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theresattrpgforthat · 5 months

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hi!!!! do you know of any poetry based/centric ttrpgs? solo or for more players!

THEME: Poetry Games

Hello friend, so I’m going to drop a few games that help you write poetry or use poetry creation tools, but I also recommend checking out lyric games! Lyric games are written such that reading them alone is a form of play. This means that reading these games is often an experience in itself, meant to evoke emotion in a similar way to the experience of reading poetry. It’s a movement within the ttrpg sphere that I’ve only heard of, but the conversations I’ve been witness to concerning lyric games is very intriguing.

Now, on to the recommendations.

No One Dies Alone in Revolution, by Robin Rudd.

No One Dies Alone In Revolution is a single-player poetry-writing ttrpg in which you play as an empyromancer, interpreting flame and smoke to identify each new revolutionary soldier's patron saint, all past martyrs of the cause, and composing the prayers they will call out in battle.

This game uses a deck of cards, a dice, and an associated oracle to tell the story of the saints who died, and the prayers you will write in their honour. This is a creative game deeply steeped in ritual, and I think it makes the poetry-creation process feel quite natural. The lines of the prayers have rules depending on the cards you draw and the dice you roll, determining metrical feet, details that must be included, and the emotions the prayer is meant to evoke. If you want a game whose emotions bleed out onto the page, you want to try this game.

Gentleman Bandit, by allison arth.

They call you the Gentleman Bandit, because no one knows your name. They call you a monster, a villain, a dealer of death. But they don’t know you.

Not your Heart, your Poet’s Heart filled with rage or filth or the expansiveness of True Love; not your Grieving Heart loosed over a chasm, making a sound like the sorrow of wolves as it plummets toward wet river stones, cracked bones left to bleach.

In this writing-focused RPG, you personify the eponymous Gentleman Bandit to write a 13-line poem you'll leave for the dead — and the ones who discover them. Card draws guide the content of each line; optional dice rolls add poetic devices to further shape the experience and ratchet the difficulty. Using a deck of cards, you consult an oracle to determine the theme and topic of each line of your poem. There are optional requirements you can include in your poetry creation, such as writing in meter, applying a rhyme scheme, using double meanings, or using words from a diction list. Your final poem will also help you determine your next poem, as you can compare your hand to different poker hands.

This game also has a multiplayer option, if you are playing with multiple people, and two successors: Moonblind and The Swallowtail. There's also the Gentleman Pirate supplement, for fans of Our Flag Means Death.

Reverie Cycle, by Caro Acersion.

Reverie Cycle is about a group of isolated individuals, each shunning their own troubles and trials. They record their waking thoughts in their journals, reflecting on the world around them. But at night, their dreams — poetic, sensory, abstract — blur and blend with each other, creating a shifting, liminal state of overlapping worlds. The poetry of these dreams cascades and reappears, and eventually tumbles into their waking world as well…

Reverie Cycle is a play-by-poem roleplaying game — it uses poetry as a form of play, and play as a form of poetry. You don't need to consider yourself a poet to play, but by the end of the game, you will be.

This is a game about dreamers, asking for help in overcoming obstacles they are afraid to acknowledge when they are awake. It’s also an online game, with instructions for setting up the game over a private chatroom, such as Discord. The game also comes with safety emojis that you can use as you play, allowing you to react using a shorthand that signals to the players that something about the current play needs to be changed without breaking the through line of messages. Character creation involves answering a number of playbooks for your character, and assigning their unique touchstones that show up in their dreams. If you want a collaborative poetry experience, I recommend Reverie Cycle.

Care for Hecuba, by Hy Libre!

These games are born from caring about helpless tragic characters. Hecuba, Medea, Semele, Medusa-- these are monstrous, vulnerable women whose function in the story is to gravitate toward an inevitable death. By playing these games you are caring for them, because Euripides and his contemporaries are dead and somebody needs to.

These games borrow tools and expectations from poetry, but they're all "playable". You might interact with them by just reading, or by asking a friend to play them with you, or changing them to be "playable" in a way you like, or by saying "Hmm!" and moving on.

These games have the rules written as poetry, and their modes of play may occasionally also bleed into your daily life - eripedes’ favourite game tells you to ‘clean your fucking room’, for example. This is possibly also an example of a lyric game, because it feels like you are playing it as you read it. The games feel very intimate, so if you want an intensely personal experience, consider Care for Hecuba.

#tabletop games #indie ttrpgs #dnd #game recommendations #asks #poetry

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soulmythos · 1 year

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INTRODUCING... WOUNDED DIVINE, WITHERED COSMOS

— summary. — set in the soul mythos — adult fantasy space opera when seven colossal beings of myth return after a millennia, they warn of a coming calamity that will destroy the universe, unless 777,777,777,777 mortals tithe their souls.

pinterest | lyrical playlist | instrumental playlist

— word count. — currently drafting — 4,756 of ~150,000

— contains. Women, chronically ill characters, sapphic enemies to lovers, cyst realms buried beneath the surface of reality, souls born from the wombs of planets, slumbering gods, a Lot of fantasy religions, magic and arcane focuses, and millennia-old empires ruled by saints. also angst. this book is just angst.

— aesthetic. cathedralian halo of thorned white stone, unending ocean wreathed in sun, cosmos burnished crimson with the heat of decay, a night sea misted with the glint of stardust, eyes wane opalescent with knowing, a thousand thousand burning incisions well light into the heavens, souls rend their scars of blight to seep a dying magic, slumbering gods whisper divine war, and worlds hiss their death elegy.

— plotlines and visuals.

THE WHITE WOLF + THE OBSIDIAN DRAGON — in the aftermath of a calamitous vision sent across the universe, Lysmara battles to reclaim the stolen body of her slumbering God from the empire her saintdom answers to. — main characters — Lysmara the White Srasza: 27, she/her — Ysythys the Obsidian Kostir-drac: 27, she/they

THE HOLY WAR + THE WORLD DEVOURER — prophesied to incite holy war, Vesper is torn between the hope of a universe without eternal imperial rule and the vengeance for her lost world that only a chosen of the empire can offer. — main characters — Vesper Sol’Necrosia: 22, she/her — Lylth Strathys: 26, she/her

THE CYSTIC SWORD + THE HERETIC GLAIVE — imprisoned by the Cystic Clerisy alongside her enemy, Fesra is forced to trust her survival to the heretic hunter who once sought her execution. as the cult augments them into a sword that will pierce into the secrets of forgotten realms, they struggle to maintain their mind as their body evolves. — main characters — Fesra Stalks the Cosmos: 20, she/they — Asyr: 23, she/her

THE WITCH-ZEALOT + THE THEURGIST — when her closest friend is stolen by the Cystic Clerisy, Gorgoneth forsakes the vows forced on her in exchange for undeath. knowing soul rot will slowly consume her without her promise to the Saints, she infiltrates the cult to discover the dark source of their power and sever it at the head. — main characters — Gorgoneth Sol’Monasra: 26, she/her — Nyphyr Sol’Aorsza: 27, he/they — Morgorz: 1037, they/them

THE SALVATION + THE DEPARTED — as the Annihilus Republic burns, Mordra shackles the Republic’s savior to her side and dooms the Annihilus people to imperial rule. with a slithering creature at the edges of her vision, whispering her onward, she delves into eldritch realms to restore her vanished motherworld. — main characters — Mordra Mothwym: 117, she/they — Wisthe Caerthe: 27, she/her

THE LIGHTLESS ANGEL + THE DEATHLESS SAINT — sent to retrieve a dead Saint, Isadothael discovers him alive and without memory. captured by the same cult of corpse-dealers holding the Saint prisoner, she’s forced to guide their ship into the starless, mind-bending dark of Gloom Space. — main characters — Isadothael Sol’Czaitov: 167, she/her — Scythe: 124, he/they

THE MARTYR + THE DEMIURGE — when the call for soul tithe reaches across the universe, Martyr’s imprisoned people are the first to be sacrificed. as her artificial body rapidly deteriorates with every use of a magic she shouldn’t possess, she races to board the ships ferrying her people to their deaths. — main characters — Martyr Cleaves a Million Chains: 27, she/her — Vaerathûn the Scholar-Sacred: ~7000, they/he

— tag list. if you'd like to be added to the tag list for this wip, let me know!

and if you made it this far, bless you because this book is an absolute behemoth!

#soulmythos: wdwc #amwriting #writers of tumblr #writing community #writeblr #writers on tumblr #wip introduction #wip intro #my wips #fantasy #space opera #sci fi #soulmythos: wips

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kurisus · 2 years

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TLT Playlist

You all knew it was coming. I had a lot of fun with this playlist, since it's ordered to follow Gideon, Harrow, and Nona respectively with some songs thrown in that I think the characters would like in addition to fitting lyric-wise.

I sent this playlist to a couple friends for early peer review, and received the following feedback:

Listen Here

Song list under the cut! I recommend listening in this order to follow the character progression through the series.

Legendary - Welshly Arms

Broken Crown - Mumford & Sons

All the Rowboats - Regina Spektor

Immortals - Fall Out Boy

Everybody Wants To Rule The World - Lorde

Louder Than Words - Les Friction

Who We Are - Imagine Dragons

Giants - Neoni

Born for This - CRMNL

Legend - The Score

The Phoenix - Fall Out Boy

Cannonball - KAINA

Don't Stop the Devil - Dead Posey

My Songs Know What You Did In The Dark (Light Em Up) - Fall Out Boy

Welcome to the Black Parade - My Chemical Romance

Absinthe - I DONT KNOW HOW BUT THEY FOUND ME

The Kill - Thirty Seconds To Mars

Numb - Linkin Park

World on Fire - Les Friction

Forest Fires - Lauren Aquilina

Dead Man's Arms - Bishop Briggs

Landfill - Daughter

Indestructible - Welshly Arms

Twin Skeleton's (Hotel In NYC) - Fall Out Boy

World So Cold - 12 Stones

Church - Fall Out Boy

Song of the Abyss - Aviators

I Will Follow You into the Dark - Death Cab for Cutie

Glory - Friday Pilots Club

In the End - Linkin Park

You - Keaton Henson

For This You Were Born - UNSECRET, Fleurie

I Will Never Die - Delta Rae

Supernova - Marcus Alexander

Won't Remember (Acoustic) - Tors

Mars - Sleeping At Last

Furthest Star - Dirt Poor Robins

In the End - Linkin Park

Sirens - Oliver Daldry

X - Welshly Arms

Devil Devil - MILCK

Call Them Brothers - Regina Spektor, Only Son

The Light Behind Your Eyes - My Chemical Romance

Torture - Les Friction

No Light, No Light - Florence + The Machine

Feet Don't Fail Me Now - Neoni

Bones - Koethe

A Lonely Place (Alternative Version) - Ryan Louder, Eurielle

The Saints I - Dirt Poor Robins

Human - Daughter

Free - Mother Mother

The Sharpest Lives - My Chemical Romance

Achilles Come Down - Gang of Youths

Medicine - Daughter

Mercy - Bo Baskoro

Twisted - The People's Thieves

Bones - Imagine Dragons

Make Believe - Les Friction

Justice - Dirt Poor Robins

Flesh and Bone - Black Math

Dark Matter - Les Friction

The Angry River - The Hat, Father John Misty, S.I. Istwa

Seven Devils - Florence + The Machine

XV - Split the Dealer, Deva St. John

Take Me to Church - Hozier

Maybe - Flower Face

Empire & the Sun - The Moth & The Flame

Amber - Koethe

Immortalized - Hidden Citizens, Keeley Bumford

I Remember - Les Friction, Emily Valentine

City of the Dead - Eurielle

Mausoleum - Rafferty

Oh Death - Noah Gundersen

Hymn For The Missing - Red

Who We Are - Hozier

Bring Me To Life (Synthesis) - Evanescence

Iridescent - Linkin Park

Dead - Truslow

Politik - Coldplay

Hey Love - Foreign Figures

Snake Eyes - Mumford & Sons

Who Will Save You Now - Les Friction

Silhouette - Aquilo

In the Roses (Acoustic) - Christian Reindl, Henri Bardot

Far Too Young to Die - Panic! At The Disco

I Come With Knives - IAMX

Battlefield - SVRCINA

You And I (Stripped) - PVRIS

Death is a Girl - Skippocalyptic

Cannibal - Marcus Mumford

The Calling - The Amazing Devil

This Is How The World Ends - Kat Leon

The Sword & the Pen - Regina Spektor

It Tore Your Heart Out - Dirt Poor Robins

Any Body - aeseaes

Curses - The Crane Wives

Two Birds - Regina Spektor

Bones - Emily Finchum

Fortuna (Warframe) - Divide Music

Enchanté - Dirt Poor Robins

Anybody Else - Dom Fera

Good Intentions - Coyote Kid

Red Water Dreams - Aviators

Those Who Sojourn - Dirt Poor Robins

Ballad of a Politician - Regina Spektor

Earth - Sleeping At Last

Your World Will Fail - Les Friction

Falling Upwards into Love - Dirt Poor Robins

The Horror Of Our Love - Ludo

Devourer - Aidoneus

Dream Girl Evil - Florence + The Machine

The Ballad of Jeremiah Peacekeeper - Poets of the Fall

Six Billion - Nothing But Thieves

Morning Star - Van Izak

But Never a Key - Dirt Poor Robins

Blue Lips - Regina Spektor

Needles & Pinches - Georgia Train, Bitter Ruin

Love Comes Home - Les Friction

#The Locked Tomb #Gideon the Ninth #Harrow the Ninth #live update #playlist

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claire8216 · 1 year

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spotify wrapped lyrics 96, 4, anddddd 28. please :)

4. Daphne Blue by The Band CAMINO

I see shades of you when I don't want to Can't think straight since you've been gone

28. New Religion by The Heydaze

A city of strangers, the streetlights, they change us We all need a little bit more, we all need a little bit more The saints and the liars, the dealers and buyers We all need a little bit more, we all need a little bit more

96. Older by 5 Seconds of Summer ft. Sierra Deaton

Our love is tailor-made But we let the edges fade Your wicked smile, it says it all Mixed with my sad and cynical

Send me number 1-101 and I’ll tell you my favorite lyric from the corresponding song on my Spotify Wrapped!

#thanks for the ask!!#missjoolee #spotify wrapped #claire answers

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nxkdeep · 4 years

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DEALER

#dealer #dealer band #dealer band lyrics #dealer band aus #stay sick #stay sick records #dealer lyrics #dealer soul burn #dealer saint #dealer saint lyrics

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ladyonfire28 · 4 years

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My French music Masterpost

So since half of the population is in quarantine right now I thought I could make a list of some french/ french speaking artists and songs that I listen to and that you could also discover since we all have time to kill.

Obviously I cannot put every single artist and song I know and listen to so it’ll be a bit of mix of my favorite albums/ artists of the past few years but also what i’m listening at the moment !

Pop/ R&B

Angèle

She’s a 23 year old Belgian singer. Her first album was a HUGE hit last year and she got 5 news songs out in November too. She’s also been dating a woman for a few months.

I would recommend to listen to her whole album Brol , it’s quite a bop. Also there are two songs about wlw relationship called « Ta Reine » and « Tu me regardes ». That last song was a kind of coming out song btw, we were all freaking out when we listened to it the first time lmao.

Favorite songs: Les matins, Flemme, Flou, Nombreux, Ta reine, Tu me regardes, J’entends

Clara Luciani

She’s a 27 year old French artist. 2019 was truly her year. She’s has an incredible voice and I just love her energy. She’s an amazing songwriter too. Her first album is called Sainte Victoire.

Favorite songs: La grenade, Les fleurs, On ne meurt pas d’amour, Drôle d’époque, Nue, Dors, Ma Soeur, Bovary.

Christine and the Queens

I think a lot of you know her already. She’s also a queer and pansexual artist. I have to say I really LOVED her first album Chaleur Humaine, one of the best albums of the past decade, but I didn’t love as much her second album (Chris) or her new EP (La vita nuova). I mean they’re good, but her first album was really something else. And it’s also just my opinion !

Favorite songs : iT (it’s in English though), Saint Claude, Science Fiction, Half Ladies, Paradis Perdus, Chaleur Humaine, Nuit 17 à 52, Intranquilité, Amazoniaque, Jonathan, La marcheuse, L’étranger

Therapie TAXI

This is a pretty fun band, their first album has been quite popular. They’re pretty unique and sometimes their songs and lyrics are let’s say... bold lmao. I haven’t listen to all their songs though, there’s like 25 songs in their first album and 15 in their second aha. But they also have so many bops.

Favorite songs: Hit Sale, J’en ai marre, Salop(e), Avec ta zouz

Aya Nakamura

Aya is now a r&b/pop superstar here in France and even in other countries in Europe. She’s 25 and you can hear her songs in every night club and party here. Can’t say her lyrics are very elaborated but her songs are real bops and the best to dance to in your room lmao

Favorite songs: Djadja, La dot, Pompom, Copines, Pookie, Sucette, 40%, Comportement

Lous and the Yakuza

She’s a 23 year old belgian artist. She only has 3 songs out for now, but i’ve been pretty obsessed with them. Her lyrics are pretty great too (and she’s SO beautiful omg).

Favorite songs : Dilemme, Tout est gore, Solo

Yseult

Yseult is a 24 year old french singer/songwriter. She’s has a beautiful voice and the beats are also great. I haven’t listened to all her songs though, I only heard her new EP Noir which is great.

Favorite songs: Corps, Nos souvenirs, Noir, 5H

Indie/electro rock/folk :

Pomme

Pomme is very famous in the LGBTQ community in France, but i haven’t listened much to her songs (yet). She’s a 24 year old french and lesbian singer songwriter. Her songs talk about love, anxiety, and even death. She has a such beautiful voice too.

Favorite songs: On brûlera, A peu près, Anxiété, Je sais pas danser

The Dø

The Dø are a finnish/french duo and also one of my favorite band (they sing in english though). They made of of my favorite albums of the last decade, Shake Shook Shaken, which came out in 2014. Their first albums sounded more folk/indie rock, but their third album is much more electro. And the album is about the break up of the lead singer, Olivia Merilahti, and the musician, Dan Levy. One of my favorite song of all time is in their second album Both Ways Open Jaws and is called Too Insistent.

Favorite songs: On my shoulders, Too Insistent, Sparks, Despair Hangover & Ecstasy, Opposite Ways, Anita No!, Nature Will Remain.

Izia

Izia is a singer but also an actress, you may know her from La Belle Saison, Samba, or Un peuple et son roi. I listened a lot to her third album La vague, that was released in 2015. it’s much more electro that what she used to do before. Her two first albums were much more rock albums. She’s got a new album out but i haven’t listen to it yet.

Favorite songs: Hey, La vague, You, Les ennuis, Bridges, Tomber

Mansfield.YTA

The band is composed of 2 women, Julia Lanoë et Carla Pallone. Julia is in other bands/ projects such as Sexy Sushi and Kompromat. Unlike those two last bands that are very electro, Mansfield is something more nuanced. It sounds more like indie folk and mixes different style. You can hear electric instruments but also violin, harmonium, piano etc. And it’s pretty melodramatic. They sing in french and english.

Favorite songs: Et demain déja, Pour oublier je dors, Mon amoureuse, Gilbert De Clerc

Electro :

Stromae

You might have heard of that Belgian guy. His album Racine Carré (released in 2013) is too me the best of the decade and his song “Papaoutai” was a huge hit in Europe. He’s a pure genius. His lyrics are super deep and usually quite dark but he makes incredible beats that are very electro. If his second album is definitely his most popular album, his first one Cheese, was also so so great and his first single “Alors on Danse” was a huge hit (Kanye West did a remix of it). He also directed Billie Eilish’s “Hostage” music video. That dude is just incredible. But after his huge success his did a burn out and his mental health got very bad. He stopped making music since then.

Favorite songs: Peace or Violence, Alors on danse, Dodo, Je Cours, House’llelujah, papaoutai, bâtard, ave cesaria, tous les mêmes, formidable humain à l’eau, sommeil

Rap :

I have to say i’ve been listening to a lot of french rap this past couple of years so i won’t list all the rappers i listen to, especially since i’m pretty sure most of you aren’t interested in rap. But I still have to list some of them that have been very popular recently. France has a huge and very diverse rap culture.

Fauve

Actually that collective is actually not a rap band at all. They do more like spoken word songs but didn’t where also to put them lol. The band broke up 5 years but I still listen to them a lot today. It’s one of my fav band too. Their lyrics are really well written and beautiful. It usually talks about the “youth malaise” and their frustrations, heartbreaks and anger etc. They made 1 EP et 2 LP.

Favorite songs: Blizzard, Cock Music Smart Music, Nuits Fauves, Haut les Coeurs, Rub a Dub, Voyous, Infirmière, Vieux frères, Lettre à Zoé, Paraffine, Tallulah, T.R.W, Les Hautes Lumières

Meryl

Meryl is a 24 year old french martinican rapper. Before making her own music she used to write and compose melodies for other famous french rappers. She’s very influenced by her roots and and she also sings some of her songs in creole. I love how different and diverse her music is.

Favorite songs: Coucou, AH LALA, Béni, Désolé, La brume

Aloïse Sauvage

Aloïse is a multi talented french singer/ actress/ dancer. She released her first EP in 2019 called Jimy and her very first album Dévorantes was released in February 2020. She’s definitely a queer artist (99% sure she’s lesbian but she’s never confirmed it so anyway + her little sister is 100% a lesbian aha) and she talks about lgbtq issues in some of her songs, but also about her own issues and all. Her lyrics are beautifully written. And she’s also a ray of sunshine so there’s nothing to dislike about her haha.

Favorite songs: Dévorantes, Si on s’aime, A l’horizontale, Et cette tristesse, Jimy, Présentement, L’orage

Roméo Elvis

Roméo isn’t french but belgian. He’s the big brother of Angèle. I actually knew about her because of him. He’s less known than her now obviously but he’s still quite popular. His rap is pretty soft and chill. I preferred his collaborations with Le Motel (who was his producer) more than his “solo” album but he still got some good songs on his last album.

Favorite songs: Morale, Nappeux, Drôle de question, Bébé aime la drogue, J’ai vu (feat. Angèle), Lenita, Chocolat, Normal, Dis-moi

Lomepal

Lomepal is a french rapper. He’s known for writing songs that are pretty elaborated with chill and melodic beats. I also call is rap “soft”. He usually talks about his loneliness and insecurities

Favorite songs: 70, Yeux disent, Club, Trop beaux, 1000°C, X-Men, Plus de larmes

PNL

PNL is the most popular cloud rap band of the past few of years. They’re two brothers NOS and Ademo and they’re famous for using vocoder when they rap. Like a lot of vocoder lol. But they’re also very known for working with some of the best beat makers in the industry. If the way they rap is sometimes pretty hard, their beats are very chill and cool. In their songs they talk a lot of their life as dealers in the french banlieue, their struggles, how tough their lives were but also how their lives today isn’t set and how they’re not necessarily happier today. Their third album “Dans la légende” was a huuuuge hit in France, and their latest album “Deux frères” just as much if not more.

Favorite songs: Recherche du bonheur, DA, Dans la légende, Luz de Luna, Humain, Bené, Jusqu’au dernier gramme, Blanka, A l’ammoniaque, Shenmue, Menace, Déconnecté, La misère est si belle

Other songs that I listen to at the moment :

“Le temps est bon” - Bon Entendeur (electro)

“De mon âme à ton âme” - Kompromat (electro)

“Reste” - Maitre Gims feat Sting (pop)

“Les méchants” - Heuss l’enfoiré (rap)

“C’est plus l’heure” - Franglish feat Dadju, Vegeta (r&b)

“De l’autre côté”- Ninho feat Nekfeu (rap)

“Blanche” - Maes (rap)

“La complainte du soleil” - Laura Cahen (from I Lost My Body OST)

Some french speaking “classic” songs that I listen to and that you probably don’t know (from the 50′s to 00′s) :

“Une valse à mille temps” - Jacques Brel

“La foule” - Edith Piaf

“Chanson pour l’auvergnat” - Georges Brassens

“Je t’aimais, je t’aime et je t’aimerai” - Francis Cabrel

“Ma préférence” - Julien Clerc

“La nuit je mens” - Alain Bashung

“Foule sentimentale” - Alain Souchon

“Mistral gagnant” - Renaud

“Sensualité” - Axelle Red

“Manhattan Kaboul” - Renaud feat. Axelle Red

“Onde sensuelle” - M

“Et dans 150 ans” - Raphaël

“A la faveur de l’automne” - Tété

“L’aventurier” - Indochine

French LGBTQ+ artists

This past few years a few lgbtq artists have blown up here and like 4 lesbian artists have been nominated for best new artist this year at the french grammy award called Victoire de la musique (and one of them one the award, Pomme). Unfortunately i’m not very good at discovering new artists so i’m quite late and i haven’t been able to listen to a lot of them. But if you want to discover them yourself here are few lgbtq artists:

Already mentioned: Angèle, Pomme, Julia Lanoë/ Rebekka Warrior (Sexy Sushi, Kompromat, Mansfield.YTA), Christine and the Queens, Aloïse Sauvage

More : Hoshi, Suzane, Eddy de Pretto, Safia Nolin (she’s from Quebec)

#this is a big ass post i'm so sorry omg #but you should have enough artists to discover for the next 45 days lmao #be aware : some songs on here are very bad lmao #but i love listening to bad music sometimes #aimee listens to music #up the baguette #french music #music #music masterpost

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aion-rsa · 3 years

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How The Rolling Stones’ Exile on Main Street Earned Its Rep

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Apple TV+’s docuseries 1971: The Year That Music Changed Everything makes it seem like The Rolling Stones’ Exile On Main Street album was more fun to record than listen to, and that sets a high standard. The record distills the band’s sounds, from acoustic world music political ballads, through deep heartfelt blues, to honky tonk so funky you have to shake your ass. The group plays country, Southern blues, R&B, and the almost-punk-before-punk “Rip This Joint.” “Tumbling Dice,” is a radio staple. Keith Richards even took the lead vocals on a track to keep you happy. There was so much material, it came out as a double album. What could be more fun than that?

Richards’ Nellcôte mansion, on the Côte d’Azur in the South of France, was the hardest rocking musical getaway paradise in 1971. It was a Rock and Roll Main Street, and even the most mainstream players mainlined the exile vibe. Guitar god Eric Clapton and underground country legend Gram Parsons mixed drinks and drugs with movie stars like James Caan and Faye Dunaway, while playwright Terry Southern stopped taking note, according to Robert Greenfield’s book Exile on Main Street: A Season In Hell With The Rolling Stones.

William S. Burroughs inspired Mick Jagger to cut and paste a word collage together to form the lyrics to “Casino Boogie.” Paul McCartney and Ringo Starr dropped by the almost-week-long afterparty for Jagger’s wedding to Nicaraguan-born model Bianca Pérez Morena de Macias in Saint-Tropez. John Lennon, who was on methadone treatment, reputedly threw up at the foot of the grand staircase and passed out in it.

“The sunshine bores the daylights out of me,” Jagger sings on “Rocks Off,” the album’s opening song. The Rolling Stones strolled through their recent past darkly. The murder of Meredith Hunter at the Altamont speedway concert in late 1969 signaled, to many, the death of decade’s peace-and-love counterculture. But the band’s troubles went all the way back to the Redlands drug bust of 1967, and the death of Brian Jones. Adversity worked well, creatively, for the Stones, and they continued to pump out classics like “Gimme Shelter” in 1969, and controversy like “Brown Sugar” in 1971. Sticky Fingers, their ninth album, hung nicely at the top of the charts on both sides of the Atlantic.

The songs, and Allen Klein’s aggressive managerial money-making maneuvers, put the band in the 93% tax bracket for Britain’s highest earners. The Stones owed more than they could pay. To avoid penalties, they moved to France. Mick went to Paris. Mick Taylor, Bill Wyman and Charlie Watts bought or rented places along the French Riviera. Richards and his girlfriend, German-Italian actress and model Anita Pallenberg, moved into Nellcôte, a villa in Villefranche-sur-Mer, near Nice. During the Nazi occupation of France during World War II, the seaside mansion was the headquarters of the local Gestapo. Swastikas were carved into floor vents, staircases and ventilator grates.

Culture

How Tina Turner and Frank Zappa Whipped Up Some Dirty Love

By Tony Sokol

As pointed out in 1971: The Year That Music Changed Everything, the Stones had recently signed with Atlantic Records, and the label wanted an album. The band scoured the Riviera for a suitable recording studio, but wound up parking their mobile studio next to Keith’s house. Richards transformed the basement into a recording studio, and the band stole electricity from the railway tracks across the street to power amplifiers and the mobile recording truck.

The layout wasn’t the best. Bill Wyman, who is only credited for eight of the album’s songs on bass, plugged into an amp which was mic’d up in the hallway. Producer Jimmy Miller ended each take by running from the truck into the basement to check sound. The humidity caused the guitars to go out of tune. This gave the album its working title: “Tropical Disease.” The song “Ventilator Blues” was inspired by the conditions.

The band also had to deal with Keith’s erratic schedule. “I never plan anything,” Richards says in the documentary Stones in Exile. “Mick needs to know what he’s going to do tomorrow. Whereas I’m just happy to wake up and see who’s hanging around. Mick’s rock; I’m roll.” Richards, Taylor, Watts, pianist Nicky Hopkins, saxophonist Bobby Keys, drummer Jimmy Miller, and horn player Jim Price would jam all night while engineer Andy Johns ran the reels. Sessions would start when the guitarist rolled out of bed, or before he slipped off to put his son Marlon to sleep. After that Keith might pull a disappearing act, playing guitar in the un-mic’d second floor bathroom, or passing out. Richards was open about pot and alcohol, sharing liberally, but quiet about his heroin use.

Richards got clean in the spring of 1971, but hurt his back in a go-kart accident, according to Greenfield’s book. His vehicle flipped while racing his friend Tommy Weber at a track in Cannes. Richards took morphine for the pain, and within a few months, was using again. For sessions, he’d down a Mandrax, which is like a Quaalude, with whiskey. Charlie Watts was drinking brandy until he was past sloppy, and Jagger was taking speed to keep up with the hours Keith set. It was Richards’ place, and Mick was almost a hostage. When he left, it seemed nothing got done. Richards, left alone, could be downright dangerous. He almost burned himself, Anita and the entire house down when he fell asleep with a lit cigarette.

Richards was buying pure, uncut heroin from Castilian dealers. He was getting it by the kilo, and it became part of the social regimen of the villa. He shared so regularly with Gram Parsons that Mick got jealous, professionally. Parsons wanted Richards to produce his next album and join him on tour, which would have left the Stones without their guitarist for two years. Parsons was quietly asked to leave. Drugs split the Stones into two camps: Jagger, Wyman and Watts stuck to pills, booze and softer drugs. Richards, Taylor, producer Jimmy Miller, sax player Bobby Keys and engineer Andy Johns shot dope.

It cost them their gear. Wyman’s bass, Keys’ saxophone and nine of Richards’ guitars were stolen by dealers from Marseille who were owed money, while the entourage was watching television during the day. The Stones’ lawyers bribed local police to keep the party going, but even the most corrupt French cops, like Captain Louis Renault in Casablanca, have their limits. Besides, the Stones were welcomed in France because they were rich rock stars who were going to spend lots of money. If all their cash went to illegal and nontaxable drugs, the French government didn’t have much use for them.

The tipping point seems to have come with Anita Pallenberg. She maintained a steadily rocky relationship with the Stones. Richards stole, or saved, her from a paranoid and abusive Brian Jones, and there were rumors Jagger had an affair with her while filming Nic Roeg’s Performance in 1968. According to Greenfield’s book, Mick also slept with her while Richards was on the nod during the Exile sessions. Police came knocking to ask about a claim that Pallenberg had given heroin to the 14-year-old daughter of the villa’s chef.

The French police left without validating the charge, but said they’d be back to have a better look around the mansion. Richards and Pallenberg took off on his speedboat, fittingly named Mandrax II. The rest of the band slipped out soon after with the tapes. Pallenberg and Richards were charged with possession of heroin with intent to traffic in 1973. They were then exiled from France for the next two years.

The party continued when the Rolling Stones reconvened in Sunset Sound studios in Los Angeles. The band tossed TVs off the balconies of hotel rooms with Marc Bolan and Neil Young. The tapes for the album stretched from 1969 to 1972. The band edited hours of jams into song structure. Jagger scatted melodic placeholders for unfinished lyrics, and recruited session players like Billy Preston and Doctor John to fill in any sonic emptiness. The words to “Tumbling Dice,” for instance, were written last minute. The song has an unusual structure, as the verses become shorter, the choruses get longer. It may have Watts’ best drum performance.

Exile on Main Street contains some of Richards’ best guitar work. The album really belongs to Keith. “Happy” is almost entirely his. He’s on vocals, guitar and bass, with Miller on drums, Keys on maracas, overdubs from Taylor, and backing vocals from Jagger. “Sweet Black Angel” is a political love letter to civil rights activist Angela Davis. “Shake Your Hips” put the hair on ZZ Top’s lips. The album cover set the visual tone for punk. Some people claim it’s the Rolling Stones’ best work. It is a classic which catches them at their hedonistic peak. Its dirty, loosely played backing created an identifiable sound. The Stones’ first double LP, it is best heard in its entirety, and earned its street cred.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

1971: The Year Music Changed Everything is available to stream on Apple TV+ now.

The post How The Rolling Stones’ Exile on Main Street Earned Its Rep appeared first on Den of Geek.

from Den of Geek https://ift.tt/3yu3EYr

#aion-rsa #Den of Geek

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dantays-inferno · 3 years

Text

Hidden meanings in Taylor's Apple Music interview

Why the fan in the background?

Historically, women in Western cultures have purportedly used fans to communicate coded messages. Read more on the Sotheby's website, which includes this excerpt from a 19th century pamphlet on the meanings of different fan motions:

The fan is behind Taylor's head and open wide, which would mean "wait for me" and "don't forget me."

This may seem like a ridiculous conjecture, but we all know Taylor loves to leave secret messages, and I've noticed she's a big history and antiques buff. She seems to be into 19th century and has even mentioned it being a an inspiration for the aesthetic of folklore/evermore. Plus, the article was on Sotheby's, an auction house/art dealer which I imagine she's worked with given her impressive antiques collection.

Intriguing.

But there’s more art...and it gets more interesting...

The small statue appears to be a religious icon of some sort, probably a saint. As I thought about the statue throughout the day, a lyric from a Sara Bareilles song on her 2019 album Amidst the Chaos sprang to mind:

Could I rest here for a while

Near that medal 'round your neck

St. Jude's wearing a smile

He wouldn't mind I bet

I can't go face the world

My bones won't hold me up

So tell the saint of lost souls where to find me

Softly sleeping

Here in the deep end of someone who loves me

(she is such an incredible artist...really underrated. She sang "Brave" with Taylor on the Red tour and has collaborated with Jack Antonoff, so I think it's reasonable to believe Taylor has listened to her work.)

Anyways, I had been running on the theory that the statue was probably Mary since it looked like some kind of saint, but she's usually represented as the Madonna, with baby Jesus. Then I wondered...if St. Jude is the patron of lost causes and evermore is one big tribute to relationships just stalling out (and folklore seems to be a lot of knowing the end is near but trying to patch things up), maybe the statue IS St. Jude. There was also an album by Justin Townes Earle last year "The Saint of Lost Causes" which got some critical praise.

Anyways, there is a book of Jude in the New Testament, and one of the first things mentioned is the Israelites in the Egypt. What is to Taylor's left? A fresco of Egypt (you can see pyramids in some shots.) I think the painting is meant to clarify which saint the statue is.

In addition (this is a more dubious guess), St. Jude is sometimes depicted with a flame over his head, and the flowers sort of give that vibe. But Taylor also seems into Victorian flower language, so maybe it's something to do with that.

To me, Taylor is saying that though she knows he feelings for whoever she wrote the letter mentioned in the very raw song "closure," are probably a lost cause, she prays they are not and begs the person not to forget her, but to wait for her.

I feel you, Tay. Jude will probably be my patron saint when I join a convent in a few years once I’ve finally given up on finding reciprocal love.

Anyways, if you read our blog, you probably know who we think the object of her affections is, but I'll just leave it at that.

Prayers to St. Jude for Taylor 🙏 evermore seems to come from a place of raw pain.

#taylor swift #taylornation #sara bareilles #evermore #folklore #apple music interview #swifties #hiddleswift

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malum667 · 3 years

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CASISDEAD

‘I don’t listen to what art critics say. I don’t know anybody who needs a critic to find out what art is.’

– Jean-Michel-Basquiat

CasisDead is an enigmatic rapper originating from Tottenham who claims to have the same birthday as Dorian Gray (Colours) and to be ‘about the white, brown and ash’. To describe his identity with more clarity would be like writing Banksy’s biography or asking Nigella Lawson about an alleged restraining order. (Nigella)

Back in 2004 ‘Castro Saint’ was the rapper’s alias, it’s supposed that he didn’t wear a disguise in this era, but to locate a self-revealing portrait of this elusive artist is impossible. During his time spent as Castro he released grime harder than anything conceived during the genre’s genesis.

Illustrating caving in the head of a drug addled caricature called (‘Simon’) in the song ‘Drugs’ and threatening to mass-shoot a fully occupied club in his ‘Twisted Freestyle’, this was content absent literarily and literally in the time period of his demo’s release. His idolisation of/or situational likeness to Fidel Castro in the revolutionary’s early days at university (‘stood here back against the wall, solo but with friends to call’) could be the reasoning behind CAS’ initial title. Many rumours surrounded Castro’s seven-year hiatus between 2005 and 2012.

Through the influence of Jean-Michel Basquiat’s penname can the only certain elaboration explaining CAS’ re-emergence be ascertained.

Throughout Basquiat’s time spent accompanied by Al Diaz under the ‘SAMO’ pseudonym, scrawls including ‘GRAFITTI IS A POEM THE CITY WRITES FOR ITSELF’, ‘FOR X-MASS…’ and ‘SAMO IS DEAD’ are examples of what inspired CAS’ resurrection and the homage he so cryptically portrays for the ‘so-called avant garde’ in a genre that harbours anything but.

CASISDEAD, (a name inspired by CAS (drug) registry codes, SAMOISDEAD and perhaps the anticipated the death of Fidel Castro) released his debut album, ‘The Number 23’ on the 23rd of December 2013 and most recently the single ‘Pat Earrings’ on the 25th December 2017. CAS has a habit of ‘packing envelopes like it’s X-MASS’ and I’m sure that Walter Sparrow (Jim Carey – The Number 23) would understand.

‘I had some money; I made the best paintings ever. I was completely reclusive, worked a lot, and took a lot of drugs. I was awful to people.’

– ‘Jean-Michel-Basquiat’

A cabal of ambitionless YouTube commenting ‘sycophants’ of whom CAS is ‘sick of’ have disputed the reasoning behind Castro Saint’s resurrection as the ‘demi-god’ of UK rap. Yarns ranging from him being on remand as a drug dealer, getting robbed by NPK, battling addiction, cancer (Drugs Don’t Work & The Grid), or his involvement in a motorbike accident (3.6) have been alluded to in bars proclaimed by the self-titled deity.

During an SBTV interview, CAS stated that the reasoning behind his disguise was that he was employed as a nursery assistant. Believe it or not, a lot of, ‘dumb’ blogging ‘cunts’ took these words literally.

But it is UK rap we’re talking about here.

‘I don’t think about art when I’m working. I try to think about life.’

–Jean-Michel-Basquiat

To comprehensively evaluate the intricacies of CAS’ lyricism would ensue a disastrous dissertation. He’s a ‘multifaceted’ artist that describes himself as ‘Arya Stark in a car that’s dark.’ (Does It). Owning multiple masks and murdering his competitors unnoticed by the genre’s audience, he still remains the underdog of the scene, with ‘the underground locked’.

With ‘syntax so abstract’ that ‘most man’ wouldn’t ‘catch that.’ (Sillian Braille), his likeness to Patrick Bateman (American Psycho) and how blind most listeners are to his layered lyricism can be ascertained, that is, if you’re not a ‘fucking slag’.

The content of his music works to illustrate the spectrum of Great Britain’s hedonistic underworld, from the story of heroin addicted ‘Simon’ to that of murder and drug trafficking in ‘The Grid’ – a video inspired by films including Enter the Void and Irreversible. His lyrics allow you to empathise and fantasize about all levels of degradation and monetary acquisition, as is the nature of rap.

A ‘little insight’ is clearly ‘too much of an ask’ in the UK scene and at the time of writing, CAS still remains musically dead and criminally underrated, resultant of most fans ‘sleeping on him’ and being stupid (Dumb). In his frustration regarding the lack of recognition received for his lyrical sophistication he instructs ignorant listeners to ‘suck their mum’ and get ‘the fuck out of here with that rusty gun’.

Maybe you could ‘blame’ their ‘parents’ but CAS suggests that you ‘don’t be such a cunt…’ as they ‘need education, not social segregation’ (You Might Be Scared).

He didn’t join the ‘27 club like’ Basquiat; ‘Cobain, Winehouse and Hendrix’, or did he?

‘Spent so long in purgatory, I’m part of the furniture, it’s cool, no urgency…’

– CasIsDead

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pwlanier · 4 years

Text

Lot 34. Nicolas de Staël (1914-1955), Barques dans le Port (Boats in the Harbour), signed ‘Staël’ (lower left), oil on canvas; 28¾ x 39¼in. (73 x 99.7cm.) Painted in 1955. Estimate: £1,400,000 - £1,900,000. Price realised £2,411,250. © Christie's Images Ltd 2019

Provenance: Jacques Dubourg, Paris.

Private Collection, Paris (thence by descent)

Acquired from the above by the present owner.

Literature: J. Dubourg and F. de Staël (eds.), Nicolas de Staël: Catalogue raisonné des peintures, Paris 1968, no. 1041 (illustrated, p. 384).

C. Zervos, ‘Nicolas de Staël’, in Cahiers d’Art, no. 30, 1955, (illustrated, p. 272).

P. Granville, ‘Nicolas de Staël, le déroulement de son oeuvre témoigne d’un destin libre et nécéssaire’, in Connaissance des Arts, no. 160, June 1965 (illustrated in colour, p. 97).

B. Dorival, ‘Un homme libre: Nicolas de Staël’, in XXe Siecle, no. 39, December 1972 (illustrated, p. 37).

D. Marchesseau, ‘Nicolas de Staël… jusqu’au bout de soi’, in Jardin des Arts, no. 212–213, July–August 1972 (illustrated, p. 15).

G. Dumur, Nicolas de Staël, Paris 1975 (illustrated in colour, p. 82).

F. de Staël, Nicolas de Staël Catalogue Raisonné de l’Oeuvre Peint, Neuchâtel 1997, no. 1068 (illustrated, p. 632).

Exhibited: Paris, Musée National d’Art Moderne, Nicolas de Staël 1914–1955, 1956, p. 24, no. 87.

London, Whitechapel Art Gallery, Nicolas de Staël 1914–1955, 1956, p. 21, no. 42 (illustrated in colour, unpaged).

Berne, Kunsthalle Bern, Nicolas de Staël, 1957, no. 79.

Geneva, Galerie Motte, Nicolas de Staël (1914–1955): Peintures et dessins, 1967, p. 26, no. 41 (illustrated, p. 29).

Paris, Jacques Dubourg, Hommage á Nicolas de Staël, 1969, no. 20.

Saint-Paul, Fondation Maeght, Staël, 1972, p. 162, no. 96 (illustrated in colour, p. 144).

Zurich, Galerie Nathan, Nicolas de Staël, Gemälde und Zeichnungen, 1976–1977, no. 24 (illustrated in colour, unpaged).

Paris, Galeries Nationales du Grand Palais, Nicolas de Staël, 1981, no. 112 (illustrated in colour, p. 132). This exhibition later travelled to London, Tate Gallery.

Saint-Paul, Fondation Maeght, Nicolas de Staël: Rétrospective de l'oeuvre peint, 1991, pp. 166 and 203, no. 84 (illustrated in colour, p. 167). This exhibition later travelled to Madrid, Museo Nacional Centro de Arte Reina Sofia (illustrated in colour, p. 169).

Note: ‘On the ramparts of Antibes, the workshop where he settled down to work in September of 1954 overlooks the sea, where he would go to contemplate infinity while marvelling at the massive solitary silhouette of the square fortress built by Vauban above the port’ –Germain Viatte

Painted in 1955, Barques dans le port (Boats in the Harbour) is a coolly sumptuous vision charged with the raw lyricism of Nicolas de Staël’s unique painterly practice. The work has been shown in an array of important exhibitions, including the artist’s major 1981 retrospective at the Grand Palais, Paris and the Tate Gallery, London, and bears the exceptional provenance of the collection of Jacques Dubourg: de Staël’s friend, dealer and greatest champion, who mounted the artist’s celebrated first solo show in 1950 and launched his international career. Having remained in the Dubourg family since its creation over six decades ago, the painting is not only a superb example of de Staël’s late work but also a testament to one of the most important relationships in the artist’s life. Displaying his unmistakable technique, Barques dans le port’s swathes of thick oil paint are spread in glinting planes across the canvas with a palette knife. An intricate dance of form and hue brings forth a view of boats gathered in the port of Antibes. Subtle tones of misty grey, white and pale blue depict both sky and sea as well as a vertical shimmer of masts, behind which can be glimpsed the outline of Fort Carré, Antibes’ 16th century star-fort. Carefully deployed zones of red, black and midnight blue enliven the vessels’ hulls and sterns. The symphonic arrangement of shape and colour displays both de Staël’s musical eye for composition and his unique sensitivity to place. Having returned to figurative painting just three years previously after a long period of abstract work, de Staël was now able to distil masterful, luminous meditations on colour and form from his surroundings. He had a studio on the ramparts of Antibes from September 1954 until his tragic death there in March 1955: Barques dans le port is among the last major works that he completed. It was to Jacques Dubourg that he wrote his final letter. This painting is no cry of despair, however. Brilliant and poised, it expresses his total engagement with the exterior world, drawing fluently on both abstraction and figuration. Marrying his love for paint to his love for light, this exquisitely realised scene ultimately manifests de Staël’s deeply felt idea of ‘truth’ to visual experience.

Courtesy of Alain Truong

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stoph8co · 4 years

Video

flickr

Just Your Soul by Donald F. Narcissump Via Flickr: The only way to get what you want is to become a Trumpublican yourself Can you do that? It’s what I live for To help the unfortunate middle-class like yourself. Poor souls with no one else to turn to I admit that in the past I’ve been a nasty They weren’t kidding when they called me, well , a dip But you’ll find that nowadays I’ve mended all my ways Repented, seen the light and made the switch To this And I fortunately know a little tactic It’s a talent that I always have possessed And while shady, please don’t laugh I use it on the behalf Of the miserable, the lonely and repressed (Pathetic) Poor unfortunate trolls In pain, in need This one longing to be richer This one wants to rule the world and do I help them? Yes, indeed. They come flocking to my office crying, “LIES, Donald, please!” And I help them Yes I do. Now it’s happened once or twice Someone couldn’t pay the price And I’m afraid I had to take ‘em at the poles Yes I’ve had the odd complaint But on the whole I’ve been a saint To those poor unfortunate trolls Have we got a deal? If I become a Trumpublican, I’ll never tell the truth again… But you’ll have a tan Life’s full of tough choices, isn’t it? Oh and there’s is one more thing We haven’t discussed the subject of payment But I don’t have… What I want form you is your soul But without my soul, how can I… You’ll have your looks, your lying face And don’t underestimate the importance of body language, HA! The men up there don’t like a lot of blabber They think telling truths is such a snore Yet on land it’s much preferred for ladies not to say a word and after all dear, what is idle goodness for? Come on, they’re not all the impressed with conversation, True politicians avoid it when they can But they dote and swoon and fawn On a lady who’s quite gone It’s she who holds her tongue who gets a man Come on you poor unfortunate troll Go ahead Make your choice I’m a very busy POTUS and haven’t got all day It won’t cost much Just your SOUL! You poor unfortunate troll It’s sad but true If you want to cross the bridge my sweet You’ve got to pay the toll Take a gulp and take a breath And go ahead and sign the scroll Conway, Giuliani, now I’ve got em’ ya'll the Boss is on a roll This poor unfortunate TROLL! Based on the lyrics from the songwriters: Alan Menken / Howard Elliott Ashman for Poor Unfortunate Souls from The Little Mermaid. Photographed in a diorama by Regent Miniatures all 1/6 scale seated upon a TBLeague Death Dealer Throne from Monkey Depot at www.monkeydepot.com/. The Book: NARCISSUMP The Malignancy Killing Democracy is available as a PDF, on iTunes as an ebook or hardcover or soft. This series is available now via BLURB under the title NARCISSUMP The Malignancy Killing Democracy order here: www.blurb.com/b/9763758-family-book-standard-portrait Writing and Photo by Steve McKinnis of stevemckinnis.com

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prometheusascendant · 4 years

Photo

One for the Emperor, first of us all; One for his Lyctors, who answered the call; One for his Saints, who were chosen of old; One for his Hands, and the swords that they hold.

[tracklist and lyrics of note under the cut]

you want it darker 💀 leonard cohen

If you are the dealer, let me out of the game If you are the healer, I'm broken and lame If thine is the glory, mine must be the shame You want it darker

I'm ready, my lord

god’s gonna cut you down 💀 sugar and the hi lows

I've been down on bended knee talkin' to the man from Galilee He spoke to me in the voice so sweet I thought I heard the shuffle of the angel's feet He called my name and my heart stood still When he said, "John go do My will!"

the modern prometheus 💀 frankenstein: a new musical

You may be my creator, but I am your master - obey!

blast doors 💀 everything everything

Whether you're a have not or a have I got a question Are you living dead or is this some kind of possession?

the witches’ lair 💀 warframe soundtrack

instrumental

when our bodies wash ashore 💀 aviators

Do you feel the breath of sunken apparitions Awake, impure, divine Now I'm sure they're coming soon In the blackness my unholy friend has spoken Through a shiver in my spine

the haunting (somewhere in time) 💀 kamelot

Merely the sound of your voice Made me believe that you were her Just like the river disturbs My inner peace

One cold winter's night I may follow her voice to the river

dark solas theme 💀 trespasser soundtrack

instrumental

dies irae

Rex tremendæ majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

doubt comes in 💀 hadestown

[Orpheus turns around and Eurydice gasps]

dust and ashes 💀 natasha pierre and the great comet of 1812

They say we are asleep until we fall in love We are children of dust and ashes But when we fall in love we wake up And we are a god and angels weep But if I die here tonight, I die in my sleep.

#tunes #nine for the tomb #gideon the ninth #harrow the ninth #the locked tomb #harrowhark nonagesimus #necrolord prime #if you know where the line between irony and sincerity falls here then you are *leagues* ahead of me

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thirstinmore-blog · 5 years

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Best Albums of 2018

BEST ALBUMS 2018

20. Noname: Room 25

19. Jeremih & Ty Dolla $ign: Mih-Ty

18. Tierra Whack: Whack World

17. Parks Burton: Pare

16. Oneohtrix Point Never: Age Of

15. Angelique Kidjo: Remain in Light

14. Shannon Shaw: Shannon in Nashville

13. Curren$y & Freddie Gibbs: Fetti

12. Ariana Grande: Sweetener

11. Vince Staples: FM!

10. DJ Koze: Knock Knock

9. Mariah Carey: Caution

8. Courtney Barnett: Tell Me How You Really Feel

7. The Carters: Everything is Love

6. Snail Mail: Lush

5. Shannon & the Clams: Onion

4. Teyana Taylor: K.T.S.E.

3. Kacey Musgraves: Golden Hour

2. Blood Orange: Negro Swan

1. Dirty Projectors: Lamp Lit Prose

(Spotify playlist)

(Capsule reviews of Top 10 below)

10. DJ Koze: Knock Knock. The music writing trope of “a sounds like b + c” is as lazy as it is played, but sometimes you hear a record and those type of comparisons spring to mind, like when I first heard Saint Pepsi’s Hit Vibes and instantly thought of J Dilla making a disco record. That was also my response to Knock Knock, which sounds like the Avalanches making a more patient update of Since I Left You for 2018 ears. The record is long and lush, and draws from roughly nine billion different aesthetics, but its particular mélange still manages to sound fresh. As with SILY, the album is best experienced as a complete piece of music (though several tracks, such as “Lord Knows” and “Scratch That” would sound great in a mix or DJ set). Knock Knock takes the listener through ambling pathways that wrap around and revisit each other, like an evening stroll through the spacious Joshua Tree National Park depicted on its cover. It’s nearly a two-hour journey, but it’s well worth the price of admission.

9. Mariah Carey: Caution. Mariah got a dirty mouth and I’m here for it. As mother, a twice-divorcée, a woman nearing 50, her work and her image are all her own; if she wants to include the word “fuck” in a bunch of songs on her new album (“GTFO,” “With You,” “The Distance”), then who the fuck are we to tell her no? It’s a refreshing twist from someone whose public persona is often so curated, but I’m burying the lede. The real story here is that Caution is a batch of excellent R&B songs from one of the genre’s all-time greats. It’s not overwrought – by contrast, the album’s sultry blue cover art is indicative of the moods within. The Ty Dolla $ign-featuring “The Distance” is laid extremely deep in the cut, assisted by some subtle production from Poo Bear, Lido and—holy shit, Skrillex? Yup, and like Mariah herself, everyone involved uses an even hand and measured patience to let each song breathe.

A personal highlight for me is “A No No,” which flips the Lil Kim/Lil Cease classic “Crush On You” on its head. Here, where Biggie intones “he’s a slut, he’s a hoe, he’s a freak/got a different girl every day of the week,” there is no irony intended. She gauges her suitors’ intent and responds simply: “that’s a no-no.” In fact, the word “no” accounts for easily half the song’s lyrics, but it’s still a blast on subsequent listens. But don’t get it twisted – highlights abound herein, from aforementioned singles “GTFO” and “The Distance” to the thoughtful, expansive, Dev Hynes-helmed “Giving Me Life,” which begins as a downtempo club hit and morphs into a surrealist dream. Mariah Carey is one of the artists who’s been in my life the longest – I’m so happy she’s still killing it.

8. Courtney Barnett: Tell Me How You Really Feel. Courtney Barnett is what I was raised to believe an indie rock star should be: an unassuming, smart slacker with regular clothes and the ability to unleash earthbound poetry and atmosphere-puncturing solos with equal aplomb. That effortless cool permeates every facet of her work, from her casual half-singing style to her loose but proficient playing, a mighty guitar god in the body of a humble 31-year-old. (That she recorded a collaborative record with renowned cool guy Kurt Vile should surprise no-one.) But what’s really striking about Barnett’s work is her wryly observant lyrics; whether she’s describing the banalities of urban life (“City Looks Pretty”) or eviscerating toxic masculinity (“Nameless, Faceless”), her keen eye and incisive wit pervade every line. Tell Me is the sound of a strong artist getting stronger.

7. The Carters: Everything is Love. I often say that as I get older, my favorite elements of songwriting are editing and restraint. That’s why I tend to hate double albums and love EPs. I just believe that most double albums would be better if distilled down to one really strong record. EPs, on the other hand, leave the listener wanting more. Such is the case with Everything is Love, which reads like a Beyonce trap record with a number of guest verses from Jay. Regardless of speculation on who did the lion’s share of the writing on the record, both are in top form. Bey’s signature vocal virtuosity is on display as ever, but the real delight is in her capable delivery as a rapper. She glides effortlessly through triplets like “Poppin, I’m poppin, my bitches are poppin, we go to the dealer and cop it all.” Big Sean could never. Meanwhile, Jay turns in a few of my favorite bars of the year (and also a very slick Drake diss) on “Boss:”

“You not a boss, you got a boss. N*ggas gettin’ jerked, that shit hurts, I take it personaly. N*ggas’d rather work for the man than to work for me. Just so they can pretend they on my level, that shit is irkin’ to me. Pride always goeth before the fall, almost certainly. It’s disturbing what I gross. Survey says: you not even close. Everybody’s bosses till the time to pay for the office, till them invoices separate the men from the boys. Over here we measure success by how many people successful next to you. Here, we say you broke if everybody is broke except for you. BAWSE.”

I don’t know if they intend to release more records as The Carters, but Everything is Love is a fun, successful experiment.

6. Snail Mail: Lush. There’s no reason for a debut LP to be this good. The record, from solo project-turnt-band of 19-year-old Lindsay Jordan is focused, clever, and sophisticated. Every component of these songs appears exactly as it should. Jordan’s songwriting is clean and incisive (“I hope whoever it is holds their breath around you/’cause I know I did,” she sings on album standout “Heat Wave”). The arrangements are smartly simple; seldom do they deviate from the four-person rock lineup, so the embellishments that are included (the French horn on “Deep Sea,” the layered keys on “Speaking Terms”) really leap out. The playing throughout is lovely, with Jordan’s beautiful guitar technique front and center (the finger-picking on “Let’s Find an Out” is a particular delight). Everything in its right place – only where Radiohead’s inward gaze can be mopey and self-indulgent, the core strength of Lush is its efficiency. There’s no filler here – just the exact amount of support that each piece requires. The drumming feels especially strong in this regard – there’s an economic directness in Ray Brown’s playing that prioritizes the backbeat over everything, including his ego. The fills that he does include are modest and workmanlike.

It’s right that the record would be released by Matador, because these songs are drenched in the influences of the 90s slacker rock of Yo La Tengo, Sonic Youth, Sleater-Kinney and Sebadoh. And as with each of those bands, Snail Mail’s songs are buoyed by excellent lyrics. Jordan doesn’t just sound wise beyond her years, she actually seems to have lived more in her 19 years than many folks twice her age. There’s a subtext of sobriety in some of the songs (“It just feels like the same party every weekend, doesn’t it?” on “Pristine,” or “I’m so tired of moving on/spending every weekend so far gone” on “Heat Wave”). Perhaps the self-reflection that’s required in recovery has helped to distill her worldview.

And look, I don’t mean to be patronizing here – this album would be a major achievement from any person of any age. But to hear an artistic vision this crystal clear and laser-focused from a 19-year-old is something truly special. I can’t wait to hear what she does next.

5. Shannon & the Clams: Onion. Upon first listen, Onion struck me as the best record the Clams have released to date. Now, admittedly, I’m a sucker for keyboards, and the inclusion of organist Will Sprott is pure Patrick-bait. But beyond my own tastes, the organ both fills out and anchors the Clams’ garage doo-wop sound. There’s a welcome succinctness to Onion: the songwriting is tight, the guitar playing is melodic and utilitarian, and the vocal performances from both Cody and Shannon are more technically refined than in any of their previous outings. One wonders if Shannon’s work on her own solo album (the very good, Dan Auerbach-produced Shannon in Nashville, which also came out this year) pushed her to improve her technique. And don’t get it fucked up – this is still a Clams record. It’s still shaggy and loud and rambunctious �� but they’ve worked hard to reign in their wildest tendencies. Some might say that it’s layered, just like-- *an oversized cane hooks around my throat and drags me offstage* ….Well…..let’s just say it’s good.

4. Teyana Taylor: KTSE. Of all the seven-song mini-albums Kanye produced in Wyoming this year, KTSE is both the best and the least talked-about. She arrives seemingly out of the blue, a fully-formed artist who knows her strengths exactly. She has bars when she feels like spitting them, a beautiful husky alto when she feels like crooning, and a profound connection to multiple styles of club music that’s borne of her history as a dancer. It’s become a bit trendy to nod to vogue & ballroom culture in the last few years, but while Drake’s Big Freedia feature on “Nice for What” feels a little forced, Taylor can walk it like she talks it. A dancer by trade, her comfort in the ballroom is palpable.

Ye keeps it simple, remaining comfortably in his wheelhouse and flipping excellent soul samples such as Billy Stewart’s “I Do Love You” (which he repurposes into a nostalgic 4/4 slapper on “Hold On”) and The Stylistics’ “Because I Love You, Girl” (which he expands into a melancholy mediation on the horn section of the original). It’s a welcome return to form.

3. Kacey Musgraves: Golden Hour. In her SNL performance earlier this year, Kacey Musgraves appeared as a flat-ironed, longhair disco queen. As she slayed Golden Hour’s catchy lead single “High Horse,” I was reminded of Dolly Parton. I’ve been spending a lot of time with Dolly’s mid-70s and early-80s catalogue this past year, having purchased vinyl copies of All I Can Do, New Harvest…First Gathering, and Dolly, Dolly, Dolly. Parton is one of those artists whose discographies are so gigantic as to seem practically impenetrable, so I’ve been trying to hear as much as I can. Dolly, Dolly, Dolly is an especially interesting entry: released in 1980, it was her 23rd album, and it represents a pretty clear swing for crossover success. A handful of the tracks are straight-up disco, and these are what Musgraves called to mind. I was thrilled – Dolly’s disco experiments were widely panned, but I think there’s a lot of good there, maybe Golden Hour would be an attempt to vindicate Parton’s vision?

Unfortunately or not, I was incorrect. In total, Golden Hour bears more resemblance to Dolly’s friend & frequent collaborator Emmylou Harris (Kacey’s hair should’ve tipped me off, SMH). It’s a beautiful, understated, and thoughtful set of songs that could fit as well on a folk radio station as a country one. Like Harris, Musgraves has an innate sense of how to let a great song be great, hanging back in both arrangement and vocal performance. She’s emotive when she needs to be (“Rainbow”), and contemplative as needed (“Golden Hour”), always letting her writing breathe. Also, she has the confidence to bury the lead single so deep on Side B that you almost forget it’s there (and are thrilled when it is). As a person who prefers the full album experience to that of a shuffled playlist, this is one of my very favorite tricks.

Quite simply: great songs + great arrangements = a surprising list-topper for me.

2. Blood Orange: Negro Swan. For years, the roles of sexuality and gender in black identity have been foci of Dev Hynes’ work as Blood Orange. He spent time with drag queens and sex workers while writing his debut album Coastal Grooves, and has often cited transgender icon Octavia St. Laurent as one of his primary influences. But while these interests have colored his previous albums, on Negro Swan they’re the bedrock. In a press release preceding the album, Hynes described the album as “an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of hope, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.”

These ideas are fundamental to the songwriting, and they’re reinforced by snippets of conversations with Janet Mock and Kai the Black Angel (who adorns the cover in a durag and angel wings) peppered throughout the album’s 49 minutes. On “Family,” Mock defines community as “the spaces where you don’t have to shrink yourself, where you don’t have to pretend or to perform, you can fully show up and be vulnerable in silence, completely empty, and that’s completely enough.” That search for community, the desire to be seen and loved and supported as your whole self informs each of these beautiful songs. Already a competent producer, Hynes continues to grow, selecting beautiful flourishes like the jangly, perfectly out-of-tune guitar on “Charcoal Baby” or the soft, echoing snare drum on “Dagenham Dream” to characterize the thematic content of each piece. Negro Swan is a powerful and complete work of art. It sounds like he’s finally found some answers to the questions he’s been asking.

1. Dirty Projectors: Lamp Lit Prose. On Lamp Lit Prose, David Longstreth appears to be having more fun making music than he has in years, probably because almost 100% of his band has turned over (kudos to longtime bassist Nat Baldwin, whose playing tethers him to his own beginnings). Beyond the new Projectors themselves, Longstreth spent the months during the writing of the album making new friends in the LA music scene, and bringing them around the studio to record various parts. Members of Haim contribute to album standout “That’s a Lifestyle,” Syd (of The Internet) anchors the refrain in “Right Now,” and Fleet Foxes’ Robin Pecknold and Vampire Weekend alumnus Rostam Batmanglij stack harmonies onto the swirling ballad “You’re The One.”

I see LLP as the second half of a diptych begun by the self-titled Dirty Projectors, released last year. While that record wallowed in the pain of a broken relationship with former Projector Amber Coffman, LLP reveals a healed and newly in love protagonist. Both records feature David Longstreth at his most vocally competent: he’s now able to truly execute the melismatic R&B runs he lovingly wrote and charmingly attempted in his earliest work, his diaphragm now supports his every leap and bound, and his croon is sweeter than ever before. But furthermore, both albums expand on ideas that have popped up throughout his illustrious and impressive body of work. Whether he’s reviving the Rise Above era blasts of noisy guitars on “Zombie Conqueror” or revisiting the orchestral ambitions of The Getty Address on the stunningly soulful “I Wanna Feel It All,” Longstreth sounds like a worker with a complete toolbox and a detailed blueprint. He’s been working at honing his craft for years.

I saw the Projectors in June, at a time when only “Break-Thru” and “That’s a Lifestyle” had leaked. I didn’t know what to expect, being among the seemingly small minority of fans who liked their previous record. But their set was staggering. Flanked by his group of mostly-new faces, Longstreth was bouncing all over the place, proudly showcasing each instrumentalist & vocalist (seemingly everyone had at least one moment in the spotlight), visibly excited about playing with this group of people. And that makes sense: LLP is Longstreth relishing the fundamental glee of musical collaboration. The joy is positively bubbling over in tracks like “Right Now,” “I Feel Energy,” and “I Found it in You.” To see him play these songs live is to wonder if he’s talking about the act of musicmaking itself when he sings: “Ask now, I’m in love for the first time ever.”

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Module 13

Colonialism as well as modern capitalism function using a hierarchy of knowledge where one way of knowing and living, the colonist’s way, is designated as superior while other, indiginous ways of knowing are subjugated and made inferior. Knowledge in our world has been carefully created to “construe Latino/as as social monsters” that must be controlled and removed (382). The imaginary creates a venue where Latino/as can transport and save “knowledge useful to their survival,” (383). Latinx Monsters emerge as the result of certain times, feelings, and places; it is a reflection and embodiment of culture. Over the last few hundred years five periods: “ 1) the Spanish conquest experience 2) 19th century US expansionism 3) 20th century interwar period 4) the World Trade Organization era...and 5) the millennium neo anti-immigrant nativist movements have led to the creation of five monsters: 1) La Llorena or the Weeping Woman 2) “The Dangerous Bandito” such as Joaquin Murrieta 3) Social monsters or “monsters within” such as the Pachuco/Zoot suiter 4) El Chupacabras or “the goatsucker” and 5) Zombies/Life suckers and La Santa Muerte respectively (384-390). These monsters remind Latinx people of their “vulnerabilities and trajectories of oppression,” (391).

I have a very vivid memory of watching a Scooby-Doo movie that came out in the late 90s/early 2000s as a child where the antagonist is a Chupacabra. I knew that some monsters like Zombies represented deeper societal ills and fears (capitalism for the zombies), but I did not know that monster theory asserts they all come from deeper fears and issues. It actually makes a lot of sense when I consider the fact I knew the Frankenstein novel shows the scientist as the monster not the “actual” monster themself. I have also seen La Llorena in shows like Supernatural, but that characterize her as a sad, angry ghost that drowned her children in a tub. It makes a lot more sense now that I know she is really a protector of her children who cries because her children are lost to assimilation, violence, or prejudice.

Scooby-Doo and the Monster of Mexico clip: https://www.youtube.com/watch?v=0UBRK1SwGXE

Chapter 34 discusses Narco Culture, its origins, important pop culture aspects, censorship, and relationship to death. Jesus Malverde is known as the “folk saint of the narcosphere,” (395). His story depicting him as a criminal who steals due to his economic status and for the other poor people makes him attractive to drug dealers due to his two personas as a helper and criminal that form to create one legend (396). Narco Corridos play an important part in narco culture as they show the realities of narco life through the lyrics while glamorizing it to the masses through the use of music and celebrity (397). Although there have been attempts to censor narcos corridos to help stop the glamorization of it by the masses, censorship of these songs risks further censorship by the government against anything someone says that the government doesn’t like (399-400). Narco cinema portrays how “inescapable” the “underlying violence and kitsch and machismo culture” of narco culture truly is (402). Death, particularly La Santa Muerte, are also very important parts of narco culture. To be a narco trafficker is to be betrayed or dead; it is a completion of their character (405). There is an “intrinsic morbidity” of narco culture: “drugs may be the matter, death is the art” (406).

A Narco Corrido: Los Tigres Del Norte - Contrabando Y Traición https://www.youtube.com/watch?v=1ocd-A-lItU

I found this chapter really interesting and a very engaging read due to the author’s tone and unique voice. Their writing style is how I would write most of my academic writing if it was allowed: funny, personal, but on point and well supported. It was hard to summarize because I felt like the author was just going over some important aspects, movies, songs, and artists of narcos culture without a specific overall argument (as he stated there wasn’t really a thesis). Overall, I learned a lot about Narcos origins and culture that I did not know before.

Chapter 35 explores the history, role, and portrayal in media of coyotes, or “the men and women who for a fee...facilitate the extralegal journey of migrants into a country or countries different than their own,” (414). Their presence precedes the arrival of the Spanish colonists; coyotes were considered male gendered snf the “trickster-culture hero,” (415). Like the pre-colonial understandings of coyotes, smuggling today is highly gendered with women performing historically female tasks at much higher rates than males (417). Colonial religious perceptions brought about the idea that coyotes are evil (415). This is further reiterated by mainstream media who sensationalize irregular migrant deaths and criminalize coyotes through news stories and movies (418-419). Through these portrayals, the US government has been able to frame the migrant body as “damaged, weak, and disposable” while also reinforcing the stereotype that Latinx people are criminals (419). Today the coyote is marked “by people’s collective anxieties over the presence of those who are forced to be on the margins” due to their mixed heritage or because they perform the tasks no one else will do (421).

This chapter was really interesting. I didn’t know the smugglers were called coyotes prior to this. I did, however, know about the tragedy in Victoria where 19 migrants died. I wanted to know where the female coyote smuggler was today since according to the chapter her prison sentence ended in 2020. I couldn’t find anything specifically on her and whether or not she is still in prison. I did find an article about the annual memorial held for those who died that day. The tragedy has impacted the community in a lot of ways, and I am happy that while the rest of the world has moved on, the residents of Victoria have not.

https://www.victoriaadvocate.com/news/local/annual-memorial-honors-death-of-19-immigrants-16-years-later/article_ec809dee-79ab-11e9-9a8b-f3e245883cbe.html

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