#nick of time 2001

[so-much-for-subtlety]

Excuse me...

most episodes are 30 mins, but there's a bunch of 1 hour specials as well so even by low-end estimates there are 5,614+ hours of Coro Street! that's excluding several films and various spin offs.

Star Trek's crazy ass 28 day total runtime leaving everyone else in the shade

[lastparty]

KAREN O: It was just a love song I wanted everyone to hear. And they heard it. ASIF AHMED: Nick writes some of the better songs but Karen did write "Maps." One hundred percent. KAREN O: We wrote it in Nick's room with the blue drum machine and a four track recorder. I was really lovelorn at the time. "They don't love you like I love you" was straight from a love letter and I just plucked it out of there because I thought it had a good ring to it. Just a simple statement that really stuck with people. You know, I say "love letter" but it was a fucking e-mail. Motherfucker. You know what? I'm going to rewrite history right here. I wrote it with a quill. It was a feather quill, written in blood. It might as well have been.

— Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001–2011, Lizzy Goodman

[crimejewels]

Columbine Poster About Prom.

Rachel Scott , Nick Baugmart , Lauren Townsend, Cassie Bernall, Dylan Klebold, Corey DePooter, Isaiah Shoels, Robyn Anderson, Samantha Haviland; Attendend Prom in 4/17/99. Later in 3 Days Their Lifes Would Change Forever…

About Event;

something concerning the prom that was isaiah's (I don't know if it was an invitation or a brochure). And the booklet of Rachel.

Post columbine: 2000 prom.

Missy Mendo & Kelly Vandame.

Missy was a sophomore at the time of the 1999 massacre. it looks like she was invited to the prom. because it looks like it was in 2000 because of the date. it confuses me that it was a 1999 dance. maybe she was a freshman in 1998, then sophomore in 1999, then junior in 2000, most likely she graduated in 2001.

Kelly was 17 years old at the time of the massacre. grade not specified. she graduated in 2000. in the picture she is with her prom date, she later married him and they had 2 children.

[greensparty]

Remembering Shane MacGowan 1957-2023

Irish singer Shane MacGowan has died at 65. He co-founded The Pogues in 1982. After getting kicked out in 1991, he re-joined in 2001 and was with them until their end in 2014. He also had Shane MacGowan and The Popes, as well as solo work and collaborations with Nick Cave, Sinead O'Connor, and Dropkick Murphys.

The Pogues and Kristy MacColl's 1987 song "Fairytale in New York" is a holiday song I listen to every year as it's on multiple compilation albums. It was even featured in last year's Guardians of the Galaxy Holiday Special. I named The Pogues one of my Honorable Mentions for Best Irish Rockers of All-Time.

The link above is a list from Rolling Stone of his 15 essential songs with embedded videos.

[wen-kexing-apologist]

Only Friends, Boston, and Queer Culture

I wanted to talk a little bit about an observation that I made about Boston and how he acquires sex partners (i.e. who he picks up, how he picks them up, where he picks them up, and where he chooses to have sex). Now, again, we are only two episodes in so I will not presume to make a pattern of anything quite yet, and I am looking forward to seeing how my current observations shift in light of any new information coming out of future episodes. But, it was notable to me that the only times Boston has been seen actively pursuing a second sexual encounter with someone is either in public spaces or after he has had sex with them in public.

Because Boston is very sexual, we actually have a lot of data points on him already, (and will likely get many more, seeing as Boston has been in 5 out of 7 of the heavy makeout/sex scenes in the show so far). What we have seen so far is a one night stand with Drake’s character after Boston is picked up at a bar and brought back to unnamed-Drake-character’s apartment; Boston returning for a second and third sexual encounter with Nick after he and Nick fuck for the first time in the cellphone repair shop; and Boston openly flirting with and trying to tempt Top in to sex in exclusively public spaces.

Cruising 

What is Cruising and Why is it Important? 

Photograph by Steven Barker

I realize that there are many people here who may be unfamiliar with the term/concept of ‘cruising’. As a self-defined “baby gay” there are many terms that came out of the past decades’ queer culture that I was and am personally unfamiliar with. As such, I wanted to make sure everyone was on the same page with the terminology. “Cruising” is a code-word/gay slang that refers to an individual or individuals ‘walking or driving around a locality, called a cruising ground, in search of a sex partner, usually of the anonymous, casual, one time variety’ (Wikipedia). 

In her essay Respectable promiscuity: Digital cruising in an era of queer liberalism, Jody Ahlm (then PhD candidate, now Dr.) states the following: “Cruising traditionally occurs in bars, clubs, or public spaces such as parks and public restrooms where men generally signal sexual interest in another man through established non-verbal signals (Be ́rube ́, 1996; Delany, 1999; Humphreys and Rainwater, 1975; Tewksbury, 2002).”

For the sake of simplicity, cruising is a term applied to the action of (usually, but not exclusively) gay men seeking out casual sex in public spaces. 

Cruising is and was an important aspect of queer culture, for a number of different reasons. “Tearooms” or private public spaces that were adapted to accommodate gay sex (public bathrooms, for example). While a benefit of tearooms was instantaneous sex, a much more important and notable aspect of tearooms was who in the queer community was frequenting these cruising locations

Of the bar crowd in gay (homosexual) society, only a small percentage would be found in park restrooms. But this more overt, gay bar clientele constitutes a minor part of those in any American city who follow a predominantly homosexual pattern. The so-called closet queens and other types of covert deviants make up the vast majority of those who engage in homosexual acts- and these are the persons most attracted to tearoom encounters…It may be more surprising for the outside to discover that most of these [tearoom participants] are married. Indeed, 54 percent of my research subjects are married and living with their wives. (Tearoom Trade, Laud Humphreys, 1970)

In short, cruising and cruising locations are important to ensuring that men who have sex with men (MSM) who are closeted, married, or do not frequent bars, have an opportunity to engage in sex with other men. (Tradition of sex cruising at Aquatic Park to end. John Geluardi, 2001)

How Cruising has Changed Over Time 

Overall, cruising is a lot less popular now than it was in the 1960s and 1980s, in part due to the AIDs epidemic and concerns of HIV transmission (Ahlm, 2017). Ahlm’s essay argues that the AIDS epidemic “initiated a trend toward monogamy among gay men” and that apps like Grindr have shifted the landscape of sexual interest and politics towards a “contested cultural space where publicness and privateness co-exist, creating tensions for self-presentation that are structured by contemporary sexual politics.”

Sociologists have identified a shifting in cruising culture from public, in-person spaces to private, online spaces. In her research, Ahlm noted that none of her subjects who used Grinder reported engaging in public or semi-public sex or being asked to engage in public or semi-public sex by another person. So we are seeing the landscape of where and how gay men engage in sex shift ever increasingly towards private spaces. We can ask ourselves why that may be: 

Dalton (black/mixed,5 28) says,”People like to maintain a certain image of themselves, and everybody wants to appear chaste but desirable at the same time, and whatever. People will say ‘‘Oh you’re going on there and you’re trying to do that [find sex], I just talk to people and I never do anything.’’ I’m like ‘‘Sure, right’’ [sarcastic tone].” The multiplicity of intentions on Grindr allows for plausible denial of promiscuity, while the app’s reputation requires constant management of the stigma in order for that denial to be plausible. Like the majority of users, Dalton’s profile says he is on the app for ‘‘Friends, Chat, Networking.’’ However, sexual interaction is the goal of his in-person meetings, and he only chats with people he finds attractive and would potentially like to have sex with. This contradiction between stated intentions and actual use is not unique to Dalton’s Grindr use, it is the rule rather than the exception (Ahlm, 2017)

While privacy can be a valued aspect of people’s personal life experiences, shifting cruising culture to major online spaces designed specifically for gay people, and having sex with people who connect across mobile apps, is contributing to respectability politics: 

Shifting cruising to private spaces—both actual sex acts and the practices associated with finding a sexual partner in a public space, furthers the sanitation of gay physical spaces. Users can meet sexual partners without ever leaving home, and public gay spaces become sites for platonic socializing. Gay men go to the bars with their friends to hang out, not to cruise…The performance of cruising is desexualized by the plausible deniability of using a phone app and the plausible deniability of Grindr itself, as discussed earlier. It is not just public sex that is disappearing, so too is the public pursuit of sex. This is not to say that gay bars have been completely desexualized…However, as Orne (2016) shows in his ethnography of Chicago’s Boystown, they are the cultural markers that make the neighborhood a popular place for bachelorette parties ‘‘on safari’’. They are not the same as a visible collective practice of searching for and choosing a sexual partner for the night, regardless of where the sex occurs later. (Ahlm, 2017)

TL;DR: The act of looking for sex partners and engaging in public or semi-public sex as a result (“cruising”) has been steadily phasing out as a practice in gay culture, heading towards more private sexual encounters with sex partners who meet on mobile apps, ultimately resulting in a sanitized image and partial desexualization of gay spaces/bars.

Boston’s Cruising Habits 

When I was reading that Ahlm piece, I could not help but think about our very first introduction to the characters of Only Friends in Episode 1. The show opens at a gay bar, we go around listening to Mew’s descriptions of what archetypes his friends fit in to, at which point we learn that everyone in attendance at the bar that particular evening are wearing wristbands indicating their availability to be hit on. Which is making me feel like Jojo and co. (Ninew, Den, the rest of the writing crew) are placing their characters in a past gay culture, giving them an opportunity to return to roots of public cruising. Not every character will engage in such activities, but we know for a fact that Boston and Top are cruising in some capacity from the outset of the show (Boston trying to talk his way into a threesome with Bar Stranger #1, Boston getting picked up by Bar Stranger #2 [aka unnamed-Drake-character], Top striking up conversation with Mew after Mew bumps into him), and with the direct references Jojo and co. are making to Queer As Folk (UK) (1999) if the goal of Only Friends is to highlight queer culture, I would not be surprised. 

While we are only two episodes in at the time I am writing this, it was intriguing to me that Boston appears to be one of the few characters engaging in more traditional cruising culture. It is clear that most of the main characters frequent Yo’s bar, though it appears the friend group uses the space more as a place to hang out with one another, rather than a space to cruise. All except for “The Hunter”, Boston, who is seen constantly attempting to pick up, or being picked up by other queer men in a bar setting. We know that Top also frequents the bar, and we have not as of yet seen him with any other friends, so we can presume that Top spends his time at Yo’s bar cruising as well (based on the fact that he has slept with Boston and he did hit on Mew at the bar, but we don’t have any definitive evidence of that yet because we don’t know how Top and Boston met, and Top has only actively been pursuing Mew thus far). 

A trend I saw in the first two episodes when it comes to Boston that I find particularly noteworthy (aka, is a trend I want to track as the show progresses to see if that trend continues), is that Boston is only ever repeating sex with people who engaged in public sex with him in the first place. From flashbacks we see Top and Boston making out in a photobooth, an implication there that Top and Boston then fucked in the photobooth since “once was enough” for Top and Boston. The first time that Boston and Nick fuck, they do so in the aisle of the cellphone repair shop. Nick may turn off the lights, but that does not negate the fact that there is a chance that Boston and Nick may be walked in on and caught by an unassuming customer. When Boston hits on Top, it is in a public space: the bathrooms of Yo’s bar, when Boston attempts to initiate a second sexual encounter with Top, it again is in a public space: the locker room/showers at the wakeboarding place.

Public Sex, Photography, and Brewing Thoughts about Boston 

Image by @nongnaopat

While I was reading up on cruising, I came across a couple articles with quotes and observations that immediately made me think of Boston, and a question started brewing in my mind: 

Is Boston a physical manifestation of the queer hookup cultures 60s-80s? 

Boston’s Personality v. Public Sex

Again, we have only seen two episodes of Only Friends so I am not yet secure in my own interpretations of Boston. However, I was thinking about the conversations that occurred the other day about how Boston must exert control over others (@respectthepetty), and how he is ready and willing to meddle in Mew’s life by trying to seduce Top, but that there is noticeable fear and slight panic at the thought that Mew might catch him and Top together in the shower (@stuffnonsenseandotherthings).

There was something that just spoke to me so strongly about Boston’s character archetypes in relation to the conversations brought up in Chapter 6: Tearoom Trade: Tales of Public Sex of the book Marginal People in Deviant Places: Ethnography, Difference, and the Challenge to Scientific Racism by Janice M. Irvine. 

In this chapter, Irvine discusses the essay Tearoom Trade: Impersonal Sex in Public Spaces written by Laud Humphreys. Within this chapter, Irvine states “Humphreys argued that tearoom participants varied in vulnerability to risk of exposure. He noted that married men and men who did not have career autonomy were highly vulnerable to negative consequences if discovered in the tearooms.” (Note: my understanding of “tearooms” from this reading is that they are public restrooms that have been transformed to better support instant sex, i.e. a broken window for a lookout, glory holes, walls removed between stalls, etc.) While an assumption could be made that vulnerable men would not engage in public sex, that assumption does not carry through to reality. Humphreys further claims that highly vulnerable men did still engage in public sex via tearoom visits, but they employed protective strategies to mitigate any suspicion of their queerness, often a hypermoral one. 

I know “hypermoral” is not a term that anyone who has observed Boston for more than twenty seconds would really attribute to his character, but what did speak to me is what Humphreys says about the strategies employed by the highly vulnerable: 

The secret offender may well believe he is more righteous than the next man—hence his shock and outrage, his disbelieving indignation, when he is discovered and discredited…Subjected to harsh social condemnation and legal penalties, the tearoom participant was likely to turn his anger and hatred on himself or others in his group. “Worse yet,” Humphreys argued, “he may justify himself by degrading others, displacing his hostility onto outgroups in the manner of the authoritarian personality.” (Irvine, 2022)

Now which Only Friend character are we thinking of based on the quote above? 

“Hence his shock…when he is discovered…” 

“The tearoom participant was likely to turn his anger and hatred on himself or others in his group” 

“He may justify himself by degrading others”

One thing we do know about Boston is that he currently does not have career autonomy. He wants to be a photographer, but he is studying business because he may have to take over his father’s company (YouTube: Only Friends, Episode 2, Part 2/4, timestamp: 2:27). How much that pressure is really on him and how highly vulnerable Boston may be if caught engaging in gay, public sex remains to be seen, but to me it is worth noting. A research question to be asked: Why does Boston act the way he does? Is he vulnerable in some way and trying to compensate for it, or is just genuinely an asshole? Not sure, but I look forward to finding out. 

An additional similarity that immediately came to mind in my readings and their relation to Boston was a reference to Rechy and his writings about male hustlers: 

Rechy wrote about how male hustlers selling sex navigated the toilets. He cited the norms of the sexual marketplace with sociological precision: “Stand at the urinal long after youre [sic] through pissing. At the slightest indication of interest from someone in one of the cubicles, go up to him quickly before he gets any free ideas and say: ‘I’ll make it with you for twenty.’ (Irvine, 2022)

Boston is not a sex worker, he is not asking to be paid for his time, but the way he approaches Top in the bar bathroom to try to prompt a second sexual encounter does allude to the hustler culture. Top is standing at the urinal when Boston approaches

He strikes up conversation with Top who only really seems to be partially engaged, Top walks away from the urinal to wash his hands, Boston follows, placing his hands around Top’s, trying to proposition sex, appealing to their supposedly similar approaches to sex.

This is not a direct comparison to be sure, but I just wanted to mention it because it felt similar enough to be a reference. This reminded me too of the nod Jojo and Ninew had to gay male sexual culture in The Warp Effect when Alex has his shoulders massaged by a random patron propositioning sex at Jedi’s bar while he is standing at the urinals. Or to the more direct reference to cruising that Jojo and Aof put in to the character of Arm in Gay OK Bangkok, or Army in The Warp Effect (two pieces which I will continue to say are required viewings before [or at this point in conjunction with] Only Friends). 

Boston’s Interest in Photography v. Public Sex Debates

Another aspect of Boston’s character that feels relevant to previous queer culture is his interest in photography itself, because photography has its own ties to tearooms and public sex. 

In 1964, The Florida Legislative Investigative Committee “published a pamphlet that featured an explicit photograph of a man engaged in a sex act in a public restroom. The report, dubbed “the purple pamphlet,” was intended to shock readers and mobilize antigay repression.” (Irvine, 2022). 

As a warning I am about to cite a pretty big chunk of text, but it is important information: 

Photography became one of several technologies police and moral entrepreneurs used to observe and produce evidence of sexual deviance. Yet photographic surveillance could also be subverted. After the tearoom photograph was published in the 1964 Homosexuality and Citizenship brochure, conservatives attacked it as pornographic. The committee quickly removed it from the report, but the photograph was reprinted and vigorously marketed by Guild Press, a publisher of homoerotic materials. Gay pulp publishing was growing by 1964, and Guild Press, established in 1962, was no doubt gleeful to find and market this photograph. The Guild advertisement pointed out that this was the only “action photo” of a glory hole scene that had ever been in print, and as historian Thomas Waugh noted, “the glory hole photo became famous.”23 The “purple pamphlet” and its widespread dissemination was an early case of how social and religious conservatives played a significant role in making visible the sexual representation that they condemned. (Irvine, 2022)

Thinking about Boston and his interest in photography, we can notice another potential link to queer culture. Going in to Boston’s darkroom, we see a number of photographs on his wall of hot men in various stages of undress. With the preceding scene of Boston taking a photo of Nick after they fuck establishing some context, we can make some quick assumptions about who those men are to Boston and what was occurring prior to the photo being taken. 

Even within two episodes of Only Friends the camera has almost served as an additional character, bringing us in to the private-public spaces we aren’t supposed to witness. In a conversation I was having with @waitmyturtles, she made the absolutely brilliant point: “the camera of the show is messing around with what we perceive as privacy��. 

Sure Boston is making sexual advances on Top in the showers of a public locker room, but no one is supposed to know that, at least no one who could be actually, emotionally impacted by catching Top and Boston together. We see it, but we aren’t supposed to. 

But I want to move beyond the show’s actual camera to briefly touch upon the other cameras we have seen alluded to on screen so far. Kudos to whoever it was on tumblr that took the screen shots of the hook up between Neo and Drake and pointed out the web camera that was sitting at the top of the computer monitor. Now, we have absolutely no idea if that is relevant at all to future plot lines, if the web cam was on, or if any part of that sexual encounter will come back to haunt Boston. But I think it is worth mentioning the very real and easy possibility that the web cam could have been recording the room (whether it actually was or not). In this way, Boston is playing with fire around what aspects of himself and his sexuality are captured on a screen. 

When Boston and Nick hook up for the first time in the cellphone repair shop, Boston stops the make out session long enough to look around. No, not around, up. Up to the ceilings as if he is scanning the room for possible cameras. Again, we don’t know for sure if a) there are cameras there, b) if that is relevant at all to future plot lines or c) if that really was what Boston was doing. But either way, Nick catches on to Boston’s scanning of the room, and turns off the light so that they can’t be seen. 

In both of these cases, whether the cameras exist, are on, recording, or saving any information is not fully the point. The point I am trying to make here is that there are constantly opportunities to have gay sex be captured, and whether or not it is comes down sometimes to shit dumb luck.

Conclusion

gif by @maxescheibechlinichacheli

I am so fascinated by Boston’s character, just thinking about the ways he does and does not fit in to the archetypes of a highly vulnerable tearoom participant: in his interest being in photography, capturing the images of queer men post-coitus, in the way he approaches Top at the urinal trying to entice him in to sex, in the ways he engages with and thinks of other people, and I am very much looking forward to seeing if this trend continues or diverges. For instance, will we see a drastically different side of Boston if we see more of how he interacts with professors in school considering that the one time that he was really quiet and reserved was during the presentation in front of the entire class? Will Boston fall in to the “public saint/private sinner” dynamic that would root him firmly in behaviors of a highly vulnerable queer man engaging in public sex? Or will he drift away from that alignment? 

Disclaimer: I want to acknowledge that I am a Westerner and I am engaging and interpreting this show and the gay culture in this show through my own Western lens as well as the Western Gay Culture lens. However, I feel comfortable using these lenses to discuss, analyze, and identify threads of interest to follow throughout the show because: 

In 1984, the ‘Boston Bar Study’ conducted by Men of All Colors Together Boston (MACTB) cited numerous examples of widespread discrimination at gay bars in Boston against black men. Similar types of discrimination have also been cited in Los Angeles and New York (Wat, 2002). Even more troubling is that this type of behavior seems to be international as well*anywhere that gay white men come into contact with gay men of color (Ridge, Hee & Minichiello, 1999). One can only imagine how many others never make it into the new stories. Rather than isolated events attributable to racist owners of single bars, the attempt to patrol the borders of whiteness in gay-owned business establishments seems to be a systematic practice (They Don’t Want to Cruise Your Type: Gay Men of Color and Racial Politics of Exclusion, Chong-suk Han, 2007). 

In short, cruising, and discriminatory cruising practices are seen worldwide, and therefore I argue that gay culture in Thailand, while likely not identical, is similar enough to Western gay culture to apply similar frameworks, especially considering the aspects of gay culture Jojo and his co-creators have placed in their past works. 

Sources 

Ahlm, Jody (2017) Respectable promiscuity: Digital cruising in an era of queer liberalism, Sexualities, DOI: 10.1177/1363460716665783

Chong-suk Han (2007) They Don't Want To Cruise Your Type: Gay

Men of Color and the Racial Politics of Exclusion, Social Identities, 13:1, 51-67, DOI:

10.1080/13504630601163379

Humphreys, Laud (1970) Tearoom Trade. 

Irvine, Janice M. (2022) Tearoom Trade: Tales of Public Sex, Marginal People in Deviant Places, https://www.jstor.org/stable/10.3998/mpub.11519906.11

Acknowledgements

I would like to thank @bengiyo, @lurkingshan, @neuroticbookworm, @so-much-yet-to-learn, @waitmyturtles for their thought partnership, edits, and suggestions!

[stench-blossom]

The Strokes on meeting each other

Various excepts from the book “Meet me in the Bathroom: Rebirth and Rock and Roll in New York City 2001–2011” by Elizabeth Goodman

“NICK VALENSI: I remember what Julian was wearing the day I met him in middle school: blue jeans and a white button-down shirt. The shirt had the name of his former school on it - which was funny to me, that he wore the uniform from his old school to the first day of his new school. I was thirteen, he was fifteen.

JULIAN CASABLANCAS: We met at orientation at the Dwight School.

FABRIZIO MORETTI: Dwight sucked.

…

NIKOLAI FRAITURE: Julian was cool even before the band. He was cool from first grade. We went to Friends School, on the Upper East Side. I don't remember meeting him but I remember when our friendship was solidified. We were six or seven. Our school had a water main break. It was in the morning so it was right after class started and everyone had to go home. My parents were working and they couldn't come to pick me up, so Julian told me to come home with him. The water main didn't get repaired for three days so I just stayed over.

FABRIZIO MORETTI: Nikolai was always around. Julian has this very attractive way of being, even on a subconscious level. People run the risk of wanting to bend towards his wishes. And at that time, the way I saw it, Nikolai was the only one who Julian would bend to. That changed, but I remember Nikolai's school got out later than ours, and Julian would wait for what seemed like a long time, for him to come home and just hang out.

NICK VALENSI: Fab was in my grade at Dwight-I didn't have classes with Julian, but I had English and French with Fab.

FABRIZIO MORETTI: Then they found out Nick was actually better at French than they initially graded him so he moved. We were all friends. But I always felt like I was chasing them, like I wasn't cool enough. They would kinda let me in every once in a while. They were thick as thieves, those two. I would try to hang out with them, and it always felt like a privilege when I did.

…

NIKOLAI FRAITURE: The first time I met Nick, were going to a music store on Forty-Eighth Street, Sam Ash. He was much younger than Julian and I were-he was thirteen and we were fifteen- but then we got home and he played "The Star-Spangled Banner" by Jimi Hendrix and I was like, "Holy shit."

NICK VALENSI: Right away Julian and I started doing music together. He started writing songs basically right away.”

…

RYAN GENTLES: Those guys all go so far back. Albert knew Jules since they were eight years old. He met Jules when he was eight!

ALBERT HAMMOND JR.: Julian and I went to boarding school together in France.

JULIAN CASABLANCAS: Before Dwight, I was kind of messing up in school as usual so I got sent to the boarding school that my father had gone to and that he loved. I had a roommate who had some video games, Street Fighter II and shit. People would come over and play.

ALBERT HAMMOND JR.: We connected in a way where he was like an older brother. We hung out in his room and played video games, that kind of thing. I was like a little kid to him, even though really, it was only a two-year difference.

JULIAN CASABLANCAS: Albert was a little younger so I wasn't really friends with him then, but he was one of the only other Americans there. I kept a pretty low profile at that school. I mean, it was a pretty big culture shock.

…

ALBERT HAMMOND JR.: I met Julian and Nikolai first, before I even tried out for the band. We went to Ryan's Daughter and had margaritas. I was never a big drinker. I was more of a stoner in L.A., so I was pretty wasted already, and then they were like, "Let's get forties!" I was like, "You want beer after this?" So we get forties and we're hanging out on the east park, Eighty-something, drunk.

NIKOLAI FRAITURE: Oh yeah, Carl Schurz Park, with the L.A. boy.

ALBERT HAMMOND JR.: It was a fun little bonding experience. Then I went home and threw up everywhere.

…

[goldduststevie]

Stevie's essential demos and outtakes:

 S - songs, Part 2.

* indicates unreleased songs.

Sorcerer - this is a Buckingham Nicks demo from 1971. Stevie demoed it for her Wild Heart album but decided to give it to her back-up singer Marilyn Martin so that she could sing her version for the soundtrack of "Streets of Fire" in 1984 (Stevie provides background vocals). In 2001 Stevie would finally record her own verson.

Storms - this beautiful demo comes from the Tusk Expanded Edition, I love Lindsey's guitar work here, here's another, slightly older demo.

Starshine - fun demo from the Bella Donna recordings that was shelved untill Stevie recorded it in 2014 for her 24K album.

Space Needle * - unreleased early demo from the TISL era.

Straight Back - very underrated Mirage song, imo. It was rehearsed for the Mirage tour but ultimately not included on the setlist.

Something Exquisite * - undated demo, possibly intended for TITN or early OSOTM, could've been a great song.

Sleeping Angel - leftover song from the Rumours sessions, Stevie demoed it again for Bella Donna, it was included on the soundtrack of the 1982 movie "Fast Times at Ridgemont High".

[mindofsombre]

2001 DALTON HIGH SCHOOL MASSACRE

Date occurred : September 15th, 2001

Casualities : 20 dead (including the perpetrators) 26 injured (24 by gunfire)

—————————————————————

This tragedy occurred September 15th 2001 in Robloxia Springs, Mason County, Colorado, when 17 year old Samuel Steven's and his accomplice, 18 year old Nicholas Colton Sieged their school With guns and other deadly weapons, Their main motive is unknown but it is suspected they wanted notoriety.

(photo taken of Steven's entering dalton high.)

The early mornings of the massacre, the two boys drove to a local diner and enjoyed a breakfast together. Afterwards they drove their blue transporter van to Dalton high and prepared for what was to come. An arsenal of weapons hidden in their cars, wearing black trenchcoats, they observed students as they walked in. Many students stated they seen them wear trenchcoats to the school before and didn't suspect anything. Steven's took his TEC-9 in the cafeteria, and snapped a photo before walking back to the blue van. At 10:12am, Colton and Steven's headed back towards the cafeteria doors and began opening fire on students. Stevens would fire 32 rounds and Colton would fire 9.

At 10:15am, They Would walk back over to the side doors of the school near the hallways and drop their coats. Colton reloaded his rifile and uttered the words "You worthless whore" to Shayna Greene while firing 3 bullets in her head, Stevens would fire 10 rounds into locker doors, afterwards injuring Lewis Chan. Colton joins Steven and walks up to Chan as he lay prone on the ground, he would call him a “f&gg0t” before shooting him 5 times, killing him.

At 10:20am the gunmen enter the library, 35 students and 2 teachers hide among the bookshelves and tables, this is where the worst of their massacre would begin.

(bodies of students among the tables.)

Daniel Turpin, Colton calls him a “computer nerd” before shooting him in the back and shoulder. Afterwards, the pair approach Alexander Engle, asking him if he believes in god. Engle replies with, “Yes, I’m Christian”. Stevens tells him, “Good, you’re about to see him just about… now” And fatally shooting him. Colton approaches his art teacher, Ken Tanner, Colton utters the phrases, "Sorry, Mr Tanner." and shooting him in the chest and neck. 7 people and injured 4 in the library, sparing the 26 others. The gunmen leave the library at 10:41am, they would roam the halls in search of students, One survivor reported seeing Stevens fire gunfire into a classroom as she hid from the perpetrators. Mason County sheriff’s deputies have arrived at the scene and have surrounded the building, The Pair fired at swat and police.

gunmen enter the cafeteria, CCTV cameras capture the infamous image of the gunmen at the base of the stairwell. Stevens was seen at one point picking up a Bloxy Cola off of a table and drinking from it whilst shooting at inanimate objects. The duo walk back up the main hallway back towards the library. Colton tells him to use his camera to take a picture of him before he shoots himself, Stevens would snap a picture of Colton as he held his handgun to his head. Moments later, Colton would fatally shoot himself in the temple with his Walther P99. Stevens Follows not long after and fatally shoot himself in the eye socket with his Beretta 92fs. Nick Colton fired 67 rounds and Sam Stevens fired 158 rounds, 225 in total, striking 44 people in total. Sam Stevens killed 7 students and injured 20, Colton killed 10 students and 1 teacher, injuring 4 others. The massacre ended at 11:4am

(more information on this web page ↑)

[thislovintime]

Photo 2 from a Good Times! vocal session, February 2016.

Happy Good Times! Day! The album was released on May 27, 2016.

Song spotlight no. 1 - "Little Girl" (originally titled “Sunny Side Up”): “This is a tune I wrote as a sequel to ‘I Wanna Be Free.’ I thought this was gonna be Davy Jones’s next big heartbreaking smash hit, right?” - Peter Tork, CBGB, July 31, 1977 “I wrote this song for Davy, thinking it might make a good follow-up to ‘I Wanna Be Free.’ Davy actually loved it, and had hoped to sing it. So this is for you, Mr. Manchester Cowboy.” - Peter Tork, Good Times! liner notes The CBGB live version, 1977, here; the Once Again (Peter & James Lee Stanley) version, 2001, here; and the Good Times! album version, 2016: here. Song spotlight no. 2 - "A Better World": “Check the lyric ‘A Better World’ for a rather more sophisticated and for my money a more direct and useful approach to the issues at hand although it was wonderful to have the song ['For Pete's Sake'] selected as being the closing theme to the TV show from the second season through all of its reruns. […] ‘A Better World,’ which was written by my brother Nick [Thorkelson] and I produced it. […] I think it’s a very good song and it’s easy to listen to. It’s not turgid or thick but it’s very significant. I think it talks to a very important world point. I’m just pleased as hell to even have had a chance for it to go on a limited edition thing. I would have liked for it to have been on the original album [Good Times!] but it didn’t come to pass that way.” - Peter Tork, Rock Cellar Magazine, 2016

[broadwaydivastournament]

Broadway Divas Tournament: Round 3

Aw, they're wearing matching glasses.

Two-time Tony-winning dancer-extraordinaire Bebe Neuwirth (1958) is best known for her winning role as Velma Kelly in Chicago (1996) alongside her beloved Annie Reinking. After playing Velma off-and-on for some years, she then took on Roxie, and later Matron "Mama" Morton. Bebe has also won for Sweet Charity (1986), and is a two-time Emmy winner for, of course, Lilith in Cheers. Other credits include Here Lies Jenny (2004), Fosse (2001), and Cabaret (2024), opening this week. In addition to her beloved stage, Bebe is a devoted cat-lover, and activist. She founded the Dancers' Resource program to provide support for injured and/or aging dancers.

THE Baker's Wife, Joanna Gleason (1950) is a Tony-winning legend who set a standard that has yet to even be approached. Her Baker's Wife in the original Into the Woods beat out Patti's Reno Sweeney, and Patti is still a little pissed off about it. She was also in infamous flop Nick & Nora (1991), Dirty Rotten Scoundrels (2005), and I Love My WIfe (1977). Nowadays, she devotes her focus to directing and screenwriting and her film The Grotto won Best Narrative Premiere at the Heartland Film Festival.

NEW PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

"Bebe Neuwirth, my beloved. Not even the droll charms of Joanna Gleason can entire me away from supporting you. As you all know, Bebe Neuwirth is my favorite Diva, and in my heart, she wins the whole tournament in a stunning no-contest sweep."

"Do yourself a favor and go watch the full episodes of Joanna Gleason and Betty White facing off on Password Plus. Joanna being incredibly smart and competent at word games is hot to me."

[cellarspider]

11/30: Full steam ahead

(Previous) | (Index) | (Next)

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We return to Body Desecrator 2093, Prometheus. There were no post this weekend because I felt like it. Now I feel like it even less, because it’s this scene.

The horrors do not end here. The movie hasn’t even got to what it considers horrors, but I’d already screamed quietly at the screen by this point several times, so it’s safe to say that me and the movie were not simpatico.

There are times when a movie will do things that fall entirely outside your personal beliefs or understanding of logic, and you just roll with it. Magical realism does this all the time, as do movies reaching for the psychedelic. 2001: A Space Odyssey eventually dissolves reality itself around the protagonist as he travels through another dimension. On the first sit, you have no way of knowing what you’ll be shown next, but if the movie’s got you, then you go with it.

Then there are movies where everyone is acting according to some sort of logic, but it feels twisted, like things are happening for a reason, but the logic doesn’t connect. Horror movies love this, particularly ones with cultic antagonists–Midsommar being the most notable modern example, and the original Wicker Man being another.

I mean, the Nick Cage movie also has that, but sometimes it has that because Nick Cage is in a bear costume, punching a woman in the face and stealing bicycles at gunpoint like he’s in GTA.

Prometheus, unfortunately, unintentionally places itself somewhere between the two Wicker Men. The characters’ decision making is a shambolic mess. The movie intentionally invokes religious fervor in Shaw especially, and might intentionally invoke that plus megalomania in Holloway, but it doesn’t draw a line around those characters and their bad decisions. Everyone is just going with their bullshit. This suggests to the audience that in the movie’s world all scientists behave like this.

I mean, in our world, scientists sometimes try to fit entire oranges in their mouths (source), but I should like to think that The Orange Incident wouldn’t have happened if that guy had been on board the most important scientific expedition in human history.

Things just kept happening in this movie that made me feel like I was dissociating. The cast is back at the Prometheus, with their stolen artifacts and mortal remains. Cool. They need to be decontaminated. Like, inside and out.

Next, we see Shaw and Holloway in a lab, along with Maybe-Chemist-Lady whose name fell right out of my head as I watched, because she’s never given a character to speak of. They are wearing scrubs, hairnets, and blue surgical masks, which tells me the movie thinks this is appropriate personal protective equipment for handling an alien head. Holloway is sitting on a counter in the corner, getting drunk.

So many things have just hit me here. How long is this since they got back? Apparently no more than a couple hours. These people took their helmets off in an active alien biosphere, with worms in the dirt and an alien corpse on the ground and who knows what else. They should be quarantined forever, or at least for a couple weeks. 

When the Apollo 11 crew got back to Earth, they were quarantined for 21 days. NASA didn’t consider it likely that anything lived on the moon, but they were taking no chances. Here’s Nixon getting a chance to see what good people look like!

But no! No quarantine for Prometheus! The guys who breathed moon dust? Into the quarantine trailer. The people who stuck their faces near an alien corpse? Nah! It’s all good!

What about the head they looted from the structure? These people already got a dramatic reminder that altering the conditions around sensitive artifacts can cause them to degrade. I’ve already rambled at length about how NASA still sterilizes their equipment to not contaminate anywhere probes are sent to. Hell, as a geneticist, I can tell you that there is a very strict hierarchy of sample isolation and biosafety deployed when it’s appropriate–either you work fucking hard to protect the samples from you, or you work hard to protect yourself from the sample. 

But the crew of the Prometheus have scanned the head with a little light and declared “Sample is sterile. No contagion present”, which is an odd thing to declare now, after they already breathed all over it. Trusting their all-knowing (and wrong) computer, they take their surgical masks off. Fully sealed suits? A glovebox? Even movies show people using a glovebox sometimes!

NOPE! HAIRNETS AND A LABCOAT, LET’S GO

Do we kick out Shaw’s boyfriend who’s in his casual clothes? NAH, LET THE MAN BE COMFY. Are we going to pry the bottle away from him, because bringing drinks into a lab breaks basic safety standards? Standards that I’ve only ever seen broken by one place that also allowed open-toe sandals in a lab where boiling hot gel and mutagenic chemicals were regularly mixed? NOPE, LET HIM HAVE HIS BOOZE, HE’S SAD HE DIDN’T GET TO MEET GOD.

Don’t worry, that one lab doesn’t do the sandal thing anymore. And Holloway will pay for his crimes against laboratory safety.

But I can't stress enough how utterly uncanny this scene felt, unintentionally on the part of the movie. Every decision felt wrong. Everything everyone was doing, saying, and wearing was wrong. They’re not even wearing the right kind of gloves! They should at minimum be wearing nitrile gloves! They’re wearing PVC gloves, which have stupid high leakage rates, even if you double-glove! They’re not even more comfortable than nitrile gloves! This is my nittest of picks, I know! I’m doing it anyway!

The movie had lost me, but part of me was still hoping it would come back around, that something in it would be the movie I’d thought it would be.

Next time: the movie will not do that, and I will, paradoxically, find myself in more of the frame of mind the movie seems to want from the audience: not giving a shit about its characters. 

Stay tuned for some bonus workplace hazards below the citations.

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1. https://youtu.be/P1gn06np-7g  2. https://youtu.be/KhRo2WbWnKU?t=35 3. https://youtu.be/JjCh7lTVNwo  4. https://en.wikipedia.org/wiki/Airstream#Space_program  5. https://en.wikipedia.org/wiki/Astronaut_transfer_van  6. https://en.wikipedia.org/wiki/Umarell  7. https://en.wikipedia.org/wiki/Upgrade_(film)#Production

Alright, let’s behold some images from my institute’s safety training module on compressed gas cylinders. Please note, these were not taken at my institute, these are probably the result of the team finding cursed images they wanted to inflict on their coworkers and us.

This was how they chose to communicate the idea of “don’t let canisters heat up, or they might explode”. How else might they explode? If the canister becomes old and corroded, develops any other sort of fault, or is stored improperly, especially near cylinders of other kinds. Like so!

This is the least bombastic of the images, but it exudes a quiet menace and/or the promise that Video Game Physics are imminent.

What do I mean by Video Game Physics? Glad you asked!

Terrifying yet also compelling! Finally, here’s a video from that most terrifying of places, a Russian highway.

Video description, which I realize I haven’t been doing up to this point and now I want to: A GazpromTech company truck carrying unsecured acetylene tanks passes a motorist on a separated highway at high speed. On the side of it, “ОГНЕОПАСНО” (“FLAMMABLE”) is briefly visible as it rockets by. It makes no to minimal attempt to slow down as a bus enters its lane, rear-ending it. The viewpoint car skids to a stop, and what might be the truck driver can be seen sprinting toward the central barrier of the highway. “Scream & Shout” by will.i.am and Britney Spears can be heard playing on the radio as the viewpoint car tries to back away, complete with an audible “Britney, bitch”. At 0:54 the view cuts to a camera on the other side of the highway, which one commenter estimated as being 200 m away based on the delay between explosions and the sound of the blast reaching the camera. 

There are, in fact, MANY explosions from the fireball that has engulfed the truck. A semi tanker is being guided backward away from the explosion, while a blue box truck does the same. A silver sedan, briefly visible in the first angle, is parked within under 50 feet of the truck. Its apparent owner is dithering on whether to try and reach it, eventually deciding, as they should, that this is not worth it. The cameraperson, on the other hand, apparently thinks this is worth it, as do several others in the other lane. 

One man is filming on a tablet. Multiple times, canisters and truck shrapnel can be seen rocketing off from the wreck to distances that make it clear everybody in shot is well within decapitation range from these things, especially as explosions fling more burning cylinders onto the roadway. At 1:45, Tablet Man gets the fuck out of there, but our self preservation-less cameraperson remains. At 2:14, a flaming canister in blown clear of the wreck and lands with its bottom end pointing directly toward the cameraperson, who still does not take the hint. Starting at 2:37, the body of the truck is blasted apart, a canister goes flying off past the camera, and a piece of the truck flips and lands on a nearby road sign. 

At 3:32 another cut happens and there are more people standing in view of the camera. Are they official emergency crew? Nope! Rubberneckers, although the cop car that’s even closer than them gets a wakeup call when a canister slams into the divider in front of it and tumbles away, still spitting gas. The cop backs up, and the video ends.

End description. Also, end post.

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[newarch1ve5ofpromise]

Interview for Holywood done for 'High Times' cannabis magazine, February 2001 Sourced originally from 'The Nachtkabarett' fan project, presented here for posterity I think HW is probably my favorite all-around Manson album, and it's loaded with meaning and symbols. One of my favorite things about Manson is how well spoken he tends to be, and interviews around this time are a great example of it. As always, if you're a Manson fan, are hungry for content and have never been before, consider a visit to the 'The Nachtkabarett,' because chances are, there's something there you've never seen. Nick Kushner did a truly outstanding job with his analysis of Manson's work.

[allwaswell16]

A fic rec of One Direction fics that involve racing of any kind as requested in this ask. If you enjoy the fics, please leave kudos and comments for the writers! You can find my other fic recs here. Happy reading!

—Louis/Harry—

🏁 pray for some sweet simplicity by delsicle / @eeveelou

(E, 237k, motorcycle racing) an AU where motorcycle racing is the biggest sport in a heavily divided world, Louis is trying to take control of his own destiny, and Harry is in for more than he bargained for.

🏁 Something In The Distance (So Close You Can Almost Taste It) by magicalou

(T, 180k, F1) Louis is a Formula 1 driver for Scuderia Ferrari and Harry is a painter and sculptor, one of the most beloved from our time, and Louis's biggest pain in the ass.

🏁 The Finish Line (Is A Good Place For Us To Start) by LoadedGunn

(E, 121k, F1) The first thing Louis does is take him under his wing. From there it’s nine months of slow-burning romance, the past catching up to them, turning into the human puppy pile that is OT5 and a lot of feelings until, of course, reaching the finish line.

🏁 run away home by @hattalove

(E, 106k, horse racing) louis is a successful jockey down on his luck, struggling to get his life back on track after an injury. harry has a horse, a house fit for a prince, and a broken heart.

🏁 Counterbalance by YesIsAWorld / @louandhazaf

(E, 44k, motorcycle racing) Harry Styles loves two things: teaching ballet and racing motorcycles. Those two worlds collide when his greatest rival on the track, Louis “Tommo” Tomlinson brings his tiny siblings to Harry’s class.

🏁 My Saddle's Waiting by @realitybetterthanfiction

(E, 28k, street racing) When Harry finds himself in charge of Ford's installation at the Chicago Auto Show, there's already a lot on the line. Little does he know that a seemingly harmless bet on the fastest pony car might just up the stakes even more.

🏁 Ten Second Car by orphan_account

(E, 14k, street racing) AU in which Harry goes undercover to catch illegal street racers robbing rigs and instead falls in love with the bad guys brother. Based off of The Fast & The Furious (2001)

🏁 You Made A Slow Disaster Out Of Me by lzcatalina / @harryandlouisarehappilystrong

(E, 13k, street racing) Louis was the king of illegal street racing who rarely lost, Harry was the newcomer who beat him in the first race and nearly ran him over.

🏁 kings of the castle by orphan_account

(M, 4k, horse racing) harry is the son of architects who bet on horse races and louis is the prettiest jockey he might've ever seen in all his betting years.

—Rare Pairs—

🏁 Slow Me Down by @justonebreathx

(E, 55k, Niall/Harry) the one where Harry is a NASCAR driver down on his luck until he meets Niall and suddenly everything in his life is right again.

🏁 Trip And Fall On Me by @fluffypiecake

(M, 38k, Zayn/Harry) You don't do what you're told. Bend and break, bend and break.

🏁 (dressed in black) from head to toe by soundingawkward

(G, 3k, Louis/Nick Grimshaw) nick hates the mud and the cold and all things about this stupid dirt bike rally, except for one muddy, grotty, dirt bike riding boy.

[drugs-and-daddyissues]

Gonna go on a Johnny Depp movie watch marathon during October, either rewatching or watching for the first time, but here's my order if you wanna watch along with me! <3 You ofc don't need to watch all of these, but these are my goals, you can also skip ahead if you finish all the movies from a week. Bonuses also included (which are basically my rewatches, with the exception of A Nightmare On Elm Street, since I've already watched it but it's not a bonus)

Week 1 (1980s):

A Nightmare On Elm Street (1984)

Private Resort (1985)

Slow Burn (1986)

Bonus: 21 Jump Street (1987-1990)

Week 2 (1990s):

Arizona Dream (1993)

Benny & Joon (1993)

What's Eating Gilbert Grape (1993)

Ed Wood (1994)

Don Juan DeMarco (1994)

Nick Of Time (1995)

The Astronaut's Wife (1999)

Bonuses: Edward Scissorhands (1990), Crybaby (1990), Sleepy Hollow (1999)

Week 3 (2000s):

The Man Who Cried (2000)

From Hell (2001)

Once Upon A Time In Mexico (2003)

Secret Window (2004)

Finding Neverland (2004)

Bonuses: POTC: Curse Of The Black Pearl (2003), Charlie And The Chocolate Factory (2005), Corpse Bride (2005), Sweeney Todd (2007)

Week 4 (2010s):

Alice In Wonderland (2010)

The Tourist (2010)

Dark Shadows (2012)

Transcendence (2014)

Alice Through The Looking Glass (2016)

Murder On The Orient Express (2017)

The Professor (2018)

Bonus: Into The Woods (2014)

Week 5 (2020s):

Jeanne Du Barry (2023)

Bonuses: Catch up on any movies you missed from the previous weeks, or watch some on your own watchlist <3

[rosewaterconley]

I solved a mystery that only I care about lol

ok so I have no clue what I'm doing and social media terrifies me. I will probably never touch this account again. why did I have to follow 3 algorithm-selected accounts to get into this website? I can actually name 3 people I'd want to follow on here and it's none of the people your fucking robot told me to follow. but hey, I feel like I have to post it here rather than my blogspot since nobody in the world actually uses blogspot and I want people to see this!

so anyway, there's this band out of the city of Milwaukee called Hero of a Hundred Fights. they dropped a couple CDs in the early 2000s and seem to have broken up, though all their members have been in bands since. that'll be important a little later. for now, Hero of a Hundred Fights are important to me on 2 levels:

I'm a Wisconsinite who has a tiny bit of an obsession with local history and art and really fuck with their weird mathy little corner of the 2000s hardcore scene

I'm a Faction Paradox fan and their 2001 EP The Remote, The Cold contains numerous references to the series! if you've heard of this EP before, it was probably in the context of some "music that references Faction Paradox" list or another

about #2... see, everyone already knows that track 2 is called Faction Paradox and track 3 is called The Celestis. we've all long since put together that the title is a reference to Lawrence Miles' Interference. but what about the lyrics? unfortunately, we don't know. they're not online, and the vocals are good, mind, but rather incoherent.

well, we didn't know. until I ordered a CD copy for like $8 lol. that's all it took! so here you go, the lyrics booklet plus some of the other artwork featured on the CD. artist Nick Slough did a great job on this art and it's a shame only the cover is widely available online (though that's hardly a problem unique to the physical version of this one album). turns out, this is some kinda concept album based on the Miles novel Interference. cool! really love the lyrics on Rope especially. "I need your blood to get this vessel running" and "my life was in your hands, I cut them off and now they're mine" are both raw as hell.

the cover art is pretty interesting. this album was recorded in 2000, released in 2001. the entire creative process occurred before the first standalone Faction Paradox release, The Book of the War. this means the album is entirely Doctor Who-based, not based on the FP series itself. it also means, if we assume the humanoid characters on the art are supposed to be the Remote, that this is the first-ever professional art depicting them!

disclaimer: the booklet lyrics don't 100% match up with what's said in the songs! it's mostly accurate but unfortunately there are some sections missing, some repeated bits that are only written once et al. that's all par for the course but I figured I'd mention it - especially in the case anybody wants to use this to transcribe the lyrics on Genius or some other site like that.

and while we're here, Hero 100 member William Zientara has been in a billion different bands, and I think he's probably the most responsible for the Doctor Who theme on this album. See, he was also in a short-lived band called Managara - named after a Doctor Who tie-in novel so obscure even I, owner of a complete set of Virgin New Adventures who spends my work breaks combing through digital copies of old fanzines, have only ever heard it discussed a handful of times. one of their songs is called Happiness Patrol. more recently, in 2021, he was in the band Fuiguirnet, who have a song called What Grows From the Seeds of Doom! which means Zientara has been randomly tossing Doctor Who references into songs from at least three different bands for twenty years!

so uhh without any further rambling here's the lyrics and art:

[bzedan]

Shout out to Chase for a photo from the archives for this playlist cover.

October is always fun because I'm building or refining a monster playlist AND my monthly playlist (see all my Halloween playlists here). Like, how many songs from scary/spooky movies does one add? This time around, just two: 'Tenebre' (from the film of the same name) and 'Wolf Like Me' which has been used pretty often but most recently in Wendell & Wild. Balanced, I think, by the inclusion of 'Crockett's Theme' by Jan Hammer for Miami Vice.

Also, The The's new album sounds like Jack Skellington breaking out to do a solo album and I'm all about it.

Related media to some of the songs:

Joshua Ray Walker's album of covers, What Is It Even? is full of bangers and he discusses the influence of the women on his work and "countryfication" these particular covers over at Holler.

Go enjoy Roxy Music on Old Grey Whistle Test singing 'In Every Dream Home A Heartache' on Youtube. I always picture the setting to be one of those wild glass-walled modernist homes that are so Los Angeles, like the Stahl House.

'Downhill' is from Pom Pom Squad's latest album Mirror Starts Moving Without Me, which bangs. They're a joy of a band and the latest album is aesthetic as hell, as the lyric videos on their Youtube can attest.

Anyway here's a link to October's playlist on Spotify, with the track list below the cut.

And embedded, if you like:

'You Suck (the life out of me)' - Dead On A Sunday

'In Every Dream Home A Heartache' - Roxy Music

'Flesh For Fantasy' - Billy Idol

'I Will Walk You Home' - Melanie

'Life After Life' - The The

'Toxic' - Koen Fagen

'Cognitive Dissident' - The The

'Wolf Like Me' - TV On The Radio

'Black Country' - Tonstartssbandht

'Calling It' - Automatic

'Downhill' - Pom Pom Squad

'Linger' - Joshua Ray Walker

'Tenebre' - Claudio Simonetti

'Lose It' - Austra

'Smells Like Teen Spirit (feat. Mckenna Breinholt)' - Cinematic Pop

'Happy Together' - FLOOR CRY

'Magnum' - Show Me the Body

'WHOLESOME' - Indigo De Souza

'Lost Boys and Girls Club' - Dum Dum Girls

'Army of Me' - Björk

'All You Pretty Girls - 2001 Remaster' - XTC

'Dangerous Game' - Blu DeTiger

'Running Up That Hill' - Chromatics

'Black Leather Gloves - 7" Release' - Cosmetics

'Crockett's Theme' - Jan Hammer

'The Waves' - Wang Chung

'Deadbeat Club' - The B-52's

'Fever' - La Lupe

'All Shook Up' - Nick Lutsko

'Lovesong' - Dead On A Sunday

'Water Witch' - The Secret Sisters

'That's Life' - Lady Gaga

'Mad World' - Scott Bradlee's Postmodern Jukebox