#sure it’s mid day at a music festival and like 45 minutes set but still <3333< /div>
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kieran-culkins · 1 year ago
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seeing ethel cain tomorrow <3333
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kindapinkskies · 5 years ago
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‘lolla baby || h.s
i was given the opportunity to write for @always-jackedup‘s 25 Days of Summer and so here it is. i'm day 21 and it honestly just turned into how i want to spend my time at concerts and how much i love the band LANY. i tried my best but life is exhausting me at the moment sooo i hope you enjoy it.
i am so grateful that i was given the chance to be a part of this alongside so many talented writers. i hope that this fits in alongside all the other amazing works of art that have been posted this month.
i love you all ready
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Harry stops mid-step as he’s entering the bedroom. His mouth is hung open and his spoon is stopped mid-air. He shifts the bowl in his hand and drops the spoon back down. Looking over at the clock his brows furrow at the early time before looking back over at you. 
“Why are you dressed like that?” You jump at the sound of his voice and quickly turn around, looking at him almost guiltily. “You look like you’re ready for a festival.”
You look down at yourself and Harry takes the time to look, to really look, at you again. High-waisted jean shorts, a tight crop top with a long flowy, sheer cardigan. He stops at the shiny black combat boots before slowly raking his eyes back up to your face. Your face is done up with perfect makeup, jewels lining under the corners of your eyes. You looked good, real good, and Harry wanted to mess it all up. 
He raises his eyebrows up in question, when you don’t answer, and goes back to eating his cereal, “So?”
“Well, I mean, I just, well, you see,” you babble, struggling to find a way to tell him that you both are going to a festival. 
“Come on love, what’s going on?”
“We’re going to Lollapalooza today,” you rush out, smiling at him sheepishly. He looks at you with squinted eyes, his chewing slowing down tremendously. 
“I’m sorry?”
See the thing is, Harry doesn’t like festivals. Thinks they’re too expensive to see different bands for 45 minutes all day long. It sucks because if you like the band you barely get to see them. Then you have to deal with all the people pushing you around, the over crowded lines for the restroom, the food lines. You have to pay an over abundance for water, when that should be free because... it’s water. It’s usually always too hot, too. Harry would rather stay at home than deal with a festival. He knows that you know that. 
This isn’t the first time you’ve tried getting him to go. You ask almost every year. Sure, he feels guilty about the dejected look on your face every time. So he goes out of his way to make it up to you, avoiding Grant Park like it’s the plague. But, I guess this year you finally weren’t taking no for an answer. 
“Harry, I really want to go.” You say defensively, widening your stance and crossing your arms across your chest. Harry’s eyes linger on your exposed cleavage for a second too long before making eye contact with you. The look of hope in your eyes almost makes him crumble. 
“Then why don’t you go by yourself?” He shrugs nonchalantly and takes another bite of his cereal. 
Harry tries really, really, hard to ignore the hurt that flashes through your eyes but he nearly chokes on the bite he just took because of it. Setting down his bowl, he goes to move toward you but you flinch back. It’s clear that his words struck a nerve, one he didn’t mean to hit, and it makes him frown. 
“Harry, I just wanted to do something with you but fine. Whatever, it doesn’t matter,” you snap, trying to desperately hide the waiver in your voice. You quickly turn back around and face the mirror because the longer you look at him the more likely you’ll cry. And you can’t cry, your makeup just looks too bad ass. 
Even though Harry was feeling guilty at what he said, he still wasn’t quite understanding. “We do plenty together.”
“Forget it.” You shrug, going back to adding on a few more jewels to your eyes. 
“Well now I’m not going to. You’re mad at me and I don’t like it.”
Rolling your eyes, you shift a little to look through the mirror and make eye contact with him, “Too bad, Harry. Deal with it until after I come back.” 
Harry takes in the way your body has gone rigid and he really does feel bad that he’s ruined your mood. You looked so happy and carefree just minutes ago. He goes to step forward again but stops when he sees you flinch at the noise of his movement. 
“Harry. I just want to experience life with you, things I like with you. I know we do a lot together and we always do things the both of us like but I’ve always wanted to go to this festival. It’s been a dream of mine since I was a kid and I’ve never been able to go. I want to go with you, someone I have fun with, to make my first time the most enjoyable.” You explain and it feels a little childish but you don’t care, you just need to get it out. 
“I just figured you’d find someone in the crowd like you normally do at concerts.” Harry shrugs. He understands you now and it makes him feel like shit. Something he enjoys the most in this life is doing things with you. His favorite thing to do is go shopping a record stores and it’s ten times more enjoyable when you’re with him, picking out your own classic albums. 
He gets it. But, fuck. A festival? 
“I mean, probably so it’s fine. Don’t come. I’ll just go alone and be around all those people. Alone.”
Harry smiles at the dramatics you’re putting on and how unnecessary it is. He knew from the moment you told him, that he’d be going to a festival today. There’s nothing in this world he wouldn’t do to make, you, his girl happy. 
“I mean, do you really want me to go alone to a place that big. Don’t you love me?” Even though he can’t see you, he knows you said that with a pout and it makes it his heart jump into his throat. 
And he knows it’s just a joke but he can hear the underlying seriousness to it. 
“Hey, baby, come on. Don’t play like that, you know I love you.” He mutters, quickly getting up and moving behind you. He feels you suck in a deep breath as he brings a hand to move some of your hair and press his lips to the skin of your neck. “What should I wear to look good next to my bad ass girlfriend?”
The smile that overtakes your face is worth all the hell Harry knows he’s going to endure today. 
-
-
-
“Drink this and loosen up will you? You’re going to have fun. This will be fun.” You smile broadly, shoving a beer into Harry’s hands. 
He looks down with wide eyes, “Where did you get this? I looked away for 2 seconds.”
“Don’t worry, drink it. I’ll race you?”
“It’s only 11am.”
“Who cares,” You smile sweetly and you can see Harry’s facade start to fade. “Come on, baby.”
Well, what the hell.
He clinks his plastic cup to yours and stares you down as he brings the rim to his lips. You follow his movements and before you know it, you’re racing to see who will finish first. He does, he always does but you’re not too far behind him. Taking in a deep breath, you wipe at your mouth with the back of your hand and immediately surge forward to kiss Harry. You’re already so happy, you don’t want this day to end. 
“That was hot.” He mumbles against your lips, wrapping an arm around your back. 
You giggle blissfully and Harry nearly falls over at the look on your face. He kisses you once more before you pull away and throw the cups into the recycling bin. The music is already playing and there’s already people jumping around and having a good time. Harry takes in the scenery and the way you fit in so perfectly. The way you sway in front of him, dancing to the nearest music, the way your hand sways in his as you tug him along, the way your face hasn’t stopped being happy since the moment you walked in. You belonged here and Harry was glad he got to witness it. 
Maybe today won’t be so bad after all. 
You stop in front of the stage a few minutes later, pulling him through the massive crowd until you’re almost directly in the middle of it all. The smile on your face makes him forget about the close proximity of all the people and only on you. You’re explaining to him that this is a band you both like and that he’s going to have so much fun. 
So much fun. The words you haven’t stopped repeating. He’s starting to believe them. 
First the drums started and then they were drowned out my deafening screams as band members filled the stage. When the music started and the lyrics filled up the space, Harry understood why you’ve always wanted to be here. Sure he’s been to concerts but this is a whole other level. The way the crowd reacts and interacts with the band, with the music is mesmerizing. Harry finds himself jumping up and down, dancing and singing along to the lyrics he’s listened to so many times before. 
You end up grabbing onto him, moving his hands wildly around the two of you. You’re singing to him and with him and he swears he’s never seen you so carefree before. Pulling his phone out he captures pictures of the sight in front of him, the sight of you living your best life. The highest form of elation is spewing out of you as you dance and sing along. 
“Make me feel like I am breathing.
Feel like I am human.”
Harry laughs at the little dance you do for the camera before singing along as well.
“Dancing through the night
A vodka and a sprite
A glimpse of the silhouettes
A night that they never forget”
When the band announces they’re goodbyes you boo along with the crowd as they walk off but you’re quickly turning around and throwing your arms around Harry’s neck. He stumbles a little in surprise but places his hands on your hips to steady you. You kiss him again, sweet and innocent. 
“I love them,” You smiles wistfully, glancing at the stage quickly before looking him in the eyes. “Come on, let’s get to the other stage for the other band.”
And the same thing happens over and over again for each band. Harry can’t find a reason to complain about it. The feeling of the crowd, the music, you, it’s so much but it’s so good. He’s honestly having the time of his life and yeah, the alcohol in his system is probably helping with that but he doesn’t care. It’s all good, so good. 
Finally the both of you take a break, around mid afternoon, to use the restroom and to get some food. Your hair has made it into a bun and your long, sheer cardigan is tied up right under the hem of your shorts, a knot holding it up. Harry’s almost shirtless, as he’s folded his shirt up under itself to get some air to his abdomen. It’s just so hot. 
You shove another beer into his hand and you both chug one down as you stand in line to get food. Neither of you are sure what it is but it smells good and at this point anything will do. You’re both stumbling and tripping over your words a bit more than you should be. Beer has been really the only intake for the day and while that’s not the healthiest, it’s enhanced the feelings. Everything just feels right and Harry’s glad you forced him to drink that first beer in the morning, it really did loosen him up. 
“Here, love, lets sit here in the shade.” Harry points out before sitting on the plush grass. He grabs at your hands and pulls you down, carefully grabbing the food out of your grasp in the process. 
You sit criss cross in front of him, between his legs, resting your knees atop his thighs. He smiles at you and leans across to set a kiss to your lips. Smiling back at him you peck his lips three more times before pulling away and eating the food. You don’t speak much, the food consuming most of your attention as well as the music being played in the distance. Swaying to the music, you observe everything around you and just take it in completely. This is everything you’ve ever imagined it to be and you’re so ecstatic Harry came even if he was so against it. 
“LANY is playing tonight. That’s why I really wanted to come.” You mention. All the food has been demolished and you’re sobering up a little with all the food finally in your stomach. 
Harry leans forward, an amused smile on his face as he takes a napkin and wipes something off your cheek. You quietly thank him just as he responds, “Yeah?”
“Yeah. And I know I’ve seen them a few times already but they’re my favorite band and I need to see them play something like this. Also, I wanted you to finally see and feel what I do when they perform.”
He pecks at your lips again, “I can’t wait.”
If anyone were to ask, Harry would say he feels like he’s living in a dream. He feels like he’s outside of his body right now, like his soul is above himself and watching him. There’s really no clear way to explain it but that’s the best he can do right now. His eyes are glossed over, he knows that they are, as he watches you move around. You somehow made it to the barricade and the elation on your face was indescribable. It made him feel warm and tingly. 
The sun was in its precious golden hour and the lights from the stage were starting to make themselves known in the dimming outside light. The left over sun was hitting against your skin perfectly and it was making you look like an absolute angel; like you were glowing. Harry found himself taking pictures of you as you talk with a girl next to you, waiting for the band to come on. 
Harry knows you’ve seen this band multiple times and you always speak so highly of them so he’s excited to finally witness it himself. He’s heard the music before too, for obvious reasons, and he admits they’re good. Songs you can feel deep down whether you’ve personally been through the same situations or not. He smiles as he hears you laugh and he can’t wait until the music starts so he can hear more of it. 
“Babe, there you are.” Someone comes out of nowhere, startling Harry a bit, and stops just behind the girl you’re talking to. “Do you understand how hard it is to get through a crowd like this?” He sounds exasperated and Harry finds himself chuckling under his breath. He said the exact same words, although way more irritated, this morning when they first arrived. 
He’s glad his mindset has changed because he’s had the time of his life so far. 
They engage in some sort of conversation and it makes you turn around and learn against the barrier. You smile a bright smile, the smile that hasn’t left your face all day and Harry quickly takes a picture before you turn bashful and push him away. A whine leaves you and you slump against him and try to get him to delete the picture. There’s no way he’ll do that though because the sun is still hitting you so perfect. 
“You’re going to fall in love with this band.” You exclaim, throwing your arms around his neck and forgetting all about the picture. You plant a kiss right on him and he barely has time to respond because you pull away just as quick as you came. 
Now, you kiss him a lot but nowhere near as much as today. You’ve placed kisses onto his lips at the most random times all day. You’ll be dancing wildly to a song and just stop to quickly kiss him before you’re dancing again. You’ll be in the middle of a drink and you’ll just stop and kiss him. If the songs are a little slower, you’ll be close to him, mumbling the lyrics against his lips. Harry’s not sure what’s gotten into you but he supports it. He’d kiss you all day if he could. 
“Aren’t you worried I’ll fall more in love with them than you?” He jokes, moving his hands completely around your waist. 
You roll your eyes mockingly, “God no, have you seen yourself. You’re so in love with me, that’s not possible.”
Harry feels his cheeks warm up under your words and he turns his head down to smile bashfully at your feet. You’re so correct. 
Just then there’s a deep rumble of bass and screams, simultaneously, and Harry nearly goes deaf. You’re turned away from him in a heartbeat, your hands wildly flailing around and your scream filling his senses more than all the others. You’re jumping up and down as the music starts and bright pink lights overtake the crowd. 
“We met last summer!!” The crowd is so loud that Harry laughs. But it’s an overwhelming laugh, the one where you can’t really believe what you’re witnessing. 
“Found my way to you!!” You’re turned back around pointing at him as you scream out the lyrics. “Gave me your number, to see if I’d come through!!” And then you’re turned back around, paying attention to the man up top and screaming out the lyrics like your life depended on it. 
As you dance, Harry watches, completely mesmerized. He’s never seen someone look so carefree before. You hold your hands to your chest as you tip your head back and sing along to the sky. One look at you, anyone could tell you were in complete bliss. 
The same thing happens for almost every song. Each one becoming more and more whimsical. Their sound is so original, unlike anything Harry’s ever heard before and he can see how anyone would love this band. The talent that oozes from them and the way the fans react. They deserve all this attention. They deserve all the attention you're giving them.
Harry can barely take his eyes off of you though. He’s in complete awe at how you move and sing along to the songs that clearly mean so much to you. Now this is when Harry would say he’s in a dream. The way the music sounds around you looking at him, singing the words to him like it’s your lifeline. 
“Everything was better when
You would call and I'd be like "yea, babe"
We should talk about love again
Every night I'm wide awake
I almost call you, then I'm like no way
Oh, no way”
Your hands are intertwined with his as you dance in front of him, not once breaking eye contact. Everything seems to be drowned out and it’s only you, singing to him. He twirls you around and feels his stomach swoop when your giggle fills your space. Harry will never get over how unbothered you are. You look completely relaxed, like none of your problems exist anymore. 
When the area is covered in a deep red and the music is slower, Harry pushes up behind you and sways along to the melancholy beat. He can feel your voice vibrating through your back and against his chest. You have a lighter up in the air as your hand moves back and forth. You sing along to the words so passionately that if Harry didn’t know you so well, he’d be sure that you’ve been through the worlds most massive heartbreak. 
“I know your heart hurts the most at 3AM!” 
You lean back into him as the words echo around him from everyone watching. One of your arms wraps around his neck and you continue to sway along, your other arm still up with a lit lighter. 
“I’ve done my best to carry all this weight
I love you still
I always will
But this needs to change”
Your hands wrap in his hair at that lyric and you scratch at his scalp a bit. You’re entire body weight is almost completely on his but he doesn’t care, he holds you close and let’s you lose yourself in the song. The lyrics are deep, emotional, and you can feel them in your soul. 
And Harry hates that the song ends because you step away from him and go back to gripping the railing in front of you. The atmosphere is immediately back to the way it was before, quick and upbeat. Everyone’s happy and jumping around and it’s such a whirlwind that Harry nearly feels like he's gotten whiplash. How one band can get so sad then so happy again is beyond him.
The crowd seems to burst even louder when the notes to the last, as they announced, song starts. Everyone screams the lyrics at the top of their lungs and Harry’s positive that if he were home right now, he'd be able to hear it at his apartment complex. He recognizes the song though and he knows that its one of their most popular songs.
He's heard this song multiple times. You sing it to him every chance you get and he gets giddy at the fact that you turn around to face him, completely ignoring the stage behind you.
“And you need to know
You're the only one, alright alright
And you need to know
That you keep me up all night, all night”
Your hands are in his and you're jumping up and down as you sing to him. He’s fallen so much more in love with you, in the last hour, and he didn’t think it could be possible. But it is. Harry can't help but lean in and sing right along with you. Your noses are just brushing and your arms are spread out beside you. Not giving a single care to the outside world around you. 
“Oh, my heart hurts so good
I love you, babe, so bad, so bad
Oh, oh my heart hurts so good
I love you, babe, so bad, so bad”
Harry twirls you around a few times before grabbing your face and kissing you. So hard. It’s a deep kiss and the music only seems to intensify it. The immediate crowd around him seems to get louder but he pays no mind and only continues to kiss you to the song. Just like he has multiple times before.
The bass rumbles through him and he feels it in his chest, alongside your hands planted firmly there, right where his heart is beating too wildly. 
“And you need to know
That nobody could take your place, your place
And you need to know
That I'm hella obsessed with your face, your face”
You finally pull away and smile brightly before immediately returning to the lyrics, like you hadn't just missed a whole verse. You could sing these words in your sleep. Harry didn’t think it was possible but he’s pretty sure you’ve gotten even happier looking. You’re like a shining star in the night sky right now and Harry cannot look away. He doesn’t want to look away. 
You’re in each other’s faces again, screaming the lyrics at each other with smiles wide on each of your faces. Your noses only continue to brush together while you sing and it’s a sight for sore eyes honestly. 
“And you need to know
You're the only one alright, alright
And you need to know
That you keep me up all night, all night”
The music for the song starts to fade as the ending lyrics keep repeating in your ears. Harry wraps you up again and plants a kiss on you before you’re pushing him away, giddily, and turning to the front again. You’re screaming along with the rest of the crowd as the band says their goodbyes. You’re waving your hands uncontrollably, like you’re trying to get their attention. 
And it seems to work because he jumps down and runs along the barricade, occasionally jumping up in front of the crowd and leaning over the railing to hug people. He finally stops in front of you and gives you a hug. Your arms are wrapped tightly around him and Harry can’t help the smile that falls on his face. 
He suddenly feels a hand grip his shoulder and when he shifts his eyes, he sees the singer looking between the two of you. Harry leans in when he gets pulled on and steps as close as he can. 
“You two are the reason my songs come alive.”
And then he’s gone and you’re looking at him again with tears in your eyes. You lunge forward and kiss him, it’s barely a kiss though because its all teeth. Your smile is making it nearly impossible to kiss but Harry still does it. 
The rest of the night goes by similar to the earlier portion in the day and by the end, Harry’s entire body is sore and he’s a bit buzzed again. You’re still a bubbly ray of sunshine, even in the night sky, and you jump around as you’re walking to the exit. The amount of drinks you’ve both consumed in the past couple hours was a bit much but it didn’t matter. It just made everything much more enhanced. Harry felt and heard everything. It’s been a beautiful day. 
Harry can’t believe he’d been so against something like this. But, he’s aware it’s only been so enjoyable because it was spent with you. 
With your hand intertwined with his, you swing your hands back and forth as you hum along to a song that you’d heard today. “Thank you for today.”
Harry smiles lazily at you, the alcohol in his system making him feel heavy now that there’s no adrenaline rushing through him, “Thank you for making me go.”
“That was everything I could’ve imagined and more. I can’t believe Paul said that to us!”
Harry smiles wistfully at you. That’s all you’ve been able to talk about since it happened. You step closer to him and hug his arm close, nearly skipping to keep up with his long steps. He speaks whats been on his mind most of the day, “I’d do it again next year.”
You smile the biggest smile, Harry thinks, you’ve smiled all day. “Really?”
Nodding immediately, Harry pecks your lips for the millionth time that day, “Oh yeah.”
You stop and step in front of him, swaying a little as you do, before wrapping your arms around him. The makeup on your face is a little smeared and some of your jewels are gone. Your hair is tied back in a loose bun and you have hairs sticking up everywhere; a complete 180 from this morning. But Harry still thought you looked just as good as you did before all this started.  
“I told you, you’d have fun.” Your tone is teasing but your eyes show something completely different. Leaning in, you kiss him again. This time making it last. It’s languid and passionate. All tongue to deepen it, to get as close as possible. So many emotions mix around in the kiss and it makes Harry feel like he’s vibrating. You grip onto him for dear life and Harry can’t find it in him to protest, not that he ever would. 
You pull away completely breathless, still smiling, and quickly place three more kisses to his lips. “I can’t wait.”
Harry grins at the copy of his words earlier in the day and wraps an arm around your shoulder to continue the walk to your shared apartment. Today had been one hell of a day and while he had fun, Harry couldn't wait to go to sleep. He was exhausted and he knew that you were too. He also knew that your feet were going to be swollen and you're going to be complaining about then all day tomorrow but it won't be that bad. Festivals do that to you. They beat you up and steal your money but they're worth it.
Worth it when you're with the right person.
And maybe they’re still hell but they're not that bad.
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my masterlist is in my bio
please make sure to check out all the other lovely writers/pieces participating in this lovely 25 Days of Summer, the links should be in @always-jackedup‘s bio as well
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castielslostwings · 5 years ago
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All I Want For Christmas (Are Earplugs)
Ficlet: 3k of fluffy, explicit (at the end) Christmas-y DeanCas. 
The challenge: "Write something about Cas being stuck in the gas n sip where "All I Want For Christmas is You" plays on an endless loop for 3 months until he's nearly homicidal 😂 ...and then dean shows up and they bang in the storeroom while it's playing and the song is still awful and plays every 45 minutes but at least Cas has a positive memory to associate with it now!"
Read it on AO3: https://archiveofourown.org/works/21656614
Or check out this excerpt (cut because Tumblr will eat my smut):
Corporate doesn’t even hold off until Thanksgiving is over to move onto Christmas, not anymore. In the age of instant gratification and having everything a person could possibly want only a finger swipe away, waiting until after Thanksgiving to break out the Christmas theming would render it all relatively pointless. Thus, the day after Halloween, that’s when it starts these days. Castiel doesn’t get it, not really, especially considering the Gas’n’Sip is, well, a gas station. No one is looking to their shelves for holiday sales and the opportunity to grab this season’s hottest items before they sell out. Not unless one considers snack cakes and travel-sized tubes of toothpaste to be the perfect holiday gifts. Not that Castiel’s judging.
It’s just that those realities make the auditory horror Castiel’s subjected to for nearly three months straight all the more baffling. Why he has to suffer so the Gas’n’Sip can claw uselessly at retail relevance is beyond his understanding. It’s not as if they’re succeeding. That little “Last Minute Gifts!” display doesn’t get any sort of play at all until the twenty-third, and even then people have to grimace their way through choosing between cheap shower product sets and crappy mugs with teddy bears holding chocolates stuffed inside them. By November first, Castiel’s already practicing the most tactful ways to interrupt those poor procrastinating saps and suggest simply buying lottery scratch-off tickets.
The thing is, the decorations aren’t so bad. A little tinsel here, a few red glittery signs there, couple of candy-filled endcaps with Santa theming, whatever. Even the little Christmas tree that sits next to the register and Castiel can’t stop knocking into with his elbow every time he goes to make change is more festive than frustrating. None of those things are particularly bothersome at all. In fact, Castiel barely even notices them (aside from diving to catch the tree and keep it from crashing to the ground every ten minutes). And the twinkling, color-changing string lights that Castiel spent the better part of a day stapling around the top of the store, along the windows, and over the register are actually fairly enjoyable to look at. So much so that he strung a set around the shelves of the storeroom for when he’s stuck back there organizing or doing inventory. Very cheery.
But the songs. The songs are the worst. Well, no, that’s not exactly it either. The holiday songs on the corporate-provided CD that loops endlessly on a forty-five minute spiral in the background definitely still play in Castiel’s head long after he’s dumped the coffee, turned out the lights, and locked the gas station doors. They infiltrate his quiet moments in the evening after he’s returned home, dance across his mind obnoxiously when he should be enjoying his free time away. It’s only the beginning of December and already Castiel’s starting to lose his mind. Last night, full of a spectacular dinner and tucked warm and snug in bed with Dean squirming underneath him, Castiel was screwed out of an actual orgasm by the painfully catchy crooning of Mariah Carey relentlessly belting out those high notes in his head.
Because really, at the end of the day, it’s not all the holiday songs, it’s that holiday song. The bane of retail workers everywhere, Castiel’s sure of it, “All I Want For Christmas Is You” is single-handedly making his holiday season as un-merry as it could possibly get. A grating earworm that’s starting to feel more “nails on a chalkboard” than singing at all, Castiel’s forced to enjoy it on a repeat cycle every forty-two-point-five minutes of every single workday. And now, it’s messing with his off-time, his intimate evenings with Dean, those relax and reset moments that Castiel counts on to get him through the next day and the one after that. Retail is hard enough on a regular old Tuesday, never mind during the holiday season when everyone’s so desperate to squeeze in as much merriment as possible that they’re willing to steamroll right over people like Castiel to do it.
Most of the time, Castiel doesn’t mind being a faceless cog in the machine, hell, he enjoys it some days. There’s a quiet dignity in his job, in providing food and fuel for weary travelers just trying to get from Point A to Point B. Keeping the coffee pot full, the hot dogs warm, the cigarette cartons stacked. Perhaps other people might look down on him for being satisfied with that type of work, that type of life, but Castiel has no interest in what other people think of him. Well, anyone besides Dean, of course. And Dean loves him, is proud of him, and that’s more than enough to make his days, every single one of them, merry and bright.
So it would be Castiel’s preference that he subsists through the rest of the Christmas season without murdering the one man who makes his existence tolerable, and that fucking song is beginning to threaten that theoretically simple wish.
Today, for instance, it’s four in the afternoon and Castiel is working a double. Which means that since the Gas’n’Sip opened its doors at six AM, Mariah Carey’s syrupy-sweet caroling has set his teeth on edge going on fourteen times. Fourteen. Chinese water torture would be kinder. Two hours and two more rounds of the nightmare in G Major later, Castiel texts Nora, his manager, and begs her to let him change the music. “ Just for the today, just for the rest of my shift”, he pleads, even going so far as to say he’ll tune the radio to their local Christmas music station.
Nora sends back, “ LOL, Castiel you’re so funny”, and Castiel dies a little bit inside. Business is slow and the lackluster trickle of customers comes to a stop completely around ten PM, leaving an entire hour for Castiel to count down the minutes to the next time that awful song is going to play without any kind of distraction. When the bells tied to the doors finally jingle signaling a customer around ten forty-five, relief doesn’t even come close to what Castiel feels. That doubles when the face that appears across his countertop is Dean’s.
“Hello, Dean,” Castiel says warmly, and he’s not exaggerating when he thinks he may never have been happier to see the man. Although, it’s never unpleasant to see Dean.
“I'll have some beef jerky and a pack of menthols,” Dean replies cheekily, leaning across the counter for a kiss which Castiel gladly provides. Not the menthols, though.
“Funny,” he murmurs and then sighs heavily. “Dean, I’m going to lose my mind if I have to put up with this—” Castiel jams his finger in the direction of the ceiling speaker above his head, “ Horror show for another three weeks.”
Dean looks up from where he’s fingering the different flavors of Bubble Yum and slides a pack across the smooth surface, reaching for his wallet to pay. Castiel waves him off, grabs a couple of singles from his own pocket and runs the transaction absently. “It can’t be that bad,” Dean says and Castiel’s fingers halt mid-button-push.
“My ears feel like they’re bleeding, Dean,” he protests with a glare. “Every forty-two-point-five minutes exactly it comes on and I’m in hell.” Clocking Dean’s badly-suppressed smirk, Castiel works his jaw and folds his arms across his chest. “Perhaps I’ll call Bobby and offer him a free month of advertising in the Gas’n’Sip window. All he’ll have to do is play a particular CD on repeat in the auto-repair bay from tomorrow until Christmas.” Satisfied with the way Dean’s face pales and the smirk disappears, Castiel feels absolutely no need to remind him that approving free advertising isn’t remotely in his job description. Honestly, if Dean can’t figure that out from the knowledge that he isn’t so much as allowed to change the store’s chosen music, that’s on him.
“Don’t mess with my classic rock, Cas,” Dean warns him. “Some shit is sacred, you know.” Annoyed again, Castiel raises his hands and gestures around him emphatically. “Alright, alright,” Dean relents. “I see your point, it sucks.” Sucking his lip distractedly in between his teeth, Dean glances around the store. “So, where are your security cameras at?”
Rolling his eyes, Castiel points to several different corners and just above his head behind the register. “There, there, there, and there. Don’t you think if I could have moved them, I would have? Changing their direction sends a notification straight to Nora’s phone.”
“That’s not what I—what about the storeroom? There any cameras there?”
Castiel narrows his eyes and regards Dean curiously. “No… There was one, but it broke weeks ago and Corporate hasn’t yet responded to Nora’s service request.” With a mild hum and another glance around that includes a sweep of the deserted parking lot outside, Dean wanders over to the doors and locks them. “Dean?” Castiel doesn’t protest, just watches as Dean flips the sign that says, “Back in 5 minutes!” Castiel rarely uses it himself, but every so often nature calls and the store has to be locked in the meantime. It’s interesting that Dean remembers that.
“C’mon,” is all Dean says on his pass back through the store, reaching out to grab Castiel’s arm and tug him out from his little alcove and across the floor to the storeroom.
“Dean, what—”
“How long until that song plays again?” Dean asks as he pulls Castiel inside and shuts the door behind them.
Checking his watch, Castiel does some quick mental math as well as cocks his head to listen for whatever song is playing now. “It’s next,” he groans, but Dean just grins.
“Awesome timing,” he replies, grabbing Castiel’s waist and manhandling him around until his back is up against some stable-looking shelving. “We’re gonna play a game, alright?” Dean’s bright green eyes are sparkling and shining and Castiel definitely knows that face. He also knows he should stop him, should tell Dean no to whatever mischievous thing he’s plotting, but it is only minutes to closing time and hell, Castiel’s day has been pure, undiluted shit.
“What sort of game?” Castiel asks, unable to keep the note of amusement out of his voice as he watches Dean’s eyes dart down to his own lips. Without answering, Dean leans in, kisses Castiel’s bottom lip and then his top, pulls back just far enough to look down and slot their groins together in a way that won’t have anyone’s belts causing unwanted, painful havoc. Then he’s back, tongue poking at the seam of Castiel’s mouth, and despite everything, Castiel recognizes that this is Dean asking for permission. If he really doesn’t want to do this, in his store or at all, he need only close his mouth.
As much as he appreciates the asking, though, Castiel knew what he was getting into when he stepped inside the storeroom. Dean has a bit of an exhibitionist side, and this isn’t their first rodeo in a semi-public space. Though the likelihood of being walked in on is extremely low, there’s still a bit of a thrill Castiel gets over doing something naughty, and maybe he’s more into it than he lets on. The whole concept has him hardening up nicely and Dean’s grinding isn’t hurting either, but just as they’re setting a pretty nice pace, the first notes of The Song come on.
Growling into Dean’s mouth, Castiel reluctantly pushes him back. “I can’t,” he says, frustrated. “I don’t want to associate having sex with you with this demonic lullaby.”
Read the rest on AO3: https://archiveofourown.org/works/21656614
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doomedandstoned · 5 years ago
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A Listener’s Guide to ‘Defying The Righteous Way’ by Cardinals Folly
~By Billy Goate~
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~Photographs by Murder Basement Studios~
CARDINALS FOLLY belong to the Reverend Bizarre school of doom, but also takes its cues from '80s Gothic rock. In this way, Cardinals Folly (who started life as The Coven in 2004) and Lord Vicar were among the first to pioneer a sound that soon caught on with other bands like Acolytes of Moros, Caskets Open, and Weird Tales, to name a few. Their style makes for a transfixing listening experience and I've been enamored of the band since discovering their first LP, "Such Power Is Dangerous!' (2011). Who would have dreamed then that the trio from Helsinki would one day be playing Doomed & Stoned Festival?
It's also hard to believe that the doomed crew of Count Karnstein (bass, vox), Nordic Wrath (guitar), and Battle Ram (drums) are now on album number five, with two EPs and two splits also under their belt. As prolific as Cardinals Folly seem, they don't seem to have lost their edge on 'Defying The Righteous Way' (2020). After all, this far into an artist's discography I'm used to picking up on notes of lethargy, with some bands having to really stretch the definition of a "song" just to get another album out there (usually under contractual obligation). When you do what you do for the love of music, the compositional pen flows freely.
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Let's start with the title. Defying The Righteous Way is an obvious dig at one of the Norseman's truest adversaries: Christianity. When the religion of Jesus came to Finland it was an aggressive ideology of conquest co-opted by the Catholic Church. The Northern Crusades saw to it that one way or another the Skandanavian people were converts, even if in name only. Before metal, there was still a heavy underground, so to speak, comprised of resisters who may have given lip service to The Cloth, but a very pagan connection to the earth.
The modality of Cardinals Folly quite often marries doom with ancient mannerisms of song, illustrated in the stately Medieval rhythm and the chanting chorus of "The Great Santur." I think it is this aspect of the band's output I've enjoyed the most, as it feels like they're somehow bridging a connection to the past, when resentments simmered for clergy and king alike.
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For newer listeners, Defying The Righteous Way makes as good an introduction as any to the band's characteristic sound and style portfolio. Cardinals Folly toggles between fast-trotting songs like "Witchfinders," mid-tempo stompers like "Last House On The Left," and the more traditional slow burners like "Stars Align Again." In this way, they call to mind Saint Vitus (especially the Scott Reagers-era) out of all the Fathers of Doom.
If I have any complaint, it's simply that there isn't enough sadness on the album for my taste, with the exception of "Last House On The Left," which has some very effective moments of melancholia in its second half. Maybe it's because Mikko Kääriäinen's vocals have always hinted of sorrow for me, but they're mostly used to express gravity. I suppose "Strange Conflict" does come closer to scratching my depressive itch. By the way, I do love its Joy Division-esque pulse during the six-minute mark.
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While the songs may not pop out immediately in a sing-along sense, the collective vibe does grow on you. There's an undeniable energy about Defying The Righteous Way that reveals a band with finely tuned musical instincts and a damning fire within, still longing to Burn The Priest.
Give ear...
Defying The Righteous Way by Cardinals Folly
Cardinals Folly Frontman Reveals True Meaning Behind New Songs
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Doomed & Stoned recently asked Mikko Kääriäinen (aka Count Karnstein) if he would illuminate the new Cardinal's Folly album, 'Defying The Righteous Way' (2020). He responded by giving us this in-depth track-by-track breakdown, which fans of the band will surely relish.
STARS ALIGN AGAIN
Defying The Righteous Way by Cardinals Folly
The wild "we're back!" opener track starts off slowly but picks up pace nicely, to introduce both faces of the band. Once our warlocks of heavy doom metal have re-animated their body again after finding it from the northern graveyard, to honor the old gods in Lovecraftian fashion, the doom hulk is ready to ride again.
DERANGING THE PRIEST
Defying The Righteous Way by Cardinals Folly
Once the Deranged Pagan Sons have been let loose, things can't be stopped anymore. Second track unleashes NWOBHM-influenced galloping dirty heavy metal goodness with anti-religious statement and fury. Continuing on the path set by the previous album and it's title track indeed, "Deranging the Priest" unleashes even more wrath upon the tyranny created by righteous men. This song is traditional doom's own church burner.
WITCHFINDERS
Defying The Righteous Way by Cardinals Folly
Vicious metal riffs combined with the pathos of a psychotic witchfinder, a modern day Matthew Hopkins who sets out to punish evil witches in his own right. Disappointment in women was probably a major fuel in this fire, heh! This is maybe my favorite from the album. What's funny is that we almost dropped it. Right before the studio we had this and another song with our finger on the trigger, we needed to drop either of them to cut the album down to 45 minutes. Luckily we chose right, because on our recent German tour, this became an instant live hit as well.
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THE GREAT SANTUR
Defying The Righteous Way by Cardinals Folly
Originally meant as the album-closer track, "The Great Santur" again demonstrates our own take on nordic mysticism and it's epicness from the opening bell, and never lets it go. I love playing this song, because it's so ceremonial, and the chorus fills my mind with epic visions each time I sing it. The intro sample again is a throwback from the past, reminding us of "Secret of the Runes" from the previous album "Deranged Pagan Sons" (2017) and "Walvater Proclaimed!" from the Lucifer's Fall split (2019). I'm hearing a lot of Bathory, Summoning and even very early Amorphis in this one! We ended up choosing this as the A side closer, because it's slightly shorter than "Strange Conflict", and we nowadays plan all album structures with the vinyl format in mind, so it's divided in two halves.
THE LIVING DEAD
Defying The Righteous Way by Cardinals Folly
"The Living Dead" opens the second half of the album, which is an introduction to the B side, if you're listening to the vinyl version. It works the same way on any format, providing a brief séance and another visit to the bizarre horror classic "Psychomania" (1971), that we already tributed a track to on our third album "Holocaust of Ecstasy & Freedom" (2016)...
ULTRA-VIOLENCE
Defying The Righteous Way by Cardinals Folly
...which brings us to "Ultra-Violence", or more like throws it suddenly straight into our face. A fierce punk-doomer that deals with A Clockwork Orange and energy to stomp down a bunch of devotchkas after a hazy night in the korova milk bar. Slight doom part in the middle calms it down before the final attack. Music and lyrics for this one came from me already in 2016 before the previous album, but it was just waiting to boil up a bit. Definitely our most punky song so far. Anthony Burgess and Stanley Kubrick rule.
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LAST HOUSE ON THE LEFT
Defying The Righteous Way by Cardinals Folly
Doom, horror films and bloodlust definitely dominate the majority of the B-side of this album, and thus this song dedicated to Wes Craven's best film grabs the torch from its equally disturbing predecessor honorably, travelling through suburbs with Krug's horny and homicidal gang. It's grooviness is definitely one of the malicious and deadly kinds. As life escapes from the girls of this story, so does the groovy rockiness transform slowly into screams of horror, dirges of melancholy and hopelessness, and finally into a slow final riff draining our life into an uncertain death...
STRANGE CONFLICT
Defying The Righteous Way by Cardinals Folly
I guess it's an unwritten rule that every Cardinals Folly album should carry within itself some sort of homage to the "Prince of Thriller Writers", the late Dennis Wheatley (1877-1977). The title reminds us of the early works compilation we released through Shadow Kingdom Records back in 2013, yet it pays tribute to Wheatley's 1940 WWII black magic novel, where the nazis are determining the routes of the secret British atlantic convoys by using a witch doctor in Haiti, leading into an epic white magic/black magic battle. Musically it travels from epic doom to Iron Maiden-ish heavy metal takeoff, which boils down to the final slow doomed hypnotic dirge of the album, that floats us again towards uncharted seas and uncertain fates..
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swiftlythebest · 6 years ago
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hi! i’m new to the tumblr world of schmico! just wanted to say first that i love your writing! also, idk if you’re taking prompts but i would love to see a prompt of nico and levi going on a roadtrip and just funny, coupley bickering on the way to their destination.
Welcome to the fandom! This is a bit old so you’ve been in the fandom a bit, but still, welcome! I am somehow always roped into driving for road trips, so most of my road trip memories are of trying not to kill my friends. But I hope this is a good representation of a road trip. It’s a short trip, so I hope that’s okay. Ironically, it’s a longer ficlet, so a lot is under a cut. I hope you enjoy!
The alarm blared as Nico Kim groaned and rolled over to hit snooze, only for his hand to be swatted away by Levi Schmitt. “We gotta get up. No snoozing.” Despite his words, Levi gave a large yawn.
“But why? It’s so early!” Nico knew he was whining, but he had had a long shift the day before and felt like he had just closed his eyes.
“Because we have to be on the road in half an hour and we’re already cutting it close. You know you want to have time to get your coffee and style your hair.” Levi shoved Nico towards the edge of the bed.
“Fine, fine.” Nico stood up, naked, and began to walk towards the bathroom, pausing to turn back to Levi. “You coming, love?”
“Mmm, yeah. Just enjoying the view.” Levi smirked.
Nico walked with exaggerated hip movements, eliciting a bout of laughter from Levi, who threw off the covers and ran towards Nico, hugging him from behind. Even though he now had a person attached to him, Nico kept walking forward, albeit a bit more awkwardly. Levi nuzzled into his back and they made it into the bathroom. Levi detached and they went about their morning routines.
20 minutes later, hair coiffed and contacts in, they emerged into the kitchen to make some coffee and get a quick breakfast. They were set to take a three hour road trip down to Portland, OR for the wedding of two of Levi’s three high school friends, Hayley Vasquez and Jason Willows. Levi was a groomsman and Nico was his plus one. Both were excited for the festivities but a bit weary of the way they would be getting there. Levi loved roadtrips, but he wasn’t sure about spending that much time in an enclosed space with Nico. Sure, they had been together for about 10 months at this point, but they’d never made a car trip longer than the 40 minutes it takes to get to the Thai place they both love.
“So I made a playlist for the drive. It’s all of our favorite songs to dance around to, so I think it should be good.” Levi was hesitant, not knowing if Nico wanted to listen to the radio or just talk the whole time.
“Is there any Taylor Swift? Or Disney? Or both?” Nico asked excitedly before taking a sip of his coffee.
“Of course. It’s a lot of Disney. And I knew you’d complain with no Taylor Swift.” Levi smiled, relieved. “I also put on some Hamilton.”
Nico groaned, but smiled. “So I have to listen to you rap for three hours?”
“Hush, you love my rapping. And it’s only a few songs. You get Taylor Swift!” Nico kissed Levi’s cheek and smiled. “It’ll be fun.”
“I have snacks! I got some bananas, granola bars, and nut mix.” Levi scrunched up his nose. “What?”
“It’s a road trip! We’re supposed to have chips and candy! Not your healthy crap!” Levi crossed his arms, adamant about the food requirements.
“But I don’t eat that. You want this body?” Levi nodded vigorously. “This is what I eat. This keeps me looking this way.”
“It’s three hours.”
“That’s what Gilligan thought.” Nico smirked, earning him a smack from Levi. “Fine. We’ll bring the bananas because they have a short shelf life. And I know you have a package of Twizzlers stashed away. And take the tortilla chips.” Levi beamed and grabbed the snacks.
They settled into Nico’s sedan, Levi hit shuffle on the playlist, and they were off.
About an hour in, they were jamming out to “Alexander Hamilton -” or at least Levi was - when the check engine light came on.
“Oh, babe, pull over.” Levi stopped mid-verse to urge Nico.
“What? Nah, we’re good. It’s nothing.” Nico went back to bobbing to the music.
“The check engine light is on! That means we need to check the engine!” Levi exclaimed.
“Would you even know how to check the engine?” Nico turned very briefly so Levi could see his raised eyebrow.
“Well, no. But we shouldn’t just ignore it!” Levi was getting a bit heated.
“Levi, I love you, I really, really do, but you need to calm down. I’ve had this car a while and it just does this at times. I promise.”
“Please pull over. For me?” Because Nico was focused on the highway, he could not feel the full force of Levi’s puppy dog eyes. Despite not being able to be manipulated by his boyfriends inhumanly adorable eyes, he sighed and pulled into the shoulder anyway.
Levi beamed and hopped out of the car, followed closely by Nico, who popped the hood and leaned down to inspect the contents. Levi peered over his shoulder, trying to see if anything looked out of place, even though he had no idea what to look for.
“All good under the hood.” Nico laughed quietly at his joke. He then walked over towards the gas cap, pulled it open, and tightened the cap. Levi just stared, utterly confused. They climbed back into the car and Nico started the engine again, prompting Levi to lean over to see if the light was still on.
“It turned off!” He almost shouted in his excitement.
“I told you, it happens. It’s the gas cap, usually.” Nico shrugged and merged back onto the highway.
Levi gaped at him before lightly smacking his shoulder. “You could have told me that!”
“It’s fun to watch you squirm.” Nico briefly stuck his tongue out in a teasing manner. “But seriously, you need to know that I would never do anything to put you in harm’s way. You mean everything to me and if I thought there was a chance it could have been something real, I’d have stopped immediately.”
“You’re sweet. You get a Twizzler.” Levi held out a Twizzler in front of Nico’s mouth and he grabbed it with his teeth, nodding his thanks.
The rest of the trip went by without any more car issues, although there was a 20 minute period during which Levi had to pee badly and there were no exits with rest stops for far too long. “Nico, I honestly may pee my pants. I may pee my pants and you will still love me! You will still look at me with your smoldering heart eyes and touch me with your remarkable hands and kiss me with your perfect lips even though we will both have experienced me peeing in your car.” Once Levi had finished his speech, a sign appeared advertising a rest stop in 3 miles.
“Can you hold it for three more miles? Because I’m still going to be ridiculously attracted to you even if you pee in my car, I just don’t want to deal with the clean-up.”
“Yes, but you better drive the fastest you possibly can without getting pulled over!” Levi started to bounce in his seat.
A bathroom break and 45 minutes later, they pulled up to the hotel where wedding party was staying. Nico shut off the engine and ran over to open the door for Levi, offering him a hand as he helped him out.
“You’re such a dumb gentleman.” Levi gave Nico a small kiss.
“I can’t wait to spend another three hours all alone with you in a car in 4 days.” Nico and Levi laughed, both knowing there was some definite truth to that statement.
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lerah-mae-blog · 5 years ago
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Residency: TEXTure Weekend, Day 1 (2016)
with John Berkavitch, Si Rawlinson, Shruti Chauhan and Paula Varjack
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291016 - 301016 TEXTure Weekend University of Derby, Markeaton Street Campus
UK Young Artists @ Facebook:
"Our workshops with Writing East Midlands, delivered by John Berkavitch began today at the University of Derby. See the results during the Festival at Deda as a part of Art/Talk/Think/Do on Sunday 6th Nov." 
In my account of the first day’s… shenanigans, a friend neatly summarized it: ‘sounds like a perfect blend of creativity, fun and madness.’
Having impulsively applied for this workshop out of sheer curiosity, and promptly forgetting I even applied to it in the first place until I received an email of acceptance (cue frantic scrolling through my email’s ‘sent’ folder, rereading the answers I’ve written to the questions in the application and physically cringing) – I did not know what to expect. And there was a little moment of mutual curiosity and confusion as the other artists introduced themselves, what they did (are you a writer? Illustrator? Performing artist? Dancer? Oh you’re from Leicester too!), whether they were students or at university or recent graduates, and a shared sense of being lost in Derby’s streets and maze of obscure campuses.
So here is a two-part account of the two-day residency workshop. This is as much a record of the two days as my attempt to process the whirlwind that is this weekend. I met a lot of people, produced improvised work and moved more than I possibly have in my entire life. I was completely out of my comfort zone.Thrown into the deep end, if you will. And I was (to my surprise) okay with that.
TEXTure Day 1/2: Saturday, October 29th
We all came in not knowing what was going on, not knowing what to expect. I had a vague image of collaborating with other artists in other disciplines, not just writers. And it was that, but oh so much more.
Maybe it was that mutual feeling of being lost that made everyone accept everything as it came. To just go along with whatever was going on, whether out of sheer curiosity or just for the hell of it.
What’s in a metaphor?
The weekend’s product will go towards a ‘sharing’ event on Sunday, November 6th at Derby’s DEDA, and Saturday started with a metaphor. What were our expectations for Sunday’s sharing event, expressed as a metaphor? I wrote something about tapestries stitched together with threads of words, sounds and movements. Another said “On Sunday, we will be libraries.” It sounds beautiful. Shruti wrote “burning bodies.” Sounds morbid, but it could work? (Metaphorically, hopefully, and not literal burning bodies…)
Moving connections
Using the whole room (lecture hall, seats pulled aside, wide open space), any position or movement, as loud or as quiet as we wanted and with music in the background, we then had to make a six-sequence… choreography? Individually. Always a different position, and a different transition between each position. As we repeated our sequence – running across the room or gracefully gliding to get to the next position, walking as silently as a thief or making a right ruckus and stumbling across chairs (I’m looking at you Si), or even crawling across the floor and hiding behind curtains – Berkavitch would give instructions. “Make connections. See how your movements fit in with another’s, how your transitions cross with someone else’s.”
Even writing this produces a very strange image. A room full of strangers moving across the room in a memorized sequence – something about movement and observation, connections, improvisation…
What a bunch of folley
Inspired by the musical term folley or folia, we had to write sentences in the pattern ABA CDC AB. It reminded me of poetic meter (which I am terrible at identifying in poems and always left out when I’m analyzing poetry.) This time we had to write a few sentences, some would be repeated but different words would be stressed at different times – in turn, changing the overall meaning. For example, in the sentence "/she/ didn't steal that pen", the meaning would change when the stress is on a different word like "she didn't /steal/ that pen.”
After writing it we had to go into pairs and while a writer read their set of sentences, another would act it out.  The catch: the actor performed their sequence of actions in the same pattern (ABA CDC AB), but without knowing the writer’s set of sentences.
Two seemingly disjointed elements came together and somehow created a coherent narrative, but it was up to the audience to interpret said narrative. It was also interesting to see how, by changing certain actions – by moving around the speaker as they recited their sequence, for example, or by turning your eyes away from each other – it was interesting to see how those simple changes altered the whole narrative.
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Photo by Michael Markham @ Facebook.
“Burning bodies”: movement improvisation (in the dark)
This was surreal. After a break, the group entered the now dark room. The only light was from a set of green and red lights at corners of the room – like club lights. Breaking the silence, Berkavitch says: "There are two states: movement and stillness. At least one person must always be walking, but stillness is important." In a silent agreement, we all start walking or standing still in the dark room. “There are three states.” Berkavitch continues after a while. “No more than two people must be walking, but any number can move across the floor. And stillness is important.” So we start crawling, at least one person walking, while others stayed still.
There's some instrumental playing in the background, while we kept an eye on each other and made sure someone was always walking. The music changed from slow pianos to harsh beats, and to eerie, morbid, haunting music. “Make connections.” And suddenly people started interacting with each other. Some danced together, mirrored another’s movements, sat in circles. Some stayed still only for others to incite movement in them. Some flitting (rolling, tumbling, bending across the floor – still looking at you Si) about, only to stop and join in with the stillness.
Maybe it was the element of darkness, or the mutual ‘I’ve no idea what’s going on, let’s just go with it’. Maybe it was the trance-like state we entered. I’m not sure, but everything felt… unreal. The dancing in the dark in a sort of trance reminded me of Paulo Coelho’s The Witch of Portobello:
“If theatre is ritual, then dance is too... It's as if the threads connecting us to the rest of the world were washed clean of preconceptions and fears. When you dance, you can enjoy the luxury of being you.”
Maybe it was that. Uninhibited in the darkness, losing yourself to the lights and sounds, dancing, existing. Maybe it had something to do with our constant need to move, and the protagonist, Athena’s, musings in The Witch of Portobello regarding what she called “blank spaces”:
“Music only exists because pauses exist, and sentences only exist because the blank spaces exist.”
We need movement in our life just as much as stillness – because in the stillness are “blank spaces” that help us understand. Without the pauses, silence, stillness, everything would be disorienting; incomprehensible shadows on a wall.
Honestly, at some point I just sat down in a trance, and stared at the wall. The red and green lights illuminated moving bodies, and formed shadows. In the stillness, you can observe. And I saw a few things:
The shadows told as many stories as the people who formed them – and they could be very different from each other.
Movement incite movement, but stillness is contagious too. Stillness allowed you to observe. But it can feel alienating, urging you to join in.
Whether consciously or unconsciously, music affected how people moved. Erratic music made movements more frantic, shadows almost writhing on the walls. When softer pianos played, everything slowed down – an unspoken agreement to glide rather than run.
With the red and green lights hitting contours and shapes of people as they moved, maybe Shruti’s prediction of “burning bodies” wasn’t so far off after all.
“You did that for 45 minutes.” There was a collective gasp. Time was lost to me in that moment. “How does everyone feel as humans?” It felt like I was detached from myself. It felt like I was outside of my Self. I was simultaneously an observer and a part of the dizzying dance. “It felt like we were part of a cult even,” someone points out. I forgot that self-consciousness existed. When people held out their hands to you, you respond, you went with it. When someone made eye-contact mid-movement, you stare back. You dance along.
It was bizarre. It was enchanting. And it was oddly calming.
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Photo by Michael Markham @ Facebook.
Auto-theatre: a dialogue between three people
It was back to writing exercises after recovering from the dancing. A dialogue between three people. Three members of the group then had to record their voices as one of the three characters. Separately. In the end, in front of the whole group, and with earphones in to listen to the recording, we said the lines out loud and acted it out. But it was disjointed at some points, we could only hear our own lines and not the others. With two others next to you, you produce a strange narrative. You’ll be responding to them without knowing. It was here too that small changes in movement, the use of the room’s space, created different stories. It was fascinating.
After that we were given the task of coming up with an idea and pitching said idea the next day. Something to perform on the day of the sharing.
+
Day 1 was hectic, but it was a lot of fun. I felt like I detached from myself. There was a disconnect. I stepped out of myself, an observer amidst this chaos of lights and movement and darkness and shadows. Yet at the same time I was in the middle of this. I was both outside and a part of this... spectacle.
Eye-contact can be jarring. But this time it was a connection. Physical contact can be suffocating. But this time it was part of a dance. You lose inhibitions in darkness. There's freedom in utter blackness. The shadows told stories. People are fascinating. Their stories are fascinating too. And the kindness of strangers always leaves me in awe.
In fact, I felt like a different person for the two days. The usually anxious and jittery English student took a step back, performed in front of strangers, produced work she doesn’t usually do, she interacted with others in a way she never did before. And she was surprisingly fine with that. She was comfortable even.
Maybe stepping out of your comfort zone isn't too bad after all.
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anestiefel · 5 years ago
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5 Amazing Week-Long Mexico Beach Vacations for $1,500 or Less — Including Flights
Puerto Escondido and the Coast of Oaxaca
View of the Zicatela from Puerto Escondido/Oyster
It’s no secret: Here at Oyster.com we love Oaxaca. That goes for the whole state, from the mountain towns to culturally rich Oaxaca City and especially its stunning beaches. For now, the majority of Oaxaca’s coastline is blissfully free of major resort developments. Instead, you can expect towns that have maintained their bohemian beach vibes and surfer history, and offer plenty of bargains for sun-seekers. What’s more? Oaxacan food is some of the best local cuisine in Mexico, and you’ll be able to tuck into everything from whipped Oaxacan chocolate drinks to tlayudas and tamales for far less than what it costs to feed yourself elsewhere.
If you want to really get in touch with Oaxaca’s surf scene — and still want to tap into that cool Mexican beach vibe — Puerto Escondido should be your home base. The city itself is one of our favorite underrated destinations in all of Mexico, and you’ll find a more authentic local vibe here than in other well-known beach destinations in Mexico. Given Puerto Escondido’s hidden-gem status — and laid-back surfer vibe — it’s no surprise that some of Mexico’s young cultural scene has made its way here in recent years — an edition of Comunite Music Festival came to town in 2020, featuring Mexican and international underground DJs.
The majority of the city’s beach scene centers on the Zicatela, where you’ll find a number of cool bars and restaurants. The Zicatela is one of Mexico’s most famous surf destinations, and draws legions of surfers from around the world (and travelers seeking surfing lessons, like those offered by Surf Travel & Friends). The waves can be punishing, but it’s still beautiful, and there are calmer waters to be found around Puerto Escondido (the calmest is Playa Carrizalillo — which is the best swimmable beach).
If you’d like to sample some of the region’s other cool towns, head to Mazunte, one of Mexico’s Pueblos Magicos (Magic Towns). There, a postcard-pretty beach is backed by a former hippie colony turned hipster escape. If you’re in Mazunte, make sure you do the short hike to Punta Cometa, which has amazing sunset views along the rugged Oaxacan coast from Mexico’s southernmost point.
You can score hotels in Puerto Escondido for as low as $45 a night, though if you up it to $65 a night you’ll get more for your pesos. That generally holds true whether you’re visiting in high season or not. Of course higher-end hotels — like Hotel Escondido — are available, though you can expect to pay far more. Food and drink is reasonable in Puerto Escondido, especially when compared to other major Mexican beach destinations. You can keep your costs low by crafting lunch from the many food vendors that prowl the sand all day long, slinging everything from tacos to tamales and Oaxacan roasted peanuts. Even if you opt for more traditional dining, you shouldn’t expect to spend more than $30 a day on food. Airfare to Puerto Escondido from most major U.S. cities is incredibly reasonable. You’ll need to connect through Mexico City, but reaching Puerto Escondido’s airport will rarely cost you more than $550 round-trip (and that’s on the high side). There’s really no need to rent a car — even a taxi to Mazunte for a night or two won’t cost you more than $60 round-trip (an hour-long drive, each way), and local taxis within Puerto Escondido are incredibly cheap. All in — including three surf lessons — you’ll still have over $400 left for food.
Our Budget Hotel Pick in Puerto Escondido: Hotel Santa Fe
The pool and kids’ pool at Hotel Santa Fe in Puerto Escondido/Oyster
With its colonial charm and amazing location at the north end of the Zicatela, it’s hard to complain about anything at the budget-friendly Hotel Santa Fe in Puerto Escondido. It’s not the absolute cheapest in town, but all rooms are huge and include their own private terraces or balconies. There are also two pools, and the restaurant serves delicious vegan-friendly fare.
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Playa del Carmen in the Riviera Maya
The buzzing beach in Playa del Carmen/Oyster
You don’t have to go off-the-beaten-path to have an awesome beach vacation in Mexico. Playa del Carmen has long been a favorite among travelers. Its combination of pretty beaches, a lively downtown area, and nonstop things to do have all solidified its place on must-visit lists. It’s also a solid destination for LGBTQ travelers, at least among the Riviera Maya cities and towns.
If you’re on a tight budget, you’re going to be staying in or near Playa’s busy city center. Since that’s the case, a Playa del Carmen vacation is best for travelers who like a nice dose of partying with their beach vacations. The downtown area is anything but quiet — you’ll find tons of packed bars and restaurants throughout the city center’s streets. Quinta Avenida, or Fifth Ave, is the touristy nerve center of these goings on. It’s literally lined with restaurants, bars, street performers, malls, and shops, and is packed with people day and night. The area around 12th Street is particularly wild at night, and is where you’ll find the majority of nightclubs and bars. Tequila shots are practically a requirement for entry.
However, you should note that you’ll be paying more for your meals, and likely won’t get the best tasting food, along Quinta Avenida. The dining scene is comparable to the touristy marina area in Cabo San Lucas or the Hotel Zone in Cancun. If you head inland just a tiny bit, you’ll find far better local fare (plus international options like Italian and sushi) as well as lower prices. Popular spots that aren’t on Fifth Avenue include Los Aguachiles and Cueva del Chango, though street food and low-key cantinas also sling excellent Yucatecan fare at bargain prices. Search out Doña Paula’s pozoles (on 6th Street between 10th and 15th Avenues) and Taqueria El Fogon.
Playa del Carmen is 45 minutes to an hour south of Cancun and the Cancun Airport. You can get to Playa del Carmen by taxi or airport shuttle — budget around $50 each way. Flights into Cancun are cheap from most major U.S. cities, including New York, Newark, Chicago, Atlanta, Dallas, and Miami. It’s a rare occasion that you’ll spend more than $400 round-trip if you time it right. You can find some real bargains on hotels in Playa del Carmen if you are willing to stay off-beach and steer clear of the pricey resorts at developments like Playacar and Maykoba. Around $80 a night should get you some simple, but sufficient, digs, in or near the city center. That leaves you with over $500 to spend on food and drink over a week, which is more than enough, especially if you stick to taco spots and cantinas for one or two meals a day.
Our Playa del Carmen Budget Hotel Pick: Casa Ticul Hotel by Koox Luxury Collection
One of the Pools at Casa Ticul in Playa del Carmen/Oyster
If you want to be near Quinta Avenida and within a 10-minute walk of the beach, Casa Ticul is your spot. Why? Well, it’s a cute boutique hotel that’s a really nice step up from the crash pads that are found at similar price points in Playa. In fact, it’s one of the more charming boutique hotels in town, and features a couple of small pools in case you want to cool off in peace during the day.
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Isla Holbox
The pristine shoreline of Isla Holbox/Oyster
Head south from Cancun into the Riviera Maya and it’s unlikely that you’ll find a cheap hotel on the beach. However, if you head north from Cancun into the less developed part of Quintana Roo, you’ll find an island paradise that has — for now — resisted development. Welcome to Isla Holbox.
Holbox has been getting a lot of buzz in recent years, so you shouldn’t expect it to be quite as cheap as some of the other beach destinations on this list. However, it’s still far more reasonably priced than other Quintana Roo beach destinations. And it’s special for a unique reason. You see, this island has resisted the kind of commercialization you’ll find in places like Tulum by isolating itself as much as possible. There are no cars on Isla Holbox, and you need to take a ferry to reach it from the mainland. That should be a clue as to the kind of beach vacation you can expect in Holbox, though in case you needed more of a hint, the island is part of the Yum Balam Nature Reserve.
Isla Holbox is celebrated for its pristine tropical setting and the incredible diversity of animal and sea life you can find. The lagoon to the south of the island is a major birding area, and is home to flamingos and pelicans. To the north, the Caribbean Sea holds amazing coral reefs and whale sharks. Snorkeling and diving are both incredibly popular activities, with good reason. Whale shark season runs from May through November, if you’re hoping to catch these gentle behemoths in their habitat. You should definitely book one of the many reasonably priced whale shark tours that can put you in the water with them.
Most of the action on dry land centers on Holbox Village, though the pace is sleepy (that’s a good thing — trust us). Like we said, there are no cars, and traffic limited to pedestrians, bikes, and golf carts. The handful of colorful single-story buildings has just enough options when it comes to drinking and dining, and you’ll find zero of the eye-wateringly expensive foodie attitude of Tulum here. You also won’t find any nightclubs, jungle parties, or beach clubs, all contributing to the low-key atmosphere meant for unwinding.
If you’re willing to go the budget or mid-range route and look for bargains well enough in advance of your trip, you can expect to pay around $80 per night on Holbox Island. While you won’t need a rental car on the island, for obvious reasons, you will need to get to the ferry departure point. If you’re only planning on exploring Isla Holbox, you can opt for a taxi from Cancun International Airport or the Holbox Shuttle, which will only run you about $40 each way. Keep in mind that the drive or ride from Cancun Airport to the Holbox Ferry takes nearly two hours. Round-trip flights from most major U.S. cities to Cancun are often incredibly reasonable and can be had without layovers for under $400 per person. If you add in a whale shark tour at around $120 per person, that leaves you around $500 to feed yourself and keep cold Coronas close at hand. While Holbox has its pricier restaurants and fancy coffee shops, you can also find no-frills hole-in-the-wall cantinas that will keep you more than happily fed for a week.
Our Isla Holbox Budget Hotel Pick: Casa BlatHa
Casa BlatHa from the sandy street outside/Oyster
A traveler favorite for more than just its incredibly low nightly rates, this quaint little property gives you easy access to Isla Holbox’s beauty without the cost of the more polished hotels on the island. Casa BlatHa is just west of the main town area, and only a 15-minute walk from Punta Cocos (or under five minutes by bike). There’s a beach nearby, and rooms are simple and quaint, with ceiling fans and — in some — hammocks on terraces.
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Sayulita in the Riviera Nayarit
The Bay of Banderas in Sayulita, Riviera Nayarit/Oyster
Perhaps you’ve heard more than a few whispers about the Riviera Nayarit in recent years. The coast of Nayarit state to the north of Puerto Vallarta has enjoyed the moniker of “Mexico’s Next Big Thing” by major media outlets since 2018. And while we’re glad that this beautiful beach region is finally getting the attention it deserves, the truth is that the towns of the Riviera Nayarit have been trending among in-the-know travelers for years. Among those, Sayulita is perhaps the most famous — and with reason.
Like almost all of our favorite Mexico beach spots, Sayulita started its tourist days as a fishing village and surfer decampment, primed for those who wanted to quote-unquote get away from it all. While today it’s very squarely on the tourist radar — and is hardly the no-frills escape it once was — it still draws on that bohemian ethos. Like Puerto Escondido that we told you about up above, surfing still figures largely in the modern-day story of Sayulita, and certainly informs the village vibe. You’ll find plenty of surf shops and surf schools in the region, should you feel adventurous. In fact, some of Mexico’s most famous surfers hail directly from the area.
The town itself flanks the hillsides of the Sierra Madre as they crash into the Bay of Banderas below. This creates a rugged, boulder-strewn coast that’s incredibly pretty. Low-slung houses peek out of the green jungle all around, and the town itself has plenty of cute little bars, cantinas, raw-bowl-and-juice joints, and cafes. One of the most popular spots in town is La Rustica — a Sayulita staple that’s one of the current must-try restaurants in town. You’ll also find a concentration of souvenir shops, all with an artsier side (think: Mexican-chic home decor rather than beer-logo tank tops). Eye-catching Huichol art— made by the Huichol indigenous group from the Nayarit region — is a must-buy when you’re here. The Bay of Banderas and the Pacific Ocean beyond are an incredible place for encounters with underwater life, and humpback whales are numerous in this region during the winter months. You can also head offshore on boat excursions to the Marieta Islands, which are exceptionally photogenic in their own right, but are also home to amazing wildlife of all kinds.
You reach Sayulita by flying into Puerto Vallarta International Airport. Round-trip flights from most major U.S. cities are rarely above $500, though fares are generally far cheaper from western U.S. cities like Los Angeles and Phoenix. Once you’re on the ground, shuttles like those offered by Jose Ramos Transportation from Puerto Vallarta’s Airport to Sayulita are around $140 round-trip, though you can also find cabs for around $50 one-way, if you walk across the pedestrian bridge outside of the airport. The cheapest hotels in Sayulita come in around $100 a night, and you won’t be skimping on style or charm in most spots. You’ll need to be a little more diligent about your budget on food here, though — you have about $260 to spare. But if you stick to making your own breakfast in your kitchen at the hotel pick below and opt for taco lunches, you shouldn’t have to bust out an emergency credit card.
Our Sayulita Budget Hotel Pick: Amor Boutique Hotel
Villa Los Arboles at Amor Boutique Hotel in Sayulita, Riviera Nayarit/Oyster
While Amor Boutique Hotel is a 10-minute walk from the heart of Sayulita, that little bit of distance pays off big time when it comes to charm. The entire hotel has a beautiful local style, and rooms are packed with personality. Even better? The property sits along the Bay of Banderas, has its own pool, and all units feature their own kitchens so you can save money on food costs.
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Ixtapa and Zihuatanejo
The beach in Zihuantanejo/Oyster
We’re going to start with some advice: If you’re after a sanitized resort experience, head straight to Ixtapa. You can find plenty of budget and mid-range properties for really reasonable rates within striking distance of the beach. However, you’ll be short on Mexico vibes in Ixtapa, as it’s a purpose-built resort town that’s best for people uninterested in experiencing local culture. But, if you opt for a stay in Ixtapa’s beachy and charming next door neighbor — Zihuatanejo — your Mexico beach vacation dreams can come true.
Come to Zihuatanejo to get away from mega-resorts and experience a charming little town that overflows with artsy atmosphere. Zihutanejo manages to be tourist-friendly yet more authentically Mexican than Ixtapa. The charming town center has cobblestone streets lined with art galleries, cafes, restaurants, and casual bars. It’s the kind of place where you can vibe with the local pace of life, rather than wall yourself off in a resort that caters to your every whim. And if you ask us, there’s no better way to experience a beach vacation in Mexico.
The main beach in town is Playa Principal, but you should head to Playa la Ropa, which is lined with palm trees and backed by amazing beach bars and restaurants. Zihuatanejo offers a nice mix of low-key holes in the wall and more hipster-friendly juice-and-coffee spots. You can also opt for excursions to other nearby beaches. Playa las Gatas is an easy hike via footpath from Playa la Ropa, while other travelers opt for horseback rides on Playa Blanca. If you’re after a day trip, Barra de Potosi is a resort-free little village at the end of Playa Larga; it’s an ideal place to visit if you’re after something even more locals-only. We recommend posting up on its beach for a day and getting a feel for the town’s vibe.
The airport is only a 15-minute cab ride from the center of Zihuatanejo, and you’ll likely be able to put together a flight here through Mexico City from most U.S. East Coast destinations for under $500. You can fly direct to Ixtapa-Zihuatanejo International Airport from West Coast cities like L.A. Taxis from the airport shouldn’t be more than $5 each way. While you can pay a pretty penny for some hotels in Zihuatanejo (and you’ll be handsomely rewarded for doing so at utterly charming spots like La Casa Que Canta), there are nice budget-friendly options that can be had for $70 to $90 a night. That leaves you around $500 to feed yourself for a week, which is more than doable by mixing meals at local taquerias, beach vendors, and even a few nice dinners by the beach.
Our Zihuatanejo Budget Hotel Pick: Catalina Beach Resort
The pool and bay view at Catalina Beach Resort in Zihuatanejo/Oyster
This hillside property sits next to Playa la Ropa, making it prime real estate for the perfect Mexico beach getaway. We love the pool with views of the bay and hills all around, and the spacious rooms are pleasant enough for travelers who won’t spend all of their time outdoors. There are chairs on the beach for hotel guests.
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You’ll Also Like:
The 10 Best Secret Beach Towns in Mexico
The 10 Most Underrated Destinations in Mexico
The Best Destinations for a Long-Weekend Getaway in Mexico
The post 5 Amazing Week-Long Mexico Beach Vacations for $1,500 or Less — Including Flights appeared first on Oyster.com.
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themusicenthusiast · 7 years ago
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Sunday, May 6th, 2018 – Craft Brews and Punk Rock Icons and Rising Stars Collide as Punk in Drublic Fest Makes its Way South, Kicking Off the Spring Run with an Unforgettable Day in Fort Worth
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Photos by Jordan Buford Photography Pairing punk music with a beer festival would probably be the antithesis of everything said style of music stands for. It could constitute as selling out, and there would surely be some individuals who would view it as such. But make that a craft beer festival and then it becomes a sort of holy matrimony, combining two different cultures where both bands and breweries are battling mainstream ideas and companies as they work to find their niche and capture an audience. And that is where the Fat Mike presents Punk In Drublic Craft Beer and Music Festival comes into play. A brainchild of NOFX’s lead vocalist and bassist "Fat" Mike Burkett, the event obviously takes its name from one of the groups’ most recognized albums, 1994’s Punk in Drublic; and even more appropriately Fat Mike teamed up with Stone Brewing to brew the NOFX themed Punk in Drublic Hoppy Lager. It’s really an interesting idea when you think about, especially considering that most craft beer festivals (at least the ones that typically take place in North Texas) cater to indie music fans. The Punk in Drublic festival instead being more dedicated to those subcultures of punk and craft beer. Originating as a 5-city west coast tour in late 2017, the event has since expanded, targeting six new markets in the spring of 2018, with Texas being the lone southern state on the schedule. Originally planning an Austin visit as well, that show was postponed and rescheduled for the fall due to the possibility of bad weather, making Fort Worth the first date of this traveling tour’s spring outing. It was a beautiful day for a festival, at least by Texas standards; and luckily the rain that had plagued the area just a few days before was no longer an issue. It was scorching, though. Every trace of shade was taken by early afternoon. For several that meant conserving their energy in the early hours of the fest, hanging out underneath the trees at the far end of Panther Island Pavilion. Patrons – which included some Austinite’s who had made the trek to North Texas, their original tickets being valid – were mostly unphased by the heat, though.
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It was a festival. Getting sunburned came with the territory, the majority of attendees not going to let that hinder the experience as they milled about the grounds, exploring all the craft brew options and taking advantage of the free samplings that came with the ticket. The layout of it all was straightforward and quite nice. With some food trucks, drink stands and merch booths located at the middle point of the grounds, the brewery tents were all stationed at the opposite end from the stage. That allowed festivalgoers to hangout and chat if they wanted to, without having to shout over the music in order to be heard. However, the music did seem to take priority over the other aspects of Punk in Drublic. A lineup carefully curated by NOFX, it featured friends and bands they knew people would enjoy once they saw them. The Last Gang was one of those and they had been charged with kicking things off on this afternoon; the opening chords beckoning the few hundred spectators to come closer to the stage.
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The trio comprised of Brenna Red, Robby Wantland and Sean Viele were feeling the heat. “It’s hot in California, but it’s really hot here!” Red -- the singer and guitarist -- remarked at one point. If it was getting to them they never allowed it to show, tearing through the half hour long set that they had, injecting it with copious amounts of venom and fury. She broke free from the microphone when she was able; Viele almost constantly roaming and darting about the stage, wielding his bass as a weapon. They were teeming with energy as they knocked out song after song, drawing from the recently released Keep Them Counting (out on Fat Wreck Chords). Polished just enough, their music still possessed that raw and gritty aspect that defines punk rock and it made quite the impression on everyone who had arrived in time for their 3:05 start time. Festivals are partly about introducing people to new bands, and The Last Gang was an excellent one to get a crash course in. They owned the stage for the time they had it, setting a high bar for even the well-established acts that were to follow, winning over a bunch of new fans in the process.
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Firmly rooted in punk, each act on the lineup brought something different to the table, mining their own distinct sub-genre of the style. It was nice, allowing for a smorgasbord of sounds all within the same realm. Mad Caddies were the first of the older guard of musicians set to perform, their ska punk brand of music leaving the spectators feeling invigorated.
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The seven-piece outfit powered through some technical difficulties early on. Sounding superb from the audience perspective, they were encountering some feedback on their end. “Let’s start that one over…” Chuck Robertson stated moments into their second number, equating the do over to being just like an eighth-grade class. After that brief setback it was smooth sailing for them; the rich and well textured “Brand New Scar” being an early highlight of their time on stage. Somewhat of a tranquil song, the ever-growing audience reacted strongly to it. The group even treated everyone to a cut from their forthcoming album. Punk Rocksteady (due for release on June 15th) will see Mad Caddies doing ska and reggae renditions of classic punk songs, one of which will be Green Day’s “She”. It bodes well for the rest of the record, because it’s a cover the way covers should be done. It was truly Mad Caddies own interpretation of the song, not merely them covering it, but restructuring it and their version sounded impeccable.
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They were in fine form this afternoon. The horn section of Eduardo Hernandez and Mark Bush, on the trombone and trumpet, respectively, were as dynamic as could be, not only in terms of sound, but also the spirited enthusiasm that radiated from them. Their “obligatory love song”, “Drinking for 11” was all too appropriate for a day such as this, Robertson noting in advance of the song that it was at least a love song about drinking. Having about 45-minutes to work with in all, they filled it with plenty more gems and fan favorites, managing to hit everything fans most wanted to hear while still leaving people wishing Mad Caddies could have done more.
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The intermission between bands allowed patrons ample time to wander around and explore all of the drinks being offered. Mid afternoon at that point, it was remarkable the amount of people beginning to make their way through the gates. The initial gathering of a few hundred was quickly increasing, hitting the thousand mark and climbing ever higher. When live music returned it was The Interrupters that were cranking it out; the Bivona brothers of Kevin, Justin and Jesse looking incredibly sharp (and hot) dressed in their suits. Aimee Interrupter rushed on stage moments later and then they were off on a rapid-fire assault that lasted much of the next hour. “A Friend Like Me” came across like some sort of anthem, one that established a solid rapport between musicians and onlookers, as if they were stressing to everyone they would not leave them disappointed. And indeed, they did not.
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Interrupter maintained a steady gaze with the crowd, building further upon said rapport as she worked to capture everyone’s full attention. Justin was a live wire, not letting the heat get to him as he raced and jumped about the stage, contributing significantly to the high energy display that they maintained throughout their set. Their ska influences were on prominent display during “She’s Kerosene”, the lead single from the forthcoming Fight the Good Fight (due out on June 29th), which worked the crowd into more of a frenzy; the moshing growing more intense. On that note, one person spotted in the mosh pit was wearing a inflatable T-Rex costume, which was quite entertaining to watch.
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The Interrupters’ first few songs in particular were carefully laid out, each one generating more excitement than the last; the group stopping only on a few occasions, either to introduce themselves or express their appreciation to people for coming out and listening. Including an explosive cover of Operation Ivy’s “Sound System”, they ultimately capped off their set with one of the most appropriate songs of the day. Taken out of context, “Family” felt like it perfectly summed up everyone there and the bond of the punk community. “This is my family. My one crazy family; the ones who understand me…” That was more than just a refrain, especially at the Punk in Drublic Festival.
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Dispersing each time a band finished, patrons had plenty of time to get more drinks, grab a bite to eat, socialize or whatever else they wanted to do. Everything was timed well. The downtime never dragged on; and the stage hands quickly got the stage set for the following act. By that point in the evening a staggering amount of people had congregated at Panther Island Pavilion, there not only to enjoy the day but also the band that was essentially the co-headliner of the event: Bad Religion. No one was going to miss either of the legendary punk outfits that topped the bill; and Bad Religion had a special surprise for their fans.
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The way that they took the stage was so compelling due to it being exceptionally casual. There was no intro music, or really anything to announce their arrival. Instead, Brian Baker and Mike Dimkich just strolled right out onto the stage and picked up their guitars, Jay Bentley doing the same with the bass, while Jamie Miller took a seat behind his drum kit. Even some of the crowd seemed unaware of it at first, fanfare erupting once they saw Greg Graffin rush out on stage. It was a refreshing entrance and it allowed Bad Religion to wield that much more authority over the spectators right out of the gate. Coming out swinging with "21st Century (Digital Boy)" (a song that, unfortunately, seems truer now than when it was written), they quickly earned the absolute attention of everyone there; the blistering riffs and commanding movements that Graffin made as he waved his arm about helping to create that moment that everyone was able to get lost in.
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They had bold plans for their 64-minute long set, knocking out several more songs before getting to the special part of the evening. “…We’re not used to playing in these conditions,” Graffin remarked at their first proper break, having used the word “night” out of habit. Several patrons shouted with delight upon hearing him briefly mention the Warped Tour “a long time ago” as the last time they had regularly performed in the daylight hours, his comment seeming to bring those memories flooding back to them. That was when he announced what they had prepared for everyone on this day, planning to perform one of their records in its entirety. “…We’ll do it with no interruptions. No clapping…” the frontman continued, saying that was for the “musicians”. “Not me, but these guys that need to focus and play it,” he commented, making it hard to discern if that was their wish or a joke in line with a dry sense of humor. “It’s called ‘Suffer’, and the first song on it is ‘You Are (The Government)’,” he finished.
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That set it all in motion, the other fourteen songs from that 1988 release coming in rapid succession. The audience couldn’t restrain themselves and applauded during the momentary silence that separated some of the tracks, leading to some friendly jokes from the band of, “I don’t remember any clapping on this album”. No spectator cared if that messed with the authenticity of the performance, they were just ecstatic to be experiencing that classic record live. It was something Graffin later admitted he never thought would happen back when they wrote and released those songs, thanking everyone for “indulging” them. Longtime fans may have been able to appreciate it more than any potential newcomers that were there, though that Suffer experience awed everyone, regardless of if they knew the songs by heart or were only somewhat familiar with them. The quick, unrelenting pace at which they tore through it made the five of them all the more riveting. They finessed the crowd incredibly well; and the rhythm section sounded superb, heavy and somewhat thrash-y. Miller was merciless with his drumming; while Baker, Dimkich, Bentley and Graffin packed as much energy as possible into the show, never slowing down even as the sun beat down on them.
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What could have been considered the encore tacked right onto the main set, they treated everyone to a few more favorites before concluding things. Bad Religion’s performance alone was more than worth the price of admission. Hearing Suffer from front to back was pretty much a once in a lifetime experience, the topics and messages that accompany the music still being relevant and worth heeding. Fans savored every second of it, Bad Religion effortlessly reaffirming that they are, indeed, punk legends. And there was still one iconic group left to go. At 7:42 NOFX made their own unforgettable entrance, "Fat" Mike Burkett, Eric Melvin, Aaron Abeyta and Erik Sandin taking the stage to "The Time Warp". They danced appropriately, Burkett especially shaking and grooving to the song.
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Their banter was just as entertaining as the music they would be cranking out, the four of them marveling at the 25-song set that their friends in Bad Religion had unleashed before ever beginning their own show. “This is why we can’t play as many songs as Bad Religion,” or something to that effect, was Burkett’s comment early on when he called attention to one fan, pondering aloud, “Who wears a blue shirt to a punk show?” It was followed by asking the guy if it was his boyfriend standing behind him, Burkett just speculating since the other individual had blue hair. Laughter ensued. As one would expect, from songs to statements, NOFX’s set was teeming with political and social commentary, often from songs that have held up far too well over the years. Though that wasn’t their exclusive focus.
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Melvin took the reins for the blistering “Six Years on Dope”; while “Murder the Government” and the issues that it addresses made the track feel as if it could have been written within the previous week instead of twenty-one years ago. “We’re a political band!” Burkett exclaimed a few songs later after they had finished the aggressive and insightful “The Idiots Are Taking Over”. In that same vein, they even did “Idiot Son Of An Asshole”, albeit a redux. It boasted new verses, ones written specifically about the current man in the Oval Office, and oh, how the listeners enjoyed it. The night wasn’t all laughs and political jabs, though. There were some real sincere and somber moments, provided first by the candid “Whoops, I OD'd”. And since the mood had been brought down some, it felt like an appropriate time to do a song about what Burkett described as the “worst day” of his life. Their emotional tribute to the late, great Tony Sly, “I’m So Sorry Tony” struck a chord with every soul there, that song standing as a striking homage to Sly’s life and legacy.
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NOFX’s set was flying by as they made quick work of the 75-minutes they had. By the time they got to some of their final numbers, their hits like “Linoleum” and “Stickin In My Eye”, it seemed as though they had only just started, Melvin, Sandin, Abeyta and Burkett still going strong, emitting the same amount of vigor and subtle hints of reckless abandon that they had when they first stepped out on stage. They soon capped off the Punk in Drublic Festival in a phenomenal fashion, having exemplified why they, too, are one of the greatest purveyors of punk music that the genre has ever known. While discussing how the Punk in Drublic Festival came about (quipping that his first choice was a “vodka and cocaine festival” but was told it would be tough to get a permit for that), Burkett gleefully exclaimed that they decided to opt for “beer and no kids”. Perhaps inadvertently, he touched on the shift that has occurred over the past dozen years or so, the younger generations no longer flocking to punk music the way that previous generations did; the Punk in Drublic Fest instead being a great way for the band to cater to their loyal supporters and punk enthusiasts who have grown up with them.
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It could be argued that that shift has been because punk music and the community has always been about nonconformity. It represented a way for people to rebel against the ideals that society tried to impose upon people. And in recent years, nonconformity has become somewhat of a mainstream thing when you think about it, particularly among said younger generations who have had more freedom to pursue life on their terms instead of firmly adhering to traditional ways. Hence the slight decline that punk has had, at least from the mainstream world. It’s still out there. As was evident this day the icons of the genre still command as loyal of a following as ever. Plenty of other punk outfits are busy cutting their teeth and honing their skills in clubs all around the U.S. as well. You just have to know where to look for it.
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And equally as important to the punk landscape as the expression of nonconformity is the feeling of community, and that was what made Punk in Drublic Festival such an outstanding event. Sure, the music was a cornerstone of it, with every act being outstanding in their own right, as was the craft brews and the breweries that were on tap for the day. However, that feeling of community eclipsed it all. A wide array of people had ventured out to it on this Sunday. Many fit into what some would consider to be the traditional punk mold, from sporting mohawks or shaved heads, to wearing attire with patches of their favorite punk bands and being moderately if not heavily tattooed. On the other hand, plenty of people showed up looking like casually dressed hipsters in shorts and bland looking shirts, no ink visible, if they had any at all.
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The looks covered much of the imaginable spectrum, and no one was ever made to feel like they didn’t belong at Punk in Drublic. Who cared how anyone looked or chose to express themselves? Hell, that was part of the appeal. You could go to the event, let go of any inhibitions and just be you. Besides, everyone who was there was clearly bound by the same love and appreciation of punk music and brews and that was enough to cultivate a strong sense of unity. A must-see festival, Punk in Drublic Fest is poised to become a mainstay of the touring festival circuit. And if it’s done in moderation like it has been thus far, hitting a handful of different markets every six months or so, there’s no reason to doubt that there won’t be longevity for it.
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Hopefully it will stretch on for years to come, but in the meantime, the Punk in Drublic Festival has dates in Richmond, VA and Philadelphia, PA on May 12th and 13th as well as Brockton, MA and Pittsburgh, PA on May 19th and 20th. The rescheduled Austin, TX date is September 22nd at Circuit of The Americas. And before taking it over to Europe for the latter half of June, Thornville, OH will be the city hosting Camp Punk In Drublic, a 3-day festival that is bound to be epic. Full details on all upcoming events can be found HERE.
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morningrainmusic · 7 years ago
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T-Shirts & Bands I Saw at Riot Fest 2017 Day 3
9/19/17
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Freak flags fly high and proud at Riot Fest, which definitely should not have come as a surprise to me, but it sort of did. It was my first experience at the festival, which was in Douglas Park for its third year last weekend and Chicago for its twelfth. My friend Magda had won a pair of three day passes and was nice enough to give me her tickets for Sunday.
I arrived around 2:45 and began to survey the crowd, which included hardcore punks, indie scenesters, hip parents, children of hip parents, metalheads, aging emo kids, sportos, motorheads, geeks, sluts, bloods, wastoids, dweebies, dickheads—they all adore Riot Fest apparently. It was quite refreshing to see such an eclectic mix of music fans gathered in one space, and it makes a lot of sense when you take a look at the lineup which has artists like Queens of the Stone Age, Vic Mensa, New Found Glory, Paramore, and FIDLAR. Riot Fest is still largely a punk festival, but it seems to be gradually making room for more variety each year.
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My friend Chandler met up with me shortly after I arrived and we headed to see The Orwells (Elmhurst’s own) play at the Rise stage. Lead singer Mario Cuomo has cut his luscious blonde locks and now sports a buzz cut. His manic energy hasn’t gone anywhere though—he stumbled about the stage with that glazed-over look in his eyes, erratically jerking his body around while mumble-shouting the lyrics to “Who Needs You.” I fear that The Orwells may someday fizzle into obscurity and be largely remembered as a band that built much of their success around a gimmicky torso-thrusting Letterman appearance. They’ve got some great tunes and can put on one hell of a live show. Unfortunately, their Riot Fest set felt a bit lackluster—perhaps the open space and Sunday afternoon time slot didn’t suit the band. A packed, all ages show at a mid-size venue on a Friday night seems more fitting for them and I would wager they agree. Cuomo finished the set by climbing on top of the stage right tent-cover mid-performance. He dangled an arm over one side, sang a few lines, and then disappeared off the back of the tent, leaving the rest of the band to play without him for the remaining five minutes or so. It wasn’t a lousy set—it was fine, really—but that ending was anticlimactic.
There were more people sporting t-shirts with band names on them than at any other festival I’ve been to. Something like forty percent of the crowd must have been wearing band shirts. From classic tees like Black Flag and Jawbreaker (headlining that night) to lesser-known, newer acts like Pinegrove and Twin Peaks—everyone was wearing a fucking t-shirt with a band name on it. There were two dudes walking together wearing the same Tool shirt. I also saw two guys at separate points wearing the same Replacements Tim t-shirt. The Descendants and their Milo character were highly represented, both in shirts and tattoos. People really love that band. Others opted to wear apparel expressing their shocking or aggressive attitudes. “Repent / You fucking savages / Repent” read one shirt. Another being worn by a woman with a warm smile said, “Teach children to worship Satan.” I wonder if she was at the fest in 2015 when Damien Echols and Jason Baldwin participated in the “Riot Fest Speaks” panel. Some wore no shirt. Some wore sloths. I digress.
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After The Orwells, we saw indie rock stalwarts Built to Spill, who were playing their 1995 album Keep It Like A Secret in its entirety. “Riot Fest gets a lot of bands to do this,” some salt-and-peppered bearded dude told me after I mentioned (not to him) that I only know one Built to Spill album, and it’s not this one. “Keep It Like A Secret! This is their seminal album!” he said with an air of disbelief that I found a bit demeaning. I happen to love There’s Nothing Wrong With Love but for whatever reason I haven’t really listened to anything else by them. Anyways, Built To Spill sounded great. I’ll probably start listening to that record, and I assume that guy went on his way to lecture some other poor bastard about various indie bands’ “seminal albums.”
Riot Fest gets an older crowd than festivals like Pitchfork and of course Lollapalooza, which I also found refreshing. Those aging emo kids (they never really become adults in my eyes) were out in droves, presumably for Cap’n Jazz and whatever other bands on Sunday’s bill technically qualify as emo (Say Anything, yeah?). I eavesdropped on a few talking about their love of American Football and Owen, but not so much Modern Baseball and so on and so forth. The world of emo music is one I’m quickly learning is much more expansive than what I know and love, the ready-for-the-masses pop of early-aughts Fall Out Boy, Panic! At The Disco, Something Corporate, and Cartel. I’m still not sure it’s for me, though the few people I’ve spoken to who fall into this other camp are adamant that theirs is the more legitimate and musically superior. To each his own I guess.
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Moving right along, next up on the agenda was TV on the Radio, also at the Rise stage. They were kind of exceptional and their set was a reminder that there’s really nobody like them in rock music today. Of the twelve songs they played, two were off Dear Science and two were off Return to Cookie Mountain, so their best albums were a bit underrepresented. But the new stuff (well, new-ish) sounded good and provided a much needed early-evening lift.
The last act Chandler and I caught was M.I.A. She was flanked by a support staff that included women in baggy orange jumpsuits and a DJ/hype-man who she referred to as “DJ Tiger.” It was predictably very loud and bass-heavy and high energy. I don’t know M.I.A.’s music or her live show well enough to judge whether this was a good set by her standards. She closed with “Paper Planes” and that was the main draw for me. Much of the show felt like an overblown mixture of Major Lazer and Jock Jams, with M.I.A. sauntering around stage in aviator sunglasses.
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Overall verdict: I like Riot Fest. It’s probably the most mature and alternative Chicago music festival. It has a ferris wheel and for some reason they hand out lanyards and plastic covers for the festival brochure at the entrance. They accept cash and credit cards at the various beverage/concession stands—no need to purchase drink tickets (looking at you Pitchfork). The lineup was interesting and fairly wide ranging. And most importantly, the layout in Douglas Park generally makes sense—no sound bleed to report, not too crowded, well managed fest. Bravo!
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tinymixtapes · 8 years ago
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Live Blog: FYF Fest 2017
FYF Fest 2017 Exposition Park; Los Angeles, CA [July 21-23, 2017 ] by Derek Smith on 08-07-2017 FYF Fest popped another cherry this year, adding a third day upon which they splayed a virtual cavalcade of musical ingenues stacked so thick that navigating from set to set felt like a continuous game of Sophie’s Choice. Almost immediately earning forgiveness for the cruel joke of starting anything, let alone a major festival, at 5 pm on a Friday in Los Angeles, FYF brought Björk to the main stage a mere few hours later, soon to be followed by Slowdive and Missy Elliott. There were simply too many amazing acts to stay mad at the occasional shortcoming. Any of the festival’s three days would have made a fantastic month of shows separately, but together, the lineup both contrasted and complimented itself in a variety of strange and wonderful ways. Whether or not the growing pains of the fest’s expansion in recent years are gone forever remains to be seen, but this year was, for me, the most fun and rewarding FYF. --- Day 1: Ascension Photo: FYF Fest Goldenvoice Media Having braved the traffic to catch the fest’s often-solid lineup during early-bird hours, I started with Royal Headache, four Aussie garage-rockers whose consistently solid, yet not particularly remarkable, output has yet to land them much of a following on this side of the pond. Lead singer Shogun’s fiery, soulful vocals were too low in the mix, but once that was sorted out, the band made the most of the brief set. Their infectious blend of melodic, brutally efficient songwriting and a generous tendency to bleed one song into the next led to an increasingly large and receptive crowd. Like their albums, a little of Headache’s feverish energy goes a long way, making their 40-minute set a perfectly succinct boost of energy to get everyone’s juices flowing at the start of the weekend. On my way to swing by the Outer Space stage to catch what I could of Kelly Lee Owens’ set, I faced my first major dilemma. I wanted to see K-Lee work her magic but also wanted to get as close as humanly possible to Björk at the typically packed main stage. And although I spent about half of the 25 minutes I caught of Owens checking the time and worrying about the next set, her infectious beats and soothingly ethereal vocals eventually ran through my blood like an aural xanax that allowed me to lose myself for a few minutes. And then it was onto Björk, a moment I’d been dreaming of since I was a teenager. The meager 45 minutes I waited for her felt like an eternity, and the anticipation of what she would play, what she’d sound like, and if she’d even show at all was enough to give me a heart arrhythmia. To say this was a holy-grail show devalues how important Björk has been to my growth as a fan of music and art in general. Björk was my musical gateway drug to everything from Kate Bush to Aphex Twin, but more importantly, her music opened a portal to untapped and unexplored thoughts and emotions. And her music videos were consistently thrilling in their inventive, experimental cinematic techniques, helping to open my mind to new possibilities of visual art. Photo: Santiago Felipe for FYF Fest It’s difficult to express the feeling of watching someone so important to you walk out on stage for the first time, especially as in the third row, this was probably as close as I’d ever been to an idol of mine. But there was a constant chill running down my spine, a sense of wonderment ― both at what exactly her multi-colored shower exfoliator-style dress with neon green see-through Predator/Venetian mask was all about, and the fact that she was right. fucking. there ― filling my soul, and a consistent feeling of being outside myself. From the first note of “Stonemilker” to the final note of “Hyperballad,” I was in awe of how powerful and penetrating her voice is. Backed by a full orchestra and a screen with clips of her videos, Björk was everything I hoped she’d be and more. My only small gripe would be that none of the 15 songs she performed were from Vespertine, but there were samplings of most other albums, the highlights of which were “Joga” and “Unravel” from Homogenic, “Isobel” and “Hyperballad” from Post, and “Come to Me” from Debut. It was a masterful, transcendent performance by one of the most important artists of the last quarter-century. To follow Björk is indeed a Herculean task, one only an immensely talented outfit like Slowdive should ever take on. Although they were performing on a different stage, they functioned as a perfect comedown from the emotional high that preceded. That’s not meant as a slight on Slowdive, who also are one of my favorite bands and who I’d only seen once before a few years back at FYF 2014. Their set was dependably impressive, with neither surprises nor missteps, and their dreamy, shimmering guitars filled the night sky in a way that invited contemplation, which allowed for a brief reprieve from the intensity of the festival. They played exactly what you’d want them to play ― “Catch the Breeze” off Just for a Day, “Allison,” “Souvlaki Space Station,” and “When the Sun Hits” off Souvlaki, and a healthy sampling of their fantastic new self-titled album. They do what they do really fucking well. Missy Elliott was sadly underwhelming, but the quality of the prior bands left me unreceptive to Missy’s incessant self-flagellation, which went so far to include several minutes of interviews on the big screens with artists talking about how visionary she is, and repeated mentions of Janet Jackson, Beyonce, and Tyler the Creator being in the crowd. To be fair, I got there just after the set started and was a couple hundred yards from the stage, so it was ultimately like viewing a spectacle that someone filmed on a cell phone. Still, in the brief stretch I saw, “Get Ur Freak On” and “Work It” were quite a bit of fun so maybe I would’ve been down for more had she not taken five minutes between songs to chat about herself. --- Day 2: In the Shit Photo: FYF Fest Goldenvoice Media Of course my dog would choose the first night of FYF to have a case of explosive diarrhea that led to me getting very little sleep, four hours at the emergency vet the next morning, and a nice fat $500 bill hovering over my head. I was exhausted and by the mid-afternoon, I’d accepted that day 2 would likely be a wash. I don’t deal well with sleep deprivation and the fest’s setting, Exposition Park, surrounds USC’s Coliseum on all sides so there’s a good four-to-five miles of walking to be done each day. But I had a plan for the day and, unlike Frank Ocean, I don’t bail on festivals. The day began with Built To Spill playing Keep It Like a Secret so things turned around for me pretty quickly. This is the first time I’ve seen them play live as a trio, with Doug Martsch providing the only non-bass guitar. While their sound was slightly thinner sans the layered guitars that helped define their sound, the stripped-down approach worked wonderfully in the context of covering one of their best albums. I made sure to get there early enough snag a front-row spot, and it paid off. Their set was surprisingly intimate; it helps when most of the songs are flat-out brilliant, but with Martsch having to do a lot of heavy lifting, it gave me an even greater appreciation for his skills as a guitarist and song-writer. In the kind of major tonal shift you only get in the festival environment, I headed over to the main stage to catch A Tribe Called Quest since, as Q-Tip would confirm, this is possibly the last time Tribe will be out making the rounds. But damn, did they make sure it was a hell of a show even without Phife on-stage. It was respectful to his legacy and importance as a founder, but also was as much a celebration of Tribe as a mourning of his loss. Q was especially on fire, spitting verses like he was 27 not 47, and the breaks he took to talk about Phife were humble, thoughtful, and moving, adding a layer of emotional resonance to Tribe’s performance. The crowd was incredibly receptive to the remaining trio’s still-brilliant chemistry and uncanny ability to flow from one song to next, as a building energy flowed through their killer encore of “Can I Kick It?”, “Award Tour,” and “We the People…”. As amazing as the set was, it makes Phife’s passing sting even more. Like Björk, Erykah Badu’s voice live is even better than you can imagine, and she took remarkable command of the stage. It was a true work of Baduizm as she set a positive, contemplative vibe upon which she laid out her psychedelic soul with a measured intensity. As painful as it was to check out early, Frank Ocean was up next and unlike 2015’s FYF and seemingly most other live dates, he showed up to this one. To get a feel for the oddness of Frank’s performance, you have to imagine how gargantuan the main stage is. Its huge monitors and enormous backdrop, with several football fields of pavement in front of which one performs to a sea of people, is a spectacle, and Frank transformed it into something completely different. Walking out on a platform between the VIP and GA sections, Frank began singing with just a keyboard and a microphone on stage with him. Even the monitors were off at first before eventually being filled with footage currently being shot by the two cameramen around him. It was quiet enough to hear a pin drop when he wasn’t singing ― an eerie feeling when you’re surrounded by thousands of fans waiting with baited breath. It was a performance boiled down to the essentials ― a voice, a keyboard, and the occasional guitar or bass from his small backing band. In other words, the transition from the vibrant Channel Orange to the introspective Blonde is complete. “Thinking About You” is the only song from the prior album he played, and even that was performed with a more minimal arrangement. It was heavy on Blonde tracks, touching on all its heavy hitters like “Solo,” “Nikes,” and “Pink + White.” He even cavalierly brought Brad Pitt on stage during “Close to You” because Spike Jonze was filming the performance, presumably for a music video. But there was no mention of it, no hype, no excess. It wasn’t an overwhelming performance, but it certainly was an admirable one, and when Frank wasn’t happy with the way his debut of two new songs, “Runnin Around” and “Good Guy,” sounded, he apologized and asked if he could do them again. It was like watching Frank Ocean perform in his bedroom, if his bedroom were the size of an aircraft carrier. --- Day 3: Innerbody Experience Photo: FYF Fest Goldenvoice Media By day 3, I was rested and fully hydrated. I had never seen Iggy Pop live, but his energy and antics as a live performer precede him beyond merely “inventing” the stage dive or laying the groundwork for punk with his three albums with The Stooges. Like Björk, Pop is an icon, a figure whose presence is magnetic whether right in front of you or on a 5-inch screen. And when that presence burst on stage to “I Want To Be Your Dog,” he might as well have been shot out of a cannon. I was a few rows back but still close enough to count the wrinkles in his leathery skin, and the second he was visible, a wave of people rushed forward like moths to a flame. It was already packed, but that first two minutes was a thrilling combination of adrenaline from the explosion of energy on stage and a bit of fear at the unknowable insanity that threatened to swallow me whole from behind. And where Björk’s performance was something of an out-of-body experience, Pop’s was raw and physical. Even during lighter tunes like “The Passenger,” there was an overarching sensation of aggression, as if the crowd was waiting to release its collective tension in an awkward combination of swirling, gyrating, and jumping bodies. Pop also stuck a microphone down his pants and skipped around, and there was a crowd-surfing panda and an obscene amount of fist-pumping. For an hour, the crowd was putty in Iggy’s hands and, for an hour, we were rewarded with a furious onslaught of powerful, jaw-clenching music. Nothing quite matched the fire-breathing intensity of the “I Wanna Be Your Dog” opener, but “TV Eye” was fantastic (and nearly half the set consisted of Stooges songs) as was, of course, “Lust for Life,” but there wasn’t a moment where the magic dimmed. Realizing that Pop is still up there jumping around like a maniac at 70 is inspiring. It also makes me feel incredibly lame for complaining that my feet hurt after walking 3-4 miles, but we can’t all be Iggy Pop. Drenched in sweat, I climbed out of the sea of bodies, dazed and ecstatic from the catharsis. I had already got what I came for, but I powered through to the little stage where Blonde Redhead happened to be performing my favorite album of theirs, Melody of a Certain Damaged Lemons. I haven’t listened to much of the band in the last decade, and I’m fairly certain I didn’t get to even a second spin of Penny Sparkle or Barragan, but to my pleasant surprise I took right to them. It happened to be the perfect chill, nostalgic comedown after the draining fever dream which came before it, and the band sounded as good live as I had remembered. And as nice as it was to hear songs I once loved and hadn’t heard in years; as soon as they finished the Melody album, I meandered over to the nearby chicken-and-waffle place while their new music played them off in the distance. Photo: FYF Fest Goldenvoice Media As great as FYF was as a whole, going out on an insanely high note was not meant to be. I have friends who are die-hard Nine Inch Nails fans, and while I really enjoy about 1/3 of their music, I’m fairly indifferent about the rest. But their fans are fiercely loyal, so there was a bit of second-hand fandom flowing through my lungs once Trent & Co. took the stage. It doesn’t hurt that Reznor has, in recent years, been involved with some pretty great film scores with Atticus Ross and, more importantly, appeared with Nine Inch Nails in one of the greatest television episodes of all time, the 8th episode of Twin Peaks: The Return. And while I went in part because there wasn’t another option, they ended up being pretty damn entertaining. Every time they veer toward whatever their nu-metal sound is, I checked out, but “March of the Pigs,” “Something I Can Never Have,” and “Closer” were all wonderfully rendered. And in a moment of quietude, Reznor paid tribute to David Bowie with an achingly tender, minimal rendition of “I Can’t Give Everything Away.” The set was only 2/3 over, but there wouldn’t be a better note to end on, so there I left through the mass of people to the outskirts of the fest, where I’d wait for my Lyft home with the final notes of yet another fest dwindling ever-so-slightly in the distant background. See you again another year, FYF. I only hope the best is not now behind me. http://j.mp/2veKl5g
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