#plunkie

[lostuntothisworld]

I've been a Luka stan for about a year now, and while I admit there are stereotypes that goes with guitar players (and they CAN be true!)

I would like to extend the fact that he also knows how to play classical violin, among other stringed instruments, and was also raised by a musician, his mother Anarka.

Luka MOST DEFINITELY knows how to read sheet music, and knows music theory like the back of his hand.

Nobody's trash talking Adrien about his music knowledge because he's been studying classical piano, but why not classical violin Luka? Is it because he's a fork in the road of the Love Square?

Sorry, he's not a stereotype of a fuckboy guitarist, but instead just a talented guy with an atlas complex, but I digress.

[kuumara]

[tittyinfinity]

ass monkie. that hunky junky

[burlveneer-music]

Juju - A Message From Mozambique

The first ever reissue of Juju’s powerful 1973 album for Strata-East, ‘A Message From Mozambique’. The roots of Juju started in San Francisco after Plunky had met his musical mentor, Zulu musician Ndikho Xaba, helping to form his band Ndikho and The Natives. Three members of The Natives (Plunky, bassist Ken Shabala and vibes / flute player Lon Moshe) then joined Marvin X’s theatrical production The Resurrection Of The Dead, joining local musicians Al-Hammel Rasul (keyboards), Babatunde Lea (percussion) and Jalango Ngoma (timbales). When the production ended, the six musicians formed Juju. “We had high-energy rehearsals that lasted for hours and, as a band, we became powerful and began gigging around the Bay Area,” remembers Plunky. Although oriented towards Black Nationalism, the band fed off the Bay Area’s culturally diverse communities as Plunky shaped an inclusive worldview based on collective political, social and artistic activities. During this time, the Soledad Brothers case and Angela Davis were prominent and the band supported Professor Davis and the cause. Juju’s music matched the fire of their activism. “As a band, we blew, pounded and stroked our instruments like there was no tomorrow, like our life’s work was wrapped up in each session. We approached our performances like religious rites and the music mesmerised, informed and awakened people.” The band’s first album, A Message From Mozambique, was intentionally political. While the anti-war movement focused on Vietnam, Juju looked towards wars being waged in South Africa, Angola and Mozambique over issues of white supremacy and control of natural resources. A second album, ‘Chapter Two: Nia’ would follow before the birth of Oneness Of Juju during the mid-‘70s. This definitive reissue is fully remastered by The Carvery from the original tapes and features original artwork and a new interview with Juju bandleader James “Plunky” Branch.

PLUNKY NKABINDE: Soprano Saxophone, Tenor Saxophone, Vocals KEN SHABALA: Bass, Double Bass, Flute, Vocals LON MOSHE: Flute, Piccolo Flute, Vibraphone, Vocals AL-HAMMEL RASUL: Piano, Shekere, Vocals BABATUNDE LEA: Congas, Drums, Percussion, Vocals JALANGO NGOMA: Timbales Liner notes by James “Plunky” Branch Originally released on LP by Strata-East in 1973 (SES 19735)

[chronal-anomaly]

Headcanons coming soon:

-Military propaganda in ruined London and how it helped to have her enlist

-Weapons training re: long guns, pistols and bladed weapons in the military, then again before the Slipstream

-"Pocket dimensions" and how Lena's blink/recall/etc work

-Identity before and after the installation of the accelerator

-Probably more tbd

[dragonprincedrabbles]

N'than + Ploonaka "Plunkie" Leilekki

Post Tenebras Lux

[infinitelradio]

IL Radio Show Production

For the month of July, the News & Review (N&R)l will air on the third Thursday of the month. The normal broadcasting for this show takes place on the fourth Thursday of each month. During this segment the host will be playing the song of the month that is being featured at the Infinite L Ent website; introduce new music by indie rap artist Conglomerati; and talk about the upcoming changes to IL Radio.  Also during the segment the host will presenting clips from a past show segment of "Getting Real with Roz".  Listen to Show <Here> If you are an artist and would like to get your music played on Infinite L Radio, you can submit your request one of two ways:  by email  at ILradio@infinitelent.com or submit your request via Music Submit .  The IL Radio Show is currently taking music submittals for the following genre:  R&B, rap, hip hop, pop, reggae, afro beats, easy listening & jazz.  We are also interested in music with that old school appeal.   ________________________________________________

Show Host:  “L” IL Radio Show’s Creator/Producer:  “L” Banner/Video Credit: Infinite L Designs Video Music Credit:  TheOreE

IL Radio - Listen Here IL Radio IG:  @infinitelent Youtube:  www.youtube.com/@infinitelent IL Ent Website: www.infinitelent.com

[ontheoutside-lookingin]

[thelightintheattic]

actually WHY is the masochism tango SO GOOD

[stupid-fucking-storm]

Watched Cinderella’s Castle and had a very underwhelming experience. Review and LONGGG rant under the cut.

Minor spoilers.

First of all, I thought the pacing was really, really bad. I also thought the tone of the story was really weird??

Obviously it’s Starkid, they love putting things in odd tones, but there was not one song or moment that really made me feel anything for these characters. In fact, the most I felt for any of them was Lauren’s throwaway cousin character, who was killed pretty much immediately.

This was not at all the fault of the performers, who were doing The Most with the script they were given. Performance-wise, in fact, it was very good. Aside from Jeff Blim, who honestly made me completely dislike him due to this show. I’m sure he’s a fine guy, but he constantly writes music for his falsetto which he seems very proud of but is …never… on pitch. I’ve grown increasingly bored with his score and lyric writing through Nightmare Time and this show was the embodiment of that.

The absolute worst part of the show was the incessant background music—something they carried over from Nightmare Time as if we enjoyed that. I certainly didn’t, it made Nightmare Time a tough watch for me. Plunky little notes like synth improv, absolutely separate in tone from the dialogue, plague every scene. This is especially bad in the second act to the point that I actively stopped trying to understand or care about the scene because the background music was suggesting that I shouldn’t. Keep in mind this was during what I think was an important exchange between Bryce and Curt’s characters. Honestly, I could not tell you. I don’t watch musicals with subtitles on so I can be surprised by dialogue and make it more akin to watching the performance live. This was a mistake. This was a long stretch of dialogue, too, completely nullified by the dumb background music. I mean, think Nightmare Time improv synth but with none of the recognizable motifs. That’s what it was. For almost the entire show.

As I mentioned, the music was again by Jeff Blim. I was worried when this was announced because of how boring, same, and uninspired his stuff has become, but I wanted to give it a chance. When it was announced as a pop rock musical, I got more pessimistic. I was unfortunately correct.

There are about 2 songs that I enjoyed, and one that was very good for the first 15ish seconds. Almost every song’s tone was completely wrong for the scene/what they were conveying. And not in a fun, we’re-doing-something-unconventional way, which Starkid has done really well in the past.

Angela fucking killed as the stepmother, but her singing range is very limited. Everyone knows this and that’s fine!! I’m begging Jeff to stop writing music for her that’s outside of her range. It’s not like they didn’t know who they would cast. I think it’s been stated that Starkid still have to audition for their roles, but with such a small cast I’m sure Nick/Jeff/Matt have an idea when they’re writing.

Mariah and Lauren did great performances as the stepsisters. I wasn’t expecting Lauren’s elf voice and thought that was a little off the mark. She still slayed, it’s Lauren.

The problem is, these characters had so little depth that none of them really had an arc at all. There was not much for the actors to do or build on to make me care about them. Let me be crystal clear: I LOVE STARKID. Fucking love it. Even I couldn’t give a fuck about anyone’s character in this show but Lauren’s throwaway character and Angela’s villain—and probably mostly because I’ve grown very fond of Angela’s acting and performance recently on Smosh.

I’m not saying anyone did a bad job. They did their best with what they had. My issue is entirely with the writing, the music writing particularly, and the pacing, which was god-awful.

Now, the puppets.

This was the part of the show I was most excited for. Starkid hasn’t done puppets for a while! And I loved the Starship puppets! Horror/weird looking puppets?? Sign me up!

Unfortunately, this also left a lot to be desired. I enjoyed the puppet for Crumb and the frog, and Joey is an especially EXCELLENT puppet actor. But the troll puppets were really lack-luster. Seeing the actresses so clearly beneath them, still in their elegant dresses when they were supposed to be fully these ugly monsters, was very immersion-breaking. Even attaching a dark cloth to them to hide their bodies and a screen over their faces would have done A LOT. This was really disappointing. So was the weird voice effect on Angela’s troll. Only because she was already doing a voice, and it was delayed just long enough for it to be jarring and disrupt my ability to follow what she was saying. (Fyi, I do not have any sort of processing disability or disorder.) Still, her performance was really great and I’m happy to see her in a main role.

I didn’t find James’ character charming or funny, which may be an acting thing or may be a writing thing, I’m not sure. I’ve never been a huge fan of his, and I found his interpretation of the character to be pretty bland and literal. I would have liked to see some hints of a real person under all the crude jokes the prince makes—but this is likely due to writing issues/tone issues.

Curt was great, there was not a lot for him to do. Kim SLAYYYYYYYED her song and it was the only one I really liked. But she did not act in this show and was really underutilized, as probably the most vocally talented person in the cast. JLB was not in this show, which I didn’t realize and was saddened by. I think she would have brought a great energy to it. Jon’s performance was sweet and he was obviously having a good time. Let the man sing more often. Bryce slayyyed the vocals but the acting was ehhh. Again, not a lot of depth. Her whole thing felt really rushed due to writing and pacing. The fact that I can’t remember if anyone else was even in this, without looking, is a little sad.

Overall I’m very disappointed. The tone, pacing, and background score were quite bad. The set design, music, and characterization was bland. The costume design was good—I found myself commenting on the outfits frequently. Some of the puppets were good, others confusing. After watching it, I’m really, really not excited about “The Lands That Are” and am terrified for another Hatchetfield wearing out its welcome.

In conclusion: To watch this for $15 is fine but I’m certainly glad I did not fly to see this in person, which I had considered doing. I will always support Starkid, but if they keep hiring Jeff for the music, I am going to continue the decline in passion I have for it, which started when Nightmare Time did. I’m hoping that they’re able to mix the background music to non-existent or extremely quiet in the YouTube version after enough feedback, and that the next musical is more inspired and—GOD—not fucking pop rock again.

[critdeeznuts]

when the frenzy music goes all plunky like a staircase>>>

[oldshowbiz]

1965.

That plunky guitar and moving bass line.

[joymode00]

I know I'm 40 years late but David Byrne really cooked when he wrote This Must Be The Place, perhaps the perfect love song?? And its so plinky plunky, what a treat

[upstartcrow1564]

View this post on Instagram

A post shared by Karen Krebser (@themusesdarling)

It’s never a good idea to do these readings while the radio is on, unless the radio is playing lovely plinky-plunky nouveau spa music because you’ll get results like this while Anderson Cooper talks to people about a mass shooting in Russia and the Princess of Wales’ cancer diagnosis. See the Ear milagro right there at the edge of the card? Yeah, it’s like that. Watch what you consume today, friends, especially via senses other than your tastebuds. What you listen to matters. What you touch matters. What you see … yeah, you get it. But if we put aside the resonances of today’s news cycle and look at this draw with different eyes, what can we see? Endings are present even as we (in the Northern Hemishphere) enter Spring. Messages come in, perhaps bringing word of endings, and perhaps those endings have to do with businesses or work projects. Perhaps something we’ve been writing needs to get put away for a bit so that something else can come through. Whatever it might be, if something is crying to be let go of, let it go. If you need to let the world spin without your participation for a day, let it. Be aware of where you are and what’s going on with you, and try to not get distracted by what other people are doing.

#tarot #tarotreading #tarotreadersofinstagram #dailytarot #DivineDecoTarot #TheMusesDarling #MicrocosmPublishing

[modern-inheritance]

Things you don't see

Alright, I think I've made it clear that usually when I write (and write well, not the plunky bashed out stuff) I've usually adopted the mindset of the characters I'm writing. This is great, it lets me figure out what they want instead of what I want. They almost literally write themselves.

I've not told you all that when I do fight scenes, more intricate dialogue, physical stuff, I occasionally will act them out myself to see if what I'm describing is 1. physically possible, even with my outlandish joints, and 2. believable and comfortable (or uncomfortable, as some situations require). Nothing too crazy, and I typically just let the elves do their whack elf things, but the simpler stuff.

Lately I've been thinking about clothing and more of the physical appearance side of things because that's not something I typically describe in MIC. This is due to the awkward mix of more modern and less modern/more IC canon clothing. I also find myself repeatedly mentioning Arya's double canine configuration in fics and shorts, mostly because it's a newer addition and I want to solidly establish it, and also because I just like chomp chomp elf.

Welp. A couple days ago I impulse bought several sets of individual fangs of different sizes to try out the canines. I also found my scrubs pants while doing laundry.

...I'm crazy, I really am, and despite working in an embroidery place as the sole thread gremlin, I know very little about sewing via machine and especially not sewing clothing.

But I think I'mma make my own personal Gil'ead High Risk Ward prisoner uniform. For funsies.