#thirty years

[deebrisbyfish]

And I didn't even plan on this coming out in the same month as a new Indiana Jones movie. Totally a happy accident that being reminded of mortality and my ever-encroaching 50s happened to evoke an obvious "Last Crusade" homage. lol And yeah, I know the social rules. By complaining about my age, I have now opened the flood-gates of anyone and everyone so much as 2 minutes older than I am to tell me I have no IDEA what it feels like to be getting older. Bring it! lol. 

[mattsmemes]

[jt1674]

[bluebaggas]

Kingy on the Bont last week: he’s after another premiership, he’s a free agent… what if he doesn’t sign…

💙💙💙 Hey Marcus, come to the Baggas mate, we’ll give you another premiership. Sign with us and make it a sure thing. Bontyyyyy 💙💙💙

[jamieandgeorgedashigz]

This tune, which is in A Major and has a tempo of 90 BPM, which is close to some of the music in Sonic the Hedgehog 3 but slower to make it feel more Knuckles-oriented instead of Sonic-oriented, is another contribution to Knux's birthday.

-Jamie

[christarfield]

All the things you planned

Just sand castles washed away

On tidal waves of tears

[camilledecussac]

"Crisis de los 30″

From my exhibition “Desperdirse a la Francesa” now in San Sebastiàn at the gallery Arteuparte

Find the original drawings and the prints here : https://www.arteuparte.com/arte/camille-de-cussac/

[rainbowgod666]

This is exactly how it goes in the anime tho

And then vegeta gets his arm f u c k e d

[nathjonesey-75]

THE DOMINO EFFECT – Beatroot, January 21st 1995

In January 2025, the sheer amount of electronic music productions in 2025, along with its cheap access has often felt so far past the point of staggering, that it can sometimes be described as unremarkable to the wider public; which by now, consumes in an almost spoilt and lazy manner. Controversial, perhaps. Yet, while De La Soul’s words that “Everybody wants to be a DJ” in 1989’s The Magic Number has now translated to “everybody can release tracks if they want to” – producing a daily deluge of music, for more discerning music addicts, it is by now up to your levels of discernment as to whether your tastes are truly inspired.

In addition, because everything has been regurgitated and re-hashed so many times in varied genres and formats – it takes special tweaks, clever experience or a completely different approach to make a track quite unique in terms of a listener’s absorption process. These ideas are important to me because thirty years ago, during the early explosion of House Music and DJ culture, I was in my first few months of my introduction to; and the discovery of it all, in what was its infancy as a culture. There was a bubbling music underground in this period, unknown to most but with an incredible unity which is often overlooked for its value.

At the start of my second term at Nottingham Trent University, the nightclub which was situated at 6-8 Broadway in Nottingham’s Lace Market - was Beatroot. My dorm mates and I had inadvertently found it around twelve weeks previously, having been turned away from then-legendary venue, The Garage due to us naively trying to get in on one of our birthday jaunts; but as a dozen-manned party of blokes. We rapidly learned - the idea was that gaining entry to an exclusive club would be only for smaller, more female-friendly or at least mixed gender parties. All testosterone – no chance. I was clueless at the time about what was involved inside and behind the doors of such establishments. Nevertheless, the lesser-known club became not only a night-time haven for not only our halls group – but to so many other students and local club-goers.

It fell that on Saturday, January 21st, 1995 – we may have had reading weeks ahead (freeing up more party time), or we may not have. It may have been someone’s birthday so everyone was heading to Beatroot (of course, at uni back then everyone knew someone - or that someone knew someone else whose birthday was occurring and the tenuous invite network was like what social media is today - only a lot more private). As it happened, one of my mates who was probably the don of clubbing and mixtapes in my block, Steve Christian – had chatted with the DJs on previous visits and had, on this occasion - taken blank cassettes with him. This particular night became a legendary night in its own right.

A domino effect was about to begin. Steve’s cassette recorded ninety minutes of Beatroot’s resident DJ Matt Shelton’s set, which for that timeline showcased many anthems of the forthcoming year and beyond (if you consider compilation CDs which would have used many of the tracks involved). As Shelton worked at Nottingham’s iconic Selectadisc record shop – where he worked for a while with Manchester’s Hacienda favourite Graeme Park, one thing I learned from these early nights was that DJs until recently, more often that not worked at record shops and had the pick of the special 12” records which kept those dancing feet on the tiles.

This tape, which I copied; and which all of my five dorm mates copied, our course mates copied and passed on to their course mates, families and friends everywhere – how far the domino effect reached, is beyond guessing. It was a strong beauty in being young during the era – no public broadcasting of personal plans, no threat of being scrutinised by digital eyes and certainly no cameras on dance floors – it was a vibrant and growing community. Absolutely loving each moment.

Many of the tracks on the mix would be recognised by most people in their forties with some becoming huge commercial successes, such as future British Gallup Charts number ones, Strike – U Sure Do, Nightcrawlers – Push the Feeling On and The Bucketheads – The Bomb; played alongside remixes of artists such as Jamiroquai and Mariah Carey. Tracks like these were the excitement topics in our kitchen that year, as we buzzed over their release dates. It was a springboard for me into looking much deeper into the scene and an insatiable appetite for more. Not necessarily more of the same style on the commercial and popular side but further into the burgeoning sub-genres and widening world of House Music and its attached “rave” and yet-to-be-categorised sub-genres such as Jungle or Drum and Bass, Breakbeat and of course, Techno. I began buying Mixmag in the following months, finding out about tracks, producers and by the end of the academic year, travelling to truly illustrious clubs such as Cream at Nation in Liverpool as well as more local legends to my home in South Wales such as Martha’s – and Escape in Swansea, while at home during university holidays.

By early 1996, I was standing outside clubs on Saturday nights at 2am, as end-of-night clubbers began to leave venues such as The House, on Huntingdon Street; handing out flyers for another globally known, local DJ Allister Whitehead’s club night Zero G – while also working behind the bar at Beatroot. While working the bar there I was fortunate to work through some absolutely incredible DJ sets from DJs such as Grooverider, Kemistry and Storm, FC Kahuna (then known as the Big Kahuna Brothers – one even bought me a pint after my shift – while DJ Shadow smiled and said “hi” while I cleared glasses that night – small thrills of a young student!), from successful nights held by promoter James Baillie.

By the end of my graduation and following a disastrous accident in my final term, causing the graduation’s delay – I found an incentive to battle some mental health challenges. I bought my first set of turntables in November 1997. Those dark (in more senses than just winter) nights and long months which followed did produce a side effect – an able DJ. With the looming “big birthday”, a fiftieth forthcoming in a few months – I can look back with smiles, incredible memories and pride having DJed across the world, held events and even released a track in the past few years.

Faces, personalities, songs to define times in my life; experiences, lessons and treasured moments – it began in this few months. So, for everyone from Clifton Campus and other parts of Nottingham Trent University’s students, all my friends who shared special moments there and in other clubs of those mid-nineties years in the city and way beyond, I hope you can still gain some much-valued middle-age serotonin from both parts of the mix – just click below.

Peace, love, unity and having fun (as was the ideal back then).

Nathan Jones

P.S. Mory Kante’s Yeke Yeke, played around forty minutes in - is blasting out now while I type this. I highly recommend it!

[yujateaandpi]

Don’t count on it Mabel sweetie. Welcome to the Thirty More Years AU

Next part here.

[imaxyxia2]

[truly-sincerely]

I'm sorry it took me so long to realize this, guys. If it helps I'm pretty sure I'm about to restart this hyperfixation like you wouldn't believe u_u

[lamestdyke]

i’m not a service top as in “oh i’ll top just because you want me to and i’ll do whatever you ask.”

but rather, a service top as in “i crave nothing more than to bring you the utmost pleasure. the look of bliss on your face as i fuck you is enough to bring me to the edge because topping is an erotic experience in and of itself for me. making you feel as good as humanly possible is my lifeblood. i long to know what makes you tick, what gets you off, what you fantasize about, so that i can pleasure you like you never imagined possible. knowing that you came again and again and again because of my hands, my tongue, my dick, whatever it takes, gives me a sense of fulfilment that i have sought out elsewhere but have not found.” or something like that.

***THIS POST IS ABOUT LESBIAN SEX***

[illusioncanthurtme--art]

...I got fiddlestan brainworms

hehehe funny spongebob reference

[hawberries]

it is a citizen's divine right to draw a little Kaveh on her birthday

[jamieandgeorgedashigz]

Now I've made the Sonic 3 30th anniversary music sound more retro game-like, and history repeats with Knux's laughter in front of Krystal and me like we're Sonic and Tails in that 'chidna's first ever appearance in Sonic 3.

-Jamie