#find it absolutely hilarious how the boys know how to write actual melodious music like anshdjdk

[6ebe]

None of u are gonna believe me but the last skz album was so good for real

#find it absolutely hilarious how the boys know how to write actual melodious music like anshdjdk #and pull it off #but they choose not to for their title tracks i mean #thats brave ❤️ #snshsjjjd #phobia + mixtape:on track >>>>>> #oh and another day.....

[emotions-ew]

A Collection of Queer Country Artists and Songs for anyone who doesn’t feel like there’s country music they can relate to...

There is this idea that country music is like just Republican men singing about beer, and trucks and also Jesus,  and that is kind of fair because loads of it is but there are some cool as hell queer/lgbtq+ country artists. Finding those and finding that representation in a genre of music I was literally raised on kind of changed my life in a tiny way and I wanted to share that.

(This is by no means a comprehensive list and also I’m basing the “Country” part of this sometimes on my subjective opinion/limited music knowledge so yuh please don’t hate me if I get some wrong)

Also link below for a Spotify playlist of my favourite gay/gayish country music, some mentioned in this post some not, (with a title that isn’t obviously gay for anyone who can’t openly listen to gay stuff on their public accounts for whatever reason) so feel free to skip the massive essay and just jump straight to that. And pretty please repost if I missed anyone/ any songs you love.

https://open.spotify.com/playlist/7KB6PmUxnpkU7lih8Bysvw

Artists To Follow:

Chely Wright

- Right off the bat, Chely Wright is a legend and I’m in love with her. So, in the 90′s Chely Wright was kind of a huge deal. She started her career as a singer/songwriter and released her first album in ‘94, which was critically acclaimed although never reached the commercial success of her later works. By ‘97 she was really hitting her stride, dropping her breakout hit “Shut up and Drive” (a personal favourite of mine) followed two years later by the biggest hit of her career “Single White Female”. Throughout all that Chely Wright was, to the world, a good old fashioned, heterosexual southern gal. Privately it was a bit of a different story. She had public relationships with male country artists, all while pursuing a secret decade long relationship with a woman. 

I hadn’t ever really heard a Chely Wright song until a few years ago so I never knew about her music or career pre-coming out but I do know that even though by the time she came out in 2010 she was by no means at the height of her fame Chely Wright is kind of one of the biggest names in country music to be out and proud (in my opinion) and I love her like an insane amount. I literally play her music in my car when I have passengers just so I can be like “fun fact this singer is actually gay-” and then subject them to a lengthy explanation of her entire career. She came out with an album and a memoir and the album is my favourite of her work because it’s so fucking raw and because I relate to most of it immensely. Anyways Chely Wright went fucking through it in her journey to being her authentic self and now she’s out and proud and married to a woman and they have a family together and I’m a fucking sucker for a happy ending and y’all should add her to every playlist you have. And on top of that her music is genuinely good. Coming out undoubtedly damaged her career but I think that

Brandi Carlile 

- As far as I can tell Brandi Carlile has been out her whole career. I feel like this list is just going to be me saying “I’m in love with her” about a bunch of women old enough to be my mother but in my defence, I am honestly in love with her. She’s been making music since she was like, seventeen, and has had a bunch of massive hits, as a singer, songwriter, and producer. If you want to cry kind of happy tears listen to her performance of “Bring my Flowers Now” with Tanya Tucker. She’s won Grammy’s and CMT awards and she’s done it all as an out Queer woman. She’s also a founding member of The Highwomen, an all-female country music group who released their first album in 2019, comprised of Carlile, Marren Morris, Natalie Hemby and Amanda Shires. I really love this band because they’re four artists who are immensely successfully in their own right collabing, much like the Highwaymen, and their music is phenomenal while also being a fuck you to mainstream country music and their inability to properly represent women in country music spaces. 

She’s been married to a woman (smoking hot and also brilliant) since 2012 and they have two kids together and if you want to cry (again) then you have to listen to her song “Mother” about her eldest daughter. A queer country artist absolutely worth adding to all your playlists. 

Brooke Eden

- As I understand it Eden came out publicly in January of this year. She’s engaged to Hilary Hoover, who she’s been dating since 2015 apparently. I can’t even imagine the pressure that must be on a person and how stressful it would be to keep a relationship secret from the whole world for years and personally I think they’re a cute as hell couple and I wish them literally all the happiness in the world. 

Brooke Eden has a few older songs that I think are really good, my favourite being “Act Like You Don’t”, and while her new stuff isn’t my usual country vibe I am a sucker for literally anything gay and it is legally my gay duty to stream any song that she releases to support my fellow queer. It’s quite different to anything Wright or Carlile sing but I actually kind of love that because it shows that country music of all different shapes and sizes and styles can be sung by queer artists. 

Amythyst Kiah

- Okay so I am a very new listener to Amythyst Kiah, but her music is literally so beautiful it would be a straight up sin to not include her on this list. Her music is country-blues-roots esq (more roots than country, I think?) and her voice is so unique. She grew up in Chattanooga and has been playing music since childhood. She recently made her Opry debut which is fucking awesome. She also belongs to a band called Our Native Daughters, described as “A supergroup of Black women in traditional music”. Their debut album “Songs of Our Native Daughters” did numbers and I haven’t listened to the whole thing but my favourite so far are “Black Myself” and “I Knew I Could Fly” so y’all add that to your playlists along with “Wild Turkey” by Amythyst Kiah because holy hell her voice on that will blow your mind.

Steve Grand

-        The first man to make this list, he should frankly be honoured. Grand has been an out and proud gay man making country music since like 2013, and I have so much respect for an artist who chose to simply never be in, choosing instead to simply write gay ass songs about being in love with men and letting the chips fall where they man. His music is always going to have a special place in my heart and, he’s cute so if you’re into men and music by men give him a google. add him to your playlists, his All-American Boy album is literally just a dozen songs that are perfect to yell-sing along to.

Katie Pruitt

-        Not hugely knowledgeable on Katie Pruitt but her music makes me feel crazy intense emotions and is absolutely gay

 Honorable Mention Artists I haven’t Really Listened to But Who I Know to be gay thanks to google and might be your thing so totally check them out:

Brandy Clark

Ty Herndon

Shelly Fairchild

Lavendar Country

Trixie Mattel

Cameron Hawthorn

Drop any other names of artists or songs you know of 

 Specific Songs That Make Me Fucking Cry or (in good and bad ways (but always in a gay way)) or basically are just gay as hell:

If She Ever Leaves Me; The Highwomen

- So, this album came out about a week before my first (and only) girlfriend broke up with me. The general gist of the song is a woman singing about how her loved isn’t ever going to leave her but if she does it sure as hell won’t be for a creepy man in a bar. A little ironic that I felt I related to it so intensely, considering she did in fact leave me. There’s this one lyric that goes “I’ve loved her in secret/I’ve lover here out loud/the sky hasn’t always been blue” and my girlfriend and I were crazy deep in the closet so I drew her a cute little picture of a grey cloud and on the back I wrote that lyric and I gave it to her and to me it was kind of a promise that one day I’d get a chance to love her out loud and even though I never actually did this song is forever going to make me cry because of the little bit of hope that lyric gave me and the way it’s inclusion on this overwhelmingly mainstream country album made me feel like acceptance was just that little bit closer. 

 All American Boy; Steve Grand

- Definitely one of the first gay country songs I ever heard, and Steve Grand didn’t once sacrifice a scrap of country for the gay. It’s beautiful, it’s a little sad, it’s hopeful. It’s forever going to hold a special place in my heart and the music videos is kind of one of my favourites ever. I found this song before I found myself and the way it made my heart warm should have been a stronger sign than I took it to be. 

Like Me; Chely Wright

- When you love someone you kind of make it your mission to know them in a way that no one else can. This song by Chely Wright is sort of an ode to that, and how even once you lost someone, you’re still going to know every little thing about them. On top of that it sort of speaks to the idea that all these things Wright learned about this woman, she learned in secret and she knew her and loved her in secret and now that they’re gone from each other she’s left with all of this knowledge and all of these questions and no one to answer them. I love the way it’s so slow and the melody and her voice, the way it’s low and a little raspy, make this one of my favourite Chely Wright songs.

The Mother; Brandi Carlile

-        Sorry but a song about being a mother by a queer woman is going to make me cry every time and actually I’m not that sorry. It’s quite a simple song, if any song written by Brandi Carlile can ever be described as ‘simple’, it’s an ode to her daughter. My favourite line is “you are not an accident/where no one thought it through” because it speaks to the fact that in order for queer women to have a kid together they have to want it so damn bad and also I just like the way her voice sounds on that line. This song is also the perfect thing to listen to if you ever for a second feel like being gay/queer is going to stand in the way of you having a family because it absolutely doesn’t have to and if that’s something you want, you can have it. Don’t let people try and convince you otherwise.

Loving Her; Katie Pruitt

-        Unapologetic gay love. Opening a song with “If loving hers a sin, I don’t wanna go to heaven” is a fucking baller move and she went there. The lyrics are beautiful, and her voice is phenomenal. It could be a sad song, about confronting religious repression and grappling with what that means for your love, but instead its triumphant. Katie Pruitt doesn’t give a fuck if you have a problem because she’s going to write songs for her lover.

Jesus From Texas; Semler

-        Not actually totally sure this is a country song, but it has the words ‘Jesus’ and ‘Texas’ in the title so I feel safe including it in this list. Honestly, I don’t really know why I relate so hard to this song. Like, I wasn’t really raised with religion, so I don’t know what it is about this funky little tune that makes me want to sob but there’s something about this tune that makes me want to do whatever the opposite of get up and dance is, but like, in a good way.

Lovin’ Again; Steve Grand

-        Breakup song that ends kind of positively? So good to sing along to at high, high volumes. The idea that losing someone doesn’t have to mean losing yourself and just because you can’t love them doesn’t mean you’re not ever going to love again. But also kind of about how it’s hard to get over someone, I don’t know it’s just good.

Cryin’ These Cocksucking Tears; Lavender Country

-        Jesus christ if this isn’t the coolest shit I’ve ever heard in my life. Sorry but a gay country group formed in 1972 who dropped possibly the first gay themed country album, and this was the title of one of the songs. God I am in love.

 Songs that (to me) are a little fruity or that I just relate to in a gay way:

Picket Fences; Chely Wright

-          Chely Wright is gay but this song came out long before she did and when she wrote it, it wasn’t supposed to be gay which is why it’s in this section and not the previous. The reason it’s included at all is because frankly ma’am, Mrs Wright, it’s a little fruity. And I feel a little bad for joking because honestly to me, the way I hear this song and knowing the context (that Wright was deeply closeted at the time she wrote and released it), it’s kind of just sad. The general gist of the song is Wright asking what’s so great about a traditional lifestyle anyways. It could be read as a woman genuinely questioning why we push that expectation that she’ll have two kids and a husband and a picket fence lifestyle, or even could be read as a woman who’s trying to deflect how much she does in fact want that, you have to listen and form your own opinion. But to me, it feels like a woman who’s desperately trying to justify why she doesn’t want that life not because she can’t have it, but she knows it will never be right for her. I don’t know it’s hard to explain I just feel like this song is a little bit gay even though I’m sure she didn’t intend that.

Sinning with You; Sam Hunt

-          Sorry but this song is gay. Sorry but you can’t write the lines “I never felt like I was sinning with you/Always felt like I could talk to God in the morning” and “if it’s so wrong why did it feel so right” and “But I never felt shame, never felt sorry/Never felt guilty touching your body” and not to mention the opening line of “raised in the first pew/praises for yeshua/case of a small town repression”, and expect to not sit in my car sobbing as I realised that while I never felt like what we did was a sin she absolutely did, and wishing I could have told her that I was sorry for making her carry the weight of both our souls but also that it wasn’t a sin and nothing in the world could feel that good and be that bad and it isn’t right that she had to be so ashamed of something that was just so good. Sam Hunt actually said after he wrote the song that while it was reflection on his own relationship with faith he genuinely hopes that people in the lgbtq community can like find comfort or whatever in his words and like go off king, we stan an ally.

  How do I Get There; Deana Carter

-          This ones easy, it’s about falling in love with your best friend and suddenly realising you want more than just friendship with them. Sorry Deana, that’s gay. In my Deana Carter of like Year 10 I played this song on repeat and screamed along to the lyrics as though singing it hard enough would make her like me back.

#country #country music #music #singer #lgtbqia #lesbian #queer #gay #brandi carlile #brandy clark #chely wright #owns my entire heart #deana carter #country songs #playlist #compilation #steve grand #lavender country #brooke eden #trixie mattel #katie pruitt #semler #gay country music #gay country songs #add to this playlist and this post i want to know everyones favourite country songs and artists who are gay as hell

[chicoriii]

Season 4, Episode 2 - Mensonge (Lies)

Welcome again. I had been logged out from Tumblr for the whole weekend, because I was afraid of untagged spoilers, as I've seen one screenshot here accidentally, fortunately it wasn't spoilerish. And I've watched the Lies today. Again without reading other's people opinion about the episode, so I probably write things that have been said before.

I enjoyed it more than Truth. But not because it's better written, I think the overall quality of both is similar. Lies is about characters I care about more, so it's natural that the episode is automatically more interesting to me. I dislike both Luka and Jagged (to be fair the only member of the Couffaine family I like is Juleka) and that would be hard to make me caring about them, the best thing I could say about any of those characters is that I tolerate them on screen. Sometimes. Don't get me wrong, Truth was the best episode for Luka and Jagged, but they are still dull and/or annoying to me. Creators need to develop son-father relationship more to make me interested in it, that arc was too shallow in Truth.

But the post is about Adrigami episode, not Lukanette one.

I'm surprised that we got only one not very long scene with civilian Marinette. But not surprised that she's still pining over Adrien. Just like Chat is pining over Ladybug. As I'm keeping saying, it's not gonna change. But really, Marinette thinks that Adrien's life is perfect? She should know that tight schedule could be a big problem and has she forgotten what terrible father is Gabriel? Of course she doesn't know details we know, but she should be aware that he isn't as good parent like her own. So probably her enamored brain can't see bad sides of life of her loved one. She still can't think rational when it comes to him. Another reason why she should stop putting him on a pedestal. We need some friendly Adrienette so badly, we need to see Adrien telling her more bad things in his life. He isn't used to complain, but I think he needs to tell someone the truth about his family life. I hope Marinette will be that person.

I had been tired of clown Chat in Truth, but this episode lets us to see the situation from his point of view and now I understand more why he behaves like that. I think that he tries to hide from Ladybug how much he miss spending time with her that way. He is aware that's because of her new responsibility and he doesn't want to make her feel bad for it. Those scenes were so sweet. How much Chat wants an Akuma to appear just to see his lady. Not very noble, but I can't blame him. It only shows that Adrien is a normal human being. We all are selfish from time to time and it's healthy (you only have to find a good balance, being as selfish as Chloé and as selfless as Luka is not good).

Geez, why they can't put the right title of the piece? That's a different composition than that one used back in season 2, but the smartphone's screen says the same. And none of them is actually Raindrop Prelude. This is Raindrop Prelude. They are not even any of Chopin's preludes. I won't be surprised if both are not Fryderyk Chopin's compositions either (although I haven't heard all the solo piano pieces composed by him, so I can't be sure). I love classical music, so I'd love to know what pieces Adrien's playing! By the way, I recommend to listen to all of the 24 preludes, they are usually very short but interesting compositions. If you're too lazy to listen to all, check out number 20 at least, that's a pure, very atmospheric, beauty. One of my favourites melodies ever created.

I have always thought that Adrigami has more chemistry and it's generally more entertaining to watch than Lukanette (sorry stans, but you probably don't even follow me and read my posts,  there's a reason why I'm warning that my blog is not Luka and Lukanette friendly in its description). I feel that in this episode as well. Absolutely it's not a perfect relationship and it can't be, as Adrien is still into Ladybug. It's clear that Kagami is the one who really cares, Adrien is more distant. It seems that he's abashed of Kagami's physical intimacy, like he can't be open to her when he's still in love with Ladybug. That was really sad to hear Kagami's words that she's lying to be more often with him and he lies to not spend time with her. But relationship can't work if only one side is invested in it and they both need to learn it. They have some things in common, I like how they spending time together, so I'm sure they would work much better as friends. I'm sorry for Kagami and I wish her a better boyfriend who would love her truly. In some way it was a repeat of Truth, as we've seen Adrien leaving Kagami all of sudden, because of Akuma's attacks, but this time it's not as heavily portrayed like it's not working only because of superhero responsibility, that I didn't like in the previous episode. Another reason why I liked how Adrigami is shown more.

I really, really loved that we've learnt something new about Kagami and that's amazing it's something I have in common with her. I'm really surprised, since she didn't seem to have an artistic soul before. I also love seeing she likes draw animals, it's like me, I'm trying practise it. I enjoy drawing animals (and creatures like Kwamis or Pokémon) more than humans. But at the same time I feel angry at her mother. How could she dare to say that Kagami isn't good enough? Trying to kill a child's hobby is always unforgivable. She's much better than me (I'm a little jealous, but that's not the first time when a teen has much better skill than me), but my family and some others I know in real life often say that I'm talented and some people try to convince me to take pay commissions. That’s me who knows the best than I'm not skilled enough to take money for my art (they don't know really good artists in person and they don’t draw themselves, so no wonder they are not aware that my works aren't that good they think). Maybe some day, but not now, so I only enjoy drawing gifts for others. I'm also got interested in a real French artist she mentioned - Henri de Toulouse-Lautrec and I've seen some of his works. Very good for Miraculous for mentioning artist like him, I have never heard about him before, but maybe French students learn about him in school.

Seeing Adrien making Chat's pose was hilarious. I'm sure it's food for true selves trope supporters, but I also agree with Kagami that both model poses and Chat's poses are not ALL Adrien poses. He's more than that. That seemed like he has problems with being natural when he's on the pressure. He's learned how to make model poses, but I also think that when he is in full clown mode is also an act. But that's a mask which he has putted all by himself. In which he tries to be as much different than his public image as he can. Of course being dorky is also a true Adrien side, but not all the time. Being just a cute and polite boy is also true him. It seems that Adrien is not aware of it.

Marinette's lucky charm bracelet is an akumatised object once more. That and the fact she was asking him what he was doing on the boat tell us that Kagami probably think that Adrien is in love with Marinette (it could make also her wonder what stop them from being together if she knows that Marinette likes him as well).

I also liked her reaction to imminent breaking up more. It's more human reaction in my opinion. Some anger, but not too much. She says she doesn't want to see him for a while and that's completely understandable. Adrien has broken her heart, so she need some time to take care of herself without being interrupted by him. I'm going to say something that could be seen controversial, but in my opinion her attitude is way more healthy than Luka's. He still waits for a girl who clearly likes another boy much, but she's trying to really give up on him. And I would like to see a scene in which she says him that Marinette is not worth his waiting, he should be open for another love instead. Uff, I was really worried that they might kill Adrien and Kagami characters. But nothing really bad happened in the episode between them, everything was in-character. Of course salters will still find reasons to hate Kagami, they can say she's possessive towards him (that's true to some extent, but I think it's not really toxic, as she's still cares about his true feelings).

I need to say that Lies is the worst S4 Akuma design we've seen till now. Riposte and Oni-chan were much better. Also the battle was the worst part of this episode in my opinion. It wasn't completely bad, but it felt somewhat boring to me. I definitely enjoyed fights against Truth and Furious Fu more. The thing about that I liked the most what how they made use of Fang.

So the season 4 version of Chat Noir's transformation theme is exactly the same they used in the Shanghai special. It wasn't obvious, since Ladybug's one is a different one than that in the show. I noticed that that Ladybug's theme feels more like a new composition which only uses parts of an original version, while Chat's is clearly "just" an arrangement of the theme we know since season 1. Maybe that's because it's supposed to symbolise that she has even more responsibility now, as she's the Guardian as well. Chat's role hasn't changed that much as hers. I also think the new arrangement sounds cooler, it's more electric guitar-driven. I can't wait to get any of the episodes in which there's his transformation sequence with 5.1 audio to rip it.

All three released episodes are nice for Ladynoir a lot, their scenes are all sweet and wholesome. It almost feel like Ladynoir is close to happen. But I feel that's just calm before the storm. Marinette hasn't reached to her worst moment yet. I'm sure Ladybug will have more breakdowns like that in the season 3 finale.

Three episodes aired and I'm not amazed by any of them. But I don't want to be salty, I'm not worried about that. That's true for season 3 as well, I enjoy the second part of the season more as well. It's important to save the best episodes for later. And I have never expected that I would love all the S4 episodes, despite of pre-release statements, it's impossible. I'm not disappointed. Yet. Just give me some Adrienette food. Please.

#miraculous ladybug #ml lies #ml season 4 #ml season 4 spoilers #ml spoilers #ml spoiler #chicoriii about S4 episodes #chicoriii #original post

[miasswier]

miasswier’s ultimate glee ranking: no 5

5: Theatricality

Written by: Ryan Murphy Directed by: Ryan Murphy

Overall Thoughts: For a really, really long time this was my absolute favourite episode of all time. It’s still high up there, but unlike most people I actually really enjoyed the last two seasons of Glee, so this episode got bumped down a bit. Still, there is very little I don’t like about this episode. It manages to give several characters’ stories while still focusing on the main two stories of the episode. Unlike “Dream On”, I didn’t feel like I was watching a show about Finn, Rachel, Kurt, and Shelby. I felt like I was watching Glee.

What I Like:

Figgins thinking vampires are real and talking about how they need to keep vampirism out of McKinley.

Tina looking interested when Puck says “Catholic school girl”

“Happy meal, no onions. Or a chicken”

Kurt getting so excited over Lady Gaga. Oh, honey <3

“You don’t need an appointment at super-cuts. They love walk-in’s” CLAPBACK OF THE CENTURY LADIES AND GENTLEMEN (this line makes me die of laughter every fucking time like oh my god Karofksy you are so genuinely stupid)

The Lady Gaga outfits!!!! Even Rachel’s original one, which I find hilarious and way more fitting for her personality than the one she gets later

“You look terrible. I look awesome”

“You want to name our daughter Jack Daniels? She’s a girl!” “Okay, fine, Jackie Daniels”

Shelby being honest with Rachel when she realized that she made a mistake by contacting her and that this wasn’t what she really wanted. I appreciate when characters can be honest when they mess up, even if it hurts them and other people.

Rachel being honest as well and admitting that she doesn’t feel that mother-daughter bond she always dreamed of with Shelby. I wish they’d gone a little deeper into this, but I’m still glad they mentioned it at all. Especially when Shelby says that it was when Rachel told her about her dad’s and how they would bring her water when she was sad. Shelby isn’t her mom, and it was silly for both of them to expect that. Rachel doesn’t have a mom – she has two dads. While I’m glad they explored the “where I come from” aspect of this, I’m also glad that they didn’t turn it into “I feel more connected to you because of biology than I do to my fathers who raised me”.

THAT WHOLE SCENE WITH KURT AND FINN AND BURT IN THE BASEMENT. There is so much I love about that scene. I could write an essay on that scene and how important it is. That scene literally defined Glee for me for so long. I’m so glad they did that scene.

Okay, I know it’s an insult and homophobic and gross but when Azimio says “being in football and being in Glee doesn’t make you versatile – it makes you bisexual” I always burst out laughing like oh my god I don’t know why I find that so funny.

Finn standing up for Kurt at the end. I will say though that, while I enjoy this, there are some things that I wish had been included as well, which I’ll talk more about later.

Artie and Mike being lil cuties and actually cheering for the girls and being super encouraging in their performance. Considering Artie was always portrayed as the most misogynistic of the guys, he actually is one of the few that openly and genuinely encourages the girls in their performances every fucking time.

Finn actually getting to react to seeing Puck and Quinn talk about the baby!!!!! That’s always been my biggest pet peeve – Finn literally thought he was going to be a father and that got ripped away from him, and he wasn’t ever shown to be angry about that. It was always just “oh boo-hoo Quinn cheated on me and Puck is my best friend woe is me” when really he should be mourning the loss of a child he thought was his, but then learnt was not. Like… I don’t know. Seeing him awkwardly look away reminds everyone that he genuinely thought that baby was his, and now he can’t go through this with Quinn. He’s obviously upset about it. Even though he’s a dink in this episode I still feel bad for him about this.

Will going to the effort to look into Lady Gaga and actually getting excited about her.

What I Don’t:

I already said this, but Finn is a dink in this episode. He’s getting bullied by Karofksy and Azimio, and instead of calling them out on being homophobic and sexist and engaging in toxic masculinity, he just falls into it. He turns that abuse onto Kurt, who he clearly thinks is the one who deserves the abuse. And like, I don’t get why he’s so freaked out around Kurt. Yeah, it’s obvious that Kurt has a crush on him, but when has he ever tried to make a blatant, obvious move (kiss him, touch him, grab him, etc)? When has he given Finn any reason to be worried about changing around him, or even just sharing a room with him? It’s homophobia and toxic masculinity at it’s finest. Add the whole “I don’t wanna do Gaga cause I’m a Man” bullshit that’s thrown into this episode and it’s just a mess. While I’m happy they had Finn stand up for Kurt at the end and wear the Lady Gaga outfit, it still took him being told by an older, straight man that he was being a piece of shit and homophobic and offensive and gross for him to realize what was happening. Plus, I don’t think they gave Finn enough of a chance to really redeem himself. I mean, come on, it’s really easy to say sorry and put on an outfit; actually changing your attitude is more of an uphill battle. I wish they’d re-visited this more at a later date (though not in the way they did in “Duets” when Kurt brings it up and it somehow turns on Kurt and makes Finn look like the victim which……. Fuck off)

Will being the one to tell Shelby what she needs to do with Rachel.

Will agreeing with Finn about how they always do what the girls want when the girls literally always get sidelined. Literally fuck off. I can’t stand this “boo hoo my masculinity is too fragile to perform a song by a theatrical woman I need to perform a manly song instead” “you’re right, I’ve been turning this Boys Club into a Girls Club. Time to take our manhood back!” Ew.

Finn, Puck and Matt not being supportive of the girls when they performed their awesome Gaga number. I feel like this show did that a lot – the guys don’t understand a performer, so they don’t encourage their teammates. Then, when they do a number, the girls are super supportive and encouraging. It’s annoying.

Okay, even though Finn is a dink in this episode, I still think that they shouldn’t have told him about moving in with Burt and Kurt like that. This decision affects him too – Carole should have sat him down and asked him what he wanted to do, and if they disagreed then figured out how they could come up with a compromise.

Also, yet another missed opportunity for bi!Finn! This whole episode could have been an awesome way to show internalized homophobia, especially with that line at the end where Finn is like “I am different”. But whatever.

“My dad’s can’t sow. I really need a mom right now” I mean, not every woman knows how to sow, Rachel. You clearly don’t know how to sow. Why would you assume that just because she’s technically a mother that Shelby knows how to sow?

Songs:

Funny Girl: While Idina Menzel sounds amazing in this, I find it boring and too long. It’s emotional because of Rachel, but whenever Rachel isn’t on screen I lose interest.

Bad Romance: An amazing number!!! I love when they do actual group numbers, where a bunch of them get solo lines. I think everyone except Rachel and Brittany sing in this one, which is amazing! Plus the costumes and the choreography is awesome! My only gripe is changing “I’m a free bitch, baby” to “I’m a freak, baby”, which I don’t understand cause they say the word “bitch” on Glee all the time (they literally sing a song titled “Bitch” like come on).

Shout It out Loud: An entertaining performance that is all too forgettable. I honestly can’t remember most of what happened in it, and I literally just watched it.

Beth: This song always brings tears to my eyes. It’s such an emotional moment, and the song is so melancholy. Plus Puck sounds amazing (and while I understand why the put Finn’s verse in there I still lowkey wish it had been a Puck solo).

Poker Face: I have never liked this version of the song, and I probably never will. I don’t think it transfers well to acoustic at all. I honestly cringe a little listening to it because the lyrics and the melody just don’t match up. I strongly dislike this song. No thanks.

Final Thoughts: While I wish they had gone further on a few elements, overall this episode is really strong. It’s funny (a lot of great one-liners), it’s emotional, and (with a few exceptions) has really good music. It’s definitely my favourite episode of season one, and I’ve watched it as a stand-alone more times than I can count. I really, really like this episode.

#ultimate glee ranking

[grimelords]

My March playlist is finished! This one is slightly more diverse than usual, swinging all the way from vibraphone jazz to Bhad Bhabie to black metal so I’ve taken the liberty of actually sequencing it properly for you. So if you’ve got 3 hours you can listen to this straight through and be taken for a hell of a ride. No matter what you like I’m sure you’ll find something in here that you love.

Tahiti - Milt Jackson: For an unknown reason I had a big jazz vibraphone phase this month and when you're talking jazz vibraphone you're talking the Wizard Of The Vibes himself, Milt Jackson. I feel insane even having an opinion on this but it's a shame that some of the best vibraphone performances were made at a time when the actual recording technology wasn't really there, they all have this very thin quality that I think misses a lot of the great character of the instrument.

Detour - Bill Le Sage: Like compare this from 1971 to Wizard Of The Vibes from 1952, the sounds is miles warmer and gives so much more of the full range and detail of the instrument. I also listened to this song five times in a row when I first heard it, the central refrain is just so fuckin good. Like I said, big vibes vibe and who knows why.

Blowin' The Blues Away - Buddy Rich And His Sextet: Superhuman playing aside, it's unbelievable how good these drums sound. The whole first minute just feels like a tour of each specific drum and I absolutely revel in it. I feel like flute and vibes is a relatively rare combo so it's extremely nice to hear Sam Most and Mike Manieri go ham in tandem.

Yama Yama - Yamasuki Singers: A friend sent me this song that he's had stuck in his head for ten years ever since it was in a beer ad from the days when beer ads were incredible strange for complicated legal reasons about not showing people enjoying the product or something https://www.youtube.com/watch?v=ORfkh0OojxY and this incredible song is apparently from a 1971 French concept album where a couple of guys wrote a bunch of psychedelic songs in Japanese for an unknown reason that later became a massive drum and bass breaks album, and one of the guys was Thomas Bangalter from Daft Punk's dad! Music is crazy.

Alfonso Muskedunder - Todd Terje: I'm starting a petition to get Todd Terje to write the soundtrack for the next Mario Kart. I absolutely love this song and this whole album because it's so joyful and strange and it just sounds like nothing else I've ever heard. He seem to truly operate in a world entirely of his own.

Pala - Roland Tings: I love this song. It's like he wrote it with normal sounds and then went back and replaced every instrument with the party version. This song hands you a coconut and says welcome to the island where bad vibes are punishable by firing squad.

Keygen 13 - Haze Edit - Dubmood: There's a fucking album of keygen music on spotify and it's absolutely great and so good that someone's doing the work to recognize the value of the music this extremely weird scene produced and preserve it. If you don't know, back in the day when you pirated photoshop or whatever, you would download a license key generator which was a program made by extreme nerds who had cracked the license key algorithm to give you a fake one, and for unknown reasons they would make the keygen program play original chiptune music that someone in their nerd crew would compose. Who knows why but god bless them.

My Moon My Man (Boys Noize Remix) - Feist: The very concept of a Boys Noize remix of My Moon My Man is hilarious and it turns out it sounds absolutely amazing as well. Two great tastes that taste great together.

Low Blows - Meg Mac: I had a big Meg Mac phase this month too, listened to her album a lot and it's extremely solid. Great timing too cause her new one comes out in a month or so too. I really am excited to hear her next album because she's so good but I've always got this feeling that she hasn't reached her full potential yet, she's only going to get a million times better in an album or two.

Patience - Tame Impala: I love that the cover of this single is a pic of congas because it feels like that's the central thesis here. Kevin Parker bought some congas and is making disco Tame Impala now and I really couldn't be happier about it.

Unconditional (feat. Kitten) - Touch Sensitive: I love a 90s throwback done with love. There's nothing cynical or ironic about this it's just fun as hell!

Last Hurrah - Bebe Rexha: Get a fucking load of this Bebe Rexha song that interpolates Buy U A Drank by T-Pain for the chorus! It's a testament to how good that song is that she's using the verse melody as the chorus. T-Pain will quite literally never get the respect he deserves. Also this song goes for 2.5 minutes. There's something happening where pop songwriting is getting more and more compact, completely trimming the fat and ornamentation and it's very interesting.

Hi Bich - Bad Bhabie: Also I'm fully six months late on Hi Bich but I'm of the opinion that it's extremely fucking good. A perfect little reaction gif of a song and it only goes for 1m45!

Friends - Flume: I'm doubling down on my thesis about emo rap from last month but this song literally sounds like a Flume remix of a Hawthorne Heights song. The whole melody of it, the overlapping yelled/clean vocals. The lyrics obviously. I don't know it's just very odd how close it is. A sort of emo trojan horse to trick people into thinking The Used are cool again. 

How To Build A Relationship (feat. JPEGMAFIA) - Flume: I've been meaning to check out JPEGMAFIA (AKA Buttermilk Jesus AKA DJ Half-Court Violation AKA Lil' World Cup) for a while but this is the song that convinced me. There's just so much to digest in this. Every line is gold and delivered with massive conviction even when he realises it's total nonsense like 'dont call me unless I gave you my number'.

Bells & Circles (feat. Iggy Pop) - Underworld: Underworld alive 2019?? I love this song becuase Iggy Pop has been riding a fine line between punk provocateur and old man yells at cloud for a while now and this song is the perfect mix of both. You can't hijack airplanes and redirect them to cuba anymore and as a result it's over for liberal democracies. Just yelling about air travel for six minutes and it's good.

Guns Blazing (Drums Of Death Pt. 1) - UNKLE: This beat is some of my favourite DJ Shadow work I think. The menacing organ bass throughout, and especially the distorted drum freakout near the end. It's just great all the way through.

Homo Deus IV - Deantoni Parks: Another Deantoni Parks track like I was raving about last month. This whole album is great and flows together as a single piece of work amazingly. I love the purposefully limited sample palette of each track forcing an evolving groove throughout. He absolutely wrings every bit of variation he can get out of every single sound he uses and once you get into the groove of it it's absolutely mind blowing.

Boredom - The Drones: I love that The Drones can write a song about joining ISIS that's also a lot of fun. Spelling out radicalization in a way anyone can understand and sympathise with and then switching it in the second verse to spell out how we got into this situation anyway. 

Loinclothing - Hunters And Collectors: I love how much this song sounds like a voodoo celebration in christian hell.

The Fun Machine Took A Shit And Died - Queens Of The Stone Age: There's a good bit on the live dvd they put out after Lullabies To Paralyze where they play this song and they say it was supposed to be on the album but somebody stole the master recordings from the studio, which is an incredible and brazen crime. Then when they put it out on Era Vulgaris as a bonus track Josh Homme said in an interview "The tapes got lost. Actually, they were just at another studio, but we falsely accused everyone in the world of theft" which is extremely funny. This is really one of their best songs and I sort of really with it had been on Lullabies because it fits perfectly between The Blood Is Love and Someone's In The Wolf type of vibes, I love how it just kind of keeps shifting ideas and riffs throughout. An absolute jam overflowing with ideas.

10AM Automatic - The Black Keys: This song is an all time great in my opinion. It's so straightforward and so effective. I wonder if we'll get a blues rock revival ever or if Jack White still being alive and bad is souring everyone on that idea. This song also has one of my favourite guitar sounds in history I think - the outrageously huge sounding solo that comes out of nowhere and swallows up the rest of the mix like a swirling black hole near the end.

Gamma Knife - King Gizzard & The Lizard Wizard: I've never gotten much into King Gizzard and because of their one million albums already it's hard to know where to start but I've been listening to Nonagon Infinity a bit and it's great, it's just good old fashioned 70s prog jams front to back.

Gina Works At Hearts - DZ Deathrays: I absolutely love this song and I absolutely love the second guitar sound in the chorus of this song that sounds like it's made out of thin steel.

Black Brick - Deafheaven: When I saw Deafheaven the other month I was right up the front and it was a life changingly great experience AND they played this new song live for the first time before it went up everywhere like three hours later which was very exciting to be given a sclusie like that. After they finished a guy behind me whispered to his friend "Slayer..." which was very funny to me.

Gemini - Elder: I found this band because one of my Spotify Daily Mixes was all stoner metal for a while, which is a good genre to see all lined up because it'll have Weedeater, Bongripper AND Uncle Acid & The Deadbeats right there in a row for you. Anyway this album is extremely good, the very best kind of stoner metal where it's groovy and fun and has big meaty riffs and ripping big solos and it's extremely easy to listen to three times in a row.

The Paradise Gallows - Inter Arma: My big obsession the past little while has been Inter Arma ever since Stereogum posted The Atavist's Meridian from their new album. It is just so fucking good and I can't believe I've never heard of them before. You know when you find out about an amazing band and then you find out they've been around for nearly ten years and you can't believe everyone in your life has been selfishly hiding them from you?

The Atavist's Meridian - Inter Arma: I think a big part of my enjoyment of this band has also been that I discovered them at the same time as I'm listening to an audiobook of the complete Conan The Barbarian omnibus so I'm very much in the brain space for music that sounds like it would be nice to swing an axe to.

Untoward Evocation - Impetuous Ritual: I love how halfway through this kind of just turns into a big swirling mist of dark sounds. It feels so formless and dark that it could just shake apart and dissipate at any moment and you'd look down to realise your skin is gone.

Eagle On A Pole - Conor Oberst: from Genius: 'In an interview with MTV news, Oberst stated “We were on the bus one day and a friend of ours that travels with us and works for the band kind of came out from the back of the bus and said that first line: ‘Saw an eagle on a pole… I think it was an eagle.’ And then this guy Simon Joyner, who is a great songwriter from Omaha and one of my great friends, he was on tour with us and sitting there and he was like, ‘You know, that’s a great name for a song.’ We kind of had a contest where he wrote a song with that first line, and [then] I did, and a couple of our other friends. We kind of all played them for each other. Simon’s is better than mine, but it is a good line to start a song.” Another version–Mystic Valley Band drummer Jason Boesel’s interpretation–is on the next album, Outer South.' The idea that such a good song has such a braindead origin only makes me love it more.

Lake Marie - John Prine: When I saw John Prine the other month he played this song that I had never heard before and I had to look it up after and now I'm completely obsessed with it. It feels like falling asleep during a movie and missing a critical plot point so the rest doesn't make sense when you wake up but is thrilling nonetheless. Also he absolutely screamed "SHADOWS!!!" when he played it which was a fucking cool thing to see a 72 year old man do.

Little White Dove - Jenny Lewis: The drums on this whole album are absolutely huge for some reason and I love it. My favourite recent sound is in the first chorus where there's a funny little pitch correction noise as she sings 'dove'. It's very strange and very very good.

Locked Up - The Ocean Party: I only found out The Ocean Party existed as they announced their farewell show this month which is a real shame but I'm glad I got to hear of them at all because they're very good. A very good song about that feeling we all know and love: driving for a long long time.

Plain & Sane & Simple Melody - Ted Lucas: I found out about this song from Emma Ruth Rundle's Amoeba Records video and she makes a good point about this whole album sounding like something's gone wrong and it got accidentally pitched down slightly in the recording process. It's unclear if that's what happened or that's just how he sounds but it adds a very softly spooky undercurrent to a very nice song.​ 

listen here

#playlists

[heungtanbts]

omg girl plz post your drafts on what you want to say to the boys!!

If you were able to sit and talk to each member what would you tell them? And yes. I am purposely asking this so you could get all sappy and die of the good feels 😊

this has been sitting in my drafts for a g e s now. i challenged myself to write only 7 sentences to each member, but still somehow managed to carried away with this. welp here goes nothing. aka warning, looong post ahead.

to namjoon:

you are a great leader because you are understanding, empathetic, a good listener, and truly caring of those that you lead, and please don’t letanyone, including yourself, ever make you think you’re not a worthy leader. you are the most beautiful man, namjoon; your heart is just so big, your thoughtsso deep and profound, you put others before yourself and think deeply about how your words, actions, and decisions will affect others. you are incrediblyhumble, so willing to reflect and admit your own mistakes, and are not afraid to apologize or come clean when it comes to it and the way you own up to your responsibilities is amazing. It must be so much pressure to have to say and do the right things all the time, especially with so many eyes watching andjudging, and yet you lead with such confidence and humility and i just don’t know if you really understand just how incredible you are. thank you for beingso real with us, for sharing your experiences and your heart with the world through your music just so one more person can relate, feel understood and findhealing, and for helping shape bangtan to become what it is today. you’re so down to earth, goofy, adorably clumsy, passionate about blue crabs, aneffortless fashion king, a lyrical genius and poet, charismatically captivating on stage, and like ARMY’s older reliable brother. thank you for teaching us to love ourselves, but don’t you ever forget that YOU ARE SO LOVED and that we will stand behind you no matter what because you are our one and only, precious kim namjoon.  

to jin: 

thank you for being the confident dorky older brother of bangtan that lights up any room and situation with his silly antics and contagious laughter. you may be giving jungkook a run for his money and title as bangtan’s maknae, but you are also so incredibly reliable, cool, calm and collected when necessary, and a true solid foundation for bangtan to be built upon. you’ve taught us all to throw away our insecurities and care for others opinions, and to just be ourselves. i know you go through a lot behind the scenes that no one sees, that you’re shyer than we think, more burdened than it seems, and notalways the happy, hilarious meme you most often portray yourself to be. and i just hope you know that your laughter, your antics, your love for the othermembers, and your decision to always see things on the bright side has truly brought so much joy and comfort for me and other ARMYs. you truly are mr.worldwide handsome, not just because of you literally are prince charming, but also because of how wonderful and genuine your heart is for others and for your fans. thank you for being yourself, keeping bts solid on their feet by being a firm foundation, shining in all your talents (you are so wonderful at singing,dancing, acting, variety, everything!!), and reminding us to live life optimistically and to enjoy it. 

to yoongi: 

thank you for choosing to sign with bighit and become a part of bts,even though you were so wrongly tricked by bang pd (ㅋㅋㅋ) because if you weren’t, you wouldn’t be here, spilling your blood, sweat, and tears into new songs and albums that aren’t just products, but that truly speak about you, your emotions, your experiences and your life. thank you for being so real with all of us and for not shying away from the issue of mental health, because i know that alone has brought many ARMYs so much comfort and hope. thank you for caring so deeply about all the members in your tsundere ways; they absolutely live to see you smile and make you laugh and i hope you know that (actually, we all do). you truly are the dad of bts, not in a bad way, but because you are so steady, you always provide for your members, quietly clean up after their messes without complaint, and care so personally about the growth and well-being of each member. i know you’ve lived a tough life, and you’ve been so open about your struggles while growing up and getting to this point, but i hope you feel that it was all worth it because now you connecting with the world in the universal language that is music and making history just by being yourself. never ever forget that you are so wonderful, your gummy smile and random bouts of hyperness are so endearing, your pure talent and ability to convey so much emotion into lyrics is inspiring, your rawness is so real and comforting, your ability to feel and care so deeply is inspiring, and you truly have changed all of our lives. please take care of yourself, don’t be too hard on yourself, make sure you eat and sleep enough, and know that we are going through this thing we can “life” with you, one day at a time.

to hoseok: 

to our sunshine, our angel and hope, the one with the most contagious laugh and brilliant smile, thank you for existing. i know there were days in the earlier times where people didn’t even recognize or think of you as a part of bts, and those times hurt, knowing that people looked down on you like that and i’m so sorry you had to go through that. but thank you for enduring it, staying true to yourself, never allowing it all to suffocate your wonderful laughter and light, and for loving ARMYs continuously through it all. you arebangtan’s strong pillar, hoseok-ah, you go through so much behind that beautiful smile of yours, endure so much, but never ever complain or show it. you are so strong, not because you hide your struggles, but because you choose to continue to smile, to work hard, to push through and focus on the light atthe end of the tunnel. you’ve always been goofy, but i don’t know if you realize just how much you make your members and us laugh, how much contagioushappiness you bring all of us, and how you can make someone’s day so effortlessly just by being yourself. and i hope you know that no matter how much you want to improve or do better, which is always a great thing, you are ALWAYS good enough because you are you, and you are so lovable and hardworking, and wesee your efforts and growth and appreciate you. thank you for keeping a sound and level head on for each of the members, for lovingly providing feedback andcorrections, and for working so hard for the greater good of the team and for the world. so just as you have taught us, just keep going, keep just being yourloving and talented self, keep showcasing that bright smile and melodious laughter, and remember always that you are worth it. 

to jimin: 

our chimmy, our golden hearted angel, thank you for being so gentle, genuine, loving and caring. you have also been through so much, from the early days when you felt insecure about your weight and image, to training so hard to improve your vocal and dance skills because you didn’t feel like you were enough, to ignoring all the negativity and even death threats from some horrible, horrible people. i’m so sorry such darkness like that exists in this world, but i hope you know that when we see you, all we see is a hardworking, talented, yet so kind hearted and wonderful person who wants to spread love and happiness to everyone. you have such an incredible ability to hold bts together like glue; your loving actions, genuine concern for all your members, and just your desire to want to be with your members all the time truly shows just how much you care. i love that over time, it seems as though you’ve come to love yourself more, for all your strengths and weaknesses, and i hope you never ever let that go because that’s what makes you, you - the you that we just want to hug and cuddle and love upon because you are just so precious! i hope you’ll love your body, eat enough, sleep enough, rest enough, and remind yourself that YOU are enough, and that you’ll continue to grow and flourish as a musician, a performer, and person. you are so beautiful inside and our, jimin-ah, and i hope you know that your heart of gold inspires people every day.

to taehyung:

precious taehyungie, so full of life, so mesmerized by the beauty of nature, completely unafraid of people’s opinions and a true form of radiating happiness. you are so gifted, not just in your superb acting, singing, and performance skills, but also in your ability to be the physical embodiment of a hug - warm, comforting, peaceful and utterly joy-inducing. you express beauty through fashion, your wonderful photography, your unique and adorable displays of affection, your sometimes jumbled but oh so heartfelt words, and through your love for us and your members. thank you for showing us just how important and beautiful family is – and not just related family, but your bangtan and ARMY family. you make us all smile, including your members, and i’m so glad you don’t seem to care enough about what the world thinks because the way you’re so unapologetically you is motivation enough for us to care less about what others think, and more about being ourselves and living life to its fullest. i know you’ve hit tough times, like almost not getting into bts, struggling with tough practices and fears of the future, losing loved ones along the way, and so many more i can only imagine, but the way you’ve still kept your head up with that contagious rectangular smile on your face shows how strong you are, and that itself is the push a lot of us need to keep fighting our own fights. please continue to be yourself to the fullest, to laugh lots and in turn, make your members laugh, to keep yourself healthy, to work hard and make wonderful songs and photos and other works of art, and chase after your dreams, because we will be with you, supporting you every step of the way.

to jungkook: 

to the boy who seems to have it all – talent in all kinds of realms, handsome looks, physical strength and stamina, burning passion, and on top of that, a heart of pure gold. i know you’re used to being called the golden maknae, but there are times i’m afraid you don’t believe it, not just because you’re humble and always see room for growth but also because you don’t realize just how wonderful you truly are. you are all of those things i mentioned earlier, but also so much more; just look at how you have come such a long way from the shy, scared, and less confident boy you were 6 years ago, like i hope you can see all that growth and progression and be proud of yourself. you are so beautifully unashamed of your emotions, you love your members and ARMY so much that it shows even just from the affection in your eyes and how big that bunny tooth smile gets. you are adored because you truly are golden, from head to toe, inside and out, from your musical and performance talents to the way you worry about your hyungs and want to help in whatever way you can, you are so chock full of love and ambition and bts is so lucky to have a maknae like you. as you continue to grow and struggle in this wicked and often unfair world, i hope you’ll continue to burn with ambition, strive after your goals, keep fueling that perseverance that is seriously so admirable, and, again, just keep being the goofy, adorable, hardworking maknae that you are for bangtan. no matter what or how many mistakes you make, or how inadequate you feel, or how frustrated you are with yourself or with life, just know that we, ARMY and your beloved brothers, are 100% by your side, always watching out for you, supporting you in everything you do, and loving you for who you are right now because you don’t need to impress us, we already love you for you.

#if only i could sit down and actually say this to each of them #and tell them how thankful i am for them #for how they changed my life #if only #bts #ot7 #jungkook #jimin #taehyung #hoseok #yoongi #jin #namjoon #why hello there anon #Anonymous

[secretradiobrooklyn]

SECRET RADIO | 10.3.20 & 10.10.20 Combo

Secret Radio | 10.3 & 10.10 | Hear it here.

Liner notes by Evan except *, artwork by Paige

1. The Modern Lovers - “Roadrunner”

Can there be, can there ever be, a better hittin’ the road song than this? Not to me, not to us. “I’m in love with modern moonlight… I’m in love with the radio on” This song brings everything that makes rock so fundamentally exciting: the straightforward beat, electric guitars, electric keys, that sense of complete freedom with your gang in the backseat singing the chorus. 

2. Swell Maps - “Full Moon In My Pocket”

It pains me to admit that I cannot remember the name of the pasteup guy at the Rocket who used to tell me about the bands he loved, and that he thought I’d dig. I was so, SO into Pavement at the time, head over heels, and he did a great job of acquainting me with some of their precedents, handing off tape comps with songs from Young Marble Giants, Au Pairs, Swell Maps, and so much more. One of the tapes had this song, in two versions actually: this one, and an a cappella version, which sounds very poncey except it was the same take as this, bouncing with reverb and attitude. On our long drive from the woods to the city, a full moon hung in front of us like a carrot on a stick, and I started singing this song before I even realized it. Whatever the name of that super-awesome pasteup guy (Tom? I feel like it was Tom), I just want to tell him: I’m sorry, I’ve always been bad at remembering names, but I’ve never forgotten those tapes. Thank you.

3. Assa Cica - “Yokpo Wa Non Kpo Hami” 

When we were first getting into Beninese rock, it was Antoine Dougbé who pulled us down the rabbit hole. I figured we couldn’t be alone — his songs are the standouts on “Legends of Benin.” But there’s practically nothing to be found. I eventually found myself at Discogs, marveling at the sheer number of names that T.P. Orchestre Poly-Rythmo went by and sifting through music looking for signs of Dougbé. I eventually found this album, and not just the voice but the whole style of the band convinced me that Assa-Cica was somehow another name Dougbé went by. After some discussion, Paige and I bought our first Beninese record. In the weeks that it took to arrive, we learned a lot more about Dougbé, including the fact that he’s not actually the singer on those songs! But also I don’t think Assa-Cica is the singer on this song either! We did turn out to love every song on this record, but this one is my personal favorite, just a barnburner with disco roots. Every time I listen to it I try to imagine the cultural and personal forces that brought it into being, and it only gets more absorbing.

4. Eko Roosevelt - “Me To A De Try My Own”

T.P. Orchestre research also brought me to an album they did with Betti-Betti (or Beti-Beti), a Cameroonian singer whose tracks eventually led to Eko Roosevelt. I don’t get down with all of the music of his that I’ve heard, but this one just brings a smile to my face every time. I love the patois he sings in, where recognizable words rise suddenly out of the bubbling disco bass and the good-natured horn sections. I would never have guessed that hunting for African voodoo funk would eventually reveal a path to appreciating disco… but I’m glad that it has. I mean, I spent whole years of my life thinking that horns had no place in rock music, so what the hell do I know? 

5. Jacqueline Taïeb - “Le coeur au bout des doigts”

6. T.P. Orchestre Poly-Rythmo - “Non Gbeto Do Mahu Tche”

This 7” is from that rich early period of T.P. Orchestre (this one is I think from ’72) where the arrangements are hand-drum heavy but the organ and guitar are funk. The vocal is — I don’t know what it is, it’s a genre I hadn’t heard until I heard this band in this period. 

7. Los Wembler’s de Iquitos - “Llanto en la Selva”

8.  Iggy Pop “The Passenger”*

I’ve always thought this was one of Iggy Pop’s finest outside of his work with Stooges. I think I also always liked it because I am most often the passenger. I really really don’t like driving. I really avoid it. I have a driver’s license but boy do I not like to use it. There aren’t really a lot of songs about riding in the passenger seat that are positive or cool that I can think of besides this one and Art Brut’s “I Love Public Transportation”.

This album also makes me think of Shena’s old place on Damen Ave. in Wicker Park Chicago. This record and of course Bowie’s “Let’s Dance”.

 Hope you had a great birthday Shena!

9. Jacques Dutronc - “Les Gens Sont Flous”

The things that gets me about the song are: that single bass note that plunges every time in the verse, the shaker in the chorus, and that freakin triangle hit that happens on the coolest possible beat throughout the entire song. I fully intend to lift that idea into another song if I can find the right spot for it.

10. Jimi Hendrix - “Third Stone From The Sun”

This goes down as one of the greatest rock recordings in history. Every time I swoon at the guitar phrases, the bass line, the drums, the weird low chaos of his slowed down vocals. Truly a masterpiece, capped off by the final minute of beautiful noise that sounds like planets in motion.

11. Björk Gu∂mundsdóttir and tríó Guðmundar Ingólfssonar - Gling-Gló - “Bella Simamaer”

12. Ayalew Mesfin - “Gedawo (The Hero)”

The first 20 seconds of this song are crucial, because it establishes the 4/4 rhythm that’s coursing under the 3/4 handclap. That is such a killer rhythmic feel I can hardly stand it. I only wish they’d pull out the handclap in the middle, just for a handful of measures, and then bring em in again. Meanwhile, Mesfin’s vocal approach is so intense! 

Entr’Acte - “Phantom of the Opera Entr’Acte”*

We figured we needed an Entr’Acte to denote the change in vibe from trying to stay alert and amped on the turnpike to being back home in Brooklyn. Half of this broadcast was made in the front seat of the van on our drive back to NY after our recent visit to the Midwest where we stayed in the woods the majority of the time with a couple of runs to St. Louis to pick up Banh Mi So and tofu Laap. 

Evan and I have this thing we call “Disney Reptile Brain” but before that I should explain, Evan and I have this other thing we call “different high schools.” We have an age difference that we mostly don’t notice but every now and then there will be some cultural touchstone and one of us is like “What!? You don’t remember that!?” and we’re like “Ahh, different high schools!” So something like, the year 1994, Evan might remember it as when Kurt Cobain died, and I’ll remember it as the year “The Lion King” came out.

So, Evan missed all the of the major releases by Disney from that time – Beauty and the Beast, Aladdin, Lion King, etc. – and thus he can see how ridiculously bad these remakes are in a way that I can’t. He says that you have to “Disney Reptile brain” to fully see the movie, that you have to have the animated version playing in your mind’s eye at the same time you're watching these “live action” remakes or they don’t make any sense. And it’s true, for me and lots of other people I know born between 1984 and 1990 we experience this when watching these films, like you already know it so well and know what’s going to happen it’s more like some sort of ritual, incantation, or reenactment of a feeling.

So, that’s Disney Reptile Brain. And if you’re like, wait, but this is Phantom of the Opera and that’s not Disney. You’re right, but it turns out Reptile Brain is a thing that can happen with musicals and ALW stuff is perfect for it. (Evita! Evita!) I am helpless when I hear this music which I got into around the same time that I was devouring Disney VHS, even though I hear it now and it’s SO. SILLY. But when I hear this melody, I’m like right there, on the boat with Christine and the Phantom. I’m like a cat picked up by the scruff and I’m just completely engrossed and I can’t unlearn that feeling. If you’ve seen Phantom at all recently, it is straight up hilarious kid stuff, like how it starts with an auction of lot #666, and the phantom is like this super moody broody guy who writes passive aggressive notes to everyone. I now can hear it as so funny and so square, but what you’re hearing on this track is my reptile brain in full effect. 

Next time this music comes around, we’ll get into how Christine is Professor X and Magnito is the Phantom...

14. Sunny Blacks Band - “Holonon Die”

Ha! I said plenty about this song on air. Suffice it to say I’ve been getting obsessed with Meloclém and his performances. It’s really hard to find out anything about him, so this early track makes me really happy. I think this is sung in Fon.

15. Yo La Tengo - “False Alarm”

Alongside “Third Stone from the Sun,” another of my all-time favorite recordings ever. Yo La Tengo was a key protein in learning about rock music, starting with the album  “Painful” and hitting a peak not just on this album but specifically this song. Alongside a vivid memory of Sean N., I helplessly air-keyboard to it, air-drum to it, dance my face off. By that final phrase I’m all worn out.

16. Meas Samon & So Savoeun - Hits Collection

We don’t really know anything about this song, including its title. It’s from a cassette called “Hits Collection.” We know Meas Samon from other sources, but I have no idea what they’re talking about and what is happening in this song, though I will say the tape warping on the entire fabric of the track is absolutely delicious.

17. Syna So Pro - “Fengyang Song”

I feel so proud of Syna So Pro and St. Louis introducing this track. The first time we saw her perform this song was live at El Leñador, and it was a knockout. She (they?) used a looping pedal situation to build this huge harmonic structure in real time. I believe she may be studying Chinese, but I know she’s studying Chinese music. There’s this and one other amazing Chinese song in addition to her many songs in English on her album “Vox.”

Nino Rota

18. Fela Kuti - “Open & Close”

I would listen to this whole song just for the Tony Allen solo in the early middle — but I also love how the song is so long that even a solo as particular as that one gets swallowed back up into the totality of the track (though he has many amazing passages throughout). The emotional equilibrium of the horns is cautiously optimistic. And I find myself thinking about the passage that goes “Let me tell you a story: open and close,” and how “open and close” is a narrative in action right there in three words. What was open has closed. It’s clearly a big change, a serious shift. Once open, now closed. Why? What changes as a result? Did anyone get hurt in the closing?

19. France Gall - “Celui Que J’aime”*

In the theme of “songs that got away” (see “Muxima”) this is one that I was thrilled to find again! I heard it on Jeff Hess’s show on KDHX many years ago. It set me on a France Gall odyssey. I bought albums and collections, and none of them had this song. I think her tone is probably my favorite female vocal tone, and she’s also one of my favorite singers in her delivery. This one is very different than some of the other stuff I associate with her but I think it’s still my favorite of hers.

20. Ely - “As Turbinas Estao Ligadas”

Now Again Records put out a collection called “Brazilian Guitar Fuzz Bananas” and it’s got as much tone as the title boasts. Credit due to “vinyl archaeologist” Joel Stones for tracking down songs like these and putting them within reach. This is one among several favorites and a true hit.

21. Tulia - “Pali się (Fire of Love)”

Speaking of true hits: welcome to the world of EuroVision, where music is a medium for international competition. This song is Poland’s entry for 2019. We spent an amazing week with our friends Phil and Archie driving between Cambridgeshire and London singing along with all of the finalists of that year’s competition. It’s a fascinating idea, this vote-based international struggle turning into a final victor that somehow expresses the zeitgeist of ALL OF THOSE COUNTRIES TOGETHER — because it’s not just Europe, it’s Israel and Australia. Also amazing is that this isn’t just some scheme cooked up in the reality TV era: this has been going on for decades. In fact, France Gall was the EuroVision winner in 1965 — for Luxembourg!

22. Luigi Tenco - “Ciao Amore Ciao”

Likewise, this song was in international competition. It was sung by Egyptian-born French superstar Dalida. We saw an eponymous movie about her at the St. Louis International Film Festival in 2017 and she was a completely engrossing character. I’m not totally sold on this song as she sings it — but I love Luigi Tenco’s version. And man what a looker! He died young by his own hand, and she died too young by her own hand, and that is about as French as it gets.

23. Marijata - “I Walk Alone”

“This Is Marijata” is the sound of Ghana in 1976. I was talking about Marijata with Josh Weinstein recently, and he reminded me of this song and how much I dig it. It’s got that slow burn organ in the background, the slightly clumsy percussion in the foreground, those freighted vocals — but when it gets to the chorus, as the organ hook gives way to the horn hook, that’s when it truly hits its stride. And by the time we disappear into the fadeout, it has become fully epic. 

24. Lijadu Sisters - “Life’s Gone Down Low” 

To my ears it really feels like this song could have been released this year, rather than in 1976. What the hell was going on in West Africa that year? I feel like we could put together a great mix of songs just from that single year from Nigeria, Ghana, Benin and Ivory Coast. The Lijadu Sisters (Taiwo and Kehinde, actual identical twins) put out their first album in 1969; by their third album, “Danger,” the source of this song, they were huge stars in Nigeria and played with Ginger Baker, Art Blakey, and so on. They eventually moved to Harlem and lived together their whole lives, until Kehinde passed a little less than a year ago. 

25. Os Kiezos - “Muxima”*

As mentioned, I heard this song in a video work by Alfredo Jaar at the Art Institute of Chicago. You can read about the piece here. I learned that “Muxima” is an Angolan folk song and in the video of the same title there are, I believe, 5 different versions of the song. One particular one – the one that pulled me into the room where the video was playing on loop – was a gorgeous vocal arrangement.  I even tried shazaming it. No dice. So I wrote it down and started looking for the song, the particular arrangement. I bought a collection of Angolan music because I saw the song on it. That’s the one you heard on this broadcast and it is a recording that I now really love. I periodically keep looking for other versions of the song, hoping I’ll come across that missing version though. I thought I got close this week when I found Duo Ouro Negro’s version. (Worth checking out!) That one from the video though, still haunts me! It’s been 9 years now, I wonder if I would recognize it but I think I would. I guess the next thing I can try is a shot in the dark email to Alfredo Jaar. This is and one other song share the top spot of “songs that got away” the other one is some beautiful song that was coming from a small radio from a group of old Puerto Rican guys who were playing cards on the sidewalk on South 3rd street in Williamsburg. We were touring through and staying with our friend in that neighborhood and as we were moving the van I heard this beautiful song coming off the sidewalk. Those guys had great taste. 

[obtusemedia]

In Ascending Order: Top 50 Songs of the ‘90s

The ‘90s have become sort of an idyllic period that many Millennials and Gen Xers look fondly upon. It makes sense — the economy was good, Seinfeld ruled televisions, we weren’t worried about either the USSR or North Korea nuking us — but if there’s one thing that has really kept the ‘90s beloved, it’s the music.

There’s something for everyone at the end of the 20th Century, from grunge to gangsta rap to boy bands to Britpop. The ‘90s featured rock’s final years of pop relevance, as well as the blossoming of its underground movements. Hip-hop became a massive cultural force. And although pop wasn’t as strong as it was in the ‘80s, it did have a nice bounce-back period near Y2K.

Capturing the essence of the wildly-divergent ‘90s in just 50 songs is difficult, but I took a swing at it anyways. Let’s dive in:

HONORABLE MENTIONS:

> “Even Flow” by Pearl Jam (1992): Since I’m a Puget Sound native, I should love Pearl Jam more than I do. But sorry, I’ve never been able to muster too much love for the iconic grunge act. That said, “Even Flow” has a great, energetic groove that goes nicely with Eddie Vedder’s bellow.

> “Not If You Were the Last Junkie On Earth” by the Dandy Warhols (1997): By 1997, Nevermind seemed like a century away, as bright-and-shiny pop tunes took over from Alt Nation. So how did indie rock respond? By making a snarktastic, uber-catchy power pop jam about how “heroin was so passé,” complete with a music video featuring dancing syringes. The ‘90s were wild, guys.

> “Crash Into Me” by Dave Matthews Band (1996): If Greta Gerwig gets to admit that this song is actually good despite the oddly skeevy lyrics at times, then so do I. Just forget about the time they dumped 800 pounds of poop in the Chicago River and let Dave’s froggy voice whisk you away.

> “Metal Detektor” by Spoon (1998): America’s most consistent indie rock band wouldn’t reach their heights until the early 2000′s, but “Metal Detektor” is a solid lo-fi preview of the groovy, nervy tunes to come.

> “All Star” by Smash Mouth (1999): Forget the memes and Shrek and remember that this song is iconic for a reason. Did it age badly? Absolutely. But that’s part of its dorky, wonderful charm. And like every young Millennial, I know every word by heart. HEY NOW

#50: “Inbetweener” by Sleeper (1995)

One thing I love about Britpop is its fondness for character vignettes. Pulp were masters of this, and Blur occasionally dipped their toes in that pool, but even the B-listers knew how to nail a depressed-suburbanite character study.

“Inbetweener” tells the story of a married couple who settled for each other. They weren’t each others’ first-choices, they were just supposed to be “inbetweeners.” By the time they’ve settled into adulthood, their lives have descended into complete boredom, but they’re also too lazy to change anything. It’s the black hole of mediocrity.

Sleeper does a stellar job making the story pop, with a sunny sound to balance out lead singer Louise Wener’s deadpan vocals. In a way, it’s a bit ironic that a pop-rock song with a chorus this anthemic would be about the most boring lives imaginable, but I imagine that was sort-of the point.

#49: “When I Come Around” by Green Day (1994)

Bay Area legends Green Day went 100 percent into the pop side of pop-punk with the infamous graduation anthem “Good Riddance.” But I’ll always prefer their earlier, snottier side, which balanced the two genres perfectly.

“When I Come Around” is a song so maddeningly catchy that it doesn’t even matter that drummer Tre Cool utterly fails to stay on beat, occasionally slowing down and speeding up. Thank god for Billie Joe Armstrong’s timeless melody and crunchy guitar tone, both of which keep this song afloat, along with a solid slap-bass. 

Honestly, the amateur vibe of “When I Come Around” is endearing nearly 25 years later, when most mainstream rock feels aggressively focus-grouped. Even Green Day would become much more polished later on (not that this was always bad), so it’s nice to see the youthful energy and passion on display.

#48: “Jesus Freak” by DC Talk (1995)

There were many subgenres that peaked in the ‘90s that I’ve already mentioned, but there’s one more movement that had its prime years in this era: Christian rock.

...wait, wait, don’t click away yet! I’m not trying to proselytize here — some ‘90s Christian music could pass as the real deal. A few, like Jars of Clay, even notched a mainstream hit. But no Christian rock band was bigger among the youth-group set than DC Talk, who never really crossed over to secular audiences. And their signature song, “Jesus Freak,” is absolutely ridiculous — and that’s what makes it great.

Christian music in the ‘10s is mostly bland and focus-grouped to death. If you can tell one Hillsong or Lauren Daigle tune apart from the next, you have better ears than I. But “Jesus Freak” was a strange beast. Instead of joy or thankfulness, its primary emotions are defiance and rage. They even worked with the same music video director as Nine Inch Nails! Amy Grant would never. (although she certainly had her mainstream pop sellout moment in the ‘90s)

Does “Jesus Freak” have some embarrassing lyrics about John The Baptist’s belly? Of course. Does it blatantly rip off “Smells Like Teen Spirit?" Definitely. But, most importantly — is it a banger? HELL (err...heaven) YEAH.

#47: “Vapour Trail” by Ride (1990)

Shoegaze is definitely a sound that I respect more than I actually like. Personally (as you’ll see later on this list), I prefer its more structured, catchier cousin, dream pop.

But Ride managed to find the sweet spot between My Bloody Valentine and top-40 with their sweetly melancholy “Vapour Trail.” It definitely has all the hallmarks of shoegaze — it’s very spaced-out, the lyrics are both romantic and depressing, and there’s a definite wall-of-sound feel to it — but there’s also an actual hook. Thanks to its jangly guitars and orchestral coda, it almost feels like The Smiths’ take on the subgenre.

#46: “Enter Sandman” by Metallica (1991)

Why yes, I am that loser that’s never been able to get into metal, yet loves the simpler pleasures of “Enter Sandman.” What can I say — it’s a total jam and the hooks are plentiful.

It’s honestly kind of hilarious that this song became a massive success right as R.E.M. and Nirvana were rapidly shifting what popular rock sounded like, because “Enter Sandman” leans much heavier towards cheesy, over-the-top hair metal than grunge. I can’t get enough of James Hetfield hamming it up on the mic, literally cackling like a Disney villain at a few points.

For me, the corniness is part of the fun here, along with the raw energy that the band brings to the song. “Enter Sandman” let the masses headbang along with the metalheads, and for that, I’m grateful.

#45: “...Baby One More Time” by Britney Spears (1998)

Here’s proof of how massive Britney Spears’ debut single was: I was in preschool when it was released, and I knew it just as well as the Sesame Street or Arthur theme songs at the time. “...Baby One More Time” was a staple of Radio Disney, which was my main exposure to non-Christian music before elementary school (that, and Thriller, of course). Those opening piano stabs were etched into my brain from a very early age.

There’s a good reason it’s stuck with me: Britney’s breakthrough smash is a pop classic. “...Baby One More Time” captures the passion of a teenage crush better than almost any song from its era. And Max Martin’s crystal-clear, melodramatic production is untouchable. Frankly, it might still be Britney’s best song, over 20 years later.

#44: “Animal Nitrate” by Suede (1993)

One of the first major Britpop anthems, “Animal Nitrate” is a swaggering, cocky ode to the UK’s finest glam rock. Marc Bolan would’ve killed to write something this seedy and catchy.

In a way, it serves as sort of the mid-point between Blur and Pulp’s winking snark and Oasis’ hard-charging stadium-fillers. Just add a nice dose of sleaze. Suede weren’t able to keep up the momentum from their landmark debut, but at least they have classic singles like “Animal Nitrate” that cemented their legacy as pioneers.

#43: “Born Slippy .NUXX” by Underworld (1996)

I’m not normally a fan of super-long electronic songs. In fact, this will be the only representative of electronica — a fairly popular scene in the late ‘90s — to show up on this list.

But “Born Slippy” is special. First off, to be completely honest with y’all: I’m a bit biased, since the track was famously featured in Trainspotting, one of my favorite ‘90s movies. So it was always going to have positive connotations for me. Beyond that, “Born Slippy,” more than any other classic electronica song of its time, is bonkers. After a long, atmospheric intro, it’s essentially five and a half minutes of rambling, drunken chaos over a thudding drum beat (with one little break in the middle).

It’s both minimalist (a good chunk of the song is just a drum machine and chanting) and maximalist (IT’S SO LOUD). “Born Slippy” is the audio equivalent of losing your mind, and I love every second of it.

#42: “Groove Is In The Heart” by Deee-Lite ft. Q-Tip (1990)

And here’s a dance song with the complete opposite vibe! While Underworld turned their thumping beats into cold, confusing chaos, Deee-Lite only has one mission with their classic one-hit-wonder: to soundtrack the greatest party of all time.

“Groove” just about succeeds in that goal, too. The bassline and clattering percussion are untouchable, the lyrics are pure nonsense in the best way (more dance songs should throw in Dr. Seuss references), and the group even snagged funk legend Bootsy Collins to throw in some random ad-libs here and there. 

Q-Tip, a budding legend in his own right, contributes a nice verse, but the real draw here is Deee-Lite’s aggressive quirkiness. Where else will you find a dancefloor filler that includes slide-whistle solos?

#41: “This Is How We Do It” by Montell Jordan (1995)

New Jack Swing — the subgenre that mixed R&B smoothness with hip-hop beats and attitude — might have peaked in the late ‘80s and early ‘90s, but its best track came way after its pinnacle.

“This Is How We Do It” will always be an effective crowdpleaser. Somehow, Montell Jordan found a way to balance street smarts with a squeaky-clean jam perfect for a Bar Mitzvah. He essentially perfected Will Smith’s formula, but Jordan had an extra advantage: his golden vocals. Yeah, his rapping is a bit corny, but you can’t deny that voice.

The ‘90s had plenty of gangsta-lite party jams like “This Is How We Do It,” but thanks to Jordan’s charisma and a deathless chorus, this one stands above the rest.

#40: “Movin’ On Up” by Primal Scream (1991)

If you’re going to rip off the Rolling Stones’ “You Can’t Always Get What You Want,” you might as well go for the jugular and only steal its massive ending.

“Movin’ On Up” is absolutely shameless in that regard, but I’ll be damned if it isn’t effective anyways. This gospel/classic-rock pastiche is four minutes of straight euphoria: Uplifting lyrics! Jazzy piano! Soaring guitar solos! And of course, a gospel choir so powerful that their voices break through the noise like the Kool-Aid Man. 

Primal Scream were smart enough to let the choir take over the second half of the song, just letting the vaguely-religious vibes ride itself out. Because of this brilliant decision, “Movin’ On Up” is somehow more danceable than the rest of its album, the acid-house landmark Screamadelica.

#39: “Just A Girl” by No Doubt (1995)

Riot grrrl, an aggressively feminist brand of indie rock, was an important ‘90s subgenre, but rarely a commercially successful one. Still, there were some acts that polished up that style of angst and packaged into something different yet still great, and one of them was No Doubt.

Although Gwen Stefani might be more well-known to most millennials for teaching us all how to spell bananas, her best song might still be “Just A Girl.” It’s a pretty simple concept — woman is righteously upset by how society coddles her because of her gender — but Stefani sells with her flexible vocals and loads of personality. She shifts from an exaggerated Betty Boop pastiche to a Californian alt-rock wail within seconds.

The rest of No Doubt are able to keep pace with their frontwoman, bouncing back and forth between the springy verses and mosh-friendly, speedy choruses. It’s a good fit for Stefani’s manic energy, and a nice burst of bright energy to bring a close to a dreary era of rock.

#38: “Ruff Ryders’ Anthem” by DMX (1998)

Forget shiny suits: If I’m listening to late ‘90s hip-hop, I’ll take the rawer pleasures of DMX every day of the week.

On his breakout hit “Ruff Ryders’ Anthem,” DMX began to hone his now-legendary untamed style, although it’s a bit more subtle than how he would sound a few years later. It’s not quite as bombastic, but in some ways, that makes this feel a little more like the real X. It literally sounds like a mobster making threats, and it just happens to rhyme and be over a killer beat.

There’s all the ridiculous lyrics you’d expect from DMX here — highlights include the wonderfully emo couplet “All I know is pain/all I feel is rain” and a coda that’s simply a machine gun firing and X yelling “TALK IS CHEAP, MOTHERFUCKER!!!” But for the most part, it’s proto-DMX, and it’s interesting to see a larger-than-life figure somewhat grounded.

#37: “Friday I’m In Love” by The Cure (1992)

The first couple years of the ‘90s are flooded with awkward ‘80s leftovers, but one wonderful (and very ‘80s) song that snuck into the next decade is “Friday I’m In Love,” The Cure’s final hit.

It’s shocking that something this bouncy, simple and optimistic came out the same year Nirvana and Pearl Jam dominated the airwaves, but great music can succeed at any time. Robert Smith’s nursery-rhyme melodies and lyrics are so simple that it’s shocking that this song wasn’t actually written ages beforehand.

And it’s refreshing to hear a band famous for getting angsty pull out a happy-go-lucky love song tailor-made for romantic comedies. At some point, Smith had to write an upbeat song, right?

#36: “Everlong” by Foo Fighters (1997)

There’s an argument out there that “Everlong,” written by Foo Fighters frontman and former Nirvana drummer Dave Grohl, is better than any Nirvana song. I cannot remotely agree (spoiler: Nirvana places much higher on this list), but I can understand why “Everlong” has such a strong reputation.

Easily the best Foo Fighters song, “Everlong” is everything you’d want in a radio-friendly alt-rock single. It’s catchy, but still has some legitimate grit and bite. Propulsive and anthemic, yet still angsty and relatable. Grohl somehow took a grimy post-grunge banger, added romantic lyrics, and made it work. I certainly can’t imagine Bush or Everclear pulling that off.

#35: “Wannabe” by Spice Girls (1996)

In less than three minutes, five British women kicked down the doors of alt-rock and birthed the late-’90s bubblegum pop boom with one song. And what a glorious burst of energy that song is.

"Wannabe” might be the most purely fun song on this entire list. From the springy piano beat to each of the five girls showing off their bold, feisty attitudes (except for Posh Spice...sorry, Victoria), to Scary and Ginger Spices’ cheeky rap breakdown at the end, it’s impossible not to like. The song is a bit repetitive, yes, but when you have nuclear-grade weapon hooks like these, you might as well use them. ZIGAZIGAHHH

#34: “Fake Plastic Trees” by Radiohead (1995)

And now to the exact opposite side of British music!

Not to be that annoying contrarian, but I’ve never been able to get into Radiohead. A lot of their music is too cerebral for my tastes — I don’t mind thoughtful lyrics or experimentation, but I need a hook or a groove to grab onto.

Still, I do have a fond spot for their early years. And “Fake Plastic Trees,” my favorite song of theirs, is the perfect midpoint between grunge angst and sweeping Britpop balladry. 

The lyrics are abstract, yet Thom Yorke’s yearning, cracked vocals convey more than any words could’ve. Like one of my favorite modern acts, Japanese Breakfast, his voice acts simply as another instrument to convey the heartbreak. Match that with a slow-burn power ballad fit for a rom-com credit roll, and you’ve got an instant classic. It’s really too bad Radiohead got bored with this sound...

#33: “It Was A Good Day” by Ice Cube (1992)

Ice Cube is not normally a happy guy in his classic songs. Whether he’s pissed at the cops or his former bandmates, he’s usually in a bad mood for some reason. But for his most beloved track, Cube imagines what a day with no problems would be like, and it’s sublime.

He nabs a triple double on the court without trying. He gets to bang a chick he’s been trying to have sex with since high school. He seemingly wins every game of bones and craps he plays. And most importantly, the police and gangs didn’t hassle him.

Many gangsta rap songs are about turmoil and chaos, but “It Was A Good Day” shows that even the toughest thugs just wanted some peace and to have a good time.

(although if it was a really good day, the Supersonics would’ve beaten the Lakers...)

#32: “Hunger Strike” by Temple of the Dog (1991)

This song is so Seattle that the CD single probably came with a complimentary damp flannel, a Dick’s deluxe, and coffee stains.

It’s a bit surprising to me that there hasn’t ben any Seattle artists on the list proper yet, seeing as the city was the epicenter of ‘90s culture. Obviously, grunge played a role, but this was also the decade when Starbucks, Microsoft and Amazon blew up; the decade when the Sonics and Mariners had superstars like Gary Payton and Ken Griffey, Jr. (the Seahawks had to wait another decade to hit their stride); the decade where the Emerald City’s reputation changed from South Alaska to one of America’s iconic locales.

And before Nirvana and Pearl Jam took led that charge, “Hunger Strike” was the first grunge breakthrough, and for good reason. In a way, it’s sort of the Watch The Throne of grunge, with Chris Cornell and Eddie Vedder exchanging vocals. The chorus, when Vedder sings the hook while Cornell bellows “I’M GOING HUNGRAAAAAAAAAAAY” like a madman, gives me goosebumps every time. 

Honestly, I like this lighter-waving ballad more than any of Pearl Jam or Soundgarden’s actual songs. Not sure why this connects with me more — perhaps it’s the four minutes of raw emotion and wailing vocals over gorgeous harmonizing guitars. Vedder and Cornell work shockingly well together, too. I wish the duo made more music.

#31: “Connection” by Elastica (1994)

There is no Britpop song that’s cooler than “Connection.” While most of the subgenre is all about wink-wink cleverness or gigantic classic-rock riffs, Elastica dispenses with both of those for Justine Frischmann’s snarling attitude.

Elastica kept things very simple on their most iconic single. There’s a rudimentary guitar riff (which yes, they stole from Wire, but who cares), a steady beat, and Frischmann rolling her eyes over the whole thing. “Connection” is not a song that needs a lot of explaining: one listen, and you’ll instantly understand why even American teens couldn’t resist the snark.

#30: “Alison” by Slowdive (1993)

Slowdive’s masterpiece, Souvlaki, might have been a bit late to the shoegaze party by 1993, but it and its iconic leadoff track, “Alison,” have stood tall over the movement regardless.

My favorite shoegaze song, “Alison” is a hazy soup of distorted guitars, hypnotic drums and hopelessly romantic lyrics about a druggy (and possibly imaginary?) relationship. About half of the lines are about drugs and confusion, and lead singer Neil Halstead describes the titular woman as his anchor through the chaos of life. It’s a slow-dance made for a goth prom, and it lingers in your brain long after it’s over.

#29: “Baby Got Back” by Sir Mix-a-Lot (1992)

“Baby Got Back” has unfortunately become sort of a punchline by this point. Not because it’s a clunker —I think most people seem to love it as much as I do — but because of its constant feature in kids’ movies (I first heard it in Shark Tale as a child...the early ‘00s were a strange time) and the fact that the song has been boiled down to just a few lines. 

“I like big butts and I cannot lie.” “Oh. My. Gawd. Becky, look at her butt.” “My anaconda don’t want none unless you’ve got buns, hon.” Those moments define “Baby Got Back” more than anything else.

Which is a shame, because it’s a masterpiece of trashy fun. Seattle icon Sir-Mix-a-Lot somehow found out how to make solid punchlines about booty for four minutes — you try coming up with that many iconic moments in a short timespan! And the dizzying production, with its sharp horn bursts and super-tight bassline, is no joke.

"Baby Got Back” might be a goofy novelty track, but there’s actual effort put in. It’s a formula more artists should strive for.

#28: “California Love” by 2Pac feat. Dr. Dre and Roger Troutman (1995)

Yes, this is the cliché 2Pac choice. But “California Love” is difficult to resist.

Backed by a rowdy Dre beat (and a great opening verse from the Dr. as well), Pac’s comeback single after being released from prison is truly timeless. You go to any L.A. party or sporting event and it’ll inevitably be played (partly because it’s strangely clean for a gangsta rap anthem). And 2Pac is game to shout out the entire state — he even gives Sacramento props over 20 years before Lady Bird!

Pac has some deeper, more introspective songs than “California Love.” But sometimes, the basic pick is the right one.

#27: “Summer Babe (Winter Version)” by Pavement (1992)

Pavement has always been the cool kids’ ‘90s band. While the massive alt-rock acts put their raw, bleeding-heart emotions on display, Pavement kept things sardonic and snarky. They were willing to poke fun at The Smashing Pumpkins. They’re essentially the Jim Halpert of rock — kind of lazy and self-removed, but with too much charisma to ignore.

Yet, for all their snarky bonafides, my favorite song of theirs is one of their more emotional. “Summer Babe” still features Stephen Malkmus’ famously flat, dry vocals, but the song has some real heft to it regardless. The deep-fried guitar shredding its way though the track and the noisy drums work well amongst the sloppy-but-charming sound. It’s meandering, but when Malkmus puts some juice in his vocals for the final minute, it still strikes a chord. 

#26: “Deceptacon” by Le Tigre (1999)

By the late ‘90s, punk icon Kathleen Hanna had already moved on from her massively influential riot grrrl band, Bikini Kill. Distorted guitars were so 1992. What was next? ‘80s nostalgia, of course!

“Deceptacon,” by Hanna’s other famous band, Le Tigre, is a sizzling slice of new wave perfection. With its proudly-analog synth stabs and dance beat, the song perfected the indie-band-goes-disco formula 10 years before everyone else tried it. Seriously, this sounds way more like 2009 than 1999, and it’s shocking that its somehow from the 20th Century.

But “Deceptacon” isn’t purely a Duran Duran tribute — there’s still that same fury that Hanna was famous for. Her raw vocals make for a strange, yet captivating combination with the poppy beat. It’s a punk song you could dance to, just like the Ramones always wanted!

#25: “Fantasy (Bad Boy Remix)” by Mariah Carey feat. Ol’ Dirty Bastard and Puff Daddy (1995)

There might not have been any ‘90s popstar bigger than Mariah Carey. She racked up 14 number-one hits, including “One Sweet Day,” a monster R&B collaboration with Boys II Men that is still tied for the longest stay at the top of the charts (if only it was a better song). 

However, she’s never been my favorite — overwrought R&B ballads really aren’t my thing. But she did release one single that I unabashedly love, and that’s partly due to an assist from one of hip-hop’s weirdest stars.

I’m still not sure why the powers that be felt that Carey, a super-polished pop balladeer, and Ol’ Dirty Bastard, a rapper who sounded and acted like a homeless man on bath salts, was a good combo. But it worked beautifully! ODB’s weirdo charm proved to be a nice balance to Carey’s more sanitized sound. And the pop structure reigned in ODB just enough — although that didn’t stop him from spending the first 45 seconds just shouting out random places (“JAPAN ARE YOU IN THE HOUSE?!?”) and later quoting Donny and Marie Osmond. The man was a maniac.

But arguably what makes the song work better than either artist’s contribution is that sparkling production. The remix of “Fantasy,” helmed by Bad Boy mastermind Puff Daddy, strips back the original song’s heavier sampling of the ‘80s classic “Genius of Love” to just the groovy bassline for most of the song, letting the synth burbles wait until the chorus to pop. The result is one of the few truly great American pop songs of the mid ‘90s.

#24: “Blue Jeans” by Blur (1993)

Despite their relatively low placement on this list, Blur are my absolute favorite band of the ‘90s. They helped create one of its prominent movements, Britpop, with their 1992 single “Popscene,” and went on to dominate the subgenre. And when they got bored with that sound five years later, Blur proved they could do angsty, distorted alt-rock just as well as the Americans. (And five years after that, lead singer Damon Albarn started a fun little side project — you might have heard of them.)

But my favorite song of theirs doesn’t really fit into either Blur’s eras. Technically, “Blue Jeans” was released on their first Britpop album, Modern Life is Rubbish, but it doesn’t really have the same witty, uber-English vibe as their hit singles from that time. Instead, it’s a low-key, almost dream-pop song that’s simply about being content in a relationship. 

Sounds a bit boring, until you actually listen to the track — Albarn’s melody here is stunningly beautiful, yet down-to-earth, and the quaint music backing him matches the vibe of the song exactly. And his lyrics nail the early stages of love — “I don’t really wanna change a thing/I wanna stay this way forever.” There’s few songs that capture the simple joys of a romance like “Blue Jeans,” particularly in the honeymoon period.

#23: “Forgot About Dre” by Dr. Dre feat. Eminem (1999)

The defining sound of West Coast hip-hop — the squealing synths and trunk-rattling bass of G-Funk — was mastered by one man in the early ‘90s. Dr. Dre’s The Chronic was a landmark for the genre in 1992, and his iconic style can be heard from MCs throughout most of the decade.

But by 1999, things had changed. The biggest names in hip-hop sounded nothing like Dre’s signature sound, from Puff Daddy’s sample-heavy pop-rap to the chaotic Southern twang coming from No Limit Records. Dre was seen as a has-been, a relic.

However, “Forgot About Dre” ended Dre’s slump that year. The funky Chronic beats were supplanted by a sharper-edged, metallic production over which Dre publicly shamed the world for ignoring him and his legacy. It’s a ballsy move to already anoint yourself as a legend just 11 years after you burst onto the scene, but with Dre’s track record, he could afford to do so. And although he’s not the greatest rapper technically, he spits with enough force and charisma to sell his snarling lines.

Dre also had a partner to give him a boost: the then-newbie Eminem. A lot of Em’s big 2000′s hits have aged badly in my opinion — the production is awkward and there’s too much homophobia — but he sounds sharp as hell on “Forgot About Dre.” His verse is arguably the song’s highlight, as he unleashes a rapid-fire, charmingly random verse with endlessly quotable lines.

“Forgot About Dre” cemented Dre’s status as a titan of the industry who could seemlessly create new trends and stay afloat through multiple decades. And with it being one of Eminem’s breakout moments, it also proved Dre could be a kingmaker.

#22: “You Oughta Know” by Alanis Morissette (1995)

The ‘90s were the decade of angst. So what better climate was there to release a scathing takedown of an ex, who may or may not be one of the dudes from Full House?

Okay, so it’s never been confirmed that “You Oughta Know” is actually about Dave Coulier. But that doesn’t lessen its rage and impact. Morissette is seething with rage about this breakup, writing all-time classic lines like “Does she know how you told you’d hold me until you die/’Til you die, BUT YOU’RE STILL ALIVE” and of course, “Are you thinking of me when you fuck her?!”

Morissette perfectly uses the era’s classic quiet-loud dynamic shifts to her advantage, creepily whispering at the start of the verses, and slowly growing louder and angrier until she’s screaming her lungs out by the chorus. Her ragged, off-kilter vocals perfectly capture the blinding emotion she feels. It’s a karaoke staple for those who’ve just been dumped for a good reason.

#21: “Big Pimpin’” by Jay-Z feat. UGK (1999)

That Timbaland beat. Dear lord. How can it sound so good against three radically different flows?! The man is truly a genius.

Yeah, Hov and Bun B and Pimp C all deliver here too, but let’s not pretend that beat isn’t the reason why this is a top-shelf Jay-Z single.

#20: “Larger Than Life” by Backstreet Boys (1999)

Yeah, it’s better than “I Want It That Way.” Not by a lot — they’re both perfect — but I’ve always preferred upbeat boy band songs to ballads.

“Larger Than Life” was named accurately. From the second the thumping beat kicks in, the song is a stadium-filling anthem, the kind arena-rock bands would’ve written a decade prior. Does it have a chorus that’s easy to scream along to at concerts? Check. Does it have a beat you can awkwardly groove to? Check. Does it have a bad-ass guitar solo thrown in? Shockingly, yeah.

Boy bands were the true rockstars of the late-’90s (apologies to, uh, Matchbox 20?), so it would only make sense to have one of them create a bonafide rock anthem. And when you match the Backstreet Boys’ sugary hooks with a roaring atmosphere worthy of Def Leppard, you’ve got a classic on your hands.

#19: “The Fly” by U2 (1991)

‘90s U2 is the best U2. I love Joshua Tree and Unforgettable Fire as much as the next guy, but I’ll take their weirdo, aggressively-ironic decade over their more earnest years any day.

Perhaps no song encapsulates U2′s ‘90s ethos better than “The Fly.” It’s got a slinky, nocturnal feel to the music, with The Edge’s guitar distorted slicing through like a machete. The swirling, tripped-out guitar solo here might be his greatest ever.

But like many U2 songs, “The Fly” belongs to Bono. In it, he plays the titular sleazebag from hell (literally — the song is about a crank call from down there), whispering sweet nothings into the listener’s ear. Do the lyrics actually mean anything? Honestly, I’m still not sure, but they still somehow sound transgressive and witty, if a bit corny. But you’ve got to expect a little corn when U2 is involved. And when Bono duets with himself on the sublime chorus, both as The Fly and in a piercing operatic falsetto, it’s one of the best hooks of the band’s career.

“The Fly” was the world’s introduction to the new U2 in 1991, and although it might have shocked people expecting another “With Or Without You,” it’s aged beautifully over 25 years later.

#18: “Heaven Or Las Vegas” by Cocteau Twins (1990)

Cocteau Twins are usually held up as dream pop’s forefathers, helping create a distinct, hazy sound that would inspire future artists from The Cranberries to Beach House to Washed Out. One listen to “Heaven Or Las Vegas” proves why the Scottish trio was such an inspiration.

“Heaven Or Las Vegas,” the title track to Cocteau Twins’ flawless 1990 album, is one of the most immaculate, gorgeous songs of the decade. Invoking both heaven and Las Vegas was accurate: the track is graceful, yet also drenched in neon synths and glitz. It perfectly toes the line between holiness and kitsch.

And here’s where I admit that, like most people, I can’t make out 90 percent of what vocalist Elizabeth Fraser is singing. Beyond belting out the title of the song in the chorus, the rest sounds like French, or speaking in tongues. Regardless, her ethereal alto is a perfect compliment to the swirling keyboards and gauzy guitars floating around her in space.

#17: “All The Small Things” by Blink-182 (1999)

In the classic video for “All The Small Things,” Blink-182 spends the entire runtime clowning on the TRL-era boy bands of the time. Here’s the ironic thing about that video: “All The Small Things” is secretly the greatest boy band song of the ‘90s (yes, that means *NSYNC didn’t make the list...their best songs came out in the early aughts, sorry).

Blink-182 are technically a pop-punk band, not a boy band, but you wouldn’t really know that from their most iconic, and best, hit. “All The Small Things” is direct, punchy and has a monster sing-along chorus. Sure, Tom DeLonge’s nasal whine isn’t a typical teen heartthrob voice, but young Justin Timberlake had an unusual voice too (“IT’S GONNA BAY MAAAAE”). 

The fact that “All The Small Things” is basically a bubblegum Trojan horse for Hot Topic kids is exactly what makes it so great. Chugging guitars can peacefully coexist with a TRL-ready melody and surprisingly romantic (if simple) lyrics. 

#16: “Gin & Juice” by Snoop Doggy Dogg (1993)

Nowadays, Snoop Dogg is probably more known for his intense love of weed, unwillingness to turn down collaborations, and friendship with Martha Stewart more than any new music. But Snoop’s earned the right to ease into being a hip-hop elder statesman, thanks to his landmark album Doggystyle and its standout single, “Gin & Juice.”

The young Snoop (only 22 at the time!!) had already nailed down his trademark, chilled-out drawl by 1993. He uses it to great effect on “Gin & Juice,” describing a wild house party filled with sex, drugs and alcohol like it’s just another regular day at the office. You can practically hear his knowing smile in the verses, and the chorus sung by D-Ruff is infectious as hell.

Of course, major credit has to be given to Dr. Dre’s G-funk production. It’s my favorite beat of his from this era, and its dog-whistle synths and shuffling beat perfectly fit the early-’90s California party vibe. 

#15: “Semi-Charmed Life” by Third Eye Blind (1997)

This is probably the only song in history to take heavy lyrical influence from the Doug theme song and simultaneously be about crystal meth.

It shouldn’t be hard to explain why “Semi-Charmed Life” is a classic, right? It turned an insanely bleak topic into one of the sunniest, most propulsive jams of all time. The rap-singing in the verses is a blast to keep up with, and that falsetto “goodBYYYYYYYE” in the chorus is the ‘90s equivalent of the high note in “Take On Me”: often-attempted in karaoke, with a very low success rate.

The late ‘90s had no shortage of great, weird pop jams, and “Semi-Charmed Life” is near the top of the pile.

#14: “Say It Ain’t So” by Weezer (1994)

My favorite ‘90s album will always be Blur’s Parklife. But my second choice would probably be Weezer’s self-titled “Blue Album,” a nerdy power-pop masterpiece. It’s an angstier mirror of The Cars’ 1976 debut, also self-titled; appropriate, seeing as Cars frontman Rik Ocasek produced Weezer’s first album.

The record’s centerpiece is the heartbreaking “Say It Ain’t So,” a perfect power ballad. The band nails the quiet/loud/quiet dynamic shifts from the mumbling verses to the supercharged chorus. There, Rivers Cuomo scratches his vocals, displaying his emotional wounds after alcoholism tore apart his family. 

For a band known for very silly songs like “Buddy Holly” and “Beverly Hills,” the passionate bridge, where Cuomo first wails away vocally before making his guitar do the same in a fiery solo, is truly heartbreaking. “Say It Ain’t So” proved that California dorks could pull off sadness just as well as the flannel-wearing Seattleites, if not better.

#13: “My Heart Will Go On” by Céline Dion (1997)

Earlier this year, Avengers: Endgame moved past Titanic on the all-time box office charts. As much as I enjoyed Endgame, this feels wrong. Sure, Marvel is a big deal, but was Endgame as much of a phenomenon as Titanic? No. Frankly, it’s not even a top-5 Marvel movie (although it is better than Avatar, which Endgame could pass soon for first place). 

Why has Titanic cemented itself in pop culture history? Part of that is because the movie is a stone-cold classic, featuring a frothy romance between two of a generation’s greatest actors that ends in unspeakable tragedy and heartbreak. But I believe there’s another aspect to the film that’s helped keep its legacy strong: its unsinkable theme song.

“My Heart Will Go On” is one of the greatest movie themes of all time, precisely because it mirrors its movie. Like Titanic, Céline Dion’s signature song starts as a tender, soft romance, before bursting into a dizzying climax that pummels the audience into submission, forcing tears.

I don’t think I need to emphasize that Dion is a fantastic singer — there are very few singers that could nail both the cooing opening and the Whitney Houston-esque belting at the final chorus. But “My Heart Will Go On” is still occasionally considered a punchline, and that’s just wrong. Any song with this much emotional heft and force cannot be taken lightly.

#12: “What’s The Frequency, Kenneth?” by R.E.M. (1994)

Two of Gen X’s longest-lasting and most important acts, U2 and R.E.M., switched roles in the ‘90s. U2 shifted their image from overly-earnest arena-rockers to weirdos dabbling in underground sounds. Meanwhile, their American counterparts went from mumbling college rock jams to radio-friendly ballads.

Not to be a total snob, but I’ve always preferred R.E.M.’s jangly ‘80s sound over their blockbuster early ‘90s albums. But the lead single off their underrated 1994 record Monster might be my favorite song of theirs.

“What’s The Frequency, Kenneth?” sounds like very few other R.E.M. songs. There’s no mandolins, and Michael Stipe’s lyrics are much clearer (although they make little sense). Instead of being bouncy and light, the guitars are a blast of crunchy distortion, not far off from a typical Smashing Pumpkins song.

In fact, Peter Buck’s guitar work here is what makes “Kenneth.” His echo-y sound adds a raw texture to the tune. And although the lyrics are a bit cryptic (apparently it’s about Boomers trying to advertise to Gen Xers? I have no clue), Stipe’s melody is on-point, as usual.

Although the sound of alt-rock had long passed by R.E.M.’s original style, “Kenneth” showed that the Georgia legends were more than able to keep up.

#11: “Steal My Sunshine” by Len (1999)

This sunburnt ode to being young and dumb in the gloriously young-and-dumb late ‘90s is the greatest summer anthem of all time. And the greatest one-hit-wonder of all time.

“Steal My Sunshine” is the soundtrack to driving with the windows down, goofing with your friends and pretty much any positive aspect of summer. Gloriously dumb and kitschy-fun summer songs like this are perfect examples of why the late-’90s was a golden age for pop.

#10: “Man! I Feel Like A Woman!” by Shania Twain (1997)

While we’re talking about that late-’90s pop boom, how crazy is it that the era’s best single is technically a country song? 

Of course, “Man! I Feel Like A Woman!” is barely a country song — yes, there’s some violins and slide guitar buried in the mix, but there’s also a thundering synth riff and Twain barely has a Southern twang (makes sense, seeing as she’s Canadian). And there’s no mention of any country tropes like pickup trucks or whiskey in the lyrics.

What “Man!” does bring to the table is a tongue-in-cheek, groovy pop-rock jam that’s just as easy to love as it is to make jokes about. Sure, it’s corny as hell — see the obvious joke in the song’s title — but Twain is clearly having way too much fun to care. And in a decade filled with angst and irony, a super-cheesy pop jam like this probably seemed like a needed salvo.

And the Mutt Lange production on this has some serious oomph to it. Before his extensive work with Twain, his then-wife, Lange was arguably best known for mastering the roided-out arena rock sound of the ‘80s, assisting on classic tunes from The Cars, AC/DC and Def Leppard. He even gave us this beautifully ridiculous Billy Ocean track, which might be the greatest song ever written. Lange brings some weight to “Man!”, making Twain’s female-empowerment anthem an actual anthem.

Listen, if this song isn’t for you, I get it. But for those of us who have the prerogative to have a little fun, “Man! I Feel Like A Woman!” is the pinnacle of one of pop’s greatest eras.

#9: “Check The Rhime” by A Tribe Called Quest (1991)

A lot of ‘90s rap hasn’t aged well, even if it’s still a ton of fun. Albums from Dr. Dre and Puff Daddy and even Jay-Z can sound like time capsules. But that’s not a problem that A Tribe Called Quest has, as their smooth jazz-rap still sounds timeless and perfect.

“Check The Rhime” is the Queens group’s brightest highlight off of their 1991 magnum opus, The Low End Theory. It’s a simple setup: MCs Q-Tip and Phife Dawg introduce the other rapper by reminiscing about freestyling on street corners back in the day. Then, both Tip and Phife get their own verse, each stuffed with playful lines and life advice — Industry Rule 4080 still holds to this day.

Unlike a lot of ‘90s hip-hop that was trying desperately to either be menacing or cool, Tip and Phife ooze effortless charisma on their verses in a playful, almost childlike way. Phife starts his verse reminding everyone “how nice I am” (before proclaiming that he flips off “punk MCs”). Tip even seems to diss MC Hammer by saying “rap is not pop/if you call it that then stop,” but apparently, this was meant as a defense of the then-megastar. Maybe.

“Check The Rhime” works partially because of its funky, minimalist production, but also because the Tribe’s two rappers were born to spit non sequiturs and awkward brags over a jazz-rap beat until the end of time.

#8: “I Wanna Be Your Joey Ramone” by Sleater-Kinney (1996)

I’m not sure how flamingly hot of a take this is, but I’d say Sleater-Kinney is the greatest band in Northwest history. Yes, better than Nirvana. 

1997′s Dig Me Out is a flawless masterpiece, and there’s not a single dud in their eight-album discography. Unlike many of the major Washington acts from this era, the Olympia three-piece never lost relevancy, releasing some of their strongest work in the 2000′s.

But Sleater-Kinney’s best single, “I Wanna Be Your Joey Ramone,” is actually from one of their early albums. And it serves as a thesis statement for the decades of great music to come.

Legendary guitarist Carrie Brownstein takes over vocals here, nailing both the sardonic verses and the thrilling, off-kilter chorus. “Joey Ramone” tackles an interesting subject: how almost all of indie rock’s heroes up to that point had been male. So when Brownstein wails about wanting to be Joey Ramone or Thurston Moore, she’s placing Sleater-Kinney in the pantheon of rock greats. And this was just their second album.

Luckily, Sleater-Kinney had the goods to back up their chutzpah, and “Joey Ramone” became prophetic.

#7: “Supersonic” by Oasis (1994)

Just a couple months after Kurt Cobain’s death, two unibrowed guys from Manchester (and the rest of their band) completely upended the rock world with their band Oasis’ debut album, Definitely Maybe. After a few years of gloom-and-doom dominating the genre, it, along with fellow hit albums from Blur and Pulp, helped usher in the brighter world of Britpop in the mid-’90s.

That album’s first single, “Supersonic,” is still the greatest thing Oasis ever produced. (Yes, it’s better than “Wonderwall.”)

“Supersonic” is a blast of rude, snotty rock-n-roll cranked up to 11. In an era of irony and sarcasm, lead singer Liam Gallagher was spouting out nonsense lyrics like they were the most important and coolest thing in the world. And for the four-and-a-half minutes of this song, they probably are.

Everything about “Supersonic” is boneheaded perfection, from the thunderous drums to the dual guitars, one crunchy, one soaring; all the way to Liam’s sneer. This is prime Oasis, the band running on all cylinders. Based on how ramshackle this sounds, it’s no wonder the band only stayed great for two albums. But at least we’ll always have that legendary start.

#6: “1979″ by The Smashing Pumpkins (1995)

On the opposite end of the cool spectrum as Oasis and Sleater-Kinney, you have Billy Corgan — singer/songwriter/control freak of The Smashing Pumpkins and alt-rock’s most weaselly, petty figure. But say what you want about him as a person, Corgan wrote some incredible alt-rock pop nuggets.

“1979″ is a major outlier in the Pumpkins’ discography. It’s not an angsty shoegaze/grunge banger or an orchestral power ballad. It’s a low-key, skeletal new-wave track that perfectly captures the boredom and aimlessness of youth.

While many songs about being a teenager capture either its euphoric highs or angsty lows, “1979″ is one of the few classic songs that nails the in-between moments. It’s the feeling of walking to the 7-Eleven with your friends, cracking jokes that you’ll probably forget the next day. It’s about sitting in a parking lot and just waiting to leave your hometown.

"1979″ isn’t a grand gesture, but in a backwards way, that makes it even more profound. And from a band who typically dealt in soaring, intensely emotional songs, it was a brilliant change-of-pace that will no-doubt be relatable to teens for a long time to come.

#5: “Rebel Girl” by Bikini Kill (1993)

Two massively important alt-rock movements came from the Puget Sound in the early ‘90s. One is grunge. The other is riot grrrl, centered around a group of furious, political women-led bands in Olympia. And although Sleater-Kinney may be the subgenre’s longest-lasting act, its brightest moment came in 1993 with Bikini Kill and their incendiary single “Rebel Girl.”

Lead singer/songwriter/punk icon Kathleen Hanna is the focal point of “Rebel Girl,” wailing away on the microphone about an unnamed woman who is just the absolute coolest. The woman is described as a confident, revolutionary lesbian figure who would serve as an inspiration for angsty teens across the globe.

And oh yeah — “Rebel Girl” absolutely shreds. It sounds like there’s maybe 18 guitars going at once on the track, and Tobi Vail’s drum work is fearsome. Just to give more rock cred to the song, it was produced and features guitar work from Joan Jett. The rock legend and Bikini Kill made a great pairing, creating a song that sounds angry, with its distorted guitars and punk drums, but is actually a triumphant feminist anthem for the ages.

#4: “Linger” by The Cranberries (1993)

In an early-’90s rock scene filled with distorted guitars and raw angst, The Cranberries broke out in 1993 with a song that sounded nothing like the crowd. And over 25 years later, their stunningly gorgeous single “Linger” has aged far better than most of the grunge and alt-rock it was surrounded by.

The Irish four-piece took inspiration from Cocteau Twins’ and Galaxie 500′s dream pop and just made the hooks even more bulletproof and melancholy. “Linger” is the kind of ballad that’s a perfect fit for a longing prom slow dance and for crying with a tub of Ben & Jerry’s on the couch after a break up.

The late Dolores O’Riordan’s lilting vocals are a miracle here, able to express both hope and resignation. Her heavy Irish accent helps the vocals become another instrument in the band’s sweeping wall of sound, alongside the jangly guitars, marching-beat drums and orchestral swells.

It’s the most beautiful song of an ugly (in a good way!) decade, and arguably the greatest dream pop song ever written. The Cranberries would later adopt the heavy guitars of their Seattle peers, but “Linger” is still a high-water mark for the subgenre.

#3: “Juicy” by The Notorious B.I.G. (1994)

The first verse alone could’ve gotten “Juicy” into this list’s top 10. It’s one of the most-memorable and quotable verses of all time, exquisitely detailing The Notorious B.I.G.’s rise to fame. And then we get two more stellar verses?! 

“Juicy” is frequently cited among one of the greatest hip-hop songs of all time, and it’s deserving of that reputation. Biggie penned the definitive rags-to-riches story in just five minutes (honestly, more like four, as he and producer Puff Daddy let the beat ride for a bit at the end) and then blessed it with his silky-smooth, commanding flow.

What separates “Juicy” from other come-up anthems is the vivid detail Biggie gives us, both about his impoverished Brooklyn upbringing (“We used to fuss when the landlord dissed us/No heat, wondered why Christmas missed us”) and his stunning rise to fame (“Girls used to diss me/Now they write letters cause they miss me”). He even brags about owning a Super Nintendo AND a Sega Genesis, which was the biggest early-90′s flex possible.

Of course, knowing the tragic ending of Biggie’s story, “Juicy” has a bit of a bittersweet feeling to it now. But its ‘80′s-retro beat and infectious glee can still bring a smile to my face every time I hear it.

#2: “Smells Like Teen Spirit” by Nirvana (1991)

Well, duh.

There is no song that encapsulates an entire decade and generation like “Smells Like Teen Spirit” does for the ‘90′s and Gen X. It famously changed the entire rock landscape nearly overnight from sleazy hair metal to grimy alt-rock. It’s one of the most famous and iconic songs ever written. And shockingly, it still retains all of its revolutionary power nearly 30 years later.

How does “Smells Like Teen Spirit” pull off the balancing act of being a time capsule, yet still sounding remarkably fresh? I believe it’s because it captures the raw feeling of visceral rage and confusion better than nearly any song. Most angry songs have a target, whether its racist politicians, stuffy adults, or even a crappy ex. “Teen Spirit” has no tangible reason for its angst. Kurt Cobain’s lyrics are famously nonsense. And that’s what makes the song so brilliant.

Because the song is so emotionally powerful in a visceral way, it really doesn’t matter that the lyrics are meaningless. All you need to love the song is to connect with the anger buried deep, and start moshing the moment Dave Grohl’s instantly-recognizable drum fill meets the clanging guitars. It’s a total banger.

Cobain might not have had the intent of creating a generational anthem that would last beyond Gen X. But as long as people feel “stupid and contagious” alongside a creeping rise of angst, waiting to burst, “Teen Spirit” will remain relevant.

#1: “Common People” by Pulp (1995)

For a subgenre entirely built around a particular country’s culture, most major Britpop acts surprisingly refrained from politics. Oasis never sniffed the subject, and while Blur got close, songs like “Parklife” or “Stereotypes” were more winking jokes than bold statements.

Then there’s Pulp. Their most beloved track, “Common People,” is a scathing attack on the British upper class who indulge in poverty tourism, unaware of how the other half really lives. And it’s the best song of the ‘90s.

There are few things I love more than a perfectly executed story-song, and lead singer/songwriter Jarvis Cocker gives listeners a doozy here. “Common People” is about a rich woman talking to, well, a common person, and she decides she wants the poor guy to show her how to “live like common people.” Cocker’s songwriting is very literary, going into detail about the woman’s history and her botched attempt to act poor while shopping for groceries, as well as all the lower-class problems the wealthy will never understand. As Cocker bluntly puts it, “If you call your dad/he could stop it all.”

“Common People” is just as furious as “Teen Spirit,” but Cocker has clear targets here: the one-percent, and the misguided idea that poverty is somehow cool. The song starts calmly, almost at a whisper, but by the final, heart-pounding climax, Cocker is wailing away, condemning the upper-class with gusto.

The swelling disco-rock groove channels this anger into an absurdly catchy tune — an odd combination of musical tone and lyrics, but one that’s effective. It’s a giant middle finger that you can sing along to.

Britpop might have ended, but the sentiment of “Common People” is still fresh today as a righteous anthem for the trod-upon. 

#90s #rock #pop #indie #alt #hip-hop #britpop #grunge

[azukibeanghost]

Who they really are

Oookay so I saw @teaandqueerbaiting​’s posts about the RadioTimes article with Mark Gatiss, in which he explains why they chose to do a musical, dialogue-less montage at the end of TFP:

"The only way [Sherlock and Eurus] can communicate now is through music," said Gatiss. "That was the idea – and that from this tentative start... everything starts to become more optimistic and we kick into the montage.

"But we did actually have some dialogue that was going to follow it and we realised as soon it was all coming together that it was incredibly eloquent and it told you everything you needed to know... the music speaks for everything."

With this in mind – that the only way to communicate is through music, maybe since Mary has hijacked the narration (and I love that the “Sherlock and Eurus” part went unsaid; this could refer to anyone here, not just the characters) – I couldn’t resist doing a quick run-through of the big takeaways from the final song:

The violin duet/Eurus

The song opens with a brand new melody that runs from 0:00-0:34, then repeats from 0:34-1:04. The first bit is with two lonely violins; the second part includes a soft orchestral background, and is much more optimistic.

(In the episode, Sherlock plays this theme a couple of times, then Eurus does, then Sherlock does again in a sort of “you’re playing it wrong” / “wait, let me try again” moment, and then John gets the DVD and they actually start playing together. If I’m not mistaken, it’s not quite the exact same as the soundtrack version.)

It’s interesting to note that 0:31, there’s also a tiny bit of piano. I put the those couple of notes in red:

The piano is usually John’s instrument (think of his sad piano chords), while Sherlock is the violin. Interestingly, Mary, Irene, and Eurus all get violin treatment too. Eurus and Irene are mirrors for Sherlock, so this makes sense; some people have speculated that much of Mary’s action in s4 (running away, writing a letter to John, etc) is meant to reflect Sherlock too, and she is sort of on the same page as him since they’re competing for the same role in John’s life. If not mirrors, then foils; regardless, the violin plays a few themes for her, too.

Anyway, those first eight bars form what I think of as the Eurus theme. A slightly desolate-sounding version plays during Mycroft’s story about Eurus at the start of TFP, in “She Was Different.” An echo of it also shows up in the Dangledebbs scene, underneath a sort of ambient texture; this reflects how Eurus is still in the background, playful, even as Sherlock focuses on thinking. In fact, it appears a number of times throughout TFP, both as a main focus and as an echo (I linked directly to the timestamp for each): “3 Suspects,” “The Hall,” “I Had No One,” and “Open Your Eyes.”

(Amusingly enough, while this is playing John receives the DVD, and we also get a shot of him placing the headphones back over the bull skull that Sherlock is holding. I like to think that these two are connected. {Oh, and also, there’s the connection to the guards always complaining about Eurus’s playing, and Sherlock mentioning something about ear plugs.})

This is the first time that Eurus’s theme turns happy, which I guess is understandable given what’s going on onscreen. I find it particularly amusing that they were easily able to make this “sad” violin song into a “happy” one; many people noticed how depressing the Watson wedding waltz is, despite its supposedly happy subject matter.

Sherlock’s theme, part 1

Then we get a glimpse of Sherlock’s main theme at about 1:04. In the context of the episode, this is right after Mary tells them that who they are doesn’t matter... just the adventures do. Just the playful, Sherlock-on-a-case music. I’m both laughing and crying right now because this is either the biggest musical “fuck you” to the narration that they could have included (and I mean, just look at how unhappy Sherlock and John are to see her darned face again), or it just supports what Mary is saying, that no one cares about the characters and that everyone misses the plain old case-based episodes of s1 and 2, when there weren’t weddings and sisters and emotional stuff.

I also find it heartbreaking hilarious that Mary talks about 221B as a refuge for the desperate and unloved people of the world, while we get a shot of Sherlock walking down the corridor to Eurus’s cell. Is Sherrinford his “refuge?” Are he and Eurus the unloved? This has a lot of meta potential. The theme is also slightly stretched to include different notes, making it more sad than the usual rendition of it.

“Welcome to London!”

The most obvious meta link in this song is a callback to the chase scene in ASIP, which had almost the exact same music:

This is their very first case. It’s right after the meal at Angelo’s. John forgets his cane; they both are giggling and out of breath by the end, and everything is looking extremely optimistic, at least until they go upstairs and find Lestrade doing a “drugs bust.” But the important takeaway is this: this is the “thrill of the chase, blood pumping through our veins, just the two of us against the rest of the world” music. This is Sherlock and John’s London, with “every quiver of its beating heart.” This is a time before Mary, before Moriarty, before any problems showed up. This is Sherlock and John, and only them.

The climax leading right into this theme comes when John spray-paints the smiley back on the wall and Sherlock shoots it; the theme officially starts when they stab a letter to the mantel. We then see Sherlock and Eurus playing, looking into each other’s faces at each other’s expressions, which are slightly concerned. Then we get the fast spinning montage-thing with all the cases in 221B.

Sherlock’s theme, part 2

Then we get what I believe to be the single most romantic, heartbreaking rendition of Sherlock’s theme:

It’s absolutely mesmerizing. And I think that Mary’s voiceover kind of distracts from the music, actually, because I don’t hear all of these themes come and go when I’m watching the episode; it’s only if I listen to the music by itself that I notice when one theme stops and another starts. It took me a few watches to get it, but this version of Sherlock’s theme starts when Mary mentions “two men arguing in a scruffy old flat” and we see Sherlock holding Rosie and positively beaming over at John, who looks radiant (sorry, but I take issue to the “arguing” comment, given the contradictory images on screen). We also glimpse Lestrade, and then Molly. Sherlock smiles while playing his violin when Mary says that they are “the best and wisest men that I have ever known,” we see the Holmes family and then Eurus, and then the camera pans across the TV with Mary’s face on it announcing “my Baker street boys,” and the final freeze-frame shot with the steps.

*cue the credits, aka the other biggest John-and-Sherlock theme ever*

TL; DR: Well, Mark says we’re supposed to pay attention to the music, but Mary’s voiceover kind of distracts from that. When you do really listen, you can hear the following: 1) Eurus’s theme; 2) Sherlock’s theme, right after Mary tells him that he doesn’t matter at all; 3) Sherlock and John chasing a cab through London, on their very first case in ASIP, the very peak of adventure – and including Sherlock’s theme, not to mention; 4) Sherlock’s theme again, the most romantic and epic I’ve ever heard it.

So yeah, the music really does speak for everything: it talks about Sherlock and John, as they were in series 1 (and 2) at the height of their adventures. Aside from the Eurus duet in the beginning (which evokes Sherlock’s compositions for Irene, and John and Mary’s wedding), none of it has anything to do with series 4, and especially not Mary. When it comes down to it, the show is just about the two of them against the rest of the world.

Let me know if you have any questions about specific instruments or snippets or whatnot; this post just talked about the general main themes, but I’d love to dive deeper into music meta if anyone has something in mind.

#mara does meta #mara also really needs some sleep right now so excuse any typos

[galaxylohnce]

So @randomsplashes​ got this ask about a prompt where Yuuri’s a street musician across the street from Viktor’s rink and when Viktor needs music he commissions it from Yuuri, bc he’s cute af and Viktor needs a reaosn to speak w/him, so I wrote a fic for it. (The ask is here) So here we go, this is my short af fic!

Beyond Perfect

Viktor’s skating felt uninspired.

Sure, he skated all the time, and he skated well, nearly perfectly in fact, but it wasn’t enough. They wasn’t any feeling, any inspiration.

And then the violinist appeared. 

He was a street performer, obviously, and he happened to set up shop across the street from the rink. Everyday walking to and from practice, Viktor heard him playing. It was a good pick in terms of location - the boulevard was always busy as it was lined with shops and featured the home rink of Russia’s top skaters. But Viktor felt blessed by the man’s presence (not because he was cute, though that was certainly a plus) because of the way he played.

His fingers danced across the strings and his bow pulled out melodies from the instrument that set Viktor’s heart on fire. The man seemed to be made from pure inspiration, and he quivered with a life Viktor hadn’t felt in years.

Besides that, he was gorgeous. Stunningly, inescapably, gorgeous. He was slim and a bit shorter than Viktor, and held himself with unearthly grace, swaying like a branch in the wind as he played. Blue, sleek glasses balanced on his nose, framing his unspeakably bright brown eyes. But the eyes weren’t just brown - no, they shimmered with maroon accents. His fingers were slim and pale and beyond talented, never allowing a note to go flat, and his hair, oh god, his hair. It was black and looked so, so, soft, curling over his forehead and flopping down in a way that made Viktor swoon. He was perfect. No, actually. Beyond perfect.

This man breathed life back into Viktor’s routines, but he had never been able to pluck up the courage to speak to the man across the street. Viktor just admired him from afar.

Yuri Plisetsky, his young rinkmate, thought he was disgusting for it.

“God, Viktor, the looks you throw him are disgusting. You just stand outside before and after every practice and stare at him. How on earth has he not changed location yet? I’d be horrified if I saw an ugly old man like you ogling me everyday for months on end.” Yuri’s face contorted in a way that Viktor found hilarious. As if Viktor’s fascination with the man across the street was something abhorrent. Viktor laughed.

“Come on Yuri, I just like his music!” He said with a heart shaped smile. “Besides, I just want to be friends! Slash, put my face on his face…” Viktor trailed off dreamily. At that Yuri visibly gagged.

“Goodbye.” He skated away swiftly, angrily performing a quad salchow just to annoy Viktor.

Time continued to pass, and Viktor continued to admire the violinist from afar. Before he knew it, it was time to choreograph his programs for the rapidly approaching season, and face Yakov’s wrath.

“What do you mean you haven’t considered music!” Yakov’s face was horrified and an angry shade of red. “Vitya! You should have hired a composer weeks ago!” Viktor shifted awkwardly in his chair.

“I… forgot?” Yakov sat back, at a loss.

“You forgot. You forgot.” He threw up his hands. “Dammit Viktor. You had better have a composer by the end of the week or I’ll drop you as a skater faster than you can blink.”

Viktor smiled. “Thanks Yakov! I’ll get on it.” Yakov showed him out of the office, mumbling angrily about irresponsibility and blaming Viktor for his lack of hair.

Later that day, as Viktor skated, he contemplated where he would find a composer on such short notice. As he packed up and showered, he considered the same question. He left the rink, his bag over his shoulders, mind muddled with contacts and musical conservatories, thinking who could possibly -

Viktor’s thought’s were interrupted by the strains of clear, high, violin music. Viktor stopped dead in his tracks.

Of course.

He rushed across the boulevard, making cars stop and honk at him. “Sorry!” He yelled, and kept going. Finally, he reached the other pavement, and stopped in front of the violinist, who had stopped playing in shock. His hands were on his knees and he was panting, but he forced himself to raise his head.

“Hello! I’m Viktor Nikiforov, Russia’s top skater. What’s your name?” The violinist frowned, bewildered.

“I - I’m Yuuri. Katsuki Yuuri, of Japan.” Viktor nearly swooned. Yuuri with that long u sound was a beautiful name for a beautiful man. Viktor told him as much, and a soft blush dusted Yuuri’s cheeks. “But that’s not the point right now!” Viktor yelped, remembering why he’d dashed across the street and risked life and limb to speak to Katsuki Yuuri of Japan. “I had the best idea. Like, literally, the best. Ever. Don’t fight me on this.”

Yuuri raised an eyebrow. “W-What’s your idea?” He asked, stumbling a bit over the words, and flushing a little pink in his embarrassment.

“I have to commission a piece of music for my skating programs this season,” Viktor said breathlessly. And I know the perfect person. Would you…” He found himself to be nervous for no reason. “Would you be willing to write a couple pieces?” Yuuri looked shocked. “Not a whole bunch, just two! And I would pay you for it. I’m really sorry for such short notice, and you absolutely don’t have to do it, gosh I must sound super demanding, I’m sor -”

“How soon?” Yuuri’s voice quietly interrupted his ramblings. Viktor shut up quickly. “How soon would you need the recordings?”

“By the end of the month,” Viktor said breathlessly. Yuuri smiled at him.

“Done, no problem. They’ll be violin solos, though, you must realize. I can’t play anything else well enough to include it.”

“That’s fine,” Viktor squeaked out. “Perfect, in fact. No, beyond perfect.” Yuuri smiled again, and pulled out a card. 

“Here’s my number, for reference.” Viktor was ecstatic. He had not only pretty-street-performer boy’s name, but also his number, even if it was for just business. Then, in a spurt of bravery Viktor didn’t know he possessed, he blurted,

“Can I take you to dinner?” Yuuri’s eyebrows shot up and he blushed, but Viktor thought he looked pleased. 

“Right now?”

“Right now,” Viktor assured him. 

“I don’t want to inconvenience you -” Yuuri’s voice was hesitant, but full of longing, like he couldn’t believe Viktor was asking him out.

“No inconvenience!” Viktor promised, a bit too loudly, as his words brought glances from passersby.

“Well, in that case, I guess I can go on a date with you.” VIktor brightened up at Yuuri’s words.

“A date?”

“I! I meant out to dinner! I’m sorry that was awfully forward of me -”

“No! No! A date is good! A date is great.” Viktor smiled, extremely pleased. Yuuri blushed deeper, his face becoming even redder, somehow. 

“A date, then.” Viktor smiled at him.

“Yep, a date.”

~~~

Cheers echoed through the stadium. The season’s debut performances were beginning, starting with living legend Viktor Nikiforov.

“You know, Nikiforov’s seemed uninspired the last couple seasons, but that could be just me. What do you think, Morooka?”

“No, I absolutely agree. That’s not to say he hasn’t been skating in technical top form, but I’ve felt disconnect from him, so it’s interesting to see where his theme of Life and Love will take us this season.”

“Nikiforov will be skating his short program to Theme of Life, composed by Katsuki Yuuri, and his free to Theme of Love, also composed by Katsuki Yuuri. Katsuki is rather unknown, and speculation as to how Nikiforov discovered his music and chose him as a composer has run rampant after the announcement of his music picks.”

“Ah, the performance is beginning! Spectacular start, really very strong. We can already see Nikiforov starting off strong here, just look at that Ina Bauer. Very impressive!”

“I’ll say! Not to mention, Nikiforov looks much more invested in this music than previous seasons, I’m already sensing much stronger emotion from him than we’ve seen recently.”

“True. Nikiforov’s first planned jump is a quad loop, let’s see - Yes! He lands it cleanly! Not a surprise, considering his track record on the ice, but still lovely to see, considering his age.”

“A spread eagle, into a quad salchow combination - Nailed, just lovely.”

“An approaching step sequence, just look at that feeling! This is a NIkiforov none of us have seen before. I know this isn’t ice dance, but right now Nikiforov’s sure making it seem that way. Just lovely.”

“We’ve passed the halfway point in the program, and Nikiforov’s final jump is planned right after this step sequence is complete. Lovely. Now into the jump, he signature quad flip -!”

“Clean landing! Viktor Nikiforov has landed all his jumps in this program! Astounding.”

“A camel spin, beautiful. Morphing into a sit spin. The music’s climaxing! What does he have planned?”

“He’s moving into his final pose, arms outstretched towards someone standing beside the rink. His coach perhaps -? No! It’s Katsuki Yuuri, the composer of Nikiforov’s music. People are whispering in the stands as to the meaning here, but Nikiforov clearly has eyes only for Katsuki. Wait, what’s happening? Katsuki's on the ice!”

“My god, he’s slipping on the ice trying to get to Nikiforov! Nikiforov’s skating towards him! A hug, perhaps? Surely seeing his music performed to like this on the international stage is a quite emotional experience for Katsuki, it may be -”

Silence fell over the arena as Viktor Nikiforov launched himself into Katsuki Yuuri’s arms and locked lips with him as they fell back onto the ice. Yuuri’s back hit the ground first, the cold instantly seeping through his jacket, but he didn’t care.

It was only them and the ice, Viktor’s dancing to his music. And it was perfect.

No, beyond perfect.

A/N

Thanks for the inspiration @ random anon on @randomsplashes page! If you want credit for the AU message me!!!! It was brilliant. Thanks so much!

#Yuri on ice #yuuri katsuki #victor nikiforov #viktuuri #vikturi #victuuri #victuri #randomsplashes #ask #yoi fanfic #yoi #viktor x yuuri

[siodymph]

Fiddlefest! Friendship/Family

And here is my last prompt for Fiddleford's month! I just want to say real quick all the stories and art I've seen for this event have been so cool and amazing! Go check it all out on the official blog it you haven't already!

And one last reminder all day today and tomorrow I'm accepting any Fiddleford requests if you have them (I'm also happy to write any fiddauthor or fiddlestan if you like those ships!) After the 7th though I'm moving on!

Thank you so much fr reading all my stories for Marchgucket and I hope you enjoy this last addition! (you can read it under the cut or over on my ao3)

Time seemed to be a fickle thing for Fiddleford McGucket. Years he spent without a memory sometimes only felt like it lasted a few months and now in his first year of remembering it felt like things went so painfully slowly. It might have been due to his recollection perhaps now that he had a stronger grip on time he was more conscious of it.

Or maybe it was because of how much he missed the Pines family. Just before leaving he and Stanford had admitted their feelings for one another still existed and now they were having a long-distance relationship over phones and screen monitors. Stanford and his brother, niece and nephew all promised to be back next summer and Fiddleford found he kept counting down the days no matter how much he tried not to. Today marked the final month before Stanford and Stanley would be back, and a month and a half until the kids came back. It was so close yet so far off.

He thought himself lucky at least, that he had so many people in his life now. To not only miss and know they would be back soon, but also living here with him and visiting all the time.

Every Sunday evening since last summer he’d always been invited down to the mystery shack for dinner and anime with Soos and his girlfriend, Melody. They made a sweet couple and ran the old mystery shack together as a team. And while Fiddleford didn’t often visit the Shack during their working day there was an energy, a welcoming vibe that grew there now that hadn’t really existed before under Stan’s ownership. As for their anime get-togethers, they had started a little pattern after a few happy accidents that had become a tradition now. Melody and Soos would make one half of their dinner and Fidds would bring the second half. If they made sandwiches, Fiddleford would whip up soup to dip’em in. They made meatballs, he’d bring over the spaghetti and sauce. One time they’d cook some pork chops and Fiddleford had brewed up an apple sauce to spread on it. That had been a good one. They’re weekly meet ups were always something he could look forwards to and enjoy. They reminded him a lot of the old family dinners he would have as a kid, potlucks where everyone cooked together and ate together.

Mabel’s two friends, Candy Chiu and Grenda Grendinator, also became frequent visitors. Both of them loved to admire his work with giant fighting robots, Candy had even told him she wished to become an engineer too when she grew up. Fiddleford had been all too happy to start teaching her everything he’d learned over the years. And Candy proved to be a wonderful student, a protégé actually. Her photographic memory was amazing to see in person, rewireing panels on her robot purely from memory of how Fiddleford had showed her over a week prior. And she had Grenda both had such wonderful, vivid imaginations it was never dull having a conversation with the two. There wasn’t a single doubt in Fiddleford’s mind that the two girls wouldn’t shake up the world when they got a little older, they had such amazing ideas and he couldn’t wait to see how they made their ideas possible realities in the future.

And then there was Tate. His dear lil’ Tate. He gotten some forgiveness from his son at last. They had a long talk face to face. It had been awkward, uncomfortable and made Fiddleford relive some shame he’d made himself forget for years. But it was an important step in them rebuilding their relationship, no matter how painful it might be. Talking came much easier for both of them the more they tried. And now he lived here in his new home, something which Fiddleford never could have dreamed of before and was grateful for. To truly have this second chance with his son. Tate had grown into a man that reminded him a lot of his own father and uncles growing up. Blunt but honest ad content with their crafts and tasks in life. Them with their farming and hunting, and now his son with his fishing. He loved going out to the lake and watching his son work, listening to him talk about fishing. It was no lie Tate loved what he did.

Tate would always be his son. But he’d found in a way he’d gained another child, almost like a granddaughter to him, as the year crawled by. He’d met her in the shack along with the other girls, held her hand during the Oddpocolypse. But afterwards, after that had bought the Manor from her father he hadn’t seen hat or hair of Pacifica Northwest. That was until one day while he was gardening on the front lawn he saw her milling about the front gate, attempting to spy on him. He invited her in for some tea which Pacifica had begrudgingly accepted. At first she claimed she was only “checking up to make sure he hadn’t burnt the mansion down to the ground yet.” Much to his surprise Pacifica came back for more teas after that, she’d even offered to help him in his garden. He only became worried when like clockwork as soon as the middle school was out she would be at his house and would put off leaving until the sun was in the brink of setting. He’d asked her once if her family was wondering where she was but she’d avoided the question, though she did admit she hated being home alone with either of her parents and she didn’t have any friends in town.

After that Fiddleford kept his home opened to her, though he did try to gently nudge her into at least joining a club at her school. That ended up not working so steadily he’d tried to introduce her to Candy and Grenda when one day all three of them ended up at his house one weekend. At first he’d feared he’d over stepped his bounds when she saw Pacifica grow defensive against the other two girls, walling herself off and putting up the snotty persona she seemed to put on and take off like a mask. But then the three found out the things they had in common rather then all the things that made them different and slowly but surely Pacifica pulled off her mask again and the three became an unlikely trio to visit his house and hang out around town.

One day they were all talking about boy bands and Fiddleford showed them the boyband he first fell in love with decades ago, the Beatles. At first the girls hadn’t believed him, Beatles were a cool hipster thing, not something for geek girls to freak out about according to them. So Fiddleford showed them he few relics from his Beatle-mania days and they’d found it absolutely hilarious. Grenda had joked that in a few years maybe Sev’ral Timez would be a musical revolution too. That had been a fun day, the four of them had tried tracking down the Sev’ral Timez boyband in the woods, they’d even recruited Wendy’s help in tracking them down.

They didn’t find the boyband that day, but instead they found two children who looked identical to Dipper Pines, only their caps had numbers on them instead of blue trees. They told him that they were photocopy clones of Dipper from last summer and the two boys had made a water proof shelter for themselves out in the wilderness. They joined in the hunt for the boyband and later Fiddleford had offered his home to the boys. He knew they were only brief flashes of Dipper’s consciousness, but it appeared that the two had developed their own awareness, something he couldn’t ever remember from his and Ford’s old experiments. They both even developed distinct personalities that had altered not only from each other but also their original Dipper. He felt this urge to protect and care for the boys after that and the two became like adopted kids to him much like Pacifica had become.

The open halls had become much less empty and yawning now than when he’d first moved in with just a knapsack and his raccoon wife to his name. And now on the first Sunday in May he was holding a special Sunday anime dinner, this time in his own manor. In the theater room he recently renovated he was surrounded by friends and family he’d invited over. Excited happy voices all surrounded him and a warm plate of home-cooked food sat on his lap. He closed his eyes, feeling everything all around him.

He couldn’t wait for his boyfriend and his family to come back next month and get to feel this too.

#fiddleford appreciation month #fiddlefest #marchgucket #fiddleford mcgucket #friendship/family #mentions fiddauthor

[theseventhhex]

DAVIE Interview

DAVIE

DAVIE is a true master chef, combining a myriad of flavours of musical deliciousness, from Prince-ly synth-funk, to Curtis Mayfield-esque Chicago sweet soul magic, to modern leftfield Frank Oceanic waves, to picture perfect, passionate R&B ballads the likes of which would certainly turn the heads of Lionel and Stevie. There’s a refreshingly spare, clean production style at work here that defines the confident and steadfast hand of this young L.A.-based producer/writer/artist… We talk to DAVIE about incorporating simplicity, starring alongside Matthew McConaughey and Keeping Up with the Kardashians…

TSH: What’s impacted your songwriting most in recent times?

DAVIE: I think what’s impacted my songwriting in recent times is watching the world change. There’s so much craziness going on and generally a lot being thrown at people. As a creator, I’m definitely more open to thought-provoking art these days. I think when there are a bunch of distractions around you, to stand out, sometimes you have to get right to the point and grab people with positive and powerful vibes. I’ve been mostly trying with my songs and concepts to capture a real sense of honesty.

TSH: It remains important for you to somehow put a positive spin on things with so much negativity out there?

DAVIE: Most definitely. I think with all the recent activity in the world, you can do two things: you can ignore it and make mediocre art, or you can embrace the times we’re in and put a positive spin on things. It’s always important to make content that is uplifting and gets people involved.

TSH: Your musical history and upbringing stems deep in the black church where culturally everyone was singing and cheerful...

DAVIE: Yeah, my musical upbringings have taught me that the human spirit needs to be lifted to a place greater than where it is normally at. Church music and gospels came from black culture at a time of oppression, so naturally at its core its positioning is intense and personal. Church music simply lifts you and takes you someplace else, which has been part of my foundation from day one.

TSH: Do you still connect with simplicity?

DAVIE: Yeah, I’ve always been the type of person that just likes minimalism. I guess if you present a single strong idea within a song - a melody for example - you notice how the strength of it is more impactful than a bunch of ideas. I’ve always been attracted to simplicity and sometimes basic and limited art can make people feel good.

TSH: What are the ideas behind ‘Love Sick Fool’?

DAVIE: I was trying to write from the point of view of a 16 year old boy that has his first crush. This idea in itself made me want to find a certain type of instrumentation. I decided to go for classic strings as the centre but still have an R&B vibe to it. It took a while to find the right sounds and all the while I had the imagery of a 16 year old looking out of the window thinking of love.

TSH: Your song ‘Testify’ was chosen by Wild Turkey for their latest high budget campaign, which you starred in alongside Matthew McConaughey. It must have been quite the experience for you...

DAVIE: Ah man, that was an amazing experience. It actually took months to happen. Initially, all we knew was that they wanted to use the song, which was great anyhow! I didn’t even know Matthew McConaughey was going to be in the commercial, let alone myself! But when I found out - I was thrilled! Matthew is a huge worldwide movie star and his whole team were so gracious. All in all, it was such a great experience to be a part of.

TSH: It’s been noted that you’ve toured and done session work with the likes of Cee Lo Green, Chris Brown and Childish Gambino. What did you take away in having connected with such esteemed artists?

DAVIE: It definitely taught me a lot. It was very valuable for me to work with those names because I got to be in the pressure cooker without the pressure on me. You get to watch such great names in the booth and learn what they’re all about, which certainly helped me with my own career. It was just such a rewarding experience for me to sing backup for others and be a part of massive productions.

TSH: What sort of atmosphere do you like to bring to the table with your live shows?

DAVIE: I just want to offer a human connection. I guess that’s what I look for when I go to concerts myself, you know? Also, it’s so early in my career and I don’t have the lights and smoke, so I thrive on having this human connection - it’s what I prefer to have anyway. I want my audience to feel like I’m someone they can chill with, have a beer with and introduce to their friends. So yeah, I just to try to be present and engaging man.

TSH: Is Frank Ocean’s 'Channel Orange’ one of your favourite albums?

DAVIE: Dude, for me, that album is such an amazing walk down memory lane. When I think about that album there are so many memories attached to it. I feel like it’s the closest thing we’ll have to ‘The Miseducation of Lauryn Hill’. When I put ‘Channel Orange’ on, it’s like Frank is talking to me in a room and we’re having a conversation. I’ve never experienced music like that before.

TSH: You’ve recently started to watch Keeping Up with the Kardashians too...

DAVIE: Haha! It’s hilarious you bring that up! I guess I’ve always been very heady, esoteric and empathetic as a kid and I started watching this show because I’m very close to my family. Everyone in that show is so close as a family, and as a family we can relate to them too. We all live in the same neighbourhood and everyone’s always involved. Besides, the show is a good conversation topic and there’s something about it that I find to be really calming.

TSH: Do you very much have intentions of creating a world and a place that unifies people together to laugh and heal with your music?

DAVIE: Yeah, absolutely. The goal is to create a world through music whereupon you can feel warmth and a message that everything will be ok. I want my music to evoke a feeling much like the feeling you get from church, where whether you believe in the same thing as the person next to you or not, you still feel a oneness, a great deal of joy and something that’s bigger than you. I hope my music can be a spiritual escape where everyone can feel this bond - there is no need for debate or negative banter - it’s all about connecting via music and loving one another.

DAVIE - “Testify”

Black Gospel Vol. 1 - EP

#Interview #DAVIE