#scene boyzz

[peachybeins]

The Assistant by John Tristan M/M (Trans M/Cis M)

Short Thoughts: A promising romantic suspense with great trans representation but lacking as an actual romance

Longer Thoughts: I really didn't feel a connection or at least not to the level of devotion it inspired. Like so In love as to unend your entire life become a fugitive wanted by the FBI and being on the run for the rest of your life is crazy.

Individually on their own the Nick & Jacob were actually pretty interesting, a bigger muscular asian ex-military man dealing with Issues and a mysterious suspiciously wealthy trans man interesting as hell, but their romance was so underbaked.

This could've been avoided if the book was longer. So much was rushed.

I'm one of those people who isn't particularly enthused to read about MCs have graphic on page sexual/romantic encounters prior to getting with their love interest. I get what the author was going for to show Nick's boundaries & interest in BDSM and to give him a little friend to talk to. I recognise that's a rather realistic occurrence among some queer men; where hook-ups become wholly platonic friends...but idk about their sexual encounter being on page, especially because Nick wasn't into it and I'm not reading smut for a participant to not be into the sex.

Another thing related to the trans rep, was that Jacob wasn't the first time Nick's been with a trans man. Too often the trans characters are the cis person's "first trans experience" or whatever. And the trans person needs to handhold and educate the cis person or worry about not being desirable to the cis LI based on their transness. Not here! Nick had a brief fling with another Trans man in the past, so there was none of that "oh would he like me as an uwu real boy" shit I hate.

The actual sex scenes were fine, the kinks displayed weren't my "thing" or rather weren't depicted how I usually like to read about. The scene where Nick got to physical reciprocate by giving Jacob a handjob was nice big sexy but it was the only time 😢 like damn Homeboy(Jacob) couldn't even get his dick sucked? Come on now!

I do want to give a shout out to the Premier woman character; Special Agent Siobhan Marks, I've been seeing way too many M/M romances where the (cis Straight, never a fellow queer) woman exists to be be lowkey annoying, the one to have tehe gossip seshes about boyzz, treating one of the MCs as her Gay Best Friend, to swap quirky~ quips and be extremely invasive about the queer men's sex/romantic lives. Not her! She's on the hunt for a wanted criminal who just so happens to be one of the MCs. Honestly we didn't see much of her (Honestly we didn't see much of anything really) but from what little I saw she was great.

Representation: Achillean White 40+ Disabled Trans man, Cis Gay Japanese-American man with PTSD, Ownvoices trans man author.

Sexual Content & Roles: Explicit. Unconventional BDSM dynamic, One is the "dom" & the other is a macocist, no penetrative sex, so Sides I guess? Handjobs. Impact play, heavy caning, anal fingering, butt tail plug.

Terms Used: Dick/Cock.

Rating: For the Dysphoria Buster score; 10/10, but as a story it's a 6.5/10 🌟

[wanderinginblackholes]

💕

[incorrect-web-novels]

[at the Burial Mounds]

The Juniors: Did you bring us here to die?

Wei Wuxian: Obviously.

Ouyang Zizhen: I can't tell if you're being sarcastic or not.

[kkusuka]

Shiratorizawa gangbang maybe??

of course<3

tw: dub-con!!

Gangbang Msterlist!

Little Satori-chan’s girlfriend that the team fawns over

You, by accepting Satori’s confession, also agreed to manage the school’s golden boys- a job that you do exceptionally well

Of course, the guys on the team already know you, Tendou hasn’t stopped talking about you since first year

On the first day of practice, Goshiki even knew how you liked your rice

Now, it’s not that they had absolutely no faith that Tendou would ever admit his feelings, by they definitely didn't think he’d invite you to be manager five minutes after you were pronounced a couple.

And you didn't have the best introduction to all of them, the third years knew you- being in the same year- but everyone else thought you were some random lady flying through the gym doors.

What makes it wore is that you flew straight into Ushijima, meaning you made an even bigger scene falling onto the floor

It was no worries though, everything was cleared up within minutes and you had begun your duties!

It was pretty awkward, to begin with

Goshiki could barely look you in the eyes without blushing, causing Shirabu to start reprimanding him, then you, was rocky enough

But also, Ushijima’s unnerving stares that were always on you, no matter what you were doing

And the looming threat of Washijo looking for a chance to get rid of you was always in the back of your mind

It took almost a month for you to be invited to “the boyzz”  (tendou named it) sleepover

That’s where everything opened up for you, they revealed things to you that you would never have expected, Goshiki being a gymnast?? And Shirabu playing the piano for fun????

But along with those months, Tendou got far more comfortable with PDA than before

(if you count groping you in the middle of the quad and shoving his face in your boobs during the break of a stupid practice game)

One of the bad habits he’d picked up was ”accidentally” fucking you in the locker-room while half of the team was still there

There have been many times where you’ve almost been caught-- ALMOST

This was not one of these times and  now you were bent over a bench as the Shiratorizawa Volleyball club stares at you- satori of no help, laughing behind you like this was the world’s greatest comedy

Being that he is already in you, Tendou won't let this chance escape him. Before you could utter a word you’re pressed against his chest, showing your entire front to anyone looking. As in, the perfect view of him filling your cunt, fir anyone who was looking. As always, Satori makes a show of you. Hitting all of your spots, purposely arcing your back to push your tit’s out, rubbing your clit making sure to emphasize the juices flowing out of you. His hand on your chin forcing you to keep your eyes up, staring at whoever was looking at your face.

“You wanted this just as much as I did, don’t deny it! We call all hear how wet your pussy is!”

“Look at that, they can’t keep their eyes off you! Such a filthy bitch for enjoying this.”

The second Satori is off you, Goshiki swoops right in, Shirabu following a second after yelling about waiting their turn. But, Tendou practically throws you into their arms as Taichi follows, trying to make sure they don't hurt you too badly. No matter if you’re wet enough or not, Both Shirabu and Goshiki will try to fit in your poor cunt. By default, Taichi takes your mouth. It’s a sight to see, legs wide open taking two dicks in your abused hole, Tendou needs more than a few pictures of that, and when they finish, a few of your stuffed cunt. Taichi didn’t let up even after the other’s finished, fucking your throat with abandon, not leaving until he was sure you wouldn’t cough out his cum.

“Fuck, you’re going to swallow, cunt. Take like a pretty to even

“You cant ecen fuck right, how are you supposed to be the ace?” “shut up!”

It’s no wonder that after that, Semi will step in, only wanting to one-up his underclassman. Setting you in your hands and knees facing where the staring setter had placed himself on the opposite bench. Not only does Semi promise to fuck you better, but he’s going to make you scream louder and cum harder. This means the third year spends time torturing your clit as he abuses your g-spot bringing you from orgasm to orgasm until you squirt all over yourself and him. Adding his finishing touch, cumming in your pussy, then spreading your legs so Shirabu has a nice good look at your creamy cunt.

 “Fuck that’s it baby, just a bit more. I know you can, c’mon squirt honey!” 

“Just keep your legs like that, such a pretty view ain’t it? 

Thankfully, Reon and Yamagata are much softer than the previous. Neither of them going near your quivering pussy, Reon opting for your mouth, and Yamagata trying for a sweet ass fuck. Just the right thing to get you ready for the captain. Staying true to their motives, Yamagata squeezes himself into your ass, taking his time, before Reon enters your mouth. Leaving most of the pace to you, it’s a slow and passionate venture.

“So pretty, your really such a cute thing.”

“I can’t believe Satori hid you for so long, Honey”

As if you weren't fucked out enough, the feeling of big hands on your waist and someone fucking you onto their cock did it. You only knew it was Ushijima by the way he rubbed small circles on your stomach with his thumb. Also in the way, he sat back and let you bounce all over his cock until he knew your legs would give out. Then he flips you over, into the mating press, fucking you like he’ll never get the chance-- both you and he know Satori WILL let him. He leaves bruises on your hips, marking up your neck. All until he pumps you full of cum, laying you back onto the bench, and ordering someone to get a towel.

“I’m gonna breed you, my fucking cow.”

“So pretty, you’re going to take all of me, right? Let me fuck you until you can't feel your legs for the next week?”

tags: @diamond-3 @rinsangel @heyheyitsne @angelalje @monisi @crystal-lilac

[skygemspeaks]

I just finished balance and I am reeling. No one i know likes it and I’m already relistening! I couldn’t find fic I enjoyed but I just found yours and I am IN LOVE! You write them so well! I’m so glad to find someone who’s into it now!

Thank you so much, I’m so glad you like the way I write them! I was pretty intimidated when I first got into the taz fandom because I’m nowhere near as funny as the mcelroys are and I didn’t think I’d be able to do the characters justice, but then I decided to focus instead on the inbetween moments, the things our boys try to hide behind their irreverant buffoonery.

but yeah my friend @choo-choo-boyzz and i both started listening to taz around the same time and it just struck such a cord in both of us that we both ended up listening to balance all over again!

not to mention that so much of the series really just hits different when you listen to it with the knowledge of what happens in stolen century, you know? especially all the scenes with barry interacting with the thb!

if you’re looking for good fic for balance, one of my all time favs is the custody of angus mcdonald

[c0rvidfagg0try]

Thnx for the tag @be-gay-do-plays !!

Someone New - Hozier

Go All The Way - Raspberries

This Ain’t A Scene, It’s An Arms Race - Fall Out Boy

That Green Gentleman - Panic! At The Disco

Kill This Love - BLACKPINK

This Is America - Childish Gambino

Bad Vibe - M.O, Lotto Boyzz, Mr Eazi

Killer Queen - Queen

carmen - Stromae

Private Idaho - The B-52’s

Tagging @a-pan-without-a-plan @wonderlanddragon @acrazypizzalover @gia-is-a-punk-rocker @flamingenchiladadragon @lenacarstairspotterstewart and any one else!!

Tagged by @loudly--unladylike

Put your music library on shuffle (I used my liked songs on Spotify) and list the first ten songs

With Or Without You - U2

Smooth Sailin’ - Leon Bridges

July, July! - The Decemberists

Holding Out For A Hero - Bonnie Tyler

Video Killed The Radio Star- The Buggles

Imagination - Foster The People

But, Anyway - Splender

Cooler- Mikey Mike

Fortress Around Your Heart - Sting

Take Me To Church - Hozier

Well that’s certainly a weird combination

Tagging: @fyredel @smol-angry-biromantic @violet--storm

[djgoodblood]

The melodic combination of rap, afrobeats and dancehall is fast becoming the dominant force in UK ‘urban’ music, and yet there’s still something that it lacks. A name. The traditional music industry, ever on the pulse, has of course assumed J Hus, Afro B & co must just be grime, while a popular streaming platform coined ‘afro bashment’ for their playlist of the scene. The most commonly accepted term in use appears to be ‘afro-swing’, but Birmingham duo Lotto Boyzz have laid down a marker for another umbrella with their new EP title, Afrobbean: The Genre Definition.

http://rwdmag.com/exclusive-interview-lotto-boyzz-talk-the-afrobbean-sound/

[itsfinancethings]

January 27, 2020 at 12:08AM

The 62nd Annual Grammy Awards were a teary affair: performers at the Staples Center took the stage below the retired jerseys of Kobe Bryant, who was killed in a helicopter crash earlier in the day. But the night also included triumphs for first-time Grammy winners like Lizzo, who kicked off the show with a jubilant performance, and Billie Eilish, who swept the big four categories for the first time since Christopher Cross in 1981. Here are the best and worst moments of the night.

Best: Alicia Keys’ capable hosting

Getty Images—2020 Getty ImagesAlicia Keys performs onstage during the 62nd Annual GRAMMY Awards at Staples Center on January 26, 2020 in Los Angeles, California.

Hosting awards shows is a risky and thankless business—and despite all that’s gone wrong for Oscar hosts over the past few years, the Grammys are perhaps the hardest gig of them all. Given the behind-the-scenes chaos that has engulfed the Recording Academy, so many things could have gone wrong for host Alicia Keys. An overeager exuberance could have felt alienating to the portion of the music business calling for more diversity and accountability, while skepticism could have weighed down the entire night (see: this year’s Golden Globes). And that’s all before the news of Kobe Bryant’s death broke on Sunday afternoon, sending the Staples Center into a stunned sense of collective mourning.

But Keys rose to the occasion, handling an extremely awkward situation with flexibility and poise. Her impromptu a capella performance of “It’s So Hard to Say Goodbye to Yesterday” with Boyz II Men was a cathartic moment, and a perfect way to handle a tribute that could have dissolved into insincere treacle. (The performance also continued the song’s powerful legacy as a tribute anthem: Barrio Boyzz played it after Selena’s death, and Usher performed it for Aaliyah).

Keys was equally comfortable commanding the stage as she was doing crowd work; she also nailed a conversational performance of her new song, “Underdog.” After her successful second stint, she’s quickly becoming to the Grammys what Billy Crystal was to the Oscars.

Best: Tyler the Creator’s fiery performance

Getty Images for The Recording A—2020 The Recording AcademyTyler, the Creator performs onstage during the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.

Grammy performances often skew staid, with rising stars asked to sandpaper over their rough edges and modulate their aesthetic toward that of a much older one-time collaborator. But Tyler the Creator refused to do so, forcing the telecast to go along with his much more alienating and iconoclastic vision.

Instead of moving onto Boyz II Men’s throwback turf, Tyler let them sing the rich harmonies on “Earfquake” and then put them on top of a terrifying, burning set of houses while he gasped and wheezed through “New Magic Wand,” one of the best songs on his album Igor. His spastic dancing, the glitching camera work, his gravelly sweet-sour singing and the terrifying set, perhaps a nod to the devastating fires in both Los Angeles and Australia—all reinforced the idea that he’s not just one of the world’s best rappers and producers but one of his generation’s sharpest auteurs.

He also gave two memorable speeches following his win for Best Rap Album—one onstage, in which he admonished the crowd for clapping too much and confidently steamrolled over the incidental music—and one backstage, in which he expressed frustration about the Grammys’ ghettoization of hip-hop. “Half of me feels like the rap nomination was a backhanded compliment—like oh, my little cousin wants to play the game, let’s give him the unplugged controller so he can shut up and feel good about it,” he said. It was a pointed and all-too-accurate rejoinder.

Tyler, The Creator calls out the #Grammys on their racism when it comes to music genres pic.twitter.com/rzWe2lR3xO

— 𝕆𝕕𝕕 𝔽𝕦𝕥𝕦𝕣𝕖 (@itsOddFuture) January 27, 2020

Best: Ariana Grande’s powerhouse medley

Getty Images for The Recording A—2020 The Recording AcademyAriana Grande (C) performs onstage during the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.

After disparaging the Grammys last year, Ariana Grande showed the Academy what they were missing by delivering a versatile powerhouse performance of cuts from her album Thank U, Next. She glided through her pink monochrome set with a cheeky ease, pairing old-school demure glamour with bombastic twerking and graceful full-throated vocal runs with effortless rapid-fire trap cadences.

Best: Redemption narratives

Getty Images for The Recording A—2020 The Recording AcademyBrandi Carlile and Tanya Tucker perform onstage during the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.

The Grammys love a good comeback story, and they gave the stage to two heartfelt and mesmerizing ones this year: Tanya Tucker and Demi Lovato. Tucker, a country recluse who was first nominated in 1973 and last nominated in 1994, looked a bit shellshocked to be on the Grammy stage, but handled her performance of “Bring My Flowers Now” with a steely grit.

An hour later, Lovato brought down the house with the debut of “Anyone,” written after several years of struggle with bulimia, addiction and bipolar disorder and an overdose in 2018. Lovato stumbled out of the gate, asking her pianist to restart the song after a few bars. But the slip-up—after which a single tear rolled down her right cheek—only reinforced the song’s startling emotional nakedness, which she delivered with mounting force. “A hundred million stories / And a hundred million songs / I feel stupid when I sing / Nobody’s listening to me,” she sang. She couldn’t have been more wrong.

Worst: The incessant bleeping

FilmMagic—2020 Jeff KravitzSteven Tyler of Aerosmith (C) with Darryl McDaniels and Joseph Simmons of Run-DMC perform during the 62nd Annual GRAMMY Awards on January 26, 2020 in Los Angeles, California.

And the Grammy for most frequent performer at this year’s show goes to… whoever controls the bleeping. It seemed like during every other performance or speech, the broadcast fell silent altogether, completely halting momentum and goodwill. To kick off the night, Lizzo was bleeped; so were Ariana Grande, Nas, Aerosmith, Gary Clark Jr. and Billie Eilish, and then Eilish again. I know we’re on CBS. But could they not have worked out substitutions, or like, sent out a memo about profanity before the show?

Worst: So many no-shows

In practically every award category, there was a conspicuous static portrait filling one fifth (or one eighth) of the screen. No Lady Gaga, no Taylor Swift, no Dave Chappelle, no Young Thug, no Beyoncé, no Bon Iver. Their no-shows just reinforced the idea that many of the most important people in music don’t really care about the show anymore.

It’s hard to tell whether any of the acts declined to show in support of fired ex-president Deborah Dugan—but whatever the reason, these no-shows just reinforced the idea that the Grammys’ relevance has waned.

Worst: Crowd Diversity

If the Grammys wants to show its increased commitment to representation, it could start with maybe finding some people of color to put in the mosh pit. When YG came out to pay tribute to Nipsey Hussle and explore the relationship of Crips and Bloods and the plight of gang violence in Los Angeles, he was met by a too-enthusiastic almost-all-white crowd. And when Gary Clark Jr. delivered a bitter and scathing performance of “This Land”—in which his declaration “F-ck you I’m America’s son” was bleeped—he was also greeted with a volley of white hands.

Best: “Old Town Road”

Getty Images for The Recording A—2020 The Recording AcademyLil Nas X and BTS perform onstage during the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.

While this year’s Grammys clearly needed to include the biggest song of all time, the song presented something of a logistical challenge. How could one stage hold so many distinct personalities, from Lil Nas to BTS to Mason Ramsey, and fold them into one cohesive whole?

The answer was obvious in retrospect: a spinning a lazy susan that allowed Lil Nas to strut through several sets, each containing a different aesthetic and set of performers, before combining them all into one room. BTS brought a shaggy charisma with their seated dancing; Billy Ray Cyrus evoked the best Clint Eastwood movies with his stoic delivery of his unimpeachable verse. But Lil Nas saved the biggest surprise for last: the original Nas himself, who sounded invigorated over the ominous beat of “Rodeo.” Nas’ appearance effectively passed his torch to a much younger rapper, whose center of gravity and communal spirit throughout the performance showed his potential as far more than a one-hit-wonder.

[newstechreviews]

The 62nd Annual Grammy Awards were a teary affair: performers at the Staples Center took the stage below the retired jerseys of Kobe Bryant, who was killed in a helicopter crash earlier in the day. But the night also included triumphs for first-time Grammy winners like Lizzo, who kicked off the show with a jubilant performance, and Billie Eilish, who swept the big four categories for the first time since Christopher Cross in 1981. Here are the best and worst moments of the night.

Best: Alicia Keys’ capable hosting

Getty Images—2020 Getty ImagesAlicia Keys performs onstage during the 62nd Annual GRAMMY Awards at Staples Center on January 26, 2020 in Los Angeles, California.

Hosting awards shows is a risky and thankless business—and despite all that’s gone wrong for Oscar hosts over the past few years, the Grammys are perhaps the hardest gig of them all. Given the behind-the-scenes chaos that has engulfed the Recording Academy, so many things could have gone wrong for host Alicia Keys. An overeager exuberance could have felt alienating to the portion of the music business calling for more diversity and accountability, while skepticism could have weighed down the entire night (see: this year’s Golden Globes). And that’s all before the news of Kobe Bryant’s death broke on Sunday afternoon, sending the Staples Center into a stunned sense of collective mourning.

But Keys rose to the occasion, handling an extremely awkward situation with flexibility and poise. Her impromptu a capella performance of “It’s So Hard to Say Goodbye to Yesterday” with Boyz II Men was a cathartic moment, and a perfect way to handle a tribute that could have dissolved into insincere treacle. (The performance also continued the song’s powerful legacy as a tribute anthem: Barrio Boyzz played it after Selena’s death, and Usher performed it for Aaliyah).

Keys was equally comfortable commanding the stage as she was doing crowd work; she also nailed a conversational performance of her new song, “Underdog.” After her successful second stint, she’s quickly becoming to the Grammys what Billy Crystal was to the Oscars.

Best: Tyler the Creator’s fiery performance

Getty Images for The Recording A—2020 The Recording AcademyTyler, the Creator performs onstage during the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.

Grammy performances often skew staid, with rising stars asked to sandpaper over their rough edges and modulate their aesthetic toward that of a much older one-time collaborator. But Tyler the Creator refused to do so, forcing the telecast to go along with his much more alienating and iconoclastic vision.

Instead of moving onto Boyz II Men’s throwback turf, Tyler let them sing the rich harmonies on “Earfquake” and then put them on top of a terrifying, burning set of houses while he gasped and wheezed through “New Magic Wand,” one of the best songs on his album Igor. His spastic dancing, the glitching camera work, his gravelly sweet-sour singing and the terrifying set, perhaps a nod to the devastating fires in both Los Angeles and Australia—all reinforced the idea that he’s not just one of the world’s best rappers and producers but one of his generation’s sharpest auteurs.

He also gave two memorable speeches following his win for Best Rap Album—one onstage, in which he admonished the crowd for clapping too much and confidently steamrolled over the incidental music—and one backstage, in which he expressed frustration about the Grammys’ ghettoization of hip-hop. “Half of me feels like the rap nomination was a backhanded compliment—like oh, my little cousin wants to play the game, let’s give him the unplugged controller so he can shut up and feel good about it,” he said. It was a pointed and all-too-accurate rejoinder.

Tyler, The Creator calls out the #Grammys on their racism when it comes to music genres pic.twitter.com/rzWe2lR3xO

— 𝕆𝕕𝕕 𝔽𝕦𝕥𝕦𝕣𝕖 (@itsOddFuture) January 27, 2020

Best: Ariana Grande’s powerhouse medley

Getty Images for The Recording A—2020 The Recording AcademyAriana Grande (C) performs onstage during the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.

After disparaging the Grammys last year, Grande showed the Academy what they were missing by delivering a versatile powerhouse performance of cuts from her album Thank U, Next. She glided through her pink monochrome set with a cheeky ease, pairing old-school demure glamour with bombastic twerking and graceful full-throated vocal runs with effortless rapid-fire trap cadences.

Best: Redemption narratives

Getty Images for The Recording A—2020 The Recording AcademyBrandi Carlile and Tanya Tucker perform onstage during the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.

The Grammys love a good comeback story, and they gave the stage to two heartfelt and mesmerizing ones this year: Tanya Tucker and Demi Lovato. Tucker, a country recluse who was first nominated in 1973 and last nominated in 1994, looked a bit shellshocked to be on the Grammy stage, but handled her performance of “Bring My Flowers Now” with a steely grit.

An hour later, Lovato brought down the house with the debut of “Anyone,” written after several years of struggle with bulimia, addiction and bipolar disorder and an overdose in 2018. Lovato stumbled out of the gate, asking her pianist to restart the song after a few bars. But the slip-up—after which a single tear rolled down her right cheek—only reinforced the song’s startling emotional nakedness, which she delivered with mounting force. “A hundred million stories / And a hundred million songs / I feel stupid when I sing / Nobody’s listening to me,” she sang. She couldn’t have been more wrong.

Worst: The incessant bleeping

FilmMagic—2020 Jeff KravitzSteven Tyler of Aerosmith (C) with Darryl McDaniels and Joseph Simmons of Run-DMC perform during the 62nd Annual GRAMMY Awards on January 26, 2020 in Los Angeles, California.

And the Grammy for most frequent performer at this year’s show goes to… whoever controls the bleeping. It seemed like during every other performance or speech, the broadcast fell silent altogether, completely halting momentum and goodwill. To kick off the night, Lizzo was bleeped; so were Ariana Grande, Nas, Aerosmith, Gary Clark Jr. and Billie Eilish, and then Eilish again. I know we’re on CBS. But could they not have worked out substitutions, or like, sent out a memo about profanity before the show?

Worst: So many no-shows

In practically every award category, there was a conspicuous static portrait filling one fifth (or one eighth) of the screen. No Lady Gaga, no Taylor Swift, no Dave Chappelle, no Young Thug, no Beyoncé, no Bon Iver. Their no-shows just reinforced the idea that many of the most important people in music don’t really care about the show anymore.

It’s hard to tell whether any of the acts declined to show in support of fired ex-president Deborah Dugan—but whatever the reason, these no-shows just reinforced the idea that the Grammys’ relevance has waned.

[spiceukonline]

MADE Festival 2017 highlights: Giggs, Charlie Sloth and Gorgon City shake the Digbeth triangle

Emanating from within Birmingham’s industrial heartland, you can hear the deep bass and heavy sub before you even reach MADE festival 2017. Despite being in it’s infancy (this is it’s fourth year), the sold out event drew thousands of revellers who descended on the Digbeth triangle for a huge day of music, art, culture, and to vibe with some of Ibiza’s biggest residents.

SpiceUK returned for a second year, and with some big talent dropping (Giggs, Jaykae, Chase and Status, Gorgon City, My Nu Leng) we were excited to get down with Birmingham to some of music’s biggest names.

Festival Fashion

Image by Rashida Josiah

Glitter is just part of the vernacular when it comes to a festival. At music events up and down the country, girls, boys and beards galore have been enveloped in a shimmery uniform. Coupled with the brightest jumpsuit or waviest shirt, we are seeing some of the fiercest festival fashion this year. MADE festival was no different, check our insta for some of the best looks of the day to see who “MADE” our festival look book…

Exclusive interview with DJ Patrick Nazemi

Image by Rashida Josiah

When it comes to meeting Ibiza’s most cheerful and smiley resident, we think we’ve got that one on lock. The larger than life Patrick Nazemi has been in the game for nearly a decade, working alongside Bastille, Rudimental, Nas…and he has now joined veteran DJ Craig David for what looks like his biggest summer yet. LA born but raised in the UK, Nazemi is loyal to the fresh home grown talent that is dominating the scene. He boasts a flexible and multi-genre set, he literally adapts it to how the crowd feels, as we saw on Saturday. We were excited to catch up with Pat, who also brought along DJ Q. Q might have been on his day off – but they’d obviously planned to link up – so we’re just gonna say that we chilled with TWO of the country’s hottest DJS.

Birmingham is the cultural city, home of Goldie and Hannah Wants – what do you think of the club scene here?

I haven’t played here an awful lot, but playing here today was great. I was switching it up as I went along, I started off by playing bashment but all they wanted was bass heavy music. That’s what this city is built up on isn’t it.

What else have you been up to in Birmingham?

I’m actually here with DJ Q! Q has been showing me round MADE festival on his day off, he’s been a great host and we’ve been chilling.

DJ Q: It’s my first day off in ages so I’m here to have a good time.

Made Festival Birmingham crowd – Image by Rashida Josiah

We saw you hit Coachella this year – what was the scene like there?

I went there with my mate Jack Garratt (the two had just been on tour), and he was playing Coachella so I went along too and hung out. I wore a lot of glitter – it was beautiful.

Check out what Patrick got up to at Coachella on his blog.

So you were born in LA but grew up in Bristol – if you had to pick: American crowds or British crowds?

Playing to the crowds I would say English home crowds are the best, I feel really comfortable with them. I would say with the home crowds they are just up for anything! But playing this year in America was an eye opener, I enjoyed that.

Who would be the dream to collab with?

Definitely me and DJ Q!! Back to Back. We’re gonna come back to Birmingham and play Rainbow.

DJ Q: You wot you wot!! (Q making reference to his 2009 banger)

What was it like touring with Mumford and Sons?

Yeah it was amazing, they’re good friends of mine. It started off with just party set, and we had such a good time so when they did an arena tour, they asked me along. I went along with it, and playing at the O2 to 20,000 people was just mad. It was good fun – they’re such good lads I have so much time for them.

PICTURES: MADE Birmingham Festival 2016

You’ve had a residency at Ibiza since 2014, who have you been playing with?

I have my residency at Ibiza rocks every Tuesday and Thursday, and I’m playing Mondays at Sankeys. DJ Q plays there every other Monday too, so it’s been good to see our work come to fruition. I’ve been playing with a variety of DJS, every Thursday it’s with Craig David which has been sick. But loads of people are doing shows, Bastille, Clean Bandit, Stormzy….every time I play Ibiza there’s been a sick DJ and I’ve loved it.

The atmosphere there looks next to none, Ibiza is the pilgrimage that every dance fan needs to make. What’s it like actually living there?

Yeah, it’s party island of the world and there’s nothing quite like it. I live a little bit out of the party bit slightly more residential, you would literally never sleep if you lived right in the mix!

Has there ever been a point where you’ve thought you’ve peaked to your absolute best?

I think the life of a DJ is very different to a band. A band writes an album, tours an album and it’s more timetabled. A DJ has a different way of operating, there’s always someone up for a party at the weekend. It’s a constant stream of work, there’s no ceiling as such. The sky is the limit – and then some!

Finally, if you had to pick a genre: Grime or Deep House?

Wow! That’s tough. It has to be grime, because it’s made on our soil and runs in our blood. Deep House has it’s ups and downs but Grime has a high level of intensity, it’s born and bred in the UK.

Performances

Birmingham’s music scene is as diverse as the people that rave to it. The bass/sub heavy music is the heartbeat of the city, and MADE festival drew together a fusion of cultures and art to truly celebrate this. Big Midlands talent Jaykae and Lotto Boyzz drew some of the biggest crowds, showing that Grime isn’t just exclusive to London. Playing on the same bill as Midlands royalty Goldie and Hannah Wants, this was a fitting tribute to how diverse the city really is and how much talent it has to offer.

Charlie Sloth

Image by Rashida Josiah

The self -proclaimed ‘best looking fat man around’ Charlie Sloth, got the crowd ready for a night of partying. His set was varied, remixing chart classics and dropping a surprising mix of Oasis’ Wonderwall which was well received by the energetic crowd. Sloth’s set was testament to his versatility, he is set to play Creamfields, Marbella, and Ibiza this summer to name a few. Yet his famous freestyling as seen in his radio 1xtra show was the perfect move as he seamlessly mixed the classics and then some – from DJ Khaled to Ed Sheeran, Rihanna and Migos. Just like his Fire in the Booth sessions, Sloth brought the heat and got everyone ready for who he described as “one of the best grime artists out there at the moment” – Giggs.

Giggs

Image by Rashida Josiah

The excitement that preceded Giggs’ set was tangible – the crowd may have been rain soaked but together with the heat and anticipation, the steam and energy that was exuding from the throngs of revellers was the best welcome the grime artist could wish for.

Despite heavily featuring on Drake’s new album, Giggs has been described as “far from a just a guest appearance” and you can tell people were there for the unadulterated and pure heat he’s been putting out. After a few false starts and set backs, Giggs is unapologetic in his music and his passion and determination is genuinely there. Every verse he rapped was lapped up by the crowds, they grinded to KMT and Man Don’t Care and Whippin’ Excursion saw even the security guards getting low to the gruff depths of his sound. A highlight was definitely Lock Doh, the minute that intro came on it was a next level hype; everyone was unknowingly in sync and the atmosphere was at a max.

MADE festival is definitely one to add to your summer line up. The stages are so close together yet don’t compromise eachother’s sound, you can go from Grime to House and EDM within minutes. MADE is unpretentious, it’s real and ready and there for the music. It has stamped itself upon the map and re-affirmed the appeal that Birmingham has as a centre of creativity and variety. If you’re up for a party then MADE Festival is there to welcome you – and Spice is all ready for round three next year.