#Nels Abbey

[denimbex1986]

'Writer and poet Benjamin Zephaniah has died aged 65, after being diagnosed with a brain tumour eight weeks ago.

A statement posted on his Instagram account confirmed he died in the early hours of Thursday.

The statement said Zephaniah's wife "was with him throughout and was by his side when he passed".

"We shared him with the world and we know many will be shocked and saddened by this news," it added.

Zephaniah was born and raised in Handsworth, Birmingham, the son of a Barbadian postman and a Jamaican nurse. He was dyslexic and left school aged 13, unable to read or write.

He moved to London aged 22 and published his first book, Pen Rhythm.

His early work used dub poetry, a Jamaican style of work that has evolved into the music genre of the same name, and he would also perform with the group The Benjamin Zephaniah Band.

As Zephaniah's profile grew, he became a familiar face on television and was credited with bringing Dub Poetry into British living rooms.

He also wrote five novels as well as poetry for children, and his first book for younger readers, Talking Turkeys, was a huge success upon its publication in 1994.

On top of his writing work, Zephaniah was an actor and appeared in the BBC drama series Peaky Blinders between 2013 and 2022.

He played Jeremiah "Jimmy" Jesus, appearing in 14 episodes across the six series.

Zephaniah famously rejected an OBE in 2003 due to the association of such an honour with the British Empire and its history of slavery.

"I've been fighting against empire all my life, fighting against slavery and colonialism all my life," he told The Big Narstie Show in 2020.

"I've been writing to connect with people, not to impress governments and monarchy. So I could I then accept an honour that puts the word Empire on to my name? That would be hypocritical.

He often spoke out about issues such as racial abuse and education.

When he was younger, Zephaniah served a prison sentence for burglary and received a criminal record.

In 1982, Zephaniah released an album called Rasta, which featured the Wailers' first recording since the death of Bob Marley.

It also included a tribute to the then-political prisoner Nelson Mandela, who would later become South African president.

In an interview in 2005, Zephaniah said growing up in a violent household led to him assuming that was the norm.

He recalled: "I once asked a friend of mine, 'What do you do when your dad beats your mum?' And he went: 'He doesn't.'

"I said, 'Ah, you come from one of those, like, feminist houses. So, what do you do when your mum beats your dad?'"

In 2012, he was chosen to guest edit an edition of BBC Radio 4's Today programme.

Zephaniah was nominated for autobiography of the year at the National Book Awards for his work, The Life And Rhymes Of Benjamin Zephaniah, which was also shortlisted for the Costa Book Award in 2018.

During a Covid-19 lockdown, Zephaniah recited one of his poems in a video for the Hay Festival.

"Benjamin was a true pioneer and innovator. He gave the world so much," the statement announcing his death said.

"Through an amazing career including a huge body of poems, literature, music, television and radio, Benjamin leaves us with a joyful and fantastic legacy."

A statement from the Black Writers' guild, which Zephaniah helped establish, said: "Our family of writers is in mourning at the loss of a deeply valued friend and a titan of British literature. Benjamin was a man of integrity and an example of how to live your values."

Others paying tribute included author Michael Rosen, who said: "I'm devastated. I admired him, respected him, learnt from him, loved him. Love and condolences to the family and to all who loved him too."

Actress Adjoa Andoh posted: "We have lost a Titan today. Benjamin Zephaniah. Beautiful Poet, Professor, Advocate for love and humanity in all things. Heartbroken. Rest In Your Power - our brother."

Peaky Blinders actor Cillian Murphy said in a statement: "Benjamin was a truly gifted and beautiful human being.

"A generational poet, writer, musician and activist. A proud Brummie and a Peaky Blinder. I'm so saddened by this news."

Broadcaster Trevor Nelson said: "So sad to hear about the passing of Benjamin Zephaniah. Too young, too soon, he had a lot more to give. He was a unique talent."

Singer-songwriter and musician Billy Bragg added: "Very sorry to hear this news. Benjamin Zephaniah was our radical poet laureate. Rest in power, my friend."

Comedian, actor and writer Lenny Henry said: "I was saddened to learn of the passing of my friend Benjamin Zephaniah. His passion for poetry, his advocacy for education for all was tireless."

Writer Nels Abbey said: "To call this crushing news is a massive understatement. He was far too young, far too brilliant and still had so much to offer. A loss we'll never recover from."

The X/Twitter account for Premier League football club Aston Villa, whom Zephaniah supported said everyone at the club was "deeply saddened" by the news.

"Named as one of Britain's top 50 post-war writers in 2008, Benjamin was a lifelong Aston Villa fan and had served as an ambassador for the AVFCFoundation. Our thoughts are with his family and friends at this time."'

#Benjamin Zephaniah #The Benjamin Zephaniah Band #Peaky Blinders #Cillian Murphy #Adjoa Andoh #Michael Rosen #Black Writers Guild #Hay Festival #The Life And Rhymes Of Benjamin Zephaniah #Jeremiah “Jimmy” Jesus #Rasta #Pen Rhythm #Aston Villa #Nels Abbey #Lenny Henry #Billy Bragg #Trevor Nelson

[biglisbonnews]

Some white artists, like Elvis, exploit Black culture. So celebrate Bobby Caldwell, who enriched it | Nels Abbey The debate about cultural appropriation is fractious and gets muddled. But then I think about a man who makes it all clearA Black person growing up in the west will experience moments of shock. There is the first time you knowingly experience racism, and here, for me, was another: the first time I realised that the man who sang the soul classic What You Won’t Do for Love was white.Long before there was Ed Sheeran, Adele, Justin Timberlake or, before them, Simply Red, Lisa Stansfield, Jon B (the only white musician Tupac Shakur ever made a record with), or even the current underground king of blue-eyed soul Mayer Hawthorne, there was Bobby Caldwell, who died last week. Continue reading... https://www.theguardian.com/commentisfree/2023/mar/22/white-artists-elvis-exploit-black-culture-celebrate-bobby-caldwell

#R&B #Music #Culture #Race #Nels Abbey #Culture | The Guardian

[deathshallbenomore]

diciamo che i classici riletti con i personaggi di topolino avevano più senso di persuasione (2022)

#quello che mi rende cattiva è che pensavo male di questo film in partenza. MA È PEGGIO #cioè non c’entra proprio niente con il libro. è un altro film proprio #allora o credi un’altra roba e ti prendi tutte le libertà che vuoi. al che ci stano anche il tono leggero e gli anacronismi se è questa la #direzione in cui vuoi andare. oppure almeno leggi il libro #ma da quando anne si rivolge a wentworth come se fossero degli ex lasciatisi male nel 2021 #un colpo al cuore guarda #in tutto ciò secondo me c’è anche un libro di austen che [SE FATTO DA QUALCUNO DI CAPACE] si presta anche a questo stile ed è northanger #Abbey. che è molto più leggero nei toni e nei temi e nei personaggi. MICA PERSUASIONE CHE È IL PIÙ CUPO MA CHE CAZZO #MA POI. MA POI!!!!!! quando dice UN CAPPUCCINO ma figlia mia ma hai sbagliato film qui sei all’inizio dell’ottocento mica da starbucks

[ingek73]

Harry and Meghan in Jamaica are soft-power dynamite. Britain is left with kryptonite William and Kate

Nels Abbey

At times like these, it’s clear that the Sussexes represent a missed opportunity for a UK that needs friends in the world

Fri 26 Jan 2024 11.25 CET

Left to right: the Duchess and Duke of Sussex; the Jamaican prime minister, Andrew Holness, and his wife, Juliet; and its culture minister, Olivia Grange, at the premiere of Bob Marley: One Love in Kingston on 23 January 2024. Photograph: Jason Koerner/Getty Images for Paramount Pictures,

A popular Nigerian adage says “the cow never knows the value of its tail until it is chopped off”. In many tragic ways, this speaks to today’s Britain. From EU membership, to competent leadership, to low inflation, it seems necessary for Britain to lose things to appreciate their importance.

This week, look at Prince Harry and Meghan being feted in Jamaica. See the soft-power skills they carry with them, and think about that Nigerian adage.

In much of the British media, Harry and Meghan are all-year panto villains. But around the world, they could not be more loved – often for the very reasons they are despised in the British media. They are the soft power we could have enjoyed with the increasingly dominant, increasingly self-confident non-white world, especially the Commonwealth.

It’s not just that they are royals. Prince William and Kate headed to “no problem” Jamaica in 2022, and encountered problems aplenty. As their PR fiasco unfolded, they were derided for shaking hands with Jamaican children through wire fences, and for motoring viceroy-style through crowded streets in a fancy Land Rover. At the nightmare’s end, Jamaica basically handed Britain its P45, informing the royals of its intention to be a republic, to “move on”.

View image in fullscreenPrince Harry larks about with Olympic sprint champion Usain Bolt at the University of the West Indies in Jamaica, 2012. Photograph: John Stillwell/PA

Still, Harry has something the royals he left behind and the likes of Chillax Cameron can never have. He has familiarity, an ease with difference – and he has Meghan.

In 2012, he also had the love of the UK press and public. He was praised for his warm embrace of the then Jamaican PM, Portia Simpson-Miller, and was photographed larking about with Usain Bolt. “He has shown himself to be a natural ambassador, a diplomat in a very real sense – one hug from him has (at least partly) dissipated the bad feeling of generations … It is inconceivable that any other royal could have pulled this off quite so effectively,” gushed the Mail on Sunday.

‘God Save the King’ doesn’t fall from Jamaican lips so easily. Soon we’ll be a republic

Barbara Blake-HannahRead more

But that was then, before the British media’s own version of Orwell’s “two minutes hate” became a thing. Now, much of the press sees Harry and Meghan glad-handing and being glad-handed in Jamaica, surfing the love at the premiere of the Bob Marley biopic, and they don’t much like it. “Meghan and Harry pose next to anti-royal Jamaican prime minister who wants to ditch the monarchy and warned Wills and Kate they’ll never be king and queen of his nation – as Charles undergoes prostate surgery and the Princess of Wales recovers in hospital,” thundered the Mail. “The hubris of Harry and Meghan’s Jamaican photoshoot,” snorted the Spectator. “Crown fools: ‘Provocative’ Harry & Meghan spark royal row as they meet Jamaican politicians plotting to oust Charles as head of state,” jeered the Sun.

Britain understood Harry’s value and soft power in 2012, so what changed? Answer: Harry fell in love with, and married, a Black woman. That could have been a boon for this country, here and abroad; instead it’s a might-have-been. And what might have been to our reputational benefit is what has been happening in Jamaica.

The UK headlines and sour grapes tell you one thing: we messed up and we know it. Meghan was, and remains, soft-power dynamite, and all we have now is the soft-power kryptonite of Wills and Kate and the Windsor “firm” that spurned her. Still, that’s us: we never miss an opportunity to miss an opportunity.

Nels Abbey is a writer, broadcaster and former banker. He is the founder of Uppity: The Intellectual Playground

#prince harry #meghan markle #duchess of sussex #duke of sussex #brf #royals #jamaica #bob marley: one love

[martius-mensis]

A little bit about me — Tag game! This was pleasantly surprising and fun. Thank you @hydriotaphia!

Last Song: Madonna's Express Yourself was randomly queued in the mix from earlier. Nice.

Fav Colour: ORANGE! Very partial to orange. I love warm tones.

Currently Watching: I just started Bob's Burgers — it is amusing, my tummy pays for it. Also (very slowly) catching up on PBS Storied's Monstrum series over on Youtube.

Last Movie: I want to say Northanger Abbey because I've watched it 5-6 times this past month but no. I think someone put Wanted on? It was perfect.

Currently Reading: None at the moment but Before the Fact (Francis Iles) is next on my reading list.

Sweet/Savoury/Spicy: Savoury! Salivating just thinking about the chicken feet dish I had a few days ago.

Relationship Status: —

Current Obsession: (See: last movie). Northanger Abbey! And I hooked my family into watching with me. Sis plans on borrowing my book. 😈

My Vincenzo, Kanej, and Kathony tags are still quite active, so them also (still <3) aha. BUT queer fic-wise, @wall-e-nelson's stripes, sospes' Oils on Canvas, and Nel's @grantairesbottle statistically impossible.

Last Google: Macro programming in Excel. Lol.

Currently Working on: Does decorating the house with Christmas cheer count as a project? I think it should be. New custom wreath!

Current Game: Tekken on my phone.

💌 If you'd like to play — tag, @nire-the-mithridatist @cactusfinch @penny-loaf @heedoscourage @andremichaux @maggieoconnell @wurzelbertzwerg @nnschneider @grantairesbottle @wall-e-nelson

#tagged

[falcemartello]

Pink Floyd: i magnifici 50 anni del lato oscuro della luna.

Nella storia della musica ci sono i grandi album e poi c’è The Dark Side Of The Moon, che è molto più di un disco: un’opera d’arte che contiene tutte le arti. Un viaggio nel lato oscuro della mente umana che è suono, poesia, avanguardia elettronica e genialità grafica. Non c’è nulla di ordinario nel capolavoro dei Pink Floyd, nemmeno la sua genesi, considerato che la band lo eseguì dal vivo per intero nel 1972, in Inghilterra e Giappone, prima ancora che uscisse nei negozi (nel marzo 1973) e mentre buona parte dei brani stava assumendo la forma definitiva tra le mura degli Abbey Road Studios, a Londra, nelle pause tra uno show e l’altro. È musica “classica” The Dark Side Of The Moon, e non solo perché ha venduto quarantasette milioni di copie nel mondo e ha trascorso, lungo le decadi, 962 settimane nella classifica americana e conquistato quattordici dischi di platino in Inghilterra. In Italia, nel 2021 è stato di gran lunga il vinile best seller, surclassando i giovani virgulti del rap, i Beatles, i Queen, i Rolling Stones e gli Abba.

Non c’è competizione possibile con il disco cult dei Pink Floyd perché i dieci brani che lo compongono sono altro rispetto alle classificazioni musicali standard. The Dark Side Of The Moon è in sé un genere musicale, un volo pindarico in un suono senza tempo né spazio. Ne è la prova il fatto che nessuna delle dieci canzoni che lo compongono è mai diventata veramente un singolo di successo. Perché “il lato oscuro” è un disco che si ascolta tutto dall’inizio alla fine, come un’opera classica che non si può interrompere per chattare con lo smartphone. Inizia con il suono di un vero battito cardiaco e conduce in un viaggio attraverso la vita e le sue contraddizioni, fino al gran finale dove razionalità e follia si incontrano e si scontrano in Brain Damage ed Eclipse. Una chiusura ad effetto che è senza dubbio anche richiamo alla drammatica parabola umana dell’amico e compagno di band, Syd Barrett, costretto ad abbandonare il gruppo dopo due dischi per gravi problemi psicologici acuiti dall’abuso di sostanze lisergiche.

Ne avevano incisi sette di album i Pink Floyd prima di iniziare a registrare The Dark Side. Nel passaggio da gruppo visionario e psichedelico a band adulta pronta a incidere il suo capolavoro, fu decisivo l’ingaggio di Alan Parsons, tecnico del suono e musicista raffinatissimo. L’incontro dei quattro con Parsons è il passaggio chiave. Chiusi in studio di registrazione i fabolous five spingono la musica nel nuovo millennio con ventotto anni di anticipo.

Non c’è album venuto dopo o inciso negli ultimi tempi che non debba qualcosa alle tecniche di registrazione del “lato oscuro”. Le dissolvenze tra una canzone e l’altra, l’uso dei loop, all’interno di un brano, ovvero suoni registrati e ripetuti all’infinito, l’accelerazione elettronica di una parte lenta di pianoforte, l’uso creativo dei nastri di registrazione che venivano tagliati e poi incollati per creare un tutt’uno di effetti sonori cambiano per sempre le tecniche utilizzate in sala d’incisione. Ma non è tutto qui: nel mezzo della loro personale missione “lunare” i Pink Floyd optano per un’altra scelta rivoluzionaria, ovvero fare del loro nuovo disco una fantastica scatola magica di suoni, un mix indissolubile tra musica, voci e rumori di fondo catturati nella vita reale.

E allora ecco che nelle canzoni entra il crepitio delle monete agitate in una ciotola, il suono potente e ripetitivo di un registratore di cassa, una sinfonia di ticchettii vari registrati in un negozio di sveglie ed orologi, il fruscio delle banconote e poi le voci di gente comune di tecnici e impiegati degli Abbey Road Studios invitati davanti ad un microfono a rispondere liberamente a domande elaborate da Roger Waters (bassista, voce e principale compositore della band) sui temi della follia e della violenza in tutte le loro accezioni. Tra i tanti si presentarono anche Paul McCartney con la compagna Linda, ma le loro parti alla fine non vennero utilizzate nel missaggio finale. A chiudere il cerchio la copertina più iconica di sempre probabilmente ispirata ad un esperimento del matematico, fisico e filosofo Isaac Newton alla fine del milleseicento. Un fascio bianco di luce che attraversa un prisma e si scompone in sei fasci di luce che rappresentano i colori presenti in natura. Un concept puramente grafico, asettico, lineare, senza presenza umana, che ha stregato il pubblico e i critici. E che nessuno della band ha voluto mai spiegare nel suo reale significato perché è un luogo dell’inconscio come il monolite nero e lucido a forma di parallelepipedo che troneggia in 2001: Odissea nello spazio di Stanley Kubrick. È l’arte che diventa mistero e capacità di stupire senza usare parole, solo la musica. Un approccio che i Pink Floyd fecero loro anche un anno prima di incidere il loro disco più importante scegliendo di esibirsi, nell’era dei giganteschi bagni di folla come Woodstock, Altamont o l’isola di Wight, da soli, al tramonto, nel cuore dell’Anfiteatro romano di Pompei. Il suono del silenzio.

Gianni Poglio

#Youtube

[m0rbidmacabre]

KINKTOBER 2023 - DAY 21 - FORMAL WEAR

PRIMO X READER 

Warning: Clothing kink, oral sex, dominance  

Summary:

You, being the ever-dutiful sister have made the outfit Primo had in mind for the Sol Invictus ball. You come to his quarters for a fitting.

Notes:

I found myself at a little bit of stalemate with this one, i enjoyed it all the same. Hope you like! <3

THIS IS NSFW

READ ON AO3

The Sol Invictus ball was just days away, the abbey was alight with candles and the glow of lights, decorations adorned every corner of the abbey as the laughter of siblings was never far away and the excitement for the holidays began to rumble through the halls.    

Primo stood gazing out the window at his little slice of the Abbey, his garden. He sighed. The depths of winter were taking over, Jack Frost was sure doing his worst this year. Primo hated being away from the garden. he hated the seasonal change that winter brought, there was no need for him to be in his greenhouse. All he wanted to do was tend to his plants but there was nothing to tend to at this time of year.    

He had to find his fun in other ways, which was hard considering his age. Most of his winter was spent in front of the fire keeping his old bones warm. His ghouls kept him entertained for the most part, they often played chess together or Uno a particular favourite of the ghouls from their touring days but still, it was hard to lose his garden. Today was going to be exhausting for him. Primo had an outfit fitting for the upcoming ball, which was held every year but Primo always liked to make an effort even in his later years of life.    

You arrived at Primo’s quarters within plenty of time, looking down at your watch to see you were 10 minutes earlier than planned. You stood outside watching the clock and watching the ghouls guarding the doors. One of them looked at you with his head tilted in interest  

“Would you like to come in, it's cold out here. Papa would have my balls if I left you out here waiting” he said shivering and rubbing his arms for warmth while trying to keep the smile on his face. You gave him a warm smile and proceeded into Primo’s quarters. The heating was always turned up in here, the ministry liked to look after its elders, and Primo was no exception. You found Primo looking out the window at his garden.    

“Papa” you approached him.  

“Ahh, sister. Welcome. Did you manage to look over the outfit I had planned for the ball?” he said to you giving you a warm smile.    

“Yes, Papa. It's all finished. I just need to tailor it to you and tidy it up a little bit” You smile as you set the bag containing his new robes down.  

“Where would you like me?” Primo replied.  

“Infront of the fire will be fine papa” you hushed to answer him obviously shy to be ordering Primo around. He smirked; your shyness was duly noticed.    

Primo walks over to where you pointed and stands with command; you hand him the outfit and he slowly changes into his new robes. Removing layer by layer of his comfy non-work attire. You stop for a moment, gazing your eyes to the floor not wanting to give him an audience while he changes into his new robes.    

“Please sister, don't be shy. I know I'm old, but I've still got it” he winks and laughs at you as he notices your bashful glow.    

You cast your eyes back up to him as he finishes putting his robes into place. “Are you ready for me to do the fitting papa?” you ask.    

He nods and you move closer, picking your pins from your pocket. You begin with the collar, adjusting it to the perfect position and pinning it in place.  

The robe itself was extravagant even for Primo's tastes. It was made from all red silk, with a striking black collar and breast. Intricate sewn into the neckline was ‘nel nome di lucifero’ in red cotton to stand out on the neck of the black collar. Primo looked outstanding in the creation you created for him, and you didn't let that go unnoticed.    

“You have outdone yourself, sister. These robes are just what I imagined for the ball” he said to you with a warm smile.  

“Thank you, Papa, when I saw the design, I knew it was going to be something special” you smile    

While you were pinning the neckline, you moved in closer to him to get the right spot for the adjustments. The soft silk connecting with your fingers, you were almost face to face and you were so close that you could smell his cologne and his earthy scent which distracted you from paying full attention to what you were doing    

“Ouch” Primo expelled “ Please sister, if you're going to stab me with those, please first make me aware of it first so I can enjoy it a little, Si?” he smirked at you as you giggled at his reply.    

Clearly, the old man hadn't lost his charming Witt. His praise and vigour only excited you more, and he could tell that were enjoying your time together as you finished the final pin on his neckline.  you were almost the colour of his robes.  

Moving to the breast of the robe, you begin to pin the hem all the way down to his knees. Tidying up the stitching as you go. Trying ever so hard to be careful, not wanting him to feel your shaking hands through his outfit knowing full well that this whole exchange was setting you on fire. What would he think of you if he knew why you were really this shy, a sister of sin, he would have you on your knees in moments pleasuring him. you, ever his dutiful servant and he, ever the commanding Papa.    

As you run your hands delicately over the front of the robes to shake out the creases, you feel his cock under his new robes. He wasn't wearing anything underneath, which was typical of Primo. He liked to be free from the confines of underwear. He was semi-hard. “I bet the old man enjoyed that accidental prick” you giggle to yourself going even redder as it crosses your mind that Primo was being turned on by your touch through this silk robes  

He looked down at you with those stern strong eyes as you were kneeling at his knees adjusting the hem “Sister, I believe you may be aware of my current predicament. Please, excuse my attentiveness” he smirked at you again in an ever-flirtatious exchange.    

“Busted,” you thought to yourself you knew you wouldn't be able to get away with this, after all, it was Primo. You looked at him with your stunning big eyes and in that moment, you lost all your shyness, like Lilith herself was lending you her inhibitions and replied, “Would you like me to help you, Papa?”  

He looked down at you with that same stern look and placed a hand under your chin, lifting your head to meet his gaze. “Ever faithful, aren't you sister, offering to help your Papa,” he said with a smug smile. You nod to him. He brings his hands up to your cheek and runs a finger across your lips, slowly sliding it into your mouth. You catch it with your tongue and return the favour by rolling it around your tongue and his breath hitches. As he removes his finger from your mouth leaving a string of spit on your chin. He moves back towards his chair by the fire and sits down, looking at you still kneeling in front of the fire with your eyes still wide from the exchange.    

“Join me sister” he says to you. “Kneel for your papa, let me see how dutiful you are” . You move to him with no hesitation. And place your hands on his knees, feeling the soft silky fabric of his new robes under your fingers. Primo grabs your hand and lifts his robes for you revealing his now hard cock. You kneel, looking into his eyes waiting for his command. “Please, sister. Pleasure your Papa”  

You move yourself slightly closer to him, and place a kiss on his thighs, taking a moment to be gentle. Before you inch yourself ever closer to his penis, kissing along the way. When you come to the tip of his cock you lick hard, rough and curl your tongue around it. Sending Primo into a hard grunting whimper. Cupping and massaging his balls you take him into your mouth, inching ever closer to the base as you thrust him into your mouth. Letting your lustfulness for your Papa be known. You play with him rolling your tongue around him, and letting your saliva drip from your mouth as you taste him.    

“Sister, how you please your Papa. I don't think I will be able to take much more” he moans. Grabbing and pulling your hair he begins to fuck your mouth with quick hard thrusts, leaving you choking back on him, driving him insane at how deep you were taking him. You feel him whimper again as you look up to meet his gaze your big blue eyes sending him spiralling as he fucks your face with vigour and force. He lets go in your mouth, spilling his seed down your throat as you moan against him.    

You pull away from him, cum dripping down your face with a smile like that cat who had caught the cream. And you well and truly had... caught the cream. Primo looked at you with his smug smile. “Ever dutiful my sister, Satanas would be grateful that you please your Papa so well” . He wipes your mouth with his discarded robes that lay on the floor from before the fitting.  

“Now sister, should we finish this fitting? How would your papa look if he showed up with all these pins in the wrong place? ” He smiles warmly and helps you to your feet. You proceed to finish what you had started. The distraction of your Papa, being ever the front of your mind.  

#the band ghost #ghost #ghost fandom #ghost fanfiction #fandom #fanfic #papa emeritus 1 #papa primo #papa emeritus #ghost kinktober #kinktober 2023 #smutty smut smut #smutty fanfiction

[diceriadelluntore]

Storia Di Musica #262 - The Alan Parsons Project - Tales Of Mystery And Imagination Edgar Allan Poe, 1976

La seconda storia di dischi letterari si lega a doppio filo con quella dei Pink Floyd, Storia #261. C’è una storia di grande passione per la musica: a 16 anni, per un piccolo lavoro part-time, Alan Parsons lavora al magazzino duplicazione nastri della EMI a West London. Si mette subito in mostra per l’abilità e per la dedizione, tanto che già l’anno successivo è mandato agli studi di Abbey Road, dove cura i master di niente di meno che Sgt.Pepper’s Lonely Hearts Club Band dei Beatles. George Martin, che era uno sveglio, lo nota e lo vuole a suo fianco come ingegnere del suono per le registrazioni di Let It Be e di Abbey Road: Parsons tra l’altro è l’assistente di studio del leggendario concerto improvvisato sul tetto degli studi di registrazione, ed è lì con i Fab Four nel loro “commiato” come gruppo. Diviene uno degli ingegneri capo degli Abbey Road Studios: lavora a capolavori come All Things Must Pass di George Harrison e McCartney di Paul, ed inizia una piccola collaborazione con i Pink Floyd, prima con alcune registrazioni di Ummagumma e Meddle, poi a dirigere le estenuanti e intensissime sessioni per The Dark Side Of The Moon (che durarono oltre 6 mesi, più 3 di post produzione), il cui successo clamoroso farà di Parsons un nome di qualità per l’ingegnerizzazione del suono. Produce infatti moltissimi artisti emergenti e non, tra cui Ambrosia, The Hollies, John Miles e i primi dischi, di grande successo, di Al Steward (inclusi i due più famosi, Time Passages e Year Of The Cat). Nel 1975 ha l’idea di fondare un suo gruppo: lui cura tutta la parte musicale e di produzione, Eric Woolfson quella di scrittura, Andrew Powell le orchestrazioni e gli arrangiamenti, chiamando di volta in volta il meglio dei sessionisti e di cantanti a lui cari, che casomai in quel periodo stavano lavorando con lui. La musica de The Alan Parsons Project si inserisce nel filone del pop rock sinfonico, che stava nascendo in quegli anni con grande successo dalle braci meno ardenti del prog, con largo uso delle tastiere elettroniche, orchestrazioni imponenti, atmosfere barocche e massicce, con testi che pescano anche riferimenti altisonanti. Infatti i primi lavori sono concept album che si ispirano a cose niente affatto scontate. il disco che ho preso in considerazione oggi è il loro primo Lp, Tales Of Mystery And Imagination (1976) che si ispira alla omonima raccolta di racconti del grande Edgar Allan Poe. Il lavoro di Poe è stato uno dei riferimenti letterari più utilizzati nel corso del tempo nella musica rock e non solo: un esperimento simile lo fece Lou Reed con The Raven, il suo ultimo album da solista del 2002, che si ispira in parte ai racconti dello scrittore americano, ma non ha l’organicità del lavoro della Alan Parsons Project. Che infatti oltre a nominare i 7 dischi utilizzando il titolo di racconti di Poe, ne segue anche la trama, con Woolfson che spesso utilizza intere frasi dei racconti come testo. C’è anche un grande plus: durante le registrazioni del 1976, Parsons chiama Orson Welles a recitare alcuni passi da inserire nel disco come prologo alle musiche: tuttavia nella prima edizione del 1976 non compaiono, e vengono rispristinate solo nella ristampa del 1987, curata nella rimasterizzazione dei nastri originali dallo stesso Parsons. Welles legge prima di A Dream Within A Dream', il primo brano strumentale, un oscuro pezzo di saggistica di Poe, il numero XVI dei suoi Marginalia pubblicato tra il 1845 ed il 1849. Il secondo passaggio che Welles legge precede il brano The Fall Of The House Of Usher - Prelude, ed è una parafrasi parziale dalla saggistica di Poe, presa da una raccolta. Il brano che prende spunto da Il Crollo Di Casa Usher è una lunga suite in 5 parti (Prelude, Arrival, Intermezzo, Pavane, Fall), è il clou del disco, che però offre anche altre cose interessanti: in The Raven Alan Parsons divide il canto con Leonard Whiting, recentemente ritornato alla ribalta, poichè oltre che cantante fu anche attore principale del Romeo E Giulietta di Franco Zeffirelli, accusando dopo 5 decenni gli eredi del regista di “violenza psicologica” per le scene di nudo di quella pellicola; The Tell-Tale Heart vede come protagonista vocale Arthur Brown, leader della band  The Crazy World of Arthur Brown, il quale diventerà famoso per le esibizioni con il fuoco durante i suoi show, più l’apporto ai cori di Jack Harris, che diventerà fido collaboratore negli anni dell’ APP; The Cask Of Amontillado e (The System of) Dr. Tarr And Professor Fether (tra l’altro due tra i racconti più belli di Poe) hanno la voce di John Miles, mentre To One In Paradise quella di Terry Sylvester degli Hollies, la band che Parsons contribuì a lanciare definitivamente. Partecipano alle registrazioni anche gli Ambrosia e i Pilot, altri gruppi curati da Alan Parsons. Che nel mentre si registrava il disco, ebbe anche tempo di lavorare a Tubular Bells di Mike Oldfield. Parsons usa anche uno dei primi vocoder (la sua voce modificata in The Raven per esempio) e nella suite The Fall Of The House Of Usher si rifà nientemeno che a Debussy, il quale nel 1908 scrisse una La Chute De La maison Usher ispirandosi egli stesso al racconto di Poe. Il disco ha anche una copertina particolarissima disegnata dai geni della Hipgnosis: tutta verde, ha una striscia luminosa che fa intravedere l’ombra di un uomo, la striscia continua sul retro dove c’è il disegno di due uomini bendati come mummie in un paesaggio che sembra egiziano, idea che vuole trasmettere uno dei punti chiave della narrativa di Poe, l’essere bloccati o sepolti vivi (nel racconto de Il Barile Di Amontillado, è uno dei temi principali per esempio). Il disco uscirà con le migliori recensioni, e avrà successo in Europa (in Germania è uno dei dischi più venduti degli anni ‘70 in assoluto), Canada e Gran Bretagna. Il percorso di ispirazione letteraria continuerà anche nel secondo disco, I, Robot, del 1977, ispirato all’omonimo racconti di Isaac Asimov, che ebbe anch’esso notevole successo. Il percorso della Alan Parsons Project continuerà con numerosi dischi anche per tutti gli anni ‘80, dove ad una produzione musicale ancora più pomposa e sfarzosa si assocerà il tentativo di comunicare “messaggi concettuali”, come i messaggi astrali di Eye In The Sky (1982), dei pericoli della civiltà industriale di Ammonia Avenue (1984) o le oscure simbologie di Vulture Culture (1985).

#the alan parsons project #tales of mystery and imagination #1976 #recensione

[bleachbleachbleach]

A rock wrote this

I’ve gone my entire life up to this point not ever retaining any real information about the hougyoku, because if magical power orbs are involved I just stop listening, even if said orb is being stashed inside of Rukia my beloved. Like, I just skimmed the Hougyoku Wiki page and it was basically all new information to me, as though this thing were not instrumental to 50% of the (alleged) plot of this manga. BUT HEAR ME OUT.

In Chapter 59, Urahara is really proud of his basement setup, as well he should be. House Hunters Interdimensional would be all over this finished basement and the increase in square footage he was able to engineer here!

I just think it’s interesting that the two features he draws attention to are also features of... Hueco Mundo...? (And specifically, Aizen’s Hueco Mundo.)

We’re all about the fake sky and the dead plants:

Later on, Ichigo demonstrates that he is consistently not a fan of desert chaparral, claiming that there’s “nothing here” in Hueco Mundo. But he also totally just saw Lizard Hollow, and if he’d spent more time thinking about Lizard Hollow I think Ichigo would ultimately have come to the conclusion that Hueco Mundo has more to offer than initial appearances and/or legend would have it. 

NB: I don’t actually think it’s a dead or barren world, or a lesser place than the decidedly deciduous Soul Society or the Living World.

[Chapter 244]

Ichigo is not an ecologist, and so maybe he doesn’t readily make the connection here, but I think through his experiences with Nel (and perhaps in a way only Ichigo can, through Grimmjow) lead him to the same place eventually--and perhaps also prime him to guess at where Aizen was really coming from, at the end of the day and the end of a war.

My point here is, though, that Urahara and Aizen both dabbled in the mystic art of Hougyoku creation. Then Urahara created this training ground in the image of desert, down to the flora, and the necessity of a fake sky. Later, Aizen quested off to Hueco Mundo, land of desert and rock flora, and also took it upon himself to create fake sky. Fake sky that Aaroniero later tells Rukia is emblematic of Aizen’s all-seeingness:

[Chapter 266]

Rukia isn’t sure if this is actually true, because she discerns that Aaroniero has his own reasons for staying out of the light (pushing him into it reveals that he’s Aaroniero and not Kaien). Granted, we did have that one Hueco Mundo episode that was literally a recap of the recap episode, as told by Ichimaru and Aizen in the Las Noches Security Camera Room, so apparently the sky does have some omnivision properties. But there’s that question, right? What is the sky there for, and why go through the trouble of making a fake sky ceiling when the prior king of Hueco Mundo’s party line was NO CEILINGS WE DIE LIKE KINGS UNDER THE SKY? It’s not real sky, and not real sunlight; and maybe it’s not real omnipotence or even the real desire for omnipotence.

The appeal of the Hougyoku as a powerful magic orb is that it can purportedly realize one’s desires, like a Philosopher’s Stone--even if these desires are not apparent to the user. It’s a wish-granter, a giver.

But what are the odds that our two resident Hougyoku-makers both read Edward Abbey* and decided to incorporate him into their primary design aesthetic? 

* Edward Abbey is the 20th-century American author of Desert Solitaire, which is widely touted as an environmentalist piece that recuperates deserts as vital environments in their own right, not dead spaces or sacrifice zones.

I think that if people keep building/editing micro-worlds that are full of sand (tiny rocks) and rock flora, the first thing anyone should think is 

A rock wrote this.

I’m not saying that the Hougyoku is sapient, though maybe it is and it’s been sitting, thumbless and mouthless, shouting MOVE IT ALONG YOU MOTHERFUCKERS to the entire cast of Bleach. But I feel like inasmuch as it has the capacity to realize the desires of others, it may also come with desires of its own. And maybe some of these desires bleed.

Innocently, mostly. In the form of sand and rock plants, worlds created in its own image. In the desire for sky but also the perpetual reminder that this is not real sky (not real power, nor omnipotence). But it is not a receptacle for the desires of others only. It was built from souls and with those souls it has retained the capacity for desire. Maybe it has its own desires, irrespective of Urahara’s or Aizen’s. The hougyoku’s desires become the desires of those who use it; it shapes their worlds as much as it offers the power to do some reshaping. 

That is totally a magic orb that would be interesting to me.

And I don’t even mean like, the Hougyoku’s-awesome-power-has-the-power-to-corrupt-because-power-corrupts. Sure, fine. But I mean maybe it literally is that simple--like, maybe the Hougyoku’s desire, as a rock, is to live in a place with many rocks.

The point is not the impact of the desire but the capacity to be desirous. The capacity for even a rock to be desirous. What does entertaining this idea do for a worldview where human souls belong in one place, Hollows in another, shinigami in another, and Hell souls in another still?

This is probably a thought for another day, but I also think it’s interesting that like, from a shinigami perspective, we can think of the Hougyoku as a wish-granting tool. If we accept the idea that the Hougyoku has its own desires as well, maybe it looks like using the Hougyoku as a wish-granting tool is a perversion of its power: A Hougyoku selfish thing to want. 

But if the Hougyoku has its own desires and its own agency, what if that agency is to grant the desires of others? If the Hougyoku is built from souls and this affords its the capacity to be desirous, does it also afford it altruism? Is altruism an immanent quality of a soul?

Under what circumstances might use of the Hougyoku is not a selfish act, but the act of accepting a gift/aid/support that has been offered to you?

#a rock wrote this #i live across the street from a rock store so the fact that this is only the second B3 post about rocks is pretty impressive #hougyoku #fast times at hougyoku high #bleach headcanons #bleach カラー #bleach reread 2021 #i'm going to level with you i thought i was going to blaze through this training arc so i could finally get to soul society #and my best friends the shinigami of soul society #but apparently NOW i have hyougyoku thoughts

[ultra-francesca-mercury]

Il 23 luglio del 1969 i #Beatles registrano “Come Together” , la canzone che apre il disco Abbey Road , uscito nel settembre del 1969 #TheBeatles #beatlesfacts #23luglio

#almanaccomercury https://t.co/wDcRFRVt06

#the beatles #almanaccomercury #abbey road #come together #beatles

[deathshallbenomore]

sull’aereo ho recuperato uno dei film di downton abbey che non avevo mai visto (onestamente il secondo film è letteralmente occhi del cuore) e: su qatar, prima che cominci il film, c’è il disclaimer di scene mature che i bambini non dovrebbero vedere. nel film di downton abbey. non ho capito se il riferimento fosse ai due (2) baci eterosessuali o al velato e impercettibile flirt tra thomas e lo stanis della situazione. il qatar è il paese che amo

#SA22

[ingek73]

Harry and Meghan are right about racist Britain in their Netflix series

Readers on the uncomfortable truths exposed by the Duke and Duchess of Sussex’s Netflix series and media reactions to it

Tue 13 Dec 2022 17.41 GMT

A still from Harry & Meghan on Netflix.

I couldn’t agree more with Prince Harry’s comment in the Netflix documentary series Harry & Meghan that unlearning racism is a lifelong journey. As a 50-year-old provincial white man, I only hope I live long enough. Nels Abbey (A white lens sees Harry and Meghan as villains – through a Black one, they’ve done Britain a favour, 9 December) is right that Britain needs the catharsis of a serious discussion about racism and our colonial history.

Just as the US has yet to come to terms with the horrors of native American genocide and slavery, the UK has never addressed its role as a builder of the slave trade and brutal conqueror of a hundred or more nations. I love my country, but that love is tainted with the myth of a noble imperial history taught with equal enthusiasm by family, school and jingoistic media that reflect society only too well.

After the second world war, imperial Japan and Nazi Germany were all but erased from their nations’ iconography. It was expected that past atrocities were acknowledged, and a new identity of self-aware nationalism forged.

Perhaps it is no coincidence that Germany is the only European country to pay reparations to a former colony (though it insisted its €1.1bn agreement with Namibia was a gesture of reconciliation rather than reparations). They tore down the statues of their historical monsters. There will be no sensible discussion on race and colonialism as long as we still venerate ours.

Alex Brown

Muscat, Oman

• Nels Abbey is on point when he says that “as Britons of different ethnicities, we are often viewing the same events very differently”. Living as a black woman in Britain is like living in a parallel world to my white counterparts, who are oblivious to my experience. Watching the bigotry and racism towards Harry and Meghan play out in the media has been soul-destroying. The false narrative constructed by the media, and the relentless attacks on the couple to avoid the elephant in the room of media racism being the main factor in their departure from this country, are particularly vexing.

Harry and Meghan were wise to leave. For many people of colour silently enduring this country, leaving is an unrealised dream.

Name and address supplied

• I have been amazed by the vitriol directed at Harry and Meghan after the release of their Netflix series (TV review, 8 December). It is only when one looks under the surface that it starts to make sense. They have poked at the identity of Britain.

Traditionally, British people saw their country as a robust white democracy, with global influence and a beloved queen at the apex of society. But this myth unravelled for many people in 2022. Our democracy was exposed as flaky and, at the moment of greatest political instability, our queen of 70 years died. Underlying all this is that many people in Britain, including the royal family, don’t seem to have got their heads round the fact that we lost our empire long ago.

Britain has been changing for decades, and those in the establishment who have had most to lose attack the changes and cling to the past. For many, though, change is welcome. I believe most white British people now see black Britons as “us” not “them”, Brexit as a chauvinistic disaster, and doing something about climate change as more important than looking at yet more photos of the Sussexes.

Cath Potter

London

• I was saddened but not surprised when Harry and Meghan fled the UK. Vast swathes of our society follow our tabloid press in blind ignorance. They turned Meghan into a villain and the public, like sheep, followed. My family is multicultural, and I have seen my son tread warily around countless subtle racist comments, as well as overt abuse from strangers. In some areas, the UK’s multiculturalism is a source of great pride to me. But we still have a long way to go.

Michaela Harte

Bromley, London

• The backlash from rightwing politicians and media against Harry and Meghan’s documentary amply proves their point.

Kit Jackson

London

#meghan markle #prince harry #harry and meghan on netflix #uk racism #racism #racist britain

[furlantravelfashionblogger]

L'Abbazia di Santa Maria a Follina, gioiello cistercense situato tra le splendide Prealpi Trevigiane, è una tappa imperdibile per gli amanti dell'arte sacra.

⛪ La chiesa si distingue per le imponenti colonne che sorreggono archi a sesto acuto, la pala lignea con la statua della Madonna del Sacro Calice, oggetto di venerazione e pellegrinaggio, e la torre campanaria, la più antica costruzione del complesso.

Il suo chiostro, eretto nel 1268, è indubbiamente uno dei suoi tesori più preziosi e si mantiene perfettamente conservato, con la sua tradizionale fontana al centro, offrendo un'esperienza unica di bellezza e spiritualità. 🌟🙏

Scopri la sua storia: https://www.veneto.eu/IT/Follina/

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The Abbey of Santa Maria in Follina, a Cistercian jewel located among the beautiful Treviso Pre-Alps, is a must-see for lovers of sacred art.

⛪ The church is distinguished by its imposing columns supporting pointed arches, the wooden altarpiece with the statue of the Madonna of the Sacred Chalice, an object of veneration and pilgrimage, and the bell tower, the oldest building in the complex.

Its cloister, erected in 1268, is undoubtedly one of its most precious treasures and is perfectly preserved, with its traditional fountain in the center, offering a unique experience of beauty and spirituality. 🌟🙏

Discover more: https://www.veneto.eu/EN/Follina/

📸 By IG: @lino_93_8

https://rb.gy/rmesop

📍 Follina | Treviso

#VisitVeneto

[delectablywaywardbeard-blog]

All'asta una lettera inedita del filosofo Rousseau trovata nel Regno Unito

Dalle 3mila alle 5mila sterline. È la stima per la vendita all’asta di una lettera inedita del filosofo svizzero Jean-Jacques Rousseau, morto nel 1778. Sarà battuta dalla casa inglese Chorley’s che si trova a Prinknash Abbey Park, nel Gloucestershire, il 20 marzo. La missiva era diretta a Monsieur Le Chambrier, diplomatico del Regno di Prussia, incaricato di proteggere il comune di Neuchâtel in…

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[agrpress-blog]

Il 30 gennaio 1969, i Beatles, affiancati dal talentuoso tastierista Billy Preston, stupirono Londra con l'esibizione sul tetto dell'edificio della Apple Corps, a Savile Row 3. In 42 minuti intensi, la band eseguì nove volte cinque delle loro celebri canzoni prima di essere interrotti dalla polizia, chiamata per il crescente tumulto creato dalla folla radunata spontaneamente ai piedi dell'edificio. Il memorabile evento fu immortalato da Michael Lindsay-Hogg per il film documentario del 1970, "Let It Be - Un giorno con i Beatles." Sebbene il concerto fosse nato da un'ispirazione improvvisa, i Beatles avevano in realtà pianificato di esibirsi dal vivo durante le sessioni per il progetto Get Back/Let It Be già dai primi giorni di gennaio. La decisione di salire sul tetto fu presa solo pochi giorni prima dell'esibizione, durante una riunione alla Apple il 26 gennaio. George Harrison portò con sé il tastierista Billy Preston come musicista aggiuntivo, sperando che un talento esterno avrebbe stimolato maggiormente la concentrazione della band. L'ingegnere del suono Glyn Johns, nella sua autobiografia "Sound Man," afferma di aver avuto l'idea del concerto sul tetto. L'audio fu registrato con due banchi mixer a 8 piste nella cantina della Apple, mentre il regista Michael Lindsay-Hogg catturava ogni istante del concerto dal tetto. L'inizio del concerto, intorno a mezzogiorno, creò una certa confusione tra i passanti. La folla crebbe rapidamente, attirata dalla musica e dalla curiosità, ma la polizia intervenne presto, preoccupata per il rumore e il traffico. Mentre la maggior parte degli spettatori reagì positivamente, la polizia, dopo una breve resistenza, salì sul tetto, costringendo alla fine dei Beatles. Tuttavia, la band continuò a suonare per alcuni minuti, con Paul McCartney che ironizzò sulla situazione improvvisando sul testo di "Get Back." Il concerto si concluse con l'umoristica dichiarazione di John Lennon: "Vorrei ringraziare a nome del gruppo e di noi stessi e spero che abbiamo superato l'audizione." Un momento leggendario che rimane inciso nella storia della musica e nelle menti dei fan dei Beatles. GUARDE LE FOTO DEL TOUR ROMANO DEI BEATLES NEL 1965 The Beatles: Get Back - L'Inedito di un Ritorno Nell'Anno 2021 Il 2021 segna l'arrivo su Disney+ di "The Beatles: Get Back," un documentario annunciato nel 2019 e frutto di due anni di intenso lavoro su materiali inediti restaurati. Il progetto offre uno sguardo privilegiato a quasi 60 ore di filmati mai visti e 150 ore di registrazioni audio mai ascoltate, conservate gelosamente per oltre mezzo secolo. Senza precedenti, il documentario rivela ore e ore di John Lennon, Paul McCartney, George Harrison e Ringo Starr immersi in discussioni, risate, litigi, prove e esibizioni musicali. Un focus particolare è dedicato alle canzoni provenienti dai loro ultimi due album, "Abbey Road" e "Let It Be," pubblicati rispettivamente nel settembre 1969 e nel maggio 1970. Secondo le prime recensioni, l'attesa per questo materiale esclusivo è stata giustificata. "The Beatles: Get Back" si distingue da altri documentari sulla storia dei Beatles, come l'apprezzato "Eight Days a Week – The Touring Years" diretto da Ron Howard nel 2016. Le origini, l'Ed Sullivan Show, Amburgo, la decisione di smettere di esibirsi dal vivo, la scomparsa del manager Brian Epstein e tutto il percorso, dal Cavern Club di Liverpool a Yellow Submarine, vengono trattati in poco più di dieci minuti. Da quel punto, la narrazione rallenta e, a partire dal 2 gennaio 1969, si concentra sui giorni delle "Get Back Sessions." Le "Get Back Sessions" erano sessioni di registrazione con l'obiettivo di comporre e provare nuove canzoni per un futuro album, insieme a un piano di esibizioni dal vivo. Il progetto comprendeva anche la produzione di uno speciale programma televisivo che avrebbe mostrato il dietro le quinte di queste sessioni, con immagini affidate al regista Michael Lindsay-Hogg. Tuttavia,

i piani subirono un cambiamento: lo speciale televisivo non fu realizzato, e le riprese di Lindsay-Hogg divennero il documentario "Let It Be," rilasciato nel 1970, dopo l'omonimo album e lo scioglimento dei Beatles. Questo documentario alimentò l'idea che lo scioglimento fosse inevitabile, suggerendo che le premesse fossero già presenti nelle "Get Back Sessions." Nonostante ciò, "Let It Be" è anche la ragione per cui esiste il famoso concerto dei Beatles sul tetto, immortalato da nove cineprese il 30 gennaio. Nel documentario "The Beatles: Get Back," quei 42 minuti epici ritornano in scena, concludendo le "Get Back Sessions" il 31 gennaio. Un'opportunità unica di rivivere un capitolo cruciale nella storia dei Beatles. Beatles, Concerto sul Tetto, Let It Be, Billy Preston, Londra 1969, Beatles, Get Back, Disney+, Documentario, Let It Be.

[micro961]

Marco Bolzan - Il singolo “Un'altra stupida canzone”

Il brano dell’artista sugli stores digitali e dal 15 dicembre nelle radio

“Un'altra stupida canzone” è il nuovo singolo dell’eclettico artista Marco Bolzan, sui principali stores digitali e dal 15 dicembre nelle radio italiane in promozione nazionale. Il brano racchiude l'esigenza dell'autore di riuscire a raccontarsi e a raccontare le proprie emozioni attraverso la scrittura delle canzoni. Uno sfogo dovuto dall’incapacità di esternare sensazioni e sentimenti. La voglia di essere ascoltato, riuscendo a comunicare solo attraverso “un'altra stupida canzone”.

“Come una stella che passa veloce e si spegne nel cielo ma allo stesso tempo accende dentro noi un desiderio, così che la musica possa lasciare un segno nei cuori di chi la ascolta.” Marco Bolzan

Storia dell’artista

Mi avvicino alla musica fin da bambino condividendo la passione per il canto con la nonna. Nel 2021 mi iscrivo alla scuola di canto per coltivare questa mia passione per la musica acquisendo competenze di tecnica vocale e nozioni sempre nuove. Per quanto riguarda le mie esperienze in ambito musicale, oltre alle varie esibizioni compiute con la scuola di canto, ho partecipato a maggio al provino di X-Factor a Milano e a giugno a quello di Amici a Roma. Sempre a Roma ho partecipato al “Vibra Song Contest” classificandomi al terzo posto nella categoria inediti, dove, grazie al mio primo singolo “Ma la notte” (scritto da Massimo Moras e prodotto e pubblicato in collaborazione con Andrea Ravasio) mi sono aggiudicato un mastering agli Abbey Roads Studios di Londra. Successivamente ho pubblicato altri due singoli provando a sperimentare generi diversi tra di loro, “XVII FEBBRAIO” e “GRAZIELLA”. Sto lavorando alla realizzazione di altri brani che verranno presto pubblicati.

Il canto è per me un momento di libertà da condividere, uno strumento comunicativo potentissimo capace di unire le persone. Studio per migliorarmi e spero un giorno di poter trasmettere emozioni attraverso la mia voce e la mia musica.

Facebook: https://www.facebook.com/marco.bolzan.12

Instagram: https://www.instagram.com/_marcobolzan_

YouTube: https://youtube.com/@marcobolzan9050?si=fWtL0ZhsqkktT 5iQ

TikTok: https://www.tiktok.com/@marcobolzan?_t=8hQt3LYpwKu&_ r=1

Spotify:https://open.spotify.com/artist/5ErNxl7kmsjFYWgeNrHmw6

?si=NQ7O-WquSp6A9GWfk_RRKw

#singolo #new #radio