be able to stop himself from singing along, especially to Puff and Tiny Sparrow.

Gai

Tommy by The Who

He would go an see the live show - and he would think that Tommy was a real person (before he sits down to chew on the possibility of a deaf, dumb, and blind kid being a pinball champion). Gai would still find the spirit of Tommy to be an inspiration and a testament to the power of youth.

Asuma

Physical Graffiti by Led Zeppelin

Hot damn, what is there to say? Asuma would literally wish he was John Bonham (Jimmy Page would be a far too ambitious pick, and he would know that, but never admit it).

Yamato

It Ain't Me Babe by The Turtles

Awe, sweetie!!! He would love this album for the love songs, but tell everyone he loved it for the revolution ballads (also lowk hates the stereo recordings, but finds mono too boring).

Jiraiya

Monty Python Sings by the Monty Python troupe

Oh, he fucks with regular music too, of course. But these. These songs would make him laugh so hard, on top of being so strangely good, and he would fuck with the Monty Python movies so hard.

[monkberrymoonsdelight]

A Monkberry Moon Delight lyrical analysis because it is the greatest song of the 20th century

Monkberry Moon Delight is a song from Paul McCartney's 1971 album Ram. The song is generally considered to be surrealist 'nonsense' lyrics a la Lennon's late Beatles work like 'I am the Walrus' and 'Glass Onion'. But if we know anything about Paul (and Lennon-McCartney in general), he tends to put deeper emotions into his songs, often with out meaning to and without his direct knowledge:

"I don't write anything consciously, Sometime when I'm pissed off with John over Apple business a line might creep in." - Interview with Disc And Music Echo (Nov. 20, 1971)

"Songwriting is like psychiatry; you sit down and dredge up something that's inside, bring it out front." - Interview with Robert Palmer for the New York Times (April 25, 1982)

" But in a song, that's where you can [share your innermost thoughts]. That's the place to put them. You can start to reveal truths and feelings." - Interview with John Wilson fork BBC 4's (May 24, 2016)

And my favorite because it's y'know...in a song: "And when I'm gone, I leave my message in my song" - Beware My Love (Wings at the Speed of Sound, 1976)

All that being said, in my opinion, Monkberry Moon Delight is a projection of Paul's feelings of anxiety about his post-Beatles public/critical reception and his reaction to John Lennon's antagonism post-divorce. Specifically, he details his writing of Too Many People as a response to John's antagonism and the making of Ram as an attempt to recapture public attention/praise.

For context: Monkberry Moon Delight was first written/demoed at some point from May-August 1970 on his farm in Scotland. Paul's late 1969-1970 Scotland era is complicated. He often describes it as being one of the most difficult periods of his life because of the break-up of the Bealtes, the Apple financial troubles, his frayed relationship with John, and starting a whole new life which all compounded into a deep depression and alcohol abuse.

Let's start with the title and chorus. In Paul's own words, Monkberry Moon Delight comes from his kids mispronunciation of the word 'milk' and establishes MMD as a fantastical drink like 'Love Potion No. 9'. I think Paul obviously hides behind the surrealism of the lyric but its association with family and domesticity makes an interesting contrast. Though he is happy to be in his escapist domestic fantasy in Scotland, he juxtaposes this with the underlying pressure to be acclaimed (especially after being considered the greatest artist in the world for ten years). Though the song has a peppy, jaunty beat there is an air of anxiety developed through the songs key of C minor and the staccato of the piano and bass parts. His vocals also have a similar strained desperation like 'Oh! Darling'.

The lyrics:

So I sat in the attic, a piano up my nose

And the wind played a dreadful cantata

Paul starts with himself, writing. 'The attic' may be a reference to John Lennon's recording studio that he had built in his attic in Weybridge where he and Paul would often go to write.

"We nearly always went up to his little music room that he'd built at the top of the house, Daddy's Room, where we would get away from it all. I like to get away from people to songwrite, I don't like to do it in front of people. It's like sex for me" - Many Years from Now. Whether or not this is a direct reference to 'Daddy's Room', Paul is known to prefer small, confined spaces for songwriting.

'Piano up my nose' to me shows a rapt attention, leaning so close to his piano its almost up his nose. He is intently and passionately composing his 'dreadful cantata', this cantata I believe refers to "To Many People". Based on this record of the order of demos on the Ram cassette, it seems that Too Many People may have been written (or at least recorded) before Monkberry, which furthers my belief that Paul is making a meta narration of the writing of his song which he recognizes was very pointed or dreadful.

Sore was I from a crack of an enemy's hose

And the horrible sound of tomato

Here he describes what spurred him to writing this song, and this album as a whole. The 'crack from an enemy's hose' could refer to Allen Klein's treatment of Paul during the final months of the Beatles and his attempted mishandling of the release of McCartney (1970). (Note: The crack could also be from Phil Spector, the press, Ringo, George, Yoko or John; Paul is kind of getting shit from all sides right now). The 'sound of tomato' implies the idea of throwing tomatoes at an artist to express dislike or dissatisfaction, referencing the poor critical reception of McCartney (1970).

Ketchup, soup and puree

Don't get left behind

Ketchup, soup, and puree; liquidy tomatoes because splat, splat, splat go the critics. And ketchup because catch up pun.

Don't get left behind is the central theme of this song. He is worried that the public is going to forget about him while he's depressed, away in Scotland, and making critical flops. This is him desperately clinging onto the hearts of the public. Because we all know how much Paul needs to be liked.

When a rattle of rats had awoken

The sinews, the nerves, and the veins

The 'rattle of rats' could be any of the number of people who were getting on his nerves, sinews, and veins (pissing him tf off) in 1970. This could again be referencing the great "Let's all gang up on Paul McCartney" game of 1970 but because of the subsequent lyrics, I think this may be more specifically about John (and Yoko). Either way, it was these rats who annoyed him into getting to work.

My piano was boldly outspoken

And attempts to repeat his refrain

'Boldly outspoken' again connects this song to TMP. The line is similar to the TMP lyric 'This is crazy and baby, it's not like me' in the sense that both show how audacious he sees this songs as. In 'attempting to repeat his refrain' I think Paul is using the 'well he started it' justification for TMP because he's sees it as a repeat, of him rising to John's level of insults.

So I stood with a knot in my stomach and I gazed at that terrible sight

Of two youngsters concealed in a barrel, sucking Monkberry Moon Delight

Ah yes my favorite moment in all of music ever. This is the verse that really convinced me that this song may be referencing JohnandYoko. The 'youngsters in a barrel' alludes to John and Yoko's bag piece, where they would get into a black bag for...peace? As seen in Get Back, this particularly irked/disturbed Paul. "Go get in your bag. The Merseybeat award for couple of the year, goes to John and Yoko" (Get Back Episode 2). He also refers to them as 'the young lovers' in Get Back during the infamous January 13th 'and then there were two' conversation. Even though it makes him nervous and sick, part of Paul releasing TMP and Ram is to face up to the JohnandYoko powerhouse which was a non-insignificant portion of his early 1970 criticism.

Well I know my banana is older than the rest

and my hair is a tangled baretta

Here I think he is reasoning to the listener, the public, over why he thinks they've abandoned him. Paul recognizes that he has been in this music game a long time (so people may have grown bored of him) and has been depressed (and thus out of the game), his tangled 'baretta' of hair like the wily depression beard he grew out while in Scotland.

Also banana = dick, just so everyone is clear (can anyone find that banana poem from his poetry book? Also this just perpetuates my tinhat theory that all the banana milkshakes Paul got in Paris were just **** **** but I digress). Also something about Paul likening songwriting with sex so him not being 'musically desirable' is because...his music dick is old? Ok Paul.

I leave my pajamas to Billy Budapest

And I don't get the gist of your letter

This is the one lyric I am pretty unsure about. Not that every line has to fit perfectly into my interpretation but I genuinely could not make heads or tails of it. My initial interpretation was that this was referring to Billy Shears, and how during this period the Paul is dead theory regained popularity. This reference adds to the feeling of dissolution he builds in this verse.

But mike on the Beatles Bible seems to remember Billy Budapest as being a children's pajama designer though I have found not evidence of this. However going with this shot in the dark, leaving his pajamas to Billy Budapest could draw back to the theme of his current domesticity and occupation with his children.

The letter in question I believe refers to the infamous letter John and George wrote to Paul changing his McCartney release date that they had Ringo deliver which really set Paul off and kind of began the messiness of the divorce.

Catch Up, cats and kittens

Don't get left behind

Finally we get the pay off to the ketchup-catch up pun and see the resurgence of the theme; Paul feeling like he's falling behind his contemporaries and desperation to catch up.

In typical McCartney fashion, Monkberry Moon Delight is a seemingly shallow and superfluous song but actually reveals a lot about his inner turmoil at the time. Him dealing with the rejection by the critics and John by turning to his piano and creating the absolute banger that is Monkberry. This is why MMD is one of Paul's best, because of how quintessentially Paul it is. Veiling tough emotions behind ambiguous and surreal lyrics masked by a fun and light melody. Oh, the juxtaposition! Oh, the Lennon-McCartney of it all.

Anyways this is a barely organized rambling of thoughts but Monkberry Moon Delight deserves a mega analysis because it is genuinely one of the best songs Paul McCartney has ever made.

[weaselle]

let's talk racist algorithms

i have a weird relationship with music for reasons i won't get into, but as an example, despite loving music, i have not been able to make myself listen to music on purpose in about 6 months. Music is weird for me. BUT I DO LOVE IT

I'm a poet, if i'm really feeling myself i'd even say i'm a word-smith, so rap has a really special place in my heart

The first rap artists i heard and bought an album from them on tape cassette and would listen to all the time were Snoop Dogg, McHammer, DJ Jazzy Jeff and the Fresh Prince (that's Will Smith for you young ones) De La Soul, and Vanilla Ice

This was 7th and 8th grade. Rap was the new rock, the kids were going wild for it, and because my school let students select the lunchtime PA music, Vanilla Ice was played at lunch almost every day at school.

We had zero black students at that school.

(I still remember the exact day Vanilla Ice stopped being popular at school, but that's about the severe homophobia of the time and a different story)

Now let's come back to today. When I listen to music it's often on Youtube, or Pandora. And i noticed a problem with these platforms pretty early on.

See, I had taken a big break from rap. Like i said, i have a weird relationship to music i don't have time to get into, but i didn't pay much attention to what was happening in rap for a long time. I'd had a friend who was excited to get me to geek out over Eminem with her a few times, and i went through a phase where i was in love with Digable Planets (high key recommend if you like an indie feel with a smooth jazz sound and east coast vibes)... I had a secret love for that one verse by Left Eye in Don't Go Chasing Waterfalls, could sing every word of Shoop, and i adored every Missy Elliot song that i heard on the radio. And that was about it. As a lyricist myself, the one that stuck in my head the most from this time was eminem, because lyricism is his whole thing.

I don't go to concerts. I don't buy albums. I tend to like specific songs more than specific artists. I know, i know, but that's not the point. When i can listen to music without it fucking me up mentally, I listen to music on Youtube and Pandora

And lyricism is my main attraction to rap, so when i came back to it on Youtube I put in Eminem first.

And right away, Youtube started recommending other rappers to me. And very quickly, i discovered that i was being recommended mostly white rappers.

I really like Hopsin, I went through a Dumbfounddead phase, i was into Dax for a minute, i like Domo Wilson, the J. Cole songs i like I REALLY like, I'm obsessed with Snow tha Product, I love the first Janelle Monae album i heard, i still fangirl over Missy Elliot, it's no surprise i like Joyner Lucas...

All of these i discovered and listened to via Youtube.

But because i like eminem, because I had a phase where i enjoyed a couple indie artists like Watsky, Wax, and Dan Bull, and because my depressed ass was drawn to NF and now a little Ren, when Youtube recommends rap artists to me, 90% of the algorithm recommendations are white artists. White men, specifically.

I had a similar problem with Pandora.

I actually had to create a special Pandora station that i seeded with three black artists and then ONLY liked non-white artists AND disliked every white artists that came up, just to get a station that wouldn't turn itself into a white rap channel.

It makes me furious, because i don' want to care about who is a white artist and who is a black artist!!!! I just want to listen to music that i like!!! But these bullshit music platforms make me have to care a lot about who is white and who is black just to not be pushed into racist music tastes and i fucking hate it.

And, if i'm being super honest, one reason i really hate it is because i know i probably really do have some internal racist tendencies when it comes to music, because i was raised white in america, and i really resent having to fight these fucking algorithms instead of, idk, being helped by them. I need to be able to look at my feed and assess it for my own unacknowledged racism... like, if there was no algorithm, and i looked at my music history and saw all white artists, i could be like, OH. I need to look in the mirror about this. But instead i have to play this weird tug-a-war with the platform about it and i can't tell what's my own deficiency and what is being forced on me. But SOME of it is being forced on me.

I mean for fucks sake, Snow tha Product does half her lyrics in spanish and the algorithm sees me love her and STILL recommends mostly white men. Hundreds of hours of listening to her, and zero spanish artist recommendations. Its infuriating.

Anyway, if you're curating your music tastes mostly online, and you start with white artists at all, then you really really gotta work to not fall deep into the bias.

And if that's what's happening with the music, how much more insidious must the social commentary content bias be

[innervoiceart]

"Nature Boy" was Nat King Cole's first big hit, since then it has been covered over 1223 times! The story behind the song is even more sensational

Joe Moondad has the strange story of eden ahbez:

"In the late 40s, there was a rumor that there was a "hermit," disenchanted and disillusioned with the world, supposedly "out-of-sync" with society, living in California in a cave under one of the L’s in the Hollywood sign.

No one really cared about this strange man, until one night in 1947, when someone tried to enter backstage at the Lincoln Theater in Los Angeles. Nat King Cole was playing there, and the man said he had something for Cole. Of course, the employees didn't let the strange man see Cole, so he gave whatever he had with Cole's manager.

What he had was a song sheet, which Cole would later take a look at. Cole liked the song and wanted to record it, but he had to find the strange man. When asked, the people who saw the man said he was strange, indeed, with shoulder-length hair and beard, wearing sandals and a white robe.

Cole finally tracked him down in New York City. When Cole asked him where he was staying, the strange man declared he was staying at the best hotel in New York - outside, literally, in Central Park. He said his name was eden ahbez (spelled all in lower-case letters). The song he gave Cole was titled, "Nature Boy." It became Cole's first big hit, and was soon covered by other artists through the years, from Frank Sinatra and Sarah Vaughan to Tony Bennett and Lady Gaga, most recently.

Of course, the media went crazy about the strange, mysterious man who handed Nat King Cole, one of the biggest hits during that time. Everyone went out to try to find out more about him.

What little they found was that he was once an orphan, who never stayed at one place very long, living in various foster homes. He explained he just never fit in and was always searching, for something.

["They say he wandered very far...

Very far, over land and sea..."

They found out he would hop freight trains and walked across country several times, subsisting solely on raw fruits and vegetables, then one day he completely vanished.

["A little shy and sad of eye...

But very wise was he..."]

He finally showed up again in the Hollywood hills. When a policeman stopped the strange, long-haired man with beard, sandals, and robe, ahbez simply replied, "I look crazy but I'm not. And the funny thing is that other people don't look crazy but they are."

["And then one day...

One magic day he passed my way..."]

He then showed up backstage at Nat King Cole's concert in Los Angeles, to present him with the song, "Nature Boy." No one seems to really know why he selected Cole, there were some rumors that he came out of hiding when he began to hear about the racism going on and trouble throughout the world, and he thought "King" was the best person at that time to pass his message along.

["While we spoke of many things...

Fools and Kings..."]

When he was asked about racism, he replied, "Some white people hate black people, and some white people love black people, some black people hate white people, and some black people love white people. So you see it's not an issue of black and white, it's an issue of Lovers and Haters."

It was that theme of love that he continued to talk about, what was missing in the world, and what would be needed in the future if we are to survive.

ahbez would eventually get his message out, especially after the counter-culture finally caught up with him and the hippie movement began, when other artists such as Donovan, Grace Slick, and the Beach Boys' Brian Wilson sought him out. He also wrote songs for Eartha Kitt and had another song recorded by Sam Cooke.

In 2009, Congressman Bill Aswad recited the last lyrics of the song before the Vermont House of Representatives at the passing of his state's same-sex marriage bill in '09.

Author Raymond Knapp described the track as a "mystically charged vagabond song" whose lyrics evoked an intense sense of loss and haplessness, with the final line delivering a universal truth, described by Knapp as "indestructible" and "salvaged somehow from the perilous journey of life."

["This he said to me...

The greatest thing you'll ever learn...

Is just to love and be loved in return."]

"George Alexander Aberle (April 15, 1908 – March 4, 1995), known as eden ahbez, was an American songwriter and recording artist of the 1940s to 1960s, whose lifestyle in California was influential in the hippie movement.

He was known to friends simply as ahbe.

Ahbez composed the song "Nature Boy", which became a No. 1 hit for eight weeks in 1948 for Nat "King" Cole.

Living a bucolic life from at least the 1940s, he traveled in sandals and wore shoulder-length hair and beard, and white robes. He camped out below the first L in the Hollywood Sign above Los Angeles and studied Oriental mysticism. He slept outdoors with his family and ate vegetables, fruits, and nuts. He claimed to live on three dollars per week.

In the mid-1950s, he wrote songs for Eartha Kitt, Frankie Laine, and others, as well as writing some rock-and-roll novelty songs. In 1957, his song "Lonely Island" was recorded by Sam Cooke, becoming the second and final Ahbez composition to hit the Top 40.

In 1959, he began recording instrumental music, which combined his signature somber tones with exotic arrangements and (according to the record sleeve) "primitive rhythms". He often performed bongo, flute, and poetry gigs at beat coffeehouses in the Los Angeles area. In 1960, he recorded his only solo LP, Eden's Island, for Del-Fi Records.

This mixed beatnik poetry with exotica arrangements. Ahbez promoted the album through a coast-to-coast walking tour making personal appearances, but it sold poorly.

During the 1960s, ahbez released five singles. Grace Slick's band, the Great Society, recorded a version of "Nature Boy" in 1966 and ahbez was photographed in the studio with Brian Wilson during a session for the Smile album in early 1967. Later that year, British singer Donovan sought out ahbez in Palm Springs, and the two wanderers shared a reportedly "near-telepathic" conversation. In the 1970s, Big Star's Alex Chilton recorded a version of "Nature Boy" with the photographer William Eggleston on piano. The song was finally released as a bonus track on the 1992 Rykodisc re-release of the album Third/Sister Lovers.

In 1974, ahbez was reported to be living in the Los Angeles suburb of Sunland, and he owned a record label named Sunland Records, for which he was recording under the name "Eden Abba." From the late 1980s until his death, ahbez worked closely with Joe Romersa, an engineer/drummer in Los Angeles. The master tapes, photos, and final works of eden ahbez are in Romersa's possession.

Ahbez died on March 4, 1995, of injuries sustained in a car accident, at the age of 86. Another album, Echoes from Nature Boy, was released posthumously."

[johaerys-writes]

Would you be interested in sharing some of your fav books/scholars/academics/papers on The Iliad?

Hello! And thank you for this ask!! Basically, my research on Homer focuses a lot on Achilles and his relationship with Patroclus; I sometimes read works that are about the Iliad in general, but most of it is with Patroclus and Achilles in mind. But I do often come across interesting works on the Iliad as a whole, so I'll list some of them here. I have a lot of stuff to share, I'll keep it as brief as I can because I don't want to overwhelm anyone lol.

Books

As far as books go, I have several different translations of the Iliad, and most of the time each translation has its own introduction, sometimes by another classicist. Those are a great place to start. My favourites are Caroline Alexander's Iliad translation, and the introduction she wrote herself. I like Caroline Alexander's work in general, including her book on the Iliad The War That Killed Achilles (which my pal Baejax sent me bc I couldn't find it anywhere here <3 <3), because her writing is clear, straightforward and informative. Her translation is my go to translation at the moment because I like how faithful it is to the original Greek, it's the one I keep next to my bedside and which is full of bookmarks and notes LOL.

Another favourite is Robert Fagles' translation, with an introduction by Bernard Knox (who also wrote an excellent introduction to Robert Fagles' translation of the Aeneid). Even though Robert Fagles' translation isn't as close to the original as others, I love it because it is just so beautiful. It is definitely the one with the most staying power if you ask me, some passages are just chef's kiss. Bernard Knox's intro is also super informative (although he doesn't really go into Patroclus' and Achilles' relationship), and when he supplements his analysis with Fagles' gorgeous text it's just a wonderful experience.

Another translation that I recommend to anyone who can read modern Greek is the one by N. Kazantzakis & G. Kakridis, I think it's THE iconic Greek translation if you ask me. It has a lot of idiomatic language and expressions and it might not be as easy to get into as other Greek translations are, but it's truly beautiful and lyrical and it is entirely written in 17-syllable lines in iambic metre, adapting Homer's dactylic hexameter to modern Greek. Verse translations aren't really a thing for most English translations, which is a shame if you ask me. I think it's pretty much the only translation I've read so far that really invites you to read it out loud, as the original work was intended.

I do have Emily Wilson's translation as well but I haven't read it yet (I KNOW, SHAME ON ME), I really want to give it my full attention and I just haven't had the time yet. But I've read bits of the introduction and also parts of the translation and so far I love them. I hope to be back with a more informed opinion once I've actually read it LOL

Scholars

I have to admit that I don't follow any specific scholar religiously. I tend to read whatever catches my interest. That being said, I do love Emily Wilson's work and I've read several of her articles and papers, I think they're really informative and well-written. When she was doing the promotion for her Iliad translation on Twitter I read a lot of the stuff she posted and they were all great. My favourite was her interview with Madeline Miller which you can read here. I also liked this review of her Iliad translation that I read recently, written by Stephanie Mc Carter. Basically, I follow her on Twitter and read the articles she posts, and some are very interesting. I also went to see her in person when she gave a lecture in Athens in October, it was really good but unfortunately it isn't online anymore so I can't link it :(

I also really like watching Madeline Miller interviews on Youtube, I think I've watched every single one that's out there and even though some of them are brief or repetitive because interviewers usually ask her the same questions, I do think she always has something interesting to says both related to her books/writing but also the Iliad and the Odyssey that have inspired her. There are two interviews in particular that I like, this one which is more about TSOA and the Iliad, and this one which is more about Circe and the Odyssey. I genuinely enjoy listening to her a lot, I find it very calming.

My friend @darlingpoppet recently introduced me to the work of Celsiana Warwick, and I've really enjoyed reading her stuff!! Particularly this one which is about conjugal bonds and the homoerotic subtext of the Iliad, and this one which is about gender and kleos in the Iliad. Good stuff, and I look forward to reading more!

Papers

There are a few papers about Achilles and Patroclus that I really like and that I go back to from time to time. I have far too many in my jstor account and can't go through all of them right now, but these spring to mind:

Achilles and Patroclus in Love by W.M. Clarke, it's a very informative analysis of the homoerotic subtext of the Iliad and tries to "prove" in a way that Achilles and Patroclus are in a romantic/erotic relationship. Super interesting!

The Relationship between Achilles and Patroclus according to Chariton of Aphrodisias and Was the Relationship between Achilles and Patroclus Homoerotic? The View of Apollonius Rhodius by Gabriel Laguna-Mariscal and Manuel Sanz-Morales are two very interesting analyses of Achilles and Patroclus' relationship in relation to other ancient works, they're not too long and I found them very fun to read.

Euphorbus and the Death of Achilles by Roberto Nickel is super interesting and has some really cool takes on the deaths of Hector, Achilles and Patroclus and how they are all related.

Some more stuff

Some more videos I've watched and find rather interesting are The Contemporary Relevance of the Iliad by Erwin Cook, Why Homer Matters which is a talk between Adam Nicholson and Paul Cartledge (whose work and lectures on ancient greek history are always super informative!! I love watching his stuff even if they're not directly Iliad-related) I don't vibe with everything that's said in this video honestly nor do I agree with a lot of Nicholson's takes but they did make some interesting points about Homer's relevance and the emphasis on honour/glory in a world without justice and in a war without good leadership, so it might be worth a watch. Lastly, another series of video lectures that I really like is Homer's The Iliad and The Odyssey, it's five lectures in total and a great introduction to the Homeric works which also goes into the historical context a little bit, very informative even for someone who is well versed in Homer.

I hope this helped! I can't think of any more off the top of my head now, and I really should get ready to leave for work lmao, but if I do think of anything else, I'll add it here :D Also, if you're reading this and have something to add feel free to do so!

[ice-cream-writes-stuff]

⧱Appetency⧱

{At heart Wilson is truly a man of science. It's not in his nature to resist the call of the unknown...}

-

You side-eye the man a few steps away from the log you sat on, watching him eagerly re-reading through his blueprints on the makeshift table the two of you made, claiming it as a work desk.

You couldn't help but let your lips curl up at his fidgeting. Finding it oddly cute and rather funny when you notice him mumble a few words here or there. His face having a certain pink glow.. Myabe due to the lightning of the fire.

Glancing back at the small fire, the chopped bits of meat turn a darker color as you turn the skewers so the other side could crisp up.

You couldn't help but recall the few times he acted like this in front of you...

-

During your first meeting, the two of you were more different than... Well, many things!

Clothes for one! While you are dressed in more contemporary wear and fabrics. His was more, dignified, well.. As much as cloths could be in The Constance.

Wilson, ever the gentleman, glances away as you walk beside him. Clothes riding up slightly against your skin, heaving slightly as you drag back your kills together.

You try to strike up conversation and gain his attention, yet his milky-skin becomes a light pink as you do.

The way he spoke, too!

"My dear, are you alright?" You blink, the first time you've been called such a pet-name.

"Huh-? Oh, I'm fine! Don't sweat it!" You wave it off, a bit surprised at the warmth in your own face as you laugh it away.

""Sweat it"? Dearie, I thought we both concluded that the weather is rather too cold for such things."

He was an oddball, but.. You liked him all the same.

-

While you day-dreamed, Wilson peeked at your expression. Enamored by the sight of your far-away gaze, he tried to see if anything caught your eye. Though he couldn't find a single thing, what kind of lovely thought a beauty like you could have?

A small sigh left him as he turned back to his blueprints.

-

Meeting you was one of the strangest and most wonderful encounters he's had since being stuck on the wretched island.

You were quite.. What's the word.. Rather, many words could describe you! Or, actions spoke a bit louder to him.

During the winter season, more so Winters Feast. Wilson sat by the fire, shivering as he made a thermal stone. You and Chester arrive back to camp, you frown as you take a spot beside him.

His eyes held agitation, not bothering to wander his sights on your pitying look.

Kind could be one.. Maybe well-meaning.

You politely take a seat beside him, not too close as Chester happily barked and opened his jaw.

You pull out a few items, cautiously setting a small scarf down on his lap. "I know you don't prefer hats... So I thought this might be more.. um.. Ya' know? "Suitable"?" You test out the phrase on your tongue, smiling hopefully.

You were.. Unknown to him. Such as this daft place, his fate had now been resigned too!

Though.. You made grand company.

Helping him pick up crops, you sang a small tune under your breath. Bits of giggles leaving your throat at a few lyrics. A bit curious of the song, he spoke up.

Questions and inquiries left him as he rambled.

You only smiled, head tilting to the side a few times in confusion at a few proposals he had on the song.

"That's lot-" You huff out a laugh, Wilson could only smile back patiently. Waiting politely now, wanting to listen. You playfully bump his side, "Alright, I'll tell you."

-

You blink away your former thoughts after smelling the scent of something burning...

..!

Yelping, you grab the skewers. But it burns your hands! Causing you to drop them in the fire...

You groan unhappily, now staring at a worried Wilson as he moves to your side.

"Dear, it's alright, we're lucky to have made a few extra rations." Wilson states as he takes a seat, politely holding out his hand for you.

You slowly grin, nodding as you hand him your hand. Interlacing them together. The scientists eyes widen as he coughs awkwardly, glancing away. "I.. Wanted to see if you burned your hand."

Your own eyes widen as you let go quickly.

"I'm fine! See? Oh..." You glance at your hand and see a small cut.

Wilson gently takes your hand, encompassing it tenderly in his palms.

"A butterflies wing should fix it up." Wilson states, fixated on your hand. Lightly tracing it, the touch was kinda soothing...

Chester yips happily, bumping your leg as he opens his jaw. Wilson smiles happily at the chest, "Otto von Chesterfield, Esquire! You smart little lad!" Taking the items from the small critter, Wilson hands it to you as he pets the creature fondly.

The two of you laugh together as the sun slowly sets, the fire burning even brighter.

-

[Happy 11th Anniversary DS/DST! I had a big crush on Wilson when I was younger, so this needed to be made! Anyway, hearts and reblogs are appreciated! Let's see some comments too! Happy birthday Wilson!]

[robertseanleonardthinker]

we're in love by badflower is so hilson to me. particularly from wilson's pov.

(whoops, this ended up being a lot longer than i meant it to. gay wilson hc rambling ahead!)

imo, wilson is gay. he, of course, loves his wives. he's full of love!!!! but he misconstrues the feeling of platonic love and romantic love. he's so deeply repressed that he just thinks this is the way it's supposed to be. wilson tries so hard, in all aspects of his life, to appear normal. this includes his sexuality. he's been attracted to and had feelings for men (house), but he always ignored them. maybe even thought that those were normal for straight men, as well. every guy checks out other dudes, right?

the repetition of the words "lights out" (in we're in love) is interesting to me. i'm of the idea that wilson and house hooked up in louisiana. drunk, tired, on his first divorce, freshly bailed put of jail by a stranger who found him "interesting." they're in his hotel room, lights off, bodies and faces invisible. and wilson represses that. they don't bring it up again.

wilson is so full of shame. his feelings stay in the dark. no light shines on that secret hidden deep in the back of his mind. the dark is the only time he can be himself ("the light's out, so fucking emasculate me/fuck away the fake me"). when the light of day will never touch him, when he can not see himself doing what he's doing.

the constant switch between shame and pride within the lyrics, going from "i know what i want, so let them isolate me" right back to "lights out!" also feels very much like wilson with his and house's relationship. i think house was who wilson cheated on his wives with (at least, most of the time. i wouldn't doubt there were more women, too). though ashamed of that feeling, that attraction, he couldn't do anything about it. it wouldn't go away. he kept coming back to house (often, again, drunk, tired, and emotionally fried) and loving him in the dark.

the line "i know who you are, and i don't care at all" can also be interpreted two ways. one being, he knows house is not his wife. the person he is pursuing is not the one he is in a closed, committed relationship with. the other being that house is, well, house. a man, and also his best friend of two decades.

tldr wilson is sooooo fucked up and repressed and needs sooo much therapy

[insanityclause]

Tom Hiddleston Says Revisiting Loki Was ‘An Honor,’ Thanks Co-Stars for ‘Chemistry and Inspiration’

Ahead of accepting Variety’s Virtuoso Award at the Miami Film Festival, Hiddleston reflects on previous roles and impactful creative collaboration.

By Jenelle Riley

Tom Hiddleston knows “Miami.” That is, all the words to the Will Smith song titled after the famous city — a video of him reciting the lyrics once broke the Internet (not an unusual occurrence for the actor.) That was in 2012 when he was doing press for “The Avengers,” the movie that would change his life and career. It was also the same tour that last brought him to the city — but that was a whirlwind two days of press. “I do recall promoting ‘Avengers’ in Spanish and the city had a great, unique energy,” he says. “I’m really excited to be back as an explorer.”

The British actor will be returning on April 9 to the Miami Film Festival to accept Variety’s Virtuoso Award for his career achievements and will participate in a Q&A at the Adrienne Arsht Center – Knight Concert Hall. Tickets are available here.

And while Miami is known for its food and culture, the actor has one thing on his mind. “What will the weather be like?” he queries of the town’s famously balmy temperatures. “Because I’m coming from the wettest February on record in London’s history.”

Hiddleston admits it’s somewhat ironic to be receiving the Virtuoso Award there, because “when somebody says ‘virtuoso,’ I think of a dazzling soloist in an orchestra, and I feel about as far from that image as it’s possible to imagine.”

He continues: “I am the opposite of a soloist, actually. I always feel like I’m at my strongest in a team. What we do is a collective creative act and the joy of it is in the shared imagination.”

This might explain why his resume is filled with standout ensemble pieces in every genre. Hiddleston’s worked on stage — he earned a Tony nomination for his 2019 Broadway debut in “Betrayal” — the SAG Award-nominated ensemble of “Midnight in Paris,” up through his most current turn as the God of Mischief in Season 2 of the Disney+ series “Loki.”

The second season’s finale, “Glorious Purpose,” remains the highest-rated episode ever in the Marvel Cinematic Universe and brought a conclusion to an epic character arc that has spanned 14 years of Hiddleston’s life. The actor, who also served as producer on both seasons, says it would have been impossible without his “deep bench” of castmates, which includes Owen Wilson, Sophia Di Martino and Season 2 addition Ke Huy Quan, Oscar-winner for “Everything Everywhere All at Once.”

“I don’t know who said it, but there’s the phrase: ‘If you want to go fast, go alone. If you want to go far, go together,’” he notes. “And it’s never been truer than for this show.”

Community and collaboration are perhaps his favorite aspects of the work. “I truly find the most interesting work I have discovered happens between people. You show up and ready and prepared, but you take that preparation onto the dance floor and see what there is between you. If I’ve done anything of value, it’s because of that chemistry and inspiration I receive from another actor.”

Hiddleston says that team spirit extends to his next project, “The Life of Chuck,” a big-screen adaptation of the Stephen King novella that also stars Karen Gillan, Mark Hamill and Chewitel Ejiofor. “I’m a lifelong tennis fan and I feel like being on set is like playing tennis,” Hiddleston notes. “It’s all about who you’re playing opposite and the energy back and forth between you. And I have some great partners on ‘The Life of Chuck.'”

As for continuing Loki’s story in a third season, it’s a question Hiddleston is asked pretty much every day — several times. “I truthfully don’t know,” he says. “I am so proud of where we landed in Season 2. To go from this lost, broken soul in Asgaard, and be given a second chance and learn so much about life that he actually gives himself to protect other people, has been such an honor.” For tickets to the conversation and Variety Virtuoso Award Presentation to Tom Hiddleston, visit here.