#strangers in the night | s. crosby

[angelsuecult]

strangers in the night | s. crosby

warnings: none? Maybe the age gap but its not crazy

summary: you and sidney first meet at a bar in the summer but where can it go from here

request description: older sid x younger reader (not controversial), dancing around lingering tension

wordcount: 3.3k

a/n: hi guys, a little late but another for you to chew on. so here is part one of a request i got, part one is build up to their actual story. idk i just wanted to give u guys a little bit more of a story with this one.

___

It wasn’t Sid’s first choice of bar–not by a long shot. He wasn't even sure why he’d let his buddies drag him out tonight. Training had been brutal, the kind of day that left his body aching and his mind spinning in desperate need of rest. But there he was, slouched into a creaky wooden chair, a pint of beer in front of him, trying his best to tune out the off-kay rendition of some popular song wailing from the karaoke stage across the room.

The place wasn’t packed, but it was loud. Groups were scattered around mismatched tables, most laughing and belting out songs as if auditioning for American Idol. Sid’s friends seemed just as unimpressed as he was, though they made a decent effort to mask it.

“Who chooses a bar on karaoke night?” one of them muttered, tipping back his drink.

“Apparently, we do,” Sid replied dryly, taking a sip of his beer and letting his gaze drift lazily across the room. He caught glimpses of people crowded near the karaoke section—bright lights, a DJ with headphones slightly askew, a group of people huddled around the stage. It was another story. He tried his best to ignore the off-key renditions of pop songs that echoed through the dimly lit bar, but it was hard to drown out the sound entirely. The occasional burst of laughter or particularly passionate singers pierced through their conversation.

“Didn’t think karaoke was your scene, Sid,” one of his buddies teased, smirking as clinked his class against Sidney’s bottle.

“Not exactly,” Sidney said, shaking his head. “But I’m here for you guys, not the music.”

“You're a good man.”

Sid smiled faintly but was already feeling the itch to move. The atmosphere, the noise–it was all a little too much. He excused himself almost as quickly as they sat down, murmuring something about needing to find the restroom.

Navigating the dimly lit space was a task in itself. The bar seemed like it hadn’t been renovated since the late ’90s, with its sticky floors and peeling paint. The closer he got to the karaoke stage, the louder the music seemed to vibrate through the air. He ducked past a group of people holding neon-colored cocktails and nearly collided with someone walking in the opposite direction. He wove his way through the people and the tables, keeping his head down to avoid the stage’s flashing lights. The music only grew louder as he neared the karaoke section, each note pounding in his skull. He focused on weaving through the crowd, not looking up until–

“Whoa, sorry–”

Sidney’s shoulder bumped into someone, and he instinctively reached out to steady you, his hand brushing your arm. He looked up ready to apologize, but the words caught in his throat.

“Oh, no, it's fine!” you said, smiling up at him. Your voice was warm, tinged with laughter, and it sent a spark straight through him. You smelled faintly of something sweet–vanilla, maybe?--and for a second, all Sidney could do was stand there, frozen in your presence.

What the hell just happened?

“Uh, yeah,” he finally managed, stepping aside to let you pass. “Sorry about that.”

“No worries,” you shrugged, already moving on. You disappeared into the crowd before he could even think to say more.

Sidney stood there for a moment, rooted to the sport. He felt ridiculous. One accidental run-in, and he was already hooked? It was such a brief interaction that Sid didn’t have time to really take you in—just a fleeting impression of soft features, bright eyes, and a warm energy that lingered after you’d disappeared into the crowd. He shook his head, muttering to himself as he continued to the restroom. Get a grip, Crosby.

But when he came out, the music had shifted. The crowd near the stage was buzzing with energy, cheering louder than before. When he glanced toward the source, his breath caught in his throat once more.

There you were.

You were on the small stage now, mic in hand, with a friend by your side. Laughing as the opening notes of a cheesy pop song played. You swayed slightly, clearly tips but making everyone around you smile. Your friend gestured dramatically toward the crowd, and you laughed again, your head tilting back as if you didn't have a care in the world. He'd usually roll his eyes, but somehow, you made it impossible to hate. You weren’t singing to impress. You weren’t holding back either. You were just…you.

The way you moved, the way you gestured for your friends to join in, the way your voice, slightly off-key but full of energy, filled the room—Sid couldn’t breathe. You commanded the stage effortlessly, even if you were just there for fun.

“Sid, are you coming back?” One of his friends called from the table, but he barely registered it.

For the first time all night, the music didn’t annoy him. He wanted it to last forever because it meant he could keep watching you.

Your outfit was simple—shorts and a t-shirt, nothing flashy—but on you, it might as well have been runway-worthy. Your hair fell in perfect disarray, catching the light as you turned. You looked like someone who belonged in the center of a room, not because you demanded attention, but because you simply had it.

The way you grinned when your friends cheered, the way you twirled the mic cord absentmindedly, the way you swayed in time to the music—Sidney couldn’t take his eyes off you.

The crowd was eating it up, cheering and singing along. Even people not in your group were clapping in time with the beat. You spun once, your laughter ringing out, and Sid found himself smiling without meaning to. He couldn’t remember the last time someone had caught his attention like this, Sid’s lips parted, as if he might say something—though he didn’t even know what. Not that it mattered. You didn’t notice him at all, too caught up in the whirlwind of your friends and the high of your performance.

When your song ended, you laughed into the mic, thanking the crowd with a mock bow. Your voice was still in his ears as you handed the mic back, disappearing into the crowd again, and Sid realized something unsettling.

He didn’t even know your name, and yet, he wanted to know everything about you.

Suddenly, karaoke didn’t seem so bad.

“Hey, Sid, you good?” one of his friends called as he returned to the table, snapping him out of his trance.

“Yeah,” Sid replied, shaking his head as if to clear it. But even as he sat back in his seat, he couldn’t stop glancing over at you, watching the way you lit up every corner of the room you entered.

He tried to focus on the conversation at his table, but it was useless. His mind kept drifting back to you—your laugh, the way your cheeks flushed from the heat and the drinks, the effortless way you’d captured everyone’s attention, including his. He didn’t even know you, and yet it felt like you’d already become the most significant part of his night.

Sidney tried to shake the thought of you as the night wore on, but it was proving harder than he’d expected. His friends, thankfully oblivious to the turmoil in his head, pulled him into a game of pool. They laughed and traded jabs, and for a while, he managed to focus on not making a fool of himself on the table. But every now and then, his eyes drifted toward the karaoke section of the bar, hoping to catch a glimpse of you.

He didn’t see you again for a while, and he hated how disappointed that made him feel.

“Alright, Sid, this one’s for the win,” one of his friends challenged as Sidney lined up his shot. The stakes weren’t high—just drinks for the table—but somehow, the pressure still felt real. He missed the shot by a hair, the cue ball bouncing off the edge.

“Damn it,” he muttered as his friends erupted into laughter.

“Looks like you’re up, barkeep,” one teased, clapping him on the back.

Sidney rolled his eyes but didn't argue. “Yeah, yeah. What's everyone drinking?”

A deal was a deal. With an exaggerated groan, Sidney made his way toward the bar. His focus was on the task at hand until, halfway there, he saw you again.

You were leaning over the bar, animated, your laughter carrying over the buzz of the room. The young bartender leaned toward you, shaking his head in mock exasperation as you gestured towards him.

Sidney slowed without realizing it, caught off guard by the sight of you again. You were lit from the warm glow of the bar lights, a playful smirk tugging at your lips as you spoke.

It took him a second to snap out of it. He forced himself to move forward, moving to the bar but keeping a bit of distance, not wanting to interrupt.

“I’m telling you,” you insisted, pointing at the bartender, “your wife sent me over here. She said she needs another round. Are you really going to say no to her?”

“My wife?” the bartender shot back, folding his arms.

You tilted your head, feigning disappointment. “Yes, your wife,” you teased, gesturing vaguely toward a group of people behind you. “She’s over there. And what am I supposed to tell her, huh? That her beloved husband denied her? She’s going to be heartbroken.”

The bartender rolled his eyes but couldn’t help laughing. “You’re out of your mind.”

Sidney’s chest tightened at the word wife. The idea hit him like a sucker punch, a wave of irrational disappointment. Of course, you were married. Why wouldn’t you be? You’re too much of a catch.

But then the bartender groaned, shaking his head. “You’re full of it. I don’t even have a wife!”

You gasped in mock indignation, placing a hand over your chest. “Are you saying I’m lying? That’s a bold accusation, my friend.”

But then the bartender motioned toward Sidney with a nod, cutting through his spiraling thoughts.

“Ask him. You think she’s my wife?” the bartender teased, smirking.

You laughed so hard you nearly doubled over, and Sidney’s chest burned at how effortlessly the sound tugged at him. “Oh, God, no! Please!”

Sidney blinked, relief washing over him so fast it left him a little lightheaded. Not his wife?

The bartender rolled his eyes, motioning toward Sidney. “You’re lucky I’m working. Otherwise, I’d throw you out for spreading rumors. Ask him if he’d believe a word you’re saying.”

Sidney froze as both of you glanced his way. You smiled, and for a second, he forgot how to breathe.

“Oh, please,” you laughed, turning back to the bartender. “If I were married to you, you’d probably throw yourself out of the house. There’s no way you’d survive me.”

Sidney couldn’t help it—he laughed. It was quiet, almost under his breath, but enough to catch your attention. Your eyes flicked to him again, and this time, they lingered.

Sidney watched as the bartender filled the order. You drummed your fingers on the bar and hummed under your breath, completely at ease. The bartender sighed dramatically, throwing up his hands. “Fine. One more round. But if she kills you, it’s not on me.”

You grinned triumphantly. “That’s the spirit.”

When he returned with a tray loaded with drinks, you thanked him with a beaming smile, carefully arranging the glasses. Sidney watched as you handled it like it was nothing, balancing the tray with practiced ease.

“You’re a saint,” you said, carefully arranging the drinks on the tray like you were setting the table for a fancy dinner.

“Yeah, yeah,” the bartender said, wiping the counter. “Tell my ‘wife’ she’s cut off for the night.”

You laughed, “I’ll let her know. But don’t expect her to listen.”

As you balanced the tray, you caught Sidney’s gaze. He realized too late that he’d been staring, but if you noticed, you didn’t let on. Instead, you motioned to the platter and said, “You know, you could probably convince him to give you one of these bad boys. Just drop the word ‘wife,’ and he’ll fold like a lawn chair.”

Sidney couldn’t help but smile, your humor so disarming it made him forget himself.

“Is that the secret?” he asked, his voice quieter than he meant it to be.

You nodded solemnly. “Works like a charm. Just make sure to bat your lashes for good measure.”

The bartender, overhearing, groaned. “Don’t encourage him. I don’t need two of you on my case.”

As you started to walk away, you paused one more time, looking back at him. “And if you’re nice to him,” you said, nodding toward the bartender, “he might let you order one of these bad boys. They’re worth it.”

Sidney smirked. “I’ll keep that in mind.”

You gave him a quick wink before disappearing into the crowd again, leaving him standing there, his chest tight and his heart racing.

The bartender turned to Sidney, raising a brow. “You want the usual or whatever she’s on?”

Sidney chuckled, finally snapping out of it. “Just the usual,” he replied.

Sidney lingered at the bar, waiting for the bartender to return with his friends’ drinks. He couldn’t help himself. The more he thought about you—the way you laughed, how you seemed to carry the energy of the room with you—the more he wanted to know. He wasn’t usually like this. Sidney Crosby wasn’t the type to get lost in someone he hadn’t even spoken to properly. But you weren’t just anyone.

The bartender returned, setting the tray of drinks down in front of him. “Here you go, man,” he said, wiping his hands on a towel slung over his shoulder.

“Thanks,” Sid said, but he hesitated before picking up the tray. His curiosity got the better of him. “So, uh… congrats on the marriage.”

The bartender looked confused for a moment before chuckling. “Oh, no. Not yet. Next summer.”

Sidney nodded, pretending to be casual even though his heart raced. “Who’s the lucky one?”

The bartender smirked and motioned toward the group you’d come from earlier. “That one, over there. The brunette in the green dress.”

Sidney followed his gaze and spotted a woman chatting animatedly with some friends. Relief washed over him. Not you. He wasn’t sure why he cared so much, but he couldn’t deny it was a weight off his chest.

“Oh,” Sid said, trying to sound polite. “That’s great. She seems nice.”

“She is,” the bartender said with a grin. “Keeps me in check. She’s the brains behind this whole place, honestly. I’d probably run it into the ground without her.”

Sid chuckled, then took a shot in the dark. “So, uh, what about her friend? The one you were just arguing with?”

The bartender glanced at him, amused. “Y/N? She’s a handful, isn’t she?”

Y/N. The name hit him like a punch to the gut. Of course, it was perfect. Why wouldn’t it be? It sounded as magnetic as you seemed to be. He repeated it silently, letting it settle.

“She’s something,” Sid admitted, keeping his tone light. “You’ve known her long?”

The bartender leaned against the counter, clearly happy to talk. “Oh yeah, she’s part of the crew. All 25, all college grads, all trying to figure life out.” He nodded toward the group again. “That’s her circle. They’re like family.”

Sidney glanced over, pretending to scan the crowd. “You own this place?”

“Yeah,” the bartender said proudly. “Got it a couple years ago. It was a dive back then, but my fiancée and I spruced it up. She’s the business brains—has a degree and everything. Y/N helps too, though. She’s great at coming up with ways to get people in here. Karaoke night? Totally her idea. I just go along with it, but it works.”

Sidney smiled, genuinely interested now. “It’s a nice setup. I noticed the corkboard by the pool table—lots of events.”

“Her and my fiancée,” the bartender said with a laugh. “They’re like a force of nature. Always cooking up something. Y/n’s got a knack for drawing people in. She’s pretty good at it. Makes my life easier. I’m just here to pour the drinks.”

Sidney nodded, amused and impressed. He was starting to picture you more clearly: vibrant, creative, the kind of person who could walk into a room and change the energy without even trying. “Y/n, huh?” Sid repeated, more to himself than to the bartender.

“Yep,” the bartender said, nodding toward the corner of the room where you’d disappeared earlier. “That’s her. And if you think she’s a handful sober, you should see her after a couple of margaritas.”

Sidney hesitated for a moment before asking, “So… what does she do?”

“She’s between jobs right now, but she’s got something lined up. Big opportunity, actually. She’s moving to Pittsburgh soon.”

That caught Sidney off guard. “Moving?” he asked, trying to sound casual.

“Yeah,” the bartender said, wiping down the counter. “Got a job with one of the sports teams.”

Pittsburgh. Small world. Sidney’s heart raced. Maybe it was fate, or maybe he was just desperate to believe it. “What team?”

“Pretty sure it’s the baseball team,” the bartender said. “The Pirates, right?”

Sidney’s shoulders sagged, but only slightly. Baseball wasn’t hockey, and The Pirates were not the Penguins but it wasn’t the end of the world, either. “Yeah, The Pirates”

“Yeah, that’s the one,” the bartender confirmed. “She’s always been into sports—something with fan engagement, marketing or something like that. She’ll kill it, no doubt. She’s great with people. Always has been. We’re gonna miss her though. She’s kind of the glue that keeps everyone together.”

Sidney nodded slowly, his mind already racing. Pittsburgh wasn’t exactly a stone’s throw away, but it wasn’t impossible, either. And the Pirates… maybe he’d start going to more baseball games. It felt like fate didn't it? A city he already knew so well.

“Small world,” Sid said, almost to himself.

The bartender laughed. “Yeah, man. Who knows? Maybe you’ll run into her again.”

Sidney raised an eyebrow. “You think?”

“Why not?” the bartender said with a shrug. “It’s Pittsburgh. Not like it’s New York.”

Sid smiled but didn’t say anything. The idea of running into you again—at a baseball game, maybe, or just around town—settled into his chest like a quiet hope.

“You a baseball fan?” the bartender asked, pulling Sid out of his thoughts.

“Not exactly,” Sid admitted. “But Pittsburgh’s a small world. Maybe I’ll catch a game sometime.”

The bartender grinned. “You should. And hey, I’ve gotta say—I’m a fan. Didn’t want to bug you earlier, but it felt wrong not to say it.”

Sidney’s lips twitched into a modest smile. “I appreciate that. And, uh, thanks for not making a big deal out of it.”

“You got it,” the bartender said. “We get a decent amount of sports guys in here, but it’s not every day we have someone like you around.”

Sidney nodded, trying not to let the conversation linger on him. “It’s a nice spot,” he said, gesturing to the bar.

“Thanks,” the bartender said, he leaned back, crossing his arms. “Anyway, you let me know if you need anything else. Drinks are on me tonight.”

Sidney smiled, grateful but distracted. “Thanks. Means a lot.”

As he carried the tray of drinks back to his friends, he couldn’t shake the feeling that meeting you tonight was just the beginning. Pittsburgh suddenly seemed a lot smaller, and a lot more promising.

He didn’t know what it was about you, but Sidney Crosby had a feeling he wasn’t done with you.

[parkerbombshell]

Strange Fruit Sept 8

Strange Fruit 10pm EST bombshellradio.com Archival Shows available on bombshellradiopodcasts.com     Strange Fruit (10-midnight EST) cherry picks its way through four massively influential albums by an American who had almost all his hits in the UK. Bowie and Radiohead, and more others than we can name here claim this music as a massive influence, we’d claim to mix it with obscure psych, a bizarre 70’s reissue and enough obscure current sounds to make for two hours of unique radio. Join us: https://bombshellradio.com/   #scottwalker #newmusic #independentradio         Artist Track Affleck’s Palace: Colour Photo Warmduscher: Fashion Week Renaissance: The Vultures Fly Scott Walker: Through a Long and Sleepless Night Our Plastic Dream: Encapsulated Marigold ANNOUNCEMENT   Bill Leeb feat. Shannon Hemmett: Terror Forms Massive Scar Era: 30 Years Ty Segall: The Dance (Edit) Dar Disku feat. Yacine Elkhaldi: Dbayli Scott Walker: The Girls from the Streets Scott Walker: It’s Raining Today Goldfrapp: Horse Tears Martijn de Kleer The Time Has Come HERDING Summer Ben Bohmer (feat. Lykke Li): Hiding Gingham: From the Start The George School: The Bright Eyed Queen ANNOUNCEMENT   Tony Curtis: Shizzle (Markle Neeko Remix) Val Bennett and the Upset All Stars: Stranger on the Shore Cosmic Buddha: Deep Freeze Hawkwind: Wastelands of Sleep Steve Allen: Three Little Pigs Joyce Moore: Don’t Play Number Ten Scott Walker: On your Own Again The Walker Brothers: Saturday’s Child Herve Perez: Nada Listening Meditation 16 David Crosby: I’d Swear there was Somebody Here             Read the full article

[chanelfunnell]

Do you mean this, anon ? Thanks for info but I do not deal with it . We know that Megan Butler is Tazer's girlfriend for a while and they got together at their vacay in Puerto Rico. He liked her last IN post so it's the beginning of July. The holiday was in June .

The woman next to Tazer is Megan B, what they do I have no clue. Also no idea about any links to Aubrey and frankly I don't bother. Also not about ramblings or theories and trolling of Crosby/Toews Kane Interesting delusional puckbunny boiler claiming I am some Lee. She posted about fictional Lee in her old rambling on Blogger. She claims there how Crosby is all bad and all people hack her comp, then how she will report you and people to Marketing Association and Lemieux, Morin...cookies, bots...

ye MMegan Butler is Tazer's girlfriend for a while, no idea what Marti Snow will say lol or Ashley Toews Gurl meets Toews Kane meets Crosby Interesting lol

If Toews follows her it looks like two peas in the pot and not just pot smoking. Very blurred world at least at her end...She stalks all posts on IN, also Megan Butler and Amanda Grahovec. Then trashes them. She threw jealous tantrum after my find of similarity which is true, Tazer copied more things in past which is maybe a compliment. You don't bother about strangers, I don't.

I find only strange how quickly certain post with Megan Butler has appeared and whether Marketa BLW and her lawyers were right and Tazer messes with certain dangerous stuff so his bs play. If Megan B belongs to Aubrey etc I don't know and I don't care. Marketa BLW apparently has contacted Wirtz CEO regarding crazy Ashley,a lawsuit and Aubrey yesterday. It is possible that Megan Butler has asked her friends to post it as she lives in delusion it's M who checks all about her, wags, Tazer and into Tazer so no advantage taken over years with her look etc. Regarding Marketa it will s more self defense if her old crazy troll is followed by Tazer and more like trying to save Tazer Captain from trouble linked to Aubrey. No beep about Megan B and any idea of her links to Aubrey although she hails from Austin. If Megan did it and Cray Mrs Troll is right they smoke something it is more trouble for Tazer and bad influence by Megan. No one bothers about Tazer's gf's and never done with Lindsey from other Tumblr bloggers. It starts to be interesting with this tea..or dope..or what... apparently Carcillo posted that flying mushrooms are better than weed. Why does center Tazer needs wings anyway for his ehm .like up if it is true ? Lol He got just 4 points from 12! games. Day and night this season..

I am also surprised that Mr Troll still reads my posts and how quickly she tracks anything new about WAGs inssne. You get it after I post about ,Lee, by her. I'd leave it to Canadian jurisdiction as a part of Commonwealth and M's lawyers lol Watch the space.. more tea. Without drama and Ash.

[steamworksandshadows]

Extremely Large Pile of Halloween Music Recs, 2020 Update!

(Reorganized a bit, and with a whole bunch more songs.)

Classical

Come Little Children - Erutan (ethereal classical)

Transylvanian Lullaby - Erutan (ethereal classical)

Transylvanian Lullaby - City of Prague Philharmonic Orchestra (orchestral classical)

A History of Horror (album) - City of Prague Philharmonic Orchestra 

Double Trouble - City of Prague Philharmonic Orchestra (classical)

Carnival of the Animals: Aquarium - Camille Saint-Saens (eerie classical)

Danse Macabre - Camille Saint Saens (dark classical ballet)

Uranus, the Magician - Gustav Holst (orchestral classical)

The Sorcerer’s Apprentice - Paul Dukas (orchestral classical)

Night on Bald Mountain - Modest Mussorgsky (orchestral classical about witches)

In the Hall of the Mountain King - Edvard Grieg (classical)

Dies Irae - Mozart (threatening choral/orchestral classical)

Don Giovanni, a cenar teco - Mozart (growly baritone/bass opera - the bit where Don Giovanni gets dragged to hell, both in the supernatural religious sense and in the modern internet slang sense)

Toccata and Fugue in D Minor - Bach (classical pipe organ)

String Quartet No. 8 in C Minor (III) - Shostakovich (classical string quartet)

Dance of the Knights - Sergei Prokofiev (classical)

Flowering Vines - Unwoman (ominous cello waltz)

The Carny of Mr Dark - Deathwatch Beetle Repairman (goth pipe organ)

Castlevania organ medley - Ulla Olsson (pipe organ)

This Is Halloween - Vitamin String Quartet (classical string quartet)

Vitamin String Quartet Performs The Nightmare Before Christmas (album)

The Vampire Masquerade - Peter Gundry (classical)

Waltz of the Bone King - Peter Gundry (classical)

Masquerade Suite: Waltz - Aram Khatchaturian (dark classical waltz)

The Comedians, Op. 26: Waltz - Kabalevsky (uneasy classical waltz)

Grim Grinning Ghosts - Myuu (instrumental piano)

Rock, alternative, rockabilly

Haunted - Ashcan Orchid (folk rock)

The Last Steampunk Waltz - Ghostfire (rock waltz)

Bad Moon Rising - Rasputina (cello metal)

In the Hall of the Mountain King - Apocalyptica (metal cello)

Get Your Kicks on Route 666 - Exdevils (metal)

Shoot The Zombies - Andrew Huang / Songs To Wear Pants To (sing-along folk)

Something Wicked That Way Went - Vernian Process (circus rock)

Dark Carnivale - Frenchy and the Punk (indie rock)

Come Alive (War Of The Roses) - Janelle Monae (rock)

Gallows - Coco Rosie (goth indie/alternative)

My Favorite Things - Youn Sun Nah (creepy vocal)

Annabel Lee - Psyche Corporation (electronic alternative)

The Devil Wears a Suit - Kate Miller-Heidke (alternative)

Toxic - Yael Naim (neo-folk)

Crazy For You - Venus de Vilo (indie rock)

Witchy Woman - The Eagles (classic rock)

Goodnight Moon - Shivaree (alternative)

Bela Lugosi’s Dead - Nouvelle Vague (alternative)

Bloodletting (The Vampire Song) - Concrete Blonde (alternative)

Tombstone - Suzanne Vega (alternative)

Off With Your Head - Mz Ann Thropik (alternative)

Poison Apple - Charlene Kaye (rock)

This Is The Night - Harry Potter soundtrack (rock)

Look Out Young Son - Grand Ole Party (rock)

Painkiller - Birdeatsbaby (rock)

Haunted - Frantic Flintstones (rockabilly)

Freaked Out and Psyched Out - Frantic Flintstones (album)

Zombie Riot - Batmobile (rockabilly)

Alice in psycholand - Nekromantix (rockabilly)

She’s My Witch - The Radiacs (rockabilly)

Werewolf - Southern Culture on the Skids (rockabilly)

Human Fly - The Cramps (rockabilly)

Munster Beat! - Martinibomb and The Coconut Monkeyrocket (‘60s pop remix?)

Circus punk, dark cabaret

Charmed, I’m Sure - Circus Contraption (dark circus cabaret)

We’re All Mad - Circus Contraption (dark circus cabaret)

Pink Elephants on Parade - Circus Contraption (dark cabaret)

The Last Waltz - The Magnificent Seven (dark cabaret waltz)

Tango de la Muerte - The Magnificent Seven (rock tango)

Bloody Bones - Beats Antique (dark circus waltz)

Monster Tango - Mucca Pazza (circus punk marching band)

Rumanian Dance No. 1 - Mucca Pazza (circus punk marching band)

Mr. Spider Goes Home to Spiderland - Mucca Pazza (circus punk marching band)

The Trouble - Birdeatsbaby (dark cabaret)

Theatre Noir - Robyn Cage (dark cabaret) (music video)

Jekyll and Hyde - Theoretics (hip-hop)

Lament for a Toy Factory - Dr. Steel (circus rock)

Bogeyman Boogie - Dr. Steel (circus rock)

Circus Apocalypse - Vermillion Lies (dark cabaret)

When You’re Evil - Voltaire (dark cabaret)

BRAINS! - Voltaire (dark cabaret)

Careless Whisper (cover) - Unwoman (electronic cabaret)

Katrinah Josephina - Universal Hall Pass (a capella)

Buried in Water - Dead Man’s Bones (dark waltz)

Metropolitan Waltz - Orpheum Bell (folk waltz)

The Buccaneers’ Waltz - GurdyBird (electronic folk?)

Black Waltz - Amber Asylum (electronic circus thing)

Creepy Clown Symphony - Myuu (self-explanatory)

Americana, bluegrass, blues, soul, funk

In Hell I’ll Be In Good Company - The Dead South (Americana)

Stranger - The Devil Makes Three (Americana)

First and Last Waltz - Nickel Creek (Americana)

Ghosts of Mississippi - The Steeldrivers (bluegrass)

7 Devils - The Goddamn Gallows (bluegrass, rock)

Old devils - William Elliot Whitmore (bluegrass)

Death Come Creeping - Stefan Grossman (bluegrass)

The Devil Wears a Suit and Tie - Colter Wall (Americana)

Shankill Butchers - Sarah Jarosz (Americana)

Hellhound - Shawn James (acoustic blues)

Voodoo Woman - Koko Taylor (blues)

Your Hoodoo Man - Studebaker John & The Hawks (blues)

Voodoo - The Neville Brothers (New Orleans soul)

Voodoo - Jo Jo Zep & The Falcons (soul, funk)

The Witch Queen of New Orleans - Redbone (funk)

I Put a Spell on You - Screamin’ Jay Hawkins (rock ‘n roll)

Jazz, swing

In the Hall of the Mountain King - Duke Ellington (jazz)

I Put a Spell on You - Nina Simone (slow jazz)

I Put a Spell on You - Morgan James (slow jazz)

Old Devil Moon - Frank Sinatra (jazz)

Black Magic Woman - Janice Hagan and Kenny Vehkavaara (jazz)

I’d Rather Be Burned As A Witch - Eartha Kitt (jazz)

Thriller (1930s Jazz Cover) ft. Wayne Brady - Postmodern Jukebox (swing) (alternate link)

The Devil With The Devil - Larry Clinton Orchestra (swing)

Swingin’ at the Seance - Glenn Miller (big band swing)

Spooks - Louis Armstrong (swing)

The Headless Horseman - Bing Crosby (swing)

Skeleton Jangle - Dan Levinson’s Roof Garden Jass Band (swing)

Resurrection Waltz - Lee Presson and the Nails (big band waltz)

Spooky - Puppini Sisters (Andrews Sisters-style swing)

Headless Horseman - Kay Starr (swing)

Hell (Remastered 2016) - Squirrel Nut Zippers (swing)

Ghost of Stephen Foster - Squirrel Nut Zippers (swing)

Memphis Exorcism (Remastered 2016) - Squirrel Nut Zippers (swing)

Boogie Man - Lee Presson and the Nails (swing)

Rattlin’ Bones - Preservation Hall Jazz Band (New Orleans swing)

Save My Soul - Big Bad Voodoo Daddy (New Orleans swing)

Skeletons in the Closet - Louis Armstrong (swing)

Skeletons in the Closet - The Moon-Rays (swing)

The Mack - Beat Circus (swing - doesn’t seem very Halloween at first, until the tuba player gets murdered in the middle of the song. I swear it makes sense.)

Balrog Boogie - Diablo Swing Orchestra (swing)

Voodoo Mon Amour - Diablo Swing Orchestra (swing)

The House Is Haunted - Casa Loma Orchestra (swing)

Skeleton Jangle - Viva La Rocca (swing)

Two Little Men in a Flying Saucer - Ella Fitzgerald (swing)

Grim Grinning Ghosts - The Dapper Dans (barbershop)

Grim Grinning Ghosts - The Dapper Dans (in person) (barbershop)

Halloween Medley - The Cadaver Dans (barbershop)

Pop

Full Moon Tonight - Silvastone feat. Bellsaint (pop)

Demons - Hayley Kiyoko (pop)

Season of the Witch - Lana del Rey (pop)

A Little Wicked - Valerie Broussard (pop)

Halloween - Aqua (pop)

Sweet Dreams (Are Made Of This) - violin/cello/bass cover - Simply Three (electronic pop)

Shoot The Zombies (Pink Fluffy Unicorns Remix) - Andrew Huang (happy pop)

I Put a Spell on You (no movie dialogue) - Winifred Sanderson (pop musical)

Electro-swing

Fear & Delight - The Correspondents (electro-swing)

Midnight - Caravan Palace (electro-swing) (alternate link)

Midnight - Swingrowers (different electro-swing)

Old House - Dirty Honkers (electro-swing)

Devil’s Samba - Sim Gretina (Latin-flavored electro-swing)

Devil’s Got My Soul - Victor and the Bully (rock/electro-swing)

Cuphead: Railroad Wrath (Electro-Swing Remix) - The Musical Ghost (electro-swing)

Cuphead: One Hell of a Time (Electro-Swing Remix) - The Musical Ghost (electro-swing)

Bendy and the Ink Machine: The Devil’s Swing - Fandroid (electro-swing)

Bendy and the Ink Machine: The Devil’s Swing (Glitch-Swing Remix) - The Musical Ghost (glitch-swing)

Undertale: Spider Dance (Glitch-Swing Remix) - The Musical Ghost (glitch-swing)

Undertale: Spider Dance (Sim Gretina Remix) - Sim Gretina (funk/glitch/chiptune)

Luigi’s Mansion (Remix) - Qumu Music (chiptune, electro-swing)

Undertale: Ghost Fight & Dummy (Peggy Suave Swing Remix) - Sim Gretina (electro-swing)

Electronica, EDM

Backstreet Bones: Everycorpse - Sim Gretina (uhhh…spoopy Halloween EDM remix of Backstreet Boys? If you click on nothing else, click on this one. It’s very worth it, I promise.)

Macabre Rotting Girl Feat. Kathy-chan - Sim Gretina (adorable electro)

Sim Gretina feat. Kathy chan: Let The Monsters Free (µThunder Remix) - µThunder (EDM) 

Ghost in the Machine - PrototypeRaptor (complextro)

Spooky Tune - PrototypeRaptor (complextro)

Nullifcation [Underground] (Legend of Zelda remix) - PrototypeRaptor (grimy EDM)

Grim Grinning Ghost (Remix) - The Living Tombstone (EDM)

Undertale: Megalovania (Sim Gretina Remix) - Sim Gretina (EDM)

Undertale: Spooktune (Sim Gretina Remix) - Sim Gretina (EDM)

Spooky Scary Skeletons (Remix) - The Living Tombstone (EDM)

Warren Zevon: Werewolves of London (Daheen Rmx) - Daheen (psytrance)

Interlude: Limbo - Yoshimasu Kamiya (ambient horror)

Bloodstone - Amon Tobin (atmospheric glitch)

Volk - Thom Yorke (ambient horror)

The Horror - RJD2 (instrumental hip-hop)

Crybaby - Drum & Lace (indescribable brooding atmospheric)

The Kid Who Drowned At Summer Camp - Hot Sugar (instrumental hip-hop)

The Darkest Evening of the Year - Emancipator (downtempo)

Halloween Funtime REMIXMONSTRousMASHup - Pretty Lights (EDM)

HALLOWEEN Theme Song (DJ Deville Trap Remix) - DJ Deville (trap)

The Oogie Boogie (Man) - Duke Skellington (glitch-hop)

Stranger Things Theme Song (Michael Jobity & The Foreign Machine Remix) - Michael Jobity, The Foreign Machine (synthwave - my personal favorite remix of this theme)

Stranger Things Theme Song (C418 REMIX) - C418 (synthwave)

Stranger Things (Louis Futon Flip) - Louis Futon (chillstep)

Stranger Things Theme (Slicey Remix) - Slicey (trap)

Stranger Things - Theme Song (Oscar Wylde Trap Remix) - Oscar Wylde (trap)

Ghostbusters (Kill Paris Remix) - Kill Paris (EDM, future funk - by far my favorite remix of the Ghostbusters theme)

The Ghostbusters Theme (Remix) - The Living Tombstone (EDM)

Ghostbusters Remix - Matheo (EDM)

Ghostbusters Remix - Fat Noize (dubstep)

Lady Gaga: Monster (Starfuckers Remix) - Starfuckers (EDM)

Lady Gaga: Monster (Chew Fu Remix) - Chew Fu (electro-house)

Michael Jackson: Thriller (James Egbert Remix) - James Egbert (electro-house)

Michael Jackson - Thriller [The Reflex Halloween Disco Edit] - The Reflex (moody, indescribable IDM(?))

Beetlejuice (Dubstep Mix) - Figure (dubstep)

The Addams Family (Figure Remix) - Figure (dubstep)

Hedwig’s Theme (KE KRA’s Trap Remix) - KE KRA (trap)

Stress - Justice (French electronic…something)

Things I thought were funny

Werewolf Bar Mitzvah - 30 Rock (parody novelty record)

A Hard Days Night of the Living Dead - The Zombeatles (zombie rock)

Schüttel deinen Speck - Peter Fox (witches’ dance video) (the track by itself)

In the Hall of the Mountain King - Portsmouth Sinfonia (experimental orchestra from the ‘70s - google them, you absolutely will not regret it)

Gangnam Busters - FAROFF (Ghostbusters/Gangnam Style mashup - annoyingly, it works far better than you think it will)

[beemusik]

How David Bowie Invented Ziggy Stardust

Jason Heller’s book Strange Stars: David Bowie, Pop Music, and the Decade Sci-Fi Exploded is the story of how science fiction influenced the musicians of the Seventies. Out now in hardcover via Melville House, Strange Stars also examines how space exploration, futurism and emerging technology inspired the sometimes-cosmic, sometimes-mechanistic music the decade produced. In this section, Heller delves into the creation of Bowie’s most-famous alter ego, Ziggy Stardust.

A small crowd of sixty or so music fans stood in the dance hall of the Toby Jug pub in Tolworth, a suburban neighborhood in southwest London, on the night of February 10, 1972. The backs of their hands had been freshly stamped by the doorman. A DJ played records to warm up the crowd for the main act. The hall was nothing fancy, little more than “an ordinary function room.” The two-story brick building that housed it – “a gaunt fortress of a pub on the edge of an underpass” – had played host to numerous rock acts over the past few years, including Led Zeppelin, Jethro Tull, and Fleetwood Mac. Sci-fi music had even graced the otherwise earthy Toby Jug, thanks to recent headliners King Crimson and Hawkwind, and exactly one week earlier, on February 3, the band Stray performed, quite likely playing their sci-fi song “Time Machine.” The concertgoers on the tenth, however, had no idea that they would soon witness the most crucial event in the history of sci-fi music.

Most of them already knew who David Bowie was – the singer who, three years earlier, had sung “Space Oddity,” and who had appeared very seldom in public since, focusing instead on making records that barely dented the charts. His relatively low profile in recent years hadn’t helped his latest single, “Changes,” which had come out in January. Despite its soaring, anthemic sound, it failed to find immediate success in England. But the lyrics of the song seemed to signal an impending metamorphosis, hinted at again in late January when Bowie declared in a Melody Makerinterview, “I’m gay and always have been” and unabashedly predicted, “I’m going to be huge, and it’s quite frightening in a way.” Bowie clearly had a big plan up his immaculately tailored sleeve. But what could it be?

Before Bowie took the stage of the Toby Jug, an orchestral crescendo announced him. It was a recording of Beethoven’s Ninth Symphony, drawn from the soundtrack to A Clockwork Orange. To anyone who’d seen the film, the music carried a sinister feeling, superimposed as it was over Kubrick’s visions of grim dystopia and ultraviolence. Grandiloquence mixed with foreboding, shot through with sci-fi: it couldn’t have been a better backdrop for what the pint-clutching attendees of the Toby Jug were about to behold.

At around 9:00 p.m., the houselights were extinguished. A spotlight sliced the darkness. Bowie took the stage. But was it really him? In a strictly physical sense, it must have been. But this was Bowie as no one had seen him before. His hair – which appeared blond and flowing on the cover of Hunky Dory, released just three months earlier – was now chopped at severe angles and dyed bright orange, the color of a B-movie laser beam. His face was lavishly slathered with cosmetics. He wore a jumpsuit with a plunging neckline, revealing his delicate, bone-pale chest, and his knee-high wrestling boots were fire-engine red. Bowie had never been conservative in dress, but even for him, this was a quantum leap into the unknown.

Then he began to play. His band – dubbed the Spiders from Mars and comprising guitarist Mick Ronson, bassist Trevor Bolder, and drummer Woody Woodmansey – was lean, efficient, and powerful, clad in gleaming, metallic outfits that mimicked spacesuits, reminiscent of the costumes from the campy 1968 sci-fi romp Barbarella. The Jane Fonda vehicle had been a huge hit in England, and it became a cult film in the United States, thanks to its titillating portrayal of a future where sensuality is rediscovered after a lifetime of sterile, virtual sex.

In the same way, Bowie’s new incarnation was shocking, lurid, and supercharged with sexual energy. Combined with his recent admission of either homosexuality or bisexuality, as he was then married to his first wife, Angela, Bowie’s new persona oozed futuristic mystique, which Bowie biographer David Buckley described as “a blurring of ‘found’ symbols from science fiction – space-age high heels, glitter suits, and the like.”

But what bewitched the audience most was the music. Amid a set of established songs such as “Andy Warhol,” “Wild Eyed Boy from Freecloud,” and, naturally, “Space Oddity,” the Spiders from Mars injected a handful of new tunes, including “Hang On to Yourself” and “Suffragette City,” that had yet to appear on record. Propulsive, infectious, and awash in dizzying imagery, this was a new Bowie – cut less from the thoughtful, singer-songwriter mold and more from some new hybrid of thespian rocker and sci-fi myth. These songs bounced off the walls of the Toby Jug’s no-longer-ordinary function room. The audience, whistling and cheering, was entranced. A show eye-popping enough to dazzle an entire arena was being glimpsed in the most intimate of watering holes.

Although the crowd was sparse, people stood on tables and chairs to get the best possible view. The stage was only two feet high, but it may as well have been twenty, or two million – an elevator to outer space designed to launch Bowie into an orbit far more enduring than that of Major Tom in “Space Oddity.”

At some point, amid the swirl and spectacle of the two-hour set, Bowie announced from the stage the name of his new identity: Ziggy Stardust.

Like an artifact from some alien civilization, Bowie’s fifth album, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, was unveiled on June 16, 1972. By then, Ziggy had become a sensation. After the Toby Jug gig in February, concertgoers embraced Bowie’s new persona in music venues around the UK. Attendance swelled each night, as did a growing legion of followers who dressed themselves in homemade approximations of Bowie’s outlandish attire.

Just as the album was released, he and the Spiders appeared on the BBC’s revered Top of the Popsprogram, performing the record’s centerpiece: the song “Starman.” For many of a certain age, watching Bowie on their family’s television that evening was tantamount to the Beatles’ legendary spot on The Ed Sullivan Show in the United States eight years earlier. “He was so vivid. So luminous. So fluorescent. We had one of the first color TVs on our street, and David Bowie was the reason to have a color TV,” remembered Bono of U2, who was twelve at the time. “It was like a creature falling from the sky. Americans put a man on the moon. We had our own British guy from space.”

Musically, “Starman” was an exquisite and striking slice of pop songcraft, exactly what Bowie needed at that point in his career. Lyrically, he smuggled in a sci-fi story that centers around Ziggy Stardust, who was both Bowie’s alter ego and the fictional protagonist of the Rise and Fall concept album, as loose as it was in that regard – it is more a fugue of ideas that coalesce into a concept. Through the radio and TV, an alien announces his existence to Earth, which Bowie describes in lovingly rendered sci-fi verse: “A slow voice on a wave of phase.” The young people of the world become enchanted and hope to lure the alien down: “Look out your window, you can see his light /If we can sparkle, he may land tonight.” But that alien is reticent, and his shyness makes him all the more magnetic.

Bowie sang the song on Top of the Pops clad in a multicolored, reptilian-textured jumpsuit, which Melody Maker called, “Vogue’s idea of what the well-dressed astronaut should be wearing.” In that sense, “Starman” is a self-fulfilling prophecy: before he could truly know the impact the song would have, he used it to describe its effect on Great Britain’s young people in perfect detail. He was the starman waiting in the sky, and the kids who saw him on TV soon began to dress like him, hoping to sparkle so that he may land tonight.

If Bowie intended “Starman” to be an overt reference to [Robert A.] Heinlein’s Starman Jones, the book he loved as a kid, he never publicly confessed to it. But the admittedly sketchy story line of Rise and Fall parallels another Heinlein work: Stranger in a Strange Land, the novel that had influenced David Crosby in the ’60s and, later, many other sci-fi musicians of the ’70s. The book’s hero,Valentine Michael Smith, comes to Earth from Mars; in Rise and Fall, Mars is built into the title. And both Valentine and Ziggy become messiahs of a kind – androgynous, libertine heralds of a new age of human awareness. Bowie claimed he’d turned down offers to star in a film production of Stranger in a Strange Land and had few positive words to say about the book, calling it “staggeringly, awesomely trite.” Be that as it may, he clearly had read the book and developed a strong opinion of it – perhaps enough for some of its themes and iconography to seep into his own work.

The opening song of Rise and Fall, “Five Years,” elegiacally delivers a dystopian forecast: the world will end in five years due to a lack of resources, and society is disintegrating into a slow-motion parade of perversity and moral paralysis. It’s a countdown to doomsday, with the clock set at five years. The song’s ominous refrain, “We’ve got five years,” is sung by Bowie with increasing histrionics, his voice sounding more panicked and deranged as he repeats the phrase. “The whole thing was to try and get a mocking angle at the future,” Bowie said in 1972. “If I can mock something and deride it, one isn’t so scared of it” – with “it” being the apocalypse.

“Five Years” set a chilling tone, but Rise and Fall didn’t entirely wallow in it. The coming of an alien rock star named Ziggy Stardust is relayed in a multi-song story that’s equally melancholy and ecstatic, tragic and triumphant. On tracks such as “Moonage Daydream,” “Star,” and “Lady Stardust,” Bowie wields terms such as “ray gun” and “wild mutation.” He also claims, “I’m the space invader,” as though he were channeling the ideas of his sci-fi heroes Stanley Kubrick or William S. Burroughs, particularly the latter’s 1971 novel, The Wild Boys.

As Bowie explained, “It was a cross between [The Wild Boys] and A Clockwork Orange that really started to put together the shape and the look of what Ziggy and the Spiders were going to become. They were both powerful pieces of work, especially the marauding boy gangs of Burroughs’s Wild Boys with their bowie knives. I got straight on to that. I read everything into everything. Everything had to be infinitely symbolic.” The photos of the Spiders from Mars inside the album sleeve of Rise and Fall were even patterned after the gang of Droogs of A Clockwork Orange; Droogs are mentioned by name in the Rise and Fall song “Suffragette City.” Furthermore, Bowie posed on theback cover of the album, peering out of a phone booth – just as though he were that other cryptic British alien who regularly regenerates himself and is often seen in a phone booth (specifically a police call box), the Doctor from Doctor Who.

Bowie also drew from work of the Legendary Stardust Cowboy. Born Norman Carl Odam, the Texan rockabilly artist released a twangy, oddball 1968 single titled “I Took a Trip (On a Gemini Spaceship)” that Bowie wound up covering in 2002; it was from Odam that Bowie borrowed Ziggy’s surname. And after going on a record-buying spree while touring the United States in 1971, he bought Fun House by the Michigan proto-punk band the Stooges, whose outrageous lead singer was named Iggy Pop. He jotted down ideas on hotel stationary while traveling the States, resulting in a name that was a mash-up of Iggy Pop and the Legendary Stardust Cowboy. Ziggy Stardust was a fabricated rock star, one whose sleek facade flew in the face of the era’s reigning rock aesthetic of laid-back, unpretentious authenticity. Instead, Bowie wanted to puncture that illusion by taking rock showmanship to a previously unseen, self-referential extreme.

When it came to Bowie’s urge toward collage and deconstruction, Burroughs remained a prime inspiration. A pioneer of postmodern sci-fi pastiche as well as the literary cut-up technique, in which snippets of text were randomly rearranged to form a new syntax, Burroughs straddled both pulp sci-fi and the avant-garde, exactly the same liminal space Bowie now occupied. Rock critic Lester Bangs accused Bowie of “trying to be George Orwell and William Burroughs” while dismissing him as appearing to be “deposited onstage after seemingly being dipped in vats of green slime and pursued by Venusian crab boys” – a description that sounded like it could have been cribbed straight from a Burroughs book.

In 1973, Burroughs met Bowie in the latter’s London home. The meeting was arranged by A. Craig Copetas from Rolling Stone, and the resulting exchange was published in the magazine a few months later. In the article, Copetas observed that Bowie’s house was “decorated in a science-fiction mode,” and that Bowie greeted them “wearing three-tone NASA jodhpurs.” The ensuing conversation ranged across many topics, but it circled around science fiction – and in particular, the similarity Bowie saw between Rise and Fall and Burroughs’s 1964 novel Nova Express, a surreal sci-fi parable about mind control and the tyranny of language.

In an effort to convince Burroughs of the similarity, Bowie offered one of the most revealing analyses of Rise and Fall as a work of science fiction:

“The time is five years to go before the end of the Earth. It has been announced that the world will end because of a lack of natural resources. Ziggy is in a position where all the kids have access to things that they thought they wanted. The older people have all lost touch with reality, and the kids are left on their own to plunder anything. Ziggy was in a rock & roll band, and the kids no longer wanted to play rock & roll. There’s no electricity to play it.”

Bowie went on:

“[The environmental apocalypse] does not cause the end of the world for Ziggy. The end comes when the infinites arrive. They really are a black hole, but I’ve made them people because it would be very hard to explain a black hole onstage.”

Curiously, it took him another twenty-six years before casually revealing in an interview that a sci-fi song called “Black Hole Kids” was recorded as an outtake during the sessions for Rise and Fall. He called the song “fabulous,” adding, “I have no idea why it wasn’t on the original album. Maybe I forgot.”

But Bowie dropped the biggest revelation about Rise and Fallin the 1973 conversation with Burroughs. Ziggy Stardust, according to his creator, is not an alien himself; instead, he’s an earthling who makes contact with extra-dimensional beings, who then use him as a charismatic vessel for their own nefarious invasion plan. But like Frankenstein’s monster being erroneously called “Frankenstein” to the point where it seems senseless to quibble with that usage, Ziggy Stardust continues to be widely considered the alien entity of Rise and Fall. Considering the shifting identity and gender of Bowie’s most famous alter ego, that ambiguity may well have been his intention. Talking to Burroughs, he ultimately labels Rise and Fall “a science-fiction fantasy of today” before reiterating its similarity to Nova Express, to which Burroughs responds, “The parallels are definitely there.”

Rise and Fall has always been as fluid as Bowie’s facade itself. Michael Moorcock’s Eternal Champion cast a shadow over Ziggy Stardust, especially the glammy incarnation of the many-faced character known as Jerry Cornelius – who was adapted to the big screen in 1973 for the feature film The Final Programme. It coincided with Ziggy’s own ascendency, not to mention the New Wave of Science Fiction and its preference for fractured narratives and multiple interpretations over linear stories and pat endings.

During their mutual interview, Burroughs brought up the then-current rumor that Bowie might play Valentine Michael Smith in a film adaptation of Heinlein’s Stranger in a Strange Land. Bowie again dismissed it. “It seemed a bit too flower-powery, and that made me a bit wary.” For his part, Bowie’s fellow sci-fi musician Mick Farren of the Deviants later admitted he always thought Michael Valentine Smith was a major influence on Ziggy Stardust. “I was certain someone would call him out for plagiarism,” Farren said. “Nobody did.”

Bowie may have denied his affinity for Stranger in a Strange Land by his boyhood go-to author Heinlein, but he was not shy about professing his love for one of the authors Lester Bangs compared him to: George Orwell. Almost as a footnote, Bowie told Burroughs, “Now I’m doing Orwell’s Nineteen Eighty-Four on television.” That project would never come to pass, but it would lay the groundwork for his next, less famous sci-fi concept album – a jagged, atmospheric song cycle that plunged Bowie into the darkest extremes of dystopia.

[granvarones]

I’ve always taken some level of comfort in the holiday season. Wrapping gifts, decorating the tree, queuing up the holiday classics on the radio. There’s a repetition of the holidays and their associated festivities that I’ve always taken comfort in as a queer kid of color growing up. A welcomed pomp and circumstance to bookend any year, no matter how challenging or depressing. Over the years, I craved the kind of holiday cheer that could look and feel like me and the spaces that I occupied.

You don’t have to look too deeply to understand that Christmas and its pop culture breadcrumbs have historically been dominated by whiteness. The benchmarks of the holiday season are usually found in “A Christmas Story” marathons, Bing Crosby ditties, and Charlie Brown.

Unbeknownst to most, an update on a classic was about to disrupt any antiquated, albeit comfortable, ideas of what constitutes a “classic” Christmas. The one driving a bulldozer through the most wonderful time of the year would be a crass, Black, bisexual, singing superstar with a pill problem and set of enemies ready to take her down. Her name is Ebony Scrooge.

The VH1 made-for-television film “A Diva’s Christmas Carol,” written/directed by Richard Schenkman debuted on December 13, 2000 and in the years since its debut would generate a loyal fanbase of viewers. The powers that be, having yet to see its underground following, leave viewers no choice but to pull out their DVD players every year, hope for a midnight cable viewing, or search through YouTube to satisfy the desire for this Christmas gem.

Here’s a glimpse into how Ebony flips Christmas on its head.

1. A Fabulous Spin on an Old Favorite

The film reimagines the classic Charles Dickens’ “A Christmas Carol” in a universe of late 90s era diva-dom. The iconic Ebenezer Scrooge is retooled as Ebony Scrooge, a Black pop/R&B princess with massive success but little love in her heart. One fateful night alongside some oddball spirits has her questioning her cold ways just in time for Christmas. Produced for television by VH1, it arrived right at the peak of its massively popular VH1 Divas Live series.

2. Starring THE Vanessa Williams

VH1 founds its Ebony Scrooge in Vanessa Williams. An acclaimed singer and actress, Williams was no stranger to success at the time. By the film’s release, she had five hit albums under her belt and more than a dozen Hot 100 entries to her name. Nor was she a stranger to Christmas, having released a popular holiday album in 1996. With hit movies and Broadway on her resume as well, there was no better choice to bring this Scrooge to life.

3. The Bitch is Back

Williams is no holds barred in her take on the classic Scrooge character. She vacillates between complete apathy and all-out bitchiness and finds every delightful opportunity in between to ham it up for the camera. In fact, Williams’ Ebony Scrooge caught the eye of the late Silvio Horta who campaigned to have her fill the role of another grand dame – Wilhelmina Slater on the hit show “Ugly Betty.”

4. No Shortage of Camp

Completely aware of its own ridiculousness and in on its own fun, “A Diva’s Christmas Carol” ups the camp and embeds clever one-liners and mounds of witty banter into its script. When Ebony comes face to face with her dead former friend and bandmate Marli Jacobs, the two spar in true Dynasty fashion about whether Jacobs is there to do her nails or warn her of her evil ways. Chock full of pop culture references, the film pokes fun at Celine Dion, Mariah Carey, Bette Midler, and even a hilarious revelation of a tryst between Ebony and Anne Heche.

5. Oh, the Fashions!

Moving across decades, the film anchors itself primarily in the 80s and 90s. So, for viewers, there’s quite the visual treat watching Williams and company play dress up in all the feathers, leather, fur and big hair that a boy playing dress up in his mother’s closet could ever dream of.

6. Wildcard Supporting Cast

Add into this already delicious mix an utterly strange combination of supporting actors. Ebony’s bandmate Marli is played by Rozanda “Chilli” Thomas of TLC who appears in full on over-the-top dominatrix gear. Follow that with ghosts of Christmas past (a snarky Kathy Griffin), present (John Taylor of Duran Duran) and future (a literal episode of VH1’s Behind the Music – how’s that for a throwback?). Then toss in some cameos from Nile Rodgers and Brian McKnight for good

7. Do I Feel a Heartquake?

For the icing on the cake, “A Diva’s Christmas Carol” is responsible for birthing one of the greatest fake 80s, holiday-adjacent, catchy AF songs by a non-existent girl group to ever come out of a television movie. Before striking solo, Ebony, Marli, and their friend Terry form the group Desire and hit big with their single “Heartquake.” The film weaves this pop gem throughout and I don’t know anyone that’s denied themselves the opportunity to hum along.

At its core though, the message living inside its protagonist’s messiness still rings true. “A Diva’s Christmas” never goes too far into the deep end of its own dramatics before pulling back to remind us of its heart. It pushes us to find some meaning in the holiday season – that same corny, comfy feeling that makes me excited for the month of December each year – and allows us to imagine our own festive worlds where the hair reaches the heavens, the gowns cling tight, and divas reign supreme.

Joshua Henry Jenkins makes space and cultivates community. His work primarily focuses on amplifying the voices of those who are often living in the margins. Joshua is a digital strategist by profession, a designer and facilitator in the in-between, and a community organizer through and through. He currently serves as Director of Web and New Media at Americans for the Arts, Board Chair of the Arts Administrators of Color Network, and co-creator/co-facilitator of the BLACK, GAY, stuck at home series. www.joshuahenryjenkins.com

[papermoonloveslucy]

A FOREIGN AFFAIR

March 1, 1951

Screen Directors Playhouse was a radio anthology series which brought leading Hollywood actors to the NBC microphones beginning in 1949. The radio program broadcast adaptations of films, and original directors of the films were sometimes involved, although their participation was usually limited to introducing the radio adaptations, and a brief "curtain call" with the cast and host at the end of the program. The series later had a brief run on television. The radio version ran for 122 episodes and aired on NBC from January 9, 1949 to September 28, 1951 under several different titles: NBC Theater, Screen Director's Guild Assignment, Screen Director's Assignment and, as of July 1, 1949, Screen Director's Playhouse.

"A Foreign Affair" was sponsored by Chesterfield, Anacin, RCA. The story was originally broadcast March 6, 1949 in which Rosalind Russell played the role here taken by Lucille Ball. Produced by Howard Wiley. Directed by Bill Cairn. Written by Charles Brackett, adapted by Richard Allen Simmons based on the screenplay by Billy Wilder.  

The Paramount film “A Foreign Affair” premiered on June 30, 1948, and opened wide across America in August 1948.  It starred Marlene Dietrich and John Lund, who recreate their roles for this radio broadcast. Lucille Ball takes the role played on screen by Jean Arthur.  The film was nominated for two 1949 Oscars. Background performers Leon Alton, Bert Stevens, and Norman Leavitt later were featured on Lucille Ball’s sitcoms. 

"The Screen Guild Theater" broadcast a 30 minute radio adaptation of the movie on March 9, 1950 with John Lund reprising his film role.

"Theater Guild on the Air" broadcast a 60 minute radio adaptation of the movie on November 4, 1951 with Marlene Dietrich reprising her film role.

Synopsis ~ In occupied Berlin, an army captain is torn between an ex-Nazi café singer and the U.S. congresswoman investigating her.

CAST 

Marlene Dietrich (Erika Von Schluetow) recreates the role she played in the 1948 film. She was born in Berlin, but came to Hollywood to make films in 1930. She was nominated for an Oscar in 1931.

Lucille Ball (Congresswoman Phoebe Frost, 9th District of Iowa) previously appeared on Screen Directors Playhouse in “Her Husband’s Affairs” (May 22, 1949) and “Miss Grant Takes Richmond” (May 19, 1950), both films she had appeared in on screen. The week after “A Foreign Affair” Ball starred in “Bachelor Mother” (March 8, 1951), taking the screen role originated by her friend Ginger Rogers in 1939.  

John Lund (Captain John Pringle) recreates the role he played in the 1948 film. 

Herb Vigran (GI) made several appearances on Lucille Ball’s radio show “My Favorite Husband.” He would later play Jule, Ricky’s music union agent on two episodes of “I Love Lucy” as well as Joe, the washing machine repairman in “Never Do Business With Friends” (S2;E31) and Al Sparks, the publicity man who hires Lucy and Ethel to play Martians in “Lucy is Envious” (S3;E23). Of his 350 screen roles, he also made six appearances on “The Lucy Show.”

Featuring Wally Mahe, John Riss, Henry Roland, and Gil Stratton Jr. 

Jimmy Wallington (Announcer)

Billy Wilder (Guest Director)

Bob Hope & Bing Crosby do Chesterfield commercials

EPISODE

Before the program begins, announcer Jimmy Wallington tells listeners that due to the illness of Miss Joan Crawford, the originally scheduled broadcast of “The Damned Don’t Cry” has been postponed.

After acknowledging their sponsors, Wallington introduces “A Foreign Affair”. 

ACT ONE

Congresswoman Phoebe Frost (Lucille Ball) is traveling to Berlin by air. She is traveling to investigate the morale of US troops.  Her traveling companion looks out the window at the wreckage and ruins from the war, but Phoebe has only work on her mind. 

PHOEBE: “Phoebe Frost is a relentless foe of fraternization.”

In Berlin, Colonel Plummer meets Captain Pringle (John Lund). Plummer is despondent because he has lost his German sweetheart. Pringle has nylons for his girl, Erika.  The troops are readied for the Congresswoman’s visit.  She is not impressed by the military band and the festive welcome.  

Frost has a box to deliver to Captain Pringle. It is a cake from Murdoch, Iowa. 

PRINGLE: “How is old Iowa?”  FROST: “Sixty seven percent Republican, thank you.” 

The cake is from the daughter of one of her constituents and says ‘Love from Dusty’ in pink and white icing. Frost notices a nylon stocking peaking out of his pocket.  

FROST: “Colonel Plummer, do your officers normally go around looking like the hosiery counter of Macy’s?” 

Pringle lies and says it is for Dusty. Once Frost has gone, he tells Plummer he is going to parlay the cake into something more useful - a new mattress. 

Pringle immediately takes the cake to his paramour, Erika Von Schluetow, a nightclub singer. He honks the horn and she drops down the key from her window. He gives her the nylons and the new mattress. The kiss.  

PRINGLE: “Your mother was a volcano and your father was a blowtorch.” 

Erika has been protected from being accused of being a Nazi by Pringle. They make use of the new mattress, ending the first act. 

Jimmy Wallington does a live Anacin commercial. He then introduces the second act. 

ACT TWO

The Congressional Committee finish a ceremonial luncheon and they are offered a guided tour of Berlin.  

FROST: “For an Iowa woman, a guided tour is like a man with an apartment. They both want to take you were you don’t want to go.”

Frost is outraged that she has seen American soldiers speak to German women without an introduction!  She says that she is deliberately going to go out and try to get picked up!  Not one, but two American GIs approach her, thinking she is a German Fraulein. She tells them her name is Gretchen - Gretchen Gesundheit!

GI: “How do you like that? We’re fraternizing with a sneeze!” 

The GIs take ‘Gretchen’ to the Lorelei, a dive bar that charges them five packs of cigarettes for a bottle of wine. To hid that she is American, Frost limits her replies to ‘Ja’.  

GI: “With a vocabulary like that you could run for Congress yourself!” 

The floorshow begins. It is Erika singing “Illusions”. After her song, Pringle spots Frost in the audience and warns Erika to stay away from her. Meanwhile, the GIs are gossiping about Erika, saying she avoids trouble by hooking up with Army brass. 

The GIs try to get ‘Gretchen’ to dance when she spots the cake she brought for Pringle!  She drops her German accent and the GIs flee. Pringle swoops in to explain, but Frost wants to know all about Erika. 

Frost and Colonel Plummer hold a conference. Frost wants to know what they know about Erika and the Lorelei.  Plummer shuts her down - and tells her to drop it. 

FROST: “The last time someone tried to gag me, Colonel, he tried it with a mink coat in the middle of winter. He got five years and I got pneumonia.” 

Frost privately asks Pringle for some data about Erika. He tells her to forget the whole thing, but she has two incriminating photos of Erika with a Nazi officer. Pringle starts to get jealous although he tries not to show it.  A photo of Hitler kissing her hands is the last straw. Frost declares her mission is to find the officer protecting Erika.  She wants to expose him, no matter how high she has to go - even the president. 

FROST: “And if he doesn’t do it, I’ll see Margaret!”

Margaret Truman was the only daughter of President Harry S. Truman. She was very popular with the public - and with her father. 

End of Act Two. 

Jimmy Wallington does a live RCA commercial, touting their new 19 inch television screens. He then introduces the third act.

ACT THREE

Pringle and Frost stake out Erika’s flat to discover the officer protecting her.  Falling asleep, Frost accidentally leans on the car horn. A key drops from an above window. Erika calls for Johnny.  Pringle says it is a very common name.  

FROST: “This eliminates all the Jims, Bobs, and Georges.” 

Frost confronts Erika as Pringle pretends to be a stranger. Erika claims the key was for the milkman and says that Frost could use some make-up before she goes back inside.  Frost realizes that if they find the signature on her papers, they will find their man. 

Back at the office, they cannot locate any papers for Erika until she realizes they have been looking under ‘S’ but should be looking for ‘V’ for Von Schluetow.  Pringle says that Frost should be more empathetic. Frost says she was in love once, but he tried to sway her vote, so she filibustered until he lost interest - and she was very hoarse. 

FROST: “He was a Southern Democrat.” 

To distract Frost from finding the file, Pringle decides to kiss her. 

PRINGLE: “Since when has it been subversive to kiss a Republican.” 

She tries to filibuster, but he kisses her anyway. She is carried away with his passion and forgets about the files. 

Later, Pringle visits Erika and tells him he has distracted Frost - by getting engaged to her. He confronts her about her Nazi past.  She says she is in love with him and wants to go to America with him - and climb the Statue of Liberty. 

PRINGLE: “You wanna get down in that basement at Fort Knox.” 

He says he has to go but will return tomorrow night. 

Erika is performing at the club and Pringle and Frost are in the audience, celebrating their last night together. She is drunk on champagne. Erika approaches their table and wants to know about her progress. Pringle’s friend Lee runs in and says Colonel Plummer wants to see him at once!

At Plummer’s office, the Colonel is angry. He knows about his relationship with Erika and now - Congresswoman Frost. He orders him to stay away from Frost. Plummer insists that he stick with Erika. Her old Nazi boyfriend is not dead, but alive and knows all about them. He wants them dead. Plummer will protect them. 

Erika asks Frost to her apartment and says she wants her man. She truly loves him and doesn’t want to love him. She reveals that they want the same man. The jeep horn sounds and Erika drops down the key.  Frost sits in the corner and observes as Pringle comes in and romances her.  Frost comes out of the shadows and says he’ll be sorry, running out. Colonel Plummer tells Pringle that Erika’s Nazi boyfriend is due to get his revenge tonight!  

At the Lorelei Club, Erika says she has a new act - one performed completely in the dark. In the darkness, she sings as a gun is stuck in Pringle’s back by the Nazi. Gunfire rings out!  

At Colonel Plummer’s office, she tells Frost that Pringle is being forced to be a decoy - he isn’t in love with Erika at all.  The phone rings.  They race to the Lorelei Club.  

At the club, Plummer lifts the sheet and Frost faints. Pringle enters. It was the Nazi under the sheet, taken out by a military marksman.  They arrest Erika, who convinces the Colonel to let her go home first to change.  Frost revives and Pringle is there.  She says she loves him.  He tries to filibuster but she kisses him anyway. 

PRINGLE: “Congresswoman, you’re elected!” FROST (German Accent) “Don’t be silly, John. These are just the primaries.”

The End

Announcer Jimmy Wallington reminds viewers to tune in next week for “Bachelor Mother” with Lucille Ball and Robert Cummings. He introduces the stars of tonight’s story. Lucille, Marlena, and John Lund introduce the original director, Academy Award winner for “Lost Weekend” and nominee for “Sunset Boulevard”, Billy Wilder. Wilder credits Charles Brackett, original writer and producer, who helped him create the original film, as well as “Sunset Boulevard”.

Wallington reads the credits: 

“A Foreign Affair” was presented courtesy of Paramount Pictures, whose current release is “The Redhead and the Cowboy” starring Glenn Ford, Edmund O’Brien, and Rhonda Fleming (the redhead)

John Lund will soon be seen with Gene Tierney in Paramount’s “The Mating Season”

Lucille Ball can be currently seen in Columbia’s “The Fuller Brush Girl”

Marlene Dietrich will soon be seen in the 20th Century Fox picture “No Highway” [later known as “No Highway In The Sky”]

Billy Wilder’s latest picture for Paramount is “Ace in the Hole” starring Jan Sterling and Kirk Douglas

‘FOREIGN’ TRIVIA

Lucille Ball did an impersonation of Marlene Dietrich on a 1971 episode of “Here’s Lucy.” as well as on “The Danny Kaye Show” (November 11, 1962).

The song “Illusions” was written by Friedrich Hollander and sung in the the film version of “A Foreign Affair” by Dietrich, who also released it on Decca Records that same year.  In the film, Dietrich also sings two other songs by Hollander that are not heard here: “Black Market” and “The Ruins of Berlin.” 

Lucille Ball was one of many who were in attendance for “AFI Achievement Award: A Tribute to Billy Wilder” televised on March 6, 1986, despite this radio show being their only (brief) interaction.   

[ao3feed-hockey]

[podfic] To Be Seen Aright

read it on the AO3 at https://ift.tt/2A2D6nG

by Annapods

Sid’s gotten pretty used to total strangers asking him what he’s trying to prove, or telling him he wasn’t raised right, and they always expect it to bother him. He doesn’t tell them he hears much, much worse on the ice. When shit gets even worse than usual—when a ref calls him a brat when he’s arguing a call, when another team’s goon tries to put him on his knees five times a game—he sits on the bench and presses down on his chest protector, feeling the shape of the captain’s ring on its chain around his neck, until he doesn’t feel like throwing up anymore. Sid’s never had a dom, not even for a night, but he has his team, and that’s enough. That’s more than enough.

Partial podfic :: 02:00:34 ::written by Deastar.

Words: 466, Chapters: 1/1, Language: English

Fandoms: Hockey RPF

Rating: Mature

Warnings: No Archive Warnings Apply

Categories: M/M

Characters: Sidney Crosby, Pittsburgh Penguins Ensemble

Additional Tags: pre Sidney Crosby/Evgeni Malkin, Alternate Universe - D/s, Kink Shaming, internalized stuff, partial podfic, Podfic, Podfic Length: 2-2.5 Hours, Audio Format: MP3, Audio Format: Streaming, Harassment

read it on the AO3 at https://ift.tt/2A2D6nG

[rapturerecords]

Let us begin again ringing in the New Year here in Rapture. Here’s a little tribute based off Johnny Dombrowski’s marvelous illustration though with a slightly older Wurlitzer model instead. Those new Bubbler jukeboxes always seem to jam and play only a few seconds of a song.

As always, we’ll take this time to remember Patti Page, singer of “Doggie in the Window” who also passed away on New Year’s Day.

We’re celebrating another 10th anniversary of a sister game this year with Fallout 3 and a new set of sounds wafting in from Appalachia.

See if your favorite record, 8-track, cassette, or wax cylinder was featured this year:

BioShock

"Bei Mir Bist du Schön" - Andrews Sisters - Decca Records 1562

"Bei Mir Bist du Schön" - Andrews Sisters - Decca Records 23605 (reissue)

"It's Bad for Me" - Rosemary Clooney and Benny Goodman - Columbia Records 40616

"Papa Loves Mambo" - Perry Como - RCA Victor Records 20-5857

"20th Century Blues" - Noël Coward - Columbia Records ML 5163

"The Party's Over Now" (1959) - Noël Coward - Columbia Records ML 5163

"Wrap Your Troubles in Dreams" - Bing Crosby - Victor Records 22701

"Beyond the Sea" - Bobby Darin - ATCO Records 45-6158

"Night and Day" - Billie Holiday - Columbia Records 3044 (reissue)

“The Best Things in Life are Free” - Ink Spots - Decca Records 24327

"If I Didn't Care" - Ink Spots - Decca Records 2286

"Danny Boy" - Mario Lanza - The Magic of Mario Lanza - Heartland Music HL 1046/50

“Danny Boy” anniversary revisit 2015 “Danny Boy” anniversary revisit 2016 “Danny Boy” anniversary revisit 2017

“(How Much is That) Doggie in the Window” (1966) - Patti Page - Columbia Records CS 9326 (in-game version) 

"The Doggie in the Window" (1953) - Patti Page - Mercury Records 70070 (original version)

"You're the Top" (1934) - Cole Porter - Victor Records 24766 (original version)

"La Mer" - Django Reinhardt and Stéphane Grappelli - Djangology RCA RGP-1186 (reissue)

Cohen’s Quadtych: “Academy Award” vs. “The Ballroom Waltz”

"Academy Award" - Stanley Black - Music De Wolfe DW/LP 2977

“Too Young” - Nat King Cole - Capitol Records 1449

"Just Walking in the Rain" - Johnnie Ray - Columbia Records 40729

"Waltz of the Flowers"

Looking for BioShock’s Django Reinhardt

BioShock 2

"Ten Cents a Dance" - Ruth Etting - Columbia Records 2146D

"Dawn of a New Day" - Horace Heidt and his Musical Knights - Brunswick Records 8313

"It's Only a Paper Moon" - Ella Fitzgerald - Decca Records 23425

BioShock 10th Anniversary Revisit and Eclipse

"Someone's Rocking My Dream Boat" - Ink Spots - Decca Records 4045

"We Three (My Echo, My Shadow and Me)" - Ink Spots - Decca Records 3379

"I'm Making Believe" - Ink Spots with Ella Fitzgerald - Decca Records 23356

"Bei Mir Bist du Schon" - Benny Goodman with Martha Tilton - The Famous 1938 Carnegie Hall Jazz Concert Columbia Records ML 4359

“Hush, Hush, Hush, Here Comes the Bogey Man“ - Henry Hall and his Orchestra with Val Rosing - Columbia Records FB 2816

"Praise the Lord and Pass the Ammunition" - Kay Kyser - Columbia Records 36640

“You Always Hurt the One You Love” - Mills Brothers - Decca Records 18599

"Paper Doll" - Mills Brothers - Decca Records 18318

"Dream" - The Pied Pipers - Capitol Records 185

"Chasing Shadows" - Quintette du Hot Club de France - Royale Records 1798

"Nightmare" (1938) - Artie Shaw - Bluebird Records B-7875 (in-game version)

“Nightmare” (1937) - Art Shaw and his New Music - Vocalion Records 4306 (re-recording)

"Nobody Knows You When You're Down and Out" - Bessie Smith - Parlophone Records R2481

Father’s Day in Rapture 

"Daddy Won't You Please Come Home" - Annette Hanshaw - Velvet Tone Records 1940V

"My Heart Belongs to Daddy" - Mary Martin - Brunswick Records 8282

"Daddy's Little Girl" (1976) - Mills Brothers - Ranwood Records R-8152 (in-game version)

"Daddy's Little Girl" (1950) - Mills Brothers - Decca Records 24872 (original version)

BioShock Infinite

"Ain't She Sweet" - Ben Bernie - Brunswick Records 3444

"Button Up Your Overcoat" - Helen Kane - Victor Records 21863

"(What Do We Do on a) Dew-Dew-Dewey Day" - Charles Kaley - Columbia Records 1055D

"Indian Love Call" - Sigmund Krumgold - Okeh Records 40904

"Me and My Shadow" - Sam Lanin - Lincoln Records 2628

"Black Gal" - Ed Lewis with unidentified prisoners (recorded by Alan Lomax)

"I'm Wild About That Thing" - Bessie Smith - Columbia Records 14427D

"Makin' Whoopee!" - Rudy Vallée - Harmony Records 825-H

The Cylinders of BioShock Infinite 

"Shine On, Harvest Moon" - Ada Jones and Billy Murray - Edison Standard Record 10134

 "The Bonnie Blue Flag" - Polk Miller - Edison Blue Amberol Record 2175

"After You've Gone"

"The Easy Winners"

"Solace - A Mexican Serenade"

“Just a Closer Walk with Thee” - Elizabeth’s version

“Just a Closer Walk with Thee” - Selah Jubilee Singers - Decca Records 7872

“The Grand Old Rag” - Billy Murray - Victor Records 4634

Albert Fink's Magical Melodies Presents: "God Only Knows"

“Ah! La femme il n’y que ça“ - Mon. A. Fertinel - Improved Berliner Gramophone Record 1148

“God Only Knows” - The Beach Boys - Capitol Records 5706

"Fortunate Son" - Creedence Clearwater Revival - Fantasy Records 634

Burial at Sea

Episode 1

The Complete Records Behind the Music

"Midnight, The Stars and You" - Al Bowlly - Victor Records 24700

"She's Got You" - Patsy Cline - Decca Records 31354

"Wonderful! Wonderful!" - Johnny Mathis - Columbia Records 40784

"The Lady is a Tramp" - Mel Tormé - London American Recordings HL N.8305

"Tonight for Sure!" - Ruth Wallis - Wallis Original Record Corp. 2001

"Stranger in Paradise"

Episode 2

The Complete Records Behind the Music

"Back in Baby's Arms" - Patsy Cline - Decca Records 31483

"Easy to Love" - Sammy Davis Jr. - Starring Sammy Davis Jr. Decca Records DL 8118

"Don't Sit Under the Apple Tree" - Glenn Miller - Bluebird Records B-11474

"La Vie en Rose" - Édith Piaf - Columbia Records 4004-F 

“La Vie en Rose” (English version) -  Édith Piaf - Columbia Records 38948

“La Vie en Rose” in 2007′s BioShock

"The Great Pretender" - The Platters - Mercury Records 70753

"You Belong to Me"

Fallout 2

"A Kiss to Build a Dream On" - Louis Armstrong - Decca Records 27720

Fallout 3 (Galaxy News Radio)

"Civilization" - Andrews Sisters and Danny Kaye - Decca Records 23940

“Butcher Pete (Part 1)” - Roy Brown - De-Luxe Records 3301

“Crazy He Calls Me” - Billie Holiday - Decca Records 24796

"I Don't Want to Set the World on Fire" - Ink Spots - Decca Records 3987

"Into Each Life Some Rain Must Fall" - Ink Spots and Ella Fitzgerald - Decca Records 23356

“Swing Doors” - composed by Allan Gray - Charles Brull - A Harmonic Private Recording CBL 37

“Jazzy Interlude” - composed by Billy Munn - Charles Brull - A Harmonic Private Recording CBL 37

"Anything Goes" (1934) - Cole Porter - Victor Records 24825 (original version)  

Fallout: New Vegas (Radio New Vegas, Mojave Music Radio, Black Mountain Radio)

"It's a Sin" - Eddy Arnold - RCA Victor Records 10-2241

"Jingle Jangle Jingle" - Kay Kyser - Columbia Records 36604

“It’s a Sin to Tell a Lie” (1979) - Ink Spots (Bill Kenny) - CBS Special Products P 18042 (in-game version)

“It’s a Sin to Tell a Lie” (1941) - Ink Spots - Decca Records (original version)

“Why Don’t You Do Right” (1950) - Peggy Lee with the Dave Barbour Quartet- Peggy Lee’s Greatest - Camay Records CA 3003 (in-game version)

“Why Don’t You Do Right (Get Me Some Money Too)” (1947) - Peggy Lee - Rendezvous with Peggy Lee - Capitol Records 10118 (re-recording)

 “Why Don’t You Do Right” (1942) - Peggy Lee with Benny Goodman and his Orchestra - Columbia Records 36652 (re-recording)

"Big Iron" - Marty Robbins -  Columbia Records 4-41589

“Blue Moon” - Frank Sinatra - Sinatra’s Swingin’ Session!  - Capitol Records W1491

“Orange Colored Sky” - Nat King Cole - Capitol Records 1184

Fallout 4 (Diamond City Radio)

“Butcher Pete (Part 2)” - Roy Brown - De-Luxe Records 3301

“Orange Colored Sky” - Nat King Cole - Capitol Records 1184

“Pistol-Packin’ Mama - Bing Crosby and the Andrews Sisters - Decca Records 23277

“The Wanderer” - Dion - Laurie Records 3115

“Sixty-Minute Man - The Dominoes - Federal Records 12022

“Atom Bomb Baby” - The Five Stars - Kernel Records A002

“It’s All Over But the Crying” - Ink Spots - Decca Records 24286

“Grandma Plays the Numbers” - Wynonie Harris - King Records 4276

“Personality” - Johnny Mercer - Capitol Records 230

"The End of the World” - Patti Page - Say Wonderful Things - Columbia Records CS 8849

Fallout 76 (Appalachia Radio)

“Wouldn’t It Be Nice” - The Beach Boys - Capitol Records 5706

"Praise the Lord and Pass the Ammunition" - Kay Kyser - Columbia Records 36640

"We Three (My Echo, My Shadow and Me)" - Ink Spots - Decca Records 3379

Guardians of the Galaxy

"I'm Not in Love" - 10cc - Mercury Records (Phonogram) 73678 (abridged)

"Fooled Around and Fell in Love" - Elvin Bishop - Capricorn Records CPS 0252 (abridged)

“Spirit in the Sky” - Norman Greenbaum - Reprise Records 0885

“Escape (The Piña Colada Song) - Rupert Holmes - Infinity Records INF 50.035

"Hooked on a Feeling" - Blue Swede - EMI Records 3627

"I Want You Back" - The Jackson 5 - Motown Records M 1157

"Go All the Way" - Raspberries - Capitol Records 3348

"Come and Get Your Love" - Redbone - Epic Records 5-11035

L.A. Noire (KTI Radio)

“Pistol-Packin’ Mama” - Bing Crosby and the Andrews Sisters - Decca Records 23277

“Stone Cold Dead in the Market” - Ella Fitzgerald and Louis Jordan - Decca Records 23546

"Into Each Life Some Rain Must Fall" - Ink Spots and Ella Fitzgerald - Decca Records 23356

"Manteca" - Dizzy Gillespie - RCA Victor Records 20-3023

"Ain't Nobody Here But Us Chickens" - Louis Jordan - Decca Records 23741

"Red Silk Stockings and Green Perfume" - Sammy Kaye - RCA Victor Records 20-2251

“Black and Blue” - Frankie Laine - Mercury Records A-1026

"'Murder', He Says" - Dinah Shore - RCA Victor Records 20-1525

"Smoke! Smoke! Smoke! (That Cigarette) - Tex Williams - Capitol Records Americana Series 40001

“Hey! Ba-Ba-Re-Bop” - Lionel Hampton - Decca Records 18754

Mafia II (Empire Central Radio, Delta Radio)

“Why Don’t You Do Right” (1950) - Peggy Lee with the Dave Barbour Quartet- Peggy Lee’s Greatest - Camay Records CA 3003 (re-recording)

“Why Don’t You Do Right” (1942) - Peggy Lee with Benny Goodman and his Orchestra - Columbia Records 36652 (re-recording)

"A Guy is a Guy” - Doris Day - Columbia Records 39673

XCOM The Bureau Declassified (KNOV Radio)

“Runaway” - Del Shannon - Big Top Records 45-3067

“Who’s Sorry Now” - Connie Francis - MGM Records 975 (57-S-622)

"Smack Dab in the Middle" - Mills Brothers - Decca Records 29511

“Riders in the Sky” - Vaughn Monroe - RCA Victor 20-3411

"Man of Mystery" - The Shadows - Columbia Records 45-DB 4530

“I’ll Never Get Out of this World Alive” - Hank Williams - MGM Records 11366

See the previous years’ lists here:

2014

2015

2016

2017

[tabloidtoc]

People, July 29

Cover: Princess Moms -- How Kate Middleton and Meghan Markle grew closer 

Page 2: Chatter -- Mariah Carey, Ariana Grande on Pete Davidson, Tracy Morgan, Lin-Manuel Miranda, Diane Keaton, Miley Cyrus 

Page 4: 5 Things We’re Talking About This Week -- Katz’s Deli holds a risque contest for When Harry Met Sally’s 30th anniversary, Lil Nas X invites more friends to Old Town Road, Aaron Paul and Bryan Cranston mix up some legal booze, Taylor Swift is the world’s highest paid celebrity, a tie-dye Frappuccino takes over Instagram 

Page 6: Contents 

Page 8: StarTracks -- The Lion King premiere -- Beyonce and 7-year-old daughter Blue Ivy 

Page 9: Tracy Morgan and Tiffany Haddish, Daryl Sabara and Meghan Trainor, Donald Glover 

Page 10: Miranda Lambert and Brendan McLoughlin, Megan Rapinoe and the U.S. Women’s National soccer team in a ticker-tape parade, Camilla, Duchess of Cornwall 

Page 11: Chuck Wicks married Kasi Williams and the bride’s brother and sister-in-law Jason and Brittany Aldean, David Beckham at Wimbledon 

Page 12: Celebs and their kids -- Eva Longoria and son Santiago, Ciara and husband Russell Wilson and son Future Zahir, pregnant Jenna Bush Hager and daughter Poppy, Michael Strahan and his twin daughters Isabella and Sophia, First Look at John Cena and Keegan-Michael Key in Playing with Fire 

Page 14: Ashley Iaconetti and Jared Haibon get ready to wed, StyleTracks -- hot summer minis -- Gabrielle Union, Kim Kardashian West, Chrissy Teigen, Zendaya, Jennifer Aniston, Kate Mara 

Page 17: Chip and Joanna Gaines’ son Crew’s 1st birthday and what’s next 

Page 18: Two Secret Weddings -- Heidi Klum and Tom Kaulitz, Ed Sheeran and Cherry Seaborn 

Page 20: Heart Monitor -- Gus Kenworthy and Matt Wilkas have separated but remain close friends, Cameron Diaz and Benji Madden date night, Carrie Underwood and Mike Fischer happy anniversary, Andrew Garfield and Christine Gabel new couple 

Page 22: Dylan Dreyer’s miracle pregnancy, This Week in People History -- 1985 -- stars align at Live Aid 

Page 23: Billy Eichner’s funny new moves, RuPaul’s Hollywood Hills hideaway for sale 

Page 24: Matt Lauer and Annette Roque officially filing for divorce, Shannon Sturges -- a soap star turns acting coach 

Page 29: Stories to Make You Smile 

Page 31: Passages, RIP Denise Nickerson of Willy Wonka & the Chocolate Factory, Why I Care -- Liev Schreiber teaches his kids about giving back by volunteering at Feeding America 

Page 32: RIP Rip Torn 

Page 35: People Picks -- The Lion King 

Page 36: The View, Ed Sheeran -- No. 6 Collaborations Project, The Clearing podcast, Q&A -- Enrico Colantoni 

Page 38: Comedians in Cars Getting Coffee

Page 39: David Crosby: Remember My Name, should their be a Stranger Things 4? 

Page 40: Books 

Page 42: Cover Story -- Kate Middleton and Meghan Markle -- Princess Moms -- More confident in their roles than ever the royal sisters-in-law bond over motherhood and put reports of a rift behind them 

Page 48: Dateline’s Andrea Canning -- it’s a boy after 5 girls 

Page 50: Killer Twin -- Siblings Anna and Amanda Ramirez were inseparable until a fateful fight ended with Anna dead and Amanda arrested 

Page 52: Real Estate developer Alan Graham building a community for the homeless 

Page 56: Shirley MacLaine -- What I Know Now 

Page 60: In the wake of Presidential tweets widely decried as racist, two People staffers share their personal stories 

Page 62: Sarah Shahi of City on a Hill -- A women’s shelter saved my life 

Page 69: The Ultimate Guide To Sending Your Kids To College -- Lisa Rinna 

Page 70: Kate Gosselin, Julianne Moore 

Page 72: Kimora Lee Simmons, Celeb Snapshots Drop-Off Day -- Christie Brinkley and daughter Sailor, David Beckham and son Brooklyn, Judd Apatow and Leslie Mann and daughters Maude and Iris 

Page 74: Katie Couric, Kelly Ripa and Mark Consuelos, Madonna, It’s OK to Cry -- Barack Obama, Reese Witherspoon, Rob Lowe 

Page 78: Beauty -- Summer Nail Polish -- Christie Brinkley, Tracee Ellis Ross, Reese Witherspoon 

Page 87: Second Look -- David Hasselhoff with his Knight Rider car KITT 

Page 88: One Last Thing -- Alfre Woodard 

[ferdinandrennie]

available everywhere for download and to stream! Cd available on Amazon.co.uk ! 

https://www.amazon.co.uk/CHRISTMAS-Ferdinand-Rennie/dp/B07ZVYZ2WN/ref=sr_1_1?crid=3I8MZLVN3KWEJ&keywords=christmas+ferdinand+rennie&qid=1669633425&s=music&sprefix=christmas+ferdinand+rennie%2Cpopular%2C95&sr=1-1

https://open.spotify.com/album/2wT7RHJM8wU4EYrYopeoNw?si=DxIxsmt_TsyDDfdcLfXn8w 

Austrian-born, British singer Ferdinand Rennie announces the release of his latest (seasonal) single ‘White Christmas’ – a beautifully reworked version of Irving Berlin’s original 1942 hit, famously sung by Bing Crosby. His latest release arrives just in time for the festive period, blessing listeners’ ears with a soothing cover of a Christmas classic and global treasure.

The track is taken from Rennie’s album ‘Christmas’ – a rich blend of well-loved classic nativity songs sprinkled with brand new interpretations, from an artist who is no stranger putting his own spin on classic takes. ‘Noel, Born Is The King’, ‘O Holy Night’, and ‘Star Of Wonder’ are among the new 11-track project – Ferdinand looking to strengthen an already firm international appeal by sharing his powerful voice with audiences worldwide.

‘Christmas’ is an expertly-produced, timely collection of seasonal classics – Ferdinand throwing his own modern twist into the melting pot to create a finely executed fusion of vintage and contemporary sounds. Each song is full of vitality, none more than his version of ‘White Christmas’, his personal favourite pick. “I just love it – ‘White Christmas’. It’s just a feel good song,” the 63-year-old singer remarks.

Multifaceted Ferdinand Rennie began his career in the 1980’s after finishing fifth at the Austrian pre-selection for the acclaimed Eurovision Song Contest. He expanded into musicals, with roles in Elisabeth, Les Miserables, Beauty and the Beast and The Little Shop of Horrors, staged in various global theatres including Schmidts-Tivoli in Hamburg, before returning to his main passion – the recording studio – in 2010.

Ferdinand has enjoyed a catalogue of successful releases for both English and German audiences, as well as TV entertainment show appearances, charity record releases, Christmas concert tour features (with Eurovision Song Contest winner Vicky Leandros), live events and galas, and has sang for Prince Albert & Princess Charlene at a Charity Event in Monte Carlo.

The Scotland-based singer continues to refine his soothing, soulful, ballad-ready sound that has touched listeners across the world, while exploring uptempo and dance variations of original numbers along the way.

2.5 million Youtube hits helped him secure worldwide airplays for his unique adaptations of well-known hits, like Snow Patrol’s ‘Run’, Leonard Cohen’s ‘Hallelujah’, Sarah McLachlan’s ‘Angel’ and James Morrison’s ‘I Won’t Let You Go’. Before Ferdinand’s performance on ITV Show Britain’s Got Talent in April 2022, he recorded ‘Christmas’ – an eclectic nod to his long-standing musical influences and dearest seasonal songs: “The songs on the album are my life-time favourites,” he says. “I always wanted to record them – put my own stamp on it.”

Ferdinand’s single ‘White Christmas’ is out on December 2nd, available on all major platforms, perfectly timed for the festivities.

[lindyhunt]

The Best On-Screen New Year’s Eve Looks to Inspire you Before the Big Night

Say what you will about New Year’s Eve (It’s expensive! It’s overrated! It’s not worth the hype!), but if there’s one thing it’s undeniably good for, it’s pulling out all the stops, style-wise. What other holiday provides the perfect excuse to stock up on all things sparkly? What other occasion actively encourages wearing glitter in your hair? Whether you’re spending this year’s countdown swaddled in a blanket on your couch or packed onto a dance floor with a crowd full of strangers, there’s no better time to be exceptionally overdressed and bedazzled.

Another perk that comes with dressing up for New Year’s Eve? There’s no shortage of style inspiration out there from the big (and small) screen. Click through for our favourite New Year’s Eve looks from TV and film.

1/10

new years eve on-screen looks

Sally Albright in When Harry Met Sally

It’s an unfortunate truth that most of us could spend hours tirelessly wrapping our hair around the barrel of a 3/8 inch iron and still not look as cool as Meg Ryan. Those spiral curls paired with a peachy lip and off-the-shoulder gown might not be look we think of when it comes to When Harry Met Sally (hey, it’s hard to compete with that deli scene), but it’s still nothing to scoff at.

2/10

new years eve on-screen looks

Fran Kubelik in The Apartment

Shirley MacLaine’s character spends most of her time onscreen in The Apartment clad in boyish collared blouses and prim buttoned-up jackets, but it’s the styling in her final scene that steals the show (can we talk about that coat?). We could watch the flirty delivery of her famous last line on an endless loop—the only thing cheekier is that choppy pixie cut and fluttery lashes.

3/10

new years eve on-screen looks

Robin Scherbatsky from How I Met Your Mother

It’s not until the later seasons of HIMYM that Robin’s personal style really comes into its own. We start seeing her in sleek, tailored ensembles that perfectly match her no-nonsense personality. Maybe that’s why catching Robin in all her mid-aughts glory—the awkwardly layered haircut, the shiny purple frock—is sort of charming. Granted, it also helps that this episode contains one of those rare moments where she’s not ripping Ted’s heart to pieces.

4/10

new years eve on-screen looks

Carrie Bradshaw in the Sex and the City movie

Leave it to Carrie to somehow make a night spent in front of the TV look like the most glamorous New Year’s Eve activity possible. From slurping back ramen while decked out in layered strands of pearls to hitting the streets of NYC in a massive fur coat, sky-high heels, and silky pajamas, it’s all classic Bradshaw (right down to the hat that makes her head look like a disco ball).

5/10

new years eve on-screen looks

Linda Mason in Holiday Inn

Giving us all unrealistic standards for New Year’s Eve since 1942: Linda Mason (played by Marjorie Reynolds), who kicked off the New Year hanging out with Bing Crosby and dancing the night away with Fred Astaire. Considering that it’s a sort of unspoken law of fashion that every New Year’s outfit isn’t complete without glitter, hers has to be the mother of all New Year’s Eve gowns.

6/10

new years eve on-screen looks

Linda Seton from Holiday

It doesn’t get any better than watching Katharine Hepburn and Cary Grant dancing into the New Year to the soft tinkling of a music box. Add that black dress, red lip, perfectly groomed brows, and brushed-out curls to the mix and you’ve got the strongest case in history for sticking with a classic look on New Year’s Eve. We can even get behind the oddly draped ribbon on her shoulder—the whole look is just that flawless.

7/10

new years eve on-screen looks

Monica Geller from Friends

The piecey high ponytail. The beaded gold (or is it brown?) tank top. The multiple chokers. The flared black jeans. The chunky heeled boots. Could Monica’s look be any more aggressively ’90’s? Regardless of your feelings on the retro trend, take note: if there’s one style lesson to be learned here, it’s that a good New Year’s Eve outfit is, first and foremost, made for dancing.

8/10

new years eve on-screen looks

Rachel from About a Boy

First: take a moment to recover from the fact that Rachel Weisz has seemingly not aged a day since this scene was filmed over ten (ten!) years ago. Second: appreciate the glory of Rachel’s prom-style updo and glitter-covered gown that looks not unlike a wearable version of a Christmas tree ornament. Third: try your hardest not to secretly wish that you could have a meet cute with Hugh Grant at a New Year’s Eve party.

9/10

new years eve on-screen looks

Norma Desmond from Sunset Boulevard

While Gloria Swanson’s character might not have the best approach to snagging a kiss at midnight (we’re guessing tricking your date into attending a party that doesn’t exist still won’t fly in 2016), we can definitely get behind her more-is-more approach to New Year’s Eve style. If you’re looking to copy Norma’s look, her general M.O. seems to go a little something like this: when in doubt, add more diamonds.

10/10

new years eve on-screen looks

Marissa Cooper in The O.C.

If you consider yourself a millennial and have ever felt vaguely disappointed in the outcome of your New Year’s Eve festivities, there’s a 90% chance you can blame it on having watched the famous O.C. countdown scene. While Ryan’s swoon-inducing kiss tends to make everything else in this episode feel unimportant (albeit rightfully so), you’ve gotta give beauty credit where it’s due. Marissa’s sleek French twist ponytail hybrid is a serious departure from her signature surfer girl hair and it somehow still works.

[velvetsmoke]

There are two kinds of people in the world. (there are more than that, but let’s not nitpick)

People who love to stay home and people who love to wander.

Home people nest and settle in for the long haul as nostalgia rules the day.

Wanderers are restless horizon watchers who understand that to be a stranger in a strange land is to be right at home.

What makes people long for home?

Why are others infected with wanderlust?

The neighbors believe we’ve spaced out with a symbol of wanderlust, a tiny home jacked up on a trailer in our driveway, partially obscuring the entry to our front door. 

We were driving to dinner last night and Karen said, “I thought wanderlust was spelled wonderlust and I didn’t know that it means a longing to travel.” I told her it was ok, that one doesn’t frequently hear wanderlust used in a sentence.  

Wanderlust is more true of my children than for me. They love to travel in this stage of their DINK lives (double-income-no-kids).

Wanderlust is perhaps the reason for the tiny home in our driveway. Brandon and Liz will move in soon…

So rather than accumulate mortgages and children and homes on fixed foundations, they are building mobility. Our children don’t own cars…they fly in jets and take buses, trains, and Uber. They’ve traded hamburger and fries for Meshana Skara from Bulgaria and Schnitzel from Germany.

This ticket to a simpler life is almost complete. Soon, Inola the dog will move in with our son Brandon and daughter-in-law, Elizabeth. In case you are wondering if they’ve lost their minds, here are 5 thoughtful reasons to build a tiny home: 

SPACE

1-2-3-4-5

Simple Life    

Minimalism is back…if it ever really left, and it’s the idea that you have all this clutter in your life but does all the stuff make life better?  To downsize your living environment allows the pursuit of other passions and shared adventures.

Place becomes larger and the world smaller 

Living in a mansion can make you a citizen of nobility, but tiny living makes one a citizen of mobility. This desire to see the world reminds me of Maya Angelou’s comment, “You only are free when you realize you belong no place — you belong every place.” You’ve broken the bonds of parochialism. In a sense, simple living makes your home larger because your footprints extend further into the world. You have more economic resources to move about, see the sights, and eat strange food. This movement isn’t just for the young. This reassessment of residential economics applies to empty nesters and retirees who find value in these same ideas.

Adventure 

Tiny home folks are tapping into a style of living that might be considered more adventurous than being one of 300 in an apartment project or a suburban development with lawn mowers buzzing all weekend.

Cool Factor 

I asked my son, Brandon, “Why don’t you just buy an Airstream trailer. Then you can be retro-hip and mobile?” He said that they didn’t want a trailer. It’s the hip factor. Well, tiny homes do have their own television shows…and they are kind of jazzy if you are into that sort of thing.

Environment 

My son is a Meteorologist who specializes in wind studies. His graduate degree is from York University in Toronto, Canada, where they are more aware of climate change than in my cloistered prairie universe. So he asked if we could build one for him and I said sure. Crosby Stills and Nash sang a song with the lyric, “Teach your parents well.” It’s a song about generations listening to on another. And so I try to listen. I just spoke with a 35 year old friend who vacationed at Glacier National Park in Montana and I asked him what he thought of the glaciers. He told me that they are stunningly beautiful and then the sad part…they are half melted away…and so younger generations are serious about caring for this good earth. What can I do that is radically significant to impact the environment by walking softer and doing so daily in a way that doesn’t require a daily decision. You only have to do it once….build it that is. It seems palatable to me…other than the composting toilet!

Brandon works for the National Weather Service (NOAA) in Norman, OK where they will locate their tiny home sometime in September. Here is a sneak preview!

Shiplap interior walls

  The Tiny Home in Our Driveway There are two kinds of people in the world. (there are more than that, but let’s not nitpick) …

[dr-archeville]

INDY Primer: In Harvey’s Wake, Trump Tax Cuts + Other Things You Need to Know Today [2017/08/31]

Happy Thursday, y’all.  Primer is jam-packed this morning.  Buckle up, here we go. —Jeffrey C. Billman

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1. HARVEY’S AFTERMATH.  

THE GIST: Houston is beginning to recover from Hurricane Harvey, but smaller towns are now struggling to cope with the flooding.

As The New York Times reports: “But as Houston, the urban behemoth that has so far been the focal point in the unfolding drama of Hurricane Harvey, began gingerly to assess the devastation, the storm marched on to conquer a vast new swath speckled with small towns that are home to millions of people who were shocked anew by Harvey’s tenaciously destructive power.  Officials faced a population in dire need, but far more difficult to reach.”

“‘The geographic scope of this event is probably what is going to make it one of the most costly flood disasters in U.S. history,’ said Samuel Brody, the director of the Center for Texas Beaches and Shores at Texas A&M University’s Galveston campus.  ‘I’ve seen heavy rain, I’ve seen 30, 40 inches, but not over such a large geographic area, impacting rich, poor, black, white, you name it.’”

The Associated Press has an aerial photo gallery showing the devastation in Houston.  It’s astounding.

If you have a few minutes, read this gripping account of the storm, from the Houston Press’s Meagan Flynn.

“And when Houstonians turned on their TVs to assess the wreckage, they found on the local news stations what seemed to be footage from a sci-fi movie, the kinds about apocalypses where strangers must band together to conquer disaster.  People were evacuating from areas that had never had a flooding problem before, and roughly 100,000 people lost power by Monday.  In less than 24 hours after Saturday night’s storm began, more than 56,000 people had called 911 and more than 6,000 requested high-water rescues. … By Sunday evening, Harvey had exceeded the rainfall and flooding caused by 2001’s Tropical Storm Allison in half the time.  By the end of the day Monday, Harvey had unleashed more than 15 trillion gallons of water on the greater Houston region (compared to 6.5 trillion during Hurricane Katrina), and more than 30 to 35 inches of rain — more than half the amount Houston generally receives all year, in less than a week.”

The Times has a cool web graphic showing rescue calls in Houston and other affected areas as the hours and days passed.  It’s worth checking out.

In Crosby, Texas, a chemical plant left without power had two explosions rock the facility; more explosions are expected.

Related: The House budget Republicans are crafting currently includes a $1 billion cut to disaster funds — like the kind that will pay to help with the Harvey recovery — to build President Trump’s wall.

“The pending reduction to the Federal Emergency Management Agency’s disaster relief account is part of a massive spending bill that the House is scheduled to consider next week when lawmakers return from their August recess.  The $876 million cut, which is included in the 1,305-page measure’s homeland security section, pays for roughly half the cost of Trump’s down payment on the U.S.-Mexico border wall that the president repeatedly promised Mexico would finance.  It seems sure that GOP leaders will move to reverse it next week as floodwaters cover Houston, the nation’s fourth-largest city, and tens of thousands of Texans have sought refuge in shelters.  There’s only $2.3 billion remaining in federal disaster coffers.”

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2. TRUMP PITCHES CORPORATE TAX CUTS.

THE GIST:  While Texas digs out from calamity, President Trump went to Missouri, where he pitched what the NYT calls a “sweeping tax overhaul,” including a large corporate tax cut.  As is his wont, there were few specifics.

“The president wrapped his message in the populist rhetoric that powered his presidential campaign.  But he described a plan that on its surface appears to offer relatively little to ordinary Americans, granting instead huge tax cuts — ‘the biggest ever,’ he said — to corporations and their shareholders.”

Many economists … argue that large corporate tax cuts would do relatively little — particularly in the near term — to boost wages or create jobs.  Instead, they would boost corporate profits and benefit the wealthiest Americans who own the most corporate stock.  There is little evidence that large tax cuts will prompt American corporations to invest more; they are already sitting on nearly $2 trillion in cash.”

“The politically difficult legislation has yet to be drafted despite months of private negotiations among members of the Trump administration and Republicans on Capitol Hill.  Time is running out for enactment of the bill before year’s end, and the White House is keenly aware that if Mr. Trump fails to deliver his promised tax cuts, he will emerge from his first year in office devoid of any major legislative accomplishments.”

“Many Republicans, even those broadly supportive of Mr. Trump’s plans, have scaled back their ambitions, conceding that the calendar makes a full-scale tax rewrite unlikely and resolving instead to push through the largest tax cut possible by New Year’s.”

As his also his wont, Trump’s speech in Missouri was full of misleading statements.

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3. ELSEWHERE IN TRUMPLAND.

THE GIST:  There’s a ton of national stories brewing.  Here’s a quick rundown:

Trump says “talking is not the answer!” to North Korea.  Experts hope he sticks to it.  “Some fear less that Mr. Trump is going to start a war with [Kim Jong-Un] than that he is going to stumble into a risky, unpredictable dialogue with him. … But a meeting between Mr. Trump and Mr. Kim, these experts said, could open the door to ratifying North Korea’s nuclear status or scaling back America’s joint military exercises with South Korea.  That could sunder American alliances with Japan and South Korea and play to the benefit of China, which has long advocated direct dialogue between Washington and Pyongyang.” [NYT]

Hours after Trump tweeted his “no talking” declaration, Defense Secretary James Mattis subtly rebuked him: “We’re never out of diplomatic solutions.” [WP]

Education secretary Betsy DeVos hired a former dean of DeVry University — which last year reached a $100 million fraud settlement with the Federal Trade Commission — to head the Department of Education’s anti-fraud unit.  You read that right. [BuzzFeed]

A grand jury heard testimony from a Russian-American lobbyist who attended the June 2016 meeting with Trump’s son and campaign manager.  “The revelation is the clearest indication yet that Mueller and his team of investigators view the meeting, which came weeks after Trump had secured the Republican presidential nomination, as a relevant inquiry point in their broader probe into Russian interference in the 2016 election.” [AP]

Special counsel Robert Mueller is also reportedly working with the New York attorney general in his probe of Paul Manafort, the former campaign manager who attended that Russia meeting.  This matters because, while Trump has broad pardon powers in federal cases, he does not in state cases; that fact could prompt Manafort’s cooperation. [Daily Beast]

A Marine veteran may be deported despite evidence that he’s a U.S. citizen. [Tucson Sentinel]

The White House has scrapped an Obama-era initiative aimed at assessing the gender pay gap, with the blessing of resident feminist Ivanka Trump. [HuffPo]

Prosecutors allege that New Jersey Senator Robert Menendez began taking bribes immediately after taking office in 2006.  Menendez’s corruption trial begins next week.  This is important because if Menendez, a Democrat, is convicted, he’ll face immediate pressure (though no legal requirement, while his appeals are pending) to resign.  If he does step down before January, while Chris Christie is still the Garden State’s governor, Christie could appoint a Republican replacement, who might then provide an extra vote for Trump’s agenda and once again threaten the Affordable Care Act. [Daily Beast]

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4. EIGHT LOCAL HEADLINES.

UNC’s chancellor turns down a speaking request from white nationalist Richard Spencer, out of “serious concerns about campus safety.” [INDY]

GOP lawmakers are poised to kill the Outer Banks’ plastic bag ban as part of a further-reaching environmental package that will also deal with GenX contamination. [N&O]

The legislature overrode Governor Cooper’s veto of a bill that allows companies issuing high-interest-rate consumer loans to tack on more additional charges.  Of Cooper’s eleven vetoes, seven have been overridden.  The others are waiting for the General Assembly to vote. [N&O]

The General Assembly gives final approval to the new legislative districts.  Next up, federal court. [INDY]

N.C. Baptists are split over the new evangelical anti-gay manifesto. [N&O]

You’ll be able to buy beer at the N.C. State Fair this year, though not very much. [INDY]

Durham’s All About Beer acquires DRAFT to become the biggest beer pub in the country. [INDY]

Ashley Christensen’s long-awaited pizza restaurant, Poole Side Pie, will open in downtown Raleigh in 2018. [Instagram]

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5. ODDS & ENDS.

You’ll log on to your next iPhone through facial recognition.

The New America Foundation, which has received more than $21 million from Google, fired a scholar who praised the European Union’s decision to fine Google over antitrust violations.

In a Fox News poll, 75 percent of Trump voters say the media is a bigger threat than white supremacists.

A federal judge has blocked Texas’s ban on sanctuary cities.

Here are fifty new TV shows to catch this fall, including the return of Curb Your Enthusiasm.

Scientists say they found fifteen fast radio bursts from three billion light years away.

The average age for new fathers in the U.S. is thirty-one, up from twenty-seven in 1972.  New fathers with a college degree are, on average, thirty-three.

The Simpsons has fired its longtime composer after twenty-seven years, with the producers deciding they want a “different kind of music.”

Mostly cloudy today with a chance of rain and a high of 79.

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[doomedandstoned]

BAILEY’S CHOICE

Youngblood Supercult guitarist Bailey Gonzales shares her 10 favorite albums of Autumn.

Photo by Johnny Hubbard at Doomed & Stoned Fest

First off, let me preface by saying that this list is just a fraction of what I would include on a good, solid Autumn playlist, but everything must end at some point. Most of these you’ve probably heard, some you may not be familiar with, and others perhaps long forgotten and thus need a good revisiting. So here goes:

1. Crosby, Stills, Nash, & Young – Déjà vu

This has been in my catalog since I first started smoking weed in the fall of my freshman year of high school and learned to enjoy the hazy, beautiful strains of intricate harmonies that permeate CSNY’s iconic brand of folk-blues rock. Their albums were always on rotation in my house when I was growing up, but until I started to fully understand its cosmic, layered beauty, Déjà vu fell more or less into the “lame music my parents listen to” category for me. Now it’s a staple, especially as the weather starts to cool and the leaves start to turn, and I’m thrown into some kind of sepia-tinged yearning for the past. Funny how things change. This album holds some of the group’s most acclaimed work; I can’t point out a single track I’d skip over.

2. Graveyard – Graveyard

Graveyard by Graveyard

Speaking of high school—I grew up in a very small town in Southeast Kansas, and when MySpace made its debut (yes, MySpace), I found a page for this indie label called Tee Pee Records that absolutely dictated what I would listen to take the edge of my Black Sabbath cravings—this is where I was ultimately introduced to stoner rock and all of the branches of the retro heavy metal genre—and one of them that always stuck with me as I worshipped this label’s releases thereafter was Graveyard’s self-titled album. There are so many great tracks on this album, with “Thin Line” being an absolute favorite and even an echoing of one of my darkest autumn remembrances (won’t delve into it, but the subject matter will lead you where you need to go). Fantastic, timeless album.

3. Jonathan Snipes & William Hutson – Room 237

Room 237 (2012) is a funny little documentary. I love it, despite the fact that this film lays out conspiracies about Stanley Kubrick’s version of The Shining that range from absolutely Kubrickesque crazy-but-plausible to totally ludicrous, leaping-to-judgement scenarios and breakdowns related to the hidden puzzles within the original adaptation. But, we are talking about music here: this album plays like Stranger Things meets Goblin meets John Carpenter. There is nothing necessarily special about it, but in trying to find an OST that would fit neatly within this list, this fella kind of jumped out to me. Not everybody enjoys soundtracks, and while I could listen to creepy, ambient synth all day long, every day, Room 237 seems like it could entrance any listener, especially with standout tracks like “To Keep From Falling Off” to “Universal Weak Male” and even with the closing track, “Dies Irae” which plays off the original theme from The Shining.

4. Trouble – Trouble

It blows my mind that this album was released in 1990. Everything about it screams, “I WANT TO MAKE YOUR EARS BLEED: ‘70s METAL STLYE.” It’s like a lost and very angry Sir Lord Baltimore album was found in someone’s murky basement and sold in a musty, long forgotten record shop. The kind of place where you might hear whispers of dark legends. Somewhere that may be evocative, in legend, of the kind of place that Mayhem’s late singer, Dead, slit his wrists, throat, and blew his brains out and everyone commenced for this orgiastic blood feast of mourning to say, uh, “let’s take a photo of his dead body and slap it on a bootleg album cover and make necklaces out of his skull...” It’s not that harsh, but there’s definitely something spooky, dark, and forbidden about it. You may ask yourself, if you’re just hearing this album for the first time: “Why don’t they play some of these tracks on the radio?” Well, my child...do you really want to know?

5. The Steepwater Band – Revelation Sunday

This collection of hot tunes from The Steepwater Band is, apart from 2011’s Clava, one of our band’s road staples. We often don’t agree on much when that road cagey feeling hits or when disagreements happen, which incidentally is why things tend to work well with us, but The Steepwater Band, Mount Carmel, and Gary Clark Junior are all things we can come to terms with through the van’s trebly stock speakers. Maybe it’s the bluesiness. Very moody folk-blues rock tunes, with a touch of whiskey-fueled country, is what these guys exhibit in songs like “Slow Train Drag,” “Dance Me A Number,” and “Steel Sky.” A plus material, in my book, and good for the road on a cold night’s ramble.

6. Black Sabbath – Never Say Die!

Can people stop it with the “I’m tired of Black Sabbath” comments??? You know they are the reason we’re all here, and whether you like to admit it or not, you dig a good Sabbath tune either once in a while or every day. Doctor’s orders. Now I don’t think that a playlist is complete without a Black Sabbath album, but autumn seems the appropriate time for their fumbling, but strong conclusion — 1978’s Never Say Die!   And I really don’t care that I know I’m in the minority for loving this album. To me, while it’s their most strained Ozzy-era album (I won’t even touch 13, so don’t ask), it’s full of premonitions of things to come, including a full out jazz brawl in “Breakout” that reminds me of the mean streets in Dirty Harry, and songs that might make the bravest of our genre cry, like “Junior’s Eyes.” “Shock Wave” goes through the typical rough and tumble changes that Black Sabbath fans learn to embrace, but it comes in wave after wave after wave. Hell, even the title track is nearly full-out punk rock. If you’ve avoided this album, please—give it a spin. Even if it’s only to hear Bill Ward sing. It’s the album I fell into when I joined my first band in the fall of 2008 and what pushed me into the direction of branching out to things I’d long avoided. I literally shit my pants every time the first synth breakdown in “Johnny Blade” comes over the speakers, and I think you should, too.

7. Madonna – Madonna

Speaking of shit you probably don’t wanna read…who out of us has given Madonna’s 1983 debut a spin? Anyone? Bueller? Yeah, I didn’t think so. For you folks who can appreciate this one, I applaud you for admitting it. It’s not a sin to listen to Madonna (tell that one to the Vatican), but unless she’s been covertly transformed into Lana Del Rey or someone else on the darker and more modern side of the pop spectrum, you’d be hard pressed to find an admitted fan in our heavy underground group. And you know what? I don’t give a single fuck (yes, I learned that language from M herself). She’s a goddess, an icon, a killer songwriter—if you don’t believe me, tell that to the $400 million she has neatly tucked away—and dammit, she taught me to give a little less of a fuck in times where I don’t have too many to spare. This is another reason my parents are badass. Who in the world would buy their kid the “Like A Virgin” album only if their 11-year-old can ask for it by name without getting too embarrassed at the thought of saying “virgin” out loud to the Camelot Music clerk? Yeah, that’s right. Anyway, listen to this. Just do it...Madonna would.

8. The Midnight Ghost Train – Buffalo

Buffalo by The Midnight Ghost Train

I met Steve Moss at a show in Topeka in late 2009 at a dive bar where the drummer from my first band was singing in his new group. We did the obligatory thing and then, holy shit—this band starts playing and glasses start clinking and I swear to god I thought the whole damn place was going to cave in. They play a bunch of tunes and I’m so fully entranced it’s stupid. After the show, I went up to their singer/guitarist and said, “Um, that was really fucking awesome. I loved how you slipped “Hand of Doom into the middle of one of your songs.” Bam. We were instant buds. I couldn’t believe that they had come out of Topeka, Kansas. Later, while they were prepping to record 2012’s Buffalo, we had a very memorable fall jam session and some shows together, and EVERY. DAMNED. TIME. I felt like there was just something insanely special happening. Buffalo proved to be an instant classic, and even though The Midnight Ghost Train boys seem to always be on tour, I visit with my old pal Steve from time to time when he’s around, and nothing can erase those crazy, almost LSD-like imprinted memories of our house shows together. Hell, we reunited again just last month in another Topeka dive bar. I still have almost 3 hours’ worth of an interview I need to write that documents Steve’s early life up until the recording of Cold Was The Ground. The circle goes round and round. And I sure as hell can’t shake that sound.

9. Creedence Clearwater Revival – Green River

I don’t know what everyone else thinks about when they hear the track “Green River” from Creedence Clearwater Revival, but I think of Gary Ridgeway. I know that’s way far off, but I can’t help it. I also think about the album cover, and how many people still try to copy it, unintentionally. And I think about Stephen King. If you’ve read a few of his novels, you know from some of his passages, he’s a total CCR freak. I’ll give him a pass for mentioning Springsteen so much just because he’s a damn genius. But I bet the casual listener has never heard the song “Sinister Purpose” on the radio airwaves. It sounds like it belongs on a damn Leaf Hound album or something. Thank god for small favors. This is the epitome of southern blues rock. All you Lynyrd Skynyrd fans can fight me (although I won’t knock them), but CCR has earned their grimy, yet rightful spot as the Bayou’s most raw and creepy rock group. And way down in the fall, there’s always a bad moon rising.

10. Buffalo – Dead Forever...

Man, I was going to write up a few more albums, but this is the end of the line, folks. Australia’s Buffalo caps it off with their 1972 album, Dead Forever...   I can see this piece being released today, and that’s why I’m so glad everyone in this community puts out music that can rival little-known bands like Buffalo. I have a sweet spot for this group. Nobody will ever be able to answer why this killer band could never receive any airplay, and that question still lingers as absolute over processed shit continues to infiltrate the airwaves and real emotion can’t shine through. One of the promotional stickers for this record was, “Play this album LOUD.” Seen that before? Is history repeating itself in belittling our efforts to get out there and WARP THE FUCK out of people’s minds? I guess so. But we can fix that. Put the needle on some Buffalo, don your battle jacket, and work on getting some fuzz into some onlooker’s ears. Listen carefully, and don’t let the Buffalo situation happen to us all.

Hear Bailey's 'Autumn Vibes' Playlist on Spotify

Photo by Johnny Hubbard

The Great American Death Rattle by Youngblood Supercult

[blastikmusik]

Stranger Things Main Title Joy Division - Atmosphere The Deep - Color Dreams "Says Logic" New Order - Elegia Tangerine Dream - Green Desert Echo And The Bunnymen - Nocturnal Me "Says Logic" New Order - Elegia Tangerine Dream - Green Desert Echo And The Bunnymen - Nocturnal Me "Accident Or Not" Corey Hart - Sunglasses At Night Andrew Pinching - I See the Future Kookie Freeman - Happy José Dolly Parton - The Bargain Store Tangerine Dream - Exit "She's Our Friend And She's Crazy" Vangelis - Fields Of Coral "Mouthbreather" Tangerine Dream - Horizon (Warsaw Gate Mix) "Friends Don't Lie" Moby - When It's Cold I'd Like To Die Mormon Tabernacle Choir - Carol Of The Bells Bing Crosby - White Christmas Stranger Things - Long End Credits

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