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hlupdate · 3 years

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Variety’s Grammy-nominated Hitmaker of the Year goes deep on the music industry, the great pause and finding his own muses.

“We’ll dance again,” Harry Styles coos, the Los Angeles sunshine peeking through his pandemic-shaggy hair just so. The singer, songwriter and actor — beloved and critically acclaimed thanks to his life-affirming year-old album, “Fine Line” — is lamenting that his Variety Hitmaker of the Year cover conversation has to be conducted over Zoom rather than in person. Even via videoconference, the Brit is effortlessly charming, as anyone who’s come within earshot of him would attest, but it quickly becomes clear that beneath that genial smile is a well-honed media strategy.

To wit: In an interview that appears a few days later announcing his investment in a new arena in his native Manchester (more on that in a bit), he repeats the refrain — “There will be a time we dance again”— referencing a much-needed return to live music and the promise of some 4,000 jobs for residents.

None of which is to suggest that Styles, 26, phones it in for interviews. Quite the opposite: He does very few, conceivably to give more of himself and not cheapen what is out there and also to use the publicity opportunity to indulge his other interests, like fashion. (Last month Styles became the first male to grace the cover of Vogue solo.) Still, it stings a little that a waltz with the former One Direction member may not come to pass on this album cycle — curse you, coronavirus.

Styles’ isolation has coincided with his maturation as an artist, a thespian and a person. With “Fine Line,” he’s proved himself a skilled lyricist with a tremendous ear for harmony and melody. In preparing for his role in Olivia Wilde’s period thriller “Don’t Worry Darling,” which is shooting outside Palm Springs, he found an outlet for expression in interpreting words on a page. And for the first time, he’s using his megaphone to speak out about social justice — inspired by the outpouring of support for Black people around the world following the death of George Floyd at the hands of Minneapolis police in May.

Styles has spent much of the past nine months at home in London, where life has slowed considerably. The time has allowed him to ponder such heady issues as his purpose on the earth. “It’s been a pause that I don’t know if I would have otherwise taken,” says Styles. “I think it’s been pretty good for me to have a kind of stop, to look and think about what it actually means to be an artist, what it means to do what we do and why we do it. I lean into moments like this — moments of uncertainty.”

In truth, while Styles has largely been keeping a low profile — his Love On Tour, due to kick off on April 15, was postponed in late March and is now scheduled to launch in February 2021 (whether it actually will remains to be seen) — his music has not. This is especially true in the U.S., where he’s notched two hit singles, “Adore You,” the second-most-played song at radio in 2020, and “Watermelon Sugar” (No. 22 on Variety’s year-end Hitmakers chart), with a third, “Golden,” already cresting the top 20 on the pop format. The massive cross-platform success of these songs means Styles has finally and decisively broken into the American market, maneuvering its web of gatekeepers to accumulate 6.2 million consumption units and rising.

Why do these particular songs resonate in 2020? Styles doesn’t have the faintest idea. While he acknowledges a “nursery rhyme” feel to “Watermelon Sugar” with its earwormy loop of a chorus, that’s about as much insight as he can offer. His longtime collaborator and friend Tom Hull, also known as the producer Kid Harpoon, offers this take: “There’s a lot of amazing things about that song, but what really stands out is the lyric. It’s not trying to hide or be clever. The simplicity of watermelon … there’s such a joy in it, [which] is a massive part of that song’s success.” Also, his kids love it. “I’ve never had a song connect with children in this way,” says Hull, whose credits include tunes by Shawn Mendes, Florence and the Machine and Calvin Harris. “I get sent videos all the time from friends of their kids singing. I have a 3-year-old and an 8-year-old, and they listen to it.”

Styles is quick to note that he doesn’t chase pop appeal when crafting songs. In fact, the times when he pondered or approved a purposeful tweak, like on his self-titled 2017 debut, still gnaw at him. “I love that album so much because it represents such a time in my life, but when I listen to it — sonically and lyrically, especially — I can hear places where I was playing it safe,” he says. “I was scared to get it wrong.”

Contemporary effects and on-trend beats hardly factor into Styles’ decision-making. He likes to focus on feelings — his own and his followers’ — and see himself on the other side of the velvet rope, an important distinction in his view. “People within [the industry] feel like they operate on a higher level of listening, and I like to make music from the point of being a fan of music,” Styles says. “Fans are the best A&R.”

This from someone who’s had free rein to pursue every musical whim, and hand in the album of his dreams in the form of “Fine Line.” Chart success makes it all the sweeter, but Styles insists that writing “for the right reasons” supersedes any commercial considerations. “There’s no part that feels, eh, icky — like it was made in the lab,” he says.

Styles has experience in this realm. As a graduate of the U.K. competition series “The X Factor,” where he and four other auditionees — Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson — were singled out by show creator and star judge Simon Cowell to conjoin as One Direction, he’s seen how the prefab pop machine works up close. The One Direction oeuvre, which counts some 42 million albums sold worldwide, includes songs written with such established hitmakers as Ryan Tedder, Savan Kotecha and Teddy Geiger. Being a studious, insatiable observer, Styles took it all in.

“I learned so much,” he says of the experience. “When we were in the band, I used to try and write with as many different people as I could. I wanted to practice — and I wrote a lot of bad shit.”

His bandmates also benefited from the pop star boot camp. The proof is in the relatively seamless solo transitions of at least three of its members — Payne, Malik and Horan in addition to Styles — each of whom has landed hit singles on charts in the U.K., the U.S. and beyond.

This departs from the typical trajectories of boy bands including New Kids on the Block and ’N Sync, which have all pro ered a star frontman. The thinking for decades was that a record company would be lucky to have one breakout solo career among the bunch.

Styles has plainly thought about this.

“When you look at the history of people coming out of bands and starting solo careers, they feel this need to apologize for being in the band. ‘Don’t worry, everyone, that wasn’t me! Now I get to do what I really want to do.’ But we loved being in the band,” he says. “I think there’s a wont to pit people against each other. And I think it’s never been about that for us. It’s about a next step in evolution. The fact that we’ve all achieved different things outside of the band says a lot about how hard we worked in it.”

Indeed, during the five-ish years that One Direction existed, Styles’ schedule involved the sort of nonstop international jet-setting that few get to see in a lifetime, never mind their teenage years. Between 2011 and 2015, One Direction’s tours pulled in north of $631 million in gross ticket sales, according to concert trade Pollstar, and the band was selling out stadiums worldwide by the time it entered its extended hiatus. Styles, too, had built up to playing arenas as a solo artist, engaging audiences with his colorful stage wear and banter and left-of-center choices for opening acts (a pre-Grammy-haul Kacey Musgraves in 2018; indie darlings King Princess and Jenny Lewis for his rescheduled 2021 run).

Stages of all sizes feel like home to Styles. He grew up in a suburb of Manchester, ground zero for some of the biggest British acts of the 1980s and ’90s, including Joy Division, New Order, the Smiths and Oasis, the latter of which broke the same year Styles was born. His parents were also music lovers. Styles’ father fed him a balanced diet of the Beatles, Fleetwood Mac, the Rolling Stones and Queen, while Mum was a fan of Shania Twain, Norah Jones and Savage Garden. “They’re all great melody writers,” says Styles of the acts’ musical throughline.

Stevie Nicks, who in the past has described “Fine Line” as Styles’ “Rumours,” referencing the Fleetwood Mac 1977 classic, sees him as a kindred spirit. “Harry writes and sings his songs about real experiences that seemingly happened yesterday,” she tells Variety. “He taps into real life. He doesn’t make up stories. He tells the truth, and that is what I do. ‘Fine Line’ has been my favorite record since it came out. It is his ‘Rumours.’ I told him that in a note on December 13, 2019 before he went on stage to play the ‘Fine Line’ album at the Forum. We cried. He sang those songs like he had sung them a thousand times. That’s a great songwriter and a great performer.”

“Harry’s playing and writing is instinctual,” adds Jonathan Wilson, a friend and peer who’s advised Styles on backing and session musicians. “He understands history and where to take the torch. You can see the thread of great British performers — from Bolan to Bowie — in his music.”

Also shaping his musical DNA was Manchester itself, the site of a 23,500-seat arena, dubbed Co-op Live, for which Styles is an investor and adviser. Oak View Group, a company specializing in live entertainment and global sports that was founded by Tim Leiweke and Irving Azoff in 2015 (Jeffrey Azoff, Irving’s son, represents Styles at Full Stop Management), is leading the effort to construct the venue. The project gained planning approval in September and is set to open in 2023, with its arrival representing a £350 million ($455 million) investment in the city. (Worth noting: Manchester is already home to an arena — the site of a 2017 bombing outside an Ariana Grande concert — and a football stadium, where One Love Manchester, an all-star benefit show to raise money for victims of the terrorist attack, took place.)

“I went to my first shows in Manchester,” Styles says of concerts paid for with money earned delivering newspapers for a supermarket called the Co-op. “My friends and I would go in on weekends. There’s so many amazing small venues, and music is such a massive part of the city. I think Manchester deserves it. It feels like a full-circle, coming-home thing to be doing this and to be able to give any kind of input. I’m incredibly proud. Hopefully they’ll let me play there at some point.”

Though Styles has owned properties in Los Angeles, his base for the foreseeable future is London. “I feel like my relationship with L.A. has changed a lot,” he explains. “I’ve kind of accepted that I don’t have to live here anymore; for a while I felt like I was supposed to. Like it meant things were going well. This happened, then you move to L.A.! But I don’t really want to.”

Is it any wonder? Between COVID and the turmoil in the U.S. spurred by the presidential election, Styles, like some 79 million American voters, is recovering from sticker shock over the bill of goods sold to them by the concept of democracy. “In general, as people, there’s a lack of empathy,” he observes. “We found this place that’s so divisive. We just don’t listen to each other anymore. And that’s quite scary.”

That belief prompted Styles to speak out publicly in the wake of George Floyd’s death. As protests in support of Black Lives Matter took to streets all over the world, for Styles, it triggered a period of introspection, as marked by an Instagram message (liked by 2.7 million users and counting) in which he declared: “I do things every day without fear, because I am privileged, and I am privileged every day because I am white. … Being not racist is not enough, we must be anti racist. Social change is enacted when a society mobilizes. I stand in solidarity with all of those protesting. I’m donating to help post bail for arrested organizers. Look inwards, educate yourself and others. LISTEN, READ, SHARE, DONATE and VOTE. ENOUGH IS ENOUGH. BLACK LIVES MATTER.”

“Talking about race can be really uncomfortable for everyone,” Styles elaborates. “I had a realization that my own comfort in the conversation has nothing to do with the problem — like that’s not enough of a reason to not have a conversation. Looking back, I don’t think I’ve been outspoken enough in the past. Using that feeling has pushed me forward to being open and ready to learn. … How can I ensure from my side that in 20 years, the right things are still being done and the right people are getting the right opportunities? That it’s not a passing thing?”

His own record company — and corporate parent Sony Music Group, whose chairman, Rob Stringer, signed Styles in 2016 — has been grappling with these same questions as the industry has faced its own reckoning with race. At issue: inequality among the upper ranks (an oft-cited statistic: popular music is 80% Black, but the music business is 80% white); contracts rooted in a decades-old system that many say is set up to take advantage of artists, Black artists more unfairly than white; and the call for a return of master rights, an ownership model that is at the core of the business.

Styles acknowledges the fundamental imbalance in how a major label deal is structured — the record company takes on the financial risk while the artist is made to recoup money spent on the project before the act is considered profitable and earning royalties (typically at a 15% to 18% rate for the artist, while the label keeps and disburses the rest). “Historically, I can’t think of any industry that’s benefited more off of Black culture than music,” he says. “There are discussions that need to happen about this long history of not being paid fairly. It’s a time for listening, and hopefully, people will come out humbled, educated and willing to learn and change.”

By all accounts, Styles is a voracious reader, a movie lover and an aesthete. He stays in shape by adhering to a strict daily exercise routine. “I tried to keep up but didn’t last more than two weeks,” says Hull, Styles’ producer, with a laugh. “The discipline is terrifying.”

Of course, with the fashion world beckoning — Styles recently appeared in a film series for Gucci’s new collection that was co-directed by the fashion house’s creative director, Alessandro Michele, and Oscar winner Gus Van Sant — and a movie that’s set in the 1950s, maintaining that physique is part of the job. And he’s no stranger to visual continuity after appearing in Christopher Nolan’s epic “Dunkirk” and having to return to set for reshoots; his hair, which needed to be cut back to its circa 1940 form, is a constant topic of conversation among fans. This time, it’s the ink that poses a challenge. By Styles’ tally, he’s up to 60 tattoos, which require an hour in the makeup chair to cover up. “It’s the only time I really regret getting tattooed,” he says.

He shows no regret, however, when it comes to stylistic choices overall, and takes pride in his gender-agnostic portfolio, which includes wearing a Gucci dress on that Vogue cover— an image that incited conservative pundit Candace Owens to plead publicly to “bring back manly men.” In Styles’ view: “To not wear [something] because it’s females’ clothing, you shut out a whole world of great clothes. And I think what’s exciting about right now is you can wear what you like. It doesn’t have to be X or Y. Those lines are becoming more and more blurred.”

But acclaim, if you can believe it, is not top of mind for Styles. As far as the Grammys are concerned, Styles shrugs, “It’s never why I do anything.” His team and longtime label, however, had their hearts set on a showing at the Jan. 31 ceremony. Their investment in Styles has been substantial — not just monetarily but in carefully crafting his career in the wake of such icons as David Bowie, who released his final albums with the label. Hope at the company and in many fans’ hearts that Styles would receive an album of the year nomination did not come to pass. However, he was recognized in three categories, including best pop vocal album.

“It’s always nice to know that people like what you’re doing, but ultimately — and especially working in a subjective field — I don’t put too much weight on that stuff,” Styles says. “I think it’s important when making any kind of art to remove the ego from it.” Citing the painter Matisse, he adds: “It’s about the work that you do when you’re not expecting any applause.”

#harry styles #variety #021220

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hldailyupdate · 3 years

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This Charming Man: Why We’re Wild About Harry Styles

Variety’s Grammy-nominated Hitmaker of the Year goes deep on the music industry, the great pause and finding his own muses.

Styles has plainly thought about this.

Of course, with the fashion world beckoning — Styles recently appeared in a film series for Gucci’s new collection that was co-directed by the fashion house’s creative director, Alessandro Michele, and Oscar winner Gus Van Sant — and a movie that’s set in the 1950s, maintaining that physique is part of the job. And he��s no stranger to visual continuity after appearing in Christopher Nolan’s epic “Dunkirk” and having to return to set for reshoots; his hair, which needed to be cut back to its circa 1940 form, is a constant topic of conversation among fans. This time, it’s the ink that poses a challenge. By Styles’ tally, he’s up to 60 tattoos, which require an hour in the makeup chair to cover up. “It’s the only time I really regret getting tattooed,” he says.

Harry for Variety. (2 December 2020)

#harry styles #harry update #article #variety #hldaily #December 2020

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defenselesswriter · 5 years

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the beginning of the single dad!stiles fic i’ve been working on

Stiles has a made a lot of mistakes in his life. One time, he convinced Scott to go through the woods with him, they got lost, and lost Scott’s inhaler. Another time, he drank too much at a frat party at school and only remembers waking up in the quad in his underwear.

As he stares at Lily, he knows that she’s something he will never consider a mistake. It may have been a crappy relationship that led to her conception, but he won’t ever regret having this tiny human in his life. She has made his life so much better, and she has taught him so much about love and patience in only nine months. He will forever treasure her and love her, and nothing could ever change his mind about that.

Then she wakes up from her nap, blinking up at him in her crib, and she immediately starts screaming. Still, Stiles regrets nothing because it brought her to him.

He scoops her up and blows into her bare belly, which distracts her for a second and stops the screaming. Shifting her to his hip, he walks downstairs towards the kitchen, talking to her as he goes.

“Did you have a bad dream?” he asks. “Is that why you woke up in such a sour mood? It’s okay. Your dad here has had his fair share of nightmares. It happens, sweetheart.”

Once in the kitchen, he mixes up a bottle of formula, shaking it up as he dances around with Lily so she giggles, clutching tightly to his shirt. Her giggles are his favorite sound in the entire world. He leans in and kisses her cheek, feeling her smile get bigger. When he leans back, she looks at him with her big brown eyes, and Stiles swears she understands more than any nine month old could.

He gets her settled in her high chair, buckling her in and sliding the tray in front of her. He goes back into the kitchen where he can still see her and she him.

“Do you want some banana?” he asks. “I think bananas sound great right now. What do you think?”

She coos at him before grabbing her bottle and tilting her head back to drink from it.

He nods. “Fair enough.” He chops up a banana, eating bits here and there as he cuts the pieces small enough for her to munch on but not too small she could choke. He’s done a lot of research on feeding babies. It’s amazing how much he has changed. A mere two years ago, he was writing papers on male circumcision and now his browser history is full of searches like, “What foods are good for babies at what stages?” and “How do I know I’m a good father?”.

He slides the banana pieces on a plate and drops it on Lily’s tray. She squeals and throws her bottle on the floor to free up her hands. Stiles can’t help but laugh because her flailing and easy excitement definitely came from him.

He sits at the table to watch her eat. Her tiny, chubby hands fumble in trying to grab banana, but the look of pride on her own face that probably mirrors her father’s when she picks one up is priceless. She shoves a piece in her mouth and claps her hands when she looks at Stiles.

“You’re welcome,” he says, interpreting her happiness as being grateful. After a few minutes of watching her eat, he stands up and goes to the kitchen to eat the rest of the banana and look through the cabinets to decide what he’ll have for lunch. His diet has definitely regressed into early college years of ramen and mac and cheese cups because they’re so easy to make and to clean up. Lily and work takes up a lot of his time and energy, so efficiency and ease are key.

He’s grateful he can work from home at his own pace and time, but he does kind of miss socializing. Scott and Allison come over almost every weekend to hangout, but Stiles rarely leaves his own house. Besides getting groceries and taking Lily to the park, he’s homebound. He wasn’t much of an extrovert anyway. Still… it would be nice to have a partner and help with Lily.

Sitting at the table with his bowl of ramen, he watches Lily with her banana again. When she starts crying, he leans over to grab her bottle and sets it back on her tray. That seems to be exactly what she wanted as she stops crying to drink her formula. He puts his elbow on the table and lean his chin onto his hand, eyes drooping. He wishes he could’ve napped while she did, but instead he worked on a project for work.

Stiles jerks away when the now empty bottle is thrown onto the table. He takes a deep breath and scoops some cool ramen into his mouth. Lily is content to watch him eat for now. Maybe because he’s making funny noises as he slurps up noodles.

He pulls his phone out of his pocket and snaps a picture of his baby because she is the cutest ever. Even with banana in her brown curls. Then he does what he meant to do when he pulled his phone out: he texts his dad.

Stiles: You working tonight?

Dad: Nope. Need a break?

Stiles: Pleeeeeease

His dad agrees to come over around dinner time with food, and Stiles is forever grateful of his dad. For the first six months of Lily’s life, they lived in his dad’s house while Stiles saved up for his own place. Three months ago, he managed to rent his own house, but his dad is still more than happy to help out with his grandbaby. Lily and his dad bonded in those first six months. Stiles has never seen his dad look at something with so much adoration and awe. Stiles is sure his own face looks the same sometimes. Or maybe all the time.

Lily always makes grabby hands at his dad. She loves him too, especially when he talks to her. She stops everything and stares at him in complete concentration when he does. His two favorite people loving each other so much fills him with so much happiness that he didn’t know was possible.

Stiles has made a lot of mistakes, but Lily is and never will be one of them.

#single dad!stiles #teen wolf #fic #eventual sterek #i promise #ty writes fanfic #food ment #this fic needs a tag #so ppl can follow it if they want updates #crepe expectations?#bc crepes are playing a vital role in this fic #lmk what y'all think pls

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courage-a-word-of-justice · 5 years

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Morose Mononokean II 4

Aw, another little fuzzball to steal away my heart? I’m being spoiled, aren’t I?

For some reason, this episode was meant to be really emotional, but I felt pretty restless while watching it. Probably because I was thinking about playing Merc Storia all that time.

Mob Psycho 100 II 4

Didn’t expect Shinra to be back after his previous appearance…

Notably, you’d expect Matsuo’s name to have the kanji for “pine tree” in it, but it doesn’t - it has the kanji for “demon” and then one more.

I loved it when FLCL and SGRS went into manga mode, but for some reason, the transition into manga mode didn’t land as well here…hmm.

“I’ll go inside her…With an out-of-body experience.” - That sounds majorly wronggggggggggg, Mob, y’know? Even with context.

I find it interesting Mob perceives himself to be naked…as in, unguarded. He’s fine as he is and doesn’t need to change…in some ways, anyway. He could probably do with a few more emotions, but you get what I mean.

Wha-wha-wha-whoaaaaaaaaa. You mean, Mogami just got rid of Mob’s powers??? That is a nasty cliffhanger!

My Roommate is a Cat 4

Just seeing Hiroto near Kawase’s armpit…so unfazed…it’s kinda funny, but only mildly.

Tuxedo cat…ergh. The differences between American and British English never ceases to trip me up…I mean, the term makes sense…it’s just the differences between the types of English I’m annoyed at.

If you observe the OP, you’ll see Haru has that collar…I’m not sure if that’s meant to be a spoiler then…

Haru basically has the mindset of Kaguya and Shirogane, which makes this hilarious (and yet it’s still justified due to being a believable mindset for a stray!).

S-Smug dog!!!!!!!!!!!!!! Get out of the way of Haru-chan!

Shield Hero 4

“Draw your swords!” – Wasn’t there a rule saying Naofumi can’t use a sword anyway? Plus, Motoyasu has a spear, not a sword…

Balloon? Now, that’s funny!

Using magic to intervene is the cowardly action, methinks, Myne.

I find it interesting Naofumi sees Raphtalia as a little girl – it’s a perception of vulnerability, potentially weakness – when things are shown through his perspective.

Falling Through Starlight is beautiful, y’know that? Be-a-uuuuuuuuuuu-t-i-ful!

Magical Girl Spec Ops Asuka 4

Interestingly, Francine kinda looks like Mami (Madoka Magica).

Wait, is this woman Miura? (Sorry, I’m just wondering why Abigail – the blonde evil magical girl – would choose to use yakiniku to threaten people…)

Oh dear…it’s that train question (save one or save many).

Neding authority before you can actually do anything legal…now that sounds like Double Decker.

“Chef”? I was mortified when it came to the rusalka scene…but I think we already know why Povar is a chef…

CQC? Close quarters combat? Ooh, I’ve never heard it abbreviated before.

Well, I like how Povar and Rusalka Man (can’t spell Russian to save my life) always keep their salaries in mind. Makes them easier to see as evil.

Egao no Daika 5

Oh, this series has two moons? Kind of like Double Decker’s two suns, yeah?

I just realised Lily’s the only one with a skirt on her suit…

Morose Mononokean II 5

I don’t think I’ve seen a Fuzzy-centric episode ever since the first time we met the furball…

That hand on neck thing is apparently a CIA technique if I interpreted it right…just, it’s applied to a purple/white lion, so it’s hard to tell whether it’s the real thing…

Fluffy tadpole is best tadpole. All fluffy things are cute to me, even the lethal ones…I guess.

Seriously, if someone doesn’t call the animation of the Executive sakuga, I don’t know sakuga! That crow is some fancy animation!

Hanae’s mother is scarier than most youkai, given she can give me a nasty jump scare!

Mob Psycho II 5

This episode’s called Discord…which maks me think of the chat program of the same name…weird, huh?

Notably, it’s Dimple’s voice coming from Mob’s mouth…hmm.

That episode was real cool…it’s too bad by turning off the volume at the wrong time, I missed the Sajou no Hana song…

My Roommate is a Cat 5

Roku, Nana, Hachi…haha.

I noticed Haru has smaller eyes than Hachi…aside from the collar of course.

Aw…reunion too cute. I honestly think that this show has a fairly effective use of “filling in the gaps”, as it were, and thus making good use of cuts.

Double Decker! EX 1

Yep, we’re back with Double Decker!!! I’m glad to see it back, really.

Wait…ohhhhhhhhh. So Double Decker! doesn’t just refer to the bus in this show or the system. It means “2 Detectives” in Japanese (in a codeswitching sort of way). It was wordplay all along! Ohhhhhhhhhhhhh! I get it now!

This Deana assassin stuff must be a lie…

(after the commercial break) C’mon, Kirill, buddy. You’re drunk, y’know that, right…? Right??? Update: Oh, not drunk, dreaming. My mistake.

Oh, I was just saying that My Roommate is a Cat dos a nice job “filling in gaps”. Didn’t realise Double Decker did it as well. Also, how the heck is Doug unpopular with women???

So…Kirill actually got hired based on his feminine looks? Geesh, that Travis…

The thing I missed about this show was not being able to play the ED after an episode, so I’m glad to have it back!

Spec Ops Asuka 5

Having Kurumi fix up Nozomi’s arm kind of erases the consequences…but that’s what Kurumi’s for, right?

Barber Scissors…? Is this what happens when you take Kill la Kill way too seriously?

Wowee. Din’t think Sacchuu was capable of dealing nasty punches as well.

There’s gotta be some sort of parallel between Abigail and the queen vs Asuka and Kurumi…

Post-credits segment. Keep watching.

Shield Hero 5

Headbutt to the nuts! Oof!

When it comes to races, the one tune that comes to mind is one from the Dog Island (track 22 from this YouTube playlist).

I swear there was CGI during the race…on Filo.

Please don’t make jokes about Naofumi liking lolis, people. This is not that type of show…

Mononokean 6

Is it just me, or has this epiode been relying on the use of blue speech bubbles for humour more than normal?

It’s Mononokean: Sports Anime edition!

For some reason, I find the name “trashboat” hilarious. It was probably just “ponkotsu” (piece of trash) in practice, but the variation in English is really something to behold…

Ashiya sleeps like an old man, LOL. It must be cosy in that bed…

Moja is just adorable in whatever scene it appears in! Even Moja being dragged down a stream is cute~!

Relaxing your shoulders, huh? That reminds me that that’s a destress technique I haven’t used in a while. My head’s been spinning while I was trying to watch this episode, so I should probably get back to trying to do that stuff…after this episode, of course.

Price of Smiles 6

You think Spec Ops Asuka looks bad? Look at Price of Smiles melt in this “Yuni! You should recover!” scene.

For some reason, this one dude (I forget his name) being a father surprises me. He looks like the type to be single…

The female version of the name “Noel” is Noelle…get that right, people!

Layla’s right when she says one of the main causes of war is the struggle for resources and wealth.

Mob Psycho II 6

I noticed instead of a Mac or something, the computer is a “One” computer.

The board says something a lot more complicated than Saitama’s routine…which means One likes exercise. Maybe…probably.

“Codomo” phone, LOL.

The last time I heard of tofu in anime that I remember…was Boueibu. Something about Ryuu killing a man with tofu.

Somehow it didn’t occur to me until the eyecatch was over but the block…was tofu!

How do you even get drunk when there’s no alcohol in the drink??? (LOL)

Oh! Shinra again!

…Also Jodo Kirin!

Shield Hero 6

Naofumi is giving 0 f**ks about the dressmaker’s love of Filo.

Why is Filo CGI…? It looks unnerving, to be honest with you.

My Roommate is a Cat 6

Eleventh grade…16? 17? Heck, Yugo looks 27, not 17!

Notably, “Comic Polaris” is the name of the magazine that publishes the manga of this. Hence “Novels Polaris”.

Heck, Subaru. In the internet age in particular, people write to affect others. I should know, as someone who did just that just a few years ago!

Oushitsu Kyoushi Heine movie

Yay, we’re back! Crunchyroll bringing over movies is definitely increasing my workload for these commentaries, so with all the new things I’ve added to my lists of priorities as of late, I wonder if I can keep up…

Hitting us with CGI in the first minute of the movie…oh man, how far does CGI go these days???

Honestly, in my brain Wagner (Classicaloid) = the twins (this movie) = the Beppus (Boueibu LOVE! LOVE!). They’re very similar in terms of personality…

In the same way, Bruno = Schubert from Classicaloid (but swap one’s Sensei for the other’s Senpai).

Licht = Motz.

It seems like someone liked ponytail!Licht enough to keep him here. So it really wasn’t just me, huh?

Seriously, what’s this “God of War” stuff anyway???

Man, vocal exercises? This takes me back to my piano-playing days…I was a sightreader and only had to do one of the two (out of sightreading and vocal stuff), but there was someone else who had to do both.

This piano is bugging me. Its white keys are black and its black keys are white!

Somehow, Heine’s small top hat suits him. It’s probably because he wears a small beret in that same position usually.

More CGI background characters…*sigh*

Hmm…soft power at its finest(?)

Seriously though, why did that evil Duke guy appear in this movie again??? He has zero use plotwise. Sure, he was important in the first season and if we ever get a second he’ll be important there, but here? Nada!

Have you noticed Heine is in all those dance positions a girl would normally be in??? Hmm! Interesting! But still…if there’s one thing I ever missed from the anime’s experience, it would be-oh, scratch that! This is my cue to watch the cheesy live-action dance ending! I missed it so much!

Egao no Daika 7

Seriously…who is Eins talking to??? Whose emperor???

They still haven’t revealed what this new guy’s name is, even after his introduction…well, technically he was introduced at the River Deese, but we still didn’t learn his name then. (Did we?)

Spec Ops Asuka 6

Is Mia just this show’s version of Kyouko (from Madoka Magica, but American of course)???

Oooooookay, that (with the kissing and stuff) is so not what foreigners are like, people…

Oh, goodness. Have I really been living with this stuff (girl x girl teasing, with Kurumi in particular being one of the more extreme examples I’ve seen) in my magical girl anime for years now? I mean, Suite PreCure is laced with the stuff…

If ordinary rigor mortis business is at work, then I’d say the heater is to speed up the rotting of the corpse…

LOL, there’s Halloween-class…and then there’s Voorhees-class…how appropriate for Disas.

“Only one of the Magical Five would’ve known about that phrase.” – My bets are on Peipei, but we’ll find out for sure…someday.

Mononokean 7

As much as I found the pillow fight scene with Fuzzy in it funny, I swear Abeno is a bit too sadistic for my own good. What is it with some women and their sadistic kinks…?

Abeno calling Ashiya “hunk of junk” makes me think Ashiya isn’t much of a Sousuke (from Classicaloid), but they do have a lot of similar character traits, now that I think of it…hmm.

For some reason, I think Abeno knew the conditions of the deal and what the deal entailed in advance, hence the training camp.

Seiza…means sitting on the floor in the position Ashiya was in (knees to the floor etc).

Mob Psycho II 7

“Cheeseburger Tornado”, LOL.

When Reigen got angry at the TV, I was just like, “It’s Shield Hero (Mob Psycho version)!” I.e. you con the conman and not turn the conned into a conman…or something like that.

Those microphones are so obviously CGI, people…

I know I’m a fan of Yuzuru Tachikawa, but episode 5 actually didn’t do too much for me, to be honest (even though it was visual spectacle, which is Tachikawa’s strong suit). However, while episode 7 looked less punchy overall, it was miles better…

“First-press limited edition? That is the absolute best decision.” – What is that referring to??? Update: It’s referring to the BDs...or DVDs...or both.

Update: Forgot to add Double Decker to the title and tags.

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mcneelamusic · 3 years

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Modern Day Irish Button Accordion Legend – Tony MacMahon

‘There’s no bog hole too deep for all the accordions in Ireland’ is a sentiment that some might agree with, but definitely not something you’d expect to hear from the mouth of one of Ireland’s greatest accordion players.If ever there was a statement to sum up the great Tony MacMahon, that’s it!A wonderful contradiction of talent, humility and self deprecation, Tony is one of the greatest Irish button accordion players to have ever graced the world of Traditional Irish Music. Not that he’d ever agree with that statement himself!Though sometimes considered a controversial figure due to his passionate views on Irish music, there’s no denying his contribution to the tradition. He has played with the best of the best and earned his rightful place among the greats of Irish music. Contents [hide]Inspiration Strikes Reverent and Humble A Dedicated Life Lifetime Achievement Award Farewell to Music Tony MacMahon – Master of the Tradition Inspiration Strikes Born in 1939, Tony MacMahon is a proponent of the C#/D press and draw style of Irish button accordion playing. His father came from an area steeped in traditional Irish music and dance and his mother concertina player. So, like most of the greats, he was surrounded by music from a young age.Growing up in Co. Clare, Tony was inspired by the accordion playing of the legendary Joe Cooley. Joe was a frequent visitor to the MacMahon household, arriving on the back of a motorbike – every inch the epitome of a modern day wandering minstrel.During the years in which Joe Cooley was ‘raising a storm of music through Clare’, Tony MacMahon fell in love with his playing. There’s no doubt he idolised the charismatic accordion player, and still does to this day. He reminisces fondly on the magical experience that was hearing Joe play the accordion:When he played he threw his head back, closed his eyes and seemed to sink down into his own playing, making the music go on, seemingly forever. Your senses were assaulted… a slow music-massage of your inner being, drawing out every little molecule of tenderness you had. – Tony MacMahon, Journal of MusicJoe Cooley was not the only brilliant musician to inspire the young Tony MacMahon however. Piper Willie Clancy and fiddle player Bobby Casey were both neighbours, while the likes of Tommy Potts and Felix Doran were also frequent visitors to the house.It’s hardly surprising that today, like Joe Cooley, Tony MacMahon is also regarded as one of the most iconic and influential Irish button accordion players – despite his own protests to the contrary. Reverent and Humble The true magic of Tony Mac Mahon lies not only in his skilled playing or unique style, but in his humble, unassuming nature.Like most great musicians within the Irish music community he does not consider himself ‘one of the greats’. His reverence for the music and tradition is evident at all times, but his attitude to his own musical skills seems to be almost dismissive.In his own words he has claimed that:I wouldn’t regard my own music either as traditional or indeed anything to write home about. A self-appointed, big-mouthed guru, I plead guilty to most of the musical sins, mortal and venial, which I have laid at the doors of others. For longer than I care to remember, I have hacked my way through tunes of beauty and tenderness on stage. – Tony MacMahon, Journal of MusicTo those who don’t know Tony, this could easily be misinterpreted as false modesty. A brilliant musician deflecting, purely to seem all the more humble. Really, it’s evidence of his grá (love) for Irish music.This is perhaps best explained by first understanding Tony’s own attitude to traditional Irish music:It means having a mind-set to one’s gift that is devoid of aggression, of narrow personal ambition. It involves an innocence, a humility in being the bearer of something that can infuse both musician and listener with a shaft of luminous joy. – Tony MacMahon, Journal of MusicA Dedicated Life Tony MacMahon’s influence on traditional Irish music has been far-reaching.Throughout his life Tony has done brilliant work not

only in advocating the old press and draw style of Irish button accordion playing, but also in promoting other musicians. Much of his career as a producer and presenter in RTÉ (Raidío Teilifís Éireann – Ireland’s national broadcaster) was dedicated to promoting the careers of other traditional musicians. Tony is a man who, despite his own musical skill, was always putting others first.MacMahon enjoyed a long career with RTÉ, beginning work in 1969 and retiring in 1998. He began his career as a presenter of traditional Irish music TV programmes before becoming a radio producer. Tony established the iconic Irish music radio show, The Long Note which brought top quality Irish music to every home in Ireland.Among his many TV contributions are the shows The Pure Drop and Come West Along the Road, to name but a few in a long list of incredibly popular and successful shows that have been dedicated to showcasing the best that Irish music has to offer. As Sue Wilson of Roots says,Even if he wasn’t the man who first brought The Bothy Band together to perform on his RTÉ radio programme The Long Note, accordionist Tony Mac Mahon’s place in Ireland’s traditional music pantheon would nonetheless be secure.But luckily he was, and the traditional Irish music community is all the richer for the support Tony MacMahon has shown it throughout the years. Today’s landscape could have been very different indeed if not for his gentle encouragement and passionate commitment.Lifetime Achievement Award For a man as humble as Tony, you can imagine how outraged he must have been to be honoured with the TG4 Gradam Ceoil Lifetime Achievement Award in 2004. This is one of the highest accolades in traditional Irish music and Tony is a truly deserving recipient.If music doesn’t make that little part of your back crawl or give you that intense thrill of knowing that you’re alive in the world for an instant in time, then it’s wasted. – Tony Mac MahonThere’s no doubt that time spent listening to Tony’s playing is time well spent indeed. His lively, rhythmic playing is energetic without ever being frantic. He’s never in a rush to get to the end of a tune. You can tell he considers and appreciates every note along the way.You can also easily hear the influence of Tony’s first mentor Joe Cooley in his playing style. Have a listen to his passionate performance from the event, alongside the magical guitar player Steve Cooney and see if you agree. Farewell to Music In 2014, Tony was misdiagnosed with Parkinsons Disease due to a tremor in his hands. As a result he announced his retirement from music, but not before he was convinced to record (and believe me, it took some convincing) his magnum opus, his final album, Farewell to Music.Despite receiving rave reviews for his collaborations with iconic concertina player and fellow Clareman Noel Hill, singer Iarla Ó Lionard and the legendary guitarist Steve Cooney, Tony frequently required gentle encouragement to showcase and archive his own solo accordion playing. His most recent album was no exception. While he is highly regarded as one of the most influential Irish accordion players in the history of the instrument, Tony had released only two solo albums prior to this recording.Farewell to Music is a beautiful collection of slow airs – perhaps an unexpected offering from a button accordion player, but Tony MacMahon is highly regarded for his slow air playing.This is hardly surprising however, when you consider his reverence for the music, and the regard in which he holds the tradition. Only a true master could tackle these airs in such a meaningful and touching manner.It would be easy for an album of slow airs to seem maudlin and morose, but there is an air of celebration throughout. Each track offers its own unique moments of beauty which ‘resonate long after the final note has sounded’.Tony MacMahon – Master of the Tradition The opening track, Farewell to Music, aptly borrowed from the great composer and harp player Turlough O’Carolan himself, sets the scene perfectly. This is one of my favourite tracks on the

album: It’s a perfect example of Tony’s simplistic, unaffected playing style. There are no unnecessary bells and whistles in Tony’s playing – there never have been. This should not be interpreted as lack of skill however.Tony is a perfect example of an older, truly traditional style of accordion playing. Each note is filled with intent. His playing feels almost like a tribute to all those great accordion players who have gone before him and in whose footsteps he has followed.Tony Mac Mahon famously shared a flat with legendary piper and singer Seamus Ennis in the 1960s. It’s he who Tony credits with most strongly influencing his intimate performance and tender interpretation of Irish slow airs.Farewell to Music should be compulsory listening for anyone who wants to master the art of Irish slow air playing, whatever instrument the play. Tony gives voice to these airs, breathing life into them in the same way a sean nós singer would.The result is thirteen poignant and beautifully delicate renditions that will be remembered as some of the greatest artistry to have ever graced the world of traditional Irish music.I spent a few days playing nothing but slow airs, digging deep into the fertile soil of those beautiful, plaintive, moving melody-narratives of our great tradition, to see what I could find there, one last time. – Tony MacMahonNever was there a more fitting farewell from a true master to his beloved art form. [Image: Athlour via Wikipedia, CC BY-SA 3.0]

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kazephantom · 7 years

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Spider-Man Homecoming thoughts

Well, my first one is kind of a spoiler but I think it is important to know. Leave your expectations at the door. This is a new version of Spider-Man, one that is different from any other version. This is not Sam Rami Spider-Man, this is not Andrew Garfield Spider-Man, this is not Ultimate Spider-Man cartoon or comic, and this is not 616 Spider-Man. This is a new version, a new interpretation of the character and mythos. That being said, I liked it for what it is.

Thoughts and spoilers below the cut

The two best parts of the film are Tom Holland’s Peter Parker and Micheal Keaton’s Adrian Toomes. The two actors play their characters so wonderfully well, Tom Holland’s Peter really, really reminds me of Tobey Maguire’s, from the voice he uses as Spider-Man, to how he sometimes comes off as lovably pathetic, and Hell, in some shots Tom Holland even starts looking like a younger Tobey Maguire. That being said, he does tell more than one joke in the film, so his Spider-Man has that over Maguire’s. Oh, it should be noted though, he does not have Peter’s anger. Even in the scene where Tony takes away the tech suit, I really expected him to get angry there and show that aspect of the character off, but instead he just, kinda starts to cry. Which, I don’t know how to feel about.

Micheal Keaton. Hands down. Plays the best MCU villain. To date. Better than Loki. There I said it. Hiddleston’s Loki has always had the problem of being too sympathetic to be taken seriously as a villain. But Keaton. Holy shit. Everything he does is for his family, there’s a scene where he’s with his family and he is so sweet and caring and a perfect father and husband, but then. HOO BOY. That car scene. The scene where Keaton is dropping Peter and Liz off at the dance, I had white knuckles all the way through it. The way he made Peter say ‘Thank you’ was terrifying. And the way he found out Peter was Spider-Man, as they drive and you start to see Keaton put the pieces together. HO-LY SH-IT. Only problem: nobody ever in this whole film calls him “The Vulture.”

Two more important notes about Spider-Man. First, Remember how in Civil War he was really, really strong? Well forget that, because in this film he’s really, really weak. Like, the weakest we’ve ever seen him. Not just his strength, but also his sticky powers. It is commonly accepted that Spider-Man’s stickiness is absolute, that it is an unbreakable molecular bond. When he sticks to something, if you try to remove him from it you will break the thing he is stuck to before the sticky bond comes undone. Well forget that. Because in this film Spider-Man is slippy and sliding all over the place when he’s sticking. Not just when he’s on a plane and in huge wind resistance where it might make sense, but when he’s climbing the Washington Monument, he can be seen sliding and loosing his grip on that too. This could just be chalked up to him being nervous and inexperienced, but I really, really, really hope that it changes going forward and that Marvel can stay consistent with how strong this version of Spider-Man is supposed to be. Oh yeah, and no, at no point in the film did Spider-Man ever express his Spider-Sense. I really hope this is just a case of “his powers are still growing”

Second point, that inexperienced bit. Yeah. This is the most inexperienced Spider-Man we have seen on film to date. I think the best symbol for this is the fact that this Spider-Man never once webswings in the city. He is always shown in the residential neighborhoods, never once does he really webswing around. He never goes to the big buildings. Again, for this movie I liked that and it fit it’s tone, but I really hope the next film has him going all out, and has him in true form.

No Daily Bugle, no J. Jonah Jameson. I really think they were afraid to recast him after J.K. Simmons’ legendary performance, and as humorous as that is, I’m kind of sick of it. Just recast already, we’re at the point now where it’ll be ok. Bite the bullet on this.

I was one of those people who was really afraid this film would turn out to be Iron Man 4, and I am happy, so so so happy to say it is not. Yes, Tony is in this, yes Iron Man is in this, but it’s not too much. Tony really only has four relatively short scenes that I can remember, but they are important scenes plot wise. I think he basically shows up to open and close every act. The movie is definitely about Peter though, thank god.

Oh yeah, and the Iron Spider is in the film. Or, a version of it. It invokes feelings of the Iron Spider, what with being an armored costume for Spider-Man, but in the end Peter turns it down and all for the better..... but I want a figure of it. It was kinda hard to see the design, since it was in shadow a little, and there was no glory shot of it, but what I saw of it was cool and I want a figure of it.

Best Aunt May, her role in the film is what every Aunt May’s role should be. Oh, and that was the absolute best way to end the film “WHAT THE FU--”

Oh yeah, I was also worried about the highschool setting, since 30 year old writers pretty much never know what a modern highschool is like, (I’m 23, only 5 years out from it), but this highschool setting was perfect. The teachers. Just. Did. Not. Fucking. Care. And that is so much my highschool experience.

Zendaya is MJ, but she’s not Mary Jane, and she’s really only there to set-up for the sequel. It’s really nice set-up though. They seem to have a good grasp on the idea of MJ’s character, how she wears a metaphorical mask to hide her true self just like how Peter wears a literal mask. All we see in this film is her metaphorical mask persona and it’s good to be acquainted with that before exploring her further. NOW, Yes, I would have preferred 616 the-mask-is-a-party-girl-Mary-Jane, and yes, Changing the character’s real name to Michelle is absolutely fucking unnecessary and stupid. But I think it’s too early to judge this version of the character because we have so little information about them.

Also there to set-up for the sequel is Mac Gargan, he has a role in the film itself as one of the people buying Vulture’s tech, but really his most important bit is the mid-credits scene, where he sets up the Sinister Six, and then Micheal Keaton’s Vulture wonderfully knocks that set-up down. Also, he does not become Scorpion in this, though if he does come back in the sequel to be Scorpion I’d be cool with it. His character is pretty much a total psychopath and we haven’t seen Spidey fight a villain like that in the movies yet.

That being said, if the next movie is Sinister Six I have total faith in Marvel to be able to do it, since this film had Vulture, Tinkerer, Prowler, Scorpion, and two Shockers in it, yet it never felt like that weighed the film down. Showing Spider-Man 3 and The Amazing Spider-Man 2 once and for all that it doesn’t matter how many villains you have, it’s how you use them that matters

The post-credits scene is the funniest one yet. Funnier than Deadpool’s even.

Now, there are two things about this movie that I absolutely LOATHE... or, at least don’t like and think were completely unnecessary

Ned-- Holy fuck he was annoying. His dialogue was nowhere as cringy as it was in the trailers, since they did that thing were they used alternate takes for the trailer lines, and yeah, the trailers for this film did not do it justice at all. Ned’s “But you are a kid” line in the trailers sounds so forced and poorly acted, like he’s trying to be epic about it but comes off instead like he’s out of breath, but in the film it is so much more natural and quick. Back to the point though. Yeah, he’s just Ganke. They stole Ganke from Miles, gave him a white guy name, and gave him to Peter. And ‘Nedke’ and Peter do not have the same chemistry that Miles and Ganke have. Nedke’s role in the film is basically to just be a tool, a tool for the film so that Peter has someone to talk to to explain things too, and someone to be really, really stupid. And that role would’ve been served so so so so so much better by Harry Osborn without the stupidity. There is a montage at one point where Nedke is asking Peter a bunch of Spider-Man questions out in the open and Peter is just trying to get him to shut up, and it was so annoying I wished Peter would punch him in the fucking face. ....That being said he had one of the funniest jokes in the movie. “I’m... watching porn?”

Karen-- Hoo-boy. Ok. So. Spider-Man really is kind of just an Iron Man Jr. Even down to the fact that his suit has it’s own AI that talks to him and tells him what to do and stuff. The taser webs are stupid and unnecessary, as is so so so much of the tech in Peter’s suit. I’m glad that the webwings are clearly shown to just be for short range gliding, but I still think they’re unnecessary. The film seems to go out of it’s way to show how Peter’s standard webline could be limited in certain situations, from being in a residential neghborhood, to climbing the Washington Monument where there’s nothing else around to swing on, setting an action scene on a boat (which how Iron Man saved that boat is completely physics defying), to even having Peter go way up into the air on a plane. Back on point, yeah, Spider-Man’s suit has a completely unnecessary AI. It’s only real purpose in the entire film is to be the punch line to one joke where the AI, which should have no human emotions or concept of human relations, tells Peter to kiss Liz.

Other things I didn’t like but don’t really get on my nerves too much

The music sucked. Just, sucked. The only one that was any good was the orchestral version of the 60′s theme song. I’m really torn with which theme I like better, the Orchestral 60′s or the Rami theme. One of these days though, I need to put together a Spider-Man playlist and show these films what that should be like.

Peter didn’t end up beating the villain, he just won through pure coincidence. Which I guess can be part of the point and audiences might be tired of the “good guy wins through a fist fight” climax, but still, Peter’s victory in this just, didn’t feel earned. He didn’t show Vulture error of his ways, or talk him out of a life of crime, Vulture’s wings just took on enough coincidental damage to finally explode of their own accord.

Alright, I think that’s everything I wanna get down. Or at least everything I can think of right now. I’m tired now, gunna go watch some reviews, see what others thought and hopefully get to see this film in theaters again soon with friends.

#Spider-Man #Spider-Man Homecoming #Marvel #MCU #Peter Parker #Tom Holland #Spiderman

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rudiecantfail98 · 6 years

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Lindsey Buckingham San Francisco - Reaction

Song by song thoughts of the SF show. I was planning to record this reaction, but I don't know when I would have time for it. --------

Don’t Look Down - A gem from 1992’s Out of the Cradle. The guitar intro is just delightful and further demonstrates his mastery of the fingerpicking style. I did not mind the piped vocals, but at some parts of the show, I was like why? I’m happy that he’s open about it with another backing band member helping out with that. I will get his name eventually.

Go Insane - in it’s full band version. Wicked awesome! I like it a lot better than his acoustic version, but I understand where he’s coming from when he does it that way. But the full band is a bop.

Lindsey speaks:

Warner Bros after many years got the bright idea of releasing a ‘best of’ his solo work. More than 30 years of work all in one thing.

He acknowledged when some dude said, “we love you, Lindsey.”

Surrender the Rain - I thought that the way that this was played was kind of like a love song. I know that lyrically, it’s not the case. It has never been played live before until this tour. It does show his age unfortunately but it’s not the worst of course. Any songs from Out of the Cradle are welcome. I did not like the ‘enhanced’ lead vocal. I know he does not sing that high anymore, and it just was weird. I mean, I would be surprised that at the end it was him doing that lead vocal, but it sounds artificial.

Not Too Late - I’m not a big fan of this song, but I do like the live version better than the studio version. The studio version has too much of his processing that was typical of the Under the Skin era. I would rather hear his aged voice 9 times out of 10 on anything.

Doing What I Can - I accept this in place of Countdown. Goddamn. It is hot, when he sings the chorus. He does that little vibrato or shaking of his voice. I’m more impressed that he could do the chorus. And damn, that guitar solo at the end.

Trouble - Better than the Kimmel performance. I don’t think Lindsey nowadays plays that well in front of a studio TV audience. The piped-in vocals are okay. They sound like Lindsey and it’s great as a backing vocal.

I Must Go - Thank god, another gem from Go Insane. I don’t like the piped-in vocals at first in the chorus, but you get used to them.

Street of Dreams - I took no video of this song. I was trying to be respectful towards his brother and his whole family. I know the song is personal to him. It’s about the death of his dad. It’s powerful when he goes into that part directly about his father because he sings with such intensity and sorrowful anger.

Lindsey acknowledged his niece, sister in law, Jeff (His brother) and wife and friends. He said that things go in circles and he joked that it’s his brother’s fault that Lindsey was standing there. Jeff looked so proud of his brother.

I apparently was sitting next to his brother and family. I know how sad it sounds that I know what his brother looks like, but he made an appearance on Lindsey’s Behind the Music episode. And they look like each other. Jeff was very happy to be there. He was cheering very hard and he was like the only one standing up for Holiday Road.

Shut Us Down - I like the live version better than the studio because once again, I don’t like the voice processing on some of the songs of the Under the Skin album. Another display of his fuckin’ awesome fingerpicking abilities.

Never Going Back Again - This song makes a lot of sense in spite of all the BS that has happened in this year. Like, yeah, it’s about their break-up originally, but if you kind of think about it in the recent context, it’s just like yeah. He’s been down one time (the break-up), two times (departure/firing in 1987), three times (firing in 2018). At least that’s how I interpret it. Yeah, Lindsey, don’t go back again.

Big Love - Another signature fingerpicking display of awesomeness. It’s the first time that I’ve seen it live in person. I do like the end of the song with all those grunts. It’s intense.

In Our Own Time - Seeds We Sow, represent! At least he picked the best song from that album, although I do personally have “One Take” and the Rolling Stone cover version of “She Smiled Sweetly as my favorites. It’s amazing how instrumentally, he can get it very close to the studio version, which is spectacular in its own right.

Slow Dancing - I did not recognize this song right away, tbh. Maybe it’s a key change or it seems like that it’s played faster or something. Heck, it’s the live debut of the song. Regardless, I’m glad he brought this song along in the tour. I secretly like the song, since it is a sexy song. Listen to the lyrics. You’ll see what I mean. And then watch the music video. The guitar outro, damn! That alone is worth it for this song.

Soul Drifter - Once again, better than what was shown on Kimmel. I don’t mind the piped-in vocals because they at least sound like Lindsey from when it was recorded back then.

Holiday Road - Fuck yeah! I don’t mind the piped-in vocals, since the song is just so fun! Except at the end where him and the band are barking like dogs. Like, what the fuck, Lindsey. You’re weird and eccentric. I get it.

Tusk - Something went wrong during this song. When Lindsey finished the first verses, they had to stop the song. The horns, according to Brett Tuggle, weren’t working right on the computer. They had too much tequila and it was drunk. His words, not mine. Also, shout out to Jimmy Paxson for keeping the drums or rather, the cymbals, going when that exchange happened. It was fucking bonkers when it worked right. He did hiccup in his retry. It was adorable. Yes, I know that I have problems. I did not record the glitch out of respect for Lindsey and his family.

I’m So Afraid - Okay, the earlier songs established him as an acoustic fingerpicking god. He’s a fuckin’ electric guitar fingerpicking god! I mean, if you didn’t figure that out in the earlier electric songs with solos in between the lyrics… I’m kidding. This song does not get old for me.

Go Your Own Way - This is the right way of doing the song, not getting the New Zealander from Crowded House to do it. It’s Lindsey’s heartbreak and anger, not Neil Finn’s. He did not let the audience strum his guitar for the solo at the end. Security was pretty tight at the Palace of Fine Arts Theater. No video or pictures allowed, but I don’t listen and I had center seats. What could they do to me? What did Edwin Starr sing that was popularized in the 1998 film, Rush Hour, “Absolutely Nothing, say it again. Hah!”

Encore

His brother, Jeff, was like the only one putting the flashlight from his phone on. So I did it too because I’m lame and desperate. Then, I thought and joked to my mother that 98% of these people probably were not able to turn on the flashlight on their phones because the demographic was literally the AARP convention.

Band Intros - Lindsey thanked the audience, said, “it was a few little glitches, but that’s rock and roll.”

Turn It On - I love this song. It’s uplifting. “You can heal someone’s soul, you don’t even know why.” These Out of the Cradle songs are just relevant, due to the things that have been happening to him. Like, Stevie Nicks kicking him to the curb and having a big hand in firing him out of Fleetwood Mac. I mean, Out of the Cradle was heavily influenced by his 1987 departure/firing.

Down on Rodeo - I love this song too! The Under the Skin exudes softness and reflection in general. It’s a song that I’ve always wanted to hear live in person.

Treason - What a fitting end. If I wasn’t such an emotionally distant person, I would probably have cried. The chorus says it all: “Deep down there is freedom. Deep down there will be a reason. At the end of the season. We will rise from this treason.” Yes, Lindsey, we will rise from this treason. I wish nothing but luck for the success of Lindsey Buckingham’s solo tour.

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