#what eras/albums do you think finn would like?

[jencsi]

I have my playlist for Finn, of songs that remind me of her as a character and person in the world of fiction, but often wonder what music choices she would enjoy? More specifically, is she a Swiftie and if so, what is her favorite album/era? 

I tend to lean on the notion of her being a big time Reputation girlie. For obvious reasons. Even though Bad Blood is on 1989, it is a strong contender for a song that fits her personality and outlook on life a little bit too well. Ready For It, Endgame, I Did Something Bad, Don’t Blame Me, Look What You Made Me Do, Getaway Car, This Is Why We Can’t Have Nice Things, I mean, the titles alone just vibe with everything Finn was, reckless, trouble making, followed by semi apologetic behavior but oftentimes, no regrets, no fucks given, the whole shebang, etc. The order of the songs sort of tells a story that fits Taylors narrative, but Finn’s as well. If she was listening to these songs, if these worlds collided, fiction and reality, would she see herself in Taylors music? Would she enjoy it? Buy the CD’s and merch? I’d like to believe that’s a hard yes. 

But there’s a softer side to Finn that can be reflected in the songs featured on albums like 1989, Lover, Folklore, Evermore and the rest. She would absolutely tear it up to Shake It Off, she would feel deeply for All Too Well, Exile, Willow, Lover, etc. She would have many strong thoughts on the topic of The Man, because fuck the patriarchy, don’t even get me started on Vigilante Shit in the context of CSI on Fire and other previous rule breaking jaunts, maybe a bit too relatable babe. Illicit affairs would make her think a little bit too much about Russell and her relationship with him and his family, “don’t call me kid, (Jules) don’t call me baby, look at this godforsaken mess that you made me, you showed me colors, you know I can't see with anyone else” I mean come on! 

I imagine her and Morgan going absolutely feral over making friendship bracelets and fighting the ticketmaster war to get tickets or if they are not able to make that, at least going to the concert movie, getting the cups and the buckets, dancing in the theatre, being loud, having the time of their lives. 

I also imagine Morgan, out of desperation, playing Taylor Swift music to a comatose Finn in hopes of rousing her from her frail state back in 2015, only the songs available at that current time. “Hey, remember we danced to this after that really bad case?” “Remember we played this when we were working out that blood case that was really tough? I was afraid I was messing up but you kept telling me I was doing great? If you can hear this stuff, please tell me, tell us, just wake up.” 

Anyways, Finn is a Swiftie.

[happyinjection]

♠️♥️High Card Short Story 5 “Poison Phenomenon” (2/3)♦️♣️

Enter Finn and Leo, who surprisingly gained mutual understanding through a favorite band. Work forgotten, thus the listening session began...

Original: https://twitter.com/highcard_pj/status/1539805709390344193

Author: https://twitter.com/poipheno

On Leo’s orders, the office had not the usual bland BGM, but Poipheno’s coolest FK rock playing.

I immersed myself in the sound, listening intently.

With his arms folded Leo closed his eyes, while Wendy, as she furrowed her brows, was listening with a difficult look on her face. Vijay, with an unwavering serene expression which I couldn’t really figure out, was keeping his eyes fixed on his houseplant.

The song that I picked from their second album, “Love Imitation”, was finally over.

“How was that!”

I quickly turned back to Wendy.

“Hm. Well, it’s cool, I guess...”

“I know right?? Let’s get to the next song, Leo!”

“Hit it.”

“Damn, I can’t hold back any longer!”

I took off my suit jacket and shirt. An orange t-shirt appeared.

“Oi, Finn. Pinochle employees shouldn’t wear t-shirts underneath their suits. It’s improper.”

Leo chided me.

“So what, this is my lucky item. Look!”

I turned my back. A Poison Phenomenon logo was conspicuously put there as a backprint.

Wendy could only stare at me with a questioning look on her face. “Is that what you call a band tee?”

“Exactly! Isn’t it cool!”

“Uh, yeah. Cool, it’s cool alright.”

Suddenly Vijay butted in.

“The rippling-like part of the P serves to show that the titular ‘poisonous effect’ as the band was named after is still going on.”

“Why are you even elaborating?”

After that, our Poipheno listening session continued for a while. At first we only played my top songs from their early days, but eventually we also began to play Leo’s Selections of the works from their middle and current era. While listening, my body naturally moved along.

“Enjoying yourself, aren’t you, Finn.”

“You bet I am. They became a hit ‘cause they shifted to a more danceable music since the middle era. Rock that you can dance to, isn’t it the best.”

“The fact that even a lowlife such as you can also enjoy it is the greatest thing about Poipheno.”

Only when Poipheno was the subject of matter I would overlook Leo’s needlessly snide remarks. All of a sudden, Vijay spoke up.

“Finn is quite talented, huh. It’s an honor, so please show me more.”

“Ah? What about?”

“Your dance, you can dance, can’t you? Please show me, Justin seems to be excited about it as well.”

Vijay nudged the pot of his houseplant toward me.

“Plants don’t dance.”

“Oi, don’t push your beliefs into the stuff Vijay says.”

There was a rare hint of confusion on Leo’s expression.

“The cells are moving due to sound waves. Come, Finn, take a look too.”

“Vijay, don’t be ridiculous. Do you think Finn can dance?”

Wendy might have meant to follow it up with something, but before she can say anything else, it passed my mind.

I immediately got to my feet.

Just like that, I rolled my way right to the center of the showroom, and then used the momentum to do a forward somersault. I heard Wendy let out a quiet scream. And then, with a few shakes of my body to the music, I dove shoulder-first into the floor. Spreading my thighs open to maintain the momentum I kept spinning round and round, before finally leaped back upright.

“Heh. I can at least do this much.”

It was break dance. Using my thumb, I brushed the tip of my nose.

Wendy cheered in a shrill voice.

“Amazing, Finn! That was cool!”

“Eh, for real? Hehehe. I learned it from a friend who did street dance. I can also do the head spinning thing, y’know.”

“If you tear your suit I’m going to cut it from your paycheck.”

Leo reminded me. Getting my salary deducted is a big problem. If I ruin my suit while on a mission the expenses would get covered, but if I ruin my suit over a stupid matter like this, Leo would really make me pay.

Right as I decided to stop doing acrobatic moves---

“Even so, you’re a well-trained monkey. Shall I give you a banana as a reward?”

There he went again.

“A~ah? Bastard, ain’t ya just chickening out ‘cause you can’t dance--?”

“Hold on, Finn, don’t easily take the bait. Leo, you should give an honest praise too, shouldn’t you.”

“Leo~ Ain’t ya the type to cry uncontrollably in school plays ‘cause you can’t dance, ya little shit?”

As though on cue Leo walked up and stood in front of me.

From below, he shot me a glare. The glint in his eyes was not of a 14 years old.

“Oh, got something on your mind? Do you want a crash course in boxing?”

♠️♥️♦️♣️

TL notes: I’m in no way a professional translator so if you find any mistakes, please do not hesitate to inform me right away. I love the High Card gang and I found it very unfortunate that while it is meant to be a multimedia project, I can’t seem to find the translated versions of any materials (beside the anime) anywhere (if this is against copyright, I will take it down). Hopefully this small TL would help international viewers gain better understanding of HC universe and characters. The author of these SS himself said that he hoped fans would have their “so that’s what it is!” moments when they watch the anime after reading his short stories. So with that in mind, let’s enjoy High Card together~

[ficklefic]

cuck? I'm curious about the context AKSKSK

this fic is set during that episode where supposedly, finn and rachel have sex for the first time for rachel's west side story role. in this fic, finn knows that he won't be able to show rachel a good time, or at least whatever passionate transformation artie was expecting of rachel by having sex. which is its very own can of worms.

anyway, finn invites quinn to take rachel's virginity with his enthusiastic permission. except rachel has a problem with the idea (and rightfully so!). so i imagine this to be long-ish and full of romance. if i ever get around to it.

this is from the opening scene of said fic:

It would have been much easier for Finn to reject her sexual advances and leave it at that. Instead, he still wanted to help Rachel with her desire to breach the heretofore unknown expanse of a character who has had sex—even if it meant calling in his best friend to do it. It could be a completely simple solution or an infinitely complex one, Rachel had yet to see. But she would be lying if she said she was not curious about the outcome, if she saw whatever this was, through. Rachel smoothed out her pyjamas and followed Finn downstairs where they both found Quinn looking through a photo album that had been beddazzled to oblivion. She looked up when she heard footsteps. Saw Rachel and gave her a once over and flashed her a grin. “Nice jammies, Berry. They suit you better than your Victorian era cosplay.” Rachel pointedly ignored her as she took a seat on the couch, shoulders pulled back, knees clamped together, hands folded neatly atop her lap. “Finn, if you would please proceed with your justification for inviting Quinn here on the night we were supposed to be intimate with one other.” Finn cleared his throat and jerked his head so Quinn would sit as well. She returned the photo album in its proper place and sat on the opposite end of the couch from Rachel. Her posture drastically different from hers: she leaned back, arm thrown across the sofa’s back. She crossed her legs and waited. “I told you both that I don’t feel comfortable having sex after my first and only experience being Santana—which is difficult to describe in one word or even ten,” Finn let out an awkward laugh. But no one was laughing. Rachel looked like she was fighting for her life to not start yelling and Quinn, well�� She looked bored. “So anyway. Seeing as Rachel feels that it’s needed to have sex for her role—” “You make it sound like that’s the only reason I have for wanting to be intimate.” “Is it not? I’m genuinely curious. Is there any other reason besides the play?” Quinn asked when Rachel shot her an irritated look. “I love him—what else?” “Oh,” Quinn said. “I guess.” “What do you mean ‘you guess’?” Rachel demanded, her voice taking on a shrill quality. Finn rubbed his temples, felt a headache brewing at the base of his neck just from watching and hearing the two girls share the same space with each other, which, the more he thought about it, seemed like it was such an impossible feat the longer it went on. “I don’t know,” Quinn admitted. “But I’ve been thinking about this. First of all, Artie sounds like a pervert and an idiot. Secondly, so do you. But only the idiot part.” “Oh god,” Finn muttered. “How dare you?” Rachel screeched. Quinn held up a hand and it did not have the calming effect she hoped it would have against Rachel. “Listen to me. Remember last year? When you found out that Finn slept with Santana and you two made a stink about it? Up to that point you were sure that Finn was a virgin, meaning that there’s no way it showed through in his appearance and general manner that he had sex. So this thing Artie is talking about—whatever the fuck it is—is not grounded on anything. What made him say that you need to have sex, anyway?” “It was when I performed ‘Tonight’ with Blaine. He said we lacked passion.” Quinn rolled her eyes. “Yeah, I bet! Feigning attraction to Blaine is such an easy feat. That guy just radiates sex appeal!”

this is actually the prequel to a prompt i got years ago! except i want to write that fic so bad that i end up... not doing so. yoink.

[toastbaby]

I just came home from the Eras tour movie and here are some thoughts:

First each era:

Lover: definitely a good place to start! Who doesn't love screaming the Cruel Summer bridge? But whyy did they have to cut the ultimate Katniss Everdeen song? (Aka The Archer)

Fearless: Fun and nostalgia! I don't really have much else to add about this section.

Evermore: I got more emotional than I expected about this section! Willow is an Experience TM (in a good way ofc), but also, Marjorie nearly made me cry, and the setting in Tolerate it is so well thought out. The Champagne Problems bridge ♥ I don't even mind NBNC had been removed from the movie because it's not my personal favorite 😅

Reputation: this is my personal favorite era so it's no surprise I was pretty much jumping up and down on my seat... Wish it was a little longer tho, like it would have been amazing to have songs like I did something bad or Getaway Car in the set list, but I shouldn't complain because some other eras are even shorter. (Also, the transition between Don't blame me and Look what you made me do! Always gets me)

Speak now: Only Enchanted (since Long Live had been moved to the ending credits, which admittedly was probably a good move) but well, it's always a lot of fun to scream the chorus, and Taylor's dress in this section looks so gorgeous!

Red: probably my least favorite section mainly due to my low tolerance to the earworms, but it was still fun (yes I even sang along to waneegbt, which I didn't think I'd do :'D) and ATW never disappoints!

Folklore: dare I say.... the section where I noticed my attention starting to go to other things, even though there were also songs I love such as August and Illicit Affairs. I would have kept Cardigan in the movie and taken, idk, f. ex. tlgad out of this section if smth had to be cut. And! I may make a separate post about this but damn I realized that My tears ricochet is such a hijacked Peeta song! Maybe it's just me but there were many parts that I could connect with him, but yeah, more about that later.

1989: After the much calmer folklore section this felt like 'it's party time!!' :'D It felt somehow more special knowing that we'll get the TV in only a couple of weeks! I think this section has pretty much all those songs you'd expect it to have, and tbh I don't even mind too much Wildest dreams got cut from the movie version.

surprise songs: ngl the LA shows each had such /amazing/ surprise songs (imo) that they couldn't have gone wrong now matter which ones they would have filmed (I was secretly hoping for You are in love and/or 1 of the reputation songs she sang in the last few shows), but I was very happy about YOYOK. Even filmed the bridge part and I could hear myself yelling it in the bg 😅 Our song is also fun tho I'm not really that big on the debut album generally speaking.

Midnights: Another favorite of mine. Those sitting near me were probably annoyed by the loudness with which I sang 'it's me, hi, I'm the problem it's me'. Karma is such a great way to finish the show (in my biased opinion, bc Karma is definitely one of my favorite songs from Midnights), and I wouldn't take anything out of this section.

Overall experience: While I admit that the (almost) 3 hours were starting to feel at some point, I don't think I would want it any shorter, I had such a great time! My personal experience was made better by the subtitles because I'm still a rookie Swiftie who doesn't remember each and every song by heart so it really helped me to sing along 😂 The movie hall I was watching it in wasn't huge, and well, I'm Finnish and we Finns are not generally speaking known for being loud so it did not get too loud at any point, but me and my neighbors were still singing along pretty much the whole time and I was also pleased that many fellow movie visitors knew some regular habits from the concerts, such as doing the heart hands or yelling 1, 2, 3 let's go bitch, etc. Luckily no one stood up near me! It was probably a good thing to go on the premiere day because I could tell most of the others in the hall were fans and not just going there 'because why not'. (Nothing wrong with that, but I myself feel more comfortable when I know that those near me are not judging me for being an enthusiastic viewer) And, as an added bonus, I got a friendship bracelet!!! I didn't think anyone would bring them, but the one sitting right next to me did, and it was such a nice gesture (I got one that said 'Cruel Summer'. They also gave us the tour posters at the cinema)

This movie/concert made me also realize how much happier (Taylor's) music currently makes me, so thank you, Miss Swift, for allowing even us here in the cold north to see this before you've even toured Europe!

Overall, 10/10, would (and likely will) go again. And yep, can't wait for next May now!

[lazanskywrites]

my favorite indie songs

My favorite blog post we've been assigned so far this semester was to explain our favorite songs. I chose to rank my top five songs from the 2014 Tumblr Girl era because there are too many songs I like to compile into a top five list.

In this blog post, I want to compile my top five indie songs. I've always been a lover of indie and alternative since I've been able to stream my own music. Ever since I can remember I've listened to artists like Foster the People, MGMT, and The 1975. I'm not trying to seem "different" from everyone else, but I never was truly drawn to rap music growing up. I love the soft, abstract, and light sounds that make up the indie genre.

Here are my top five indie songs of all time...

#5 "Walking on a Dream" by Empire of the Sun

This is a classic indie anthem, especially in the summertime. "Walking on a Dream" is without a doubt their most popular song, but there are countless other indie classics from EOTS. This song reminds me specifically of my freshman year of high school. Football games, my first homecoming, and spending countless sleepless nights with friends (before we were all employed and busy).

#4 "Loving is Easy" by Rex Orange County

Like many other fans, this was the first song of Rex Orange County that I'd heard which made me a fan. The tune is so soft and catchy that there's quite literally no way to dislike it. Alex O'Connor's voice is distinguishable and perfect for indie ballads. "Loving is Easy" reminds me of 2018 when indie became the trend. Kanken backpacks, checkered Vans, scrunchies, and HydroFlasks were all the rave when this song was popularized. Other good Rex Orange Country songs are all from his older albums (in my opinion). During 2018 I was also listening to his songs "Apricot Princess", "Never Enough", and "Sunflower".

#3 "Young Folks" by Peter Bjorn and John

I LOVE this song. No indie fan could ever hate it because of its sheer catchiness paired with light and airy sounds. I remember listening to this song in the car with my friend who'd recently gotten her license. We were all sophomores during the 2021 "return to normality" post-Covid school year and it was easily the best school year. We went to campus every other day, so each day that the majority of us didn't have school we'd spend its entirety together having sleepovers almost every night. As soon as we all began to get our licenses we felt so grown up and invincible. This song pays tribute to my friends and me as we lived in naivety and bliss. I think any of us would pay hundreds of dollars if it meant we could go back to being sixteen-year-old girls.

#2 "ILYSB" by LANY

Each one of these songs has a specific time in my life it's associated with. This song holds the most prominent memories for me. My best friend and I used to spend hours together listening to indie hits and reading...this is embarrassing...fanfiction of our favorite celebrities together. What else is there to do when you're eleven-year-old middle schoolers with iPhones and laptops that have unrestricted Internet access? We would sit side by side and share the cute stories we'd found with each other. It must make sense now as to why I'm so good at navigating Tumblr; I've been using it since I was eleven. Unrelated to being typical tween girls, this song will definitely be on my wedding playlist. I just think it's cute not only to sing to a partner but also to a best friend.

#1 Flashed Junk Mind by Milky Chance

What else is there to say besides I ABSOLUTELY LOVE EVERY LITTLE THING ABOUT THIS SONG! No, the lyricism isn't as sentimental as "ILYSB" but this was one of my top listened-to songs throughout my teens. I saw one of my celebrity crushes at the time (2017 Finn Wolfhard in case you were curious...specifically 2017) post about how he liked it, and of course, I had to follow suit. I doubted how much I'd like this song though. It's the ideal summer anthem with a funky beat and easy-to-follow lyrics. There's nothing to dislike about "Flashed Junk Mind" or Milky Chance as a band. If you like this song and want something a little slower, check out their song "Stolen Dance".

I love everything about the indie scene. The music, the fashion, and the emotions connected to it. Indie as a genre can provoke feelings of joy, heartbreak, and passion. These songs, along with others, will definitely be the songs I play loudly on a Sunday afternoon until my kids beg me to turn them down. Spoiler, I'll only turn them up.

[slipping-through-my-fingertips]

If Glee did a Taylor Swift Tribute Episode...

Just my opinions, feel free to add on to them. I know I have some fellow gleek swifties following me. I’d love to hear your thoughts. Obviously they have to do some of the hits but I think some people would have some out of the box picks.

*This post assumes all Taylor songs are available to choose from as of May 14th 2021 but focuses on Taylor’s first 6 albums (if you want more glee and Taylor I have fics with that; LOVER and FOLKLORE) and takes liberties with where this episode’s placement is in terms of canon. But since it’s all made up anyway who cares (but Blaine’s involved so I guess season 3 idk).*

Okay, trying to do a full plot here (completely inspired by @kurtdeservesbetter head canon posts. I hope this lives up to her fabulous posts). This will be my version of glee so everyone gets solos and Rachel can’t hog the spotlight. Also, this is about to be super long (both post wise and episode wise).

Let’s open the first episode with

...Ready For It because the New Directions are in their reputation era. Santana does the opening cough centerstage. Everyone in black and/or camo green outfits (can you just see Kurt in a dark green bedazzled snake jacket, Santana in a black leather dress, and Tina digging out some goth clothes for people to borrow?), snakes everywhere, but probably no Karyn (she just wouldn’t fit on the auditorium stage). Santana takes the first verse but we have Blaine step up for verse 2. (I just love their friendship in the Michael tribute, cute little badasses are BACK. Also him singing “Burton to this Taylor” is such a Klaine thing to do).

Everyone is still dressed in their rep outfits but we’re in the choir room now. Mr. Schue is talking about why Taylor had to disappear and clap back with rep, how rough the industry is for women and tries to uplift the ladies in the room and encourage them to not silence their voices (cue snarky comment from Santana about Rachel needing to be silent).

Then, Mr. Schue goes on about how you can only understand how Taylor got to her rep era by studying her earlier music. So we have a performance of Tim McGraw. Simple, front of the choir room performance, maybe Puck does guitar, and sitting on stools.

Everyone is surprised to find out how pumped Sam is for this assignment but he is all over it. “It's about time we did some country in this room.” Cue Sam and Quinn at her locker talking about their ‘date’ last night, Sam’s all cute and teasing and Quinn is not into it. She tells him it was fun but she was wrong, they shouldn’t do this again. In turn, he does a wonderful performance of Bye Bye Baby. He thought it was more but clearly he’s “a part of her past.”

Then, we’re in the empty choir room. Tina and Mike are there. (I love their cutesy duets) They sing Everything Has Changed and it’s utterly adorable. Can’t you hear Mike asking Tina if she’s “good to go” like Ed does? And while we’re on the subject of cute duets and RED, we flash to the courtyard to see Santana and Brittany. They turn Stay Stay Stay into a duet. “I’ve been loving you for quite some time,” “before you I only dated self-indulgent takers who took all their problems out on me,” “no one else is gonna love me when I’m mad, mad, mad,” and “it’s occurring to me that I’d like to hang out with you for my whole life” it’s perfect for them. Adorable ladies kisses are had.

Let’s toss in some boy drama for fun. Idk shit about football but somehow Puck is praised by their coach over Finn, which gets him all pissy, and Puck’s upset and jealous because Finn is back with Quinn now (this is why Quinn shut Sam now earlier, she changed her mind). Can we say duet of Bad Blood? “So if you’re coming my way...just don’t.”

After their dramatics, we have a Brittany solo in the choir room. It’s after school at this point (or whenever glee club is). Brittany does You’ll Always Find You Way Back Home.

When she finishes Mr. Schue tries to explain that it’s a Hannah Montana song. Britt injects that it’s confusing how she’s really Miley Cryus “like how can you be two people at once?”. Before Mr. Schue can continue, Kurt pipes up “you never specified that the songs had to be sung by Taylor Swift, just that they were her songs.” Mercedes adds, “yeah, Mr. Schue, Taylor wrote that song.” Mr. Schue concedes that he has once again been outwitted by Kurtcedes. The friends do their little hand shake thing.

With a sigh, Mr. Schue asks Mike if he’s ready to go and Mike asks to take things to the auditorium for some dancing room. Everyone’s on stage with him and it’s kind of a group number but Mike is the focus. It’s Shake It Off. All inspired by the music video. He’s tried to fit in elsewhere (i.e. football, with the smart kids, etc..) but he’s really himself in glee when he’s dancing.

Part 2 of Taylor Tribute Episodes

We begin with an ALL GIRL NUMBER of A Place In This World. Just because.

Glee is dismissed and we zoom in on Artie. He’s watching Tina with Mike and Brittany with Santana. Both Tina and Britt have broken his heart by this point. So, he’s rolling down the halls singing A Perfectly Good Heart. While Artie’s soloing, we cut to Rachel watching Finn and Quinn chatting. Artie’s song playing over this scene. Rachel is feeling similar to him at the moment.

She’s pretty sure Finn dumped her to be with Quinn again even though Kurt and Blaine told her they saw Quinn and Sam at the movies last night together making out in the back row. Fine, if that’s how he’s going to be, she doesn’t need him anyway. Cue Mr. Perfectly Fine. Uber dramatic solo performance walking around McKinley’s halls watching Finn and Quinn together ending in the auditorium alone. (see what I did there, both broken hearted peeps singing a song with Perfectly in it (this was not at all planned, actually, happy accident))

After some good old heartbreak, we have Kurt and Blaine on screen. Blaine walks into the auditorium to see Kurt sitting on the edge of the stage. “What’s all the fuss?” he asks from the door. Kurt had texted him “EMERGENCY.” The band starts to play and Kurt just starts singing, Enchanted. It’s time to profess their love for each other, just like they sing Perfect together in the car, this duet needs no audience. Blaine catches up and sings while walking towards his boyfriend. It’s very reminiscent of past New Directions competitions where they come in from the back and make their way to the stage. “Wondering if you knew I was enchanted to meet you?” Kurt and Blaine both know the answer to that question now but just a few months ago they were both wondering that exact thing.

They kiss before we cut to Kurt and Blaine walking hand in hand into the choir room where everyone else is already. Mr. Schue is praising the performances thus far and of course asks Rachel if she’s ready to solo (some practice for her completion solo). This causes an uproar from Mercedes and Santana. Another classic argument of how she gets too many solos. Mr. Schue tries to shut them both down but Santana tells Rachel to watch her back, and we get three very different reactions to this. 

All three girls storm out.

First, we visit Mercedes alone in the courtyard. This solo is all about being hurt over this great thing in her life (glee) and her being denied happiness within that club. Thus, Cold As You. (mostly to indulge myself because she’d blow us away with this song).

Next, Rachel in the auditorium. A huge bridge on stage (very Speak Now Tour of her), belting out Better Than Revenge. Santana’s dropped the last straw (the humiliation, name calling, Finn at one point and now solos,) it’s too much this time.

And finally, Santana walking around McKinley, showing us flashes of Rachel ‘outshining’ her and the rest of glee and Mr. Schue being unfair, while singing Look What You Made Me Do.

Tina walks out at the same time as Rachel, Mercedes, and Santana but no one seems to put two and two together. She feels just as underutilized as the latter two do. She ends up in an empty classroom and sings The Outside. “Nobody ever lets me in” and “on the outside looking in.”

Once the 3, err 4, divas have left the room, Finn sticks up for Rachel. Quinn, of course, has something to say about this along the lines of “you always defend her.” Finn, intimated by her ‘scary Quinn’ fumbles and blurts “because she’s my girlfriend” WHICH IS NOT TRUE AT THIS POINT. Quinn dumps him on the spot, cuts quickly to Blaine and Kurt sharing some ‘oh my god, can you believe this’ expressions, and vanishes from the room.

By this point, Rachel is long gone from the auditorium but the bridge is still there.

Here’s where we go way off script but imagine, Quinn has decided to just quit boys. They’ve all failed her anyway, she’s better off being alone. She walks up the bridge and thinks to herself “god Rachel’s so dramatic, where did this thing even come from” before it hits her “fuck, I’m as bad as Finn. I want her.” Then, she starts singing Clean to herself in the auditorium, likely tearing up throughout and ending with a good cry. (Because Dianna would DELIVER with Clean.)

While Quinn is having a sexuality crisis, the rest of glee is still happening. They’re discussing upcoming competition and debating solos and songs.

Kurt’s all: “Mr. Schue, if I may” and performs a lovely rendition of Call It What You Want. Those opening lines are too good. “My castle (ie McKinley) crumbled overnight, brought a knife to a gun fight (ie couldn’t fight off Dave Karofsky), “I’m doing better than I ever was ‘cause my baby’s fit like a daydream,” and “at least I did one thing right.” When he’s done, Blaine’s a mess in the back of the choir room, and Mr. Schue says: “not really what we’re looking for but very nice, Kurt” however, Kurt’s too busy sitting beside Blaine teasing him about blushing.  

Then, the missing girls return to the room having sung out their emotions. Quinn, having realized her feelings for Rachel, ends up soloing You Belong With Me to the New Directions in the choir room. Odd looks all around, no one knows what’s up with her and why does she keep glancing at Rachel? (Faberry just fit so well I had to add it, don’t know if I’m a shipper or not but it’s here now) (also thanks to @spicygemini for pointing out the obvious “Quinn would have ate YBWY”).

Mr. Schue wants to move the group to the audition to perform their final number of the Taylor Swift tribute well but Tina asks to sing first. He’s surprised but allows it, taking a seat with the rest of the New Directions.

Tina sings Beautiful Ghosts. “Watch from the dark, wait for my life to start” because New Directions is refusing to use her talents AGAIN. She’s singing this to Rachel and the girls who were in the Treble Tones. Because she absolutely SMASHES this number, the glee kids agree she gets solo for their next competition (and they deliver on that promise).

To conclude Part 2 of the Taylor tribute episode, we have a group performance of Long Live. “One day we will be remembered”, “all the years we stood there on the sidelines wishing for right now”, “for a moment a band of thrives in ripped up jeans got to rule the world” ie wining completions, “when they look at the pictures please tell them my name...”

[an-abstract]

Albums of the Year

This is the first post of this series that I intend on extending for 365 days. I will be listening to a minimum of 1 New Album (or new to me at least) a day. It is my plan to give an opinion on the album as a whole and each song. Please follow along with me if you wish and feel free to leave me any albums you think I should listen to.

-------------------------------------------------------------------------------------------

Our first entry stall be Divinely Uninspired to a Hellish Extent by Lewis Capaldi

As a whole, I love this album. I had never listened to Lewis Capaldi outside of anything that I heard on TikTok or on the radio so for my first listen I was pleasantly surprised. I would like to begin by saying, this is a great album, however I would also like to know who hurt Lewis? All of these song are on the more sad side. And not sad in the way that middle school me who thought I was emo was sad but in a longing and yearning way. This make me feel like I have been in love and that I have lost that love and would do anything to get it back. It is the best pain I have felt all year. 

Also I would like to acknowledge that this is not the extended version of the album. I thought about doing the extended version but decided against it as I got tired and wanted to get this over with. 

Grace - Something about Lewis’ voice that he being out on “your mistakes” and “going to waste” is everything. Its like a crackling strain and I can not get enough of it. This is also so prevalent at the end of the bridge and when I tell you that the scream he does on “don’t take it away” will hurt your heart, I mean it. This is a nice an gentle way to start an album that is about to tear my heart in two.

Bruises - The beginning of this song is so soft and it exsentuates Lewis’ lower range, then that softness is juxtaposed directly with the chorus and I love it so much. This song is so heart breaking and yet I can’t not listen to it. From beginning to end the pain is so focused. I do not even know how to experience this emotion fully. From the middle of the second to last chorus and into the last chorus my heart breaks, the screams, the way the instruments cut out, the isolated vocals, everything. This might be my favorite song on the album.

Hold Me While You Wait - First off, this song directly after bruises. Mr. Capaldi, no sir. How could you? I am already emotionally vaunerable and this is how you treat me? Second of all, I will never get of the way that this man can write so many songs of love and loss it is amazing. One again the desire I can feel in the screams and belting is unmatachable. And while we are here, this man can write hard hitting bridges that I can not get over. Also that final line of “won’t you stay a while?” while everything cuts out is everything to me. 

Someone You Loved - This is his most popular song and that is great for him. Personally I do not love this song in the way that I think I should. Its a great song but something about it being so popular that I heard a vampire parody on tiktok just throws me off of this vibe. But while we are here the song is very similar to Hold Me While You Wait and Bruises and I think that emphasises how much pain that this relationship he was in put him through. 

Maybe - This song has a more upbeat feel to it. Its in a happier key and feels like something that would be played in a coming of age movie that tries to be more deep than it actually is. This feels like a summer breakup song. The idea of wanting to be sad but also being too in the moment to care. I also like the backing vocals in the second half of the song, they feel very natural.

Forever - This song feels like it would play in the background of a season finale of a tv show. Like this is not the end forever but you're emotionally vaunerable and this is all you're getting for a while but it still has a nice sound.

One - I have listened to this song several times at this point. I do like it so don’t hear what I am not saying but I have absolutely no clue who this song is being sung about/for/to and for that reason it is my least favorite song on the ablum so sorry Lewis but this hurts my brain when I try to reason whats happening. 

Don’t Get Me Wrong - So I do understand that this whole album seems to focus on heartbreak and loneliness but this feels like it was not written with the same relationship in mind as all of the other songs. I do love this song, I spoke too soon when listening to bruises, because this is infact my favorite song, with the choir in the back and the nice high notes. This song feels like it was written in a different era and it also feels like it would pair nicely with Hoziers Discography. Lewis this is my most favorite song please release a music video asap!

Hollywood - How Hollywood did not get the same recognition as someone you loved? I do not know. This is an end of a relationship song, it gives me very much musical vibes. If I heard this song in the middle of a musical I would not question it at all. This feels like a car ride song that you blare through the speakers after a shitty breakup.

Lost On You - I feel like I can not appreciate this song to its fullest extent. Perhaps it is that I have never felt this way about anyone or maybe its just that I am getting towards the end of the album and I am getting the same vibes from all of the songs, but it just does not hit the same as all of the other songs. It just doesn't live up to the expectations that the others songs gave me. I feel like this would have broken up the first three songs well but did not need to be after Hollywood. 

Fade - This has the same vibes as Hollywood. It should be in a production as the final declaration of love. However, I can only imagine this song being performed on Glee and it would have to be sung by Finn about Rachel or by Puck about Quinn. The drums really stuck out to me in this song, I think that that is because most of this song only have piano or a bit of guitar but its a nice change. Also, I really like the high bit at the end followed by a bit of screaming. 

Headspace - This song is the exact way I would expect this album to end. A little bit of religious trauma, a sprinkle of fighting, some existentialism, and a teaspoon of self discovery. This song is coming out of the pain of a breakup ad having time to think about everything that you have gone through. 

[fullwets]

i was tagged by @ricciarlando! thank you!!

rules: tag 9 people who you want to know better/catch up with and then answer these questions

3 ships: okay listen stacey said johnlock and i’d be a fool and a poser if i didn’t say the same. tljc squad make some noise (*sad clown honking*). 2nd probably has to be my #brand - maxiel babey. but even then it’s a rpf ship, and i try to stay at least a little removed from those, so. maxiel but in a cool way. 3rd is uhh rey/finn/poe from star wars bc i’m predictable D:

last song: Velvet Elvis by Kacey Musgraves

last movie: The Two Towers extended edition lmaooo

currently reading: fanfiction i’ve been seriously thinking about rereading the hunger games series bc i think they’d be a lot better than i remember (not that i didn’t like them. i drew arrows on my cheeks and “tribute 25″ on my forehead in crayola washable marker for the movie premiere)

currently watching: the 2014 f1 season. i bought an f1 subscription As A Treat and the ‘14 season is the last one i have to watch b4 i’ve seen the entire turbo hybrid era. multiple daniel wins. a kmag podium. what more can i say. i might be skipping suzuka tho

currently consuming: taylor swift’s eighth studio album folklore brownies :)

currently craving: trader joe’s (giotto’s?) gnocchi al gorgonzola D: if there ever was a trader joe’s frozen meal i would recommend it would be this

i’m gonna tag less than 9 people bc i still need f1 friends (: but everyone is welcome to do this i’d love to get to know y’all! @catchingdrifts @riccflair-dripp @yeeeeesssssbbooyyyss @memeeboii

[enz-fan]

Juke magazine - 3 May 1980 front cover and article, by Christie Eliezer

TIM FINN well remembers Split Enz’s first ever Melbourne performance - they were soundly booed off stage.

It was in 1975, and Reckless Red Symons, having seen them at Sydney’s Oceanic Hotel and inevitably falling in love with their sense of theatre and originality, suggested to Skyhooks manager/record label boss Michael Gudinski that Enz play at the next major ‘Hooks gig...

“It was some time in late April (Anzac Day actually - ed) and it was at the Festival Hall, The Skyhooks were causing untold hysteria then. Gudinski, who’s only heard about our outrageous stage costumes and makeup was telling everybody that we were the second Skyhooks,” Finn said.

“We had to get up at six in the morning that day, and by the time we got into Melbourne, we only had an hour’s sleep before making our way to the hall. Consequently by the time we came on, we were very tired and irritable.

“It was such a bad introduction to Melbourne. The audience there was so into the Skyhooks that all through the show they were pulling faces, and throwing cans and cigarette butts at us.”

Finn leans back with the confidence of one who’s left his yesterdays far enough behind to be able to chuckle over them. “It was weird... no it wasn’t, it was disgusting, that’s the only way you can describe it. And we lost a lot of support from the media on that one. They saw us totally out of context, and it was a long time before a lot of them would bother about Split Enz again.”

Still, five years later and it’s over under sideways down. While the Skyhooks last single gasped for airplay. “I Got You” and True Colours are simultaneously seated at the top of the Australian charts. It’s been some years since such a double whammy has happened for an Australian band. Two weeks ago, when this interview took place, the single had sold 13,000 copied in the first three days of the week. By the time you read this “I Got You” should have sailed over the platinum mark - and you know how hard platinum singles are to get, particularly for Oz-made discs.

And the younger sisters of those dedicated Skyhooks fans who’d been so hostile to the Enz, are these days shrieking at Enz concerts, standing outside Mushroom Records’ offices hoping for a glimpse of them or pasting up pinup pictures of the country’s most recent - and unlikeliest - teen idol, Neil Finn.

Split Enz themselves have since then been drifting through different universes anyway. Only Finn, Noel Crombie and Eddie Rayner remain from that bunch of ill-dressed weird freak-outs who created a large cult following through their mixture of self indulgence, witty ideas, and acid casualty detachment. It’s true that once they managed to establish their unique concept of theatre and sense of adventure in their musical presentation, instead of having to live up to Gudinski’s absurd preconeptions, they won acclaim. But in the few times I got dragged off to one of their early concerts, kicking and shrieking all the way, they always left me stone cold bored.

“In a lot of ways, we hid behind our images,” admits Finn, who now accepts that a lot of their music in those days was self-indulgent and aimless. “It was a way we could keep our distance from the audience. I think, like most New Zealanders we’re all shy in varying degrees. But nowadays I’ve become much more confident as a performer. I can reach out to them more, to the point of sometimes actually touching them to gain a response.”

Gone too is Finn’s onstage patter, speaking in arty-farty first year university English Lit couplets. Still, there is a strong dose of bemused cynicism in his onstage yakkings, and I’m pretty sure a lot of it goes over the heads of their newer, younger audiences.

“Well, sometimes it does and sometimes it doesn’t. It’s all done for reaction. You can’t get too basic or else you become patronising.”

You can take the man out of theatre, but you can’t take the theatre out of the man?

I looked at my watch, and it was a quarter to two...

What are rock’n’roll weirdos like Split Enz doing in the lush stately grounds of the Ripponlea estate, a symbol of a bygone aristocratic/traditional era in Melbourne and now a National Trust and tourist attraction?

Making a film clip for their next single, Tim Finn’s tender ballad, “I Thought I Never”, a standout in their show.

As you crunch up the shaded, sandy driveway which curves through luxuriant flower beds, with the mansion in the distance, you’re overwhelmed by a strong sense of history, you half expect to be met by a white-helmeted pukka sahib complete with monacle and starched handlebar moustache, seated in a horse drawn buggy. What you do find is an assortment of dusty trucks and station wagons with camera crews and roadies lugging equipment out to the main ballroom - polished floors, chandeliers, gold plated mirrors and sin-soaked memories - where the main clip will be shot.

We’re told by Mushroom to turn up at 1 pm sharp to watch Enz filming and chat to the band in between breaks. Photographer Drew and myself wander in at 1:30 to find only two Enzers in sight, in a makeshift dressing room, littered with Ballroom costumes. Tim Finn is sipping champagne as he gets his face made up. Noel Crombie is busy ironing some more costumes. Tim Finn is sipping champagne as he gets his face made up. Noel Crombie is busy ironing some more costumes, typically unsmiling. Neil Finn strolls in casually thirty minutes later, followed by Eddie Rayner.

Representatives from other magazines are there as well. The Enz keep to themselves, none of this hail-felllow-well-met chummy routine. So the men of the media wander back into the sunshine and sit in an outside stone balcony, gossiping and watching the tame peacocks strut past gardeners toiling over the flower beds in the hot Indian summer afternoon.

“One of the things that makes the Enz one of the most creative bands in this country is that they’re very rarely of their image,” says TV Week’s affable Greg Noakes (he’s the one who took the stunning photograph of Cold Chisel on their Breakfast At Sweethearts cover). “At least 70% to 80% of the acts that I take pictures of don’t have a clue what they want out of the session, or how they want themselves projected.

“I’m not going to name names but there’s one top group which I did recently that just could not give a damn. Enz of course have streamlined their outrage since but that accent on the visuals is still as strong. They’ll tell you how they want to come across, and that’s the way it should be.”

While the two Finn boys are the most visual in Enz, others have their roles in the machinery. Noel Crombie for instance might be low profile and almost dispensable onstage (he plays the spoons and assorted percussive instruments) but he’s definitely Enz’s creative genius. His tremendous shyness and eccentricity manifests itself in the flamboyance of their costumes and the sheer vision of their film clips.

Even now, while it’s acknolwedged that the series of film clips coming in from overseas are the most creative in rock by far, most of them are actually covering grounds that Enz blazed in this country at least five years ago.

While Eddie Rayner has an amazing technical mind (his girlfriend Raelyn works the lights for the band), bassist Nigel Griggs is the more practical and businessminded. Drummer Malcolm Green is the most “normal” and “extrovert” as Enz get.

I looked at my watch and it was a quarter to four...

As the evening shadows inch over the stone forecourt, Tim Finn emerges from the makeup room in full costume - black tuxedo, while silk scarf, orange socks - and wanders over to where the media persons are chatting with manager Nathan Brenner, the latter dressed in a blazing yellow’n’red frilled jumpsuit... for film clip purposes, you understand.

“Did you say they’d start soon... ten minutes? Good.” Finn settles himself in a chair and botts a cigarette off somebody. “It’s different filming in a studio because you can create the atmosphere Here, in a place like this, it’s harder to control it.”

We start chatting about True Colours, it’s success, and how it’s the album Enz always wanted to make. I say it worked so well because they weren’t so consciously trying to Create Art, just damn good pop-rock music.

Finn doesn’t bat an eye. “It was a case of strealining it back to the basics really. I still like listening to this album while some of the earlier stuff was a bit... er, self indulgent. There are a lot of good radio hit tracks on it. I love listening to ‘I Got You’ when it comes on the radio, and God knows, I’ve heard it so many times already.”

One Sydney DJ suggested that after being so ahead of their time, tastes had changed enough for people to finally catch up to the Enz? What did he think of that?

“I don’t know... I hesitate to say that, because it sounds so arrogant. But having said that, in a lot of ways we were ahead of our time. For instance, the haircuts we had in ‘74 and’75 are now in vogue, although somewhat modified.”

Offstage Finn is a regular Dr. Jekyll to the energetic Mr Hyde he portrays under the spotlight. A quiet and private person, he is dedicated to the band. He hates doing interviews, but does them because they’re a necessary evil. Brenner informs him that one of the magazine wants to photograph him with New Zealand cabaret singer Tina Cross. Finn scowls because he can’t see how a photograph is going to help Enz, and he’s not not crazy about her music either. He eventually relents, but his curt demeanor as he does it makes it clear to everyone, including Ms Cross, that he’s done it under protest.

It takes Tim thirsty minutes to wind down after a performance and push the adrenalin flow back to normal. He’s not a violent person at all, but during the recent tour he angrily slammed the door in the face of a Brisbane photographer who ignored the “no one in Enz’s dressing room thirty minutes before and after the show.”

Very reflective, determined and cynical, it’s what you’d expect from someone who’s the original surviving member of the band that got together in New Zealand eight years ago, almost touched the pot of gold at the end of the huge rainbow, but had it whisked away by the hand of fate.

Remember how everything looked so rosy for the Enz in the mid-Seventies. Roxy Music’s Phil Manzanera, who was touring here at the time, dug them so much that he insisted on producing their second album Second Thoughts.

They went to England where the English rock press wet its pants over them. Melody Maker declared “they are one of the few bands of any originality to have emerged over the last 12 months, they may even prove to be the most intriguing combo to join the rock and roll circus since Roxy Music.” Their U.K. label Chrysalis were so determined that they’d be the next big thing that they spent a fortune publicising the band. Nibbles into America proved favourable. A Frenz of the Enz cult following developed in England and Europe.

The dream soured just as quickly. Such an intense creative band had to have its intense personality clashes, of course, and they went through four changes in 19 months.

But if there’s eomthing about Split Enz, it’s been their strong determination and the sense of challenge they feel in seeking out the unknown.

One was going back to working the pubs and developing a grass roots following. The music became streamlined. They tried working with a virtually unknown English engineer/produced called David Tickle. Their first collaboration, ‘I See Red’ saw the Enz get their first National Top 10 single. Pleased with this, they decided to use Tickle in work on their next album. The rest, as they sayin the soap operas, is history.

“We were both looking for each other,” Finn says. “We needed a producer like him, and he was looking for a band like us.”

In a recent interview, Finn confessed that Tickle had provided a “psychological climate” for the band. What did he mean by that?

“Well, it wasn’t just a business relationship, David became a very good friend of the band’s. Obviously when you’re recording, you’re not as good in all aspects of it. Like possibly your vocal harmonies might not be up to scratch. It then takes someone who can bolster up your confidence at that point of time. I know it sounds corny, but you need someone you can depend on.”

Neil Finn wanders over, dressed in a white and pink jacket. The younger Finn had been Enz’s biggest gamble, when they replaced the prolific and adventurous Judd with someone as inexperienced as he. It worked. Onstage his confidence has escalated, although he’s still wary of people he doesn’t know. Every time he answered a question, he’d always glance at his older brother as if needing his assurance.

More than any of the others, he handles the new responsibilities as Enz now also appeals to a younger, screaming audience. He’s forever willing to make in-store appearances and do interviews because the band’s status warrants it. He’s warmed to his new role as a pinup boy.

“It’s a strange situation to be in,” he laughs. “Because, after all, none of us in this band are what you’d call pretty.”

Would you have believed five years ago that some day young females would be screaming at Split Enz and mooning over them as idols. The mind certainly boggles.

At this stage, Split Enz are carefully taking the new found adulation in stride. Rather than cash in by rushing out and playing all the big pubs again and making a lot of money (Brimmer claims he could get $4,000 a night from a one night stint at the Bondi Lifesaver in Sydney) they intend to stay off the road for a few more weeks and then do some work around Perth.

“It’s so easy to get over-exposed in a country like this.” They’re all very keen that their credibility doesn’t get blown with sudden success. Over the next week, too, they’ll start to rehearse the material for their next album, due out in October.

And, surely, Split Enz are dying to get back to have another crack at the English market. After all, considering the way they’ve stuck together through the bad period, this is obviously the strongest Enz lineup to date.

“There have been some nibbles... obviously we’d like to get back there and try it again. But at the same time we’d still like to work to consolidate ourselves in this country, get better acquainted with our new audience. I think the time is just right for us in England, their Top 40 is the most adventurous in the world.

“‘I See Red’ was released there recently. It sold well enough to prove there are still people out there who can remember us, but didn’t get airplay. It’s funny you know, but there are still fans there who hunt us down and write us letters. But this time when we go back there we’ll be more prepared. We’re so aware of the need for a publicist, someone who knows the right people and can get to them.”

“Not much different here.” mutters someone who shall remain nameless.

‘I looked at my watch and it was a quarter to five...

And they’re finally ready to start shooting, kept waiting a further half an hour by an extra. The film clip depicts the band in the aftermath of a wild ball, streamers and balloons everywhere. Last minute adjustments to the sound levels, the tension is unbearable. Tim Finn kicks a balloon around the floor. Eddie Rayner and Nigel Griggs jam on a fast blues and the record finally booms over the microphone.

I fall apart when you’re around, When you’re here, I’m nowhere, I can’t pretend that I’m not down, I show it, I know it...”

Finn steps down from the stage to the dance floor, still miming:

I’ve been a fool more than once, more than twice. I’m gonna move

“Cut!”

It’s a mistake and has to be re-shot. Split Enz are so perfectionist, so unflinching they try again.

“Take two.”

The record booms over the P.A. again. Thirty minutes of that and “Cut!” Yes, it’s a take. Now for the next scene.

And so they piece it together through the whole night, trying out different ideas, always willing to score a better take. For a scene where T. Finn has to waltz alone in the garden, they use floodlights and keep on going. Finally as the eastern clouds streak a tinge of pink and yellow, exhausted bodies yawningly carry the equipment back to the station wagons and head off.

The clock in the main mallroom read 6.10 as the last of the trucks roars off through the steel gates in a cloud of dust.

And when the day breaks in our stately home we'll sit Remembering those nights before our hearts were set Hoping is not enough to live upon With such a far far cry I can't go wrong

- Judd-Finn, “Maybe” from Mental Notes, 1975

And all we’ll see on our TV screens will be a little over three minutes of it.

[happyinjection]

♠️♥️High Card Short Story 5 “Poison Phenomenon” (1/3)♦️♣️

Finn and Leo, who were constantly at odds, surprisingly shared one thing in common: a favorite band. However...

Original: https://twitter.com/highcard_pj/status/1539443354550685697

Author: https://twitter.com/poipheno

Artist: https://twitter.com/ebimoji3

“Wrong. I understand what you’re saying. But it is surely their early days, ‘cause that’s when the riffs stood out.”

“No, it’s during their rise to fame. One can say that they peaked during the transitional period to the current era, where experimental fusion with other genres gets really ingrained in your ears.”

We were occupying the showroom of Pinochle Old Maid branch office. I had pulled a stool next to Leo’s desk and sat down with him. Leo kept his legs crossed while leaning against his backrest and armrest.

“That’s why, the true value of their frontman, Jeff, was only demonstrated through his raw songwriting during the early days of the band.”

“I don’t deny it. However, it was thanks to musical diversity backed by textbook proficiency that Poipheno has earned their reputation today.”

—Poison Phenomenon. Or Poipheno for short. It was an FK[*] rock band which I admired a lot. In the orphanage, I didn’t receive pocket money, so somehow I managed to scrape together a few, and I had been buying secondhand CDs and other goods little by little.

Just recently, through a chance encounter, I learned that Leo was actually a fellow fan of Poipheno. Ever since then, we would occasionally talk about Poipheno and one thing led to another, but perhaps because we were born and raised too differently, at its core our tastes didn’t exactly match.

“Leo, give it a listen one more time.”

I plugged my earphones into my smartphone and stuck one of the earpiece into Leo’s ear.

“Oi, don’t touch my body without permission.”

“Whatever, just listen.”

I put the other piece into my ear. As soon as I pressed play, what flowed through was a killer tune from their first album, “Get Me Out”.

As the norm for a band’s indie days, the recording quality wasn’t the best, but it was precisely why the charisma of their vocalist and bassist Bill stood out.

I moved my body along to the song instinctively. No matter how many times I’ve listened to it, it would still tug on my heartstrings.

“Huh, if it’s not you two. Acting like lovers like that, what’s gotten into you?”

Wendy, with a document in hand, was peering at us. Taking off her work glasses, she blinked several times in disbelief.

“We’re listening to Poipheno. Don’t you dare interrupt this sacred moment. Or else I’m gonna blast it off.”

In the showroom, originally some classical music or something along that line which I didn’t get at all was being played. Compared to that sort of sleep-inducing, classy stuff, Poipheno was ten thousand times better.

“Finn. Wendy is a bit artistically-challenged. Excuse her behavior.”

Wendy let out a small yelp, and the papers fell off her hands. Following that, she clamped over her mouth using both of her hands.

“Leo is standing up for Finn...... Gross......”

“Why do you think that. It’s wonderful to see that those two seems to be getting along well and spending time together, isn’t it.”

From his desk, Vijay remarked. 

“It’s the law of similarity, you see. Poipheno is what’s connecting them.”

While sipping chai from his glass mug, he stroked the leaf of a houseplant sitting on his desk using his fingertips.

“By the way, what’s Poipheno?”

It was Wendy asking. I got caught off guard by her question and fell off my chair.

“You’ve never heard of Poipheno before?”

“I guess not. Is there anything wrong with that?”

Leo, too, sprung to his feet with an accusing glare in his blue eyes.

“You! Do you seriously live in Fourland?!”

“That’s bad news, Wendy! Absolutely dreadful news!”

“Huh, wha, what did I do wrong?! Vijay, what are they talking about!”

Wendy might not be aware of it, but she had a gullible side, and as such was easily swept by the tide.

Vijay returned the look with eyes that did not falter in the slightest.

“Yes, I do. They’re a 4-piece band from Silphium. They’ve released a series of smash hits that have been highly praised by music critics. In their early days, they used to be a hard rock-oriented FK rock with dominant riffs, but since the all the members had graduated from music school, they have also incorporated jazz and fusion at some points. During the latter half of their discography, somehow they also incorporated a progressive feeling into groove, while still maintaining their pop sound. It is said that they’ve left a significant impact on the future of Fourland’s music scene. Classifying them into any particular genre is difficult, and they continue to release highly accomplished works, thus despite their short period of activity they are considered to be a legendary band.”

“No way..... You clearly know too much.”

Suddenly, Wendy knocked some sense back to Vijay, who had been rambling without a pause. In excitement, I blurted out.

“Vijay! Were you a secret fan too!?”

“That is not the case.”

“Well then, do tell me. What do you not know, instead?” I kept on cornering him.

At the same time, Leo jumped right in the middle of the showroom.

“We’re temporarily closing the shop. If there are any clients coming, I’m leaving it to Bernard.”

Wendy flailed her hands in the air.

“Huh!? No, no, you can’t possibly do that--”

“It’s Poipheno in the heart of the problem! Wendy, do you even understand how dire it is!?”

“Right, right!”

I took advantage of the enraged Leo.

“Damned if I do, damned if I don’t.....”

“Finn, blast it off.”

“Aye, aye, Manager Sir!”

“Good grief..... If only you’re always this obedient, our job would go so much more smoothly, wouldn’t it.”

Wendy commented with as much sarcasm as she could muster. Ignoring her jab, I turned the volume on my smartphone to maximum.

“Music start!”

♠️♥️♦️♣️

TL notes: I’m in no way a professional translator so if you find any mistakes, please do not hesitate to inform me right away. [*] As Muno has clarified in his podcast, apparently “FK rock” means “Fourland Kingdom rock”! As you may have guessed already, it’s a direct parody to “UK rock”. That gives an impression of how Poipheno’s music would possibly sound like...

[marvel-classic-rock]

Being a Band Roadie for Kylo Ren’s Rock band (70s and 80s AU)

-Ben Solo Feeling like an outsider as a teenager and twenty something. He believes no one understands him and tends to gravitate towards the rock music of the era as a way of expressing himself (i.e. AC/DC, Guns n Roses, etc.)

-He starts a band when he turns nineteen with some people he hates the least and one person that he absolutely despises 

-He decides that his stage name is going to be Kylo Ren just because he thinks that it sounds cool and he decides that his band is going to be Knights of Ren

-Ben is lead vocals while Armitage Hux is rhythm guitar, Phasma (we never really know her real name) is on drums, and Finn is on lead guitar (he honestly had no idea how he got here, he was kind of pulled off the street and told you are going to play your guitar in our band, hey it paid ok)

-Your introduced to the Knights of Ren when you go to a local bar in a town your passing through

-While they sound like almost every other hard rock band of the era, there is something different about them, almost otherworldly 

-Right after that, you decide to become a roadie for their band 

-You kind of just join them and they don’t really notice you until your start packing up their equipment one day

-They really don’t say anything though because it means that they don’t have to do it

-Being with them as they become more famous and actually get contracts with record labels 

-Eventually being in charge of most of the other roadies and making sure that their arena concerts run smoothly 

-Striking up a friendship with Finn, who is the friendliest of the band 

-Most of the other roadies tend to avoid Kylo because he can be…intense and hates most of the people around him, but he is oddly the most popular one with the girls (you think it has something to do with his looks and the fact that he acts like he is a bad boy and needs fixing)

-Doing damage control when Knights of Ren has interviews with the press because Kylo tends to just tell people to fuck off when he’s ready to leave, Phasma refuses to speak at all, Hux usually glares at the camera, and Finn has a doofus grin on his face

-Having to pull many girls off of Kylo when he is out in public because they tend to throw themselves at him

-Hux is very awkward when this happens to him because he does not know exactly how to handle it

-The only one of the four of them that you find most tolerable is Finn

-Often getting into arguments with Kylo before concerts when you’re setting up because it has to be exactly the way he envisions it

-”I’ve been your concert set up manager since the beginning. I’ve worked with you long enough to know how to set up. So just back off, ok? Do you remember the last time I let you have free reins for setting up? Your performance after that didn’t go too well. So just step back and let me do my job.”

-Often calling him jackass, asshole, or a pain in your ass when he gets on your nerves 

-The both of your are constantly at each other’s throats 

-Often getting into arguments over whether the Bon Scott or Brian Johnson music of AC/DC is better and when you try to get the other band members involved, they usually just roll their eyes and mumble something like “this is an idiotic argument” (Hux) or “Oh, god. Just kiss already” (usually Phasma or Finn if he’s in a bad mood)

-Despite the press claiming that you and Kylo had “unresolved sexual tension,” you both can’t stand each other and often tend to be as far away from each other as possible 

-When asked about said tension by the press, you gagged and said you’d rather hook up with Hux or Finn and that you would never touch Kylo with a forty-foot pole 

-Eventually you do end up dating Finn and when this happens the press has a field day

-The most nerve wracking is probably when you have people with backstage passes coming to meet the band. Because while Finn can be pleasant, Kylo, Hux, and Phasma can be…well…quite rude, especially if they feel that they really don’t need to be there

-Often having to hear Kylo complain about having to sign so many posters, pictures, vinyl records, and other memorabilia 

-”Well, what did you expect? That most people were going to leave you alone? You don’t become a rock star if you want that.”

-Somehow being able to hold onto your sanity while working for the band

-Often face palming when Kylo talked to fans because he could be brutally honest and mean to some of them if he really didn’t feel like being there. Even if he had to

-Somehow Knights of Ren stays together for an amazing twenty years before breaking up in 1997

-Even after the breakup, there are still fans who beg for them to come back and either do a reunion or make new music together 

-They come back together fifteen years later to make new music and do a reunion tour because you can’t stay away from rock forever 

-And you get roped into being the stage manager again. This time though because your husband, Finn, had begged you to come with because he said he didn’t know how long he could last without you there 

-Often being asked to summarize what it’s like working for and with a rock band. To which you reply with a verse from It’s a Long Way to the Top

-”Gettin’ old, Gettin’ Grey

Gettin’ ripped off, Under-paid

Gettin’ sold, second hand

That’s how it goes, Playin’ in a band”

-The reunion tour is much larger than you had expected. Most of the band thought it wouldn’t be as big as it was

-During the reunion tour is when you realize just how much of an influence the band had on music in pop culture and everywhere you turn you see young people wearing clothing items with the band logo on them

-Constantly having to wrangle Kylo, Phasma, Hux and your husband during most of the tour and usually saying that you have six children instead of two

-People often claim that both your boys will follow in their father’s footsteps and when interviewers ask you about this your answer is usually, “Well, what about what I do? They could follow in my footsteps as well.”

-Being super excited over the new album releases because then you’ll get to see how the fans react to it being played at concerts 

-Often having to stop fights between Kylo and Hux who at times can absolutely love each other and then, at others, hate each other’s guts

-The weirdest thing is that Kylo, Hux, and Phasma all love your children to death and are the sweetest you’ve ever seen them around your children

-The band can act like children and then you have to come and referee and fix things if they messed something up with a fan or an interview 

-Especially with Kylo because he has no filter and often speaks exactly what he thinks and he tends to curse like a sailor and often tells a lot of people to fuck off (you still don’t see why so many girls love him)

-Seeing old pictures of the band and having to stifle your laugh when you look back on Kylo’s teased “Metal Hair”  

All rights go to their original owners. Kylo Ren gif not mine 

[mwitchipoo]

In the past few years, I’ve done portraits of famous musicians and icons, such as David Bowie, Lemmy Kilmister, Quentin Crisp, Prince, Muhammad Ali, Elizabeth Taylor, Wendy O Williams, and a few others. My focus are on those who had some sort of impact on my psyche, whether it’s small or significant.

Which brings me to Marc Bolan. My introduction to the ’70s Glam band T Rex was through covers by Bauhaus, Violent Femmes, Powerstation, Siouxsie and The Banshees, etc. Being curious, I decided to go straight to the source.

  Recently came the news that T Rex is going to be an inductee into the 2020 Rock & Roll Hall of Fame. Usually I don’t give a rat’s ass about who’s been included. Being part of Gen X, I should’ve been happy for Depeche Mode and Nine Inch Nails. Instead I’ll wait to rejoice when Kraftwerk gets in. I’m always that one person who goes against the grain.

For those who don’t know who Marc Bolan is, here goes. Marc Bolan, real name Marc Feld. His father was an Askenazi Jew, his mother English. Marc was born for the showbiz life. He first appeared as an extra on the British television show Orlando as a Mod. Age nine he was given his first guitar, and his life course was set. After being expelled from school at the age of 15, he tried modelling. It’s rumored he was bisexual, piling his trade as a ‘rent boy.’ In 1964, Marc met his first manager. The result was one of Bolan’s professional recordings. The track was in the style of U.K. teen idol Cliff Richard. Marc soon moved on to a second manager. He had changed his style, adopting a Boho-chic look. The contract was later sold to a landlord to back off back rent, in which the contract was later destroyed. In 1965, Marc signed Decca Records. It was this point Marc switched his stage name to Marc Bolan. Two Decca released singles went nowhere. In 1966, British music producer Simon Napier-Bell, met Bolan, listening to Bolan’s claims about how he was going to be a ‘big star.’ Napier-Bell was managing The Yardbirds at that point. He put Bolan in the band John’s Children, which had some success. It was short-lived, so Marc had to reconstruct his plans for stardom. Influenced by fantasy and romance, he came back with the first formation of T Rex, originally known as Tyrannosaurus Rex

Tyrannosaurus Rex gained a cult following among the U.K.’s Hippie subculture, releasing four Psychedelic-Folk-Rock albums. However, Marc wanted more. Despite charting success, percussionist Steve Peregrin Took was terminated due to drug use. Tyrannosaurus Rex then developed into T Rex, adding electric to the sound. Took was replaced with Mickey Finn on the bongos.

1970 saw the release of the rebooted formation with the self titled album T Rex. As the cliche goes, the rest is history. Marc reinvented himself yet again, setting the bar for what would be known as ‘Glam Rock.’

  The timing couldn’t have been more perfect. This also synchronized with David Bowie’s Ziggy Stardust era. In fact, both T Rex and Bowie worked with the same music producer, American Tony Visconti and the same manager, Les Conn. Hippies were replaced with teenage fans as Marc performed on stage wearing satin and glitter. This is the iconic T Rex everyone knows. At one point T Rex was as huge as The Beatles over in his native country. T Rex did have success over in the U.S., with the top 40 hit ‘Bang A Gong’, but never as massive as they were back in the U.K. With releases such as Electric Warrior and The Slider, the band was rumored to be selling 100,000 records a day.

What’s up with these ’70s rock stars wearing pants a certain way? 

It really should be noted that Marc would probably never had the success if it wasn’t for his wife, June Ellen Child. June Child already had connections within the British music industry, and was instrumental in T Rex’s success. Finally Marc achieved the rock star status he so desired.

Marc and June on their wedding day

Marc Bolan and June Child

Marc Bolan and June Child

The wave continued to ride high, appearing in Ringo Starr’s film, Born To Boogie. After the album Tanx in 1973, the success T Rex had started to taper off. His marriage was disintegrating too. Marc found new love with American R&B singer Gloria Jones. Jones has her own interesting history. She was involved with Motown. Finding success in the U.K., she was the Queen of  the Northern Soul movement. Most importantly, Jones was the original vocalist for the song Tainted Love, later made internationally famous by ’80s New Wave band Soft Cell.

Marc and Gloria’s paths first crossed in 1969. It wasn’t until 1972, when Jones got a gig as T Rex’s backup singer.  You can guess the rest, as Jones and Bolan became romantically involved. Out of that union, Jones gave birth to their only son, Rolan Bolan in 1975. By that time, Bolan’s star was fading. He had gained a bit of weight, acquired a drug habit, and record sales slowly declined. Jones and Bolan continued to collaborate. In 1975 Jones did background vocals for the T Rex album Bolan’s Zip Gun. Unfortunately the tenth studio album did poorly, only being released in the U.K. (The American version was Light of Love, released on then new Casablanca record label) Another pairing for Jones’ 1976 album Vixen. Jones continued her tenure with T Rex with the albums Futuristic Dragon and Dandy In The Underworld.

Marc’s luck turned around in 1977, when he landed his own variety show on Granada Television. Now this synchronized with the imminent U.K. Punk movement. (The Damned opened up for T Rex on a later British tour) Marc had a few appearances from bands like The Jam and Generation X (with future ’80s New Wave superstar Billy Idol). Thin Lizzy also did a guest spot on Marc. The rest was littered with local performers, never to be heard from again. David Bowie was the most significant delegate, with a spot on the last Marc episode. Bowie was both a rival and a friend – but later proved himself to be a loyal friend as we’ll find out later.

Marc was renewed by Granada, but the next season never came to be. After celebrating on September 16, 1977, Marc and Gloria got into a car crash. Jones was the driver of the Mini 1275GT. While Jones survived, Bolan died instantly. Marc Bolan was only two weeks from his 30th birthday.

While the funeral was taking place, Gloria Jones was hospitalized in a coma. When she came to, to her horror she discovered the home she had shared with Marc had been looted dry. Further matters were complicated because Bolan never divorced from his estranged wife June Child. This meant that Bolan’s was tied up, freezing both Jones and the child she had with Bolan out. Skipping the U.K. legal inquiry over the car crash, Jones and the son returned back to Los Angles, California. Jones continued to be involved with the music industry, but destitute. This is where David Bowie comes into play. Bowie just happened to be the godfather to Rolan Bolan. Refusing to have Rolan continue suffering, Bowie stepped in providing financial assistance, paying for Rolan’s education. It was all due to Bowie’s loyalty towards friendship he shared with Marc Bolan. It wasn’t until June Child’s death in Back in the U.K., a plaque was placed where the crash occurred. For decades, the site has, become a small pilgrimage to T Rex fans.

Over the years, people have held torches in Marc’s memory. Marc On Wax was a label run by two former heads of Bolan’s fan club. Most importantly, the influence Marc and T Rex had continues. As mentioned earlier, many late ’70s/’80s Post-Punk and Alternative bands have covered many a T Rex ditty.

As for Gloria, she later co-founded with the Light of Love Foundation UK, a music school in Sierra Leone, West Africa named in honor of Marc. Called Marc Bolan School Of Music, it gives children opportunities to learn all facets of music and film. Oh, and in 2007, she did a duet with Marc Almond once on a U.K. stage performing Tainted Love.

Gloria Jones and Marc Almond on stage. 2007. 

Honestly, I don’t know why there’s hasn’t been a biopic film about Marc. If they can do one on Freddie Mercury and Elton John, surely they can do one on Marc. I digress.

Now that you’ve read more about Marc Bolan than you originally wanted to, here’s my portrait of him, just in time for his induction into the class of 2020, Rock & Roll Hall of Fame. Hand drawn, pen, ink and watercolor. There’s a tiny bit of sheen and glimmer with the watercolor, but I don’t think Marc would’ve minded. Here’s a little Marc in your heart.

Marc Bolan. Pen, ink, watercolor. Illustration by Michele Witchipoo. Completed March 2020. 

    Marc Bolan – T. Rex In the past few years, I've done portraits of famous musicians and icons, such as David Bowie…

[remember-wim-faros]

Episode 1 - Are You Listening?

[voice echoing] When a tree falls in a forest and no one’s around to hear it,

it makes a sound!

[birds chirping] Ladies and gentlemen. We have found the music! It had been lost, as so many things are lost. Missing, disappeared, misplaced, vanished. Every day, what falls into obscurity without anybody noticing? Without anybody paying attention. What is locked in the attic?

I mean, let’s talk about some things that have been found in an attic, or spaces like attics. Did you know that Van Gogh’s “Sunset at Montmajour”, that beautiful painting, was found in an attic? Or that the original handwritten manuscript of “Huckleberry Finn” was found in an attic? The “Venus de Milo” was, well no it’s no-not an attic but, buried in a farmer’s field, unearthed by a peasant who came across some stubborn soil.

Did you know that the only copy of the pilot of “I Love Lucy” lay under the bed of Pepino the clown for 30 years, until it was swept out by his widow when she finally cleaned up around the place and taught to herself, this is pretty funny.

All these masterpieces just a broom sweep away from history’s dustbins.

And today, today! Recovered from a neglected attic of a suburban townhouse, one cassette tape destined to be sold in a garage sale, containing what is likely to be the first recorded concert of Wim Faros.

So.. who is listening? Hello? I’m Deirdre Gardner, and I welcome you to my new show. “It Makes a Sound”. [thumping, windchimes] It’s the first and only show in the nation dedicated to Wim Faros, native son of our Rosemary Hills. Where together, we’ll be part of a musical legacy. We will prepare to receive the genius that is Wim Faros. And to return him, like a prodigal son, to this deprived land. I will be the one to provide you up to the minute news and information about the artist, as I discover it. The name – Wim Faros. The subject – genius. And its location? Where us extraordinariness, I ask myself, don’t you? Don’t you ask yourself that? Extra..ordinariness, where I it today? Where are the truly exceptional ones who, out of our sheer proximity to them allow us to glimpse the intersection of our little lives, with the profound? Who walks among us? Is there anyone? Who walks among -us-, all the little uses? [chuckles] Uses… eh, eh, rolling lint off our pants. Uses, squeezing avocados in the grocery store and never picking the ripe one. Uses um, driving up and down the side streets to work because highway frightens uses. Uses um, drinking chamomile, attempting inverted yoga poses, popping melatonin and crossing our fingers as we slink into bed for the night. Where can we look here, in this vast wearied landscape of Rosemary Hills? Where our weathered old water tower reminds us in fading letters of past town mottos. Such as “golf capital”. Or “Rosemary Hills is alive with the whirr of commerce.” Or “Let’s tee in the hills.” But where now, the best boast we can master is “easy access to the highway”.

Well. Here, amidst the now abandoned golf course and its neglected grass, amidst the shuttered strip malls and these potholed streets, the extraordinary has tread. And the footprints, they linger. If you know how to look for them. And I think I do.

My fellow people of Rosemary Hills, citizens of the world, what have you forgotten? What treasures have we hidden under cobwebs and dust? What beauty awaits us on the other side of that drywall, as we wrestle fitfully in our sleep? What life lingers on these old fairways? What wonders just passed us by, as we bowed our head towards.. uh, a brightened 3-inch screen? Our necks hurt, our brains are zapped from too much screentime, our souls ache, and suddenly decades have past us by. Like poof. What are we missing?

Do we remember what used to be held in the delicate folds of our heart? Do we remember how things used to sound? Smell. Feel. Taste. I want to.

It’s time to unpack the attic! Today, we have a mind-boggling discovery. A confirmed to be authentic tape containing what is known to be Wim Faros’ debut public musical appearance here in Rosemary Hills, in the year 1992. And so we are not going to rush this moment, like we rush everything. We’re gonna slow down, we’re gonna savor. We are going to consider the tremendous significance of this relic. In order to fully appreciate it.

And thus, it is my privilege on this day of days to hold in my hands this freshly discovered tape. It’s an ordinary-looking cassette tape. But.. it’s possible some of you have never held a cassette tape. I will explain. Because, though it contains the stuff of wonder, to the human eye it is just a 3,5 by 2-inch clear plastic rectangle with two holes in the middle. And these holes, they have six little black teeth. Non-threatening teeth, so that you could feasibly uh, insert a pencil or a pinky finger, should sometime go [wry] [0:10:09]. Like if the delicate tape needs your manual assistance.

Now that tape is a very thing, translucent gray strip, of course containing some magnet um, magnetic properties. So and it’s spooled around the left hole, and as the tape plays in the cassette tape player, the tape will run along the bottom edge of the rectangle across a tiny magnetic strip. And the magnets pull the music out, with magnetic force, until it is fully spooled around the right hole, which means the tape is finished and you have heard the music. And that’s how a cassette tape works.  

I’m Deirdre Gardner. This is “It Makes a Sound”. I am describing a cassette tape.  Perhaps the most important cassette tape there ever was.

No won this particular model, we have a yellow sticker that covers the smooth section of the cassette. Nad written on that cover in purple felt tip pen, in bubble letters, is “Wim Fa”, but a waterspot has obscured the “ros”, leaving a purply pink splotch. It’s very pretty, like a watercolor. And underneath, with that same pen and font: “1992”. Crudely drawn stars in uh, multiple colors of pen, speckle the entire sticker. I mean… it’s great. it’s really incredible that one small object can capture so much of an entire era, even just aesthetically. We all seek the soundtrack of our lives, don’t we? And we wish to be privy to the voices of our generation. Yet it its a profound rarity that an artist like Wim Faros crosses into your limited sphere of existence. It’s like an alien prophet touching down on a ordinary Tuesday afternoon in a chain store called The Last Topper. Suddenly making the universe crack open to reveal infinite shards of meaning barely comprehensible to you. Standing there in cargo shorts, holding a casserole dish. Yes, yes. it’s hard to determine the full effect on Wim Faros’s music on this simple town of Rosemay Hills in the early-to-mid 90’s. it’s difficult to quantify the extent of – sacred devotion he inspired in his earliest fanbase.

How do you hold a moonbeam in your hand? That was a time without social media and its um, incessant public proclamations to hashtag, trending desires of the moment. Yesterday’s youth had to be more – intuitively united in our common affections. Had to keep the faith that even in a friendless existence, for instance as an example, living in an inherited furnished townhouse on the edge of Rosemary Hills’ gated golf course community, there were kindred souls somewhere underneath that same blue sky, wishing and waiting for a connection, just like you. Though perhaps at times to love in solitude, from afar, in the most generic of settings, was lonely and painful. That melancholy was trumped by a feeling of purpose. The purpose that comes from knowing that if someone out there could so perfectly capture the nuanced secrets of your soul, there must be greatness and solace in this universe indeed. isn’t that why we listen to the music? Isn’t that why we listen to the music?

We must ready ourselves to listen to the music. But I will say, even without the ease and benefit of cached fan pages or blogs serving as testimony to the early Wim Faros effect, the artist did manage to be a catalyst of cultural awakening in the town zeigeist. If a town can have a zeitgeist, can – sure. And there is archival evidence of the first reactions to Faros’s artistry. In fact… I happen to be in possession of documents from a Rosemary Hills resident who encountered Wim Faros in his earliest musical phase. Now, some of these pages are enclosed within a purple velveteen diary that I now have in front of me. The writing appears to be by the0 hand of a 12-year-old, I would estimate. And the paper is white ruled. And I seem to have come across a lengty series of haiku. Perhaps I sould share just a few of thes with you, for the sake of research. it’s a segment.. [rummages around] We’ll call it – the poetry of a little us.

[bangs a cong] You have changed my life by allowing me to see even thought you don’t see me.

[cong] I am hard to see in a golf community with many sand traps.

[cong]

You have a blind spot for almost nothing. But one in the size of me.

[cong]

I am the catcher you are a rare butterfly that I cannot grasp.

[cong]

Butterflies upclose freak me out. But you fly free, beautiful and free.

[cong]

I catch butterflies, yes, but I am afraid too. A contradiction.

[cong]

Faithfully you come to the window of my dreams singing: la la la.

[cong]

What is this music? Like, I never heard music before you played it.

[cong]

Now, those are just a few haikus and there are lots more, [chuckles] written here in Rosemary Hills circa 1991-1992. Likely dedicated to one Wim Faros.

[pause] If you’re just tuning in, hello. Welcome. I’m Deirdre Gardner, and this is the first episode of my show, “It Makes a Sound”. A discovery has been made in the attic. it’s Wim Faro’s first live album. It’s the real deal, it’s not a hoax, and it’s so rare that he only known copy exists, recorded from some distance, on a cassette tape. There is nowhere else in the entire universe where you will be able to hear a 16-year-old Wim Faros shaping what comes to be known as the sound – of an epoch. E-P-O-C-H. Stay with me and you will hear it here first, folks, because I have the tape and you’re gonna get exclusive access.

So we’re discussing Wim Faros’ formative teenage years as a musician, right here in Rosemary Hills. We’ve just begun working towards a fuller understanding of the human behind the mu-

[static] [hoarse voice] Who’s there? Who?

Deirdre: Oh, Jesus..

[static] I know, I know.. I know you! I knew!

Deirdre: Are you asleep?

[static, snoring]

Deirdre: Are you? Who’s that? (It’s something). OK. OK.

OK. Everything is good. I’m back. And i’m excited to introduce a new oral history segment of the show, based on town legend and lore around Wim Faros. It’s called – a portrait of the artist as a young man.

[music box plays] A light in the window of the second floor. The only window on the second floor, means Wim Faros is in his bedroom. And almost always when he is in his bedroom, he is drawing on the wall. What was on that wall? Everything was on that wall. The winds of change blew on that wall. The.. unfettered scrawl of technicolor wonders. The rainbow, a paltry container for the variety of colors applied to that wall. New color names would have to be invented. The ongoing overlapping shifting images and symbols, muraled, frescoed, appliqued, on that wall. All these ideas spewing forth from the eclectic multitudes of a single creative mind. In a blue and tan flannel shirt, his right arm braced against the drywall in an L-shape above his head. The bottom of his sleeve ripped and hanging down, he looks like he’s whispering secrets in a confessional. But he is drawing. There’s a lava lamp somewhere, out of view of the window, and it casts blobby spots that climb up and down the room, catching Wim’s distorted shadow when he’s out of view of the window frame. His left hand moves delicately or scribbles furiously. He is left-handed, as statistics prove that most geniuses are. If you’ve been watching, over the course of several months, you would have seen – his fantastic mural take shape.

In the center, a five-foot tall octopus, with the uncannily rendered face of Diane Sawyer. Her arms spread open, Christ-like, with magnolia blossoms and spiders dripping from her fingers. A flock of owls flying over a forest of pine trees. Each face of the moon, paired with a pizza pie of different toppings. Eight personalized pan pizzas, for eight different moons. A ninja army battling a family of squirrels throwing sharp acorns. Pages falling from a Gutenberg Bible into the gaping mouth of a Native American chief. Snoop Dogg. Scully riding a Mulder centaur as Ross Perot hoverboards over their heads! He was getting political.

As the seasons pass, the wall incrementally becomes and intricate map of his fertal, fertal inner life. Repetitions of hummingbirds and starfish, cans of beans, nunchucks. Later, peacocks. A dragon breathing fire, melting the iceberg just before it sinks the Titanic, which passes into clear skies. Dracula playing video games in front of a television set, flickering with an image of outrage from the Rodney King riots. And toaster strudels flying out of toasters into the rings of Saturn! Kurt Cobain offering an origami swan to a sobbing River Phoenix. And hundreds of other elegantly drawn details, too small to make out from a distance, that create a constellation of.. enlightened connectivity across the peeling beige wall.

And almost every night, after all the lights in the windows of the bungalow go dark, if you cared enough to pay attention, you would see the single beam of a flashlight splice a path behind the house, pointed towards a lopsided shed some 40 yards away. And if you were standing right up against the fence that separates Rosemary Hills’ gated golf course community from the unincorporated land that stretched out behind the scattered houses on Chamelia Road… you would hear a soulful strum of guitar, and a crescend of drums. Because in that decaying shed, surrounded by the loneliest darkness that is suburban darkness, is where young Wim Faros made the music. It was that music that pulsed through this town, permeated the air, pumped through the water.

Did everyone hearken to the call? No. If a tree falls in a forest and no one’s around to hear it wall, does it make a sound? Well. I’m here to tell you: trees have fallen. Trees are falling. And you may listen, but do you hear?

People of Rosemary Hills, it is time to hear. It is time to hearken. Hearken. I believe in your ears. Wim Faros sang for you. You didn’t know, but he will sing for you again. He has been lost in the attic, but now he is found. And maybe, [sighs] I don’t know. Maybe… maybe you’ve been lost in the attic too. There was greatness in our midst, transcendence, eccentricity, nuance. I’m Deirdre Gardner, and I believe that when a tree falls in a forest, it makes a sound. And i’m inviting you to try, to truly hear, and to remember. So stay tuned for my next episode when that music, lost but now found, will be born again straight into your ears. When you hear the first track from Wim Faros’ debut concert. The first track, perhaps, of the rest of your life.

This has been the inaugural episode of the first and only show in the nation dedicated to the music and legacy of Wim Faros. Thank you for listening. If you have any information about Wim Faros that you think should be shared with our listeners, or if you own a working cassette tape player, do not hesitate to contact me. Um, I, I guess for now you shoud just ca- um email me at ddg at.. no let’s not do that um, i’ll create, I’ll create a new, yes you can contact me at wimfaros@aol… Actually no. please contact itmakesasound@aol.com. Thank you. I’m Deirdre Gardner. Til next time.

 [windchime]

“It Makes a Sound” is created and written by Jacquelyn Landgraf. Co-directed by Jacquelyn Landgraf and Anya Saffir. Sound design and engineering by me, Vincent Cacchione. Original music Nate Weida. With Jacquelyn Landgraf as Deirdre Gardner and featuring Annie Golden as the voice from downstairs. It Makes a Sound is a Night Vale Presents production. For more information on this show and other Night Vale podcasts, go to nightvalepresents.com. We hope you’ll rate and review “It Makes a Sound” on Apple Podcasts, and that you’ll tell your friends and all sorts of other humans to listen to the show, to hearken to the trees. And remember Wim Faros.

[reminiscent-bells]

best-ofs, 2017

putting in a break here, this is real long

best book I read: The Handmaid’s Tale, Margaret Atwood

It seems trite to pick this in a year where every Tom, Dick, and Harry was comparing the Trump administration to Atwood’s novel and when Amazon was putting on a big-budget adaptation (which, for the record, I have not seen). The effect that this had on me, though, cannot be understated. Sad, wry, and all-too-familiar in places, this is a masterpiece that deserves to be up there with 1984 and the rest of the great nightmares.

honorable mention: The Thousand Autumns of Jacob de Zoet, David Mitchell

I’m not much of a historical fiction person, but this masterfully wrought story of a Dutch clerk and a Japanese midwife in early-1800s Japan is well worth your time.

best comic: Batman, Volume 1: I Am Gotham, Tom King, Mikel Janin, et al.

King and his collaborators’ work on Batman since DC’s most recent relaunch seems to be on a trajectory to match or even surpass the Grant Morrison era in the pre-New 52 era, a reshuffling of the core cast that will pay huge dividends down the line (if DC actually makes a wise long-term decision for once, which, who knows). Despite his tendency to learn a little too hard on certain stylistic tics, I think King might be the best writer working in superhero comics today.

honorable mention: Detective Comics, Volume 1: Rise of the Batmen, James Tynion IV, Eddy Barrows, et al.

Yes, two Batman titles in one year is a bit of a cheat, but this is so fun that it’s hard to pick something else. Tynion turned up on a panel discussion on the great comics podcast Jay and Miles X-Plain the X-Men where he was introduced as the writer of “DC’s new X-Men title, Detective Comics”, which is exactly what this is - a team of misfits and outcasts cobbled together by a reticent, demanding mentor...who in this case is Batman. This is easy to miss out on with all the fireworks over King’s work, but give it a shot.

best comic (non-2017): MIND MGMT, Volume 2: The Futurist, Matt Kindt

Kindt’s work on the beginning of his psychic-X-Files saga MIND MGMT was good, but the second collection reveals it as a ship-in-a-bottle in the middle of a much weirder, wilder museum - there are few volume 2s that build on the success of the first as much as this one does.

honorable mention: BPRD, Volume 3: Plague of Frogs, Mike Mignola, Guy Davis, et al.

The first few collections of this series, following Hellboy’s teammates after he quits the secret BPRD organization, kind of flounder, but Davis and Mignola really hit their stride here with this sequel to an earlier Hellboy story that grows into a hybridization of Mignola’s earlier work and a Stephen King novel.

best movie: Blade Runner 2049

This also feels like kind of a cheat given my love for the original, but there was simply no other movie that had my gears turning after I walked out of the theater like this one did. The plot elements of this, of course, have been speculated on endlessly since Ridley Scott released the Final Cut of the original film, but My Guy Dennis Villeneuve manages to introduce enough new elements and uncertainty in the mix to keep you guessing - I found myself continually questioning what I really knew about anything that had happened or was happening. It was always going to be impossible to make a movie as good as Blade Runner, but Villeneuve came closer than anyone could dare.

honorable mention: Star Wars: The Last Jedi

I have my misgivings about the Finn and Poe portions of this, which feel like they mishandled the two more than a little, but the Rey/Luke Skywalker storyline is, as a whole, a barn-burner, building on both Rey and Luke’s characters in extremely satisfying ways. It was easy to imagine where they might go from Rey and Luke on the island at the end of The Force Awakens, but I don’t know if I imagined they’d go here, which is what makes this so great.

best album: I See You, The xx

I gave this a pretty casual listen on Spotify when it came out as I was kind of a marginal xx fan - I enjoyed their first album but didn’t really care for Coexist. I was totally blown away and listened to it all the way through several times (this is something I rarely, if ever, do with big pop/pop-ish releases). Virtually every track on here except for the extremely forgettable closer is perfectly performed and produced, from the playful, somewhat taunting “Dangerous” to the self-doubt-as-anthem “On Hold”. Should go down as their best album to date.

honorable mentions: Piety of Ashes, The Flashbulb / Sleep Well, Beast, The National

I couldn’t decide between these two, so here’s a twofer for you. Benn Jordan’s style as The Flashbulb has shifted along a spectrum of sweet spots between acoustic music and electronic music, and he seems to have somehow found the sweetest one yet in Piety of Ashes, which alternates between intimate material you might have expected on Arboreal or Love as a Dark Hallway (”Starlight”, “Goodbye Bastion”) and big, broad electronic pieces that feel like Jordan uncovered something he could always do that was just off-camera (”Hypothesis”, “As Water”).

When I first heard Sleep Well, Beast my comment to a coworker was “I only like some of it now, but I think I’ll like it more as time goes on”. This was a rare example of me actually showing some predictive ability, because this has really grown on me with time (maybe its intent as commentary on life in the Trump world as something to do with this). Highlights are the sad, sweet “Nobody Else Will Be There”, also-sad-and-sweet, but in a different way “Carin at the Liquor Store”, and the driving dark heart of the entire thing, “The System Only Dreams In Total Darkness”, which has been a constant play for me this fall/winter.

best TV show: Twin Peaks/Twin Peaks: The Return

A triumph for David Lynch and Mark Frost in every sense of the word. The era of “prestige TV” feels like a cheap trick by HBO, AMC, et al. to get us to watch the same old stuff with a slightly higher budget after 18 hours(!!!!!) in, around, and beyond (and I mean beyond) Lynch’s little town in the Pacific Northwest. Kyle MacLachlan deserves about 400 awards for his triple (quadruple?) role here.

honorable mention: Mr. Robot

I think Sam Esmail failed to stick the landing again (I wasn’t a fan of season 2), but the earlier parts of this season are maybe the highest highs the show has ever hit - Elliott and Mr. Robot fighting over his body in the bowels of the ECorp fortress from the end of season 2, Darlene struggling to extricate herself from the FBI, and the terrifying-yet-awe-inspiring scene of Angela laying out her plans to Mr. Robot as New York comes back to life at the end of the first episode. This isn’t always the best show, but boy, can it ever be good.

best video game: The Legend of Zelda: Breath of the Wild

This is to video games as Lynch’s third season of Twin Peaks was to television: a throwing of the gauntlet to every competitor to dare and match this. Where other games would put physics puzzles in their own little sandboxes, BOTW applies its physics to just about everything and lets you see how far your tools can take you. Where other games would put everything on the map in perfectly zoomable, filterable control for you, BOTW challenges you to build the map yourself and actually get out there and explore. I’ve gone back to this in the harder Master Mode with the release of the last DLC, and there’s still nothing that can touch this. This is destined to be a touchstone for decades to come.

honorable mentions: The Talos Principle/Batman: The Telltale Series

The Talos Principle is everything I wanted The Witness to be that The Witness wasn’t: thoughtful without being heavy, clever without being impossible (well, mostly not impossible, there are a few of those puzzles I don’t think I could have cracked on my own). The writing is sharp as a tack, featuring a variety of philosophical discussions between your character and a whip-smart AI. A really excellent puzzler.

Batman: The Telltale Series marks yet another appearance of the Batman on this list, but what an appearance! Telltale throws out several sacred cows of the Batman behemoth, but instead of making something malformed and uninteresting, it feels like the freshest Batman has been in ages. I eagerly await every new episode of this, because I never know where they will go next.

best podcast: Important If True

This is yet another “feels like I cheated” entry, but the Idle Thumbs guys’ work on Important If True deserves to be recognized. They could have simply recycled the Robot News segments from Idle Thumbs for this, but instead they went for something much wilder, taking people’s advice on what wishes to ask for from a genie, going through breakdown procedures for old Chuck E. Cheese competitor restaurants, and speculating on a Jessica Fletcher vs. Jaws matchup (as in the shark). The most wildly funny podcast going now. Recommended episodes: “Fight Garbage With Garbage”, “Ghosts ‘n’ Goblins”, “A Wish Upon a Star”

honorable mention: Waypoint Radio

With the Idle Thumbs guys winding down to a monthly schedule (sorta), Vice’s Waypoint staff’s podcast has readily stepped into the hole left behind by the Thumbs for regular doses of industry coverage. It’s great to see Danielle Riendeau and Rob Zacny getting more exposure outside of the Thumbs ecosystem, and Austin Walker, Patrick Klepek, and Danika Harrod are this sort of perfect perpetual motion machine at the heart of everything. Recommended episodes: “The Orange Casket”, “R.I.P. A.I.M.”, “Someone Explain To Me The Alien Alloys Before I F'ing Explode”

[dippedanddripped]

There’s been a lot of hype building ahead of the launch of Stranger Things 3, the third installment of what was in 2016 something of a surprise hit for Netflix. Before the first season landed on the streaming platform, nobody could have predicted the love the show would elicit, turning it into a major brand in itself and hastening Netflix’s transformation into the veritable powerhouse it is today.

Almost immediately after Stranger Thingsappeared, marketplaces such as Etsy started listing product homages to the show and its characters, whose faces adorned tees, hoodies, tote bags, jewelry, and everything in between. Three years on, what began as fan-made fare has morphed into huge collaborations with some of the biggest players in the game. Nike has just unveiled a sneaker and apparel collection dedicated to the show. Coca-Cola is bringing back a failed ’80s beverage in honor of it. Levi’s has revealed an affiliated capsule. And Highsnobiety is readying the launch its own official Stranger Things 3 collection.

When the new season lands on Netflix tomorrow, July 4, the Highsnobiety x Stranger Things 3 collection will land with it. Our store will be selling eight new limited-edition garms that focus on key locations from the third season, such as Scoops Ahoy, the ice cream parlor where Steve now works, Starcourt Mall, where much of season three takes place, and other vital spots in Hawkins, Indiana.

The garments in our collaboration all feature a distinctly streetwear aesthetic, with graphics designed by Highsnobiety’s in-house team adorning the front, reverse, and sleeves on tees, hoodies, crewnecks, and long-sleeves. The pieces are contemporary but also serve as an emblem of nostalgia, as one cannot think of Stranger Things without acknowledging the myriad of ’80s references peppered throughout the show.

Last year, Vogue told us “Nostalgia Is Officially the Biggest Trend of 2018,” and in streetwear, that has been a fact for a while — and it doesn’t show any sign of slowing down.

In terms of TV-based hat-tips (or any other kind of garm-tip, for that matter), the last few years have seen Supreme pay homage to Pink Panther, a franchise that’s been going since the ’60s. Off-White™ was one of many brands to champion The Simpsons. fragment design incorporated Pokémon. Nike created Friends and Entourage kicks. adidas developed silhouettes in collaboration with HBO for Game of Thrones. Streetwear brand Dumbgood boasts an entire business model dedicated to repping TV shows, movies, and books — the more nostalgic, niche, and pop-culturally relevant, the better.

It’s crucial to note that these aren’t brands that will slap any old graphic on a T-shirt and call it a day. They are serious labels with meticulously curated collections. Brands’ decisions to incorporate nods to a particular show in their seasonal selections aren’t made in haste, and that says a lot about how the appreciation for quality TV has grown in recent years.

The increase in coveted merch is, in part, a tangible side-effect of TV’s growth as an auteurist medium, one the brands mentioned above have sought to align themselves with, shifting fandom from the watercooler to the streets. But it hasn’t always been this way.

To fully appreciate the shift, you only have to cast your mind back to the era many of us channel in our daily aesthetic, the ’90s, and to a little show called Friends. To say Friends was successful is, of course, a ridiculous understatement; it changed TV comedy forever. When it premiered in 1994, it flipped the sitcom format upside down. It didn’t revolve around a family or a workplace. It wasn’t wholesome. It gave the audience something that felt real, something they could relate to.

But when Nike made a Friends sneaker in the mid ’90s, it didn’t even make it onto shelves. The silhouette was a sample for cast and crew only. Nobody really knew the shoe existed until Sean Wotherspoon featured it on his Instagram account early last year. The same goes for the super-rare shoes Nike created in celebration of Seinfeld and Home Improvement. These sneakers were simple, branded kicks that paid homage to the biggest TV comedies of the era, yet they never made it into circulation.

However, as Nike’s Friends version of Kyrie Irving’s signature Kyrie 5 basketball sneaker showed when it dropped in May this year, people are now ready to listen. The Kyrie 5 “Friends” debuted 15 years after the show’s finale and landed straight on our round-up of standout TV and movie-inspired kicks. When Wotherspoon put his ’90s Friends sample on Instagram, the post clocked almost 35,000 likes. Clearly the sneaker industry and its customer base have changed a lot between the two releases.

This thought is reinforced by Jeff Peters, HBO’s VP of licensing and retail, who was directly involved in the Game of Thrones x adidas collaboration released ahead of the fantasy show’s final season. “There was a time when television shows couldn’t really get a whole lot of attention in that type of business. As an art form, as a medium, [it] has certainly grown in both prestige and in audience. That really has shifted,” he says.

Peters also highlights how pop culture has embraced genre shows such as Game of Thrones, Stranger Things, and other fantasy, sci-fi, or horror series. “The public out there is really interested in those type of stories,” he says. “Game of Thrones has proven that a fantasy story can be a massive blockbuster, and that is a shift and a change.”

As a consequence, merch in general, including music merch, is changing, becoming more than an item of clothing and instead representing a lifestyle. Warner Music Group senior director Felix Carrasco told Fashionista in December last year that “[merch] has been taken to a new level for the next generation at the moment. Everything is much more on point.”

In a world where media assets, whether albums, TV shows, or movies, are all available digitally, with streaming services eradicating the need to buy a physical product, customers are looking for new ways to connect themselves to culture in a meaningful and authentic way. They’re seeking a way to reflect their interests when the shelves in our homes are becoming increasingly unrepresentative of our cultural tastes.

Naturally, this not only changes the approach to how merch is made but also how it’s marketed. In the Fashionista article linked above, Mat Vlasic, CEO of Universal Music Group’s Bravado merch division, added, “We’re working with our artists to think differently about merchandise. It has evolved from keepsake beginnings to powerful extensions of their personality and brand.”

When asked how the increasing alignment between pop culture and the fashion industry is affecting TV marketing, Peters adds, “I think it really depends on the show and the content of [it. Collaborations] work best when there is something worth celebrating. You have to think about it that way and not just do one for every single show, as it would eventually dilute itself.”

And not only are the contents of a show “something worth celebrating,” but also those involved in making it. Stranger Things is a perfect example, with its gang of teen stars carrying enormous clout.

For example, in 2017, Millie Bobby Brown, who stars as Eleven, signed with IMG Models, fronted a Calvin Klein campaign, and sat beside A$AP Rocky at Raf Simons’ Calvin Klein FW17 show in New York. She also, alongside co-stars Caleb McLaughlin (Lucas) and Gaten Matarazzo (Dustin), met with Louis Vuitton womenswear creative director Nicolas Ghesquière at the brand’s Paris HQ in 2016.

Finn Wolfhard, who plays Mike, is also making waves. He is currently fronting Anthony Vaccarello’s Saint Laurent FW19 campaign, channeling major ’70s Bob Dylan vibes. He has also designed his own capsule collection for Pull&Bear, complete with tie-dye tops, tube socks, and dark wash denim. A quick scroll through his Instagram feed reveals a bunch of fire fits, too.

Ditto McLaughlin, who regularly posts shots of his personal style, whether that involves being decked out in new Nike silhouettes, Louis Vuitton boots, MSFTSrep hoodies, or his own merch line Be Your Biggest Fan.

These three factors — TV’s increased validity as an art form, the lifestyle-ification of merch, and the clout of affiliated stars — have merged with streetwear’s new position as an influencer of high fashion, uniting to give us merchandise with a new kind of appeal. And that’s something Highsnobiety is excited to be part of.

[tristancreed]

Five Entrance Theme Suggestions And Why

Let’s be honest here. A lot of us fans miss the times when a wrestler who walks out to a generic instrumental theme debuts a new track. Especially when it’s a full on instrumental and lyrical theme song. This usually happens to accompany a push and would always be well received. Some examples would be Jeff Hardy’s No More Words by Endeverafter, Drew McIntyre’s Broken Dreams by Shaman’s Harvest (which none of us saw coming), and a lot more. Now, we have CFO$ which doesn’t always do the trick for us who preferred Jim Johnston’s work and collaboration with artists. I’m not saying that CFO$ sucks. They came up with some outstanding and iconic theme songs. But it’s time we brought that depth back. And here are some suggestions for some entrance themes.

1) Seth Rollins - Skeletons by Papa Roach

Whether you address him as The Architect, The Kingslayer, or Seth Freakin’ Rollins, there’s no denying that he has laid the ground and the framework for the new era by becoming the first superstar from the new incarnation of NXT to hold the NXT Championship and the WWE World Heavyweight Championship. And in having done so, even with initially questionable means (in character), he has cemented himself in that pedestal. That’s what you can never take away from him. That’s also why this song right out of Papa Roach’s 2014 album FEAR would do his entrance justice.

Imagine that pose only with the words “Brick by brick I built this wall, I shut you out and break the fall.” echoing in the arena.

2) Finn Balor - My Demons by Starset

Admit it, there’s not a part of you as a fan that doesn’t mark out once Finn Balor starts walking down that ramp. You really can’t resist the kind of charisma that Balor has as well as the dark air of mystery around him. Especially when he sports his famed Demon look. This theme by Starset would be quite fitting and it’s nowhere far from his current instrumental theme.

That would definitely go well with the very track that put Starset where they are.

3) Baron Corbin - Alone I Stand by Killswitch Engage

If there’s any track that could fit Baron Corbin’s “Lone Wolf” persona, it’s this powerful track from Killswitch Engage’s Incarnate album. Its profound lyrics about rejecting conformity and allegiance to anyone is a true testament to his character. He would end up walking out with a metalcore anthem fit for a lone wolf.

If you have any plans of making a Lone Wolf character a serious main eventer, you might as well give him one theme song that would scream those two words. A Killswitch Engage track would make him feel right at home.

4) Dean Ambrose - Madness In Me by Skillet

On the more unhinged side of things, we have one superstar who lives to dish out as much punishment as he can receive. And he will not stop until he is put down. Where the Lunatic Fringe goes, his own twisted brand of madness and chaos follows. That’s why this Skillet classic would fit Dean Ambrose just fine. In fact it’s what you’d imagine would be playing the background of an agent of chaos (another moniker that Ambrose should use.) of such caliber.

This is a no-brainer. I literally didn’t need to spend that much time coming up with this choice because when I hear Madness by Skillet, I always think about Dean Ambrose making an entrance. It was a crazed match made in heaven…or somewhere in a maximum security mental ward.

5) Braun Strowman - Who We Are by As I Lay Dying

We knew this was coming. The second they started pushing Strowman, I was already behind him. He is legitimately a force to be reckoned with and is worthy of being taken seriously with genuine respect. Both for him and his destructive capability. The Monster Among Men deserves a theme song that tops a roar and a generic instrumental track. One that radiates respect for a monster of his caliber. We need a track that will drive fear into the hearts and chills into the spines of anyone who here it. And what’s more perfect that As I Lay Dying’s Who We Are. It basically gives him more character development. Maybe we can see him as a brutally capable and brilliant tactician like Bane in the future. That gimmick could seriously work. 

Now that’s truly fitting for The Monster Among Men. Expect people to shit their pants upon hearing that metalcore riff now.