#sad folk music

[dootznbootz]

Penelope playing on the floor with Telemachus with his toys, (maybe even wooden ones made by his dad)

Telemachus being tucked into bed by Penelope and being told stories about anything and everything.

Her and Athena keeping progress of what he's learning and how well he's doing.

Naiadborn!Pen teaching him how to catch fish and how to swim. Cheering for him like crazy when he catches his first one.

Penelope giving her son a piggy back ride while he's still small.

"I saw a deer today, mama!" "You did?! :D While you were on a walk with grandpa?" "Yeah! It was big and then it snorted and ran away!"

Penelope making Sandcastles on the beach shore with Telemachus so he's a bit distracted from constantly looking at the horizon for Odysseus.

Penelope and Telemachus playing games like knucklebones together.

Telemachus hiding and giggling behind something as Penelope pretends like she doesn't know where he is.

Penelope being a kickass, loving, and playful mother while still being able to worry for her husband. She was crying so much during the Odyssey because her ruse had just been found out and she is scared for herself and her son and her husband. Yes, she most likely cried on her own when she needed to. Of course she did, and it's an important part of her that she did worry about and miss Odysseus deeply, they both deeply missed each other.

But she would play with her son, she'd love him and the stories he'd come up with. She'd watch him grow and kiss his cheeks and tease him like every loving mom does. She'd discuss with Athena about him and how he's doing, Athena would check in on Penelope to see how she's doing. He's growing angry and hurt from the suitors and them destroying things. They comfort one another.

Like, I really love Mom!Penelope and Son!Telemachus moments and while I love them helping and comforting each other during the suitors. They would've still had so much fun together all his life too. Ups and Downs, you know?

[saturnsrocker]

♡ phoebe bridgers punisher ♡

[kaeandthekonstellations]

The Transbian Song

[the-mad-prince-of-denmark]

Currently working on an academic paper about children’s horror as a therapy aid with @lightlamia , which has resulted in me rewatching Gravity Falls multiple times over the the past few months for Legitimate Adult Academic Reasons

Anyway, here’s an extremely random collection of songs I have projected onto this show (namely Ford), due to brainrot

Garden Sequence, Passion by Stephen Sondheim/My Ever Changing Moods, by The Style Council/I Saw The Sign, by Ace of Base/Special to Me, Phantom of the Paradise by Paul Williams/The End of the World, by Skeeter Davis/1984, by Anais Mitchell/Color in Your Cheeks, by The Mountain Goats/Prison Sex, by Tool/The Party Goes With You, 35MM by Ryan Scott Oliver/Flashback, Passion by Stephen Sondheim

[itsfavvn]

opening commissions! elizabethdavvn@gmail.com

[imogen-fae]

Damien Rice - The Blower's Daughter - Official Video

And so it is...

[blueiscoool]

Connie Converse: The 'Genius' of a Singer Who Was Ahead of Her Time - Then Disappeared

Connie Converse failed to find fame as a singer-songwriter in the 1950s, then mysteriously disappeared without a trace. On the 100th anniversary of her birth - and approaching the 50th anniversary of her disappearance - she's now remembered as a great lost talent.

In January 1961, an unknown Bob Dylan arrived in Greenwich Village with a guitar in his hand and $12 in his pocket, on his way to revolutionising popular music with his poetic, personal songs.

Maybe he brushed past Connie Converse as she went the other way. She moved out of the New York neighbourhood that same month, after a decade of struggling to get significant attention for her own intimate, sophisticated and beautiful songs.

There is a parallel universe where Converse was the one who got the big break, and she is a household name.

At least, that’s the theory put forward in a recent book called How To Become Famous – not a manual, but about why some talented people become successful and others stay in the shadows.

It imagines a world where Converse is "widely known" as "the most original, and perhaps the greatest, of the folk singers of the 1950s and 1960s", who influenced everyone from Dylan to Taylor Swift, and for whom "a Nobel Prize is not out of the question".

Musician and author Howard Fishman, who published Converse’s biography, To Anyone Who Ever Asks, last year, also thinks Converse could have made it big.

"I love to think about an alternate reality in which Connie Converse’s music did receive the recognition it deserved in its own time, and she became a recognised for the musical genius that she was," he says.

"I almost think a better version of American cultural history could have happened, had that been the case."

But How To Become Famous author Cass Sunstein concedes that Converse wasn't better than Dylan. She also faced barriers because she was a woman. And perhaps her clever, melodic and mostly melancholic songs just never quite had mass appeal.

They dealt with subjects like loneliness, promiscuity, quarrelling lovers, and frequenting saloons in the afternoons. It's certainly hard to imagine them really catching on in the early 50s, an age dominated by schmaltzy crooners, folk purists and show tunes.

"She didn't sound like anybody else that was making music in her own day," says Fishman. "And she doesn't sound like anybody else making music now, to my ears."

British singer Vashti Bunyan became a Connie Converse convert after a recommendation from US DJ David Garland, the first person to play her songs in 2004.

"I couldn't believe that they were [recorded] so long ago, it was the 1950s," Bunyan says. "And just to hear her speaking in a way that I would have always wanted to speak was very moving.

"She was completely ahead of her time, and it must have been very hard for her. She must have felt isolated.

"If she had any ambition for her songs, she must have known how good they were, how clever and funny and wonderful they were, and poetic. But other people didn't seem to recognise that kind of genius writing at the time."

Bunyan knows what it's like to have her music "rediscovered" decades later. She released an album in 1970, which has gained cult status in more recent years. She says their stories are very different, but agrees there is an allure to the idea of "the discovery of something from so long ago".

"And how lucky that she was recorded," she says. "Connie was recorded by her friends, and none of those recordings were supposed to be commercially released.

"But it's so wonderful that they have been, that they have been found. And it makes you wonder about all the other people that weren't."

Converse was recorded at the home of one of her friends and champions, Gene Deitch, but she never released any music in her time. She performed for small groups of supporters, but never played a proper concert. She made one TV appearance, but that led nowhere.

Ellen Stekert, a folk historian who was also performing in the 1950s, believes Converse was just "too different" to have "made it".

"I think she was wonderful. I think she was totally out of sequence of any kind of cultural impulse," she says.

"She was self-contained, and also self-isolated. It was too bad somebody could not break through that."

Converse did have her supporters, but any female singer at that time needed to be backed by a man with the right connections, Stekert says. And Converse was socially awkward, and not good at self-promotion.

"Unfortunately, she didn't have much social understanding of things. She did not have a very good rapport, I think, with people.

"Evidently, she had very bad teeth and her body odour also was fairly prominent. And those are two factors in middle-class America that will make sure you don't make it any place."

Converse worked for a printing company and then for the Institute of Pacific Relations. After leaving New York in 1961, she became editor of the Journal for Conflict Resolution in Michigan, and her intellectual activities, and peace and anti-racism activism, were highly regarded.

But then, her life seemed to lose purpose and direction. On 10 August 1974, a week after her 50th birthday, she posted letters to family and friends, telling some she was returning to New York.

She drove out of Ann Arbor and has not been heard from since. Neither her body nor her car was found.

A new life?

"As far as we know, she never made it to New York," Fishman says.

"As far as we know, she never made it anywhere.

"I'd love to think that she started a new life somewhere else, and that she lived more years. But who knows?"

On Saturday 3 August, exactly 100 years after Converse’s birth, Fishman is in her home town - Concord, New Hampshire - for a ceremony to give the singer her first official recognition.

Her music has gradually spread over the past 20 years. So, too, has her story, and the mystery of her disappearance is often the first thing that gets people's attention.

"The unfortunate and darkly poetic thing is that she needed to disappear in order for us to see her," Fishman says. "That was the hook that was needed for us to pay attention to her.

"But what I always say is, don't focus on how she disappeared, focus on how she lived, because her life is so much more fascinating and meaningful, and has so much more to teach us than the fact that at age 50, she felt that she had to vanish."

By Ian Youngs.

[lala-blahblah]

I will never make this because it would be for an audience of one (me) but ever since reading "If we Were Villains" (story about serious drama kids in college who perform shakespeare and deal with a murder) I have been entertaining the thought of a crack fic crossover with High School Musical The Musical The Series where the staff decides they will no longer put on shakespeare after the tragic accident that happened at Thanksgiving, because Shakespeare plays would only increase the tension and drama. So they hire Ms. Jen who decides their spring play will actually be High School Musical (which exists in the 90s in this universe) and it ruins the vibe so much that everyone gives up on being dark and mysterious because they're universally pissed at Ms Jen for making them learn choreoraphed basketball dancing.

[artsnfeelings]

‘The End’ — Halsey.

the first song off her fifth album. coming out later this year.

written by: halsey

produced by: halsey, alex g & michael uzowuru

[gutfaced]

— the haylist (version 0.2)

inspired by my mutual + i've been meaning to put it here for the longest time

[dootznbootz]

I've been seeing some shit on how certain folks apparently think it's like, surprising that Penelope just accepted Odysseus and all the stuff he's done without question and/or disappointment in Would You Fall in Love With Me Again when like... Not only against Odyssey!Penelope but ALSO Epic's. We may have only gotten 2 songs it's still a concept album. THERE'S STILL TIME! of the real Penelope in Epic but like, even then we can see that she's equally as wild

[opulence-is-decadence]

Anyways, stream Julien Baker's music. Those monthly listeners are criminally low for someone with amazing and devastating song writing skills.

[mossgloam]

View this post on Instagram

A post shared by @mossgloam

a recording i found of me performing my song, so close, on an acoustic back in 2019. hear the finished version of this on my yonder demo EP on all the streaming services. debut album on the way. 🕯️⏳

[axanxxllx]

Something about this song just strikes so many chords within me

The story is honestly heartbreaking. I interpret it as two boys, in love or otherwise, run away from home and have to turn to prostitution for money. Their only company is each other. The innocence of the melody paired with the lyrics is so just… *sobs*

Colin Meloy what an artist you are.

[remusfinglupin]

Endings.

“I Want You” - Mitski / “I Know the End” - Phoebe Bridgers / “All Things End” - Hozier / “doomsday” - Lizzy McAlpine / “As the World Caves In” - Matt Maltese / “How Did It End?” - Taylor Swift