#school of rock: the musical

[one-song-at-a-time]

#8 || Stick It to the Man from School of Rock: The Musical --- Alex Brightman

[eroticlamb]

kate bush featured on top pop (tv), march 1978 ꩜

[vintage-tigre]

[pastel-goth-milf]

[amberosial]

the day has finally come

THEY NEED TO POST A VIDEO AT 7:30 OF THEM AT AN OLIVE GARDEN ASKING IF THE TABLE IS READY.

will they get the table? will we have to wait another 15 years for the food? will they not have the reservation ready and have to make a new one? who knowsssss 😭.

seriously tho i would cry.

[arbuzyansky]

[economicalhell]

It’s me

[itboytrends]

Ross Lynch 🥵

[imagination-phantom]

I really like the meme I’ve been seeing on my social media lately that says, “do you really like that character or is he just played by Alex Brightman?” Like AHA!? OK FIRST OFF!? Attacked. But also, looks at Beetlejuice, Dewey, Fizzoralli, and Adam. Like …. TEEHEE!

[edensundae]

Dewey Finn doodle

[folk-enjoyer]

Song of the Day

"Call of the moose" Willy Mitchell, 1980 As you might know, September 30th is Truth and Reconciliation day (more commonly known as Orange Shirt Day), a national day in Canada dedicated to spreading awareness about the legacy of Residential schools on Indigenous people. Instead of just focusing on a song, I also wanted to briefly talk about the history of the sixties scoop and its influence on Indigenous American music and activism.

The process of Residential schooling in Canada existed well before the '60s, but the new processes of the sixties scoop began in 1951. It was a process where the provincial government had the power to take Indigenous children from their homes and communities and put them into the child welfare system. Despite the closing of residential schools, more and more children were being taken away from their families and adopted into middle-class white ones.

Even though Indigenous communities only made up a tiny portion of the total population, 40-70% of the children in these programs would be Aboriginal. In total, 20,000 children would be victims of these policies through the 60s and 70s.

These adoptions would have disastrous effects on their victims. Not only were sexual and physical abuse common problems but the victims were forcibly stripped of their culture and taught to hate themselves. The community panel report on the sixties scoop writes:

"The homes in which our children are placed ranged from those of caring, well-intentioned individuals, to places of slave labour and physical, emotional and sexual abuse. The violent effects of the most negative of these homes are tragic for its victims. Even the best of these homes are not healthy places for our children. Anglo-Canadian foster parents are not culturally equipped to create an environment in which a positive Aboriginal self-image can develop. In many cases, our children are taught to demean those things about themselves that are Aboriginal. Meanwhile, they are expected to emulate normal child development by imitating the role model behavior of their Anglo-Canadian foster or adoptive parents."

and to this day indigenous children in Canada are still disproportionately represented in foster care. Despite being 5% of the Total Canadian population, Indigenous children make up 53.8% of all children in foster care.

I would like to say that the one good thing that came out of this gruesome and horrible practice of state-sponsored child relocation was that there was a birth of culture from protest music, but there wasn't. In fact, Indigenous music has a long history of being erased and whitewashed from folk history.

From Buffy Saint-Marie pretending to be Indigenous to the systematic denial of first nations people from the Canadian mainstream music scene, the talented artists of the time were forcibly erased.

Which is why this album featuring Willy Mitchell is so important.

Willy Mitchell and The Desert River Band

This Album was compiled of incredibly rare, unheard folk and rock music of North American indigenous music in the 60s-80s. It is truly, a of a kind historical artifact and a testimony to the importance of archival work to combat cultural genocide. Please give the entire thing a listen if you have time. Call of the Moose is my favorite song on the album, written and performed by Willy Mitchell in the 80s. His Most interesting song might be 'Big Policeman' though, written about his experience of getting shot in the head by the police. He talks about it here:

"He comes there and as soon as I took off running, he had my two friends right there — he could have taken them. They stopped right there on the sidewalk. They watched him shootin’ at me. He missed me twice, and when I got to the tree line, he was on the edge of the road, at the snow bank. That’s where he fell, and the gun went off. But that was it — he took the gun out. He should never have taken that gun out. I spoke to many policemen. And judges, too. I spoke with lawyers about that. They all agreed. He wasn’t supposed to touch that gun. So why did I only get five hundred dollars for that? "

These problems talked about here, forced displacement, cultural assimilation, police violence, child exploitation, and erasure of these crimes, still exist in Canada. And so long as they still exist, it is imperative to keep talking about them. Never let the settler colonial government have peace; never let anyone be comfortable not remembering the depth of exploitation.

Every Child Matters

[old-evanescence]

Newly released photos from the Fallen photoshoot, Frank Veronsky, 13.12.2002

[eroticlamb]

debbie harry photographed by chris stein , 1976

“I was taking pictures of everything around me, among them Debbie ... I was always aware of her astonishing looks and the effect she had on people.” - chris stein (me, blondie and the advent of punk)

[vintage-tigre]

[margaretcruzemark]

david bowie photographed in 1975

[driftingoffthegrid]

*me at 15 trying to act normal around my friend(s) after spending the entire previous night furiously reading atyd for the first time*

“so have you guys heard of david bowie?”