#some on the most devastating lyrics in human history

[wlldhoney]

now it’s dark and i’m alone but i won’t be afraid …

#some on the most devastating lyrics in human history #in my room #the beach boys #carl wilson #dennis wilson #brian wilson #60s #beach boys

[redgoldsparks]

November Reading and Reviews by Maia Kobabe

I post my reviews throughout the month on Storygraph and Goodreads, and do roundups here and on patreon.

H is for Hawk written and read by Helen MacDonald

I listened to this as an audiobook in the author's voice and absolutely adored it. Its a memoir of grief, unfolding primarily in the one year after the death of the author's father. It is also a brief history of falconry in Britain, the story of a goshawk the author trained, and an examination of the legacy of TH White, British author, closeted homosexual, and amateur falconer who ruined a bird with his own obsessions and neuroses. Macdonald's descriptions of landscapes, weather patterns, and birds in flight are as lyrical and lovely as the recording of depression and social isolation are devastating. Highly recommend.

Animosity Vol 1: The Wake by Marguerite Bennett, Rafael De Latorre, Rob Schwager, Marshall Dillon, Juan Doe

One day, all of the animals of the world wake up to human level consciousness, and most of them turn to violence against their human oppressors. Humans reel in the aftermath of this complete overturn of the world as we've known it. A few animals stay loyal to their human families, and this story follow one of them- Sandor, an elderly bloodhound, who promises his 11 year old human Jess that he will keep her say and travel with her across the country to find a half brother she has never met. Fast paced and thought provoking, the first of a ongoing series.

PS I Still Love You by Jenny Han

As charming and fast paced as the first book in the series. This story unfolds more of Lara Jean's life, the sweeps of her emotions, her deep love of her family, an internship at a retirement home, and the tangled lines of old friendships and crushes. The writing in these books is so grounded and warm, it feels like a breath of fresh air compared to some of the YA I've struggled with in recent years.

A Pros and Cons List for Strong Feelings by Will Betke-Brunswick

I was given the opportunity to read this book ahead of its release! Here's the blurb I wrote for it: Life does not deliver a series of discrete events, but a tangle of overlapping experiences. The author was working on a mathematics degree, playing on a hockey team, and slowly coming out as trans and nonbinary when their mom was diagnosed with cancer. This book weaves memories from the author's childhood with scenes from the last few months of their mother's life into a tender story of acceptance, care, and love. The heavy moments are lightened by the portrayal of the family as penguins, with friends and strangers as a flock of other birds, but the story is deeply human. 

Every Heart a Doorway by Seanan McGuire, read by Cynthia Hopkins

This series introduces Eleanor West's Home For Wayward Children, a boarding school for children who, like Alice, fell into another world; and returned to find they were completely out of step with life back on home. Some of these children went to magical fairylands full of rainbows and rhymes. Others went to strict authoritarian worlds ruled by logic and law. Nancy went to the land of the dead, and spent a peaceful year learning the values of stillness, silence, and the whispers of ghosts. She hates Earth on her return and the pressures of her family to "just be normal." But she finds companionship and understanding at Eleanor West's school. Until, that is, a bloody murder shocks the little school community and fear and suspicion turn in Nancy's direction. This is a slim fairy tale of a book, not a murder mystery. I loved this unique take on portal fantasy and the magical boarding school genres. The story includes trans and asexual characters, which I appreciated, even though I found some of the dialogue around those identities a little chunky. I sped through the short audiobook in just a few days and plan to keep reading this series.

Boys Run The Riot vol 1 by Keito Gaku

High schooler Ryo knows that he's trans, but doesn't feel like he can tell anyone; it seems safer to repress this part of his identity. His school system requires gendered uniforms and Ryo hates wearing skirts, so tries to get away with wearing his PE track suit to school as often as possible. But he also fears standing out and the potential judgement of his peers. The only time Ryo feels like himself is after school when he roams the city in his own chosen street style, expressing his frustration and yearning through graffiti art. When Jin, a rough looking older boy who had to repeat a grade, joins Ryo's class, Ryo plans to steer clear of him. But then Ryo runs into Jin in a store and it turns out they share a taste in fashion and buried desire to break out of the molds society has built for them. Jin urges Ryo to start a fashion brand and tell his truth to the world at last. I was excited to try a manga series which centers a trans character, and which is also written by a trans author. This first book was a little shaky for me. The emotional beats felt clunky and rushed, and the antagonist boringly stereotypical. Nevertheless, I like the premise a lot, and will probably read at least one more volume to see if the writing smooths out a bit farther into the series.

Down Among The Sticks and Bones written and read by Seanan McGuire

An excellent second installment in the Wayward Children series. This one follows two characters we got to know in the first book, twins Jack and Jill, daughter of a pair of yuppie control freaks who didn't let their children make any of their own choices. No wonder a door opened for them, and let them escape into another world. It was a world of vampires, werewolves, and cursed sea monsters, but it was still better than what they'd left behind. I enjoyed this a lot, but was also interested from a writing perspective to think about how much territory it retread from information given in book one; and how successful it still felt despite that. It made me reflect on my own relation to ideas that feel "book worthy" and whether I could also be developing smaller thoughts into satisfying stories.

The Hand On The Wall by Maureen Johnson read by Kate Rudd

What an excellent conclusion to a three-book mystery arc! This one picks up right where the second one left off with Stevie, our anxious and brilliant teen detective, trying to fit together the pieces after a third death in as many months, with hints, rumors and uncertainty on every side. And oh how those pieces fit! I don't even want to say anything about the plot because to do so might spoil some of the events of the first two books, but I think this one is the best yet of the series and I am excited to see what comes next.

A Sentimental Education by Hannah McGregor

This is an essay collection I know I will return to again and again. Hannah McGregor, host of two of my favorite podcasts, Witch Please and Secret Feminist Agenda, tells the story of her own feminist education through six essays written in the first person, a deliberate act to carry over the voice she developed in podcasts into her writing. The first essay introduces a theme that recurs throughout of the uses and agendas of sentimental literature, especially books about white women caring deeply about things, in a way that can spark equal emotion in the reader, which has the potential to either, or both, stir political action or else prop up white supremacy. One of the major questions of the text is whether reading certain kinds of books, or reading in certain kinds of ways, can make the reader a better person- more empathetic, more motivated to strive for justice and equality. Caring about others is a feminist project, and McGregor questions where this care falls inside institutions like the university, who is able to ask for and receive care, who is able to give it or refuse giving it. McGregor asks these questions as a queer, fat, asexual, white university professor with a tenured position and constantly acknowledges her own position and also where her knowledge comes from. One of my favorite pieces is the many quotes woven through the text, as well as references to longer conversations I experienced in podcast form. I am so grateful for this book, and excited to annotate it on my second pass!

Slip by Marika McCoola and Aatmaja Pandya

Jade, a ceramic artist, is accepted into a prestigious summer camp for teen artists hoping to build their portfolios and win college scholarships. Three weeks before she is due to leave, her best friend Phoebe attempts suicide, and Jade isn't able to see Phoebe or speak to her before Jade has to leave for art camp. She is naturally distracted, not able to focus solely on her work because she's thinking so much about her friend. Then some of Jade's sketches and sculptures start to come to life, and Jade has to rethinking why she makes art, what she's trying to express, and who it is for. This is a beautifully illustrated and emotional coming of age story with a queer lead. The plot is quite simple but I was drawn in by the limited palate, dry bush line art, and the creative struggle.

Other Ever Afters by Melanie Gillman

I absolutely loved this collection of queer fairy tales. I'd read about half of them online (Melanie Gillman posts an original fairy tale comic every year in October, on 24 hour comic day) but it was a pleasure to see these familiar pieces presented in this new anthology. I also loved all of the new stories and the interwoven themes of belonging, self-naming, queer love, rebellion, and abolition of monarchy in fantasy settings. All of the art is done by colored pencil and the rich tones, smooth shading, and smart color palettes all please me right down to my artist's core.

#books #book reviews #comic book reviews #book recommendations #reading

[syderary-theory]

My three favorite books of 2022

2022 has actually turned out to be a pretty big year for me in terms of reading. For anyone who doesn’t know, I have been struggling with an intense reading burn-out since my junior year of undergrad (English majors go off) that I have slowly recovering from over the last few years, and this last year especially has done a lot in terms of reigniting my love for reading.

Now, overall, I read a total of 23 books over the course of 2022, which might not be much for some folks, but it’s a lot for me and I am very pleased both with the number of books I read and with the books themselves.

Generally, I have enjoyed a lot of creative nonfiction as well as literary fiction, but I also ended up giving myself more room to explore different genres like horror/thriller as well as sci-fi and graphic novels. Some examples include: The Locked Tomb series by Tamsyn Muir, Tender is the Flesh by Agustina Bazterrica, and Seek You: A Journey Through American Loneliness by Kirsten Radtke.

The list below are not exactly what I would consider the best of everything I’ve read (but don’t get me wrong, they’re all fantastic) but rather more so the books that have changed my approaches to life, reading, or otherwise have lingered with me since reading them. So without further ado, let’s get into it.

3. The Bluest Eye by Toni Morrison

This is not my first Toni Morrison novel, but I wish that it had been. My initial introduction to Morrison had been Song of Solomon, a novel that I don’t remember enjoying but plan to revisit soon.

The Bluest Eye clicked for me in so many ways, from Morrison’s artistic description of 1940’s Lorain, Ohio to her masterful execution of theme as a linking mechanism throughout each chapter. I love the way Morrison refuses to shy away from the more grotesque parts of her characters without completely stripping them of their humanity.

I recommend looking up the trigger warnings before diving into it, but The Bluest Eye is a wonderful novel that I’m glad to have picked up the past year.

2. On Immunity: an Inoculation by Eula Biss

I think I picked this up after hearing about it from some bookclub servers I was in, but this book ended up being the harrowing examination of our mass response to disease and vaccination that I needed after these past few years neck deep in the COVID-19 pandemic.

On Immunity does not respond to our most recent global panic, but instead responds to our history of illness and treatment, and how much of that history gets shaped by human fear. The similarities between the epidemics and vaccine treatments Biss faced at the birth of her son and what we’ve encountered over the last few years is hauntingly similar.

But what I ended up loving the most about this book was Biss’s honesty about her own fears and apprehensions towards vaccine treatment. It ended up making the book more about self-examination instead of mass cultural critique, which helped me to breakdown my own anxieties over scheduling an appointment for that first COVID booster.

After everything we’ve all been through over the course of the COVID-19 pandemic, this book couldn’t be relevant and worth reading.

1. Why Fish Don’t Exist by Lulu Miller

This has probably become one of my favorite books ever. Similar to On Immunity, I initially encountered this book via one of my bookclub servers (it was a really great bookclub y’all), and have not stopped thinking about.

Why Fish Don’t Exist is half biography of the late taxonomist, David Starr Jordan, and half memoir of Lulu Miller’s pursuit for meaning amongst personal devastation.

It’s hard for me to describe what exactly I love about this book beyond the standard execution of lyrical prose and investigative reflection. This is a book I would recommend to anyone new to nonfiction, because it’s artful blend of form makes for a really captivating read complete with twists and unexpected beauty.

I think for me, what this book really ended up providing was a reflection of my own questions about life and meaning in the wake of my own spiritual deconstructions. Growing up in an intensely religious home, I’d been conditioned to rely on notions of a god for almost all my personal deliberations. So, by taking a step away from all those preconceived notions of the universe and my place in it, I, like Miller, found myself faced with the task of finding new ways to connect to life in order to find purpose again. It’s a book I find myself returning too quite frequently.

So, that is the short list of my favorite books this year. If you’ve read any of these, I’d love to hear your thoughts or if you want to tell me about your favorite books from this past year, please feel free to share.

Until then, ✌️

#books and reading #book blog #why fish don’t exist #on immunity #the bluest eye #book review #happy new year #books #reading #2022 reading

[rein-ette]

Howdy! I'm going to ask your awesome question back at you ;) what do you think of England, both as a character and as a country? Do tell me all of your feelings towards the grumpy man 👀

Short Answer:

To borrow a phrase from my favourite writer/historian Barbara Tuchmann, if Canada is the country of my birth, England has always been the country of my heart.

Long Answer:

I actually fell in love with England the country a long time before I even knew England the character, but Hetalia certainly reinforced my infatuation ten-fold. I can't say when or how it started because I think I was pretty young (I remember my mom making me take notes on Greek and Roman history when I was like, 7, and uh, let's just say my obessession with Europe only grew after that). It's also kinda difficult for me to parse why I like the country because it's been a constant in my life for so long, but I'll try my best.

I think it might have begun with my fascination with WWII history. There's this Chinese idiom -- 乱世出英雄 -- which kinda encapsulates why the world wars and British history in particular so enchanted me. The literal translation of it would be "heroes emerge in turbulent times" but I think a better figurative approximation is the phrase "for darkness shows the stars." The world wars, British participation in the world wars, and British history in general has many, many dark episodes and in many ways exposes the worst of humanity. But I think it's also true that British history also brought out the best of us -- exposed the "heroes", so to speak. I refer not only to household names like Churchill but also the commanders on the ground, the suffragettes, the workers in the factories, and naturally the common soldier. Of course this is not a phenomenon unique to British history, but it was through British 20th century history that I first fell in love with history in general, so it holds a bit of a special place in my heart.

From a more objective perspective, Canadians are really steeped in British culture, ideas, and history, even if we don't realize it. I mean, most of the ideals we embrace, such as the rule of law or constitutional monarchy, as well as the things we celebrate -- the abolishment of slavery, for example -- stem from Britain. One cannot teach Canadian history in school without learning British history, and when you consider that Canada's massive sacrifices in the world wars also played a defining moment in its national identity, it's really no wonder that many still feel a kinship with the UK. Plus, like I mentioned in the response to needcake's ask, a lot of being Canadian is trying to differentiate ourselves from Americans, and one primary way we do that is by pointing to our loyalty to England and shared monarch.

I'm not sure if this is really obvious from the other side of the pond, but Queen Elizabeth also, like, plays a really insidious role. Idk if Aussies or Kiwis feel this way, but we really love Queen Liz and can't imagine a world without her on our money and all our fancy buildings and occasionally making her speeches. I was an air cadet as a teen too! We had to play God Save the Queen for closing parades every night, and I remember thinking, gosh, one day we'll have to sing God save the king, and they'll have to change all the lyrics and coins and bills and what not, and that's really weird.

But yeah, besides the history and the environment in Canada, I also follow British politics to some extent? It's not as common as following American politics here (if you talk to Canadians ab the American president it's not uncommon to hear people say "why did we elect him" etc.) but it isn't rare either. I mean, I read the Economist (no i'm not 10 billion years old) and I've done courses in British politics, read British authors, a lot of people like British actors and films and shows...the culture is just really widespread, I guess. I also have close friends who lived/live in London...oh, and I went to a British international school when I was young for a year. That might have played a role too. I should say here that I've never actually been to England in person so I can't comment on what its actually like, but it feels so familiar that sometimes I honestly forget i haven't been. I hope to actually study in London soon, actually, so if you have any advice/warnings, hit me!

Alright, onto Arthur. I just? Really? Love him? In particular I really admire his pragmatic worldview, even if I don't always agree with the conclusions it leads him to. When it comes to knowledge and analysis, he's someone who refuses to turn away from the truth, no matter how incovenient. Yet when it comes to his own emotions he's the complete opposite. That mix of cynicism and then escapism to relieve the emotional burden of his own cycnism is just...fascinating. I also really admire his intelligence in general, as well as his work ethic.

Perhaps what I love the most about Arthur, however, is his spirit. I mean, he's just so alive. Whether he's furious or devastated or overjoyed, he's someone who lives life so intensely, so fully, with such fury. When I write Arthur, that's often the feeling I try to capture: someone who cannot help but see all the suffering in life, but someone who cannot help but fight on, regardless. In a strange way, Arthur embodies hope at its most irrational. As Samuel Beckett wrote in the Unnamable, he's someone who is always telling himself: "You must go on. I can't go on. I'll go on."

Absolutely no one asked for fruk, but I'm just gonna seize this chance to throw out a little headcanon. I think this intense, somehow mortal quality of Arthur is what first captivated Francis. As I've written about a bit before, Francis to me has the most "eternal" feel out of the all the nations. He loves humanity and life as a whole, whereas Arthur lives like every second counts. For someone like Francis, who just adores beautiful, wild, transient things, Arthur is like mortality in a bottle -- so utterly enthralling that once he tasted it he could never get enough. Unlike Joan or other real humans, however, Arthur has proved far more durable to wear and tear :P

My final thought on Arthur is that he has so much contempt for fate, its actually both funny and admirable. If I may quote Tuchmann again, "no man ever lived who was less willing to be the victim of events." Arthur's someone who simply refuses to be bullied, even by grandaddy destiny itself, and I think we all love him for that, a little.

#hws england #ask #hcs #whoooo this was a long one but i had a lot of fun answering #its a little embarrassing to talk about how much i love england in front of a brit but #you said such nice things about canada i just had to be honest you didn't deserve some half-assed ironic answer #rainbowfruitpastilles

[coffeestainedcamera]

Cyberpunk 2077 is a cover band with nice production values

Looking back at my time with Cyberpunk, I am reminded of Перемотка, a name that translates to Rewind (in the context of cassette tapes). They are this indie band that snuck its way into my work playlist. Nothing special lyrically, nostalgia-baiting for the late eighties and early nineties, but they are pleasant enough. You’re better off listening to Кино or Сектор Газа if you want actual rock from the era, and they have a lot more to say, but sure, this act can do, too.

Same deal with Cyberpunk 2077, which has these wonderful photorealistic graphics but a wholly unoriginal visual direction. Please look at the below shots from the original Bladerunner and compare them to some shots from 2077. Now, a lot needs to be said regarding the historical context of the American version of cyberpunk. At the time of its peak in the seventies and eighties, Japan was a manufacturing hub, which is why elements that nod to it are wantonly strewn about, like the “corporate samurai” archetype. Given that this is a breed of dystopian fiction first and foremost, it feels more than a smidge xenophobic. To repeat this element of Bladerunner’s visual style without considering its historical context and whether you should do it in the first place is ignorant.

It would be wrong to let the CDPR off the hook for this with the words “Well, they are from Poland” (or, if you struggle at geography, “They’re from… Eastern Europe”). We live in the age of the internet, after all. I originally wanted to make a lazy joke about Netflix’s funding of Shadow and Bone here, but those books are more of a bastardized take on tsarist Russia, so it was left on the cutting room floor. Still, please consider the fact that when Netflix picked up Witcher to serve as its Game of Thrones killer, they opted to hire non-Polish staff and did not supply Polish subtitles on release. The concept of losing control of something culturally notable would not be wholly alien to the staff on 2077.

So, we already have unquestioning repetition of the xenophobic underbelly of the genre. Bladerunner, however, beyond being an awkward exercise in Americans lamenting their loss of the number one status, also was a lamentation of the loss of humanity in humans themselves, as rich people got off world and the middle and working class were left to fend for themselves on an ecologically devastated Earth. This is a world where machines are capable of greater care about those who are not them than most humans on the screen, which makes people uncomfortable. It brings back those conscience pangs. Off these machines, cop that behaves more like a machine than the machines themselves.

What did 2077 attempt to say, in the 60-70 hours I put in circa 2020-2021? Not much, really. The developers went on record with words of “Cyberpunk 2077 will be apolitical”, which made twenty-year-old me cringe even before release. But I had faith in the writing staff after Witcher 3’s exploration of colonialism, the horrible ethical dilemmas that one must sometimes solve, and toxic parenting. Given that I remember more of Bladerunner, a film I saw in the post-work haze on a Friday night, than a game I fully played through, conclusions can be drawn here.

The game has this amoral Japanese conglomerate that fully plays into the genre’s baggage, and my version of V worked there a long time. Yet little is made of it, likely a consequence of the project’s troubled development history. Little is made of the vulnerable folks there, like the working girls I met throughout the game (using a euphemism due to Tumblr filters here). They are victimized for pathos, but few efforts are taken to give them character arcs, which is depressingly familiar. Closest we get is Judy’s arc about taking revenge for a friend, as she’s in a related industry. There are these trashy adverts, but I never get to meet anyone in that industry, which is a missed opportunity for dark comedy.

Johnny is a decent character, I suppose, as he’s the closest to an actual punk element of the game. However, that is summarized by one flashback I won’t spoil (as it involves the cause of his digital ghost’s existence) and some “80s rock-n-roll scene written by people who never attended a punk gig” moments. We never see the events he is writing songs in response to and we never get a quiet moment to sit with him as he workshops the lyrics, although he does ponder mortality with V a bit. I suppose this tug between a corporate drone who is just beginning to live, only to have it taken away, and a dead rocker whose revolution failed is the closest to an interesting arc this game has. He also is the ideal summary of this game’s wasted storytelling potential, even if “Never Fade Away”, which is an in-universe track of his, was a nice theme song.

In short, Cyberpunk 2077 bored me because it was written by boring people. The ones who are awed by the pretty neons in cyberpunk, only to miss the technodystopia that they illuminate. These types that probably scrolled their phones as the quiet scenes with Deckard’s dysfunctional day-to-day life played, although maybe they looked up for the famous “tears in the rain” scene. Maybe they teared up a little and wrote it down as a masterclass in dramatic writing.

#media analysis #cyberpunk #cyberpunk 2077 #blade runner #movies #video games #game analysis #movie analysis

[ireadyabooks]

Books to Read in 2021

It’s a NEW YEAR, everyone! 

We made it through 2020, and whether or not you hit your reading goal this past year, don’t worry! 2021 is a new year for your TBR, and we have an AMAZING line-up of books you should add to your reading list ASAP.

THE LIFE I’M IN 

This story of the power of forgiveness and second chances presents the unflinching story of a young woman trapped in the underworld of human trafficking. In Sharon G. Flake's latest and unflinching novel, we follow Charlese Jones, who, with her raw, blistering voice speaks the truths many girls face, offering insight to some of the causes and conditions that make a bully. Turned out of the only home she has known, Char boards a bus to nowhere where she is lured into the dangerous web of human trafficking.

HOLD BACK THE TIDE

A darkly seductive story of murder, betrayal, love, and family secrets in a small town in the Scottish Highlands. Alva knows that her father killed her mother, but she can’t prove it. The more she investigates though, the more she realizes that the truth can be more monstrous than lies/ And while you might be able to outrun anything that emerges from the dark water, you can never escape your past . . .

MUTED 

Denver is more than ready on the day she and her best friends Dali and Shak sing their way into the orbit of the biggest R&B star in the world, Sean "Mercury" Ellis. Merc gives them everything: parties, perks, wild nights -- plus hours and hours in the recording studio. Even the painful sacrifices and the lies the girls have to tell are all worth it. Until they're not. Denver begins to realize that she's trapped in Merc's world, struggling to hold on to her own voice. As the dream turns into a nightmare, she must make a choice: lose her big break, or get broken.

THE POETRY OF SECRETS

A lyrical portrait of hidden identities and forbidden love set against the harrowing backdrop of the Spanish Inquisition. Isabel’s dreams to pursue poetry and a partner of her own choosing are thrown into jeopardy when the Spanish Inquisition reaches her small town. 

SHURI #2: THE VANISHED 

Shuri, the Princess of Wakanda (and sister to the Black Panther), sets out to save a group of kidnapped girls in this all-new, original novel by New York Times bestselling author Nic Stone!

BRIDGE OF SOULS

Where there are ghosts, Cassidy Blake follows . . .unless it's the other way around? Cass thinks she might have this ghost-hunting thing down. But nothing can prepare Cass for New Orleans, which wears all of its hauntings on its sleeve. And the city's biggest surprise is a foe Cass never expected to face: a servant of Death itself.

FOLLOW YOUR ARROW

When bisexual influencer CeCe breaks up with her girlfriend, Silvie, she’s devastated. But then she starts falling for a new guy who has no idea she’s internet famous...and CeCe wants to keep it that way. But as her secrets catch up to her, she finds herself in the middle of an online storm, where she'll have to confront the blurriness of public vs. private life, and figure out what it really means to speak her truth.   

MIRROR’S EDGE

The danger rises and the deception grows in the heart-stopping third book in the New York Times bestselling Impostors series! Are twins Frey and Rafi on the same side . . . or are they playing to their own agendas? If their father is deposed from Shreve, who will take control? And what other forces may be waiting in the wings?

ZARA HOSSAIN IS HERE

Zara's family has waited years for their visa process to be finalized so that they can officially become US citizens. While dealing with the Islamophobia that she faces at school, Zara has to lay low. But when her tormentor vandalizes her house with racist graffiti, a violent crime puts Zara’s entire future at risk. Now she must pay the ultimate price and choose between fighting to stay in the only place she's ever called home or losing the life she loves and everyone in it.

REMEDY

It's a mystery - why is Cara so sick? It feels like she's been sick all her life . . . but she and her mom have never stayed in one place long enough for doctors to really understand what's happening to her. Now, at fourteen, Cara is tired of being tired, and sick of being sick. Unable to afford the care she needs, Cara's mom starts a Caring for Cara campaign online. The money starts pouring in. But something's not right to Cara. And the harder she looks, the less she understands.

HEARTSTOPPER VOLUME 3

The third volume in the poignant and sweet Heartstopper series, featuring beautiful two-color artwork! Charlie didn't think Nick could ever like him back, but now they're officially boyfriends. Nick has even found the courage to come out to his mom. But coming out isn't something that happens just once, and Nick and Charlie try to figure out when to tell their friends that they're dating. Not being out to their classmates gets even harder during a school trip to Paris. As Nick and Charlie's feelings get more serious, they'll need each other more than ever.

THE BLOCK

In the second book of The Loop trilogy, Luka is trapped in a fate worse than death. But now that he knows the truth about what he and his fellow inmates are being used for, it's more important than ever that he not only escapes, but that he builds an army.

ON THE HOOK

Hector has always minded his own business while he works towards a better life. Until Joey, whose older brother, Chavo, is head of the Discípulos gang, tells Hector that he's going to kill him: maybe not today, or tomorrow, but someday. And Hector, frozen with fear, does nothing. From that day forward, Hector's death is hanging over his head every time he leaves the house. But when a fight between Chavo and Hector's brother escalates, Hector is left with no choice but to take a stand. It's up to Hector to choose whether he's going to lose himself to revenge or get back to the hard work of living.

MISTER IMPOSSIBLE

Do the dreamers need the ley lines to save the world . . . or will their actions end up dooming the world? As Ronan, Hennessy, and Bryde try to make dreamers more powerful, the Moderators are closing in, sure that this power will bring about disaster. In the remarkable second book of The Dreamer Trilogy, Maggie Stiefvater pushes her characters to their limits – and shows what happens to them and others when they start to break.

THE GHOSTS WE KEEP 

Everything happens for a reason.At least that's what everyone keeps telling Liam Cooper after his older brother Ethan is killed suddenly in a hit-and-run. Feeling more alone and isolated than ever, Liam has to not only learn to face the world without one of the people he loved the most, but also face the fading relationships of his two best friends in the process. Soon, Liam finds themself spending time with Ethan's best friend, Marcus, who might just be the only person that seems to know exactly what they're going through - for better and for worse.

SIMONE BREAKS ALL THE RULES

Simone is shaking things up by making a bucket list of everything she hasn’t been able to do thanks to her strict Haitian immigrant parents. But as the list takes on a life of its own, things get much more complicated than Simone expected. She'll have to discover which rules are worth breaking, and which might save her from heartbreak.

SPEAK FOR YOURSELF

Skylar is ready to show everyone that her latest app is brilliant by winning an academic competition. To do that, she's going to use it to win State at the Scholastic Exposition, the nerdiest academic competition around. But when she falls for one of her team members and things get complicated, is her path to greatness over before it begins?

THE GIRL FROM THE SEA

A graphic novel about family, romance, and first love! Morgan's biggest secret is that she has a lot of secrets, including the one about wanting to kiss another girl. Then one night, Morgan is saved from drowning by a mysterious girl named Keltie. The two become friends and suddenly life on the island doesn't seem so stifling anymore. But Keltie has some secrets of her own. And as the girls start to fall in love, everything they're each trying to hide will find its way to the surface...whether Morgan is ready or not.

RISE TO THE SUN

Three days. Two girls. One life-changing music festival. Toni is reeling in the wake of the loss of her roadie father and desperate to figure out where her life will go from here. Olivia is a hopeless romantic whose heart has just taken a beating (again). When the two collide at the Farmland Music and Arts Festival, it feels like kismet. But when something goes wrong and the festival is sent into a panic, Toni and Olivia find that they need each other, and the music, more than they ever imagined.

YOU & ME AT THE END OF THE WORLD

Hannah Ashton wakes up to silence. The entire city around her is empty, except for one other person: Leo Sterling. Leo might be the hottest boy ever (and not just because he's the only one left), but he's also too charming, too selfish, and too devastating for his own good, let alone Hannah's. Together, they search for answers amid crushing isolation. But while their empty world may appear harmless . . . it's not. Because nothing is quite as it seems, and if Hannah and Leo don't figure out what's going on, they might just be torn apart forever.

IN THE SAME BOAT 

Sadie is ready for the race of a lifetime: The Texas River Odyssey. But then her brother ditches her and she has to pair up with her former best friend, Cully. It's irritating enough that he grew up to be so attractive, but once they're on the river it turns out he's ill-prepared for such a dangerous race. But as the miles pass, the pain of the race builds, they uncover the truth about their feuding families, and Sadie's feelings for Cully begin to shift. Could this race change her life more than she ever could have imagined?

THE GREAT DESTROYERS 

In this alternate-history novel, Jo joins the Pax Games: an Olympics-style competition that pits pilots of mechas against each other. But when fighters start dying in the arena, Jo is drawn into a deadly political plot. In a global arms race between superpowers, playing out in violent games that only humanity could create, comes a chilling story of clashing titans, ruthless competition, freedom, and the girl caught in the middle of it all.

#I read YA #books to read #booklr #2021 books #tbr #2021 tbr

[paintedlight]

Supernatural Season 15 & Sufjan Stevens' “The Ascension”

Teaser: there’s a song on this album called "Die Happy” where the lyrics are just “I want to die happy” for 5 minutes and 45 seconds. yeah. yeah.

Disclaimer: yes it’s all a stretch and I’m overthinking it but also… am I? (yes) 

long post time! know that reading ahead may hurt you and yes it does get worse the further down the track list you get 💕 have fun kids

So just to start off, I think it’s funny that something Sufjan’s discography & Supernatural have in common is the 15+ years of the internet arguing if it’s gay or not, and the answer ending up being yes. PLUS there’s the obvious connection of American mythos + mythology + calvinist themes (I am hissing) + religious trauma prevalent in both. 

If you’re a fan of both like I am, it’s easy to connect them— notable connections being songs like “John My Beloved” and “The Owl and the Tanager” or even “John Wayne Gacy Jr.”, but I’m going to focus on Sufjan's 2020 album, “The Ascension” since even the arc itself seems so connected to season 15 of Supernatural, specifically. 

At least in my head it does <3 enjoy 

MAKE ME AN OFFER I CANNOT REFUSE

When interviewed about the meaning of this track, Sufjan explains that this song is about asking God, “what do you have to say for humanity?” That it’s about desperation, creation, and devastation. It’s about frustration with divinity. Also the vibes are 10/10. Need I say more 

RUN AWAY WITH ME

This song is beautiful, it makes me want to sit in some grass and stare at the sky. 

Some lines that make me Dean/Cas crazy are the two lines in verse 1 and verse 2 that mirror each other by being in the same place melodically:

Verse 1: they will terrorize us / with new confusion / with the fear of life that seeks to bring despair within

Verse 2: I will bring you life / a new communion / with a paradise that brings the truth to light within

Yeahhh so the words “Despair” and “The Truth” were mirrored in this song yes it was coincidental yes I’m clinging to it. It fascinates me 

But this song is about begging someone to stay with you.

sweet falling remedy / come run away with me / you’re all I ever need

VIDEO GAME

My first thought when I heard this song was about how it was such a song for enneagram 4s. If you don’t know what that means, I think Dean is a 4 and wrote a post about it here. 

AND @trapperjohnmcintyre also made the connection between these lyrics and Dean in this post, and honestly I don’t need to say much more than that??

The song is about feeling paranoid and angry that God is controlling your every move and you can’t escape it (aka hating the doctrine of predestination). Of course it’s also about not wanting to follow societal scripts. 

You just want to have an easier life instead of the weight of good and evil resting on your back!!!

I don’t want to put the devil on a pedestal / I don’t want put the saints in chains / I just want to make my life a little easier / I don’t want to play your video game

Also these painful lines, as a treat: 

I don’t want to love you if you don’t receive it / I don’t want to save the world that way

Oh, I almost forgot, also. At the end, the narrator gives up. He’s like well I guess I can’t escape. Gotta follow the procedure. Gotta be a puppet.

I don’t want it to go down that way / but in a way you gotta follow the procedure / so go ahead and play your video game

  LAMENTATIONS

I don’t have much to say about this one but this line always makes my heart ache idk:

I was only thinking of human kindness

TELL ME YOU LOVE ME

Here we gooooooo. Y’all aren’t ready.

Thesis: Tell me you love me despite the primordial darkness about to overtake me. And even if you don’t, I’m going to love you. 

15x18 Despair anyone?? 

I want to just paste the whole song but, here—

DIE HAPPY

Yep, "Die Happy" immediately follows "Tell Me You Love Me." Yes, the lyrics are just “I want to die happy” over and over for almost 6 minutes. 

First of all, the repetition mirrors the end of the song Fourth of July, from Sufjan’s previous album Carrie & Lowell, where Sufjan sings “we’re all gonna die” over and over.

Parallels, baby.

But I noticed something else about this recently though— in Die Happy, if you are listening to it in your headphones, there’s this weird sound that sounds like a wasp flying around your head (it made me uncomfortable which is why I noticed it, haha). After I felt unnerved for a moment, I had a realization— that this could be referencing one of Sufjan’s most beloved songs, “The Predatory Wasp of the Palisades Is Out To Get Us!!” (yes that’s a real song title lol)

The Predatory Wasp is about how Sufjan fell in love with his best friend at the Bible Camp he went to as a teenager. The wasp is a metaphor for internalized homophobia and also his love and how he fears his love will hurt the boy he’s in love with. 

So, Die Happy references an iconic song from Illinois (2005) with these notable lines:

Tl;dr: 

I want to die happy vs. I can’t explain the state that I’m in / the state of my heart / he was my best friend

Here’s an Despair photoset with Predatory Wasp lyrics via @toneelspeelster. 

ATIVAN

So your best friend has just died happy by being in love with you. You feel like the primordial darkness is on YOU now:

I woke up in stereo—I spent the day in vertigo / I could not get the spirit off my back

You’re once again tossed in the waves of thinking that God is fucking with you. But either way you just want to be tranquilized at this point. 

Is it all for something? Is it all part of a plan / tranquilize me, sanitize me, Ativan

Is it all for nothing? Is it all part of a plan? / make my death wish, mind my business / do the best I can with what I am

Ativan asks, was the true leading woman all this time… substance abuse?? 

Ativan / my leading woman

Long story short, you’re drunk on communion wine, asking the shadows to come back.

fill me with the blood of Jesus / clean my plate 'til he receives us / separate the colors from the black / ... / tell the shadows near us to come back

 URSA MAJOR & LANDSLIDE

Not a lot to say about this (even though I love these songs) so I’m gonna skip mostly, but the narrator has decided he wants to love you, he can’t help it <3 

GILGAMESH

Oh boy. 

I mean you kinda know what’s coming because of the title. The Epic of Gilgamesh is the world’s oldest piece of epic world literature, and Gilgamesh was “the first hero of human history.” 

In the world’s oldest story, The Epic of Gilgamesh, Gilgamesh and Enkidu are “very close friends” (their relationship is very homoerotic and this is barely disputed). Gilgamesh calls Enkidu his brother, and they are mutually selfless towards each other but when Enkidu dies, indirectly because of Gilgamesh, Gilgamesh has a breakdown and mourns him like that of a spouse and then has to come to terms with his own mortality. 

The meta level of this is so obvious I’m not even going to go into it. Anyways… here are lyrics that make me want to scream! 

the repetition of “my heart”... the concept of singing a eulogy.... saying your heart is chained to Your Angel............ it hurts

DEATH STAR

Star Wars reference my beloved. Like many of these songs this has Fuck You God energy.

what you call the human race / expedite the judgement day / it’s your own damn head on that plate

vandalize what you create / ... / witness me resist your fate / it’s your own damn head on that plate

 GOODBYE TO ALL THAT

This song is a bop honestly 

When the lyrics were released a bunch of Sufjan fans contrasted Goodbye To All That’s here I am alone in my car / hopelessly infatuted / and I’m driving to wherever you are to Sufjan & Moses Sumney’s song, “Make Out in My Car”.

Yeah, I know, we’re all thinking of this:

Make Out in My Car is basically where Moses gave Sufjan a horny car guy chorus and told him to write the verses, and Sufjan proceeded to write the most liturgical shit ever (and we love him for it). ANYWAYS… Goodbye To All That also reminds me of Dean’s depression and the weirdness that started in 15x19 and goes into 15x20. For some reason he makes it seem more upbeat and happy than it is...

Despite this song being a bop, the lyrics are depressing. He’s alone in his car. He’s hopeless. He realizes it’s too late to have died a young man. 

He’s going to try to move on, even though nothing is left of him, he’s begging someone to turn around and show me his shadow.

He also references substance abuse again—

love me / and leave me / intoxicated

  SUGAR

The music video? Iconic. The mom of a family is making a pie, or she’s trying to. She ends up rubbing the filling all over her face, crushing the fruits, the oven catches on fire. 

But she does it! She makes the pie. 

Meanwhile the other family members are in their rooms, overindulging in sugar in all its forms. And then as she and her family eat around a dining table, occassionally being seemingly marrioetted by some unseen force, she looks angrily over her family, they all seem to kind of lose it, then the house starts to come apart until the chandelier falls on the dinner table. 

It’s the making pie + overindulgence in sugar + marionetted family metaphors for me ❤️ 

Ultimately, the song is about begging for affection, being desperate for domesticity, but you feel doomed, you feel like your defeat is predestined, that you can’t escape it.

You just don’t want to be heartbroken & you don’t want to be angry anymore!!!!

  THE ASCENSION

So you may be asking… does this guy get the domesticity he’s longing for?? Does he get his love back?? 

No. He dies. :/

The Ascension begins with just that. He’s dying.

THEN Sufjan decides to rhyme “confess” with “confess”, in two lines that mean almost opposite things:

When I am dead / and the light leaves my breast / nothing to be told / nothing to confess / let the record show / what I couldn’t quite confess

So does this guy have something to confess or not??? 👀

Moving on… 

He goes back to thinking about how his life was predestined all along, and now after all that, he’s dying. So he thinks about all the times he was kind of like this Mythological Icon. That he always had to be the one to show what was right, to lead by example. That that had been his entire identity. 

And he realizes he needs to answer for himself. 

Then he is frightened— realizing he was always asking what everything meant, what it all was for, but that all along he was just angry and depressed.

But even though he feels a like he should have just resigned himself to meaninglessness, that he only thought he could change the world for the better… it strengthened him to know the truth.

And even through the absolute shit of it all, and even though God & others did things from a place of so-called holiness and hopelessness...

He did everything out of love ❤️

So then he dies 🙃

AMERICA

So, as the end of The Ascension asked, what now? 

The album ends on this long track, which Sufjan describes as a protest against all that America has been and has become. 

It’s a protest against capitalism, of destroying humanity for the sake of some cold machinery. 

I have worshipped / I believed / I have broke your bread / for a splendor of machinery

And in true Sufjan fashion, he makes this song about protesting somehow both horny and religious, god bless

I have loved you / like a dream / I have kissed your lips / like a Judas in heat

I have worshipped / I have cried / I have put my hands in the wounds on your side / I have tasted of your blood / I have choked on the waters / I abated the flood / I am broken / I am beat / but I will find my way / like a Judas in heat

I am fortune / I am free / I’m like a fever of light / in the land of opportunity / don’t do to me / what you did to America / don’t do to me / what you do to yourself

  to finish out, here’s a DeanCas post by @eggcessive with lyrics from America ❤️ I HOPE YOU ENJOYED MY WEBWEAVING :)

#sufjannatural #sufjanatural #destiel meta #spn #deancas #sufjan #here it is.... my masterpiece #this didn't take as long as you'd think considering all of this has been on the tip of my tongue for months #<3 I hope others freak out along with me <3 I'm obsessed with the album and his voice #I feel kinda weird posting this bc this album also had like a ton of personal spiritual significance to me.... but it's fine #those things can be connected

[oneweekoneband]

i didn’t though

When I was twenty and tractable I listened to “Treacherous” and I believed Taylor Swift was telling me something, because “I’ll do anything you say / If you say it with your hands”, is not content meant for straight people, even though legally they, too, are allowed to hear it, and they do generally have hands. When Taylor Swift drank beers with Karlie Kloss at a Knicks game in 2014, I believed she was telling me something even more forcefully, because, really, why be at Knicks game if not just to kill time politely before fucking whoever you’re there with. When reputation was released and it contained “Dress”, a song about buying a certain item of clothing to look good for a person you love specifically not “like a best friend” so that after “all the pining and anticipation” they can remove it from your body and you can drink wine together in the bath, I believed Taylor was screaming a confession at me, and I was more than ready to receive it. When I heard from multiple sources just last year, amidst the aggressive rainbow-deluge of the Lover promo cycle, an ultimately false rumor that said Taylor was going to come out in a Rolling Stone cover story I, somehow, incredibly, brain as smooth as a baby’s ass, believed that too.

I have believed a lot of things. And it’s a nice diversion, to believe like that. But, more recently, I’ve found that the detective in me has turned away from this one. The only facts I’ll ever know about Taylor Swift are those she wishes to share, and speculating about what secrets she may or may not be hiding is a distraction from the real, joyful work of appreciating all these already literally, unequivocally, very gay songs. I’ve found, well, that I just don’t care anymore, which sucks, as I detest the squirmy idea that I might be growing as a person. But the truth is one really can write extremely, objectively homoerotic love songs yet be, for all intents and purposes, terminally straight. And like that poignant tweet about Lin Manuel Miranda tells us, you can seem gay, because of, like, your whole deal, and then it turns out you’re just annoying. You can even have a torrid love affair with your one-time supermodel best friend and in the end just want to marry some guy from The Favourite (Allegedly from The Favourite. I have seen that film three times and could not pick that man out of a lineup if my life depended on it.) and maybe there’s nothing to announce to anybody about it at all. Sexuality is complex and personal, and Taylor’s own sexuality doesn’t much matter to me, outside of how I always think it’s nice to know there’s yet another bisexual white woman out here in the world being even more irritating than me. (I say this strictly in terms of labeling; it ought to go without saying that Taylor’s various psychosexual obsessions with things like Amy from Gone Girl, and The Kennedys, and her house in Rhode Island matter to me immensely.)  It doesn’t matter because it has no bearing on the fact that she keeps dropping queer classics.

Anyway, yeah, most good Taylor Swift songs are gay, just like most good things, generally, and there’s a number of viable picks on folklore, except not “betty”, no matter what the collective banshee’s wail of the Internet tells you. The gayest thing about “betty” is that it’s Taylor putting herself in the mind of a skateboarding teenage boy, which, yes, admittedly, is a big homo vibe, but nowhere in or around this song are any people of the same gender identity smashing bathing suit parts together, or even thinking about doing so, and when there are so many better options available, I feel it is prudent that we have just the barest hint of standards. As queerness itself is malleable, wonderfully, painfully individual, and comes in no one standard format, so too is determining which song on a Taylor Swift album is the most gay a singular, complicated calculus we all must do for ourselves within our own hearts, and, of course, there are no wrong answers, unless it so happens that your answer is not “the 1”.

“the 1” made me lose my grip for a moment. A cool lament, calmly wrenching, right off it was sucking out my bone marrow and I wasn’t able to name why. (Well, except, obviously, that the twin unit of, “You know the greatest films of all time were never made,” and “You know the greatest loves of all time are over now,” is pure, not from concentrate, peak embarrassing & devastating & all the more embarrassing for being so devastating Swiftian lyricism.) Finally, weeks after the release, out walking the streets of Los Angeles midday, masked and fractious, lower back sticky, brain a little mean, buying a soda at the gas station just to talk to someone, it came to me that  “the 1” is a spiritual sequel to Red’s drum-heavy forever banger “Holy Ground”. The Taylor of “Holy Ground” reminisces frantically about a lost love, some near-miss from youth. That drumbeat is a racing heart. The animating nervousness of “Holy Ground”, the way you can almost hear the narrator’s limbs flapping wildly against her body when she says that she’s dancing, has from the beginning marked this song to me as a story of looking back on some sort of formless and magical teenaged queer encounter. “Holy Ground” is looking at a precious memory like it’s a firefly in cupped hands—small and special and easy to lose—being not entirely certain what the memory means, since whatever it was that happened back then, you never really talked it out. “Holy Ground” is about a love that for all its vitality did not work out, but it is appreciative rather than sad. “But sometimes I wonder how you think about it now,” Taylor sings, “and I see your face in every crowd.” 

“But we were something, don’t you think so?” asks “the 1”, imploring an ex to confirm her version of events, to agree that she’s remembering it right. Taylor has not ever struggled in her work with place and the self and matching the two against one another on the wriggling timeline of the human life. I was there I was there I was there. The question here is something else. Not was it real, but was it real to you, and do you remember now what that was like. Do you remember who I was then? What we were? The truth as it pertains to the heart of another is guesswork at best, and a troublesome kind. Memories break and bend, or weren’t even recorded right to begin with, every brain a dirty liar, and for two separate, imperfect creatures to share the responsibility of preserving one history together is a disaster. The hard facts then are grounding. Essential. “I thought I saw you at the bus stop / I didn’t though”.  Everyone has past romances that they still ask questions about, yes—I am not practicing my virulent heterophobia today—but none of my queer friends are without at least one were-we-or-weren’t-we in their past, a clinch with another that was incandescent and unnameable, long over but dangling forever there loose outside the neat boxes of friend or lover. To be a queer person is to exist already beyond and without the organizing structures of heterosexuality, and this can be difficult, dangerous, but in liminality there is freedom, and in years of painstakingly debating whether I wanted to be or bang so many various somebodys I have, along the way, put the pieces of myself in the order they fit best. So then there are loves where you aren’t sure if that’s technically what it was, if it’s what they’d call it, too. Or loves that were undeniably real, only we were too busy back then with trying to turn into ourselves to keep it. And loves from the very start, from walking together on colt legs, exuberant and unprepared, and the memory is a blessing, and the memory is guilt.

 “the 1”, to the ear, is softer and slinkier than “Holy Ground”, but the lyrics are dismantling. “Holy Ground” says, “And darling, it was good / Never looking down”. Full of longing, but cheerful and sure. “the 1” is older, resigned. On “the 1” Taylor mourns a love not only because it has ended, but because she can sense, from the safety of time’s remove, that it was a love which deserved better, could have been better, if things had been only a little different, if they’d felt brave enough to try just a little more. In this version of nostalgia, the golden haze of “Holy Ground” is ribboned by a vaporous shame, a regret. The song relates a story of a love that is farther out of reach and meant more than what the little girl of “Holy Ground” could have dreamt. “In my defense I have none / for digging up the grave another time / but it would’ve been fun / if you would’ve been the one”.

#taylor swift #folklore

[funknrolll]

Michael Jackson's They Don't Care About Us: The relevancy of the unmatched protest-masterpiece still actual today.

They Don't Care About Us, was perhaps the most monumental and relevant form of audiovisual protest, which force was specifically to draw the attention to social and political issues such as hate, racism, prejudice, police brutality. The form of art is cultivating an ideological allegiance with the greater social plight for minorities. With his art, Michael became the voice of the voiceless, of the oppressed, of the neglected, of the abused. Yes, Michael Jackson was THE voice.

Hi music lovers, today's topic is Michael Jackson's They Don't Care About Us the song and the music video.

It was from September 1994 to March 1995 that Michael recorded and released HIStory, his 5th studio album. The work was one of the artist's most personal artistic outputs, where music turned into a mirror reflecting Michael's deepest sorrows, fears, anger, and frustrations. It was then when Michael let his music speak louder, providing a perfect clap back to all those who questioned and speculated. The album was a double-disc of greatest hits, HIStory Begins, and new material HIStory Continues.

Speaking of They Don't Care About Us, it is the second track on HIStory Continues, following Scream and precedent to Stranger In Moscow. The song is a straightforward response to the ruthless and ubiquitous injustices perpetrated upon him and more in general upon black people by the racist forces of the white cultural hegemony. Extremely compelling is the aura of pure rage and frustration articulated in They Don't Care About Us, both in the record and in the two poignant and groundbreaking music videos (The Prison version and the clip shot in Brazil), released to accompany the track as a single.

Personally, when I began to approach Michael's music, I did not quite understand the real deep meaning and message the song was delivering. However, as I grew up, I developed interest and curiosity regarding the significance of this timeless masterpiece. Particularly the visual interpretation caught my attention. Hence, this article will entail the information I found through my research. The two videoclips released, were, and still are, wildly exhaustive pieces of art, expressly crafted to challenge our very seldom corrupt societies, people's beliefs and mindsets.

Moreover, in these short movies, the artist did not miss the chance to channel his frustrations and rage through his distinct blueprint that turned everything he did into pure gold. There is a broad range of aspects that compose the audiovisual endeavors that are worth discussing. These elements comprehend the lyrics, the human rights violation, racism, and social injustices; all these perspectives are the fulcrum of the whole work. The acute and fierce language contributed to making the artistic output more impactful.

It is now interesting to also analyze They Don't Care About Us from a Post-Colonialism theoretical standpoint. Firstly, for those not familiar with the Post-Colonialism theories, it is a study of all the effects colonialism had on cultures and societies, concerning both European countries, that brutally conquered other nations, and how the lands and populations won responded and most importantly resisted those invasions and trespasses. Furthermore, the study of Post-Colonialism as a body of theory has and is still going through three major stages. The initial one entails the first phase of awareness of the social, psychological, and cultural unjust condition of inequality and exploitation, enforced by being in a colonized state. Secondly, a struggle for ethnic, cultural, political, and economic autonomy begins. As a consequence, there will be a growing awareness of cultural overlap. Eventually, I would say that some of the post-Colonial elements are quite evident in the two music videos.

The song and the two music videos are eloquent protests against racism. Michael speaking in the first person gives a platform to all the voiceless minorities, offering an accurate and poignant depiction of their conditions of merciless oppression, that stripped minorities of their humanity, pride, and most importantly their rights. Related to the concept of racism, with a simple yet efficacious line, Michael addresses the still hugely relevant and actual issue of police abuse and brutality, which is the central theme of the Prison Version short movie. The artistic output was magistrally filmed by the genius Spike Lee, in a real prison in Queens, New York. The opening sequence shows black schoolchildren standing behind a wire fence in the snow, chanting the chorus of the song, providing a visual accompaniment to the introduction we hear on the record. As the beat kicks in, the scene displayed is quite impressive and provocative, because it employs a poignant and immaculate montage of explicit documentary footage.

The clips complementing the short film are retrieved from the footage of the Rodney King beating and subsequent LA riots and the brutal police beatings of African American people. We then witness the swell of an atomic mushroom cloud, followed swiftly by footage of a Japanese child sitting alone and crying amid a devastated Hiroshima. Alongside, we see a close-up image of an African boy face swarming with flies, then the assassination attempt on George Wallace. Subsequently, come on the screen, some pictures of the student rebellion on Tiananmen Square in China, and finally some footage from the Vietnam War. All these footages contribute to making the video so harsh to the point of getting the audience uncomfortable. In the scenes taken in the cell, Michael appears to be haunted by the ghosts of beaten people.

his film stands out for its immediacy and accuracy, yet these clips do not incite destruction nor hatred, but rather the opposite. Indeed, those footages are stressing compassion, a peaceful reaction to a hurtful and horrible situation, and political reunification. Thus, this is another reason why there is not even a trace of violence or sign incitement to hatred or aggressive reactions. Those were not merely television images, but real-life pictures of a horrid reality of human humiliation, abuse, and suffering that sadly surround us everywhere, that break into our everyday lives through television, social media and computer screens. In the video, the tension is palpable yet, the revolt is peaceful and not suppressed by the guards. However, Michael openly expresses his anger with demonstrative insolence. For instance, he sweeps tableware off, hits a guard's baton right in front of his face. Interestingly, the artist is the only prisoner who moves freely and around the dining room, demonstrating against the disregard for human rights and laws by authorities. During the whole short film, Michael tries to convince people to fight for their rights, raising the spirit of protest against oppression and humiliation.

However, in reality, prison riots never end with prisoners slamming fists against the tables or dancing on top of them and, Michael was very well aware of it. The last scene of the video shows the artist free and running up the stairs, glancing back, running away from the penitentiary in a Brazilian favela (might this be the red thread that connects the first short movie with the second video?) while his scream still lingers in the air … Leaving eventually an open question which is asked through ASL American Sign Language: "I don't know what lies ahead… Where will this spirit of struggle lead me, where will it further manifest?" This part honestly gave me chills!

The second version of They Don't Care About Us was shot in Brazil in February 1997, precisely some parts were filmed in the central district of Salvador de Bahia. The footage where Michael is wearing the iconic Olodum t-shirt and dances with Brazilian people was taken in a favela in Rio. However, for the artist, it was quite a struggle to manage to shoot the short movie in Brazil because the local authorities intended to prohibit the filming, expressing their dislike for the project, given that it would have shown the country in an unfavorable light. Yet other authorities approved the project because it would have been an influential means to draw the world's attention to the condition of poverty. Thus, the region might have benefitted from having such a big platform offered by one of the most prominent artists on earth. However, after the Brazilian government allowed to film the video for 20 days, it changed its mind abruptly and reduced, vastly, the filming period to 5 days only. The Brazilian version opens with a girl speaking in Portuguese saying: “Michael, eles nao ligam pra gente.” which means “they don’t care about us.”, then showing the whole favela with an aerial shot. Eventually, Michael gets out of a door and starts performing.

Although this version is still impactful and manages to deliver the message impeccably, I would say that it presents some fundamental differences from the so-called prison version. Indeed, even though some policemen who look stern and indifferent are part of the short movie, in the Brazilian clip, the atmosphere is quite different from the previous one. As a matter of fact, the festive whirlwind of colors, rhythms, and dances are what reminds the audience of the social meaning of the song.

Furthermore, the vivacious and colorful performance is backed by members of the local cultural and musical group: Olodum. The organization was and still is of particular importance as one of its primary purposes was to combat racism and help cultivate a sense of self-pride and affirmed identity among the Afro-Brazilian community in the region. The organization as well provides a springboard for the promotion of civil rights on behalf of all marginalized groups. Hence, it was not a mystery the reason why Michael was aligned with Olodum, to the point that he supported the organization by wearing their merchandise in his short movie. The display of solidarity was reciprocated, through the act of the collective performance of the group’s musicians who contributed with an additional layer of live percussions and vocals, over Michael’s original studio recording.

Moreover, the language as well plays a fundamental role in this creative output. Indeed, the lyrics and the whole message delivered with this piece were not exuding revenge or aggressiveness, which were typically used to fuel accusations and rage. Au contraire, the song is the manifestation of the indignation and the energy of resistance, empowering self-control and fortitude against repressions. Hence, I would say that the song does not contain a single trace of aggressiveness, and its content and energy stay perfectly within boundaries. The language and expressions employed to address the issues are particularly relevant to explain the horrid effects colonialism and post-colonialism have had on the populations affected and thus to protest against the neglect of fundamental human rights.

Furthermore, it is interesting to point out that the element of the language expresses the manifestation of spiritual endurance and disobedience against the oppressors and lying accusers immaculately and, therefore, the dualism between the artist singing in the first person and the "Us" contained in the title and refrain of the song. Although TDCAU is addressing some social and political injustices, it may as well be true that Michael has attempted to convey his frustrations and anger in this piece, turning them into a timeless audiovisual work of art. Arguably, this could as well be the reason why the artist decided to release two variants of the short movie, the prison video featuring a crude and powerful documentary and the flamboyant, colorful Brazilian clip.

Furthermore, another element related to the Post-Colonialism discourse is how the artist and more in general black people and minorities are very seldom victims of unjust and appalling stereotypes that are addressed in the line “Don’t You Black Or White Me". This brief but straightforward segment of the song could be subjected to double interpretation. On the one hand, there is Michael Jackson, a man, a human being, a son, a brother, a father, a friend, who from the day he was born was put under the magnifying lenses of the whole world, his audience and tabloids. Most of the times he was judged, wrongly, bullied I would say, to the point that he could not even enjoy his life anymore without the anxiety of being abused, ridiculed and humiliated by people who did not take a second of their lives to do their research on his works, life, and what he stood for. Therefore, this line, specifically, is how the artist expressed his frustration towards those utterly racist reactions towards him. On the other hand, Michael decided to extend this statement to a broader scale, becoming the brave advocate who gave voice to all the voiceless people who were victims of racism, prejudice, ignorance in all their nuances and degrees.

Moreover, as Michael responded to the critiques received for the straightforward and sharp lyrics during a press release for the New York Times in 1996 " The song, in fact, is about the pain of prejudice and hate and is a way to draw attention to social and political problems. I am the voice of the accused and the attacked. I am the voice of everyone. I am the skinhead, I am the Jew, I am the black man, I am the white man. I am not the one who was attacking. It is about the injustices to young people and how the system can wrongfully accuse them. I am angry and outraged that I could be so misinterpreted." He was the voice of the angry and outraged voiceless.

To conclude, They Don’t Care About Us with its first-person narration, the refrain, and the two iconic music videos, the socially and politically challenging lyrics and message, relates to the problems minorities face every day. They don’t really care about us means they, the society, privileged white people, the governments, do not care about the minorities, about the voiceless who have been abused, oppressed, robbed of their rights. They don’t really care about the people. The challenging lyrics and footages in the prison version offer us a chance to reflect on the importance of these topics. Not to mention the actuality of the song, which is remarkably accurate and relatable to the modern world and times we are living in. This artistic output is the greatest, most compelling and influential statement against every injustice perpetrated against all human mankind, and will forever be part of Michael's and the world's legacy. Therefore, the questions my reflection generated are: is this the world we want to live in? Are these the world and the society we want our children to grow up into? Is this the world without prejudice, ignorance, abuse, oppression, no equality, and equity we want for ourselves? And for the white folks like me: are we using our privilege wisely, to uplift, amplify the voices, the needs and wants of our brothers and sisters who are part of minorities and are facing some serious major struggles and discomforts? As Michael asked at the end of the short movie: “ I don’t know what lies ahead… Where will this spirit of struggle further manifest?”

Reflect deeply.

Thank you for your attention💜 Peace. G✨

#michael jackson #michael joe jackson #king of pop #kingofpop #they don’t care about us #brazil #prison #protest songs #olodum #music #music icon #music blog #black excellence #iconic #music legend #great artists #genius #article #mjfam #mjj #mjinnocent #mj icons #history #album #pop #protest #protect black lives #black lives matter #police brutality #injustice system

[passionate-reply]

Great Albums is back for a third time! This week, we discuss Dazzle Ships, the avant-garde masterpiece that was so infamously weird, it almost “sank” the pop career of Orchestral Manoeuvres in the Dark. Or did it? As usual, you can find a full transcript of the video under the break, if you’d like to read it instead.

Welcome to Passionate Reply, and welcome to Great Albums. Today, I’ll be talking about an album that many would consider OMD’s best, and many would consider the last great album they ever made: 1983’s Dazzle Ships, their fourth studio LP. It has a reputation that precedes it, as a strange, experimental, and avant-garde album. And I can’t argue with that too much, when it has tracks that sound like "ABC Auto-Industry."

The most obvious thing one can say about Dazzle Ships is that it’s dense and rich with samples. You’ll hear found sounds ranging from a “Speak and Spell” toy to a radio broadcast from Czechoslovakia. It’s a magpie’s nest constructed of garbage and baubles, collage-like and conscientiously artificial. And OMD’s Paul Humphreys and Andy McCluskey managed to make it before sampling became easier and hence more widespread later in the 1980s, thanks to advancements in digital technology. In its own day, it was, famously, a huge flop, baffling even the critics, which makes it tempting to argue that the world simply wasn’t ready for it. Popular legend says that Humphreys and McCluskey were essentially forced to make increasingly soft, pop-oriented music for years afterward, usually at the hands of their label’s higher-ups.

Is that story really true? Well, I don’t know, and I’m not sure if anybody really does. But I think it’s important that we entertain some doubt. Regardless of its actual veracity, this legend is offering us a simplistic narrative of art and capital butting heads, and one that we see repeated all too often in music journalism. It’s a story that expects us to believe that experimental music is good by default, and the natural goal of music and all the people who make it--and, conversely, that accessible music is bad, and anyone who writes a song you can dance to is always after profit, never craft.

Ultimately, though, the most important reason why I’m asking you to leave this question at the gate is that it’s simply a less interesting way to think about art. What I think is truly ingenious about OMD is their ability to combine a pop sensibility with that bleeding-edge experimentation, and vice versa. I don’t think of Dazzle Ships as just an inscrutable, esoteric musical ready-made, but rather something capable of animating and enriching a bunch of otherwise mundane sounds. A word I might use for it is "challenging," because it isn't simply off-putting--it has a certain charm that invites you to stick around and work through it, and you don't feel like it's a waste of your time. I think the underlying pop DNA offered by Dazzle Ships is a big part of that.

In “Genetic Engineering,” the samples from that Speak & Spell are contrasted with a more traditional chorus, which rises above the chaos, stirring and anthemic. It’s a song full of friction, not only between these musical ideas, but in ideas about technology and our future. Like many great works of electronic music, especially earlier in its history, Dazzle Ships is deeply concerned with science and technology, and the ways they’ve structured our world. These guys wrote “Enola Gay” a few years earlier, sure, but there’s much more than Luddite, dystopian thinking here! Dazzle Ships walks a tightrope between romantic adoration of the promise of a better tomorrow, and the tempered uncertainty we’re forced to develop, when we witness the devastation our most horrifying inventions have wrought already. Something that helps sell the former is the motif of childhood: in addition to the Speak & Spell, “Genetic Engineering” also features a children’s toy piano, and prominently references “children” in its lyrics. And “Telegraph,” the album’s other single, sees fit to reference “Daddy.”

Touches like these, and the centering of not-so-new technologies like telegraphy and radio, carry us backward in time. Dazzle Ships has a sense of nostalgia for the technological explosion of the Midcentury, when household technologies were improving in ways that saved time and labour, and faith in “better living through science” was high. It’s not a wistful or introspective nostalgia, but rather one that taps into the bustling excitement of living through that era. That retro styling helps us situate ourselves in a childlike mindset: optimistic, but somewhat naive. Children are highly imaginative, and become enthralled with possibility, but don’t always understand every implication their actions have.

But, as I said, “Telegraph” and “Genetic Engineering” were the album’s singles; the typical track on *Dazzle Ships* sounds more like “ABC Auto-Industry.” The track listing is structured such that these more conventional songs are surrounded by briefer, and more abrasive, intrusions. They become signals in the noise, as though we’re listening to them on the radio--or ships, rising above some stormy seas. Several tracks, such as “International,” also feature a more dissonant intro, on top of that, crowding their main melodies inward.

Over the years, many critics have been quick to contrast Dazzle Ships with OMD’s other albums, but I actually think it has a lot in common with their preceding LP, 1981’s Architecture & Morality, and seems to me to flow naturally from the direction the band had already been going in. Architecture & Morality is a lively mix, with moody instrumentals like “Sealand,” guitar-driven numbers like “The New Stone Age,” and catchy, intuitive pop songs like “Souvenir.” Architecture and Morality proved to be their most successful album, when its title track sounds like this. I fail to see how it’s tremendously different than the title track of Dazzle Ships, which leads us on a harrowing sea chase, with radar pings quickly closing in.

That nautical theme is a great segue to discuss the album’s visual motif. Like all of OMD's first five albums, its sleeve was designed by Peter Saville, most famous for his stunning work for New Order. The cover and title were inspired by a painting Saville had seen, Edward Wadsworth’s *Dazzle Ships in Drydock at Liverpool,* which portrays WWI warships painted in striking, zebra-like geometric patterns. These sharply contrasting “razzle dazzle” designs weren’t “camouflage,” but rather served to confuse enemy forces’ attempts to track them, and predict their motions. Dazzle ships were killing machines that fought dirty...and they were also beautiful. It’s a potent, complex symbol, and it’s a natural fit for an album that’s also capricious, perplexing, and captivating in its uniquely modern terror. Saville’s sleeve design features both a die-cut design as well as a gatefold; peeking through the cover’s “portholes” reveals the interior, where we find a map of the world, divided by time zones. It’s yet another reminder of how technology has reshaped the planet, connecting the human race while also creating divisions.

Earlier, I argued that Dazzle Ships isn’t that different from OMD’s preceding LP, and I’d also suggest that their follow-ups to it aren’t all that different, either. It’s easy to see the influence of Dazzle Ships on their most recent work, made after reforming the group in the late 00s, and informed by the critical re-evaluation and cult acclaim of their alleged masterpiece. But even in the 80s, they basically continued the pattern of layering easy to love, “obvious single choice” tracks alongside more experimental, sample-heavy ones. Compare the title track of their sixth LP, 1985's *Crush.*

Even the greatest of pop hitmakers can't maintain a streak in the charts forever--it's not the nature of mainstream pop charts. Not even in the 1980s, when you could get away with quite a lot of electronic weirdness...at least for a while. Looking back and listening to "Maid of Orleans," it's almost hard to believe it was one of OMD's biggest hits. Is it really less weird than something like "Telegraph"? Perhaps they had simply reached the end of their imperial phase...whether they really had that stern talking-to or not.

It's not so much that Dazzle Ships isn't weird, so much as it is foreseeable that a nerdy, left-of-center band like OMD would have come up with it. Dazzle Ships IS excellent--it’s a Great Album! But it's good enough that I think it deserves to be heard and valued on its own terms. The album is too goddamn good--too compelling, too spell-binding--to be reduced to "that one album the plebs were too dumb to really get." I'm not clearing the air because I think this album is overrated, but because I think it deserves better, deeper discourse than it gets. A truly great album is great whether it sells or it doesn't, right? My advice is to never let art intimidate you, no matter how obtuse people say it is. Send your ship on that plunge into the dark waters of the unknown--you might find something beautiful.

That said...my favourite track overall is “Radio Waves,” an irresistibly fun cut that could easily have become a third single. Since “Genetic Engineering” and “Telegraph” live on side one of the record, “Radio Waves” is really the only “reprieve” we get on side two, smack in its middle. It really stands out, in context--almost like the opposite of how a more conventional album might have one out-there track that catches you off guard. Aside from all of that, though, the song also stands perfectly well alone. I have a real soft spot for music about music, how it’s made and transmitted, and “Radio Waves” is simply one hell of a ride.

Thanks for reading!

#great albums #music #omd #orchestral manoeuvres in the dark #album review #album reviews #dazzle ships #peter saville

[spmcomic]

here is the chunky boy...!

this is how i draw him, and also some information about his gear and those weird weird arms.

detailed bio under the cut:

Name: General Cadmar O’Chunks

Age / Species (at intro): 33 / human

Pronouns etc: he, bi

Personality: Warm and friendly. Cadmar O’Chunks has always been an agreeable, good-humored person. He doesn’t purposefully seek out the spotlight, but he tends to become the center of attention in a group through his projecting voice and natural authority, and his ability to make quick, efficient decisions in tense situations. As a soldier and commander his focus has always been on keeping his family safe. He lost confidence in himself after a devastating betrayal on the battlefield that cost him his soldiers and his beloved younger siblings, and since then tends to become anxious and skittish when he is specifically given a job to do. O’Chunks clings to the belief that justice will always prevail… And so he will be punished for his negligence during that battle.

Hobbies: O’Chunks likes to work with his hands. He carves wood to pass the time and has a surprising amount of dexterity for someone with such big fingers. He also enjoys telling stories, and has had years’ worth of practice with his favorites. Not much of a natural singer, but is able to come up with lyrics basically on the spot. Used to play a guitar-like instrument, but dropped practicing as he rose in ranks in the military. 

Family / Friends: The O’Chunks family was pretty normal- an involved mother and father, seven children, of which Cadmar was the eldest. His grandparents were decorated veterans (and their parents before), so his father had also joined the military, which inspired all the children to follow in his footsteps. Cadmar was naturally friendly and outgoing, and made sure to personally meet and speak with all of his soldiers at least once. He was friends with many of his subordinates, but he was always closest with his siblings. He got into the habit of assuming responsibility for his subordinates’ actions after growing up with six rambunctious younger siblings, and this rather self-destructive habit carried over to his new family after he joined the Count’s team. 

Timeline: O’Chunks was born in a world that is about the equivalent of Earth’s 70s (though with advanced medicine technology). The world’s weapons technology lagged far behind most other worlds that were as old and large as his. Military skirmishes were more of a strategy competition than a display of power, and so they never saw the need to advance beyond very efficient swords or arrows. Injuries were common in battle, and prisoners, but deaths were rare. He joined the military at 16, and spent his first several years in an academy for leadership training at his famous father’s recommendation. One by one, as they reached the required age, his siblings joined him, and their coordination and combined strategic capabilities made the family a standout team in his country’s military forces. After the youngest brother Alastair joined, the family was put in charge of the largest army, standing at a thousand men strong. Eventually, they were sent to attack a neighboring country over a tariff dispute. It was meant to be a quick shutdown, but one of Cadmar’s advisors saw an opportunity to reveal the O’Chunks father as a fraud who stole his coworkers’ documentation and published it under his own name while they were away at war. And so the advisor took Cadmar’s own reports to the enemy and devised a plan to humiliate the O’Chunks family. This betrayal led to the deaths of 999 soldiers, the most in recorded history, and Cadmar survived scarred and permanently unfit for battle. The war crime did reveal his parent’s lies, but it caused every country surrounding the offender to retaliate and led to the most violent war their world had seen in two hundred years. O’Chunks, about a year into his forced retirement, was approached by the Count and Nastasia. He interpreted their offer as a message from his siblings and decided to join the pair, if only to protect Nastasia from the addled Count’s erratic outbursts.

#spm #super paper mario #paper mario #o'chunks #ochunks #character refs #ref

[idontwanttospoiltheparty]

Ive never really understood the hype surrounding Taylor Swift - I mean, I like some of her songs, but im not big on modern pop music so generally she just doesn’t really click for me. But I find it interesting that theres quite a few of Beatles/Swift blogs - like, they should have very little in common given that they’re from completely different eras and all, but somehow people seem to find a lot of semblance between the two. << and thats not me shitting on any of these blogs btw! Hope I don’t come off as rude or condescending there <3

Anyway, I was just wondering what got you into Taylor Swift? (I think ive read your post on how you got into the Beatles)

Hi, anon! Don't worry, I don't think you're rude or condescending! I agree they don't have too much in common and I don't really like their music for the same reasons.* I do have a playlist of Paul songs that have similar vibes to Taylor songs but it's mostly lyric-based. (Also the Beatles For Sale songs actually have quite the Taylor-tinge because Paul and John were not immune to Country Music)

I saw @stewy say once that a possible reason there are a good handful of us Swiftie-Beatle People on here is the appeal of a vast discography, which I agree with. If you have an artist/group with 200ish songs, it's just really fun to really dive into their work and explore all the facets. I also think: we're talking about the most popular band of all time and one of the highest-selling artists of the 21st century. They have a lot of fans so there's bound to be overlap, regardless of musical differences.

Moving on to your question: Getting into Taylor was an extremely personal experience for me and so my explanation is probably going to be kind of long so I'll put it under a read more.

It was spring-summer 2014, I was 15. I had heard the more popular songs of hers starting with Love Story and enjoyed pretty much all of them (I always found her hopelessly romantic point of view fascinating) but before I got a Spotify account in 2013 it was difficult in general for me to really get into an artists' entire discography so most of her songs had flown under my radar.

At the time, I was in this very weird sort of codependent online friendship with this girl who was basically my first real best friend and my first more or less crush. She was very depressed and I was very much in an I Could Fix Her™ mood, except that I obviously couldn't fix her and it made me feel like I wasn't enough and she had begun pulling more and more away from me and not replying to my messages and it was simply driving me insane. I consider it the saddest period in my life.

at some point during this period, I started trying to connect with other people (all online, I didn't know how to talk seriously to anyone IRL) and explaining the issues I'd been having, and one of the people who brought me joy and whom I actually felt not drained talking to was a huge swiftie. And IDK the fact that she loved Taylor and the fact that talking to her made my life better (and also the fact that I liked all the Taylor songs I knew at that point) just made me decide to give her a listen. And I think that whole "large discography discovery" phenomenon really helped me at the time (funny, because her discography has doubled since then). It gave me something new to focus on; there were just so many songs to discover, all telling such rich stories. I also have always loved bridges, they are almost always my favourite part of a song. And Taylor, god-bless her, loves them too and always puts her ALL in them. Like pretty much every bridge of hers brings the song to the next level, and even a lot of her songs I don't adore tend to have great bridges (Stay Stay Stay and Paper Rings come to mind). I think one of her most underrated qualities is how good she is at song structure and really building up an entire musical journey with a song. She also almost always adds cool ad-libs in her second and third choruses to keep the songs interesting and dynamic (or at least since she's gone pop). Anyways, back to the story: Then Taylor announced 1989 as her next album and released Shake It Off, and it was just like this great happy thing for me to look forward to, when I had very little keeping me going. The era was promoting a lot of happiness which in hindsight was slightly fabricated and it was just a really great thing for me to latch onto.

At the same time I was coming to realize that I was gonna have to pull away completely from my friend and all those break-up songs just… Hit, y'know? Like, some people seem to think Taylor's a one-trick pony because she likes to write break-up songs but to me, break-ups are just like this moment where you as a human can potentially feel every single emotion, and Taylor's songs have covered every facet of the concept. Here are some songs I remember from that period, that all meant a lot to me at the time because they explained my own pain to me so well:

Haunted, for the absolute terror you feel in the first moments you realize someone is probably gonna leave you. Come on, come on / Don't leave me like this / I thought I had you figured out / Something's gone terribly wrong / You're all I wanted.

I Almost Do, for the inner turmoil you feel when you know you have to stay away from someone for your own good but you really, really have to resist just running back to that person. We've made quite a mess, Babe / It's probably better off this way / And I confess, Babe / In my dreams you're touching my face / And asking me if I wanna try again / With you / And I almost do.

Last Kiss, for that absolute sadness that comes simply with remembering everything that was good and not comprehending how it could've possibly ended. I still remember / The look on your face / Lit through the darkness / At 1:58 / Words that you whispered / For just us to know / You told me you loved me / So why did you go / Away?

Forever and Always, for that feeling of desperately wanting to hold on to what you still have but at the same time realizing it probably isn't going to last and having no idea how to fix it, plus feeling like the other person doesn't even care. So here's to everything / Coming down to nothing / Here's to silence / That cuts me to the core / Where is this going? / Thought I knew for a minute / But I don't anymore.

Dear John, my all-time favourite song, for that moment you find clarity and realize that you deserved better and that you were headed in an extremely dark direction because of this other person. [DISCLAIMER: my friend did NOT abuse me nor did we have some inappropriate age difference. But the way she would ignore me and her general moodiness really affected my own mental health and self-worth problems] You paint me a blue sky / And go back and turn it to rain / And I lived in your chess games / But you changed the rules every day / Wondering which version of you I might get on the phone / Tonight / Well I stopped picking up / And this song is to let you know why.

(She's covered more aspects of break-ups in other songs [cheating, divorce, feeling awkward around your ex amongst others], these are just the ones I remember being really important to me when I was first getting into her)

She really helped me feel a lot less alone during one of my loneliest periods and I really can't thank her enough for that. Soon after this, I started crushing on a girl in my class and Taylor's love songs started to take on a new meaning for me as well.

What's crazy to me is, when she went on hiatus for a few years, a part of me thought maybe I'd grown out of her and no longer had much in common with her, but when reputation came out I was pulled right back into my love for her as a person and musician and then when Lover came out I found that she was still explaining feelings to me better than I ever could (specifically with the songs The Archer and Cornelia Street). And now with folklore and evermore she's simply absolutely perfected her story-telling and I find myself deeply moved even by the songs I don't directly relate to. I feel like she has this amazing ability to find the absolute truth in the specific. I've never had a summer romance with someone who already had a girlfriend and mostly wanted to go back to her, and yet the bridge of august feels so real to me, y'know?

Back when we were still changin' for the better Wanting was enough For me, it was enough To live for the hope of it all Cancel plans just in case you'd call And say, "Meet me behind the mall" So much for summer love and saying "us" 'Cause you weren't mine to lose

It's hard to explain but looking at this, like it's so much more than the story it's telling. It's talking about how when you're young you really need so little to feel satisfied; how sometimes the idea of someone maybe spending time with you is better than actually doing things with other people; and how if someone using you without much thought can make you feel like you're not even entitled to grieve what you lost. Sorry. I'll stop. Don't want to go insane.

So, all of this is very personal and unique to me, but I think really the main thing that draws me to her is how vulnerable and honest she is about emotions, how eloquently she can explain the pain of being alive to me. Some people think she isn't the strongest singer, but I think, much like John actually, one of her greatest assets is how good she is at projecting emotion. The song happiness is a song I think has some lyrically weak moments but her vocal performance on it is so raw and devastating that every single line works even when, looking at it on paper, it feels like it shouldn't.

Hope this rambling made sense to you, lmao?? I love talking about Taylor though so thanks for the ask! Also very open to giving song recs if you do want to check her out more but I won't unless solicited to lmao *Sort of off-topic but I do think there's a relation between my fascination with the Beatles' history and my love for a great break-up song. I like pain I guess :)

#ask #anon #taylor #mine

[davebuckleslefthand]

the USA makes me so upset! U.S. CITIZENS ARISE!

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620 PEOPLE CAN'T ALL BE WRONG...

[anotherkindofmindpod]

I’d love for you guys to have Mark Lewisohn on your show just to grill him. As someone who’s experienced workplace bullying and sexual assault, that he would go so far as to paint Klein as “heroic” when he said things like “reluctant virgin” is just so devastating to me. It makes me feel ill. I do NOT want this man to have a say in Beatles history. I love the Beatles. I don’t want that tainted by people who will paint over abuse just to feed their own self importance.

We vehemently agree, Listener!  Thank you for writing in.

Our list of grievances with Mark Lewisohn is long, but in a nutshell we believe his intent is to publicly “redeem” John Lennon and we have seen copious evidence that he will go to whatever lengths he has to in order to do this. 

That includes, but is not limited to: 

Claiming that readers of his Tune In Series may consider Klein the “hero” of the Beatles break-up

Deliberately spreading the demonstrably false lie that John (and Yoko) did not have a significant heroin problem in the late 60s and early 70s (Lewisohn suggests Cold Turkey is just John playing make believe)

Displaying unapologetic favoritism by using glowing terms to portray John and Yoko as the world’s most perfect romance, as opposed to Paul and Linda, whose 29-year marriage he dismisses as “conventional” and motivated by appearances (namely Linda’s pregnancy, even though it was planned) and Green Card needs

Stating that he could tell from watching the infamous “it’s a drag” clip that Paul was kind of sad, but primarily annoyed at how much positive attention John was getting on the day of his murder

Apparently suggesting to an audience of his Power Point Show that Paul maybe stole a leg off Yoko’s bed (the bed she had delivered and built in the Beatles’ recording studio, mind you), a personal “theory” which is based on the fact that Paul later wrote a song called “Three Legs” (you know that song: “My dog, he got three legs, like the bed you inappropriately brought into Abbey Road 2 years ago which I secretly vandalized behind your back because I have nothing better to do, am certainly not busy writing the Beatles Swan Song and don’t have a fucking 7 year old at home or anything”)

This isn’t even to mention Tune In, which could be a whole separate post and episode. Suffice it to say, this book often reads less like a Beatles biography and more like John Lennon Fanfiction to us.

Lewisohn managed to distinguish himself by doing (some) research and unearthing some original documents. That he had some skill in research is not surprising given that he started his career in Beatledom as a researcher for Norman, on his book Shout — which Lewisohn still contends is a good book. Norman, on the other hand has evolved his opinion of his own work and thinks Shout was flawed, so has written a whole biography on Paul to make up for what he sees as the failure of Shout, which is his underestimation of Paul. Unfortunately, Lewisohn does not seem to have made this same journey. He pays lip service to John and Paul being equal, and then spends all of his time and energy trying to prove otherwise. Norman says that he has created a monster in Lewisohn. We take his point.

One of our biggest issues with Lewisohn is that he vigorously promotes himself as an unbiased truth teller, and his calm manner seems to telegraph this. But it is not true. The research that Lewisohn does and the spin that he applies to his findings are all heavily biased. As we mentioned in one of our episodes, he travelled to Gibraltar simply to experience where John and Yoko got married. Yet when Paul calls the May 9th meeting over management the metaphorical cracking of the Liberty Bell, Lewisohn doesn’t even bother to Google it so he can understand the metaphor.

What he chooses to research is also a form of bias. For example, we at AKOM are very interested in Paul’s relationship with Robert Fraser during the Beatle years — since Paul has commented that Fraser was one of the most important, influential people in his life. Paul McCartney was the concept artist behind Sgt. Pepper’s Lonely Hearts Club Band, the Magical Mystery Tour film, the iconic Apple logo, and he co-designed the covers of the White Album and Abbey Road.  All of these are pretty defining moments in the Beatles’ career.  As Beatles fans, we’d like to know more about Paul’s art education and influences. But we would be shocked if Lewisohn dug into Fraser at all beyond his relationship as John and Yoko’s gallerist/curator (and heroin dealer, but since that isn’t a thing in Lewisohn’s world then maybe he will be ignored).

We think Lewisohn benefits massively from the fact that Beatles authorship was like the Wild West since its inception, when everyone with a connection to the Beatles (plus or minus a personal axe to grind) wrote a book about their experience. It was absolute chaos, with no rules, no checks and balances, uncredited sources, etc. Just an absolute shit show.  What Lewisohn did was bring some order to the chaos with some proper documentation. But again, what he chooses to dig into often reflects bias. And this certainly does not mean that he is intellectually or emotionally equipped to interpret his findings. Doing this takes social intelligence and insight, which is a very different skill. As a creator of myths, he is no better (and no more insightful or original) than many of the others who came before him; he worships John Lennon and freely admits it. He is not even close to being unbiased.  But in this dumpster fire of a fandom he has at least checked some boxes and done some digging.  The fact is, the bar has been so low for so long that Beatles fans don’t even know how to expect or want better.  But WE certainly expect better.  We expect some breakthrough, fresh thinking.  Not just Shout with Receipts.

We think it’s significant that Lewisohn was deeply disliked by George Harrison, who lobbied to get him kicked him off the Anthology project. He was fired from Paul’s fan club magazine, and yet no one seems to think he might hold a grudge about that, too?  Lewisohn so distorted John and Paul’s relationship in Tune In that he believes he is the target of the lyrics in Paul’s song “Early Days.“  And he either thinks that’s flattering or funny, because Lewisohn seems to truly believe he knows John Lennon better than Paul McCartney does.  We find it almost tragic that Paul is so bothered by the way his experience and relationship is being portrayed by authors (perhaps Lewisohn) that he wrote a song about it. In it, he conveys his frustration and heartache about how everything is misconstrued and we find it absolutely outrageous that Lewisohn would not take this to heart.  Perhaps Lewisohn thinks Paul should listen to him for a change? And if he doesn’t like it, then tough, because Lewisohn knows better? We think Lewisohn should do some serious soul-searching about “Early Days” because if one of his main subjects is saying, “you are getting it wrong and it is breaking my heart”….maybe, just maybe, he should listen and rethink things.  Maybe apply a little creativity, out-of-the-box thinking and empathy. This is what his heroes did.

Meanwhile, Jean Jackets are SO BUSY complaining that Paul McCartney doesn’t like Lewisohn because he “tells the truth!” that they fail to notice that Lewisohn has become a mouthpiece for Yoko Ono.  He has already started white-washing John Lennon’s history, promoting John and Yoko as the true and only geniuses versus Paul as the craven, small-minded Lennon disciple who (through no virtue of his own) was born with the ability to write some nice tunes.  Lewisohn’s version of John, on the other hand, is ALWAYS a sexy, visionary genius on the right side of every issue.  He even went out of his way to recently trash Paul’s early 70’s albums, which -in addition to being obnoxious and we believe wrong (since we love them)- is totally outside his purview.

Lastly, to address your original point, Lewisohn’s claim that Klein may be viewed as the “hero” of his Beatles History reveals that he hasn’t shown sufficient empathy or interest in Paul’s experience.  This claim at best ignores and at worst condones the fact that Klein was an abusive monster to one of the two founding members of the Beatles.  As we discussed in Episode 4, Klein was a criminal who bullied Paul in his creative workspace, disrespected Paul in his own office in front of his own employees and actively pitted Lennon against McCartney for years.  It’s hard to imagine ANYONE who inflicted more damage on the Beatles and Lennon/McCartney than Allen Klein.  In addition to the wildly inappropriate “reluctant virgin” nickname, he verbally threatened to “own Paul’s ass” (to which Paul responded “he never got anywhere near my ass”). Klein was so disrespectful to Paul and Linda’s marriage he pitched the idea of procuring “a blonde with big tits” to parade in front of Paul to lure him away from Linda and destroy their relationship.  Let’s also never forget that Klein contributed lyrics to the song “How Do You Sleep.”  Allen Klein literally gave Paul nightmares.  Anyone who so much as pretends to care about Paul’s break-up era depression (including his alcohol abuse, his inability to get out of bed and his terrifying sleep paralysis) would not champion Allen Klein.

Yes, Klein is a human being and therefore has his own POV, same as anyone else.  But a Beatles biographer is beholden to four points of view only: John, Paul, George and Ringo.  And when an outsider is openly hostile to one of the Beatles and damaging long-term to all of the Beatles, it is beyond inappropriate to portray him as a hero.  This type of comment, made publicly to an audience of Beatles fans, invalidates and seeks to erase the real trauma inflicted on Paul McCartney by Allen Klein, and we think Lewisohn should apologize for his comments.

Instead, Lewisohn’s current buddy is Peter Brown, whose book, The Love You Make so offended and angered Paul and Linda that they literally burned their copy (and photographed it burning for good measure).  This information doesn’t appear to bother Lewisohn in the least. Why not?

George referred to Norman’s Shout as “Shit.” But Lewisohn thinks it’s a great book.  Why?

How any Beatles or Paul or even George fans tolerate Lewisohn is baffling to us; we don’t recognize a real human being in his version of Paul, and his version of John is a superhero rather than a man.  We suspect that fans have come to accept the traditional story and at least appreciate some properly-documented facts. 

But as we are constantly trying to demonstrate on our show, just because the story has always been told one way, doesn’t mean it’s right.  Because in the end, Mark Lewisohn has no special insight. He wasn’t there. He is a guy who bought into a narrative during the Shout era, and is cherry picking his findings to support it.You can find a discussion of Lewisohn here

#MarkLewisohn #anotherkindofmind podcast #Beatles #Lewisohn is a joke

[theophagism]

this is gonna sound so weird but drop some book recs

please, i love giving book recs! here are a few of my favs in no particular order w/ their Goodreads summary 

Autobiography of Red by Anne Carson

A stunning work that is both a novel and a poem, both an unconventional re-creation of an ancient Greek myth and a wholly original coming-of-age story set in the present.

Geryon, a young boy who is also a winged red monster, reveals the volcanic terrain of his fragile, tormented soul in an autobiography he begins at the age of five. As he grows older, Geryon escapes his abusive brother and affectionate but ineffectual mother, finding solace behind the lens of his camera and in the arms of a young man named Herakles, a cavalier drifter who leaves him at the peak of infatuation. When Herakles reappears years later, Geryon confronts again the pain of his desire and embarks on a journey that will unleash his creative imagination to its fullest extent. By turns whimsical and haunting, erudite and accessible, richly layered and deceptively simple, Autobiography of Red is a profoundly moving portrait of an artist coming to terms with the fantastic accident of who he is.

honestly my favorite book. i can’t recommend it enough. it inspired my username and my blog title both here and on my other tumblr accounts. i’m planning on getting a few tattoos based on it as well. 

tw: sexual abuse, disassociation

Night Sky With Exit Wounds By Ocean Vuong

Collection of Vuong’s poetry

tw: internalized/externalized homophobia, poetic violence, the aftermaths of war/immigration  

The River King by Alice Hoffman

People tend to stay in their place in the town of Haddan. The students at the prestigious prep school don't mix with locals. Even within the school, hierarchy rules as freshman and faculty members find out where they fit in and what is expected of them. But when a body is found in the river behind the school, a local policeman will walk into this enclosed world and upset it entirely. A story of surface appearances and the truths submerged below.

so so so so beautiful and heart wrenching. i read it in sixth grade and have kept my copy ever since and haven’t stopped thinking about it. similar to The Secret History and If We Were Villians.

tw: self-harm, suicidal ideation, brutal murder

The Secret History by Donna Tartt

Under the influence of their charismatic classics professor, a group of clever, eccentric misfits at an elite New England college discover a way of thinking and living that is a world away from the humdrum existence of their contemporaries. But when they go beyond the boundaries of normal morality they slip gradually from obsession to corruption and betrayal, and at last - inexorably - into evil. 

in my top five favorite book and one of my most reread. my copy is covered in notes and ramblings.

tw: murder, alcohol and drug abuse

If We Were Villians by M.L. Rio

Oliver Marks has just served ten years in jail - for a murder he may or may not have committed. On the day he's released, he's greeted by the man who put him in prison. Detective Colborne is retiring, but before he does, he wants to know what really happened a decade ago. As one of seven young actors studying Shakespeare at an elite arts college, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingenue, extra. But when the casting changes, and the secondary characters usurp the stars, the plays spill dangerously over into life, and one of them is found dead. The rest face their greatest acting challenge yet: convincing the police, and themselves, that they are blameless.

it took me a bit to fall into but it’s really good. similar to The Secret History

tw: murder

Daughter of Smoke and Bone by Laini Taylor

Around the world, black hand prints are appearing on doorways, scorched there by winged strangers who have crept through a slit in the sky. In a dark and dusty shop, a devil’s supply of human teeth grows dangerously low. And in the tangled lanes of Prague, a young art student is about to be caught up in a brutal otherworldly war. Meet Karou. She fills her sketchbooks with monsters that may or may not be real, she’s prone to disappearing on mysterious "errands", she speaks many languages - not all of them human - and her bright blue hair actually grows out of her head that color. Who is she? That is the question that haunts her, and she’s about to find out. When beautiful, haunted Akiva fixes fiery eyes on her in an alley in Marrakesh, the result is blood and starlight, secrets unveiled, and a star-crossed love whose roots drink deep of a violent past. But will Karou live to regret learning the truth about herself?

Wuthering Heights by Emily Bronte

A wild, passionate story of the intense and almost demonic love between Catherine Earnshaw and Heathcliff, a foundling adopted by Catherine's father. After Mr Earnshaw's death, Heathcliff is bullied and humiliated by Catherine's brother Hindley and wrongly believing that his love for Catherine is not reciprocated, leaves Wuthering Heights, only to return years later as a wealthy and polished man. He proceeds to exact a terrible revenge for his former miseries.

Frankenstein by Mary Shelly

The story of a young scientist who creates a sapient creature in an unorthodox scientific experiment.

Brideshead Revisited by Evelyn Waugh

Through the story of Charles Ryder's entanglement with the Flytes, a great Catholic family, Evelyn Waugh charts the passing of the privileged world he knew in his own youth and vividly recalls the sensuous pleasures denied him by wartime austerities. At once romantic, sensuous, comic, and somber, Brideshead Revisited transcends Waugh's early satiric explorations and reveals him to be an elegiac, lyrical novelist of the utmost feeling and lucidity.

tw: sad ending, alcoholism

Crush by Richard Siken

Collection of Siken’s poetry

tw: internalized/externalized homophobia, poetic violence

The Likeness by Tana French

Cassie Maddox has transferred out of the Dublin Murder Squad with no plans to go back—until an urgent telephone call summons her to a grisly crime scene. The victim looks exactly like Cassie and carries ID identifying herself as Alexandra Madison, an alias Cassie once used as an undercover cop. Cassie must discover not only who killed this girl, but, more important, who was this girl?

it is part of a sort of series but it isn’t necessary to read the other books, though they’re great. I also recommend Broken Harbour from that series. similar to The Secret History.

tw: murder, one brief scene of homophobia by a main character’s family

Entangled Life: How Fungi Make Our Worlds, Change Our Minds & Shape Our Futures by Merlin Sheldrake

When we think of fungi, we likely think of mushrooms. But mushrooms are only fruiting bodies, analogous to apples on a tree. Most fungi live out of sight, yet make up a massively diverse kingdom of organisms that supports and sustains nearly all living systems. Fungi provide a key to understanding the planet on which we live, and the ways we think, feel, and behave. In Entangled Life, the biologist Merlin Sheldrake shows us the world from a fungal point of view. Sheldrake's exploration takes us from yeast to psychedelics, to the fungi that range for miles underground and are the largest organisms on the planet, to those that link plants together in complex networks known as the "Wood Wide Web," to those that infiltrate and manipulate insect bodies with devastating precision.

tw: will make you stare at the mushrooms at the grocery store for an ungodly amount of time

#book recs #mailbox

[bobdylanrevisited]

Highway 61 Revisited

Released: 30 August 1965

Rating: 10/10

My favourite album of all time. Released just five months after BIABH, this is another unforgettable record which defines the 1960s. Unlike the previous album, this one is almost entirely electric, minus the closing song, and it was clear that Bob couldn’t be further from his folk roots. This is, for me, the pinnacle of music and song writing, and whilst I consider many of his albums to be masterpieces, this is the one that truly makes him a god in my eyes. He would tour following this release, with so-called fans hatefully booing at the sight of a drum kit or an amplifier. This only confirmed to Dylan that he had to continue revolutionising his sound, and if these people didn’t like it then he must be doing something right. 

1) Like A Rolling Stone - Judas! How dare he open with one of the greatest songs ever recorded. A needling, accusatory, schadenfreude attack of ‘Miss Lonely’, which relishes in a fall from grace. There’s been much speculation as to her identity, but it’s the refrain of ‘How does it feel?’ that will get under your skin and stay with you. The angry snarling of Dylan is both exhilarating and intense and it never gets old, the song sounds fresh every single time you hear it. Alongside the perfect lyrics, the crashing guitars and Al Kooper’s irregular organ chords give the track a uniquely jarring sound, and it’s breathtaking. It’s no wonder it’s often voted the greatest song ever made, and Dylan has enjoyed playing it live ever since, in many different styles. But nothing will ever top the Free Trade Hall 1966 performance, which is the greatest moment in musical history. If you haven’t heard it, go and listen to it immediately and prepare for your jaw to hit the floor. Oh, and don’t forget, play it fucking loud. 

2) Tombstone Blues - Dylan parades historical and pop culture figures in this fast paced song, which has been analysed as being about the Vietnam War or the absurdity of the zeitgeist. Another track that has remained popular in live sets for decades, it’s a brilliantly worded piece that is both amusing and confusing. The screeching guitar solos from Mike Bloomfield are pure rock ‘n’ roll and elevate the song to another level, although the whole band are phenomenal throughout the album. It’s just another brilliant track that couldn’t be further from his earlier work, but cements Dylan as a rock star. 

3) It Takes A Lot To Laugh, It Takes A Train To Cry - Although many quick tempo versions were rehearsed, this final recording was reworked by Dylan over a lunch break, because he’s a fucking genius. To create this beautiful song in under an hour is ridiculous, and it’s a lovely, bluesy tune which is less angry and cynical than many other songs on the album. The Newport Folk Festival 1965 version, which is hard to hear over the screams of those feeling betrayed, is great, but the Rolling Thunder Revue 1975 version is truly magnificent 

4) From A Buick 6 - Whilst this is the weakest song on the album, it’s still an incredible blues track with some brilliant singing from Bob. The lyrics aren’t as deep as the other songs, it’s basically about a woman who gives Bob life and potentially will cause his death, but the instrumentation is fun and it sounds like everyone is having a blast playing it. It’s a great tune that is a fun couple of minutes and there’s nothing wrong with that. 

5) Ballad Of A Thin Man - Poor Mr. Jones, probably Dylan’s most fully formed and completely repugnant character. This is my favourite track on the album and probably my favourite Dylan song (I know I say that about a lot of songs). It’s a brutal, depressing, bleak assassination of someone who has wronged Bob, with haunting piano that echos around the menacing words that send shivers down your spine. It’s most likely aimed at the reporters and the media who misunderstood Bob, or pretend to be cool and up to date with the culture, and here Bob unmasks them and publicly annihilates their fraudulent disguises. As with much of this album, it has remained in his live sets since release, but again no performance ever topped the Free Trade Hall 1966 one, the booing made Dylan’s words and delivery even more sinister and shocking. 

6) Queen Jane Approximately - Another needling song in the same vein as ‘Like A Rolling Stone’, though this one is more sympathetic to the subject. However, it is once again a classic track which sounds absolutely beautiful. Potentially about Joan Baez, though Dylan claims it actually about a man, it’s a fantastic piece that is both mellow and devastating at the same time. 

7) Highway 61 Revisited - The whistle on this song is iconic, as is the screamed refrain which is basically impossible to not shout at the top of your lungs with each listen. Biblical lyrics and dark imagery are contrasted by the upbeat tune, and it’s interesting that in reality, Highway 61 leads back to Dylan’s birth place, potentially making himself the true subject of the song. Another example of his advances in storytelling through references and metaphor, this is a deep and vivid song that Dylan still belts out on tour to this day. 

8) Just Like Tom Thumb’s Blues - Despite being a brilliant song, which creates an atmosphere of tiredness and surrender, the story Dylan tells here is both fascinating and, not surprisingly, fantastically written. Starting in Juarez and returning to New York City, the protagonist must fight off women, booze, drugs, and the police on his journey, and it’s a riveting tale. As there is no chorus or refrain, this could easily be a Kerouac short story, but it really works as a track you can lose yourself to. You’ll be wrapped up in your own imagination of the events, described in an incredibly personal way by Bob, as if he’s telling you this story directly. I know I’ve mentioned this a lot, but the Free Trade Hall 1966 version sounds like it’s not of this world and should be mandatory listening. 

9) Desolation Row - This is the true showcase of Bob’s skill with the english language, an 11 minute acoustic song, which is more like an epic poem of old. Again peppered with pop culture references, it was released during a period where 3 minute love songs were topping the charts, and shows how much Bob was challenging the notion of what music could be about, and really mastering it as a literary art form. It begins with infamous lynchings from Bob’s birthplace, before moving on to fairy tale characters, biblical figures, authors, poets, scientist, and the victims of the Titanic, to name but a few. The lyrics are so engrossing, and the delivery is almost hypnotic, that the 11 minutes feel like mere seconds, as he paints a tapestry in your mind that is exciting, vivid, and yet tinged with a bleakness as no one is happy in the song. It’s an incredible way to end the album, though you’d wish it went on forever. 

Verdict: Obviously, I consider this the definition of perfection. For an album that largely focuses on sadness, feeling lost, anger, and cynicism, no other record makes me feel as joyous as this one. It’s the culmination of everything that came before it, from the dense verses of ‘A Hard Rain’s A-Gonna Fall’, to the audience rejection of ‘My Back Pages’, to the new sound on ‘Subterranean Homesick Blues’, and it comes together to create this perfect album. It’s unfathomable that a human created this, it seems more like a gift from the universe made especially for me, and I implore you to listen to it on repeat. Each time you’ll discover something new and your favourite song will change numerous times. Bob’s next outing would be of a similarly astonishing quality, and whilst he was touring the world to a chorus of jeers, he was about to record another album that would continue to push the boundaries of popular music. 

#bob dylan #highway 61 revisited