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Glee Soundtrack Rating Project Results: Series

Overall Results

Mean song rating: 6.542 Mean episode rating: 6.536 Mean season rating (by songs): 6.527 Mean season rating (by episodes): 6.525

Range of mean song ratings: 2.23-9.36 Range of mean episode ratings: 4.49-8.26 Range of mean season ratings (by songs): 2.23-9.36 Range of mean season ratings (by episodes): 4.49-8.26

Mean number of songs per episode: 5.8 Mean number of songs per season: 117

Range of number of songs per episode: 2-11 Range of number of songs per season: 71-137

Season Results

The mean and standard deviation for each season can be calculated by using the episode ratings for that season, or by using the song ratings for that season.

[ID: Two horizontal bar charts titled Mean Season Rating (by episode) and Mean Season Rating (by song), illustrating the mean rating of each season calculated according to episode rating and song rating, respectively. According to the episode ratings, S3 has a mean rating of 6.65, S2 has a mean rating of 6.63, S5 has a mean rating of 6.59, S4 has a mean rating of 6.47, S1 has a mean rating of 6.44, S6 has a mean rating of 6.37. According to the song ratings, S3 has a mean rating of 6.69, S5 has a mean rating of 6.61, S2 has a mean rating of 6.58, S4 has a mean rating of 6.5, S6 has a mean rating of 6.39, S1 has a mean rating of 6.39.]

[ID: Two horizontal bar charts titled Season Standard Deviation (by episode) and Season Standard Deviation (by song), illustrating the standard deviation of each season calculated according to episode rating and song rating, respectively. According to the episode ratings, S1 has a standard deviation of 0.87, S6 has a standard deviation of 0.69, S5 has a standard deviation of 0.68, S2 has a standard deviation of 0.67, S3 has a standard deviation of 0.61, S4 has a standard deviation of 0.56. According to the song ratings, S2 has a standard deviation of 1.32, S1 has a standard deviation of 1.3, S3 has a standard deviation of 1.16, S5 has a standard deviation of 1.14, S6 has a standard deviation of 1.07, S4 has a standard deviation of 1.01.]

Episode Results

[ID: Two horizontal bar charts titled Top Six Episodes and Bottom Six Episodes, illustrating the mean rating of the top six highest and lowest rated episodes, respectively. For the top six episodes: S2E18 - Born This Way has a mean rating of 8.26, S5E03 - The Quarterback has a mean rating of 8.16, S1E06 - Vitamin D has a mean rating of 8.13, S1E13 - Sectionals has a mean rating of 7.99, S4E04 - The Break-Up has a mean rating of 7.75, S2E06 - Never Been Kissed has a mean rating of 7.7. For the bottom six episodes: S1E08 - Mash-Up has a mean rating of 4.49, S3E12 - The Spanish Teacher has a mean rating of 4.97, S5E08 - Previously Unaired Christmas has a mean rating of 5.06, S6E04 - The Hurt Locker, Part One has a mean rating of 5.11, S1E10 - Ballad has a mean rating of 5.31, S4E19 - Sweet Dreams has a mean rating of 5.42.]

[ID: Two horizontal bar charts titled Top Six Least Controversial Episodes (episodes with small SDs) and Top Six Most Controversial Episodes (episodes with large SDs), illustrating the six least and most controversial episodes according to standard deviation, respectively. For the six least controversial episodes: S1E04 - Preggers has an sd of 0.13, S1E06 - Vitamin D has an sd of 0.21, S1E09 - Wheels has an sd of 0.28, S1E19 - Dream On has an sd of 0.33, S6E08 - A Wedding has an sd of 0.34, S4E19 - Sweet Dreams has an sd of 0.4. For the six most controversial episodes: S1E03 - Acafellas has an sd of 2.53, S2E08 - Furt has an sd of 2.03, S5E05 - The End of Twerk has an sd of 2.01, S3E06 - Mash Off has an sd of 1.83, S5E07 - Puppet Master has an sd of 1.77, S2E09 - Special Education has an sd of 1.73.]

Song Results

[ID: Two horizontal bar charts titled Top Six Songs and Bottom Six Songs, illustrating the mean rating of the top six highest and lowest rated songs, respectively. For the top six songs: S3E06 - Rumour Has It/Someone Like You has a mean rating of 9.36, S2E09 - Valerie has a mean rating of 9.21, S3E11 - Smooth Criminal has a mean rating of 9.17, S3E14 - Cough Syrup has a mean rating of 9.17, S2E04 - River Deep, Mountain High has a mean rating of 9.11, S1E18 - Rose's Turn has a mean rating of 9.06. For the bottom six songs: S1E08 - Thong Song has a mean rating of 2.23, S5E05 - Blurred Lines has a mean rating of 2.66, S1E03 - I Wanna Sex You Up has a mean rating of 2.92, S3E12 - A Little Less Conversation has a mean rating of 2.94, S2E16 - Jesus Is My Friend has a mean rating of 3.03, S5E07 - The Fox has a mean rating of 3.23.]

[ID: Two horizontal bar charts titled Top Six Least Controversial Songs (songs with small SDs) and Top Six Most Controversial Songs (songs with large SDs), illustrating the six least and most controversial songs according to standard deviation, respectively. For the six least controversial songs: S3E06 - Rumour Has It/Someone Like You has an sd of 1.02, S2E09 - Valerie has an sd of 1.03, S2E04 - River Deep, Mountain High has an sd of 1.15, S2E18 - Born This Way has an sd of 1.31, S1E20 - Bad Romance has an sd of 1.36, S3E11 - Smooth Criminal has aan sd of 1.37. For the six most controversial songs: S2E14 - My Headband has an sd of 2.83, S2E16 - Only Child has an sd of 2.81, S3E07 - Girls Just Wanna Have Fun has an sd of 2.73, S5E08 - The Chipmunk Song (Christmas Don't Be Late) has an sd of 2.73, S2E21 - My Man has an sd of 2.69, S5E07 - The Fox has an sd of 2.67.]

[More detailed song results under the cut]

About the Project | Results Masterpost

Full Episode Ranking

Season/Episode - Episode Title: mean (sd) [range] number of songs

1. S2E18 - Born This Way: 8.26 (0.88) [6.75-8.89] n=5

2. S5E03 - The Quarterback: 8.16 (0.81) [6.95-8.89] n=6

3. S1E06 - Vitamin D: 8.13 (0.21) [7.98-8.28] n=2

4. S1E13 - Sectionals: 7.99 (0.78) [7.04-8.82] n=4

5. S4E04 - The Break-Up: 7.75 (0.78) [6.59-8.62] n=6

6. S2E06 - Never Been Kissed: 7.7 (1.28) [5.82-8.63] n=4

7. S3E17 - Dance With Somebody: 7.54 (0.8) [5.96-8.53] n=7

8. S3E21 - Nationals: 7.53 (0.87) [6.37-8.99] n=7

9. S2E11 - The Sue Sylvester Shuffle: 7.51 (0.95) [6.66-8.58] n=4

10. S1E22 - Journey to Regionals: 7.48 (0.89) [6.2-8.54] n=6

11. S2E21 - Funeral: 7.48 (0.56) [7.04-8.46] n=5

12. S5E15 - Bash: 7.35 (0.48) [6.79-8.11] n=6

13. S4E13 - Diva: 7.34 (0.58) [6.32-7.93] n=7

14. S1E09 - Wheels: 7.29 (0.28) [6.97-7.47] n=3

15. S3E11 - Michael: 7.28 (1.01) [5.59-9.17] n=10

16. S6E03 - Jagged Little Tapestry: 7.27 (0.61) [6.49-7.86] n=5

17. S3E15 - Big Brother: 7.19 (0.75) [6.27-7.98] n=5

18. S3E14 - On My Way: 7.17 (1.11) [6.15-9.17] n=6

19. S3E08 - Hold on to Sixteen: 7.15 (1.01) [5.43-8.42] n=7

20. S6E02 - Homecoming: 7.13 (0.98) [5.34-8.03] n=6

21. S1E18 - Laryngitis: 7.1 (1.41) [5.36-9.06] n=6

22. S2E09 - Special Education: 7.05 (1.73) [4.2-9.21] n=6

23. S4E07 - Dynamic Duets: 7.05 (0.89) [5.49-7.74] n=5

24. S5E12 - 100: 7.05 (1.04) [5.42-8.15] n=6

25. S6E13 - Dreams Come True: 7.05 (1.26) [5.55-8.72] n=6

26. S5E01 - Love, Love, Love: 7.04 (0.79) [6.17-8.22] n=8

27. S1E15 - The Power of Madonna: 7.02 (1.2) [5.24-8.9] n=8

28. S2E04 - Duets: 7.02 (1.68) [3.77-9.11] n=7

29. S3E02 - I Am Unicorn: 7 (1.48) [5.29-7.93] n=3

30. S5E04 - A Katy or a Gaga: 6.96 (0.91) [5.93-8.13] n=4

31. S1E07 - Throwdown: 6.94 (0.96) [5.34-7.61] n=5

32. S4E14 - I Do: 6.94 (0.76) [5.59-7.41] n=5

33. S3E06 - Mash Off: 6.89 (1.83) [4.81-9.36] n=5

34. S5E13 - New Directions: 6.89 (0.53) [6.16-7.6] n=6

35. S6E08 - A Wedding: 6.89 (0.34) [6.59-7.37] n=4

36. S1E19 - Dream On: 6.88 (0.33) [6.5-7.2] n=4

37. S2E20 - Prom Queen: 6.88 (0.9) [5.41-7.69] n=6

38. S3E16 - Saturday Night Glee-ver: 6.87 (0.49) [5.98-7.62] n=8

39. S2E05 - Rocky Horror Glee Show: 6.85 (0.89) [5.28-8.06] n=8

40. S4E21 - Wonder-ful: 6.85 (0.64) [5.87-7.68] n=7

41. S3E01 - The Purple Piano Project: 6.81 (1.46) [4.08-8.26] n=6

42. S4E05 - The Role You Were Born to Play: 6.81 (0.95) [5.59-7.86] n=5

43. S6E11 - We Built This Glee Club: 6.81 (0.97) [5.37-8.28] n=6

44. S6E12 - 2009: 6.81 (0.95) [5.72-8.15] n=5

45. S3E22 - Goodbye: 6.79 (0.58) [5.79-7.56] n=6

46. S5E09 - Frenemies: 6.78 (0.78) [5.58-8.04] n=7

47. S5E20 - The Untitled Rachel Berry Project: 6.77 (1.12) [5.09-8.01] n=7

48. S4E06 - Glease: 6.75 (1) [5.66-7.96] n=6

49. S3E05 - The First Time: 6.74 (0.77) [5.83-7.66] n=5

50. S4E17 - Guilty Pleasures: 6.74 (0.66) [5.73-7.52] n=7

51. S5E14 - New New York: 6.74 (0.83) [5.68-7.65] n=6

52. S2E02 - Britney/Brittany: 6.7 (0.74) [5.66-7.81] n=6

53. S5E10 - Trio: 6.7 (1.11) [4.54-8.22] n=7

54. S3E03 - Asian F: 6.69 (0.67) [5.79-7.31] n=6

55. S5E02 - Tina In the Sky with Diamonds: 6.68 (0.88) [5.62-7.8] n=7

56. S4E15 - Girls (and Boys) on Film: 6.66 (1.18) [5.19-8.51] n=8

57. S5E11 - City of Angels: 6.64 (1.16) [4.99-8.06] n=6

58. S5E16 - Tested: 6.64 (1.02) [5.63-8.01] n=4

59. S4E12 - Naked: 6.63 (0.57) [6.07-7.3] n=6

60. S5E19 - Old Dog, New Tricks: 6.62 (0.47) [6.18-7.32] n=5

61. S3E18 - Choke: 6.59 (1.71) [4.69-9.01] n=7

62. S5E06 - Movin' Out: 6.59 (0.92) [5.19-7.68] n=7

63. S2E03 - Grilled Cheesus: 6.57 (1.29) [4.71-8.81] n=7

64. S2E16 - Original Song: 6.52 (1.68) [3.03-8.49] n=11

65. S2E17 - A Night of Neglect: 6.52 (0.56) [5.97-7.29] n=4

66. S4E09 - Swan Song: 6.52 (1.38) [5.23-8.7] n=6

67. S2E19 - Rumours: 6.49 (1.25) [4.01-7.95] n=7

68. S1E14 - Hell-O: 6.47 (0.48) [5.62-7.1] n=6

69. S1E12 - Mattress: 6.43 (0.88) [5.89-7.45] n=3

70. S4E16 - Feud: 6.4 (0.6) [5.69-7.38] n=6

71. S6E07 - Transitioning: 6.4 (1.31) [4.15-7.97] n=6

72. S2E12 - Silly Love Songs: 6.38 (1.31) [4.44-7.9] n=6

73. S3E10 - Yes/No: 6.38 (0.75) [5.15-7.38] n=6

74. S4E01 - The New Rachel: 6.38 (1.42) [3.68-7.81] n=7

75. S1E05 - The Rhodes Not Taken: 6.35 (1.37) [4.5-8.11] n=5

76. S1E20 - Theatricality: 6.34 (1.39) [5.48-8.81] n=5

77. S2E14 - Blame It On the Alcohol: 6.32 (1.48) [4.47-7.84] n=5

78. S1E16 - Home: 6.3 (0.86) [5.53-7.61] n=5

79. S4E03 - Makeover: 6.28 (1.01) [5.4-7.72] n=4

80. S3E13 - Heart: 6.27 (1.45) [4.19-8.44] n=9

81. S4E02 - Britney 2.0: 6.21 (0.67) [5.12-7.05] n=8

82. S3E09 - Extraordinary Merry Christmas: 6.2 (0.95) [4.85-7.69] n=9

83. S6E05 - The Hurt Locker, Part Two: 6.19 (0.64) [5.35-6.93] n=5

84. S3E07 - I Kissed a Girl: 6.16 (1.07) [4.73-7.38] n=6

85. S3E20 - Props: 6.15 (0.57) [5.31-6.56] n=4

86. S4E22 - All or Nothing: 6.15 (0.57) [5.2-6.9] n=7

87. S4E10 - Glee, Actually: 6.14 (0.74) [5.39-7.46] n=6

88. S3E19 - Prom-asaurus: 6.13 (0.79) [4.82-6.71] n=5

89. S2E15 - Sexy: 6.11 (1.43) [4.38-7.79] n=5

90. S4E08 - Thanksgiving: 6.11 (1.51) [3.26-7.62] n=6

91. S6E06 - What the World Needs Now: 6.09 (0.5) [5.33-6.77] n=8

92. S1E11 - Hairography: 6.07 (0.91) [4.89-7.49] n=6

93. S2E22 - New York: 6.06 (1.09) [4.64-7.76] n=9

94. S5E17 - Opening Night: 6.01 (1.07) [4.74-7.5] n=5

95. S1E01 - Pilot: 5.99 (1.09) [4.65-8.2] n=10

96. S2E08 - Furt: 5.98 (2.03) [3.46-7.74] n=4

97. S6E09 - Child Star: 5.98 (0.86) [5-7.21] n=6

98. S5E18 - The Back-Up Plan: 5.95 (0.91) [5.04-7.07] n=5

99. S2E01 - Audition: 5.94 (1.05) [4.45-7.31] n=7

100. S1E02 - Showmance: 5.93 (0.74) [5.34-6.93] n=4

101. S1E21 - Funk: 5.92 (1.25) [4.04-7.4] n=6

102. S2E07 - The Substitute: 5.92 (1.18) [4.3-7.43] n=5

103. S3E04 - Pot o' Gold: 5.82 (1.52) [4.31-7.78] n=5

104. S4E11 - Sadie Hawkins: 5.82 (1.47) [3.41-7.31] n=6

105. S2E10 - A Very Glee Christmas: 5.8 (1.47) [4.63-8.97] n=7

106. S2E13 - Comeback: 5.8 (1.13) [4.64-7.58] n=6

107. S1E17 - Bad Reputation: 5.77 (1.32) [4.21-7.3] n=5

108. S1E03 - Acafellas: 5.72 (2.53) [2.92-7.83] n=3

109. S4E20 - Lights Out: 5.72 (0.68) [4.85-6.48] n=6

110. S4E18 - Shooting Star: 5.7 (0.52) [5.3-6.3] n=3

111. S1E04 - Preggers: 5.68 (0.13) [5.58-5.77] n=2

112. S5E07 - Puppet Master: 5.64 (1.77) [3.23-7.19] n=5

113. S6E01 - Loser Like Me: 5.6 (0.85) [4.78-6.67] n=5

114. S5E05 - The End of Twerk: 5.59 (2.01) [2.66-7.77] n=5

115. S6E10 - The Rise and Fall of Sue Sylvester: 5.51 (1.53) [3.49-7.35] n=5

116. S4E19 - Sweet Dreams: 5.42 (0.4) [4.75-5.78] n=5

117. S1E10 - Ballad: 5.31 (1.38) [3.97-7.24] n=6

118. S6E04 - The Hurt Locker, Part One: 5.11 (0.71) [4.49-5.84] n=4

119. S5E08 - Previously Unaired Christmas: 5.06 (0.73) [3.7-5.75] n=7

120. S3E12 - The Spanish Teacher: 4.97 (1.33) [2.94-6.61] n=5

121. S1E08 - Mash-Up: 4.49 (1.64) [2.23-6.78] n=5

Full Song Ranking

Season/Episode - Song Name: mean (sd), median [range] number of votes

1. S3E06 - Rumour Has It/Someone Like You: 9.36 (1.02), 10 [5-10] n=146

2. S2E09 - Valerie: 9.21 (1.03), 10 [4-10] n=150

3. S3E11 - Smooth Criminal: 9.17 (1.37), 10 [2-10] n=148

4. S3E14 - Cough Syrup: 9.17 (1.46), 10 [1-10] n=150

5. S2E04 - River Deep, Mountain High: 9.11 (1.15), 10 [5-10] n=147

6. S1E18 - Rose's Turn: 9.06 (1.47), 10 [3-10] n=151

7. S3E18 - Not the Boy Next Door: 9.01 (1.46), 10 [1-10] n=146

8. S3E21 - Paradise By the Dashboard Light: 8.99 (1.49), 10 [4-10] n=145

9. S2E10 - Baby, It's Cold Outside: 8.97 (1.8), 10 [1-10] n=147

10. S1E15 - 4 Minutes: 8.9 (1.54), 10 [2-10] n=146

11. S5E03 - If I Die Young: 8.89 (1.65), 10 [1-10] n=140

12. S2E18 - Somewhere Only We Know: 8.89 (1.74), 10 [1-10] n=150

13. S5E03 - Seasons of Love: 8.88 (1.54), 10 [1-10] n=138

14. S2E18 - Born This Way: 8.86 (1.31), 9 [3-10] n=148

15. S1E13 - And I Am Telling You I'm Not Going: 8.82 (1.61), 10 [4-10] n=138

16. S1E20 - Bad Romance: 8.81 (1.36), 9 [2-10] n=153

17. S2E03 - I Want to Hold Your Hand: 8.81 (1.61), 9 [1-10] n=145

18. S6E13 - I Lived: 8.72 (1.56), 9 [2-10] n=130

19. S4E09 - Being Alive: 8.7 (1.77), 9.5 [2-10] n=130

20. S2E06 - Teenage Dream: 8.63 (2.08), 10 [1-10] n=151

21. S4E04 - The Scientist: 8.62 (1.77), 9 [1-10] n=148

22. S2E11 - Thriller/Heads Will Roll: 8.58 (1.63), 9 [2-10] n=145

23. S1E22 - Bohemian Rhapsody: 8.54 (1.88), 9 [1-10] n=150

24. S3E17 - How Will I Know: 8.53 (1.67), 9 [3-10] n=128

25. S3E18 - Shake It Out: 8.53 (1.73), 9 [1-10] n=138

26. S4E15 - Come What May: 8.51 (1.95), 9 [1-10] n=138

27. S2E16 - Blackbird: 8.49 (1.66), 9 [3-10] n=148

28. S2E18 - I Feel Pretty/Unpretty: 8.47 (1.7), 9 [3-10] n=145

29. S2E21 - Back to Black: 8.46 (1.5), 9 [3-10] n=137

30. S3E13 - Love Shack: 8.44 (1.62), 9 [3-10] n=140

31. S2E09 - Dog Days Are Over: 8.44 (1.44), 9 [3-10] n=141

32. S5E03 - Make You Feel My Love: 8.43 (2.04), 9 [1-10] n=131

33. S3E08 - Survivor/I Will Survive: 8.42 (1.47), 8 [3-10] n=136

34. S5E03 - I'll Stand By You: 8.4 (1.65), 9 [1-10] n=120

35. S1E13 - Don't Rain on My Parade: 8.39 (1.7), 9 [2-10] n=150

36. S2E06 - Start Me Up/Livin' on a Prayer: 8.38 (1.69), 9 [1-10] n=143

37. S1E22 - Don't Stop Believing (Regionals): 8.32 (1.65), 9 [2-10] n=142

38. S2E18 - As If We Never Said Goodbye: 8.32 (2.13), 9 [1-10] n=135

39. S4E04 - Don't Speak: 8.3 (1.6), 8 [2-10] n=139

40. S6E11 - Take Me to Church: 8.28 (1.69), 9 [1-10] n=125

41. S1E06 - It's My Life/Confessions Part II: 8.28 (1.44), 8 [4-10] n=149

42. S3E01 - It's Not Unusual: 8.26 (1.76), 8 [1-10] n=141

43. S5E10 - Gloria: 8.22 (1.67), 9 [1-10] n=125

44. S2E16 - Misery: 8.22 (1.75), 8 [1-10] n=137

45. S5E01 - Got to Get You Into My Life: 8.22 (1.75), 8 [2-10] n=129

46. S1E01 - Don't Stop Believing (Pilot): 8.2 (1.69), 8.5 [3-10] n=152

47. S1E15 - Like a Prayer: 8.18 (1.64), 9 [3-10] n=139

48. S6E12 - Don't Stop Believing (Pilot/2009): 8.15 (2.01), 9 [1-10] n=115

49. S5E12 - Valerie: 8.15 (1.75), 9 [2-10] n=129

50. S5E04 - Marry the Night: 8.13 (1.74), 8 [1-10] n=123

51. S5E15 - I'm Still Here: 8.11 (1.87), 9 [2-10] n=114

52. S3E21 - Edge of Glory: 8.11 (1.71), 8 [2-10] n=132

53. S1E05 - Somebody to Love: 8.11 (1.59), 8 [2-10] n=150

54. S5E01 - All You Need Is Love: 8.11 (2.13), 9 [1-10] n=134

55. S5E11 - I Still Haven't Found What I'm Looking For: 8.06 (1.81), 8 [2-10] n=110

56. S2E05 - Time Warp: 8.06 (1.7), 8 [1-10] n=137

57. S4E04 - Mine: 8.05 (1.95), 9 [2-10] n=127

58. S5E09 - I Believe in a Thing Called Love: 8.04 (1.88), 8 [1-10] n=113

59. S2E11 - Bills, Bills, Bills: 8.03 (1.65), 8 [3-10] n=139

60. S6E02 - Home: 8.03 (1.77), 8 [1-10] n=110

61. S5E16 - Love Is a Battlefield: 8.01 (1.6), 8 [4-10] n=123

62. S5E20 - American Boy: 8.01 (2.05), 8 [1-10] n=133

63. S5E20 - Pompeii: 7.98 (1.69), 8 [2-10] n=128

64. S1E06 - Halo/Walking On Sunshine: 7.98 (1.65), 8 [3-10] n=151

65. S3E15 - Somebody That I Used to Know: 7.98 (1.84), 8 [1-10] n=143

66. S1E18 - The Boy Is Mine: 7.98 (1.65), 8 [3-10] n=139

67. S3E17 - So Emotional: 7.98 (1.88), 8 [1-10] n=125

68. S6E07 - Somebody Loves You: 7.97 (1.88), 8 [1-10] n=116

69. S2E06 - Stop! In the Name of Love/Free Your Mind: 7.96 (1.71), 8 [1-10] n=138

70. S4E06 - Beauty School Dropout: 7.96 (1.87), 8 [1-10] n=134

71. S2E19 - Songbird: 7.95 (2.14), 8 [1-10] n=127

72. S3E11 - Bad: 7.95 (1.66), 8 [3-10] n=140

73. S4E13 - Don't Stop Me Now: 7.93 (1.87), 8 [1-10] n=136

74. S3E02 - Something's Coming: 7.93 (1.95), 9 [2-10] n=127

75. S4E13 - Girl On Fire: 7.92 (1.94), 8 [1-10] n=138

76. S2E04 - Happy Days Are Here Again/Get Happy: 7.91 (2.01), 8 [1-10] n=136

77. S2E12 - Silly Love Songs: 7.9 (2.09), 8 [1-10] n=140

78. S4E04 - Teenage Dream (Acoustic): 7.9 (2.55), 9 [1-10] n=150

79. S2E04 - Le Jazz Hot: 7.9 (2.04), 8 [1-10] n=138

80. S4E05 - Hopelessly Devoted to You: 7.86 (2.24), 8 [1-10] n=137

81. S6E13 - Daydream Believer: 7.86 (1.87), 8 [1-10] n=120

82. S6E03 - Hand in My Pocket/I Feel the Earth Move: 7.86 (2.1), 8 [1-10] n=119

83. S3E08 - ABC: 7.85 (1.71), 8 [1-10] n=142

84. S2E14 - Don't You Want Me: 7.84 (2.12), 8 [1-10] n=135

85. S3E17 - It's Not Right But It's Okay: 7.84 (2.33), 8 [1-10] n=141

86. S6E02 - Tightrope: 7.83 (1.91), 8 [1-10] n=121

87. S1E03 - Bust Your Windows: 7.83 (1.98), 8 [2-10] n=149

88. S2E02 - Me Against the Music: 7.81 (1.93), 8 [2-10] n=128

89. S4E01 - It's Time: 7.81 (1.8), 8 [1-10] n=130

90. S5E02 - Hey Jude: 7.8 (1.97), 8 [1-10] n=129

91. S2E15 - Landslide: 7.79 (2.24), 8 [1-10] n=137

92. S3E02 - I'm the Greatest Star: 7.78 (1.88), 8 [1-10] n=130

93. S3E04 - Candyman: 7.78 (1.7), 8 [1-10] n=129

94. S5E05 - If I Were a Boy: 7.77 (2.19), 8 [1-10] n=135

95. S3E08 - We Are Young: 7.77 (1.97), 8 [2-10] n=141

96. S2E22 - For Good: 7.76 (2.04), 8 [1-10] n=122

97. S6E13 - This Time: 7.76 (1.97), 8 [1-10] n=111

98. S2E05 - Sweet Transvestite: 7.75 (1.89), 8 [1-10] n=136

99. S3E13 - I Will Always Love You: 7.75 (1.91), 8 [1-10] n=124

100. S2E08 - Marry You: 7.74 (1.71), 8 [3-10] n=145

101. S3E01 - You Can't Stop the Beat: 7.74 (1.69), 8 [1-10] n=137

102. S5E12 - Toxic: 7.74 (2.09), 8 [2-10] n=125

103. S6E03 - It's Too Late: 7.74 (1.9), 8 [2-10] n=105

104. S3E15 - Fighter: 7.74 (2.22), 8 [1-10] n=136

105. S4E07 - Some Nights: 7.74 (1.71), 8 [3-10] n=126

106. S1E22 - Any Way You Want It/Lovin' Touchin' Squeezin': 7.74 (1.93), 8 [1-10] n=133

107. S4E03 - Everybody Wants to Rule the World: 7.72 (1.81), 8 [2-10] n=129

108. S2E16 - Raise Your Glass: 7.72 (1.95), 8 [1-10] n=149

109. S5E12 - Defying Gravity: 7.71 (1.81), 8 [1-10] n=133

110. S1E13 - My Life Would Suck Without You: 7.7 (1.88), 8 [1-10] n=142

111. S3E09 - Let It Snow: 7.69 (2.2), 8 [1-10] n=132

112. S2E20 - Rolling in the Deep: 7.69 (2.01), 8 [1-10] n=140

113. S4E21 - Superstition: 7.68 (1.77), 8 [2-10] n=117

114. S5E06 - Just the Way You Are: 7.68 (1.9), 8 [1-10] n=110

115. S2E16 - Loser Like Me: 7.68 (2.18), 8 [1-10] n=142

116. S4E09 - Don't Dream It's Over: 7.66 (1.88), 8 [2-10] n=107

117. S3E05 - America: 7.66 (1.6), 8 [1-10] n=139

118. S3E17 - I Have Nothing: 7.66 (2.18), 8 [1-10] n=135

119. S3E21 - It's All Coming Back to Me Now: 7.66 (2.06), 8 [1-10] n=126

120. S5E14 - Rockstar: 7.65 (1.92), 8 [1-10] n=111

121. S1E18 - Jessie's Girl: 7.65 (1.78), 8 [2-10] n=144

122. S4E13 - Nutbush City Limits: 7.63 (2.12), 8 [2-10] n=131

123. S3E11 - Never Can Say Goodbye: 7.63 (1.87), 8 [2-10] n=123

124. S3E16 - Disco Inferno: 7.62 (2.14), 8 [1-10] n=129

125. S3E06 - Hit Me with Your Best Shot/One Way or Another: 7.62 (1.57), 8 [1-10] n=141

126. S4E08 - Home/Homeward Bound: 7.62 (2.15), 8 [1-10] n=112

127. S1E07 - Keep Holding On: 7.61 (1.47), 8 [2-10] n=145

128. S1E16 - Beautiful: 7.61 (1.81), 8 [1-10] n=128

129. S3E21 - Tongue Tied: 7.61 (2.14), 8 [1-10] n=130

130. S4E01 - Chasing Pavements: 7.61 (1.75), 8 [2-10] n=132

131. S2E12 - When I Get You Alone: 7.6 (2.06), 8 [1-10] n=130

132. S5E13 - Don't Stop Believin' (Season Five): 7.6 (2.13), 8 [1-10] n=125

133. S5E20 - All of Me: 7.6 (2.15), 8 [1-10] n=122

134. S3E11 - Human Nature: 7.6 (2.13), 8 [1-10] n=121

135. S1E07 - Hate On Me: 7.58 (1.83), 8 [2-10] n=132

136. S2E13 - Take Me or Leave Me: 7.58 (2.14), 8 [1-10] n=127

137. S5E14 - You Make Me Feel So Young: 7.58 (1.8), 8 [1-10] n=116

138. S3E17 - I Wanna Dance With Somebody (Who Loves Me): 7.57 (1.92), 8 [1-10] n=138

139. S5E15 - Colorblind: 7.57 (1.96), 8 [2-10] n=105

140. S4E06 - There Are Worse Things I Could Do: 7.57 (2.05), 8 [1-10] n=120

141. S2E20 - Dancing Queen: 7.56 (1.73), 8 [1-10] n=144

142. S3E22 - You Get What You Give: 7.56 (1.87), 8 [2-10] n=106

143. S6E02 - Take On Me: 7.55 (1.6), 8 [2-10] n=120

144. S2E20 - I'm Not Gonna Teach Your Boyfriend How to Dance with You: 7.54 (2.18), 8 [1-10] n=136

145. S3E11 - Wanna Be Startin' Somethin': 7.52 (2.14), 8 [1-10] n=129

146. S4E17 - Against All Odds (Take a Look at Me Now): 7.52 (2.36), 8 [1-10] n=122

147. S2E16 - Hell to the No: 7.5 (2.05), 8 [1-10] n=141

148. S5E17 - Pumpin Blood: 7.5 (1.65), 8 [1-10] n=115

149. S5E11 - More Than a Feeling: 7.5 (1.97), 8 [1-10] n=103

150. S1E11 - True Colors: 7.49 (1.74), 8 [2-10] n=147

151. S2E08 - Just the Way You Are: 7.49 (1.62), 8 [1-10] n=137

152. S6E03 - Will You Still Love Me Tomorrow/Head Over Feet: 7.48 (2.06), 8 [1-10] n=106

153. S5E15 - No One Is Alone: 7.47 (1.9), 8 [2-10] n=114

154. S1E09 - Defying Gravity: 7.47 (1.98), 8 [1-10] n=149

155. S5E02 - Here Comes the Sun: 7.46 (1.78), 8 [2-10] n=125

156. S4E10 - White Christmas: 7.46 (2.32), 8 [1-10] n=127

157. S3E15 - Rio/Hungry Like the Wolf: 7.45 (2.27), 8 [1-10] n=131

158. S4E13 - Hung Up: 7.45 (1.83), 8 [1-10] n=114

159. S1E12 - Jump: 7.45 (1.57), 7 [2-10] n=141

160. S1E09 - Proud Mary: 7.44 (1.74), 8 [4-10] n=135

161. S4E17 - Wake Me Up Before You Go-Go: 7.44 (1.98), 8 [1-10] n=131

162. S4E15 - Shout: 7.43 (1.79), 7 [1-10] n=120

163. S3E14 - Stronger (What Doesn't Kill You): 7.43 (1.91), 8 [1-10] n=137

164. S5E02 - Let It Be: 7.43 (1.88), 8 [1-10] n=119

165. S2E07 - Singing In the Rain/Umbrella: 7.43 (2.03), 8 [2-10] n=145

166. S1E07 - Ride Wit Me: 7.43 (2.05), 8 [1-10] n=131

167. S5E06 - Piano Man: 7.43 (2.15), 8 [1-10] n=124

168. S4E15 - Footloose: 7.42 (1.65), 7 [3-10] n=118

169. S4E14 - Just Can't Get Enough: 7.41 (2), 8 [1-10] n=123

170. S1E21 - Another One Bites the Dust: 7.4 (1.98), 8 [1-10] n=130

171. S2E14 - Blame It (On the Alcohol): 7.39 (2.02), 8 [1-10] n=142

172. S4E01 - New York State of Mind: 7.39 (1.91), 8 [1-10] n=133

173. S2E19 - Go Your Own Way: 7.39 (1.89), 8 [1-10] n=123

174. S4E16 - Cold Hearted: 7.38 (2.13), 8 [1-10] n=115

175. S3E10 - Summer Nights: 7.38 (1.77), 7 [2-10] n=136

176. S5E03 - Fire and Rain: 7.38 (2.08), 8 [1-10] n=105

177. S3E07 - Perfect: 7.38 (1.99), 7 [1-10] n=136

178. S6E08 - At Last: 7.37 (1.91), 8 [1-10] n=110

179. S4E06 - You're the One That I Want: 7.37 (1.67), 7 [3-10] n=130

180. S3E11 - Black or White: 7.37 (1.82), 8 [1-10] n=136

181. S4E05 - Everybody Talks: 7.36 (1.9), 8 [1-10] n=129

182. S4E07 - Holding Out for a Hero: 7.36 (1.76), 8 [1-10] n=125

183. S6E07 - I Know Where I've Been: 7.36 (2.33), 8 [1-10] n=100

184. S3E18 - Cell Block Tango: 7.36 (1.88), 8 [1-10] n=135

185. S6E10 - Rise: 7.35 (2.1), 8 [1-10] n=99

186. S4E07 - My Dark Side: 7.35 (2.11), 7 [1-10] n=119

187. S2E21 - Some People: 7.35 (2), 7 [1-10] n=115

188. S3E09 - All I Want for Christmas Is You: 7.35 (2.3), 8 [1-10] n=118

189. S5E06 - Movin' Out (Anthony's Song): 7.34 (2.02), 8 [1-10] n=119

190. S3E05 - Uptown Girl: 7.33 (2.23), 8 [1-10] n=144

191. S2E05 - Science Fiction Double Feature: 7.32 (1.92), 7 [2-10] n=133

192. S5E19 - Take Me Home Tonight: 7.32 (1.74), 7 [2-10] n=103

193. S3E03 - Spotlight: 7.31 (2.08), 7 [3-10] n=105

194. S4E07 - Heroes: 7.31 (2.18), 8 [1-10] n=109

195. S4E11 - No Scrubs: 7.31 (1.85), 7 [2-10] n=123

196. S2E01 - Empire State of Mind: 7.31 (1.65), 8 [3-10] n=147

197. S6E12 - Popular: 7.3 (1.95), 8 [1-10] n=115

198. S4E14 - Getting Married Today: 7.3 (2.01), 7 [1-10] n=125

199. S4E12 - This Is the New Year: 7.3 (1.97), 8 [2-10] n=113

200. S5E01 - Help!: 7.3 (2.03), 8 [1-10] n=133

201. S1E17 - Total Eclipse of the Heart: 7.3 (1.77), 7.5 [1-10] n=144

202. S3E07 - Constant Craving: 7.29 (2.04), 8 [1-10] n=123

203. S2E17 - Ain't No Way: 7.29 (2.34), 8 [1-10] n=105

204. S2E21 - Pure Imagination: 7.28 (1.92), 7 [2-10] n=131

205. S2E21 - Try a Little Tenderness: 7.27 (2.1), 7.5 [1-10] n=110

206. S5E09 - Don't Rain On My Parade: 7.27 (2.24), 7 [1-10] n=133

207. S2E03 - Losing My Religion: 7.26 (1.92), 7 [1-10] n=133

208. S3E06 - I Can't Go for That/You Make My Dreams Come True: 7.26 (1.97), 8 [1-10] n=131

209. S3E08 - Man in the Mirror: 7.26 (2.01), 8 [1-10] n=140

210. S3E16 - If I Can't Have You: 7.25 (2.09), 8 [1-10] n=124

211. S3E17 - My Love Is Your Love: 7.25 (1.9), 7 [2-10] n=113

212. S3E03 - It's All Over: 7.25 (2.24), 8 [1-10] n=105

213. S5E15 - Not While I'm Around: 7.25 (2.08), 7 [1-10] n=118

214. S1E10 - Lean On Me: 7.24 (1.83), 7 [2-10] n=132

215. S4E14 - Anything Could Happen: 7.23 (1.76), 7 [2-10] n=113

216. S2E04 - Sing!: 7.23 (1.89), 7 [1-10] n=135

217. S1E15 - Like a Virgin: 7.22 (1.98), 7 [2-10] n=141

218. S6E09 - I Want to Break Free: 7.21 (1.83), 7 [1-10] n=112

219. S3E21 - We Are the Champions: 7.21 (2.14), 7 [1-10] n=136

220. S3E11 - I Want You Back: 7.21 (2.18), 7 [1-10] n=123

221. S6E02 - Mustang Sally: 7.21 (1.92), 7 [1-10] n=106

222. S2E15 - Animal: 7.2 (2.11), 8 [1-10] n=137

223. S1E21 - Give Up the Funk: 7.2 (1.92), 7 [2-10] n=138

224. S4E12 - Love Song: 7.2 (1.82), 7 [3-10] n=119

225. S1E19 - Dream On: 7.2 (2.13), 7 [1-10] n=128

226. S5E07 - Into the Groove: 7.19 (1.97), 7 [2-10] n=93

227. S5E13 - Be Okay: 7.19 (1.94), 7 [1-10] n=94

228. S3E14 - Glad You Came: 7.18 (2.01), 7 [2-10] n=136

229. S4E14 - We've Got Tonite: 7.18 (1.85), 7 [2-10] n=122

230. S4E21 - Signed, Sealed, Delivered, I'm Yours: 7.18 (1.67), 7 [1-10] n=124

231. S1E05 - Maybe This Time: 7.17 (1.96), 8 [2-10] n=132

232. S2E02 - I'm a Slave 4 U: 7.17 (1.98), 7 [1-10] n=138

233. S4E05 - Blow Me (One Last Kiss): 7.17 (2.17), 8 [1-10] n=120

234. S5E10 - Hold On: 7.17 (1.84), 7 [2-10] n=90

235. S6E11 - Chandelier: 7.16 (2.13), 8 [1-10] n=124

236. S5E13 - I Am Changing: 7.16 (2.01), 7 [2-10] n=102

237. S4E13 - Bring Him Home: 7.15 (2.22), 7.5 [1-10] n=124

238. S2E22 - My Cup: 7.14 (2.5), 7 [1-10] n=139

239. S4E15 - Old Time Rock & Roll/Danger Zone: 7.11 (2.07), 7 [1-10] n=118

240. S4E11 - Locked Out of Heaven: 7.11 (2.05), 7.5 [1-10] n=110

241. S1E19 - Dream a Little Dream: 7.1 (1.9), 7 [2-10] n=115

242. S1E01 - Rehab: 7.1 (1.7), 7 [3-10] n=141

243. S1E14 - Gives You Hell: 7.1 (1.83), 7 [1-10] n=146

244. S3E01 - Anything Goes/Anything You Can Do: 7.09 (2.13), 7 [1-10] n=127

245. S1E22 - Faithfully: 7.07 (2.03), 7 [1-10] n=128

246. S4E21 - You Are the Sunshine of My Life: 7.07 (1.75), 7 [2-10] n=114

247. S5E07 - Nasty/Rhythm Nation: 7.07 (2.09), 7 [2-10] n=100

248. S5E01 - A Hard Day's Night: 7.07 (1.82), 7 [1-10] n=118

249. S3E01 - We Got the Beat: 7.07 (1.69), 7 [2-10] n=137

250. S5E18 - Doo Wop (That Thing): 7.07 (2.09), 7 [2-10] n=107

251. S3E22 - I'll Remember: 7.06 (1.97), 7 [1-10] n=114

252. S4E17 - Mamma Mia: 7.06 (1.6), 7 [3-10] n=127

253. S1E15 - Express Yourself: 7.05 (1.85), 7 [2-10] n=128

254. S4E02 - Womanizer: 7.05 (1.83), 7 [1-10] n=128

255. S5E04 - Wide Awake: 7.05 (2.12), 7 [2-10] n=110

256. S4E04 - Barely Breathing: 7.05 (2.16), 7 [1-10] n=118

257. S6E11 - Listen to Your Heart: 7.05 (2.24), 7 [1-10] n=101

258. S5E10 - Don't You (Forget About Me): 7.05 (1.73), 7 [1-10] n=108

259. S4E21 - Higher Ground: 7.04 (2.1), 7 [1-10] n=93

260. S1E13 - You Can't Always Get What You Want: 7.04 (1.74), 7 [1-10] n=131

261. S2E21 - My Man: 7.04 (2.69), 7 [1-10] n=113

262. S5E12 - Keep Holding On: 7.03 (1.98), 7 [2-10] n=115

263. S4E21 - For Once in My Life: 7.02 (1.99), 7 [2-10] n=94

264. S2E09 - Hey, Soul Sister: 7.02 (2.24), 7 [1-10] n=143

265. S4E02 - 3: 7.02 (2.14), 7 [1-10] n=121

266. S1E22 - To Sir, With Love: 7.01 (2.21), 7 [1-10] n=126

267. S3E16 - You Should Be Dancing: 7.01 (2.32), 7 [1-10] n=126

268. S2E22 - I Love New York/New York, New York: 7.01 (1.89), 7 [1-10] n=136

269. S1E15 - Vogue: 7.01 (1.85), 7 [1-10] n=141

270. S3E03 - Run the World (Girls): 7 (2.03), 7 [1-10] n=143

271. S3E08 - Control: 7 (2.13), 7 [1-10] n=127

272. S3E16 - More Than a Woman: 6.99 (2.26), 7 [1-10] n=123

273. S4E08 - Come See About Me: 6.99 (2), 7 [1-10] n=111

274. S5E14 - Best Day of My Life: 6.99 (1.76), 7 [1-10] n=109

275. S1E17 - Run Joey Run: 6.99 (2.33), 7 [1-10] n=145

276. S3E04 - Last Friday Night: 6.97 (2.01), 7 [1-10] n=141

277. S1E09 - Dancing With Myself: 6.97 (1.82), 7 [1-10] n=135

278. S4E13 - Diva: 6.96 (2.18), 7 [1-10] n=130

279. S5E03 - No Surrender: 6.95 (2.35), 7 [1-10] n=103

280. S6E05 - It Must Have Been Love: 6.93 (1.98), 7 [1-10] n=108

281. S1E02 - I Say a Little Prayer: 6.93 (2.07), 7 [1-10] n=148

282. S5E11 - America: 6.92 (1.97), 7 [1-10] n=95

283. S3E14 - Here's to Us: 6.91 (2.17), 7 [1-10] n=125

284. S5E15 - You Make Me Feel Like a Natural Woman: 6.91 (1.95), 7 [2-10] n=102

285. S5E09 - Breakaway: 6.91 (2.01), 7 [1-10] n=90

286. S3E11 - Scream: 6.91 (2.2), 7 [1-10] n=118

287. S3E10 - We Found Love: 6.9 (1.77), 7 [2-10] n=134

288. S3E13 - Stereo Hearts: 6.9 (1.85), 7 [1-10] n=133

289. S4E22 - Hall of Fame: 6.9 (1.99), 7 [1-10] n=112

290. S3E22 - In My Life: 6.89 (1.94), 7 [2-10] n=106

291. S1E15 - Borderline/Open Your Heart: 6.88 (1.9), 7 [1-10] n=121

292. S3E13 - L-O-V-E: 6.88 (1.92), 7 [1-10] n=119

293. S2E05 - Damn It, Janet: 6.88 (1.9), 7 [2-10] n=133

294. S4E12 - Let Me Love You (Until You Learn to Love Yourself): 6.88 (2.24), 7 [1-10] n=107

295. S2E05 - Whatever Happened to Saturday Night?: 6.88 (1.9), 7 [1-10] n=128

296. S3E03 - Cool: 6.87 (1.84), 7 [1-10] n=110

297. S5E09 - Brave: 6.85 (2.12), 7 [1-10] n=111

298. S2E04 - Lucky: 6.84 (2.09), 7 [1-10] n=136

299. S2E12 - P.Y.T. (Pretty Young Thing): 6.83 (1.88), 7 [1-10] n=127

300. S2E14 - Tik Tok: 6.83 (1.99), 7 [2-10] n=139

301. S3E16 - Boogie Shoes: 6.83 (2.2), 7 [1-10] n=118

302. S5E11 - Mr. Roboto/Counting Stars: 6.83 (2.14), 7 [1-10] n=105

303. S6E02 - Problem: 6.83 (2.01), 7 [1-10] n=110

304. S3E16 - Stayin' Alive: 6.83 (2.06), 7 [1-10] n=127

305. S1E18 - Lady Is a Tramp: 6.83 (1.78), 7 [2-10] n=126

306. S4E17 - Wannabe: 6.82 (1.93), 7 [1-10] n=121

307. S3E22 - Roots Before Branches: 6.81 (2.46), 7 [1-10] n=124

308. S5E10 - The Happening: 6.79 (1.98), 7 [2-10] n=97

309. S5E15 - Broadway Baby: 6.79 (2.13), 7 [1-10] n=116

310. S6E08 - I'm So Excited: 6.79 (1.62), 7 [2-10] n=106

311. S6E08 - Our Day Will Come: 6.79 (1.88), 7 [1-10] n=103

312. S1E01 - Respect: 6.78 (1.5), 7 [3-10] n=148

313. S1E08 - Sweet Caroline: 6.78 (1.54), 7 [3-10] n=138

314. S1E10 - I'll Stand By You: 6.78 (1.94), 7 [1-10] n=141

315. S5E19 - Lucky Star: 6.78 (2.24), 7 [1-10] n=100

316. S6E06 - What the World Needs Now: 6.77 (1.7), 7 [1-10] n=96

317. S2E02 - Stronger: 6.77 (1.87), 7 [2-10] n=120

318. S5E10 - Jumpin' Jumpin': 6.77 (2.14), 7 [1-10] n=98

319. S2E11 - She's Not There: 6.76 (2.1), 7 [1-10] n=114

320. S6E03 - You Learn/You've Got a Friend: 6.76 (2.11), 7 [1-10] n=96

321. S2E03 - One of Us: 6.76 (2.14), 7 [1-10] n=119

322. S3E05 - A Boy Like That/I Have a Love: 6.76 (1.96), 7 [1-10] n=119

323. S2E20 - Isn't She Lovely: 6.76 (1.84), 7 [2-10] n=131

324. S2E19 - I Don't Want to Know: 6.75 (2.18), 7 [1-10] n=106

325. S3E21 - Pinball Wizard: 6.75 (1.85), 7 [1-10] n=123

326. S2E18 - I've Gotta Be Me: 6.75 (2.03), 7 [1-10] n=110

327. S5E16 - I Want to Know What Love Is: 6.74 (2.01), 7 [1-10] n=94

328. S2E19 - Don't Stop: 6.74 (2.05), 7 [1-10] n=109

329. S1E07 - You Keep Me Hanging On: 6.73 (1.78), 7 [1-10] n=133

330. S5E13 - Loser Like Me: 6.73 (2.24), 7 [1-10] n=124

331. S1E19 - I Dreamed a Dream: 6.72 (2.16), 7 [1-10] n=119

332. S1E16 - A House Is Not a Home: 6.72 (2.18), 7 [1-10] n=121

333. S4E16 - Bye Bye Bye/I Want It That Way: 6.71 (1.94), 7 [1-10] n=136

334. S2E09 - (I've Had) The Time of My Life: 6.71 (1.76), 7 [1-10] n=138

335. S5E04 - Applause: 6.71 (1.91), 7 [1-10] n=120

336. S3E19 - Big Girls Don't Cry: 6.71 (1.95), 7 [2-10] n=130

337. S2E09 - Don't Cry for Me Argentina: 6.7 (1.97), 7 [1-10] n=135

338. S6E10 - Rather Be: 6.68 (1.94), 7 [1-10] n=102

339. S6E12 - I Kissed a Girl: 6.67 (2.06), 7 [1-10] n=103

340. S6E01 - Suddenly Seymour: 6.67 (2.37), 7 [1-10] n=127

341. S2E16 - Trouty Mouth: 6.67 (2.63), 7 [1-10] n=141

342. S2E11 - Need You Now: 6.66 (1.96), 7 [1-10] n=114

343. S5E14 - Downtown: 6.65 (1.93), 7 [1-10] n=102

344. S2E01 - Listen: 6.65 (2.35), 7 [1-10] n=116

345. S3E13 - Cherish/Cherish: 6.65 (2.01), 7 [1-10] n=113

346. S3E01 - Ding-Dong! The Witch Is Dead: 6.64 (2), 7 [1-10] n=135

347. S5E01 - I Saw Her Standing There: 6.64 (1.85), 7 [1-10] n=104

348. S6E11 - Come Sail Away: 6.64 (2.12), 7 [1-10] n=98

349. S5E09 - Every Breath You Take: 6.64 (2.08), 7 [1-10] n=109

350. S6E05 - All Out of Love: 6.64 (2.11), 7 [1-10] n=103

351. S6E13 - Someday We'll Be Together: 6.64 (2.02), 7 [1-10] n=86

352. S3E22 - Glory Days: 6.64 (1.8), 7 [2-10] n=105

353. S2E16 - Get It Right: 6.63 (2.39), 7 [1-10] n=134

354. S1E14 - Highway to Hell: 6.63 (2.08), 7 [1-10] n=128

355. S3E19 - Take My Breath Away: 6.63 (2.12), 7 [1-10] n=117

356. S6E06 - Alfie: 6.63 (2.3), 7 [1-10] n=102

357. S5E18 - Story of My Life: 6.63 (2.16), 7 [1-10] n=126

358. S5E19 - Memory: 6.63 (1.93), 7 [2-10] n=99

359. S5E05 - On Our Way: 6.62 (2.11), 7 [1-10] n=87

360. S4E15 - Diamonds Are a Girl's Best Friend/Material Girl: 6.62 (2.1), 7 [1-10] n=125

361. S3E12 - La Isla Bonita: 6.61 (1.97), 7 [1-10] n=123

362. S1E14 - Hello, Goodbye: 6.6 (1.91), 7 [1-10] n=116

363. S6E07 - Time After Time: 6.6 (1.77), 7 [1-10] n=105

364. S5E20 - Shakin' My Head: 6.6 (1.98), 7 [1-10] n=94

365. S6E08 - Hey Ya!: 6.59 (1.91), 7 [1-10] n=113

366. S2E07 - Forget You: 6.59 (1.92), 7 [1-10] n=144

367. S4E04 - Give Your Heart a Break: 6.59 (2.15), 7 [1-10] n=124

368. S5E17 - Lovefool: 6.57 (1.88), 7 [1-10] n=106

369. S3E20 - Flashdance...What a Feeling: 6.56 (2.12), 7 [1-10] n=107

370. S3E15 - I'm Still Standing: 6.54 (2.03), 7 [1-10] n=138

371. S2E17 - Turning Tables: 6.53 (2.28), 7 [1-10] n=120

372. S2E03 - Only the Good Die Young: 6.53 (2.03), 7 [2-10] n=122

373. S1E11 - Imagine: 6.52 (2.02), 7 [1-10] n=136

374. S4E08 - Live While We're Young: 6.52 (2.24), 7 [1-10] n=121

375. S4E22 - All or Nothing: 6.51 (1.85), 7 [1-10] n=115

376. S1E14 - Hello, I Love You: 6.51 (1.93), 7 [1-10] n=126

377. S3E19 - Love You Like a Love Song: 6.5 (2.12), 7 [1-10] n=121

378. S1E19 - Safety Dance: 6.5 (2.1), 7 [1-10] n=128

379. S4E10 - Have Yourself a Merry Little Christmas: 6.5 (2.28), 7 [1-10] n=108

380. S4E16 - How to Be a Heartbreaker: 6.5 (2.03), 7 [1-10] n=120

381. S5E13 - Just Give Me a Reason: 6.5 (2.03), 7 [1-10] n=112

382. S4E22 - Clarity: 6.5 (1.85), 7 [2-10] n=105

383. S6E03 - So Far Away: 6.49 (2.09), 7 [1-10] n=93

384. S2E13 - Somebody to Love: 6.49 (2.38), 7 [1-10] n=124

385. S2E02 - Toxic: 6.49 (2.24), 7 [1-10] n=140

386. S4E20 - We Will Rock You: 6.48 (2.02), 7 [1-10] n=114

387. S6E09 - Cool Kids: 6.48 (2.09), 7 [1-10] n=114

388. S6E06 - Wishin' And Hoping: 6.48 (1.91), 7 [1-10] n=106

389. S5E02 - Get Back: 6.48 (1.83), 7 [2-10] n=100

390. S2E05 - There's a Light (Over at the Frankenstein Place): 6.48 (1.98), 6 [2-10] n=124

391. S3E09 - My Favorite Things: 6.47 (2.14), 7 [1-10] n=127

392. S2E01 - Telephone: 6.47 (1.95), 7 [1-10] n=141

393. S2E22 - Light Up the World: 6.47 (2.34), 7 [1-10] n=120

394. S4E11 - Tell Him: 6.46 (2.02), 7 [1-10] n=108

395. S4E02 - Hold It Against Me: 6.46 (2.04), 7 [1-10] n=111

396. S3E16 - Night Fever: 6.46 (2.26), 7 [1-10] n=127

397. S2E01 - Billionaire: 6.45 (1.93), 6 [1-10] n=146

398. S3E20 - Because You Loved Me: 6.45 (2.09), 6 [1-10] n=94

399. S5E01 - Yesterday: 6.43 (2.16), 7 [1-10] n=118

400. S4E20 - Longest Time: 6.43 (1.93), 7 [1-10] n=108

401. S2E19 - Never Going Back Again: 6.42 (2.2), 7 [1-10] n=99

402. S6E09 - Uptown Funk: 6.42 (2.09), 7 [1-10] n=111

403. S3E10 - Without You: 6.42 (2.1), 6 [1-10] n=112

404. S1E03 - Mercy: 6.41 (1.85), 6.5 [1-10] n=116

405. S5E06 - You May Be Right: 6.41 (1.92), 6 [1-10] n=93

406. S5E05 - Wrecking Ball: 6.4 (1.92), 6 [2-10] n=124

407. S4E17 - Copacabana: 6.4 (2.08), 7 [1-10] n=123

408. S4E09 - All That Jazz: 6.39 (2.04), 7 [1-10] n=115

409. S5E10 - Barracuda: 6.38 (2.12), 6 [1-10] n=100

410. S3E21 - Starships: 6.37 (1.97), 7 [1-10] n=126

411. S5E01 - You've Got to Hide Your Love Away: 6.36 (2), 6 [1-10] n=114

412. S1E14 - Hello: 6.36 (2.07), 6 [2-10] n=112

413. S2E20 - Jar of Hearts: 6.36 (2.16), 7 [1-10] n=129

414. S5E07 - You're My Best Friend: 6.35 (2.37), 6.5 [1-10] n=96

415. S2E04 - Don't Go Breaking My Heart: 6.35 (1.98), 6 [1-10] n=130

416. S3E07 - I Kissed a Girl: 6.35 (2.37), 7 [1-10] n=143

417. S2E03 - Bridge Over Troubled Water: 6.35 (2.23), 7 [1-10] n=112

418. S6E11 - We Built This City: 6.35 (1.93), 7 [1-10] n=98

419. S4E02 - Boys/Boyfriend: 6.35 (1.99), 6 [1-10] n=113

420. S6E01 - Sing: 6.34 (1.92), 6 [1-10] n=96

421. S3E08 - Buenos Aires: 6.33 (2.27), 7 [1-10] n=117

422. S1E11 - Papa Don't Preach: 6.33 (2.07), 6 [1-10] n=134

423. S4E13 - Make No Mistake (She's Mine): 6.32 (1.93), 6 [2-10] n=111

424. S2E17 - I Follow Rivers: 6.3 (2.45), 7 [1-10] n=111

425. S4E18 - Say: 6.3 (2.14), 6 [1-10] n=88

426. S2E02 - Baby One More Time: 6.29 (1.94), 6 [1-10] n=133

427. S5E06 - My Life: 6.28 (2.05), 6 [1-10] n=98

428. S3E10 - The First Time Ever I Saw Your Face: 6.27 (2), 6 [2-10] n=116

429. S3E15 - Up Up Up: 6.27 (1.68), 6 [1-10] n=109

430. S3E20 - Mean: 6.26 (2.13), 6 [1-10] n=122

431. S6E05 - Father Figure: 6.26 (2.15), 6 [1-10] n=92

432. S3E09 - Christmas Wrapping: 6.25 (2.3), 7 [1-10] n=116

433. S4E22 - Wings: 6.24 (1.85), 7 [1-10] n=96

434. S5E02 - Sgt. Pepper's Lonely Hearts Club Band: 6.24 (2.09), 6 [1-10] n=101

435. S4E12 - Torn: 6.23 (2.1), 6 [1-10] n=108

436. S5E12 - Raise Your Glass: 6.23 (2.3), 6 [1-10] n=123

437. S4E17 - My Prerogative: 6.22 (2.22), 6 [1-10] n=110

438. S4E02 - Crazy/U Drive Me Crazy: 6.21 (2.03), 7 [1-10] n=107

439. S4E06 - Greased Lightning: 6.21 (2.07), 7 [1-10] n=126

440. S6E12 - Pony: 6.2 (2.13), 6 [1-10] n=99

441. S1E22 - Over the Rainbow: 6.2 (1.98), 6 [1-10] n=130

442. S5E16 - Addicted to Love: 6.2 (1.71), 6 [2-10] n=91

443. S5E19 - I Melt with You: 6.19 (1.96), 6 [1-10] n=88

444. S3E10 - Moves Like Jagger/Jumpin' Jack Flash: 6.18 (2.11), 7 [1-10] n=133

445. S3E09 - Do They Know It's Christmas?: 6.18 (2.43), 6.5 [1-10] n=122

446. S6E07 - You Give Love a Bad Name: 6.18 (1.95), 6 [1-10] n=89

447. S5E09 - My Lovin' (You're Never Gonna Get It): 6.18 (1.75), 6 [1-10] n=95

448. S4E08 - Whistle: 6.18 (2.5), 6 [1-10] n=129

449. S3E14 - Fly/I Believe I Can Fly: 6.18 (2.37), 6 [1-10] n=135

450. S5E19 - Werewolves of London: 6.18 (1.99), 6 [1-10] n=96

451. S5E01 - Drive My Car: 6.17 (1.97), 6 [1-10] n=109

452. S2E05 - Touch a Touch a Touch a Touch Me: 6.17 (2.41), 6 [1-10] n=138

453. S4E01 - Americano/Dance Again: 6.17 (2.16), 6 [1-10] n=117

454. S3E09 - Extraordinary Merry Christmas: 6.17 (2.48), 7 [1-10] n=127

455. S5E13 - Party All the Time: 6.16 (2.1), 6 [1-10] n=102

456. S3E14 - Stand: 6.15 (2.06), 6 [1-10] n=107

457. S4E03 - The Way You Look Tonight/You're Never Fully Dressed Without a Smile: 6.15 (1.8), 6 [2-10] n=115

458. S2E19 - Dreams: 6.15 (1.99), 6 [1-10] n=103

459. S3E05 - One Hand, One Heart: 6.14 (2.24), 6 [1-10] n=123

460. S4E08 - Let's Have a Kiki/Turkey Lurkey Time: 6.12 (2.59), 7 [1-10] n=142

461. S2E15 - Do You Wanna Touch Me (Oh Yeah): 6.12 (2.28), 6 [1-10] n=119

462. S6E07 - All About That Bass: 6.11 (2.06), 6 [1-10] n=115

463. S5E20 - Girls on Film: 6.1 (1.96), 6 [1-10] n=106

464. S4E01 - Call Me Maybe: 6.1 (2.17), 6 [1-10] n=133

465. S4E16 - The Bitch Is Back/Dress You Up: 6.08 (2), 6 [1-10] n=106

466. S6E06 - Promises, Promises: 6.08 (1.84), 6 [1-10] n=86

467. S2E13 - Sing: 6.08 (2.16), 6 [1-10] n=113

468. S4E21 - Uptight (Everything's Alright): 6.08 (1.94), 6 [1-10] n=89

469. S4E12 - Centerfold/Hot in Herre: 6.07 (2.12), 6 [1-10] n=114

470. S4E12 - A Thousand Years: 6.07 (2.11), 6 [1-10] n=115

471. S1E02 - Take a Bow: 6.07 (2.1), 6 [1-10] n=132

472. S4E05 - Born to Hand Jive: 6.06 (2.02), 6 [1-10] n=112

473. S5E20 - Glitter in the Air: 6.05 (2.34), 6 [1-10] n=85

474. S1E05 - Last Name: 6.03 (2), 6 [1-10] n=117

475. S6E06 - Arthur's Theme: 6.02 (1.87), 6 [1-10] n=94

476. S4E16 - Closer: 6.02 (2.03), 6 [1-10] n=96

477. S2E10 - Last Christmas: 6.02 (2.23), 6 [1-10] n=130

478. S1E20 - Shout It Out Loud: 6.01 (2), 6 [1-10] n=106

479. S3E07 - Jolene: 6 (2.23), 6 [1-10] n=134

480. S4E10 - Hanukkah, Oh Hanukkah: 6 (2.35), 6 [1-10] n=111

481. S4E20 - At the Ballet: 6 (2.32), 6 [1-10] n=130

482. S4E22 - I Love It: 5.99 (1.91), 6 [1-10] n=110

483. S3E16 - How Deep Is Your Love: 5.98 (2.18), 6 [1-10] n=117

484. S3E09 - Santa Claus Is Coming to Town: 5.98 (2.15), 6 [1-10] n=113

485. S2E12 - Fat Bottomed Girls: 5.98 (2.2), 6 [1-10] n=135

486. S1E12 - Smile (Charlie Chaplin): 5.97 (1.97), 6 [1-10] n=110

487. S2E17 - All By Myself: 5.97 (2.32), 6 [1-10] n=108

488. S3E17 - Saving All My Love For You: 5.96 (1.93), 6 [1-10] n=109

489. S3E19 - What Makes You Beautiful: 5.96 (2.06), 6 [1-10] n=126

490. S1E01 - Mr. Cellophane: 5.94 (1.93), 6 [1-10] n=150

491. S5E18 - Wake Me Up: 5.94 (2.27), 6 [1-10] n=99

492. S3E03 - Out Here On My Own: 5.93 (2.04), 5 [1-10] n=90

493. S5E04 - Roar: 5.93 (2.31), 6 [1-10] n=104

494. S5E17 - I'm the Greatest Star: 5.92 (2.25), 6 [1-10] n=105

495. S4E01 - Never Say Never: 5.92 (2.04), 6 [1-10] n=101

496. S3E13 - Let Me Love You: 5.92 (2.06), 6 [1-10] n=97

497. S1E01 - On My Own: 5.91 (1.8), 6 [1-10] n=137

498. S3E11 - I Just Can't Stop Loving You: 5.91 (2.04), 6 [1-10] n=99

499. S1E05 - Alone: 5.91 (2.02), 6 [1-10] n=108

500. S5E14 - People: 5.9 (2.2), 5 [1-10] n=93

501. S1E12 - Smile (Lily Allen): 5.89 (2.14), 6 [1-10] n=122

502. S4E03 - Celebrity Skin: 5.87 (2.38), 6 [1-10] n=105

503. S4E21 - I Wish: 5.87 (1.81), 6 [1-10] n=82

504. S1E21 - Loser: 5.86 (2.13), 6 [1-10] n=114

505. S2E22 - Pretending: 5.86 (2.46), 6 [1-10] n=111

506. S1E16 - Home: 5.85 (2.21), 6 [1-10] n=101

507. S2E07 - Make 'Em Laugh: 5.85 (2.05), 6 [1-10] n=124

508. S6E04 - Thousand Miles: 5.84 (2.15), 6 [1-10] n=107

509. S5E06 - Honesty: 5.83 (1.94), 5 [1-10] n=89

510. S6E06 - They Long to Be Close to You: 5.83 (1.92), 6 [1-10] n=89

511. S3E18 - Cry: 5.83 (2.28), 6 [1-10] n=100

512. S3E05 - Tonight: 5.83 (2.11), 6 [1-10] n=111

513. S2E06 - One Love (People Get Ready): 5.82 (1.84), 6 [1-10] n=106

514. S1E20 - Poker Face: 5.81 (2.37), 6 [1-10] n=140

515. S2E16 - Big Ass Heart: 5.81 (2.4), 6 [1-10] n=129

516. S1E01 - Can't Fight This Feeling: 5.8 (1.96), 6 [1-10] n=134

517. S6E13 - The Winner Takes It All: 5.8 (2.17), 6 [1-10] n=104

518. S4E10 - Jingle Bell Rock: 5.8 (2.18), 6 [1-10] n=108

519. S3E03 - Fix You: 5.79 (2.45), 6 [1-10] n=128

520. S3E22 - Forever Young: 5.79 (2.14), 6 [1-10] n=108

521. S4E19 - Next to Me: 5.78 (1.86), 6 [1-10] n=93

522. S4E02 - Oops!...I Did It Again: 5.78 (2.26), 6 [1-10] n=123

523. S1E16 - One Less Bell to Answer/A House Is Not a Home: 5.77 (2.38), 6 [1-10] n=113

524. S1E04 - Taking Chances: 5.77 (2.21), 6 [1-10] n=121

525. S6E05 - You Spin Me Round (Like a Record): 5.76 (2.22), 6 [1-10] n=105

526. S5E08 - Here Comes Santa Claus (Down Santa Claus Lane): 5.75 (2.57), 6 [1-10] n=97

527. S5E02 - Something: 5.73 (2.12), 6 [1-10] n=90

528. S4E17 - Creep: 5.73 (2.29), 6 [1-10] n=114

529. S4E06 - Look At Me I'm Sandra Dee (Reprise): 5.72 (1.98), 6 [1-10] n=112

530. S6E12 - I'm His Child: 5.72 (2), 5 [1-10] n=75

531. S1E18 - One: 5.72 (2.01), 6 [1-10] n=103

532. S4E22 - To Love You More: 5.71 (2.01), 5 [1-10] n=86

533. S4E16 - I Still Believe/Super Bass: 5.69 (2.42), 6 [1-10] n=130

534. S4E09 - O Holy Night: 5.69 (2.6), 5 [1-10] n=110

535. S5E08 - Rockin' Around the Christmas Tree: 5.68 (2.39), 6 [1-10] n=92

536. S4E10 - Feliz Navidad: 5.68 (2.34), 6 [1-10] n=119

537. S5E14 - Don't Sleep in the Subway: 5.68 (1.87), 5 [1-10] n=96

538. S1E21 - Good Vibrations: 5.68 (2.1), 6 [1-10] n=111

539. S2E02 - The Only Exception: 5.66 (2.32), 6 [1-10] n=127

540. S4E06 - Look At Me I'm Sandra Dee: 5.66 (2.08), 6 [1-10] n=118

541. S4E02 - Everytime: 5.66 (1.91), 5.5 [1-10] n=94

542. S4E11 - I Don't Know How to Love Him: 5.66 (2), 5 [1-10] n=102

543. S1E15 - Burning Up: 5.64 (1.98), 6 [1-10] n=96

544. S1E11 - Don't Make Me Over: 5.63 (2.32), 5 [1-10] n=101

545. S4E19 - Outcast: 5.63 (1.81), 6 [1-10] n=89

546. S5E16 - Let's Wait Awhile: 5.63 (1.82), 5 [1-10] n=91

547. S5E02 - Revolution: 5.62 (1.92), 6 [1-10] n=87

548. S1E14 - Hello Twelve, Hello Thirteen, Hello Love: 5.62 (2.4), 5 [1-10] n=100

549. S6E06 - Baby It's You: 5.62 (1.72), 5 [1-10] n=81

550. S1E20 - Beth: 5.6 (2.28), 6 [1-10] n=124

551. S2E03 - I Look to You: 5.6 (2.29), 5 [1-10] n=109

552. S4E05 - Juke Box Hero: 5.59 (2.04), 6 [1-10] n=116

553. S4E14 - You're All I Need to Get By: 5.59 (1.83), 5 [2-10] n=83

554. S3E11 - Ben: 5.59 (2.38), 6 [1-10] n=129

555. S6E04 - Bitch: 5.59 (2.36), 6 [1-10] n=102

556. S1E04 - Tonight: 5.58 (1.78), 6 [1-10] n=118

557. S5E09 - Whenever I Call You Friend: 5.58 (1.8), 5 [1-10] n=76

558. S5E11 - I Love LA: 5.56 (1.8), 5 [1-9] n=91

559. S2E12 - Firework: 5.55 (2.22), 6 [1-10] n=128

560. S6E13 - Teach Your Children: 5.55 (2.02), 5 [1-10] n=86

561. S3E18 - The Music of the Night: 5.54 (2.23), 5 [1-10] n=109

562. S1E11 - Hair/Crazy In Love: 5.54 (1.99), 6 [1-10] n=126

563. S3E04 - Take Care of Yourself: 5.54 (2.37), 5 [1-10] n=95

564. S1E16 - Fire: 5.53 (1.96), 5 [1-10] n=103

565. S2E22 - As Long as You're There: 5.52 (2.58), 5 [1-10] n=88

566. S6E09 - Break Free: 5.52 (2.12), 5 [1-10] n=96

567. S4E15 - In Your Eyes: 5.51 (1.66), 5 [2-10] n=90

568. S4E18 - More Than Words: 5.51 (2.08), 5 [1-10] n=94

569. S4E19 - Don't Stop Believin' (Rachel): 5.5 (2.44), 6 [1-10] n=128

570. S4E07 - Superman: 5.49 (2.03), 5 [1-10] n=100

571. S4E15 - Unchained Melody: 5.49 (1.86), 5 [1-10] n=92

572. S1E20 - Funny Girl: 5.48 (1.93), 5 [1-10] n=109

573. S2E10 - We Need a Little Christmas: 5.46 (2.3), 5 [1-10] n=108

574. S4E09 - Being Good Isn't Good Enough: 5.46 (2.19), 5 [1-10] n=92

575. S1E01 - I Kissed a Girl: 5.46 (1.98), 5 [2-10] n=147

576. S2E10 - The Most Wonderful Day of the Year: 5.45 (2.15), 5 [1-10] n=108

577. S5E08 - Love Child: 5.44 (2.62), 6 [1-10] n=97

578. S4E19 - You Have More Friends Than You Know: 5.43 (1.95), 5 [1-10] n=103

579. S3E08 - Red Solo Cup: 5.43 (2.38), 6 [1-10] n=136

580. S5E12 - Happy: 5.42 (2.14), 5 [1-10] n=102

581. S2E07 - Nowadays/Hot Honey rag: 5.42 (2.06), 5 [1-10] n=107

582. S2E01 - What I Did for Love: 5.41 (2.26), 5 [1-10] n=104

583. S2E20 - Friday: 5.41 (2.28), 6 [1-10] n=123

584. S4E03 - A Change Would Do You Good: 5.4 (1.93), 5 [1-10] n=100

585. S4E10 - The First Noel: 5.39 (2.28), 5 [1-10] n=99

586. S3E06 - You and I/You and I: 5.39 (2.1), 5 [1-10] n=107

587. S1E02 - Gold Digger: 5.39 (2.42), 6 [1-10] n=141

588. S6E11 - Mickey: 5.37 (2.09), 5 [1-10] n=93

589. S1E18 - Pink Houses: 5.36 (2.29), 6 [1-10] n=129

590. S4E20 - Everybody Hurts: 5.36 (1.84), 5 [1-10] n=107

591. S3E13 - Home: 5.35 (1.82), 5 [1-10] n=91

592. S6E05 - My Sharona: 5.35 (2.19), 6 [1-10] n=103

593. S1E21 - It's a Man's Man's Man's World: 5.34 (2.44), 6 [1-10] n=129

594. S1E07 - No Air: 5.34 (2.26), 5 [1-10] n=132

595. S6E02 - Viva Voce: 5.34 (2.1), 5 [1-10] n=74

596. S1E02 - Push It: 5.34 (2.46), 6 [1-10] n=149

597. S5E17 - Who Are You Now: 5.33 (2.31), 5 [1-10] n=84

598. S6E06 - I'll Never Fall in Love Again: 5.33 (1.93), 5 [1-10] n=83

599. S6E01 - Uninvited: 5.31 (2.37), 5 [1-10] n=96

600. S3E20 - I Won't Give Up: 5.31 (2.17), 5 [1-10] n=93

601. S2E22 - Yeah!: 5.31 (1.94), 5 [1-10] n=94

602. S2E16 - Candles: 5.3 (2.55), 6 [1-10] n=139

603. S4E18 - Your Song: 5.3 (2.06), 5 [1-10] n=103

604. S3E02 - Somewhere: 5.29 (2.1), 5 [1-10] n=99

605. S2E05 - Planet, Schmanet, Janet: 5.28 (2.02), 5 [1-10] n=101

606. S3E12 - Don't Wanna Lose You: 5.27 (2.17), 5 [1-10] n=89

607. S3E12 - Bamboleo/Hero: 5.25 (2.09), 5 [1-10] n=108

608. S6E09 - Friday I'm in Love: 5.24 (2.15), 5 [1-10] n=98

609. S1E15 - What It Feels Like for a Girl: 5.24 (2.21), 5 [1-10] n=121

610. S3E07 - I'm the Only One: 5.23 (2.11), 5 [1-10] n=100

611. S4E09 - Something Stupid: 5.23 (2.22), 5 [1-10] n=109

612. S4E20 - You've Lost That Lovin' Feelin': 5.23 (1.5), 5 [1-10] n=88

613. S1E17 - U Can't Touch This: 5.22 (2.2), 6 [1-10] n=125

614. S1E01 - Sit Down You're Rockin the Boat: 5.21 (2), 5 [1-10] n=145

615. S2E08 - Sway: 5.21 (2.05), 5 [1-10] n=118

616. S4E22 - Rainbow Connection: 5.2 (2.07), 5 [1-10] n=85

617. S2E10 - Welcome Christmas: 5.19 (2.33), 5 [1-10] n=103

618. S5E06 - An Innocent Man: 5.19 (2.23), 5 [1-10] n=91

619. S4E15 - You're All the World to Me: 5.19 (1.48), 5 [1-10] n=81

620. S2E13 - Baby: 5.18 (2.21), 5 [1-10] n=119

621. S5E08 - Mary's Little Boy Child: 5.16 (2.64), 5 [1-10] n=92

622. S1E17 - Physical: 5.16 (2.26), 5 [1-10] n=128

623. S6E10 - The Final Countdown: 5.15 (2.14), 5 [1-10] n=99

624. S3E10 - Wedding Bell Blues (Bill): 5.15 (2.08), 5 [1-10] n=94

625. S3E18 - School's Out: 5.15 (2.03), 5 [1-10] n=116

626. S5E08 - Away in a Manger: 5.14 (2.47), 5 [1-10] n=87

627. S4E02 - Gimme More: 5.12 (2.48), 5 [1-10] n=103

628. S1E10 - Don't Stand So Close to Me/Young Girl: 5.09 (2.42), 5 [1-10] n=131

629. S5E20 - No Time At All: 5.09 (1.96), 5 [1-9] n=81

630. S5E18 - The Rose: 5.07 (2.03), 5 [1-10] n=86

631. S2E14 - My Headband: 5.05 (2.83), 5 [1-10] n=126

632. S2E15 - Afternoon Delight: 5.05 (2.36), 5 [1-10] n=128

633. S5E18 - Piece of My Heart: 5.04 (1.97), 5 [1-9] n=85

634. S6E09 - Lose My Breath: 5 (2.1), 5 [1-10] n=83

635. S5E11 - Vacation: 4.99 (1.84), 5 [1-10] n=76

636. S1E08 - I Could Have Danced All Night: 4.97 (1.81), 5 [1-9] n=124

637. S4E11 - I Only Have Eyes for You: 4.96 (2.03), 5 [1-10] n=85

638. S6E01 - Dance the Night Away: 4.92 (1.84), 5 [1-10] n=78

639. S2E10 - Merry Christmas, Darling: 4.9 (2.1), 5 [1-10] n=102

640. S6E10 - Far From Over: 4.89 (2.08), 5 [1-10] n=76

641. S1E11 - Bootylicious: 4.89 (2.11), 5 [1-10] n=118

642. S1E01 - You're the One That I Want (ver. 1): 4.89 (1.9), 5 [1-10] n=135

643. S3E09 - River: 4.88 (2.39), 5 [1-10] n=116

644. S2E22 - Still Got Tonight: 4.87 (2.19), 5 [1-10] n=93

645. S3E09 - Blue Christmas: 4.85 (2.38), 5 [1-10] n=116

646. S4E20 - Little Girls: 4.85 (1.98), 5 [1-10] n=102

647. S2E13 - I Know What Boys Like: 4.85 (2.41), 5 [1-10] n=120

648. S2E01 - Every Rose Has Its Thorn: 4.84 (1.72), 5 [1-9] n=96

649. S3E19 - Dinosaur: 4.82 (2.46), 5 [1-10] n=129

650. S3E06 - Hot for Teacher: 4.81 (2.57), 5 [1-10] n=134

651. S3E12 - Sexy and I Know It: 4.78 (2.4), 5 [1-10] n=125

652. S6E01 - Let It Go: 4.78 (2.32), 5 [1-10] n=120

653. S4E19 - Fight for Your Right (to Party): 4.75 (2.12), 5 [1-10] n=111

654. S5E17 - NYC: 4.74 (2.1), 5 [1-9] n=78

655. S3E07 - Girls Just Wanna Have Fun: 4.73 (2.73), 4 [1-10] n=132

656. S2E03 - Papa, Can You Hear Me?: 4.71 (2.26), 5 [1-10] n=119

657. S3E18 - The Rain in Spain: 4.69 (2.34), 5 [1-10] n=132

658. S2E16 - Only Child: 4.68 (2.81), 5 [1-10] n=121

659. S1E01 - Leaving On a Jet Plane: 4.65 (1.98), 5 [1-10] n=121

660. S2E22 - Bella Notte: 4.64 (2.06), 5 [1-10] n=109

661. S2E13 - This Little Light of Mine: 4.64 (2.22), 5 [1-10] n=96

662. S2E10 - You're a Mean One, Mr. Grinch: 4.63 (2.32), 5 [1-10] n=117

663. S5E10 - Danny's Song: 4.54 (1.82), 5 [1-9] n=79

664. S5E08 - O Christmas Tree: 4.52 (2.19), 5 [1-10] n=81

665. S6E04 - Whip It: 4.51 (2.3), 5 [1-10] n=103

666. S1E05 - Cabaret: 4.5 (1.94), 5 [1-10] n=105

667. S3E04 - Waiting for a Girl Like You: 4.5 (2.17), 5 [1-10] n=92

668. S5E05 - You Are Woman, I Am Man: 4.5 (2.23), 5 [1-10] n=98

669. S6E04 - Rock Lobster: 4.49 (2.2), 5 [1-10] n=101

670. S2E14 - One Bourbon, One Scotch, One Beer: 4.47 (2.23), 5 [1-10] n=122

671. S2E01 - Getting to Know You: 4.45 (1.82), 5 [1-10] n=94

672. S2E12 - My Funny Valentine: 4.44 (1.88), 5 [1-9] n=104

673. S1E10 - Endless Love: 4.44 (1.96), 4 [1-9] n=107

674. S2E15 - Kiss: 4.38 (2.32), 5 [1-10] n=103

675. S3E13 - You're the Top: 4.36 (2), 5 [1-10] n=96

676. S5E07 - Cheek to Cheek: 4.33 (1.76), 5 [1-8] n=85

677. S1E10 - Crush: 4.32 (2.3), 5 [1-10] n=108

678. S3E04 - Bein' Green: 4.31 (2.25), 4 [1-10] n=127

679. S1E08 - Bust A Move: 4.31 (2.41), 4 [1-10] n=132

680. S2E07 - Conjunction Junction: 4.3 (2.27), 5 [1-10] n=103

681. S1E17 - Ice Ice Baby: 4.21 (2.59), 4 [1-10] n=131

682. S2E09 - The Living Years: 4.2 (2), 5 [1-9] n=96

683. S3E13 - Chapel of Love: 4.19 (2.04), 5 [1-10] n=80

684. S1E08 - What A Girl Wants: 4.16 (1.79), 5 [1-8] n=104

685. S6E07 - Same Love: 4.15 (2.31), 5 [1-10] n=97

686. S3E01 - Big Spender: 4.08 (2.66), 4 [1-10] n=105

687. S1E21 - Tell Me Something Good: 4.04 (2.16), 4.5 [1-8] n=106

688. S2E19 - Nice to Meet You, Have I Slept with You?: 4.01 (2.17), 5 [1-10] n=86

689. S1E10 - (You're Having My Baby): 3.97 (2.26), 4 [1-10] n=135

690. S2E04 - With You I'm Born Again: 3.77 (2.52), 3 [1-10] n=109

691. S5E08 - The Chipmunk Song (Christmas Don't Be Late): 3.7 (2.73), 3 [1-10] n=118

692. S4E01 - Sister Christian: 3.68 (1.98), 4 [1-8] n=79

693. S6E10 - The Trolley Song: 3.49 (1.93), 4 [1-8] n=87

694. S2E08 - Ohio: 3.46 (2.05), 3 [1-10] n=113

695. S4E11 - Baby Got Back: 3.41 (2.63), 2 [1-10] n=116

696. S4E08 - Gangnam Style: 3.26 (2.28), 3 [1-10] n=140

697. S5E07 - The Fox: 3.23 (2.67), 2 [1-10] n=125

698. S2E16 - Jesus Is My Friend: 3.03 (2.08), 2 [1-10] n=106

699. S3E12 - A Little Less Conversation: 2.94 (2.2), 2 [1-9] n=109

700. S1E03 - I Wanna Sex You Up: 2.92 (2.01), 3 [1-9] n=131

701. S5E05 - Blurred Lines: 2.66 (2.38), 2 [1-10] n=131

702. S1E08 - Thong Song: 2.23 (1.85), 1 [1-10] n=138

#glee #glee stats #glee soundtrack rating project #glee soundtrack rating project results #long post #mine

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opera-ghosts · 3 years ago

Text

Tempest, Marie (1864–1942) English actress who was hugely popular in both musical comedy and comic plays. Born Mary Susan Etherington on July 15, 1864, in London, England; died on October 14, 1942; educated at Midhurst and at a convent in Belgium; studied singing at the Royal Academy of Music, London; married Alfred E. Izard (divorced); married Cosmo Gordon-Lennox (an actor and playwright), in 1898 (died 1921); married William Graham Browne (an actor-director), in 1921 (died 1937); no children. Made London debut as Fiametta in Boccaccio (Comedy Theater, May 1885); appeared as Lady Blanche in The Fay o' Fire (Opéra Comique, 1885), in the title role in Erminie (Comedy Theater, 1885); took over the title role in Dorothy (Prince of Wales Theater, 1887); appeared as Kitty in The Red Hussar (Lyric Theater, 1889); made New York debut in the same role (Palmer's Theater, August 1889); toured U.S. and Canada with the J.C. Duff Opera Co. (1890–91); appeared as Adam in The Tyrolean (CasinoTheater, New York, 1891), O Mimosa San in The Geisha (Daly's Theater, London, 1896), in the title role in San Toy (Daly's Theater, 1899), as Nell Gwynn in English Nell (Prince of Wales Theater, 1900), in the title role in Peg Woffington (Prince of Wales Theater, 1901), as Becky Sharp in Vanity Fair (Prince of Wales Theater, 1901), as Kitty Silverton in The Marriage of Kitty (London and New York, 1903); toured America, Australia, and elsewhere (1914–22); appeared as Annabelle Leigh in Good Gracious, Annabelle (Duke of York's Theater, 1923), as Judith Bliss in Hay Fever (1925), as Angela Fane in The Cat's Cradle (Criterion Theater, 1926), in the title role in The First Mrs. Fraser (Haymarket Theater, 1929), as Fanny Cavendish in Theater Royal (Lyric Theater, 1934), as Georgia Leigh in Short Story (Queen's Theater, 1935), as Dora Randolph in Dear Octopus (Queen's Theater, 1938).The celebrated English actress Marie Tempest first graced the stage as a singer in operas and musical comedies before taking up serious acting, at which she was also immensely successful, at age 36. Tempest's phenomenal popularity lay not so much in her creative genius, but in her unique ability to bring much of her own personality and temperament to the characters she portrayed. "She seems to radiate the joy of living," wrote a reviewer for the London Times upon seeing her performance in The Cat's Cradle in April 1926, "to drive it home to us by her mere presence, by the inspiring notes of her voice, and by the depth of worldly experience and indulgence for our human foibles in her glance. Briefly she is a perpetual refreshment and source of pleasure; something for which the theater exists and by which it triumphantly justifies its existence."

Born in London in 1864, Tempest was educated at Midhurst and at a convent in Belgium until age 16, when she took up the study of music, first in Paris and then at London's Royal Academy of Music. While still a student, she made her singing debut at St. James's Hall, and from that time on was hooked on performing. Taking her stage name from her godmother, Lady Susan Vane-Tempest , she began her career singing in the provinces, and made her London debut in May 1885, in the role of Fiametta in the comic opera Boccaccio. Critics unanimously praised her voice but were somewhat divided on the subject of her acting.

In February 1887, after leading roles in The Fay o' Fire, Erminie, and La Béarnaise, Tempest took over the title role in Dorothy from Marion Hood . She played the role for two years, then won great acclaim as Kitty Carroll in The Red Hussar. Tempest made her American debut in that same role, opening at New York's Palmer Theater on August 5, 1889, to the delight of the critics. "It was a success and from the last notes of the song, Marie Tempest was received into the affections of New York theatergoers," wrote one. "After that the opera seemed to be a secondary consideration and the other players were but foils. Tempest only could fill the stage." The actress then toured the United States and Canada with the J.C. Duff Opera Company, taking roles in several well-known operas, including Arline in The Bohemian Girl, the title role in Mignon, and Mabel in The Pirates of Penzance. In October 1891, she returned to New York, where she was in constant demand for the next three years.

Back in London in 1895, Tempest began a five-year engagement at Daly's Theater, then under the management of George Edwardes. Now considered the queen of musical comedy, she was treated like royalty by Edwardes who insisted that she use the royal entrance rather than the stage door, and saw to it that a carriage waited

for her each evening after the show. Tempest also became the first actress to have her clothes designed by couturiers rather than theatrical designers. In 1898, she met and married actor and playwright Cosmo Gordon-Lennox, who also treated her like royalty, indulging her passion for shopping and redecorating. He introduced her to the world of literature and other intellectual pursuits. (Gordon-Lennox was Tempest's second husband; during her Royal Academy days, she had married and divorced Alfred Izard.)

In 1899, Tempest had a falling out with Edwardes over some long trousers he wanted her to wear for the title role in San Toy. She considered them tasteless and cut them into shorts before her first entrance, infuriating Edwardes and destroying their professional relationship. Not only did Tempest walk away from Daly's over the incident, but she turned her back on musical comedy as well. In August 1900, she entered the second phase of her career, opening as Nell Gwynn in English Nell, a play directed by Dion Boucicault, who also helped Tempest make the transition to straight plays. (She was serious about learning her craft, frequently spending an entire morning rehearsing simple stage business, like answering a phone or pouring a cup of tea.) Boucicault also directed Tempest in the title role in Peg Woffington , and as Becky Sharp in an adaptation of Vanity Fair (both 1901). In 1902, also under Boucicault's direction, she played Kitty Silverton in The Marriage of Kitty, which her husband had adapted from the French. The play, a huge success, marked the beginning of Tempest's eight-year relationship with producer Charles Frohman and remained in her repertoire for the next 30 years.

While Tempest was perfecting her acting technique and gaining a new reputation as a talented comedian, her marriage to Gordon-Lennox collapsed. In 1908, she met William Graham Browne, an aristocrat and actor six years her junior; their relationship is described by Eric Johns as the first deep friendship of her life. Their professional and personal association lasted 29 years, until Browne's death in 1937, although they did not marry until after Gordon-Lennox's death in 1921. Browne directed many of Tempest's productions, and encouraged her to further improve her acting. He also served as troubleshooter. "She was far from easy to work with," writes Johns, "and part of Willie's mission in life was to pour oil over troubled waters and keep the troupe together and in a reasonably happy frame of mind."

In September 1913, Tempest began a stint as manager of the Playhouse Theater in London, where she opened in the title role in Mary Goes First. With the outbreak of war in Europe, however, she soon went into debt. To keep afloat, she and Browne set off on a world tour which began in Toronto in October 1914, and over the course of the next eight years took them to New York, Chicago, Australia, New Zealand, South Africa, India, the Straits Settlements, China, Japan, the Philippines, and through the United States. Tempest returned to London's Duke of York's Theater in 1923, playing the role of Annabelle Leigh in Good Gracious, Annabelle, which had been warmly received on tour. The London audience, however, hated the play and hissed and booed their disapproval. "How long I stood there, leaning against the wings I do not know," she told her biographer Hector Bolitho. "Dimly I remember clapping my hands over my ears, trying to shut out that cruel noise. Able to bear it no longer, I rushed to my dressing room and closed the door behind me … after thirty-seven years as a trouper I had been booed for the first time and in London." Tempest also said that something in her died that night and that afterwards she never felt quite the same about her "dear public." To improve her frame of mind, she revived The Marriage of Kitty, and ran nearly a year in it.

It was not until her role as Judith Bliss in Noel Coward's Hay Fever (1925), a role written with her in mind, that Tempest had her next unqualified hit. "The most delightful thing of the evening was to see Miss Marie Tempest coming into her own again with a part which gave every scope for her really distinguished sense of comedy and her admirable technique," wrote the critic for Punch. She "moved the house to a storm of spontaneous applause by the exquisite singing of a little chanson d'amour, and it was in perfect voice—not a note strained or even thin." Hay Fever ran for 337 performances and was followed by The Cat's Cradle (1926), another solid hit for the actress.

Tempest continued to perform throughout the 1930s, celebrating her jubilee on May 28, 1935, with a special benefit performance at the Drury Lane Theater. She was made a Dame Commander of the British Empire (DBE) in 1937, which was also the year she lost Willie, a shattering blow from which she never fully recovered. Her last appearance on the London stage was as Dora Randolph in Dodie Smith 's Dear Octopus, a successful venture that ran for 373 performances. Glen Byam Shaw, who directed the 67-year-old actress in the play, was awed by her genius for stage business, particularly in a scene in which she was listening to her daughter's problems while setting the table for dinner. "As she listened she made table napkins into the shape of water lilies, but fitted each deft movement to the text, thus pointing the daughter's lines in the most apposite manner. It won a round of applause every night."

Tempest was rehearsing for another role, under the direction of Henry Kendall, when it became clear that she was unable to learn her lines and had to be let go. She took the news bravely, although her eyes were filled with tears as she awaited the taxi to take her home. She died within six weeks, on October 14, 1942. Noel Coward had once paid fitting tribute to Tempest: "When she steps on to a stage a certain magic occurs, and this magic is in itself unexplainable and belongs only to the very great."

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toogoodmusic · 3 years ago

Audio

THE TOO GOOD TEN with Brandon Gorman of Wild Love

With a mission to bring the attitude back to pop music, meet your new favorite band Wild Love. The international band combines singer and songwriter Brandon Gorman from Ireland, guitarist Michael Crecca from New York in America and bassist Saygīn Geçener from Turkey as the three enter a new era of Wild Love. Evolving their sound into a hook-driven pop sound that looks to incorporate their previous sound of lively driven rock without “dropping the guitar” the groups returns with the energetic indie-pop-rock song “I Hate That I Need You.” As the group looks to step “out of the filter” with “no bullshit anymore in their lyrics, sonics or how they present themselves” Too Good Music got the opportunity to ask frontman Brandon about the new era of music, how a chance bus stop encounter led to the band’s formation, their craziest fan encounter and so much more. Check out the full Too Good Ten interview below.

The Too Good Ten. Ten Questions. One Artist. Too Good.

1. Starting from the beginning – you guys all met during a “chance high school bus encounter in Virginia” despite being from all over the world (Ireland, Turkey, New York). What’s the full story there? Did you all know right away you guys would be become a band?

WILD LOVE: The full story is I met out former drummer at a bus stop, but it also stretched out over a few day period. I had just moved to America, and I was invited to a party where I met our bass player Si, but we didn’t talk the whole night. Next day we just happened to be heading to DC for the day with a mutual friend and we just hit it off about music. I told him I was starting a band and needed him to play bass and that was it. We played our first gig two weeks later. I think we did know, because we could sense the passion and there is nothing more attractive than that.

2. Congrats on the release of “I Hate That I Need You.” What’s the story behind this one? How did you decide to release this one as the introduction to the new era of Wild Love?

WL: Thank you, yeah the title kind of says it all like. I was having some issues in a relationship and my internal monologue just slipped out. There isn’t much to it other than what’s there. I’m a fairly frank person and you can tell how I'm feeling by just looking at me, so I definitely have been trying to just channel that into my songs. The song also took about 5 minutes to write, which is slightly annoying because I pour hours of time in songs and half of the time, they are rubbish. Yeah, this one just felt right you know. I think it is a great introduction for what’s about to come from us as a band.

3. For you – what’s one thing you need but hate that you do?

WL: Target honestly and I just can’t stop going, I look for any excuse to go there. I don’t even buy anything, but yeah, I need help.

4. Speaking of the new era – this new music is going to be more pop leaning than the more rock sound Wild Love has focused on. What went into the decision to make this transition? What is it about pop music that made you want to explore it more?

WL: I don’t really think there was much of a decision, it has been the natural progression over the last few years in my writing. I have always been such a huge admirer of Pop music old and new. From ABBA to One Direction to Dua Lipa, it's something that is so undeniably brilliant. I found myself listening less to lyrics and more melodies and I think I wanted to chase those myself. I also felt on the more deliberate side of things that pop music has been lacking an attitude for a while and people also don’t give a shit about rock music anymore because everyone sounds like The 1975. So we found ourselves wanting to go after these sounds and hopefully fill a void that I think is there -- give pop the attitude and frankness that it needs.

5. On September 10th you’ll be playing your first full band, in-person live show with The Foxies in Nashville. What are you most looking forward to for that show? What can fans expect from a Wild Love concert?

WL: Just getting in front of people again. Live shows have been this band’s bread and butter for years, it’s the things that gets us the most excited. So getting into a room with people who are all on the same wavelength and just have this moment with everyone is something we’re clamoring for. You can expect a high energy show. Real instruments being played loud by guys who have watched too many videos of Iggy Pop and Sex Pistols.

FOR TICKET INFORMATION CLICK HERE.

6. What was the biggest thing you learned about yourselves (as a band or individually) from going through the past year and a half in quarantine/pandemic?

WL: I learned that you have to have happiness outside of what you love. Once live shows were taken away, I found myself in a space of really lacking purpose. Writing music was definitely a huge help and something I feel very lucky to have had the time to hone in on, but I needed to find something outside of music that makes me happy. So I hiked more, started going to the gym, and being a more present person in my life and my relationships. So yeah, I learned that I was very much in the music and not in much else.

7. What’s the most memorable (funniest/ craziest/inspiring/etc.) fan encounter you’ve ever had?

WL: A girl we know got our band name tattooed on the inside of her mouth which I think is pretty fucking wild.

8. If you had the ability to headline any music festival or musical event – which would be a dream for you to perform at? What would be your closing song for the event?

WL: Either Glasto or Slane Castle in Ireland. Glastonbury is just so iconic, and it has the best crowd in the world. Then Slane Castle is just a few miles down the road from my hometown. I have been and will be dreaming about both my whole life, so here’s to hoping one day I don’t have to dream. I’d say we would end with “I Hate That I Need You” right? It’s just one of those tunes that you can let loose to.

9. For each member, if you could only listen to (5) artists for the rest of your life who would they be?

WL: For me, it’d have to be ABBA, The Vaccines, Arctic Monkeys, Kelsea Ballerini, and Blur.

For Mike, it’s probably Frank Ocean, Bruce Springsteen, Queens of the Stone Age, Bleachers and Arctic Monkeys.

And for Saygīn, I’d say it’s Dayglow, Tame Impala, Hippo Campus, Jacob Collier and Omar Apollo.

10. What’s the rest of 2021 and early 2022 look like for Wild Love?

WL: Push “I Hate That I Need You,” play some more shows, release new music, and hopefully get out on the road and over to Ireland and the UK. Just excited to get out there and show everyone the new stuff we’ve been working on.

A huge shout-out to Wild Love for the time and congrats on the release of the new single, “I Hate That I Need You.” To keep updated with the group and that upcoming music and shows be sure to follow along by checking out the links below:

Facebook

Instagram

Twitter

YouTube

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thecrownnet · 4 years ago

Link

[...] The featured music in The Crown season 4 varies in tone massively. For example, episode three includes various pop tracks that parallel Diana's ascent within the Royal Family, however, the subsequent episode includes no pop music whatsoever. After several music-lite episodes during the second half of the series, the musical tone picks up in the penultimate production. Here's every featured song in The Crown season 4.

Episode 1: "Gold Stick" "Jerusalem" by Sir Hubert Parry: The funeral service for Lord Mountbatten begins. Meanwhile, an Irish man reads a report about the Irish Republican Army taking responsibility for the execution, along with the deaths of 18 British soldiers at Warren Point. The man addresses Irish Republicans and states that Lord Mountbatten was the "ultimate symbol" of imperialist oppression. "Jerusalem" ends as Prince Charles begins his speech.

"Call Me" by Blondie: Diana receives a call from Charles, the Prince of Wales. Shortly before, Charles has a brief second meeting with Diana after the death of Lord Mountbatten.

Episode 2: "The Balmoral Test" "Verdi’s La Traviata – Prelude Act 1" by Giuseppe Verdi: Charles and Diana attend the opera together. Diana explains that she adores Verdi because his music is so romantic, and Charles explains that focusing only on the romantic aspects of the work diminishes the composer's legacy and political influence.

"Scotland the Brave": Margaret Thatcher attends a sporting event in Scotland with her husband Denis and The Royal Family. She doesn't find any value in the experience and states that the country needs to change fundamentally, top to bottom.

"Brandenburg Concerto No. 5 in D, BWV 1050: Affetuoso" by Johann Sebastian Bach: After Diana proves herself to the Royal Family at Balmoral, she's followed by the press in London (and seems to enjoy the attention). Meanwhile, Margaret Thatcher attends a government photo session. A new stag head is also placed in a Balmoral dining room.

Episode 3: "Fairytale"

"Upside Down" by Diana Ross: Diana is briefly shown driving in her vehicle.

"Edge of Seventeen" by Stevie Nicks: Diana returns home after getting engaged to Charles and celebrates with her flatmates. The young women drive around the city and party before the main title sequence. An acapella version of the song also plays during the final credits.

"Vienna" by Ultravox: After an awkward Royal Family event, Diana learns about Royal Family rules and etiquette. A brief insert shot shows Diana waking up at 8:30 a.m. and listening to "Vienna."

"Girls on Film" by Duran Duran: Diana receives mail, watches TV, and then roller skates around Buckingham Palace while listening to "Girls on Film." The song drowns out while she looks at paintings and reflects on her new reality.

"Song for Guy" by Elton John: After discovering that Charles had a bracelet made for Camilla, Diana calms herself by dancing and practicing ballet.

"I Vow to Thee, My Country": Charles greets admirers outside a cathedral. Inside, Diana watches while preparing to confront him about a bracelet for "Gladys" (Camilla).

Episode 4: "Favourites"

The Crown "Favourites" doesn't include any featured songs.

Episode 5: "Fagan" "Boys Don't Cry" by The Cure: Michael Fagan lights a cigarette and takes a walk. The scene kicks off a flashback narrative that details his 1982 break-in at Buckingham Palace.

"Monkey Man" by The Specials: Michael Fagan drinks beer at a pub, spot his ex-wife, and threatens her partner. In a transition sequence, Margaret Thatcher arrives at Buckingham Palace to discuss the Falkland Islands conflict with Argentina.

"God Save the Queen": The Royal Family prepares to meet with the public.

"Queen’s Company" by The Band of the Grenadier Guards: The Queen takes the royal salute during her annual birthday celebration.

"Twenty Four Hours" by Joy Division: Michael Fagan smokes a cigarette after a physical altercation with his ex-wife's parter. The moment comes shortly after he breaks into Buckingham Palace for the first time.

"Whine and Grine/Stand Down Margaret" by The English Beat: The song plays over the end credits and an epilogue about Michael Fagan.

Episode 6: "Terra Nullius"

"Can’t Take My Eyes Off of You" by Frankie Valli and The Four Seasons: Charles introduces Diana in Sydney after a rekindling of their romance. The couple later dances at a public event while the paparazzi take photographs. The song plays again during the end credits.

Episode 7: "The Hereditary Principle" "C'est si bon" by Dean Martin: Princess Margaret applies makeup and watches Queen Elizabeth on television.

"Let’s Dance" by David Bowie: Princess Margaret and Dazzle drink and dance together.

"Fallin" by Connie Francis: Princess Margaret goes on vacation after ending her relationship with Dazzle.

Episode 8: "48:1"

"Fite Dem Back" by Linton Kwesi Johnson: South African people dance in the streets while protesting.

"Inglan Is a Bitch" by Linton Kwesi Johnson: The song plays over the end credits.

Episode 9: "Avalanche" "Othello, Act I: Una vela!" by Giuseppe Verdi: Charles celebrates his 37th birthday at the opera with Diana.

"Swan Lake, Pas De Deux (1), Act II" by Pyotr Ilyich Tchaikovsky: Diana looks at Charlies inside the opera house.

"Fidelio, Op.72, Act II: Intro and Aria" by Ludwig van Beethoven: A man performs on stage while Diana tells Charles that she needs to powder her nose.

"Uptown Girl" by Billy Joel: Diana joins one of the performers on stage. The song drowns out as Charles gazes at Diana and realizes that she'll once again receive more press than him the following day.

"Crazy Little Thing Called Love" by Queen: Diana, William, and Harry sing together during an anniversary road trip to Highgrove Royal Gardens.

"All I Ask of You" from Phantom of the Opera: As an anniversary gift, Diana plays Charles a VHS tape of her performing in costume on the West End. Charles laters mocks his wife while speaking with Anne.

Episode 10: "War"

"Theme from New York, New York": Diana arrives in New York City and attends a public event.

"Baby, It’s Cold Outside" by Ella Fitzgerald: Charles and Diana attend a holiday event after arguing about their marriage.

"Silent Night": The Royal Family poses for a photograph. The season comes to an end by foreshadowing Diana's tragic fate through a shutter flash.

Martin Phipps composed The Crown season 4 score.

#the crown #the crown netflix #the crown season 4 #playlist #songs

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howaminotinthestrokesyet · 3 years ago

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Behind The Album: OK Computer

The third studio album from Radiohead was released in May 1997 by Parlophone Records. This would mark the first album that Nigel Godrich worked on as their producer. The band would self produce the entire album themselves, which they have done on every record since. In 1995, Brian Eno asked the band to contribute a song to a charity compilation for War Child entitled Help. They were scheduled to do the recording in only a day, which led to the track, “Lucky.” Godrich would say of the recording. “Those things are the most inspiring, when you do stuff really fast and there's nothing to lose. We left feeling fairly euphoric. So after establishing a bit of a rapport work-wise, I was sort of hoping I would be involved with the next album." This track would form the foundation of what would become OK Computer. In early 1996, the group took a break from touring because they found it a bit too stressful. Thoughts now turned to a new record with the mindset of distancing themselves from anything similar to The Bends. Drummer Phillip Selway would say, “There was an awful lot of soul-searching [on The Bends]. To do that again on another album would be excruciatingly boring.” The label gave the band a rather good sized budget for recording equipment for the new release. A number of producers were considered for the album, but they kept coming back to Godrich as an advisor on equipment. Eventually, the band hired him as the producer. Ed O’Brien said of the album, “Everyone said, 'You'll sell six or seven million if you bring out The Bends Pt 2,' and we're like, 'We'll kick against that and do the opposite'."

In early 1996, Radiohead began proper recording of the LP at Canned Applause Studios in Oxfordshire, England. Issues immediately came up as the band had difficulty staying focused on one song all the way to completion. Selway would talk about this later, “We're jumping from song to song, and when we started to run out of ideas, we'd move on to a new song ... The stupid thing was that we were nearly finished when we'd move on, because so much work had gone into them." Although the members of the group were considered equals, the voice of Thom Yorke always represented the loudest one in terms of musical direction. Godrich would talk about his role within the group in an interview. They “need to have another person outside their unit, especially when they're all playing together, to say when the take goes well ... I take up slack when people aren't taking responsibility—the term producing a record means taking responsibility for the record ... It's my job to ensure that they get the ideas across." His permanent role on each Radiohead album would lead to the producer being called the sixth member of Radiohead. After only recording four songs, the band left the Canned Applause Studio for a variety of reasons Including the fact that the studio had no bathrooms or dining rooms. They decided to take a break from recording in order to support Alanis Morissette on tour, which gave them a chance to try some of their new tracks live. Around the same time, Director Baz Luhrmann asked the band to contribute a song to his film, Romeo and Juliet. “Exit Music for a Film” would be played as the credits rolled during the movie, but they did not give Luhrmann permission to place the track on the movie soundtrack. Yorke would later observe that this song became very important to the album. It “was the first performance we'd ever recorded where every note of it made my head spin—something I was proud of, something I could turn up really, really loud and not wince at any moment."

In September 1996, the band began recording again at a mansion in Bath, England owned by actress Jane Seymour. Jonny Greenwood would say the environment represented a much more pleasant change for the group. It “was less like a laboratory experiment, which is what being in a studio is usually like, and more about a group of people making their first record together." One quality that the band enjoyed during the sessions came in the fact that they took full advantage of the natural environment of the mansion. “Exit Music for a Film” utilized some natural reverb courtesy of a stone stairwell. They recorded Let Down” in an empty ballroom at 3 o’clock in the morning. The group worked at its own pace as Ed O’Brien observed later. “The biggest pressure was actually completing [the recording]. We weren't given any deadlines and we had complete freedom to do what we wanted. We were delaying it because we were a bit frightened of actually finishing stuff." A majority of the album would be recorded live with no overdubs because Yorke hated them. The band completed the rest of the album at the studio in Saint Catherine’s towards the end of 1996. In January 1997, the strings for the album were recorded, then they spent the next two months mastering and mixing the album. Actually, the mixing of the album only took a couple of days. Nigel Godrich would later comment, “I feel like I get too into it. I start fiddling with things and I fuck it up ... I generally take about half a day to do a mix. If it's any longer than that, you lose it. The hardest thing is trying to stay fresh, to stay objective."

Several artists would influence what would become the finished product of OK Computer. First and foremost came the 1970 album Bitches Brew by jazz great, Miles Davis. Thom Yorke would tell Q what he saw in that recording that made up his vision for this album. “It was building something up and watching it fall apart, that's the beauty of it. It was at the core of what we were trying to do with OK Computer." Other artists that helped to inspire the record included Elvis Costello, REM, PJ Harvey, the Beatles, Can, and composer Ennio Morricone. Jonny Greenwood would describe OK Computer as an attempt to recreate the sound on all these great records, but they missed the mark. The band would expand their instrumentation for this album to include electric piano, Mellotron, cello and other strings, glockenspiel and electronic effects. Spin would say this about the release, “A DIY electronica album made with guitars." The lyrics to the album focused on themes much more conceptual when contrasted with The Bends. Yorke would sing about a wide variety of topics including transportation, technology, insanity, death, globalism, capitalism, and more. The singer would say, “On this album, the outside world became all there was ... I'm just taking Polaroids of things around me moving too fast." He also took inspiration for some of the lyrics from a selection of books including Noam Chomsky, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We're In, Jonathan Coe's What a Carve Up! and Philip K. Dick's VALIS. Despite the abstract nature of the lyrics on the record, many critics have looked upon OK Computer as a concept album. They argue that there exists a singular theme running throughout the record, but the band has consistently denied any attempt at making such a release. Jonny Greenwood commented, “I think one album title and one computer voice do not make a concept album. That's a bit of a red herring." They did pay particularly close attention to the order of the tracklist taking almost two weeks to complete it.

The album opens with “Airbag,” which highlights the drumming of Phillip Selway. The track had been inspired by the work of DJ Shadow. The band would later admit that they represented novices in this attempt to base a song on DJ Shadow due to their lack of time with programming. Yorke had actually read an article in a magazine entitled “An Airbag Saved My Life.” Another book that helped to create the basis for the song lyrics emerged in the Tibetan Book of the Dead. Yorke had always been obsessed with the idea that any time you get into a car you could possibly die at any second. The second track “Paranoid Android” stands out as one of the longest tracks in the band's entire catalog. Two songs inspired it from classic rock, “Happiness Is a Warm Gun” by the Beatles and “Bohemian Rhapsody” by Queen. The lyrics are meant to reference the alien from Douglas Adams’s A Hitchhiker’s Guide to the Galaxy. Yorke got the idea after watching a woman lose her mind after a drink spilled on her at a bar in Los Angeles. “Subterranean Homesick Alien” referenced “Subterranean Homesick Blues” by Bob Dylan. The lyrics are meant to refer a person who is abducted by aliens, then returns home to realize his life is in no way any different. The beginnings of the theme for this track actually began for the singer in private school when he had an assignment to recreate a British literary movement called Martian poetry. Romeo and Juliet by William Shakespeare inspired the lyrics to “Exit Music for a Film.” This should come as no surprise as the band had specifically created the song for a remake film. Yorke would use it as a chance to simply recap the entire narrative in the song because Zeffirelli’s version of the film greatly affected him at the age of 13. “I cried my eyes out, because I couldn't understand why, the morning after they shagged, they didn't just run away. It's a song for two people who should run away before all the bad stuff starts.” The singer had tried to replicate Johnny Cash’s Live at Folsom Prison as he sang along to his acoustic guitar. “Let Down” represented an attempt by the band to recreate the sound made famous by Phil Spector and his wall of sound. Yorke would later comment that the lyrics are “about that feeling that you get when you're in transit but you're not in control of it—you just go past thousands of places and thousands of people and you're completely removed from it.” The singer would look upon such lyrics as perfect symbolism for Generation X, which had strongly influenced the direction of it. “Karma Police” contains two major sections that alternate between piano and guitar, which originally came from “Sexy Sadie” by the Beatles. The title of the song was an inside joke between the band during the previous tour. If something bad happened to someone, they would say that the karma police were going to get them. The short Interlude “Fitter, Happier” became something that the Radiohead frontman wrote in 10 minutes while on a break. The voice came from the Macintosh Simpletext software application. He would later describe the words as a “checklist for slogans from the 1990s.”

“Electioneering” turned out to be one of the band’s heaviest rock oriented songs probably ever with lyrics that were inspired by the Poll Tax Riots. Another source of inspiration came in the book Manufacturing Consent by Noah Chomsky. “Climbing Up the Walls” has been described by Melody Maker as “monumental chaos.” The track was arranged by Johnny Greenwood for 16 instruments based on composer Krzysztof Penderecki's “Threnody to the Victims of Hiroshima.” No Surprises” would be initially inspired by “Wouldn’t It Be Nice” by the Beach Boys, but they really wanted to replicate the mood of “What a Wonderful World” by Louis Armstrong or the soul music of Marvin Gaye. Yorke would say the song’s narrator is “someone who's trying hard to keep it together but can't.” The track that started it all “Lucky” was actually inspired by the Bosnian War. Yorke wanted to illustrate the actual terror of that conflict on the charity album, Help. Another theme that he drew upon emerged in his own anxiety about transportation. Critics have likened the guitar on the song to 1970’s Pink Floyd. The final track on the album “The Tourist” was specifically arranged by Jonny Greenwood to create a bit of space on the LP. The lyrics originated from Yorke witnessing tourists in France trying to see as many sites as possible. The title of the album came from the 1978 radio series based on The Hitchhiker’s Guide to the Galaxy when character Zaphod Beeblebrox says, “Okay, computer, I want full manual control now." They had first heard the line while listening to the series on the bus for their tour in 1996. Yorke would say this about the title later. It “refers to embracing the future, it refers to being terrified of the future, of our future, of everyone else's. It's to do with standing in a room where all these appliances are going off and all these machines and computers and so on ... and the sound it makes." The artwork would be created by both Yorke and Stanley Donwood using a computer. The Radiohead singer would observe this about the art, “It's quite sad, and quite funny as well. All the artwork and so on ... It was all the things that I hadn't said in the songs."

Leading up to the release of the album, the band got very little support from Capitol Records because they did not have too much faith in the commercial potential of it. Much of the pessimism came in the fact that the record did not have any singles to put on the radio. Ed O’Brien would call it the “lack of a Van Halen factor.” The singles that were released from OK Computer included “Paranoid Android,” “Karma Police,” and “Lucky.” All of the singles charted in the top 10 in the UK, while they also did very well making the top 20 on the US charts. Their official website was created in order to promote the record, as well as some non-traditional promotional techniques by the record label. One such idea came in their decision to take out full-page ads in popular British newspapers and magazines with only the lyrics to “Fitter, Happier.” Another promotion sent out floppy disks to people in the press, which included many Radiohead screensavers. Upon its official release, OK Computer would debut at number one on the UK charts, while in the US the record made it to number 21. Please note that this was the highest American debut for the band. By September 2000, the release had sold 4.5 million copies worldwide.

Critics loved the album across the board. Writer Tim Footman would comment, “Not since 1967, with the release of Sgt. Pepper's Lonely Hearts Club Band, had so many major critics agreed immediately, not only on an album's merits, but on its long-term significance, and its ability to encapsulate a particular point in history." Many critics saw it as a very important album. Mojo wrote in their review, “Others may end up selling more, but in 20 years' time I'm betting OK Computer will be seen as the key record of 1997, the one to take rock forward instead of artfully revamping images and song-structures from an earlier era.” The New Yorker would congratulate the band on taking many more risks artistically then their contemporaries like Oasis. “Throughout the album, contrasts of mood and style are extreme ... This band has pulled off one of the great art-pop balancing acts in the history of rock." Most of the reviews that were slightly mixed seemed to focus on the fact that when compared with The Bends, this record did not contain as many catchy songs. The release would go on to win the Grammy for Best Alternative Album, but did not win Album of the Year. The praise for the album seemed to inundate the band a little too much. Also, Radiohead did not agree with the universal assessment that they had made the greatest progressive or art rock record since Dark Side of the Moon. Thom Yorke would say, “We write pop songs ... there was no intention of it being 'art'. It's a reflection of all the disparate things we were listening to when we recorded it."

The legacy of the album came to be represented in a variety of ways. First, the release of OK Computer coincided with the election of Tony Blair. Some writers have pointed to the pessimism on the record as a sign of things to come. Stephen Hayden would write, “Radiohead appeared to be ahead of the curve, forecasting the paranoia, media-driven insanity, and omnipresent sense of impending doom that's subsequently come to characterise everyday life in the 21st century." Second, the arrival of this album directly coincided with the decline of Britpop. The Oasis album Be Here Now did not attain the commercial or critical success that What’s the Story Morning Glory had received in 1995. Third, OK Computer directly influenced a new generation of artists including bands like Bloc Party and TV on the Radio. The album has landed on many lists over the subsequent years as one of the best releases of the decade and all time. Yet, not all retrospective reviews have been kind to OK Computer as it has also landed on some lists as one of the most overrated records of all time. A New Musical Express column criticized the release as the exact point when Radiohead stopped being good, but instead started to become important.

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fayewonglibrary · 4 years ago

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Faye Wong’s 18 best songs (2020)

from Cantopop to grunge, Chungking Express to Final Fantasy VIII – Hong Kong’s ultimate 90s diva

From her Chinese-language covers of The Cranberries, Tori Amos and Cocteau Twins to her iconic statement album Di-Dar, Pledge and 100,000 Whys, Faye Wong left an enduring mark on the Asian music scene – from alternative Western styles to big balling ballads, and embracing Cantonese before returning to her native Mandarin

Faye Wong was the ultimate Hong Kong diva of the 1990s. Her nightingale voice, artistic persistence, indifference to fame and unmistakable style made her one of the city’s most singular celebrities.

While most of us might know her for that cover of The Cranberries’ Dreams, or providing the vocals to Eyes On Me, the ending theme song for Final Fantasy VIII , Wong didn’t hit the big time until her fourth studio album “Coming Home”. After a modelling stint and coming third in a singing competition, Wong had been signed by Cinepoly and came under the tutelage of Tai See-chung, who also trained Hong Kong megastars such as Anita Mui, Aaron Kwok, Andy Lau and Leon Lai.

Her original name Wang Fei was considered too mainland-sounding for the Hong Kong market and her record label gave her the name Shirley Wong. However, given the mediocre success of her first three albums, she was sent to New York to undertake vocal training and as a cultural exchange. It was in the Big Apple where the artist found herself, saying in an interview:

“I wandered around, visited museums and sat at cafes. There were so many strange, confident-looking people. They didn't care what other people thought of them. I felt I was originally like that too, independent and a little rebellious. But in Hong Kong I lost myself. I was shaped by others and became like a machine, a dress hanger. I had no personality and no sense of direction.”

It was this realisation that led to her becoming the idol that she is today, a performer who gradually transitioned from Cantopop love ballads to composing alternative tunes for her own albums. While she has taken a step back from the limelight since her second marriage in 2005, here are our favourite songs by the Cantopop queen turned alternative musician.

Vulnerable Woman

In 1992, Greed of Man was TVB’s big budget show of the year and is still lauded as one of the network’s best dramas. Faye Wong’s Vulnerable Woman was the music played when the heroine tragically died. The song immortalised the scene in the hearts of viewers all over Hong Kong.

No Regrets

“No Regrets” was the follow up album to “Coming Home” and it didn’t disappoint. The eponymous single was a huge hit.

Monsoon

Another hit from the “No Regrets” album. A mellow Cantopop number that resounded in the halls of karaoke lounges for years to come.

Summer of Love

“100,000 Whys” is the album where many see Wong coming into her own. Shedding her stage name Shirley, Wong went back to using her given name – Wang Fei – in Chinese and changed her English name to Faye. Her album brought grunge to the Hong Kong public’s consciousness as well as adopting other bold style experiments of the time. Summer of Love was a small step away from the string of ballads she was known for and appealed to her younger fans.

Cold War

A cover of Tori Amos’ Silence of the Year with lyrics beautifully adapted by Albert Leung. Amos’ vocals weren’t easy to replicate and Wong was able to apply her style while staying true to the original.

Pledge

The Beatles’ “White Album” was considered to one of their best as well as being one of their more experimental. For Wong’s fans, her choice to issue the “Random Thoughts” album in white with the words embossed in cream, came to feel similarly pivotal. Covering two songs by the Cocteau Twins, this album was Wong’s first move into alternative rock. Pledge is the first song she wrote alongside her then partner and eventual husband Dou Wei and was the first original Mandarin song to be featured on tracklists.

Dream Lover

Wong’s cover of The Cranberries’ Dream is a landmark due to the fact that she adapted lead singer Dolores O'Riordan’s vocal style of keening and yodelling thereafter. The song was featured in Wong Kar-wai’s much acclaimed feature film, Chungking Express, which Wong also starred in, catapulting her into the international spotlight.

Sleepwalk

This song showcased Faye Wong growing into her adopted style, using a slight yodel in the intro to this original score by C.Y. Kong.

Honeymoon

The next album, “Please Myself”, while not as much of a commercial success as “Random Thoughts”, included this hit single, and also the title track and Exit on the tracklist, all self-penned by Wong.

Angel

The year 1994 was a prolific one for Wong as not only did she release two Cantonese albums but a Mandarin one as well, with translated works and a few original scores. Angel continued Wong’s experiment with alternative music and was also the theme song of the fantasy film, Mermaid Got Married.

Brink of Love and Pain

The ballad that anchored the “Please Myself” album was one of the last conventional Cantopop songs by the pop diva and began the divide between her own musical style, and commercial and mainstream tastes.

Di-Dar

Di-Dar was featured number 27 in Ming Pao Weekly's list of “40 Classic Cantopop Albums of the Last 40 Years” in 2008. Music journalist Fung Lai-chee described it as “the best psychedelic and bestselling avant-garde work in Cantopop, with songs that are self-centred, ignoring [the] market and others' work.”

Ambiguous

This ballad was written to appeal to the mass market and is a favourite among Wong’s fans.

Anxiety

Considered one of the riskiest albums of Wong’s to date, this album falls squarely in the alternative category. Many of the songs didn’t include proper lyrics – a cardinal sin in the age of karaoke – and it wasn’t well-received by the mainstream market at the time. However this album scores high in listenability and deserves more of an audience.

Eyes on Me

It was a matter of national pride when Wong provided the vocals for the ending theme for arguably one of the most popular RPG games of the 1990s, Final Fantasy VIII. It was the era just before streaming took off and YouTube even existed so scores of fans forged ahead to finish the game, solely to arrive at the end credits to hear the song.

Hundred Years of Solitude

The “Lovers & Strangers” album was one of Wong’s bestselling albums and after its release in 1999, Guinness World Records declared Faye Wong the best selling female Cantopop artist of all time. It was also the beginning of Wong’s departure from prioritising the Hong Kong market and releasing more and more songs in Mandarin, her mother tongue.

Chanel

Wong established herself more clearly as a songwriter by penning five of the songs on the tracklist of the “Fable” album. Her singing style had matured and moulded itself to her style of songwriting while she pushed at the boundaries of popular music.

Withered Flower

“To Love”, released in 2003. was the last of Wong’s studio albums to date and Withered Flower the last Cantonese song she has presented to her Hong Kong fans.

by: Lisa Cam

------------------------------------------------------------------

SOURCE: SOUTH CHINA MORNING POST

#2020

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malcolmfm · 5 years ago

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* 𝐡𝐞𝐥𝐥𝐨 𝐛𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥 𝐩𝐞𝐨𝐩𝐥𝐞 , i hope u are all doing fabulous . my name is 𝐤𝐨𝐝𝐲 , & i can’t even begin to explain how excited i am to be a part of this group . i come from the 𝐩𝐬𝐭 𝐭𝐢𝐦𝐞𝐳𝐨𝐧𝐞 , my pronouns being 𝐬𝐡𝐞 / 𝐡𝐞𝐫 . i am so happy & so fortunate to be able to write with you all , as all your characters are just amazing . if any of u are interested in plotting & becoming the best of friends , please give this post a 🖤 to consent to an endless love spam in ur ims .

new york’s very own malcolm ‘ mac ’ dunn was spotted on broadway street in converse chuck taylor’s . your resemblance to joe keery is unreal . according to tmz , you just had your twenty - fourth birthday bash . while living in nyc , you’ve been labeled as being contumacious , but also jocular . i guess being a taurus explains that . three things that would paint a better picture of you would be comic filled bookshelves , roughed up sneakers , and laughter floating through a room .

tw ﹕ depression , suicide attempt .

* 𝐠𝐞𝐧𝐞𝐫𝐚𝐥 .

𝐟𝐮𝐥𝐥 𝐧𝐚𝐦𝐞 ﹕ malcolm ronan dunn . 𝐧𝐢𝐜𝐤𝐧𝐚𝐦𝐞 ﹕ mac , mac daddy ( no one calls him this , he calls himself this 🙃 ) , mac attack . 𝐚𝐠𝐞 ﹕ twenty - four . 𝐝𝐚𝐭𝐞 𝐨𝐟 𝐛𝐢𝐫𝐭𝐡 ﹕ may thirteenth . 𝐠𝐞𝐧𝐝𝐞𝐫 / 𝐩𝐫𝐨𝐧𝐨𝐮𝐧𝐬 ﹕ cismale / he ﹕ him . 𝐬𝐞𝐱𝐮𝐚𝐥 𝐨𝐫𝐢𝐞𝐧𝐚𝐭𝐢𝐨𝐧 ﹕ heterosexual . 𝐫𝐨𝐦𝐚𝐧𝐭𝐢𝐜 𝐨𝐫𝐢𝐞𝐧𝐭𝐚𝐭𝐢𝐨𝐧 ﹕ heteromantic . 𝐧𝐚𝐭𝐢𝐨𝐧𝐚𝐥𝐢𝐭𝐲 ﹕ american . 𝐞𝐭𝐡𝐧𝐢𝐜𝐢𝐭𝐲 ﹕ irish , english , scottish . 𝐜𝐚𝐫𝐞𝐞𝐫 ﹕ malcolm first began his career as an actor during his teenage years with michael cera’s filmography . he has starred in films that include juno , superbad , nick & norah’s infinite playlist , & scott pilgrim vs . the world . since he had the opportunity to help write & produce songs for the spvtw soundtrack , this eventually led to his transition from acting to becoming a musician , claiming twenty one pilots as his sound . currently he has only released the album blurryface , & has recently concluded the blurryface tour . presently , he is now writing & producing songs for his upcoming album , trench . 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫 𝐢𝐧𝐬𝐩𝐨 ﹕ chandler bing friends , ron weasley harry potter , star - lord guardians of the galaxy , steven hyde & michael kelso hybrid that 70s show , scott pilgrim scott pilgrim vs . the world , jim halpert the office , cody ko youtube , beast boy teen titans , steve harrington stranger things .

* 𝐝𝐢𝐬𝐬𝐞𝐫𝐭𝐚𝐭𝐢𝐨𝐧 .

malcolm ronan dunn is the first born of derrick & vivian dunn , that alone creating a set sum of high expectations for the male descendent . being the genesis of what would eventually be a very famed family , it entails great pressure of being the eldest . being the offspring of a prominent actor during the 80s turned car mogul & one of the most exceptional astrophysicists of this decade , it was said that malcolm was destined to be an extension of their talents . his childhood was as ordinary as any other , attending school & having juvenile interests . . though one prominent influence in his life was music . ever since he was a baby , a set of hazel hues twinkled & cheeks were perked by harmonies that would liven up a room . by the time he was eight years old , he had already been familiar with all of queen’s discography & can partake in a discussion of how music truly defines our society .

advancing several years ahead , malcolm reaching the ripe age of sixteen , it was then he set his sights on becoming an actor . by the time he had made this realization , he had already been writing music of his own & had become what many would consider an expert drummist . however , music was subsided as a hobby for the time being , as his parents insisted that is what it was meant to be , just a hobby . his parents , his father in particular , was very ecstatic to hear that his son’s interests in becoming an actor . with the vast amount of connections he accumulated during his cinematic years , it had only took a single phone call for malcolm to star in his very first film . a quality in which almost anyone who had known mac is how effortlessly comical the boy was , & could light up just about any crowd with vivacious laughter . the boy’s innately jocular mannerisms is what landed him in his first role as evan in the seth rogan production of superbad . this film would end up being one of malcolm’s most prominent roles in his acting career , alongside scott pilgrim . following his comedic role , he starred as paulie bleeker in the romantic drama juno , which would be his first role in the romantic genre . the project that quickly followed afterward was nick & norah’s infinite playlist , leading as nick in a romance accompanied with comedy . after receiving roles back to back , his name began to rise up in day - to - day conversations , especially amongst younger audiences . he accumulated a vast & very dedicated following , all expressing their adoration for the boy & his charmingly dorkish demeanor . once he hit the age of eighteen , it was then when he landed on what would be his final role in a film , for at least awhile . the media was in a frenzy once it was revealed that malcolm would be portraying scott pilgrim in the upcoming picture , scott pilgrim vs . the world , based on the graphic novel series by bryan lee o'malley . malcolm would consider this role to be his personal favorite , as he was already a devout fan of the graphic novels to begin with , so being able to portray one of his most favorite fictional characters . . a dream , he’d say . not only was the spvtw production his favorite because of his role , but because of the heavy influence music had in the film . he was fortunate enough to be able to write & perform on the soundtrack , along the side of the best song writers in the industry . this is what ultimately led to his decision to transition from acting to becoming a musician , & his involvement in this film is what made many people realize that malcolm was quite the virtuoso .

tw ﹕ depression , suicide attempt .

when malcolm had settled on becoming a musician , his mental state began to gradually decline once he revealed this ambition to his parents . to say the least , they were not very supportive of his shift in careers , especially on what career he was shifting onto . considering malcolm did not have much going for him academically , this alone had concerned his parents . being an actor was what they considered to be stability for him , so to be presented with this news was dismaying on their behalf . the pair genuinely had exhibited zero faith in their son becoming a successful musician , & had forewarned him that there were thousands of talented musicians , essentially raising the question ﹕ ❛ what makes you think you will be good enough to make a living out of this ? ❜ . malcolm felt dispirited by his parents lack of encouragement , as well as faith in himself , to pursue the one thing he has been passionate about since the days of his youth . eventually , the voices in his head began to deter him from fulfilling his passion , & convincing him that he has amounted to a failure . among other contributing factors , malcolm eventually slipped into a deep depression for several months . his days would be spent lying in bed , in a state of restlessness , often skipping meals for the fact that he genuinely did not feel like nourishing his body . the mental state he was exhibiting was so detrimental , that his own life began to be at risk . there would be days where he would wonder what would come from ingesting more pills than what he was prescribed , or having his head remain sunk beneath his bath water for more than a few minutes . on one evening in particular , he decided to test his theory , as he had been sprawled upon the tiles of his bathroom , a capsule of his medication clutched within his palm , ebony hues ascended onto the ceiling in what he believed would be his final moments . he was in too deep . . convinced that there was no light at the end of this tunnel . though fortunately enough , his younger sister , discovered him at just the right time & immediately demanded that he receives help .

end trigger warning .

after several months of therapy , the virtuoso had begun feeling tremendously better , his mental wounds somewhat healed though not entirely . during his dark times , he managed to get some writing done , the various pieces which would eventually be released as his first official album , titled blurryface . by the time he had turned twenty two , the album made its debut & became one of the most streamed albums of the year , & won a grammy for top rock album of the year , along with many other achievements . his most popular tracks off the album include stressed out , ride , tear in my heart , & we don’t believe what’s on tv . his second album , trench , is currently in production & will be releasing singles when the time calls for it . while his depression hasn’t been entirely rid of , he a majority of the time is content with the way life is going .

* 𝐩𝐞𝐫𝐬𝐨𝐧𝐚𝐥𝐢𝐭𝐲 .

as mentioned before , he is the most comical guy , & often uses humor as a coping mechanism . you are likely to hear him crack a joke at inappropriate times , & find him laughing in scenarios that make him uncomfortable . he often gets himself into trouble for this , naturally . malcolm has a very robin williams - esque to him , where making others laugh & feel happy to be one of his favorite past times . however , you would never suspect that someone so animated would be suffering from depression . admittedly , he has improved since the evening his sister discovered him , but of course , it still continues to creep its way back into his mental . he doesn’t like to talk about what had happened , & it was hidden from the press entirely so he wouldn’t be pitied or constantly reminded of that night . he tends to avoid the topic of it altogether . the man is one of the most loyal people you could ever meet , & would do absolutely anything for those he loves . his sister , markelle , being a prime example of this . he loves his family more than he loves himself , & prioritizes their well being before his own . he often kept his depression disclosed from them , as well as his friends , for he genuinely did not want anyone to be concerned , in spite of having a reason to be . he is always willing to be the hero in someone else’s story , but never his own , which is probably the most heartbreaking yet beautiful aspect about him . he would sacrifice his own life if it meant that the people who he cared about would be safe , & exhibits bravery in any conflict he finds himself in . to those who don’t know him personally , or even people that do , they would simply describe him as a happy go lucky guy who is constantly seeking an adventure .

malcolm is the kind to downplay his achievements , exhibiting a humble attribute , & is truthfully touched by anyone who enjoys his work . having been told that his work always lifts someone’s spirits when they are down , or his films being involved in the most memorable moments in a person’s life . . that shit means the absolute world to him , & gives him a feeling that he would want to live on for a lifetime . the man loves music , & incorporates music in his life on the daily , for it has the biggest influence on him . his stage presence is truly fucking awesome , for you are truly getting your money’s worth by attending a concert of his . he feels alive & a rush when he is standing before thousands of people , & his faith in the world is always restored when he hears the crowd sing in unison as he performs . there is nothing he loves more than music , & music is an element of what makes him who he is . he is extremely supportive of those who pursue music , or anything , really . he has an understanding & admiration for those who are super passionate about their craft . however , he certainly has his unfavorable qualities as well , & we have to keep it 100 in this house . the guy can be an absolute juvenile when he wants to be , & you almost forget that you are dealing with a twenty four year old in conversation at times . his inner child can get the best of him at times , so he may handle certain situations inappropriately . not only that , he can be incredibly stubborn . varying on the cause , if he is adamant about something , he will disregard the opinions of what anyone has to say about it , even if they are looking for his best interest . in spite of all his achievements , he still can be incredibly insecure with himself or his work , & is his own worst critic . considering he isn’t academically acclaimed , he can be a bit dense . . sometimes it’s frustrating , for you genuinely wonder if he utilizes any brain power . sarcasm is one of his many defense mechanisms , & he can be pretty blunt when he wants to be , something offensive slipping from his lips & likely not even acknowledging how insulting it may sound .

#so . fucking . LONG .#i am SO sorry .#my fingers are in pain ODIFJVDOFV .#but hi everyone ily !#let me love u down !#wealthyhq:intro

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warninggraphiccontent · 4 years ago

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20 November 2020

Some personal news

Funny how whenever anyone says they have 'some personal news', it's always professional news, isn't it?

It was my turn yesterday. After more than seven years at the Institute for Government, I've decided it's time for a new challenge. I'll be going freelance from 1 January, so please get in touch if you'd like to work with me (all interesting projects on data, digital, openness, government, etc considered). I'll also be working on a book idea. Exciting, if also a little bit vaguely terrifying...

I'll still be an associate at the IfG, and still running our Data Bites event series. (Put Wednesday 2 December in your diary for the next one, and then Wednesday 3 February 2021 after that.)

And - rest assured! - I'll still be writing this newsletter, though it will be taking a break for much of December.

Just one more thing this week: I have a report out (with colleagues Marcus and Oliver) on digital government (in the UK) during the coronavirus crisis. There's a nice write-up from diginomica here, some nice quotes for the paperback from Tanya Filer and Tom Loosemore, and I'll be on the IfG podcast talking about it later. I'm a big fan of this chart, which tells the story of the crisis through visitors to GOV.UK.

This is the second of three reports on digital government we're publishing this autumn - the first was on policy making in a digital world, and the third, on future technology and the government workforce, will be out soon.

Have a great weekend

Gavin

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Today's links:

Graphic content

Viral content

3D Map of COVID Cases by Population, March through Today (r/dataisbeautiful)

Covid in the U.S.: Latest Map and Case Count* (New York Times)

Here’s a quick thread on what we changed and why (Charlie Smart)

Visualizing Covid-19 Deaths As Spheres in a Tank (r/dataisbeautiful)

Why rich countries are so vulnerable to covid-19* (The Economist)

COVID wriggling its way up county by county, subsiding, and then returning in six dimensions (Benjamin Schmidt)

States That Imposed Few Restrictions Now Have the Worst Outbreaks* (New York Times)

Coronavirus: Inside test-and-trace - how the 'world beater' went wrong (BBC News)

How have COVID-19 rates changed over the last week in England's small areas? (Carl Baker)

New York and the crisis in mass transit systems* (FT)

The kids aren’t alright: How Generation Covid is losing out* (FT)

The vaccines come of age

An effective covid-19 vaccine is a turning point in the pandemic* (The Economist)

Eurozone economy: the struggle to stay afloat until a vaccine arrives* (FT)

The world will soon have covid-19 vaccines. Will people have the jabs?* (The Economist)

Tracking the vaccine race (Reuters)

A man for Four Seasons

Even in Defeat, Trump Found New Voters Across the U.S.* (New York Times)

How Trump’s presidency turned off some Republicans – a visual guide (The Guardian)

Counties That Suffered Higher Unemployment Rates Voted for Biden* (New York Times)

In 2020, the critical must-win states were the 'blue wall'. By 2024, they could be Arizona, Georgia or even Texas (Aron)

Suburban turnout pushed Joe Biden to victory* (FT)

How Suburbs Swung the 2020 Election (Bloomberg CityLab)

Here’s how long it could take to certify the vote in key states — and the GOP efforts to upend that process* (Washington Post)

#dataviz

#ElectionViz: US TV networks have room for data storytelling improvement (Tableau)

Tracking the US election results: 'We needed to be clear, fast, and accurate' (The Guardian)

Sport and leisure

Lewis Hamilton's seventh F1 world title: The stats (BBC Sport)

How new swing techniques are revolutionising golf* (The Economist)

“The Queen’s Gambit” is right: young chess stars always usurp the old* (The Economist)

Who’s in the Crossword? (The Pudding)

Everything else

The State of Ageing in 2020 (Centre for Ageing Better)

Skyscrapers in London: Do we want to reach for the stars?* (The Times)

Atlas of Sustainable Development Goals 2020 (World Bank)

Boeing’s Max jet set to return just as customers head for exit* (FT)

Behind the tally, names and lives* (Washington Post)

Climate graphic of the week: Siberia experiences record temperatures* (FT)

Meta data

Viral content

Digital government during the coronavirus crisis (IfG)

What has digital government in the UK learned during the COVID-19 crisis? (diginomica)

Investigation into government procurement during the COVID-19 pandemic (NAO)

How DWP managed a surge in demand for Universal Credit during COVID-19 (diginomica)

Vaccine rumours debunked: Microchips, 'altered DNA' and more (BBC News)

Health

Crowdsourcing Our NHS AI Lab Skunkworks Project (NHSX)

Working on a global mental health databank pilot (Wellcome Digital)

National project shows digital inclusion is key to tackling health inequalities (Good Things Foundation)

UK government

The National Data Strategy for Health and Care (and the other one for everything else) (medConfidential)

The UK National Data Strategy 2020: doing data ethically (ODI)

Matt Warman's speech on digital identity at Identity Week 2020 (DCMS)

Integrated Review (the Prime Minister)

The latest release of @ONSgeography's National Statistics UPRN Lookup links #UPRNs to postcodes (via Owen Boswarva)

The Document Checking Service: trialling online passport validity checks (Government Digital Service)

A possible expansion of FOIA... (via George Greenwood)

Taiwan

How Taiwan beat Covid-19* (Wired)

Taiwan’s civic tech gift to the world (GovInsider)

How Taiwan became a coronavirus success story (IfG, from June 2020)

North America

Data disappeared: four years of the Trump administration (Highline)

How the U.S. Military Buys Location Data from Ordinary Apps (Motherboard)

The federal government’s chief information security officer is helping an outside effort to hunt for alleged voter fraud* (Washington Post, via Alice)

Zuckerberg and Dorsey to be quizzed by Senate following Biden vote victory (BBC News)

Companies could face hefty fines under new Canadian privacy law (CBC)

Analysis (Cory Doctorow)

Everything else

Announcing the Data Collective: Free training, consultancy, peer support, and community for those using data in the social sector (DataKind UK)

Increasingly trusted to find an edge: What it’s like to be a club’s data analyst* (The Athletic)

Design is the strategy* (Apolitical)

An adequacy determination does not resolve the lower standard of data protection in the UK. (Amberhawk)

The TBI Globalism Study: Transparency and Autonomy Should Underpin Online Voting Systems (Tony Blair Institute for Global Change)

The Data Governance Working Group of the Global Partnership for AI is seeking feedback on how we're thinking about our work and scope (via Jeni)

Opportunities

JOB: Director, GOV.UK (GDS)

JOB: Head of Technology and Architecture for GOV.UK opening at GDS (Technology in Government)

COURSE: ANNOUNCING: First of its Kind Executive Course on Data Stewardship — Focused on Data Re-Use in the Public Interest (Open Data Policy Lab)

EVENT: How to enhance the UK’s geospatial ecosystem (Geospatial Commission)

EVENT: UKGovCamp 2021

And finally...

The R number, crocheted. (Statistrikk)

The Civic Tech Graveyard

AI can now produce passable parody song lyrics. The system is called Weird AI Yankovic. Really. (Pando)

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girlofthemoon75 · 5 years ago

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Led Zeppelin Cover Artwork Part 6

Physical Graffiti

The 6th album by Led Zeppelin, is the only double album and named Physical Graffiti. It was released on 24th February 1975. Designer for the artwork was Peter Corriston. He was looking for an interesting and symmetric building that would fit in the square album cover. He subsequently came up with the rest of the cover based on people moving in and out of the tenement, with various sleeves that could be placed under the main cover and filling the windows with various pieces of information.

The photograph for the cover was taken at 96 and 98 East 8th Street / St. Mark's Place in Manhattan, New York.

The fifth floor of the building was cropped out to fit the square format of the cover.

The front cover is a daytime shot, while the back cover was taken at night and the inner cover (two different back and front covers for each disc). The windows on the main sleeve are cut out. There is also a middle insert cover, that is white and has windows with curtains down with letters on it.

On the back and inner cover you find photographs of JFK assassin Lee Harvey Oswald, astronaut Neil Armstrong, Elizabeth Taylor as Cleopatra, King Kong, the Virgin Mary, Judy Garland and the main cast of The Wizard of Oz, members of Led Zeppelin in drag, their infamous manager Peter Grant, body builder Charles Atlas, the Queen and Laurel & Hardy. The inner sleeve could be combined in a number of ways to make different covers, and there was an inner sleeve designed by Mike Doud with all the song titles that saw the title written out on closed window shades.

The album marks the top of Led Zeppelins music - it’s a brilliant album with fantastic songs on it. As usual, I’m interested in your favourite song. Mine are Ten Years Gone, Kashmir, In My Time of Dying and Everybody Makes it Through (In The Light - Early Version/In Transit).

#led zeppelin #cover art #physical graffiti

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nikkalia · 5 years ago

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Pops in the Park

TITLE: Pops in the Park

AUTHOR: Nikkalia

PAIRING: Tom/OFC

RATING: M

SUMMARY: This is the result of a conversation on Discord about Loki!Tom crashing a concert. It went downhill from there... Dedicated to my darling @igotloki

NOTES/WARNINGS: (kinks, triggers, general warnings.) Smut, which is really difficult to write in first person for some reason...

TAGS: @igotloki @fandom-and-feminism @mrshiddleston-uk @fadingcoast @mischievousbellerina

NOTES: Someone remind me to fix the hashtags later?

“Ladies and gentlemen, thank you for coming... No,” I whispered to no one. Speeches make me nervous and you could definitely hear it in my voice. “Ladies and gentlemen, thank you so much for joining us tonight...this evening. Ugh, why do they make me do this?”

“Because Anthony Daniels canceled when it wasn’t all about Star Wars,” Mike answered, grinning. “Relax, you’ve got this.”

“No respect from my concertmaster,” I smirked as he clapped my shoulder.

“So, is the magic man making an appearance tonight?”

“Nope. He’s otherwise occupied.”

Mike laughed. “What does that even mean?”

I shrugged. “It means...he won’t be here.”

“Oh, come on. He can’t pull away from whatever he’s filming for one night to celebrate your 5 year anniversary with us? Loser.”

“Whatever.” I blew out a sigh and looked back over my notes. “Really hate speeches.”

“See, magic man should’ve been here. He likes to talk and the ladies love to listen.” Mike winked and got a smack on the arm for his trouble before wandering off.

He wasn’t wrong. Tom loved to talk and everyone loved his voice, not just the ladies. In the two plus years we've been together, I’d never known him to refuse an opportunity to tell a story - except to hear me tell one. He was the only man I’d ever met that could listen as intently as he does, to make you feel like the entire universe centered around you. Management had actually approached his agent about serving as emcee when Daniels backed out, and they declined, citing a previous commitment. Which was, at the time, a bald-faced lie.

We argued about the timing of this show only a few days prior to the request because the concert was so close to our own anniversary. He had, in typical Tom fashion, made some grand plans involving travel and luxuries and all the things that drove my simplistic heart manic with worry, and hadn’t bothered to check the concert calendar. So, when I told him I couldn’t blow off the fund-raising event of the season, he went ballistic.

And I fired back. How dare he get upset when he’d canceled God knows how many times in favor of an audition? Where did he get off saying that one night wasn’t as important as ‘us’ when he’d confused night after night for his career? It turned really ugly and I ended up flying back to New York earlier than planned because of it. We didn’t speak for a week, and all of our communication after that was strained. Six weeks later, I stopped hearing from him altogether, despite assurances from his mother and sisters that we were still very much a couple. He was deep in some remote area with no wireless signal, they said. I sighed, pushing back tears.

“Two minutes to curtain. Oh, and I’m supposed to tell you that an emcee has been located. You’re off the hook.” a stagehand told me.

“Thank you, God!”

I found Mike walking toward me, making sure everyone was ready to go.

“Conductor,” he nodded, a glint of mischief in his eye.

“Concertmaster,” I nodded back, grinning. Our pre-show ritual complete, he returned to his place in the lineup and the procession began with the welcoming announcement. I watched from the wings as the line of bodies filed into their seats to thunderous applause. The house looked to be full. “Must be doing something right,” I said to the stagehand.

A hush fell over the crowd, followed by the sound of a solid A from Mike. The strings followed, then woodwinds, brass. Mike nodded again. I nodded back, then to the stagehand, who gave his own cue to the booth. I took a deep breath, prayed a little prayer, and strode out on the stage as the house announcer introduced me. I bowed, gesturing to the musicians who were doing all of the real work tonight, and smiled.

“Ladies and gentlemen, please welcome to the stage our master of ceremonies for the evening, mister Robert Downey, Jr.”

Bob strode out to the center of the stage, grinning from ear to ear.

I shot the dirtiest look to Mike, mouthing, “You knew.”

He shrugged, then smiled. Jackass.

“Maestra, you look stunning,” I heard beside me. He leaned in for a cheek-to-cheek kiss, lingering a little longer than maybe he should have. “He misses you,” he finally whispered, pulling away.

“Then he should be here.” I croaked. Poor Bob, reduced to a mere messenger boy. “Shall we?”

Being the gentleman that he is, Robert led me to the platform, holding my hand as I made the tiny step up, then returned to the podium on the other side of the stage.

I reviewed the first few measures of the music in front of me while Robert began his speech. He told the audience of his love for the music we would begin the performance with, the “John Williams Suite”. It was an orchestration I’d been working on for months, often to Tom’s frustration. Sheet music tended to consume the kitchen table in my loft apartment, something that was not at all conducive to his attempts to cook for me. I smiled as we began with ‘Indiana Jones’ themes, recalling a particular incident where he walked into the apartment completely unannounced, arms overloaded with grocery bags to find the table had been covered with scores from half a dozen films. He just sighed and went into the kitchen to begin cooking. Another meal on the sofa, he lamented. I simply kept on writing, struggling to get the transition between ‘E.T.’ and ‘Jurassic Park’ just right.

The music followed into the Star Wars medley. Lost in memory, I had to pull myself together enough to get through the rest of the piece. ‘Duel of the Fates’ was no joke to perform, much less conduct. Some of the choir members referred to it as the marathon. The horn players laughed at them until I reminded them that this was the reason why I stretched my arms before every rehearsal. Tom knew when rehearsals were intense by the way I held my shoulders afterward. He’d always massage the muscles, wondering if I was perhaps a bit too animated in my conducting. I’d always ask if he was perhaps a bit too animated when he read the Saint Crispin’s speech. That’s usually when the tickling started.

After a few moments pause for the audience to show their appreciation, and for the orchestra to move sheet music around, we moved into a mix of old and new Star Trek themes, ending with the suite from Into Darkness. There has been a great deal of debate within the group as to which series - old or new - was better, followed by discussions of films, actors, approaches, and which made my little geeky heart happy. Tom had no comment on the matter, despite the fact that his eyes lit up a little more when we opted to watch Ben’s version of Khan instead of the original.

The piece finished and Robert began rambling on about music and film and... I stopped paying attention after a few seconds, focusing again on the upcoming music. One of the stagehands appeared on my right and placed a wireless mic on the music stand. I put it on, thinking I would be expected to say a few words about my time with the orchestra, what an honor it was, blah blah blah.

Celebrate yourself, Tom would say. If anyone deserves accolades, it’s you. My response was almost always, “yeah, whatever,” which would send him into a 20-minute monologue extolling my virtues as a musician and human. I’ve always preferred to let the music speak for itself.

I heard Robert say “This is gonna be fun,” and knew we were up. I’d arranged a medley of Queen songs - Somebody to Love, I’m Going Slightly Mad, Days of Our Lives, and Bohemian Rhapsody. When Mike saw the score for the first time, he asked if I was okay. I just wasn’t ready to discuss the argument, so I brushed the question off with a shrug. “Feeling nostalgic,” I told him. “Besides, I want to show the altos some love.”

The altos later told me that was not the kind of love they were looking for. The sopranos, however, were ecstatic. Divas, the whole lot of them.

Music from the MCU finished out the evening. Black Panther, Thor, Captain Marvel, and all the Avengers films wrapped into 10 minutes. It was supposed to be for Tom. I’d seriously contemplated scrapping the whole section after the fight but the entire orchestra vetoed the idea, citing it as the “entertaining” piece of the evening. I knew that if the musicians weren’t happy, no one was happy, so it stayed but they just wanted to play Immigrant Song.

We’d moved through to ‘Portals’ from the Endgame soundtrack and I could feel the energy of the audience change. They started shouting and clapping behind me. Maybe they’re loving the music with the latest movie having been released. We reached the scripted pause, and I kept going, but the orchestra doesn’t. They just sat there staring at me, and I was suddenly aware of “Loki” being chanted behind me. I glared at Mike, who’s grinning like the Cheshire Cat. That’s when the glint of gold caught my eye. I turned, finally dropping my arms when my mouth follows suit.

Loki, or Tom, in full Loki regalia, strode toward me like a demi-god possessed. The horns sat above smoldering eyes, cape flowing behind him as he approached me like an animal stalking his prey. It took every ounce of self-control I had not to pounce on him in front of God and the globe. I never could resist that costume, and he knew it. Instead, I simply crossed my arms.

“Please,” he growled, the swagger growing, “don’t stop on my account. Summon your Avengers.”

“Bad enough you destroy half of Manhattan with some half-baked scheme to take over the world. Now, you have the audacity to crash my gig and interrupt their music?”

He stopped short, head cocking to one side. I don’t think he was entirely sure if I was serious or just playing along. The infamous smile returned.

“Forgive me. The interruption of the arts is indeed a sin, but the purpose behind my visit warrants such sacrilege.” When I didn’t answer, he removed his helmet, eliciting a new wave of cheers from the crowd. His hair was its natural ginger, long and wildly out of control. He turned to them and held a finger to his goateed lips, a la 2013’s Comic-Con visit before placing the helmet on the stage.

“I have found myself lamenting the loss of something very dear to me of late. Something that I believe you alone can help me recover.” He paused, his voice echoing through the speakers while his hands fell to his sides. “It pains me to admit such shortcomings, but I find that I am weaker without you, that I am lost without your presence in my life. I am heartbroken at each day that passes without the sound of your voice. So,” his cloak flew behind him with a flourish and he fell to one knee. A collective gasp came from the audience and the stage. “My lady, would you consider restoring to me the grace of your life and your love on a permanent basis?”

What the hell is happening? I glanced over at Mike. He and the rest of the orchestra are literally sitting on the edge of their seats. When I turn back to Tom, his arm is extended towards me, a small box with a ring sitting in the palm of his hand. Tom, channeling Loki, channeling King Hal. I was doomed.

“Will you consent to be my queen and my love? Will you marry me?”

His head dropped and my heart leaped into my throat. Time seemed to slow to a crawl while I recalled every fight, every laugh, every moment of passion and joy and sorrow. How could I possibly say yes? How could I not?

The soft sound of a camera lens focusing on me snapped me out of my time stop. He was still on bended knee, his arm shaking a bit. I stepped off of the platform and lifted his chin. For all his eloquence, I could only come up with a single word response.

“Yes.”

Tom jumped to his feet and kissed me as everyone within earshot roared with approval. ‘All I Ask of You’ began to play and I made a mental note to fire then promote Mike later, as I was sure he’d been part of this plot all along. A moment passed in his arms before he finally stepped back, scooping up the golden horns.

“I shall be waiting with white horses, my queen.”

“And here I thought you’d want me to play you out.”

“As long as it’s not ‘Performance Issues’.”

“No promises.” I winked then stepped back onto the platform. “Ladies and gentlemen, shall we skip to the end?” Mike nodded and everyone found their page. I raised my hands and music from the Avengers theme rang out in the park.

Tom bowed to me before he slid the helmet back over his head, turned and walked to the side of the stage where Robert stood, raising his hands in victory when applause followed. I caught them embracing out of the corner of my eye and knew I’d have to give both of them grief later for the first glimpse of ‘FrostIron.’

We made it to the loft long after the final note sounded. There had been a sea of people congratulating me on the concert, the engagement, and everything in between. Tom vanished long enough to de-Loki, much to my disappointment, but stayed right next to me for the rest of the night. When we were finally able to leave, he ushered me out to a white Jag. White horses, indeed.

He zipped through the streets of Manhattan with ease, taking as many backroads as possible to avoid traffic. I took the time to get a good look at the ring, and oh God was it stunning. A large oval stone set on its side with two smaller stones at either end set in a band of polished silver knotwork. Definitely handcrafted and a perfect fit.

“The band’s tungsten. I know how hard you are on jewelry,” Tom said with a wink.”The stones are moldavite, amethyst, and garnet.” he glanced over, a smile on his face. “Us.”

“It’s perfect,” I blushed a little, hoping he wouldn’t notice. “And you’re a dork of the highest caliber.”

That little laugh that drives all the ladies crazy slipped out as he nodded and pulled into the parking garage. Our elevator ride was silent as the family that snuck in just as the doors were closing bombarded Tom with more questions about Loki than I’d ever come up with. It made me think we’d have to take the service elevator from now on.

All thoughts of anything beyond the man wrapped around me vanished as soon as the apartment door closed. Tom spun me around, planting a kiss that went from chaste to passion in point zero six seconds. I heard my keys hit the floor after I missed the end table. He growled when I tried to pick them up, nipping a little harder at my neck, pushing me toward the bedroom.

We were all hands trying to shed clothes on the way. You’d think that as much coordination we had individually, we’d be able to make it look as graceful as it did in the movies. The poor boy got so frustrated that he picked me up, carried me down the hallway, and dropped me on the bed. Shoes and socks off, he stepped closer to unzip my dress while I worked on his pants. The ‘conda sprang free as soon as the zipper fell. Another growl came from above when I wrapped my hand around it, morphing into a moan as when lips added.

The bed dipped to one side a little with the weight of his leg. His hands rested on my shoulders as he tried to steady himself while I rolled my tongue around his cock. I couldn’t see his eyes with his head leaned back, but knew he was lost in the sensations, his hips rocking back and forth. He pulled out suddenly, tugged my hands away and upward to my feet.

Another kiss, slower and more passionate while he finally figured out the zipper of my gown. His hands moved the fabric down, and the frustrated moan came when he remembered just how much effort went into making slinky black dresses look good. He nuzzled and nipped his way across my face and down my neck while he fumbled with the clasps of my bra. I returned the favor, dragging teeth along his neck until I was able to get his shirt open.

What was left of my clothing dropped to the floor in one swift motion when Tom dropped to his knees, pushing me back onto the bed. I slid up the mattress and he followed, kissing and licking his way up my legs. He stopped at my hips, licking upward along the inside of my thigh but never quite made it to the center.

“If all you’re gonna do is tease,” I panted, “then get up here.”

“You would deny me the pleasure of devouring your already dripping quim?” Loki’s voice followed the dark, lust filled eyes that looked up at me. Before I could wrap my brain around my impending demise by god-lust, a finger slid inside me, followed by another. The smirk became a grin and he lowered his mouth to my clit, his eyes never leaving mine.

He growled again as he began to suck, slowly pumping his ridiculously long fingers in and out of my pussy. I tried to squirm away when he picked up the pace and he wrapped his free arm around my leg, locking me in place. I lost count of how many times he brought me to the edge only to back off and begin again. My fingers found their way into his hair, tugging him upward, only to be rewarded with his teeth dragging across my swollen bud.

“Not until you cum,” he purred, still latched on to me. He began thrusting the fingers inside me, curling them around to brush against that little bundle of nerves while he clamped down with lips and teeth. It didn’t take long for my body to shatter beneath him, my orgasm tearing its way out of me with a scream. He anchored me down with both arms, sucking out every last drop I could offer.

When I came back to reality, he was making a slow path up my body, his breath hot on my skin. His lips finally reached mine and I took rough possession of them, wanting to taste him. The tip of his cock brushed against my pussy and I shivered. Tom pulled away a bit.

“Need a bit longer to recover?” he whispered, nuzzling against my cheek.

“Absolutely not.” I pulled him closer to me and shifted a bit, sliding a hand down his stomach. “Only thing I need is you.” My fingers wrapped around his length and guided him inside.

“Oh. My. Go...” The last syllable was lost in the moan that rumbled in his chest. He was completely still above me except the slow thrust to push himself deeper, nearly purring as he went. I moved my hands along his sides and he sighed. “Been too long. Won’t last.”

“Ditto,” I breathed into his ear, “on both counts. Just move.”

Tom obliged, rocking his hips back and forth, moving a little faster with each thrust. I tried to lift my hips to his, but he built a pace I just couldn’t maintain. All I could do was hold onto him, losing myself in the feeling his body in mine and the sounds we made. His moans took on a higher pitch and his thrusts became erratic until every muscle in his body tensed, his seed spilling in waves. Feeling him cum sent me back over the edge, and I could’ve sworn I heard him chuckle as I clamped down around him.

We lay tangled in each other for a while, basking in the afterglow. He finally moved to the side, eliciting a groan from both of us when he did. Ever the gentleman, he let me duck into the loo first while he turned down the bed. Both settled back in bed, I curled up next to him, my head resting on his chest.

“Love?” he whispered, toying with a lock of my hair. “Are you sure?”

“Sure of what?”

“This,” he spoke as he ran his fingers along my left hand to the ring. “I know you wouldn’t have refused me in front of the entire world and half of Manhattan, even if you wanted to.” I lifted my head from his chest to look at him. There was a genuine concern on his face as he sighed. “So, are you sure?”

“You’re serious?” His face turned sheepish. “Then let me answer a question with a question.”

“What? You hate it when I do that!” He sat up a bit and I pressed a finger to his lips.

“Thomas William Loki Adam Hank Henry Robert Freddie Jonathan Oakley Hiddleston the fifth, Lord Nooth, rightful king of the Jotunheim, England, Ireland, Scotland...”

“Okay, okay, enough,” he chuckled. I grinned at him.

“Will you marry me?” His eyes went wide and teared up a bit. He began nodding furiously until I kissed him.

Neither of us slept that night.

#fanfic #tom hiddleston #tom hiddleston fluff #tom hiddleston rpf #tom hiddleston smut

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randomvarious · 5 years ago

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Richie Rich - “Salsa House (original mix)” This Is... House Song released in 1989. Compilation released in 1996. Latin House / House

It doesn’t appear that a proper bio has ever been written about Richie Rich, so I guess, maybe, I’ll be the first? But before getting into who Richie Rich is, let’s establish who he’s not. See, there were at least three artists named Richie Rich in hip hop that were operating at the same exact time, so it can be pretty confusing. This is not the 90s Oakland gangsta rapper Richie Rich; this is not the New York-based DJ Richie Rich who was in the rap group 3rd Bass; this is the Richie Rich who was a British house / hip house / hip hop / electro producer and label co-owner.

Richie Rich’s career predates when house music originally took hold in Chicago. He started out in the world of electro in 1984 and then moved towards hip hop music. In 1988, he co-founded the UK hip hop label Gee Street Records, which was responsible for importing American east coast hip hop into the hands of eager British listeners. The label’s first release was the legendary Straight Out the Jungle by the Jungle Brothers. Gee Street also served as the UK home of Queen Latifah, P.M. Dawn, and the Gravediggaz, They released British hip hop too, with groups like Stereo MC’s, New Kingdom, and Outlaw Posse on their roster.

But Gee Street wasn’t strictly hip hop. Originally, they were much more diverse. In fact, in its first two years, you could describe it as mostly a house label with a sprinkling of hip hop releases. The acid house phenomenon was in full force throughout Britain thanks to London’s 1988 Summer of Love, which actually extended way past the summer, and Gee Street was one of the many labels that were in on it. In its earliest days, Richie Rich was one of Gee Street’s most frequent contributors, and by the late 80s, his productions had transitioned to house and hip-house.

In 1989, he released his first and only album, I Can Make You Dance. It was released on Gee Street and features a song called “Salsa House”. However, the single for “Salsa House,” which contained extended mixes and remixes, was released on the much bigger UK dance label FFRR. While the album version clocks in at around 3:40, the original mix of “Salsa House” is about seven minutes long.

And those seven minutes are super important. “Salsa House” brought a Latin flair to the acid house crowds in the UK and it was a big hit on early dance floors in Ibiza too. House music had been fused with Latin music before, but it’s hard to argue that it had been done better than this before.

On “Salsa House,” Richie Rich sets his backbeat with winding space-ambient synth pads, a 4/4 kick drum, sets of ticking and hissing hi hats. and a jazzy melody of thin and high-pitched, bleepy keyboard notes. He then cleverly inserts a short, onomatopoeic sample of Michael Jackson’s “Get on the Floor,” in which Jackson’s breathy gasp serves as a percussive element. Richie also adds a hand drum, which he accentuates with heavy, rounded bass stabs. A few more things are then mixed in like the occasional acid horn stab, short, shimmery keyboard flourishes and a long, frequency-pendulant bleep. Around the 90-second mark, Richie Rich transforms his keyboard melody into something way more definitively jazzy and Cuban, earning this song its quite literal title. Throughout the song’s remainder, he cycles through a series of different Cuban melodies on his keyboard, while constantly dropping elements and adding them back in in order to hold our attention and keep the track fresh. Richie also plays with some new sounds like lightly scratchy cowbell knocks and a noise that kind of sounds like a lashing whip.

I won’t say this song is timeless since it definitely sounds like it’s from the late 80s or early 90s, but you can’t tell me that this wouldn’t rock a party today. It’s still just so, so infectiously fun.

This is undoubtedly one of the greatest house tunes of the 80s. Richie Rich absolutely killed it with this Latin groove.

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rachelshubayeva · 5 years ago

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Childish Gambino “3.15.20” album review

3.15.20 is a combination of early Kanye West, 80-s Prince and a sample of Zhane’s Hey Mr. DJ. It makes us reminisce about the good old days. At the same time, it feels like Donald Glover pushes the restart button with his “We are, we are, we are” intro in 0.00. We’re in for a fresh new look at something we already knew. The smooth song transitions feel like swimming in one whole musical experience, rather than listening to separate pieces. The album really feels like traveling: one minute you’re on a farm, the next - in outer space. Sounds of nature, a conversation with his son about love, a romantic ballad - Glover helps us reflect on things that matter. Great timing.

First releasing 03.15.20 on his website, then on all the the streaming platforms, it seems like Glover doesn’t aim for a #1 place in the charts. At times it seems like he’s still cooling down from 2019’s single This Is America. Most of the songs are labeled as the time they appear on the album. It’s definitely easier to monetize a song called “It Feels Like Summer”, way harder to “sell” it as “42.26”, as it’s called in the album. These titles encourage listeners to consume the album as a whole rather than separate songs. The album is a piece of art rather than a Grammy nominee.

The first full song is Algorhythm. The sound feels new and experimental - Prince meets Tyler, the Creator’s IGOR with a touch of gospel vocals at the end, all tied together by a sample of Zhane’s Hey Mr. DJ. Song breaks into digital space and fades out to a heartbeat, transitioning us into Time, that shows us what George Clinton could’ve sounded like with autotune. This song should be the anthem for millennials who are rushing and trying to “make it”, to create quick and move on to the next thing. A real cherry on top is Brent Jones & The Best Life Singers incorporated in the song (they have been previously featured on Awaken, My Love). It’s here where we first come across sounds of nature mentioned earlier. Although it might as well be a song by Mother Earth after we’re abducted by aliens.

*If you want to dance, play “Open your mouth and say something” by Brent Jones and get up. It’s the closest you’ll get to a dance party during this quarantine.

12.38. Can’t help but think of Prince throughout the whole experience, with all the high notes, humming and remarks like “Imma give you some privacy”. 21 Savage makes an appearance here, delivering one of the best verses of the album. “Most these n-ggas wanna run around with these SZAs (Yeah), I prefer to just stroll the park with this Chaka” hints on Glover being more inspired by older music. So many things are happening in the song, that you feel like you’re in a rocket ship at the end, or in the Space Jam section a Warner Brother’s toy store in the 90’s.

Now 19.10 is where you start dancing. Kaytranada meets a soul-kissed version of Chromeo’s Head Over Heals album. In 24.19 we hear that Redbone voice again - Glover altering his vocals like only he can. Sweet and gentle ballad that ends with a sound that feels like a panic attack. 33.22 is Yeezus meets african tribal drums meets Tyler, the Creator performing New Magic Wand at the 2020 Grammy’s. It feels like a whole spiritual experience, almost religious. Not something we are used to hear in pop music.

Country-inspired 35.31 looks like the only song that isn’t PG, since Glover sings about drugs. Otherwise, the album is quite clean for a modern hip-hop artist. Glover’s son is his audience now. He listens to Childish Gambino, too. The outro is packed with a reverse poem that unravels itself in 39.28, a song seemingly inspired by Queen. It hints on the next track 42.26, also known as the single “Feels Like Summer” that came out two years ago, starts with animal sounds in the intro again. The song is about global warming and ecology. It’s reminder of the heat anomaly. 47.48 is a reminder of how cruel the world can be, but love and inner beauty will save us all. A heartwarming conversation with Glover’s son about the importance of loving yourself is implemented in the ending, right before we are taken to the end of our journey. 53.49, what a powerful ending to the album. Glover sings with expression about love in everything. Sounds like a rock’n’roll gospel, and he’s Jesus.

To call the album experimental really is to say nothing at all. Glover occupies a space artists are afraid of, because it might be confusing for the masses and won’t be played on the radio or in a New York deli. It’s a trip into some sort of industrial dystopia.

#album review #childish gambino #musicindustry #new music

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2paclegacynet · 5 years ago

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2Pac, Mouse Man, Gerard Young, Darrin Keith Bastfield For Born Busy & East Side Crew

Pictured, from left 2Pac, middle row fifth from right, as a middle school student. Dana Smith aka Mouse Man, bottom left, and 2Pac with family friends. Born Busy is rap group formed in Baltimore with Tupac Shakur, Gerard Young, Darrin Keith Bastfield and Dana Smith aka Mouse Man. At age 13, Tupac moved to Baltimore from New York City in 1984 with his mother, Afeni, and younger sister, Sekyiwa. The family lived in the first-floor apartment of a brick row house at 3955 Greenmount Avenue in the small, North Baltimore neighborhood of Pen Lucy. Tupac went to Roland Park Middle School for the eighth grade. That year’s photo for Mrs. Gee’s class shows him in the second row, near the center. With close-cropped hair and dressed in a light-colored, short-sleeve shirt, he looks lanky, even scrawny, among his classmates. Still, it’s easy to spot him thanks to his thick black eyebrows and dark eyes. And then there’s the mouth. While the other kids sport tight-lipped smiles or teeth-baring “say cheese” grins, Tupac strikes an altogether different pose. Actually, he doesn’t appear posed at all. His mouth is open wide, and he seems engaged, not docile or mindlessly compliant. It looks like he might be talking to the photographer. Dana Smith sits in the front row, to Tupac’s left. Smith, nicknamed “Mouse Man,” forged a musical bond with Tupac and remembers the first time he spoke to him on the bus home from school. That day, in September 1984, the No. 8 bus was nearly full and Tupac took the only open seat, the seat beside Smith, who was itching to get home and listen to WEBB’s Rap Attack show at four o’clock.

“He kicked a rhyme to me, and I was like, ‘Whoa, this is crazy.’”

Smith, a talented beatboxer, asked the newcomer if he was into hip-hop and knew how to rap. “He kicked a rhyme to me, and I was like, ‘Whoa, this is crazy. It was really good.” He later learned the rhyme wasn’t original—it was actually lifted from a Kurtis Blow song Shakur knew from New York, which hadn’t made it to Baltimore yet. Their friendship blossomed, rooted in a shared love of hip-hop acts like Eric B & Rakim and Run DMC and an appreciation of different types of music. As Smith recounts the story, he walks around The Sound Garden, the now venerable Fells Point record store, and points out some of the nonrap music Shakur enjoyed. Kate Bush? “Yes, indeed,” says Smith. “‘Wuthering Heights’ was the song.” Sting? Yup. Steve Winwood? Yup. “Hey, we were also listening to Brian & O’Brien on B104, playing the hits all day long,” he says, referring to the then-popular top 40 radio program. Smith picks up a CD copy of Dire Straits’ Brothers in Arms. It, too, was a favorite, but not for hits like “Money for Nothing.” Smith starts singing lyrics from the title track that resonated: “Through these fields of destruction/Baptisms of fire.” The tune, sung by Brit Mark Knopfler, traces a protagonist who faces death and treasures his comrades’ loyalty—ground Shakur covered in songs he later wrote. When asked about this type of music’s appeal back in the day, Smith claims much of it was practical, a lesson in song craft: “For us, it was all about identifying transitions in songs and how smooth they were.” They would meet up every afternoon to write rhymes, after Smith finished his homework. Sometimes, they’d hang out at a rec center on Old York Road, but Shakur wasn’t into playing basketball or pingpong, because “he sucked at sports, all sports,” says Smith. Most often, the two of them simply composed raps, either sitting inside a plastic bubble on the playground behind Tupac's house—“the acoustics were so good in there,” recalls Smith—or hunkered down in Smith��s basement on nearby 41st Street. Smith’s house was lively, populated by an array of family members including grandparents, his mother, an aunt, and two uncles. Music was always playing. Smith was the youngest of his group of friends, a self-professed “good kid, the freshest kid on the block” who had all the latest fashionable clothes and sneakers, thanks to his uncles, who dealt drugs in the neighborhood. Tupac, on the other hand, came from poverty. His father wasn’t around; his mother had been arrested and charged with conspiracy to bomb New York City landmarks while a member of the Black Panther Party in 1969. A month after being acquitted of the charges, she gave birth to Shakur, on June 16, 1971. Afeni, who passed away in May and was the inspiration behind the song “Dear Mama,” struggled with substance abuse issues (“And even as a crack fiend, mama/You always was a black queen, mama”) and with supporting the family (“You just working with the scraps you was given/And mama made miracles every Thanksgiving”). Tupac wore hand-me-downs, including pants that were so big they had to be stapled. He slept in a small bedroom, while his mother and little sister slept in the dining room Afeni had converted into a bedroom. Smith says the Shakur house was “always dark, dim. They had lights and it was clean, but it was dark with not a lot of stuff in there.” Smith’s family and friends razzed him for befriending the raggedy newcomer. “This guy is cornball—everything about him is corny,” he recalls them saying. “Why are you hanging out with him?” The answer, says Smith, was simple: “We loved to rap.” Darrin Keith Bastfield, CEO of Born Busy Films and BecomeAPatron.com is currently working on developing projects in television and two upcoming theatrical film projects that he’s written and will debut direct such as ‘Shakurspeare’, inspired by Bastfield’s painting ‘Shakurspeare’ that the late Tupac Shakur posed for at age 16 is a romantic comedy/drama that’s centered around the controversial world of art, and ‘Born Busy’, a coming of age true story based on his memoir ‘Back in the Day: my life and times with Tupac Shakur’ published by Randomhouse/Ballantine in 2002 (Hardcopy) and Perseus/Da Capo Press in 2003 (Paperback). Bastfied is also a featured artist in the upcoming ‘Black Artists on Art’ Catalogues Volumes 3 and 4 published by Samella Lewis, renowned Art Historian/Artist/Art Collector. Darrin Keith Bastfield: Although rap was Tupac’s true love, the variety of music he listened to was amazing. This became clear to me one Saturday morning when he, Richard, and I sat around the living room of the apartment in our boxer shorts and undershirts talking about music.

Born Busy (the rap group we formed in Baltimore), with Gerard Young, Tupac Shakur, and Darrin Keith Bastfield Richard was definitely a cool guy, who had a pleasant disposition and a free-flowing approach to life. His bedroom door was never closed, even when his girlfriend was in there with him. In the mornings I would see them lying on a single mattress on the floor (no box spring underneath), still asleep. I showed him respect, and he was always cool to me. No matter how much time I spent there at the apartment, he never gave me even the slightest hint of a bad vibe. We periodically had chill sessions when he was around (which wasn’t a whole lot). And when I wasn’t there, he and Tupac would bond.

A page from Back in the Day My Life and Times with Tupac Shakur shows photos of the author with Tupac and other friends. In this Saturday morning discussion, Tupac floated along with Richard easily, unmoved by any of his older roommates' detours in various directions that were completely unfamiliar to me. Despite Richard’s dramatically different background and social orientation, Tupac never once lost his footing, and comfortably expounded upon many of the different artists who came up over the course of the conversation which spanned the full spectrum. From LL Cool J to Peter Gabriel, and Sun Ra and Jimi Hendrix to Eric Clapton and Muddy Waters, Tupac had something meaningful to say. I tried to imagine where he had gotten this exposure, how he had become so familiar with all of the divergent artists, but was unsuccessful. The picture of him listening to much of this stuff in his mom’s apartment did not fit, nor could I see it occurring up in New York among his family or friends up there (whom I would later meet). In fact this is still a mystery to me. The best answer I have managed is that he absorbed it all in a few months of his residence at the apartment. There the large collections of the two older roommates (Richard and John’s brother) would have been available to him and played regularly in the apartment. It wasn’t just the variety of music to which Tupac listened that struck me, but the fact that he was genuinely interested in and knowledgeable about the music, and the various artists behind it. Richard played the role of DJ through the discussion, putting on a succession of different records that they would then discuss and critique after hearing only a few bars. I specifically remember Tupac talking about Tracy Chapman. He felt she was a musical genius. After quoting several lyrics from a favorite song of hers, he concluded, “That’s a true poet.”

Cover of 'Back in the Day: My Life and Times with Tupac Shakur' by Darrin Keith Bastfield. Tupac was definitely a sponge of amazing efficacy, particularly with information at all dealing with either of his two loves in life: rap and acting. As an actor, the ease with which Tupac remembered lines was incredible, and his knowledge of craft impressive. When I asked him one afternoon the type of actor he wished to be, his reply was immediate: “A Shakespearean actor.” He said this without emotion, from a windowsill at the fore of the apartment, not breaking his passive yet focused gaze outward. “A what?!” I replied, taken aback. And he repeated himself. “Why?! They don’t make any money.” I was thoroughly confused. The Tupac I knew was destined for far greater things than low budget productions in small playhouses. I envisioned him marching through the entertainment industry to some star-spangled movie or TV career, and untold millions. And I just assumed that his vision for himself was twice as grand as any I could conjure for him. His reply was disappointingly anticlimactic, and downright troubling. Dana Smith aka Mouse Man was Tupac’s friend during his teenage years in Baltimore. Together, they created rap groups East Side Crew & Born Busy. Which is where Tupac’s first recorded audio came from. At the young age of 14 years old, “Born Busy” created their first song “Babies Having Babies. Gerard (High School Friend): "First time I ever saw Tupac, he was in eighth grade. I seen this kid that had this shirt with the old school iron-on letters, MC NEW YORK. And he was rhyming. All these people was around him -- even back then. We was adversaries at first, but we formed a crew. Born Busy and shit, MC New York, DJ Plain Terror, Ace Rocker, and my man D on the beat box. Taking mad peoples out--the invincibles. Then we started writing little rhymes for Jada (Pinkett). Jada was rhyming a little bit too. Don''t Sleep." Songs recorded during 'Born Busy'' era: Babies Having Babies ft Dana Mouse Smith (Acapella) 1987 Produced by Born Busy Check It Out ft Dana Mouse Smith (Acapella) 1987 Produced by Born Busy Terror On The Tables ft Ace Rocker (Acapella) February 1988 Produced by Born Busy That's My Man Throwing Down ft Ace Rocker (Acapella) Februaury 1988 Produced by Born Busy I Saw Your Girl ft Ace Rocker (Acapella) March 1988 Produced by Born Busy Girls Be Tryin To Work A Nigga April 1988 Produced by Born Busy

Mouse Man & 2Pac Songs recorded featuring Mouse Man: N.I.G.G.A., Black Cotton, What goes On & Niggaz in the Pen

Mouse Man, Baba Bojang aka Slick D and MC New York aka 2Pac ''In the mid-1980s, rap wasn’t yet the commercial juggernaut it has become—it was gaining popularity, but hadn’t arrived in the mainstream. The Enoch Pratt Free Library, ahead of the curve, sponsored a youth rap contest in November 1985. Tupac spotted a flier with “Calling All Rappers!” across the top, urging anyone under the age of 18 to “write the best rap about the Pratt Library and be eligible for a cash prize.” All entrants had to submit a written copy in advance (“No Profanity Allowed”), and the finalists performed at the library at Pennsylvania and North avenues.

Mouse Man & MC New York aka 2Pac / 1985 Tupac and Mouse Man created “Library Rap,” which Shakur wrote out in longhand, in black pen, on a piece of lined notebook paper, and Tupac and Mouse Man’s group The East-Side Crew entered the contest. Deborah Taylor, then the Pratt’s young adult services coordinator, organized the contest and remembers Tupac and Mouse Man as “very polite boys. They were nice kids.” She drove them to the contest because they didn’t have transportation. Tupac and Mouse Man’s winning performance opened with Tupac declaring, “Yo’ Enoch Pratt, bust this!” and urging Baltimoreans to get library cards. They told kids to stay in school, learn to read, and “get all the credits that you need.” (Tupac's handwritten verses now reside in the Pratt’s Special Collections archive, alongside works by H.L. Mencken and Edgar Allan Poe.)

Mouse Man & MC New York aka 2Pac Taylor, who still works at the Pratt, recalls all the judges commenting on the same thing: The scrawny kid lit up the room with his rapping. “When Tupac performed,” she says, “you could not take your eyes off him.” Tupac and Mouse Man performed whenever and wherever they could: for the drug dealers working on Old York Road, opening for rap group Mantronix at the Cherry Hill rec center, and even at neighborhood funerals. They also wrote rhymes with titles like “Babies Havin’ Babies” and “Genocide Rap” that reflected the political and social awareness Shakur inherited from his mother.

Mouse Man, 2Pac & Mopreme “Tupac was always conscious of that shit,” says Mouse Man. “He schooled us on those sort of social justice issues, and hip-hop was the perfect outlet. It allowed us to say what was on our mind, and people listened.” sources: baltimoremagazine.com | biography.com Read the full article

#AceRocker #BornBusy #MouseMan #Pac'sHomiez

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niksfiks · 5 years ago

Text

Pops in the Park

Originally posted 6/10/19

TITLE: Pops in the Park

AUTHOR: Nikkalia (niksfiks)

PAIRING: Tom/OFC

RATING: M

SUMMARY: This is the result of a conversation on Discord about Loki!Tom crashing a concert. It went downhill from there... Dedicated to my darling @igotloki

NOTES/WARNINGS: (kinks, triggers, general warnings.) Smut, which is really difficult to write in first person for some reason...

“Because Anthony Daniels canceled when it wasn’t all about Star Wars.” Mike answered, grinning. “Relax, you’ve got this.”

“No respect from my concertmaster,” I smirked as he clapped my shoulder.

“So, is the magic man making an appearance tonight?”

“Nope. He’s otherwise occupied.”

Mike laughed. “What does that even mean?��

I shrugged. “It means...he won’t be here.”

“Oh, come on. He can’t pull away from whatever he’s filming for one night to celebrate your 5 year anniversary with us? Loser.”

“Whatever.” I blew out a sigh and looked back over my notes. “Really hate speeches.”

“See, magic man should’ve been here. He likes to talk and the ladies love to listen.” Mike winked and got a smack on the arm for his trouble before wandering off.

“Two minutes to curtain. Oh, and I’m supposed to tell you that an emcee has been located. You’re off the hook.” a stagehand told me.

“Thank you, God!”

I found Mike walking toward me, making sure everyone was ready to go.

“Conductor,” he nodded, a glint of mischief in his eye.

“Ladies and gentlemen, please welcome to the stage our master of ceremonies for the evening, mister Robert Downey, Jr.”

Bob strode out to the center of the stage, grinning from ear to ear.

I shot the dirtiest look to Mike, mouthing, “You knew.”

He shrugged, then smiled. Jackass.

“Maestra,you look stunning,” I heard beside me. He leaned in for a cheek-to-cheek kiss, lingering a little longer than maybe he should have. “He misses you,” he finally whispered, pulling away.

“Then he should be here.” I croaked. Poor Bob, reduced to a mere messenger boy. “Shall we?”

Being the gentleman that he is, Robert led me to the platform, holding my hand as I made the tiny step up, then returned to the podium on the other side of the stage.

The piece finished and Robert began rambling on about music and film and... I stopped paying attention after a few seconds, focusing again on the upcoming music. One of the stage hands appeared on my right and placed a wireless mic on the music stand. I put it on, thinking I would be expected to say a few words about my time with the orchestra, what an honor it was, blah blah blah.

Celebrate yourself, Tom would say. If anyone deserves accolades, it’s you. My response was almost always, “yeah, whatever,” which would send him into a 20 minute monologue extolling my virtues as a musician and human. I’ve always preferred to let the music speak for itself.

The altos later told me that was not the kind of love they were looking for. The sopranos, however, were ecstatic. Divas, the whole lot of them.

Loki, or Tom, in full Loki regalia, strode toward me like a demi-god possessed. The horns sat above smouldering eyes, cape flowing behind him as he approached me like an animal stalking his prey. It took every ounce of self control I had not to pounce on him in front of God and the globe. I never could resist that costume, and he knew it. Instead, I simply crossed my arms.

“Please,” he growled, the swagger growing, “don’t stop on my account. Summon your Avengers.”

“Bad enough you destroy half of Manhattan with some half-baked scheme to take over the world. Now, you have the audacity to crash my gig and interrupt their music?”

He stopped short, head cocking to one side. I don’t think he was entirely sure if I was serious or just playing along. The infamous smile returned.

“I have found myself lamenting the loss of something very dear to me of late. Something that I believe you alone can help me recover.” He paused, his voice echoing through the speakers while his hands fells to his sides. “It pains me to admit such shortcomings, but I find that I am weaker without you, that I am lost without your presence in my life. I am heartbroken at each day that passes without the sound of your voice. So,” his cloak flew behind him with a flourish and he fell to one knee. A collective gasp came from the audience and the stage. “My lady, would you consider restoring to me the grace of your life and your love on a permanent basis?”

What the hell is happening? I glanced over at Mike. He, and the rest of the orchestra, are literally sitting on the edge of their seats. When I turn back to Tom, his arm is extended towards me, a small box with a ring sitting in the palm of his hand. Tom, channeling Loki, channeling King Hal. I was doomed.

“Will you consent to be my queen and my love? Will you marry me?”

His head dropped and my heart leapt into my throat. Time seemed to slow to a crawl while I recalled every fight, every laugh, every moment of passion and joy and sorrow. How could I possibly say yes? How could I not?

“Yes.”

“I shall be waiting with white horses, my queen.”

“And here I thought you’d want me to play you out.”

“As long as it’s not ‘Performance Issues’.”

“The band’s tungsten. I know how hard you are on jewelry,” Tom said with a wink.”The stones are moldavite, amethyst and garnet.” he glanced over, a smile on his face. “Us.”

“It’s perfect,” I blushed a little, hoping he wouldn’t notice. “And you’re a dork of the highest caliber.”

We were all hands trying to shed clothes on the way. You’d think that as much coordination we had individually, we’d be able to make it look as graceful as it did in the movies. The poor boy got so frustrated that he picked me up, carried me down the hallway, and dropped me on the bed. Shoes and socks off, he stepped closer to unzip my dress while I worked on his pants. The conda sprang free as soon as the zipper fell. Another growl came from above when I wrapped my hand around it, morphing into a moan as when lips added.

“If all you’re gonna do is tease,” I panted, “then get up here.”

“Not until you cum,” he purred, still latched on to me. He began thrusting the fingers inside me, curling them around to brush against that little bundle of nerve while he clamped down with lips and teeth. It didn’t take long for my body to shatter beneath him, my orgasm tearing its way out of me with a scream. He anchored me down with both arms, sucking out every last drop I could offer.

“Need a bit longer to recover?” he whispered, nuzzling against my cheek.

“Absolutely not.” I pulled him closer to me and shifted a bit, sliding a hand down his stomach. “Only thing I need is you.” My fingers wrapped around his length and guided him inside.

“Ditto,” I breathed into his ear, “on both counts. Just move.”

“Love?” he whispered, toying with a lock of my hair. “Are you sure?”

“Sure of what?”

“This,” he spoke as he ran his fingers along my left hand to the ring. “I know you wouldn’t have refused me in front of the entire world and half of Manhattan, even if you wanted to.” I lifted my head from his chest to look at him. There was genuine concern on his face as he sighed. “So, are you sure?”

“You’re serious?” His face turned sheepish. “Then let me answer a question with a question.”

“What? You hate it when I do that!” He sat up a bit and I pressed a finger to his lips.

“Thomas William Loki Adam Hank Henry Robert Freddie Jonathan Oakley Hiddleston the fifth, Lord Nooth, rightful king of the Jotunheim, England, Ireland, Scotland...”

“Okay, okay, enough,” he chuckled. I grinned at him.

“Will you marry me?” His eyes went wide and teared up a bit. He began nodding furiously until I kissed him.

Neither of us slept that night.

#fluff #tom hiddleston rpf #niksfiks

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