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deadcactuswalking · 6 months

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REVIEWING THE CHARTS: 21/10/2023 (Fred again../Jozzy, Troye Sivan, Drake/SZA)

Content warning: Brief mentions of mental health, violence, emotional abuse and death

For a second week, Kenya Grace leads the pack with “Strangers” - welcome back to REVIEWING THE CHARTS!

Rundown

As always, we start the episode off with our notable dropouts, which are songs exiting the UK Top 75 - which is what I cover - after five weeks in the region or a peak in the top 40. Firstly, we see a couple top 40 debuts exiting as soon as they entered, like “Normal People Things” by Lovejoy, “Toxic” by Nines featuring the Bad Boy Chiller Crew, “You & Me” by JENNIE and “American Town” by Ed Sheeran, as well as “bad idea right?” by Olivia Rodrigo prematurely dropping off thanks to the three-song rule. Then we have some of the more long-term hits dropping off like “The Weekend” by Stormzy and RAYE, “0800 HEAVEN” by Nathan Dawe and Joel Corry featuring Ella Henderson, “Popular” by The Weeknd, Playboi Carti and Madonna - that lasted way longer than I expected - and despite the recent gains, “Snooze” by SZA.

There is just… a lot of everything this week, but particularly gains. We do have some re-entries too, with “Style” by Taylor Swift back at #73 before her re-recording is even out, followed by “Someone You Loved” by Lewis Capaldi at #71 - what did I tell you? - and bizarrely enough, “Pompeii” by Bastille all the way up at #37 thanks to an orchestral version with Hans Zimmer. Alright then. As for our notable gains… let’s just run through it: “Another Love” by Tom Odell at #59, “Party All the Time” by Hannah Laing and HVRR at #58, “Anti-Hero” by Taylor Swift at #39, “On My Love” by Zara Larsson and David Guetta at #38, “Would You (go to bed with me?)” by Campbell and Alcemist at #35, “Got Me Started” and “Rush” both by Troye Sivan at #36 and #27 respectively - more on him later, “Back on 74” by Jungle at #25, “Stick Season” by Noah Kahan at #18 “Cruel Summer” by Taylor Swift at #14 thanks to the new versions, “DNA (Loving You)” by Billy Gillies featuring Hannah Boleyn at #12 and Mitski gets her first top 10 with the fantastic song “My Love Mine All Mine” at #8 - more on that later in the year.

As for our top five, we have “Baddadan” by Chase & Status and Bou featuring their posse at #5, “Water” by Tyla at #4, “greedy” by Tate McRae at #3, “Prada” by casso, RAYE and D-Block Europe at #2 and of course, “Strangers” at the very top. Now for our list of new songs, and it’s a lot - not a ton of it makes all too much sense either. As you can clearly tell with…

NEW ARRIVALS

#60 - “Just How You Like It” - K.A.D and Kak Hatt

Produced by K.A.D

I listened to a regional BBC Music Introducing show a couple weeks ago and heard a variety of stuff. One of the songs that stuck with me was a pretty mediocre but charming hip-house tune by some guy and it went “give me some time, I’ll have a Rover, lookin’ like a four-leaf clover, tell that girl, come closer”. It’s honestly probably terrible but it was at least honest fun, ending up comical not because he tried to be, but because it was a bit of a genuine fun, not trying too hard to offend anyone or even pretend he was a talented rapper. It was just stupid, and that was okay. This song, with the guy’s Bitmoji in the cover art, seems to think very highly of itself despite the fact it sounds worse than a clearly amateur recording from a guy who I’m sure has way less than the millions of streams this has. It’s pretty easy for me to tell when a song is devoid of personality or anything that personally interests me, but it’s rare that we can get a song devoid of talent - or at least any interest in getting any better. Hope this falls off quick.

#56 - “Black Hole” - boygenius

Produced by Collin Pastore, Jake Finch, Ethan Gruska, Calvin Lauber, Marshall Vore and boygenius

And for a change of pace, we have indie-rock threesome boygenius, consisting of critical darlings Phoebe Bridgers, Julien Baker and Lucy Dacus, with this coming as a bit of a surprise but they did carry some streams from the rest, a little accompanying EP for their debut album from earlier this year. I have yet to listen to any of the collaborative stuff from boygenius, even if I do like a fair bit of Baker’s and Dacus’ solo work. The song starts minimally with Baker despairingly mentioning the few stars she can see in the dark, as the lowered cacophony of strings, glitches, and plummering percussion start to rumble into prominence, battling with a lo-fi piano recording that just sits there, is let hang in a really awkward, but again, despairing way. Eventually, there is a full ruffling of drums but it’s distorted and busy, way too much so to feel organic or natural, so the seemingly endless verse of contrasting phrases from Dacus and Bridgers float across it, way further in the mix, like a cry for help in disaster - “my thoughts, all noise […] sometimes, I need to hear your voice”. It’s a great line to end on to, as the song dissipates out into the next on the tracklisting through a clattering software break instead of anything that sounds like it actually functions or resolves the song’s conflict. It’s a bit of a short, depressing tune, but it gets its point across pretty damn well. Wouldn’t mind more boygenius charting in the future, or just good alternative rock in general… just saying…

#52 - “WORTH IT” - Offset featuring Don Toliver

Produced by CHASETHEMONEY, Heavy Mellow, Cory Rose, OTTI, BEAM and Dave-O

The amount of producers on these big-name rap projects is getting out of hand. Does Offset really need six guys on the boards? To be fair, this was originally a song just by BEAM and CHASETHEMONEY that got deleted and repurposed into this track, which itself samples a Busta Rhymes classic “Put Your Hands Where My Eyes Could See”, which peaked at #16 in 1997, as well as the reggae-pop hit “You Don’t Love Me (No, No, No)” by Dawn Penn, which hit #3 in 1994. Yet somehow with all those samples, nothing of interests pops out. I guess this has a vague reggae rhythm to it thanks to the shaking percussion, and I mostly like Don Toliver on this kind of sound - he fits really well! Offset is here, on his #62 album that somehow charted two songs in the top 60 thanks to big-name features, and he just is entirely alien to this kind of song. There’s nothing that screams “chill reggae-pop” about Offset and it doesn’t seem like the mastering engineers cared much to rectify that. I don’t mind some of the melodic flows he ends up with, but they’re not anything I’d give a second listen. Maybe Offset’s next track will impress me?

#49 - “SAY MY GRACE” - Offset featuring Travis Scott

Produced by Vinylz, FNZ, Maneesh and Tom Levesque

Ever read a song’s title, artists and producers and know EXACTLY how it’s going to sound? This elevated, staccato luxurious trap beat was not a surprise to me at all, and I could even vaguely predict Set’s flow on this, which is sadly a bit more awkward than it should be when he’s asking God some genuine questions about why the people around him are dying, why there is systematic racism in the American justice system and… how his pinky ring cost him a Phantom. Travis Scott comes in saying he flooded the crib with cars and anything genuinely challenging or exciting about the song leaves with his verse, as the atmosphere mutes itself to a compressed synth for the entirety of his substanceless garbage that is sadly now not atypical of Travis. It had potential, but ended up honestly pretty bad.

#45 - “the grudge” - Olivia Rodrigo

Produced by Dan Nigro and Ryan Linvill

I was secretly hoping that no extra songs from GUTS would end up charting because I have very few good things to say about them but also very few good reasons for why I don’t like them. I can appreciate them as songs but they don’t resonate with me and particularly not this one, in her typical wordy fashion with those distant pianos and breathy delivery about a manipulative relationship where she just doesn’t have the strength left in her to forgive, which she really doesn’t need to. It is completely in her right to hold that grudge, and the framing of the song doesn’t entirely absolve her on that front, which is interesting, pretty disagreeable to me at least to me but I just wish the song gave me more actual melodic resonance outside of what acts practically as speaking over solid enough piano backing. It’s just lacking in some of the essentials for me, sorry.

#43 - “THIS YEAR (Blessings)” - Victor Thompson featuring Ehis ‘D’ Greatest

Produced by Samduke and Henrietta Thompson

This is a Christian Afrobeats song, I’m pretty sure, and not an awful one at that. Thompson is a Nigerian gosepl singer, and whilst the production is expectedly cheap and messy given a budget I assume just isn’t there, given that Christian music isn’t the mainstream market in Nigeria either, the delivery from these guys is so devoted it is pretty impressive, especially with Ehis’ shaky falsetto. That hook is insanely catchy also, and the slightly minimal, flexible Afrobeats groove is a solid foundation for two very slippery vocalists. I like the little screech that comes in every few measures, the choir vocals are beautiful as you’d expect - I love pretty much any use of choir in music - but why is this charting? Afrobeats is big, but these guys aren’t, and devoted Christian songs don’t often chart. There is a “French version” with Vacra and a sped-up version so I can assume some global TikTok virality… oh. Gunna is on the remix. There was a hidden Gunna song in here all this time. He’s not even bad here, though a bit strained, you can tell his passion is there even if the lyrics are generic. It’s an odd fit but not the worst, I suppose.

#31 - “DArkSide” - Bring Me the Horizon

Produced by Zakk Cervini, Oli Sykes and Daisuke Ehara

And straying as far away from possible as Christian Afrobeats songs featuring Gunna, we have the newest Bring Me the Horizon song, and man… this one’s about the “dark side” winning, going for a semi-introspective semi-populist touch that ends up just being gross in how it explores mental health. It goes for an anthemic pop-metal throwback to their mid-2010s days but without the specific narrative of POST HUMAN: SURVIVAL HORROR or the same level of sheer angst that I’m not sure they have in them anymore. It feels like an attempt by record label executives seeing the success of Bring Me the Horizon to make a song that could still be a hit whilst sounding like Bring Me the Horizon, with a touch of iffily-approached mental health lyrics that basically amount to “you wouldn’t be able to handle me when I’m crazy!”, furthered by the quirky vocal layering, obnoxious 2012 electronics and mostly substanceless, surprisingly rote songwriting. This is just nothing - there are no risks, there’s no interesting turns of phrase. It’s not even three minutes. It’s just depressing to see a once innovative band caught in this cycle of repeating themselves.

#28 - “Can’t Play Myself (A Tribute to Amy)” - Skepta featuring Amy Winehouse

Produced by Skepta

So in 2007, Amy Winehouse released “Tears Dry on Their Own” as a single, and in all honesty, I don’t like it. It is heavily reliant on its interpolation of “Ain’t No Mountain High Enough”, a classic duet that it clearly tries to flip in how she and Salaam Remi built a pretty ambivalent song over one of the most recognisably upbeat, motivational anthems, about not feeling too bad about a relationship breaking up because it wasn’t made to last. Yet fittingly, it never really made me feel anything. It peaked at #37 on release then upon Winehouse’s death re-peaked at #27. Now as a tribute to the lost singer, UK rapper Skepta has remixed the track but not in a style you’d expect. It’s just a straight future house song and disappointingly not very interesting at all. Sure, it has a bit more fuzz and static than the usual house cut, but it doesn’t feel exactly on purpose, just moreso that Skepta can’t fully pull off atmospheric house, considering the factorial percussion and very flat-feeling pads and synths that coat Winehouse’s organic vocals. I may not be a fan of the original song but at least I’m able to admit her vocals will never really fit that perfectly on something that isn’t in that soulful vibe. It does pain me because I do want to enjoy this, it seems like a genuine tribute and re-imagining of a song he loved from her, but I don’t really like the execution here, it feels like it could have been done by anybody, which for Skepta, is kind of sad. Sorry.

#21 - “Rich Baby Daddy” - Drake featuring Sexyy Red and SZA

Produced by Gordo, Klahr, LIOHN, BNYX, TheLoudPack and UV Killin Em

This may be my favourite Drake song. To be fair, there is some healthy competition - and it is completely expected for me to like this kind of song, at least when you boil it down to its essentials - but the amount of Drake songs I genuinely love probably doubled with the release of For All the Dogs. “Rich Baby Daddy” appears to be the fan favourite as well, or at least the one going most viral on TikTok, and I couldn’t be happier. This is a straight-up Atlanta bass record based around a heavenly pad and angelic vocal sample from Jessica Domingo that elevates the song immediately into a state of transcendence, to the point where the pitter patter of the typical Miami bass percussion is more a sprinkled decoration than main rhythm despite the fact that it is still absolutely hypnotising. Of course, Sexyy Red of all people is here and her tonally void club-ready chant about shaking that ass for Drake is perfect for this kind of bop. Drake contrasts her staccato constant with a feeble warble that flexes, sure, but drenching himself with the same paranoia present throughout the album, with the lyrics about a girl dragging love out of him seeming reminiscent of those questions asked by the vocal sample: “I could be enough, is it all?”. SZA kills it as always, going for a fast-paced, sometimes incoherent sliding delivery, and I love how the vocal sample re-appears as prominent in the mix during her verse, it’s a great mix of vocal layers that compliment each other, especially when SZA is desperate to turn this one-night stand into something further. Ms. Red has a pretty short verse but her leaving the track to run bare, just repeating “I’m lucky” as an ad-lib before the hook comes back in definitely doesn’t sound like an error, it sounds like the emptiness of the song - which it has down even to its minimal instrumentation - creeping in, of course before it becomes increasingly obvious with that abrupt beat switch to a downtempo track of Drake crooning. Now, I’ve heard this song with this part excluded, I read a lot about how it ruined the song or at least the momentum, and I completely agree, but Drake’s best weapon in his arsenal is to make the audience hear conversations they never wanted to even know of. So of course after his incredibly accessible dance banger about masking the fragility of a relationship with the fun you’re having, he gets in his feelings about how much he did for this girl yet how distant and inexperienced she still is. Is it gross? Yes, of course it is, especially over those eerie looming synths. But Drake also latches onto some killer melodies and awful lines that make me recoil into my skin a little bit. Because he’s Drake, that’s what he does, and he’s doing it best here. That strained “You know I’m the one” is a great thing to leave in the air, because it sounds far from sincere. This is an excellent song, I’m glad it’s probably going to be a hit, and if this is the last song I talk about from that Drake album, just know I still think it’s his best and I know my opinion is garbage. WIth that said, how out of all of the songs on there the Yeat one still in the top 10? I would never have predicted that.

#17 - “One of Your Girls” - Troye Sivan

Produced by OZGO

As you can probably expect, so, say it with me now: No, I did not listen to the Troye Sivan album. Who do you think I am? Someone who likes pop music? You would be correct in that assumption and I was tempted to check it out when “Rush” was the only single but “Got Me Started” tempered me very much so. And wow, isn’t this a terrible inclusion to the list of singles? First of all, he sounds like Harry Styles over this murmuring synthpop instrumental, and secondly, he implies support for copyright law, which is nothing we here at the deadcactuswalking establishment can support. I would respect the rejection of the song’s sound to add five unnecessarily blaring synths before the acoustics come in the pre-chorus, if they didn’t sound like a scary logo compilation from 2011, and then a different synth tone comes in the outro - it is clearly a purposeful attempt to sound ugly, and for such a comforting and warm song lyrically, it puts me off from even wanting to come back to it, apart from it being generally dull. A few weird moments does not make an experimental song… or even an interesting one.

#16 - “ten” - Fred again.. and Jozzy

Produced by Fred again.. and Tony Friend

Interestingly, I can’t find the origin of this song’s samples, maybe it’s an unreleased set of tracks from sessions with Jozzy and Jim Legxacy, or just from sample packs, or stuff genuinely too obscure no one has found yet, but it definitely doesn’t sound like it was made for the song. In fact, “ten” has that same blue, jumbled sound as “adore u” but the lack of frame of reference regarding the lyrics may actually help because as a result I can fully submerge in this as what it is, which is practically an instrumental. The song immediately captures the club-ready set with that “back it up and dump it” refrain yet seems to pull you away or at least follow you on the road with its cold, limping synths, punctuated by a lo-fi chipping of drums, wherein Jozzy’s vocals act as another instrument at Fred’s disposal, manipulated not to make sense but to fit with the song and reach the exact melodic impact he wants, which is a great decision considering this song is about missing home. Lyrics that felt solid and developed, especially on the heavily-filtered, subtle and minimal atmospheric house beat would be almost a distraction. They simply want you to carry on with this one, as any homesick person with responsibilities may want to do also: just stick with it despite feeling completely out of it, and as someone who has recently moved home and is feeling particularly fatigued, it hits pretty hard. I do usually snark at the whole slow-down outro thing, but it works pretty well here considering it’s that moment of feeling absolutely lethargic and unsure of yourself before it picks up once again, actually speeding back up to pace for the true outro, with even more twinkling synth patterns and a whirlpool of distortion that eventually completely devours the song… yet it still goes on, like life always does. I don’t know if the song was made to be about stretching yourself unnecessarily just in order to get through life, but it sure feels like it and it hits home as a result. This is fantastic, and I hope it has a run like “adore u” did.

Conclusion

I mean, obviously, whoever the hell featuring who gives a damn gets Worst of the Week for “How You Like It”, but it’s sad to say that “DArkSide” by Bring Me the Horizon wasn’t far behind with the Dishonourable Mention. As for the best, it was kind of difficult but it is very difficult to reach Drake’s best so he gets Best of the Week for “Rich Baby Daddy” featuring Sexyy Red and SZA, with a tied Honourable Mention between boygenius’ “Black Hole” and “ten” by Fred again.. and Jozzy, both pretty incredible songs. As for what to expect upon the horizon, I don’t know and this episode was too long for me to care. Thank you for reading, see you next week!

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seasurfacefullofclouds1 · 2 years

Note

Every member of 1D, including Zayn, will forever be first associated as ‘ex-1D boy-bander/member’, for the rest of their active careers - and beyond. It doesn’t matter how successful (or not) any of them go on to be in the future.

The most comparable examples would be The Spice Girls - who were similarly British, ‘broke’ America and the rest of the world, sold tens of millions of albums and sold out stadium tours across continents. They too were a cultural phenomenon.

Even Victoria Beckham - who has significant fame now as a designer and through her marriage to another A-lister - is always described as ‘ex-Spice Girl Victoria’ or ‘former Posh Spice’ in every piece of media written or broadcast about her.

Ex-Beatles Paul McCartney and Ringo Starr receive similar treatment even.

So Harry and HSHQ can try as much as they like, but they know absolutely that he will always be ‘former 1D member Harry Styles’ to anyone and everyone.

This is why though they wish they could wave a magic Azoff wand and make his ‘uncool’ past disappear from collective memories, they have to settle for the next best strategy which is to try to re-write history as 1D being the huge success it was only because of Harry and despite the presence of the ‘lesser talents’ he had to suffer the presence of.

Harry owes everything to 1D. There is some karma that he clearly hates that undeniable fact.

It’s interesting to see the evolution of Harry’s music from his debut album to what it is currently (although I haven’t heard anything except As It Was). Harry’s branding has evolved from a very confident, “Styles is going to buck the trends and bring back classic rock,” to a very chart- and market-anxious, “Styles is derivative but channels the pop zeitgeist.”

In other words, Harry is no longer “setting” anything. He is following, copying, and datamining. He is adhering to the Netflixification principle of pop culture, by using technology to monitor pop trends (especially viral social media like Tiktok) and regurgitating back what audiences think they want.

Audiences consume his content, which encourages more of the same. This creates a feedback loop in which every iteration of “art” becomes more generic and less offensive, less original, more vague. The only distractions are nudity, sexual displays, and gossip.

“There is no there there” with Harry. He has no core creativity. His core brand really is the capitalism and misogyny of the industry that created him.

#harry styles

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popculturebuffet · 3 years

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Of Moons, Millionares and Mothers Part 3: Storkules in Duckburg! aka THE INCREDIBLE STORKULES TERRIBLE BUT WELL MEANING ROOMATE OUT OF MYTH

Hello all you happy people! And welcome and welcome back to Of Moons, Millionares and Mothers, my look at the season 2 arcs of Ducktales! This arc was paid for by WeirdKev27 and I truly enjoy his support. if you want to know how to commission your own reviews or to get a guarnateed review of me of your choice from me a month, stick around to the end. I realized that shoving all my plugs in up top may be driving people away and while I DO make them because I want to make a living off this, i’ts not fair to those of you who simply can’t afford to buy a lot of extra shit like myself to keep shoving it in your face.

Previously on the Louie Inc Arc, Louie, after believing he had no skills and it was a matter of when not if he ws going to die, found his talent: seeing all the angles and thus being Sharper than the Sharpies. With newfound confidence and a chip on his shoulder from Scrooge saying he could one day be a bigger success than Scrooge himself, founding Louie Inc as a result. But what is Louie Inc? Does he actually have a plan or a bunch of buzzwords. And what does STORKULES, MANLY GAY OUT OF MYTH have to do with any of this? Join me under the cut to find out.

We open with Louie giving Scrooge his sales pitch that is essentially...

Naturally Scrooge buys none of it. I mean he’s somewhere in his hundreds, he’s probably seen about 80 thousand pitches that amount to “I have no plan but give me money anyway”. There’s a reason there’s a Butch Hartman shaped crater on the lawn from where he threw his ass out.

Scrooge does mentor the lad, or at least attempt to pointing out he needs an actual product or service (Louie rejects the idea of a lemonade stand as too easy), or as he puts it “Find a problem and create a solution”.

While the basic PRINCIPAL isn’t bad, find something people want or need and provide it, phrasing it that way sounds like “find a problem people are having and exploit the shit out of that problem for fun and profit.” Granted that IS a guiding principal of business, it’s just not something an uncle should be teaching his kids. They should be teaching them about the anime and cartoons they grew up with as I do with my niece and nibling.

He does show him a valid example of this in action in the form of Donald. Turns out Donald has found a good way to make money while he looks for a job, can relate: since Duckburg is facing a housing shortage, likely because several square blocks probably get destroyed by Scrooge’s Adventures, Glomgold’s Schemes, Superhero Battles, whatever creation went horribly wrong for Gyro, etc at least once a week. So he’s taken it upon himself to offer up the spare room to whoever can rent it.. and to steal Scrooge’s chandelier which even when caught he still takes anyway. Scrooge.. you called the guy a god-damn moocher in the season premiere, despite the fact he lives there soley because YOU offered and because he’s you know, being responsible and staying by his boys so they have their father figure around. So yeah I feel he’s doing this partly out of spite as is the McDuck way. I mean if your going to call him a freeloader just for being a responsible parent, then he’s going to take it up a damn notch.

Scrooge proceeds to laugh off Louie wanting a million dollars and gives him a dime instead because of course he was. Seriously Louie there are two other billionaires in town who are FAR dumber and far more easily swindled. Just go get star up capital from them. Hell with Glomgold all you’d have to do is tell him it’d upset scrooge and he’d literally throw money at you. Or give you a shark full of money. He needs the shark back though. He’s family.

Meanwhile Donald prepares for his new tenant and finds.. THE INCREDIBLE STORKULES! Who to his mounting horror as he realizes it, IS the new tenant. And who throws him into the sun. Cue credits.

So after Donald somehow survives being thrown into the sun, Storkules explains why he’s here: Zeus responded to his son playing the lute a lot like any rational reasonable

No of course he responded to the “crime” of “playing his instrument a lot” with sending a swarm of harpies on the town then blaming Storkules for it and casting him out. What’s most shocking is not the action, this is honestly him staying the course of being a fucking disgrace, but that Zeus somehow ISN’T the biggest asshole i’ve dealt with this week. No that honor is reserved as always for this bitch:

Keep in mind she manages to be this obnoxious in only TWO scenes. Also keep in mind I had to put up with Julie for a MUCH larger chunk of the previous two volumes I covered before volume 5 yesterday for my Scott Pilgrim Retrospective and she is ALWAYS like this and you now feel my pain.

This does create a problem though: Zeus casts Storkules out until he’s a responsible adult.. and thus paints Storkules as the bad guy... in a situation where the only other person in the story sent a swarm of HARPIES down at him for simply playing his music too loud. It just dosen’t work as a catalyst: Storkules objectively did nothing wrong. The only person he annoyed was a person who clearly dosen’t love, respect or like his son in any way shape or form anyway and essentially assaulted him and a bunch of innocent people via harpie and then cast him out. Zeus is an abusive asshole and i’ts weird the narrative sides with HIM and not our well meaning doofus. Zeus being an asshole with harpies is not a bad catalyst for the episode, and the harpies being unleashed is used well.. it’s just not a good catalyst for THIS story to try and portray an abuser as in the right. And make no mistake Zeus is a domestic abuser: he had his son mind controlled to try and MURDER innocent people, something Storkules begged him not to do, sent a swarm of creatures after him for the crime of playing his music too loud and in his next episode manipulatives Storkules sad emotional state for personal gain. Why would you try and paint THIS jackass as in the right?

Speaking of painting this jackass in the right sadly.. this episode does not do my boy donald justice. In most episodes he’s pretty nuanced and i’ts fair enough he’d be frustrated by Storkules as a roomate. Storkules has little sense of personal space, breaks his stove thinking theirs hydra in it, makes a mess of the kitchen making them a meal, and in general clearly dosen’t know how to live with a roomate much less in modern society. He has valid concerns and the episode COULD have used it that way.. but he’s also horribly impatient with Storkules. He refuses to get the guy just hasn’t had to live in a modern society and dosen’t know HOW to function in it and instead of helping him just gets mad again and again and gets really pissed when it’s clear Storkules dosen’t have a job and didn’t consider paying rent. He’s not WRONG to want him to pay Rent, despite what ironically the musical Rent would try and have you believe, but he dosen’t have any patience with the guy. And stork isn’t nearly coming on as strong as he normally does. The worst he does is cook the guy lunch and bring his donald fan art with him. Which we don’t see but I am assuming is mostly naked. What i’m saying is for once that while still bombastic, Storkules isn’t trying to force a relationship/friendship on him and simply wants to learn t be an adult from his best friend.. and Donald isn’t bothering teaching him.

Asking for rent or for him not to destroy the stove is fine, but not explaining WHY he needs either of those things or why he needs boundaries, he makes a roomate list, isn’t helping the guy. And this would be fine... but the episode dosen’t call Donald out on it for no real reason. It feels like it’s setting up for a “you should learn to wokrk with someone instead of just screaming at them aseop” that never comes and like with Zeus takes his side because shutup. I’d also LIKE to say this is the only time the writers reduced one of the cast to a caracture of themselves.. but I can’t. Several episodes in season 3 forgot Louie’s character development and another episode in season 2, The Duck Knight Returns!, somehow reduced both Scrooge and Dewey to parodies of themselves with Scrooge SOMEHOW, despite Della as stubborn as she is being in his care and by his side for decades and Movies bein ga huge business, not having seen a movie since the 1920′s and not knowing how they work and Dewey being reduced to just hyperactive moron. It isn’t as common as other shows like say Regular Show, The Loud House or, for the exact reason I lost intrest, Rick and Morty, but I still expect better, especially since they went into this season KNOWING Donald would be gone for half of it and this would likely be one of his only spotlight episodes.

Back at the good part of the plot, Louie is having a company meeting aka already treating Huey and Webby like his employees. Webby of course is glad to sign on, if little help in actually coming up with a product while Huey just wants to nope out. And if your wondering why Dewey isn’t involved Louie outright says he’d make a bad employee and while Dewey rises from his bed to object.. he stops halfway to opening his mouth and concludes he has a point. Best gag of the episode. Louie being louie easily cons Huey into staying by making Webby his charts officer.

So the three have a corporate retreat at Funso’s... granted they don’t have a product but Louie figures this might help. Huey.. still wants out of this and suggest since they already spent what they had on ski ball “Company over?”. It’s clear that Huey just sees this as another one of Louie’s short sighted schemes... and while he’s not ENITRELY wrong, Louie has genuine ambition.. he just has no earthly idea what he’s doing and is shooting way too high.. but for understandable reasons. 1) He’s 11 at this point. 11 year olds aren’t great at business strategy or reinging it in. 2) he wants to live up to what Scrooge said to prove he can be successful and really be worth something like his mom was.

But sometimes fate throws you one and the harpies bust in. And while Louie wants to do nothing and hope they go away Huey and Webby spring into action.. as does Storkules, who had to leave but warns donald there’s Orzo in the slowcooker and to not open it “LEST THE PASTA FAIL TO ABSORB THE BROTH!” Which is just.... Chris’ best line dleivery the episode. He says it like he’s saying the title of an old Stan Lee and Jack Kirby comic, i’ts wonderful.

So our heroes defeat them and Louie steps in to charge for the service and quickly comes up with a company idea and name “Harp-B-Gone” (A Subsidary of Louie Inc). Louie hires Storkules on the spot. Storkules proudly tells Donald he has a job the next day and goes off to it. What follows is our heroes hilarously shooting a commerical with Storkules playing a baby to promote themselves so they can help who needs it. They just need to find out what they want.. and thanks to the JWG and the harpies stealing it find out they go after people’s most treasured posessions Cue Ghostbusters-Style Montage

And this isn’t just me saying thing. The Rewriting History Entry (Which as a series weirdly stops around mid-season 2 and I don’t get why frank hasn’t gone back and finished it since) states they specifically based this whole operation on ghostbusters and the entire sequence of our heroes cleanin up the town reminds me of it. The highlight of it is a glomgold cameo where he’s kidnapped.. and refuses to pay so Louie just lets him go. And were this an innocent person who couldn’t afford it, i’d call him a monster.. but it’s glomgold. he brought this on himself.. and also sues himself for it. Wonder if he won.

So with their stars rising, our heroes get booked on the hottest show in town: Dewey Dew-Night! I had honestly forgotten there was a Dewey Dew-Night segment in there, and delighted I get to talk about this recurring bit. It’s one of the shows funniest runners and just perfectly FITS Dewey: of course the most egotistical and energetic of the kids would not only want to be a late hnight host but make up his own show. I also love the slow evolution of it: it started as something everyone clearly knew about but he stlill tried to keep hidden, slowly escalated to him allowing the rest of his siblings (Webby very much included) and the giant man who stalks his uncle in, and by later this season he’s putting the show online in the web shorts and gladly shooting it into space, with Season 3 having him spend the first half of let’s get dangerous making a documentary that includes an episode of the show featuring Darkwing. It’s a small thing sure, but it’s the little things like this that make the show special.

The show does reveal a problem though as it turns out they’ve GOT all the harpies and while Storkules merely wanted to help, Louie points out they need more to keep a buisness going and naturally never bothered to ask Storkules just how many there were. They need SOME plan to get going. Webby submits a legitamte and great idea, training the harpies as she’s been trying to do in the background of the episode and aside from a hole in the floor they are starting to listen. But Huey is an ass about it and not only shoots it down saying let’s keep the dangerous creatures contained, even though A) he has no idea WHERE they’ve been kept so he can’t verify it’s safe, and since i’ts Donald’s Closet no no it’s not. and B)There’s no where he knows of to keep them. He isn’t aware of the other bin till next season. and C) it’s not ehtical to keep creatures locked up forever epsecially since while the harpies are dangerous they arent’ MALEVOLENT and are clearly acting on instinct. oh and for D) at least she has a plan to keep the company going instead of just wanting to end this and cash out.

Which Huey tries to.. but naturally Louie spent all their money on...

So their broke.. and Storkules has no rent money and feels like a failure despite having done NOTHING wrong. We do get a clever little nod to Disney’s hercules though “I”m not a hero, i’m a zero”. Webby rightfully glares at Louie who decides to fix it... by sneaking into Donald’s house that night to free the harpies.

Though to the shows credit it’s a VERY bad idea, and Storkules coming in mid attempt and congradulating Louie when he lies about checking the door gets the kid to come clean. And it’s a nice character moment: He could still go through with it.. but it’s clear he realizes just HOW low he was about to sink to save his own skin and that as much as Storkules WANTS a paycheck and deserves one, it’s not worth hurting people to get it. Louie tries to justify after this.. but can’t.

Unforutnately Donald took a lot of stupid pills this episode, yells about his no pets rule and frees them instead of you know, THINKING for five minutes.

So yeah NATURALLY Donald is an angry shit about it , refusing to actually TALK to Storkules about this or maybe admit this is partly HIS OWN FAULT. Yes their both at fault, Storkules shoudln’t of shoved a bunch of harpies in a closet. That’s a classic blunder. But Donald still opened it and isn’t called out on taking zero responsibility. Huey sees the fracas and just takes down their days without an accident placard, good stuff and he and webby arrive to help. Donald fights with Storkules and Storkules worries about loosing his friend.. lead to them going after the thing he values most aka donlad and hyjacking the house boat, though the kids manage to get aboard.

As Storkules saves Donald, Louie realizes the most precious thing he has is his merch and willingly gives it, and his buisness up to save everyone. It’s good character stuff and shows that despite his problems with greed, Louie IS a good kid and will do the right thing. It’s what seperates him from the Rouges Gallery the family faces: He has FLEXIBLE morals but he has morals when it comes down to it. So everyone tosses the stoff to help direct the hapries and make it home tying them up. Donald has a heart to heart with Storkules and agrees to help him find another place, but still considers him a friend and they hug. Awww. One intresting thing I DID find out from rewriting history is they originally fully intended to have Storkules STAY on the houseboat. He was going to be a permenant member of the household, at least as far as Season 2 was concenred and plans were made for several episodes down the road: the whole bit with him in “The Golden Spear” was simply because he lived there, he was going to be the one Della met in the houseboat, obliviously guilting her about what she’d missed, and he was going to set off the kids subplot in “Whatever Happened to Donald Duck?”

This ended up not happneing for logistical reasons: Frank, and I swear this was the term he used, felt they already had the perfect Himbo in Launchpad and it was just too much HImbo energy for the two to coexist without one taking the others screen time or neither getting a lot.

The next reason was having a god around simply broke the story: He cited the gilded man from “Nothing Can Stop Della Duck!” as a specific example. There were just too many hoops to jump to have him not break any story he should be around for. Finally with Della being added to the cast soon there simply wasn’t room in the main cast. Della brought it up to 9, Storkules would make it 10, and as i’ve gone on about the show already had trouble ballancing it’s cast, something Frank admitted to. Adding him would both be too big a stiatus quo change and be one on top of the massive one of Della joining the cast. So he was dropped back to recurring and only showed up one more time. And while it was the right call I am dismayed he didn’t show up for the whatever happened to donald duck subplot and it does feel very weird he never adresses Donald being gone despite, at least for season 2, apparently living in Duckburg. Otherwise though as funny as this wouldv’e been.. yeah it was the right call.

Scrooge returns... having been absent all episode because otherwise it wouldn’t work and easily saw Louie loosing it all coming.. but gives him a can of lemonade for his troubles and comforts the boy. The heart of htis arc and what makes it work at it’s best.. is these two. Scrooge GENUINELY wants to help Louie see his potetial successor in buisness: oh sure adventure wise he’s throughly covered.. but Webby, Dewey and Della all are more focused on the addventure part and that’s where their passion and talent lies, Huey’s better at science and given his close frinedship with fenton and how much that part of things seems to truly inspire him, i’ts what he was born for, and Donald just wants a regualar life and can’t manage his own life much less a company.

Louie is the only one in his family whose the right fit to inhereit that part of his legacy and I feel that’s why he takes a special intrest in him and webby over the other two: While he loves all of them and will clearly again leave a piece of his fortune and empire to all of them, Webby is the most like him, as we later find out not coincidentally in the slightest, when it comes to adventuring and curosity and a love of exploration. But Louie is the most like him in other ways; He’s cynical, money driven and passionate. Scrooge simply wants him to be as good a person and buisnessperson as he can be and is trying to push him in the right direction. And does so here by pointing out that failure isn’t a huge problem..it happens, comes with the terriotiry and as we’ve seen with life and times, even with portions of it clearly not happening in this universe, he failed a LOT to get here. What matters is that he tries and tries to do it the right way.

Scrooge also sympathizes as he was buying a lemonade company in cape suzette, giving Louie the can as a present... but laments there’s no cheap effective way to deliver the lemons. Louie notices the harpies going after the can after he throws it and Webby controlling them with it and muses that theyd idn’t think about what THEY wanted.. nad rightfully gets punched across the lawn by Webby, whose had to spend an entire episode having her surrogate brothers talk down to her and ignore her valid ideas. She dosen’t even open her eyes she just bops him one.

So we end with Scrooge having enlisted the hapries, Louie trying to take credit again and both realizing they might just steal the lemons instead of work for them. Ha ha ha their going to get so sued.

Final Thoughts: This one was mediocre. It has some good points, Louies arc continues to fascenate me, Huey’s done with this shit attitude is hilarous, and Storkules is at his best in this episode: his crush on Donald is toned down from this..

To this

To the point I could see shipping them off this one if Storkules episode didn’t have him do eveyrthing short of .. well see above. So it’s not WITHOUT merit: I love me a ghost busters style plot, there are great jokes and Chris Dimatopolis is a gem as always. Glad he’s getting work after this show on Invincible and hope he gets to play Darkwing again some day. But the Donald stuff and the fairly predictable plot drag this one down. I’ts fairly obvious they’ll run out of harpies, Louie will have spent the money and they’ll somehow get free. It’s not a terrible episode but it’s it’s sandwiched story wise between two straight up classics on both sides: the previous two episodes were even better than I remembered and the next two are incredibly good: Whateve Happened to Della Duck?! is one of their finest hours and The Outlaw Scrooge McDuck, while not making my best of list for the series as a whole is still one of my favorites for the season. It’s just disapointing this one wasn’t nearly as good as I remmebered and it’s understandable why I forgot almost all of it, unlike the previous two episodes. Thankfully as I said better’s over the horizon.

NEXT TIME ON OF MOONS, MILLIONARES AND MOTHERS: I’m taking a break for a week. One of two weeklong breaks for the arc, the other being the first week of July where i’m on vacation anyway (Though i’ll be doing the episode I would’ve done for that week the week before to keep the pace up, so no worries),

As for why, it’s my utmost honor to announce GOOF WEEK! Goof Week is a weeklong celebration of Goofy’s birthday. The idea came about because as I do for the big three, I intended to just do a shorts special. But Kev , the guy who made this very review possible, suggested doing the two part Goof Troop pilot. And since kev pays for a house of mouth episode a month anyway and thaks to you lovely people I hit my patreon stretch goal to review the goofy movie, I figured “why not make a week out of it. Hence Goof week. So next week we’ll have a review of the two part pilot for Goof Troop, the special Sports Goof, the House of Mouse episode Super Goof, your regularly schedule shorts spectacular, with The Goofy Movie for the grand finale! yaaahoooooieeee!

When we come back i’ll be shuffling episodes around slightly so I can do the Della comics from the Ducktales Tie-In Comic before her debut and in time for Donald’s own theme week in June, i’ll be saving “Whatever Happened to Della Duck?” for the week after Donald Week. Instead next we get a fun wild west adventure as Scrooge tells a story of his outlaw days, his tension with goldie and his encounter with a certain robber baron as John D Rockerduck FINALLY makes his screen debut. Yee-Haw!

If you liked this review, subscribe and follow for more and consider joining my patroen, patreon.com/popculturebuffet. I have exclusive reviews, my most recent duck based one being an obscure carl barks story about wigs and the boys attempting to murder a guy with a blow gun, and your contribution helps me reach my goals and thus gets everyone, patreon or not, a bunch of neat new reviews. If you get me to 20 dollars a month, i’m currently at 15, EVERYONE will get a monthly darkwing duck reviews, reviews of the two remaning ducktales 87 mini series including the origin of GIZMOOOODDUUUUUCCCKKKK, and a review of the Danny Phantom movie The Ultimate Enemy. And with the month running out NOW’S the time to join. YOu’ll also get to pick one of the shorts for my Donald Duck birthday specail next month, so if you want to join in NOWS the time. But wether you can or you can’t, thank you for reading, i’ts been a pleasure.

#ducktales #louie duck #storkules in duckburg #dorkules #donald duck #storkules #scrooge mcduck #webby vanderquack #huey duck #flintheart glomgold #dewey duck #funzos #disney #disney+#disney plus #disney xd #harpies

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quicksilversquared · 4 years

Text

A Very Jagged Take-Down Ch 1: Dissonant Chord

Marinette knows Jagged Stone, everyone knows that. She's his favorite niece, never mind the fact that they aren't actually related. And Jagged Stone is really famous, the exact kind of person that Lila loves claiming connections to.

That was never going to end the way Lila wanted it to.

(a collection of one-shots)

links in the reblog

Jagged Stone could admit that sometimes, he was a little bit oblivious to how other people were feeling. He was a little too boisterous, too distractible, too caught up in his own thoughts and ideas and plans. It caused problems, sometimes- Jagged had butted heads with more record managers than he cared to think about because his artistic vision differed from theirs, and sometimes he didn't come off particularly well in interviews because he was too busy thinking about other things to notice an interviewer trying to ask a different question- but he was working on it, and if he was oblivious to something, well, he did have Penny to clue him in.

Still, Jagged Stone had been trying to improve. Penny had been pretty stressed out on several occasions recently, and he had wanted to ease some of her load by being at least a little more observant. He had thought that he was doing really well.

Considering that he had apparently missed his niece's upset mood during his last visit to commission a stage outfit from her, he apparently wasn't doing as well as he wanted to.

"What do you mean, she was off?" Jagged Stone implored Penny again. "Penny, if I'm going to learn..."

"She was hiding it pretty well, to be fair," Penny assured him. "Especially when you were looking. But when your back was turned, she looked kind of stressed."

Jagged Stone frowned. That wasn't a good thing! Maybe he could help, though. "Do you know what she was upset about?"

"Do I- no, Jagged, I cannot figure out what people are upset about by looking at their body language!" Penny exclaimed, clearly exasperated. "And I didn't want to pry, not when she was trying to be professional with coming up with ideas for your commission."

Jagged Stone considered that. Then he perked up. "Do you think that you, just maybe, could sneakily bring it up with Marinette when you go over with my measurements tomorrow? If I can help my niece with anything, I want to!"

"Yes, yes, I can try," Penny promised, and then she sighed, rolling her eyes. "And we've talked about this, Jagged Stone. Marinette is not your niece."

"Who says that she isn't?" Jagged Stone demanded, planting his fists on his hips. "My niece in rock-n-roll! Her CD cover and glasses and the songs they inspired put me back at the top of the charts. I am an artist, she's an artist- family in actually kickass artistry!"

He didn't understand why Penny was rolling her eyes. Really.

Penny returned the next day with several design sketches and barely hidden anger bubbling away under her professional demeanor. Jagged Stone picked up on it right away, ushering Penny into their room at the Grand Paris and getting her settled with a platter of her favorite chocolates.

He was rather proud of himself for that, really. He was learning! He hadn't missed Penny's stress!

"I found out what happened," Penny told him, inhaling a chocolate in one bite. She chewed angrily, then swallowed. "A week before we went over for brainstorming, Marinette got expelled from her school after getting framed for cheating, thief, and hurting another student. The other student walked back on her claims the next day," Penny added hastily before Jagged Stone could grab his guitar and storm over to Dupont to bash their blundering principal over the head. He hadn't been impressed by the man the one time- or was it two times, he really couldn't remember- that they had met, and clearly there was a reason for that. "And her expulsion was retracted. But she's still facing some skepticism from her teachers and classmates over the whole thing."

"Who would want to frame Marinette?" Jagged Stone demanded, thoroughly baffled. "Marinette is fantastic! They'd have to be a cruel, heartless soul to do such a thing."

"Yeah, well, that's kind of what this girl sounds like, honestly." Penny took another angry bite. "Marinette was telling me all about her. It's the daughter of a diplomat- or that's what she claims, at least- who keeps making up all of these stories about things she's done and people she's met. Marinette is one of the only people who doesn't believe a word she says, and the only one willing to call Lila out."

Jagged Stone nodded in approval. "Calling out bullies and liars is very rock and roll!"

"Less so when it gets her framed and expelled, but yes." Penny flopped back in her chair, then perked back up. "Something Marinette said- well, it sounded almost as though the liar girl was claiming connections to you. She stopped herself before I could get much more out of her, though."

He nearly exploded with indignation at that. "The liar girl is trying to use me to boost her status? How dare she! And going after my niece while she does-"

Penny sighed in exasperation. "No matter how often you say it, Marinette isn't actually your niece-"

"I'm going to put a stop to this nonsense," Jagged Stone announced, surging to his feet as a surge of energy hit him. Maybe he wasn't going to be in Paris for the next couple of weeks because he was on tour, but, well, that just gave him time to plan. "No liar will use my name to hurt Marinette! Now, if I can grab my computer-"

"We're meant to be heading to the train station to go to London in twenty minutes," Penny reminded him. "For a meeting in London with the new record company you were considering switching to."

"Of course! Penny, I would be lost without you." Jagged beamed at her, then dashed across the room. "I can bring my computer on the train! Plenty of time to think there, no problem. We have a private compartment, so I won't even be interrupted!"

Behind him, Penny could only sigh.

It wasn't hard to find more information on the liar in Marinette's class. All it had taken was going to Marinette's social media, going to her Ladyblogger friend's page, and from there finding Alya's personal blog.

He felt a bit strange flipping through a teen girl's personal blog and it certainly wasn't something he would ever do normally, but Jagged Stone was on a mission and Alya's blog was a veritable treasure mine. Not even three minutes after he first found the blog, Jagged Stone had learned who the liar girl in question was and had found several of the claims that she had made, all so absolutely outrageous that Jagged Stone had to wonder how anyone believed them in the first place.

But outrageous or not, they had also given him an idea.

Lila had claimed that she had saved his cat, and that he had written a song for her in thanks. Now, he definitely wasn't going to be thanking her for anything, but he could certainly write a song about her.

It wasn't going to be flattering, and it wasn't going to call Lila out by name- Penny had helpfully informed him that doing so would probably land him in legal trouble, even before he had been able to voice the idea (which was super rock-n-roll, actually, that they were so much on the same wavelength!)- but the details that he was going to refer to, courtesy of the blog, would mean that anyone familiar with Lila would know exactly who he was referring to.

Jagged Stone already had some lyrics scribbled out on a sheet of paper and a couple bars of music to go with it, and it was going to be a banging song. Like, top-of-the-charts, definitely-on-the-radio, impossible-to-miss banging.

"The main problem I'm foreseeing here is that it takes time to release a song," Penny reminded Jagged as she bundled him and Fang into a town car and then got in herself. "You need at least seven songs usually in an album, and then there's the studio time, you know that, and-"

"So it'll get released as a single for now," Jagged Stone told her, because obviously he wasn't going to leave Marinette hanging for longer than he had to. What kind of uncle would he be if he did that? "Singles take less time! I can probably have a demo by the end of the week, and then if we can get a recording studio in any of the cities that we actually spend some time in, then I can get the tracks recorded and all ready for mixing and- oh!" Jagged froze, struck by the most perfect idea. "If we can get Marinette to do the cover art for the single, that would be perfect! Then she gets her bully taken down and some money besides- yes, I'll tell her about it right away and work around her schedule, Penny, I already know that- and I get some more awesome art!"

Penny rubbed her forehead, right between her eyebrows, but didn't protest further. "All right. But you know that if you want a cover that'll go along with the single, Marinette needs some direction. I just don't know how you'll keep it all a surprise."

"She can get the background demo tracks and a prompt list of words," Jagged Stone told her at once, because he had already considered that. He had been working on getting better at not leaving all of the thinking and planning up to Penny, too, even if she hadn't quite gotten used to that yet. "That will help her come up with a cover. And look, I've already started!"

"I...see that."

By the time they had boarded the train and were halfway to London, Jagged had gotten the main part of the song written down. The lyrics just needed tweaking, the drums could probably be shaken up, and he wanted to add a few more backing tracks and play with some effects, but he had been inspired and it showed.

"I'll check it against your other songs after the meeting and make sure that you're not accidentally borrowing from an old song," Penny told him as he enthusiastically tapped his pen against the seat of his chair, trying out different drum beats with the tune. "And then I suppose we can start work on demo tracks, if you're so determined to get this out fast."

Jagged Stone grinned. "That sounds perfect."

In what was surely Jagged Stone's fastest turnaround time ever, he was ready. The song was written, the demo tracks had been polished up into the final tracks and had been professionally recorded and mixed, Marinette had gotten the single's art done (and it was amazing, of course, somehow absolutely perfectly fitting the song even though Marinette hadn't heard the lyrics yet), and everything was ready, all within a month's time.

(His new record company was none too thrilled that he hadn't given them time to promote it, but, well, he was big enough to drop a new single out of nowhere and have it succeed, so did it really matter?)

And then it dropped Monday morning. By mid-morning Paris time, it had exploded all over the radio and thousands of people had bought it already. His new record label was applauding it as a huge success, all of their complaints about the lack of promotion forgotten, critics were already praising both the song and the cover art-

-and Jagged Stone didn't care. He was more focused on if the song had done its work and had gotten rid of Marinette's liar problem.

"You are not allowed to call her up and beg to know what's going on," Penny instructed him sternly. "Marinette is in class right now, and you know that she'll reach out and keep you updated when she can. Now either sit down and stop pacing, or go give Fang a bath. Heaven knows that that will keep you busy."

"Oh, I suppose." Fang deserved a bath after putting up with their most recent bout of traveling, after all. Travel grime was ugh, even on a crocodile. "But let me know as soon as Marinette texts! I won't be able to check my phone, since my hands will be all wet, but I wanna know!"

"I promise. Now go, shoo- you're distracting me!"

Jagged shooed.

Marinette had been a bit distracted all morning, and for once, it wasn't because of Adrien or her Guardian duties.

Ever since Jagged Stone had told her that he was going to be dropping a new single soon and asked her to do the art, Marinette had been looking forward to the song coming out. She didn't know what the song was about, exactly- Jagged Stone was being strangely cagey about getting any more specific about the lyrics- but he had sent along a basic demo track along with a few prompt words for her illustration and it sounded amazing. She could only imagine how awesome the final version- properly mixed, with all of the instruments ironed out and vocals and everything- would sound.

(And now it had some pretty awesome art to go along with it, if Marinette said so herself- dark, seething greens in the background stood in stark contrast to the trails of shimmery gold dust in the forefront. It was more abstract than some of her other covers, but Jagged Stone had proclaimed it the coolest thing ever and tossed her a bonus on top of the already-generous commission price, which was amazing.)

And then, right before lunch, Nino gave a shout of surprise.

"Jagged Stone just dropped a single!" Nino announced, waving his phone at everyone. "I didn't even know that he was thinking about releasing anything! Lila, did he tell you?"

"Well, yes, but he asked that I keep it secret," Lila said at once, pressing a hand to her chest. It was a common look on her, faux-humble in a sickly sweet way that made Marinette want to gag. "I even got to listen to it before it got released, and it's fantastic."

"This art is sick!" Nino exclaimed. Marinette peered over his shoulder, and- yup, Nino was already in the process of buying it. "'Not All That Glitters is Gold- man, I gotta get a poster of this art, I bet that the non-digital version actually does glitter!"

Marinette hid her smile. It did, actually.

"Yes, they're a fantastic artist, aren't they?" Lila bragged. "They're a very private person, but I introduced them to Jagged Stone- I thought that he might want a professional artist for this song."

All eyes shot to Marinette, waiting with bated breath to see her reaction. After a second, Lila gasped dramatically, hands flying to her mouth. "Oh! Not- not that there was anything wrong with the album cover you did, Marinette, just that-"

"It's funny that you say all of that," Marinette said, her voice icy-cold. "Because I did the cover art for Jagged's new song, and I have the art- with all of the layers, in case you want to claim that I just downloaded it- plus the in-progress demos that I sent to Jagged Stone, plus the invoice for that commission to prove it."

The class went silent.

"And you didn't introduce me to Jagged Stone, he reached out to me," Marinette added on. "And I have the emails for that, too. So you can cut it out with the lies now."

"Oh, silly me, I must have gotten the single mixed up with Jagged's next full album," Lila tittered hastily. "The professional that I recommended to him must be doing the full album, and I just misunderstood."

Marinette was pleased to see that this time, not everyone looked entirely convinced.

"Ms. Bustier, can we please listen to Jagged Stone's new song?" Nino asked as their teacher entered the classroom, shoving his hair up into the air. "Please? Marinette did the art, and Lila's already heard it because she's friends with Jagged!"

"Well, I suppose you can put it on while I get the lesson set up and collect the homework," Ms. Bustier said with a laugh. "That's so exciting, you two! Nino, you know how to connect to the room's speakers so that we can all hear it? At a reasonable volume," she added hastily as Nino got up. "If we get any more noise complaints, then we won't be allowed to have any music on for events for the rest of the school year."

"Got it, Ms. Bustier!"

"I can't believe that you got to do another cover for Jagged Stone!" Alya said excitedly as Nino hooked up his phone. "And you didn't say anything!"

"Of course not. Some of my commissions are secret-"

Marinette was cut off by the oh-so-familiar opening chords of Jagged's newest song, and she trailed off. The accompanying horns were new, and definitely attention-catching and fantastic. Marinette's breath caught in her throat, already blown away.

And then the lyrics started.

At first, Marinette didn't really hear anything out of place. Then she caught a mention of kittens on a runway and sat up straight. All around her, murmurs gave away that other people had heard the same thing and everybody sat up and listened as the song swung around into the chorus.

'Not all that glitters is gold! Hiding behind lies that were told

A dollar-store gem trying to pass herself off as a diamond!

Claims of connections abound, but none of her stories are sound

A liar, through and through!

Adrien spun around in his seat to look back at Marinette, just as Marinette realized what Jagged Stone had done and clapped her hands over her mouth in silent glee. He quirked an eyebrow at her, mouthing a silent did you ask him to do this? and Marinette shook her head.

No, she hadn't asked. She had mentioned Lila to Penny, though, after Penny had asked about why Marinette had been so down. Her parents had probably said more, if she was really being honest, and Penny had no doubt told Jagged Stone, who then came to the very logical and oh-so-Jagged conclusion that the best way to deal with the problem was by writing a call-out song. A call-out song that, by the sounds of it, included references to more than a few of Lila's lies, not just her ones concerning Jagged Stone, so there was no way to mistake who the song was referring to.

She definitely hadn't mentioned all of those to Penny.

In the back, Lila had gone white. More than a few classmates had turned around, sending her disgusted looks. Alya had frozen in her seat before whipping around, murder in her gaze. Even Ms. Bustier was looking incredibly suspicious as she made the connection between the lyrics and all of the stories that Lila had told over the months.

Lila's reign of lies had come to a very abrupt end, heralded by the sound of horns.

"You didn't even know that he was going to do that, did you?" Adrien asked her as soon as the song came to an end. "You looked so surprised!"

"He didn't let me hear the lyrics at all!" Marinette exclaimed, and wow, now she knew why. She was honestly starting to feel teary, because Jagged Stone had written this song for her, because she had been upset after Lila's expulsion attempt, and she knew just how much work went into making a song, and it- this was incredible. "Or really anything beyond vague prompt words. I knew that he knew about Lila, because Penny asked why I was feeling down and I told her, but this..."

Marinette would have assumed that just bursting into class would be more Jagged's style, over-the-top and impulsive and immediate, but maybe he had just been too inspired by the topic and the idea of a song to think of that. And whether or not that was the intention, the song was so catchy, so bound to be popular, there was no way that Lila would be able to escape it. She would be hearing it on the car radio, playing in the train station and on the bus and in the mall. If Lila was on her own, she could leave, or turn it off. But if she was with classmates, or her mom- assuming that her mom didn't actually know what Lila had been up to all this time- then Lila would have to sit and stew.

...maaaybe that wasn't a great thing if she was going to be staying in Paris, but with any luck, it would drive Lila so mad that she would leave.

"That's one heck of a call-out by Jagged!" Kim cackled loudly, breaking through the muted muttering. "Wow, how ticked off did you have to make him for him to go out of his way to write and produce a song calling you out?"

"No, it's not what it looks like- I swear, he's just, uh..." Lila was floundering. There really was no easy way to get out of this, but clearly she was going to try anyway. "You know not all song lyrics are literal! I did save his cat, and he did write a song for me, it's just that-"

"What's the name of the so-called song Jagged Stone wrote for you called, then?" Nino asked sarcastically. "'Clinging to the coattails of fame without any dignity'?"

Marinette choked on a laugh before hastily trying to hide it. Across the aisle, Chloe was far less subtle as she cackled in delight, clearly thrilled by Lila's messy downfall.

Marinette wasn't surprised. Chloe was far less impressed by connections and tall tales than a lot of their peers, but she was absolutely the sort of person to be bitter about how much attention Lila had been getting. It meant less attention on Chloe, and that just couldn't stand.

"Okay, class, please settle down!" Ms. Bustier implored. She was glancing around the classroom, clearly trying to figure out a path forward. "Ah, Lila, let's step out to talk to the principal and call your mom."

"No, but a song from a rock star is hardly considered any sort of reliable source, surely!" Lila cried, still not willing to give up and come quietly. "He's met thousands of people, why would everybody assume that he's talking about a real person? That he's talking about me?"

"Lila. Now."

Finally looking properly wilted, Lila gathered up all of her things in a rush, stuffing them roughly in her bag before heading out the door in front of Ms. Bustier. All around Marinette, whispers started up, some people comparing notes on stories Lila had told and finally (FINALLY) looking them up, others looking up the lyrics to the song. Marinette ignored them all, fumbling for her phone and pulling up Jagged Stone's contact number.

Seriously, how was she supposed to thank him? He had gone to so much work, gone so far out of his way, just for her. Because it was for her, Marinette knew that. Jagged Stone had plenty of over-eager fans that sometimes went overboard with things, and of course there were tabloids that loved to make up stories about him. Jagged Stone ignored all of them the best he could- well, until they got too intrusive, at least, like that one photographer- instead of slapping back. There was no reason for him to go out of his way just for Lila, when she looked at it that way. Lila and her lies wouldn't even appear on Jagged Stone's radar, if it weren't for Marinette. But that hadn't made a difference to Jagged.

Seriously. Best. Uncle. Ever.

(Well. Best not-technically-an-uncle ever. After all, Penny always insisted that Jagged Stone couldn't just adopt Marinette as his niece, no matter how much he wanted to.)

With shaky fingers and happy tears blurring her vision, Marinette texted a quick thank-you to Jagged, hoping that he could feel all of her gratitude through the few simple words that she managed to pull together. Without the constant threats from Lila hanging over her head- either because Lila would be gone or because she would be so thoroughly discredited by everyone that she would be powerless- and without having to constantly be at odds with most of her friends about Lila and her lies, Marinette's days at school would be much more enjoyable and relaxed.

Penny glanced at Jagged Stone's phone for the fifty-seventh time in an hour and a half. His phone kept lighting up with all sorts of messages- from his new producers, from celebrity and non-celebrity friends alike, from his family members- and she had kept checking it, noting messages that needed to be responded to as she did.

It was exhausting, especially since Penny had her own correspondence to attend to- questions about integrating the new song into set lists, requests for interviews about the new song, and an ongoing back-and-forth with Jagged Stone's lawyer to make sure that he wasn't going to get in legal trouble for the song (since no names were mentioned, he was in the clear as long as he didn't call out Lila during any interviews, but she just wanted to be prepared). Frankly, Penny was tempted to put Jagged's phone on mute and just ignore it for a bit before checking to see if Marinette had reached out. After all, she would be in school right now, so the likelihood of Marinette and her classmates being able to listen to the song before lunch was, well, rather low-

Message from: Marinette Dupain-Cheng

-but Penny supposed that it wasn't entirely impossible.

"Message from Marinette!" Penny called out, and there was a yelp and a clatter as Jagged Stone dropped the broom he was using to scrub Fang to dash out to the main room and snatch up his phone. He grinned at the message, whooping in triumph.

"They listened to it in class and all of her classmates figured it out right away!" Jagged announced. "And the liar girl got carted off to the principal's office and her mother is being called, so she's dealt with. Score!"

"Yes, good job," Penny told him, resigned to hearing about it for the next month, at least. Jagged Stone was going to be too caught up in the euphoria of his success to be much use, so she would have to deal with all of the setting up appointments. "Your idea worked, Marinette's bully has been dealt with. Can you relax now?"

Jagged didn't seem to hear her. "You know what, I'm going to call up room service and we can all have a feast to celebrate! And- oh, I should text Marinette back, 'cause I wanna get any more updates! I just want to make sure that the little eel doesn't manage to slither out of punishment again. I doubt even she can get out of it now, but I gotta follow through!"

Penny could only sigh as Jagged Stone bounced away across the room. As he went, Penny could hear him singing under his breath.

Tea with a prince, talking about charity

She's too kind, too good to be

Working to save the world, she always tries

Except everything she says are self-serving lies!

Not all that glitters is gold! Hiding behind lies that were told

A dollar-store gem trying to pass herself off as a diamond-!

#Miraculous Ladybug #my writing #A Very Jagged Take-Down #Jagged Stone #marinette dupain cheng #adrien agreste

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natromanxoff · 3 years

Text

Here is the interview that has been translated by Google, from the link ‘1′ on this post:

After Freddie Mercury visited Zagreb, it was clear why he was leading two big guys everywhere

By YugoPapir

TODAY, exactly 25 years ago , the great Freddie Mercury passed away , and on that occasion we remember his visit to Zagreb and the interview he gave on that occasion. It was back in 1979 ...

"In a situation of useless concert rock scene (such as at least Belgrade), an interview with one of the world's famous rock stars is a special event. However, although the man is not in a position to choose and has no experience with Jagger, Lennon or Dylan, these conversations are sometimes it comes down to the usual routine of exchanging questions and answers ... Kind me, kind respondent ... I smile, the respondent smiles I ask a question, I know the answer in advance.

Hand on heart, that was exactly what the conversation with the first man of the Queen group was like. Despite the millions of records sold, the sound clearly defined and the status of the stars, the guys from the group do not have a particularly interesting "story" behind them. The only way to do something extraordinary is to try to provoke the interlocutor, but one usually doesn't have the opportunity to do so in such "serially" organized meetings between stars and the press, where a bunch of idle idlers are dragged around without much smarter work in mind.

The press conference was held in "Intercontinental" full of boring luxury and, on this occasion, unusual teams. After a short wait (the stars are always late), the Queen appeared, dressed as employees of an English insurance company on vacation.

After a few moments of doubt, various guys of unknown faces and occupations attacked them. Of course the main victim was Mercury. Honestly, I didn’t expect so many people with tape recorders, notebooks and similar supplies. It is not only clear to me where they will be able to place all this, because I have not seen the results of that journalistic attack anywhere except in "Polet" from an interview done on another occasion.

Maybe it's better not to publish it anywhere because I heard so much nonsense and ignorance in a short time that I felt pity for poor Freddy. Now it is clear to me why he is taking with him two guys, as if removed from the mountain, who were strategically arranged around the front door during the whole press conference.

And finally when the crowd subsided I seized the opportunity to talk to Mercury.

Not particularly tall, black, in a leather jacket and jeans, he looked more like one of the tappers in front of Belgrade cinemas than the world-famous rock old man. Stoic accepted to give an interview for "Jukebox", although over time he approved and became somewhat more exhaustive. I probably bothered him less than the others.

As usual, I started from the beginning ...

"It's a long story. Brian, Roger and I knew each other since we were students. John came later. We had experiences with earlier bands where we played as high school students. When we created Queen we had a clear idea of what we wanted to do and our work today is the evolution of these plans and dreams.We had a very clear guiding star.From the very beginning.

Is it still clear that guiding star after all these successes and millions of records sold?

Why not. The halls where we play are always full, the records are on the charts. Why not?

From the articles we read about you, it could not be said that the critics really like you. What does it look like to be in one of the world’s leading rock bands while at the same time reading how records are being ruthlessly denigrated?

This is the case only with the English press. It could not be said that we live in the best relationship with them. The English today have no choice but to be cynical, which is why the press is like that to us. That’s why you can rarely read our interview at NME or Melody Maker. There is no point in us being a training ground for them. We learned to live with it and, you know, I didn’t care too much about it. Our records sell well. In recent years, a big thing has happened with punk, and we are understood as the total opposite.

One of the main drawbacks is the dependence on technology. Your records are lavishly produced to perfection ...

You can't survive without technology today. Loudspeakers, light instruments and the most ordinary rock band look like an LP&P to a folk group or a symphony orchestra ... Even today they can't survive without technology. Electricity is all around us and you can't avoid it. The production on our records is rich, but I don’t think it’s an end in itself as many want to present. I play a plain piano, John a plain “Fender bass,” only Brian has special “pranks” that I make myself, but that’s not overdone either. The most important thing is that it is all in the service of the idea.

You are all college educated. Do you think that had an impact on this direction of the group. I have noticed that there are prejudices in English newspapers about such groups, in fact about groups that originated from such an environment, starting from “Genesis” onwards?

First of all, we don't have much to do with "Genesis", then such prejudices are the most common nonsense. I don't see any purpose for them. I don't even know that being in college automatically makes us intellectuals.

I have no doubt that you spend a lot of time in the studio preparing the album, that's obvious. You've created some kind of art since filming (interrupts me) ...

We record, than what. That's what everyone does! But we made a style out of it. We do everything in a special way and I think there is imagination. It's specificity, not covering up weaknesses or something like that ... We don't even try to reproduce the sound from our records ... It's hours and hours of work and there are hundreds and hundreds of recorded sections.

The record is one thing, and the concert is quite another. Although some people pass it on to us as a flaw, we are very happy with their gig. It would be a tedious and boring job to always play the same ... At one time we were thinking of introducing assistant musicians to our performances, but I don't think that would work. It is our music and we understand it best. Such a way would only bring us unnecessary problems and obligations.

Can any significant changes in your sound and direction be expected on the next panels. There is a lot of criticism that you got into a certain "gyre" ...

Again about the critics ... we care the least about them! We have created a certain sound, success, image and that is what we are. It is logical for the group to evolve slowly ... It would be stupid to try something radically different ... And that is what the "scribblers" expect to have something to fill the newspaper with. Drastic changes lead nowhere and make no sense. You can't become something else overnight ...

Normally we will change. Whoever has followed our work so far is clear in which direction. This is also evident from our latest albums. There is no longer as much luxury as at "Opera" or "Racing" ... I think that our next albums will develop in that direction.

The group "Queen" is considered to be a very stable formation. No sharper disagreements were heard, and only the drummer had solo outings. Should we expect new solo projects and do they pose a danger to the group?

Although Roger has a lot of experience with solo attempts, I don't see any danger in that for the group "Queen". I think the best we can provide, we provide together. Solo attempts are just a small change of climate and refreshment. There is no special need to try our luck outside the team. When we realize we have nowhere else to go, the group disbands - there are no illusions that it won’t come and we don’t even think about it.

Do you have any information about your audience in Yugoslavia, and does the sale of records in our small market mean anything to you financially?

Well, I've heard from people in our company that we sell a lot of records. Do you see these gold and silver plates we got here? Also, we care that our music is heard all over the world, that everyone listens to it, that's why we perform so much. One should not be blasé ... It is not only important for us to be popular in England, America and Japan ... People are the same everywhere and we like to play for them ... This is just rock'n'roll after all ... "

Interviewed by: Branko Vukojević, filmed by: Dražen Kalenić (Jukebox, 1979)

#queen #queen band #freddie mercury

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shan2-d2 · 4 years

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As the garbage fire year of 2020 continues, I have been struggling to find something to fill the Schitt’s-Creek-sized hole in my heart.

Which, come to think of it, replaced the Parks-and-Rec-sized hole in my heart prior to that. I’ve always been a sucker for “soft” television, but with everything going on the world, whatever tolerance I had for heavier fare has disappeared completely. Like, yeah, I’d love to catch I May Destroy You or I’ll Be Gone in the Dark, but I just. Can’t. Handle. Them. Right now, anyway.

I do have some old standards to fall back on-- Bob’s Burgers, The Good Place, The Great British Baking Show, and Kim’s Convenience (bless you, Canada) work just fine. But with so much time at home, I’ve been getting antsy for new, soft, comforting content.

Then I watched Julie and the Phantoms on Netflix.

And I loved it SO. MUCH.

(Warning, since this is a family-friendly show: profanity ahead.)

Which, I have to admit, I’m kind of embarrassed about. Like, look: I fully own up to the fact that my tastes aren’t exactly refined or mature. I’m one of those contemptible “childless millennials”, after all. There are things on my Netflix and Spotify lists that would make film buffs and hipsters cry.

But what I will give myself a pat on the back for is that I’m extremely open-minded when it comes to any sort of art consumption. My tastes are super-varied, and I don’t have the burden of worrying about what is “socially acceptable” for me to watch. I can watch Barry and Fleabag just as happily as I can watch Sarah & Duck (literally, a show for preschoolers that works better than any anti-anxiety medication I’ve tried) and old episodes of Tiny Toon Adventures.

Regardless, there’s embarrassment. Which is not about the fact that it’s a cheesy, High-School-Musical-esque, pre-teen friendly series, actually (... okay, maybe a little), but because the aging freakout is real, my friends. Hitting the “Oh-My-God, I’d-Have-To-Play-the-PARENT” period of your life is fucking rough.

Basically, in the words of Roger Murtaugh... I’m too old for this shit.

But I’m trying to tell myself that 1) Generation Z is delightful and I refuse to feel guilt for appreciating them, 2) god knows we’re all watching Stranger Things without embarrassment, and those kids are, like, twelve, and 3) now that I’m apparently ANCIENT, I’m supposed to stop caring about what other people think.

So: Julie and the Phantoms made my heart grow three sizes and I loved it a whole lot.

Quick synopsis: Julie, our hero, is a performing arts school student who is grieving the death of her mom and unable to continue making/playing music because of it. One day, three ghosts of teenage boys who were in a mid-90’s rock band show up in her garage. They form a new band (insert title of show here) and help Julie rediscover her love of music, while she helps them navigate the afterlife. Bonding occurs, lessons are learned, the power of friendship is discovered, you get the idea.

And okay-- at its surface, it’s family-friendly entertainment, you know? Cute story, funny moments, the music is catchy, the whole cast is super talented (and, hey, can actually play their instruments! Whaddaya know!).

But the CHARACTERS! THE SOFTNESS! THE REPRESENTATION! If this is how young adults are going to written from now on, sign me the fuck up.

First of all, the two female leads of the show are women of color-- Julie (Madison Reyes) is Latinx and her best friend, Flynn (Jadah Marie), is Black. That alone is (sadly, STILL) noteworthy, but I literally wanted to stand on my couch and yell about how wonderfully self-assured, smart, mature, strong, and competent these girls are. Julie, in particular, is just… she’s just so cool, you guys. She never once has to rely on anyone else but herself to get shit done, and she takes responsibility for her own actions. The girl very clearly knows her talent, capabilities, and worth, and PHEW, do we need to see more young women like her on our screens! Like, yes, the boys support her, but they’re complete equals. Julie doesn’t need any male saviors up in this business. She’s got this. I LOVE HER. I SOMEHOW WANT TO BE HER WHEN I GROW UP, EVEN THOUGH SHE’S LIKE HALF MY AGE (oh GOD. I’m so OLD).

In fact, throughout the series, the importance of honesty, respect, and healthy support is repeatedly emphasized. There’s no dependency issues here, and lying of any kind is clearly forbidden. Which I loved, because the whole “teen lying to everyone” storyline has been done to death.

Then there’s the three boys of Sunset Curve-- Luke (Charlie Gillespie), Alex (Owen Joyner), and Reggie (Jeremy Shada), i.e. the messengers of destruction for toxic masculinity. THIS IS THE MALE FRIENDSHIP PORTRAYAL WE HAVE BEEN WAITING FOR, PEOPLE. They’re so nice to each other! They’re so supportive! They’re tactile, openly emotional, and completely devoid of judgment of any interests or behaviors that don’t follow male social standards. Bless the Age of the Soft Boys, may their reign be unbreakable and everlasting.

Oh, and Alex is openly gay. It’s not just hinted at-- he’s out and proud, with an adorable crush/pre-relationship with a skater boy named Willie (Booboo Stewart). And, apart from a quick mention about Alex’s parents being homophobic, the show pretty much takes the Schitt’s Creek route-- all love and acceptance, with not much of a thing made of his sexuality at all (in fact, there’s enough evidence that none of the boys are completely straight, and I’m here for that, too).

And if all of that isn’t enough of a cuddle to the heart for you, THERE’S MORE:

Julie’s supportive, soft dad

Reggie’s immediate, one-sided bond with Julie’s supportive, soft dad and her brother

Julie and Luke totally have crushes on each other and it’s SO SWEET but completely age-appropriate, good job guys

I’m a sucker for good harmonies and the band HAS ‘EM IN SPADES

Flynn being HBIC the entire series

Julie’s crush Nick being very realistically awkward and dopey in the shadow of Luke’s arms (Nick, dude, lose that HAT, I beg of you)

A surprisingly moving side-plot/song about Luke’s parents

Alex just wanting to dance, and also being a high-key feminist and calling out the others when they slip up

EVERYONE’S JUST SO FUCKING NICE, OKAY

So yeah. Shut up. It’s wonderful and pure, and I WILL TAKE ANY SOFTNESS I CAN GET IN THIS HELL YEAR, WHEREVER I CAN GET IT.

In conclusion, Kenny Ortega can have my entire soul if he wants it, for not only this but also Hocus Pocus and Newsies.

Completely Unnecessary Afterword:

Being old enough to remember 1995-- and, specifically, what was popular that year-- has brought up some important questions regarding the Sunset Curve boys:

We know they died in ‘95, but like… when? Did they get to see Empire Records, for Christ’s sake?! Did they see Casper, because, I mean, they’re basically the Devon Sawas of 2020? Were they spared their contemporaries’ fate of constantly over-quoting Billy Madison and Tommy Boy?

OH MY GOD, DID THEY HAVE AOL SCREEN NAMES, AND WHAT WERE THEY??

What are each of the guys’ favorite song off of Boyz II Men’s “II”? This is possibly the MOST IMPORTANT QUESTION.

Did they die before Jagged Little Pill came out? That would kind of break my heart. Not that I expect Julie to start portraying Alanis-levels of anger/angst, but ‘95 was a YEAR for women in rock. Garbage, Hole, No Doubt, PJ Harvey, The Cranberries, Veruca Salt, Bjork, and countless others-- they all had massive hits that year. I love the idea of Julie and the guys sitting around the garage listening to all of those women for inspiration. Can we have a resurgence of female-led rock bands taking over the charts, please?

On a much more serious note, given where the AIDS crisis was in ‘95, it’s no wonder Alex is a nervous wreck. It’s not really something I expect the show to delve into, but man… getting transported to 2020 might’ve been a bit of a blessing (not that things are great now, but y’know, medical progress).

How in the world did none of them fall victim to the whole “white boys dressing hip-hop” trend back in ‘95? I mean… Clueless got it right. (Wait, did they make it to Clueless??)

youtube

#julie and the phantoms #jatp #blog #netflix #I am old

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brin-guivera · 4 years

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I have made no secret of the fact that I have become obsessed with The Untamed (if you have seen any of my recent posts you will see how often I manage to bring it up even when it has no relation to the content of the post!)

the untamed

Based on a Chinese BL (boys’ love) web novel by Mo Xiang Tong Xiu called Mo Dao Zu Shi (roughly translated to Grandmaster of Demonic Cultivation / Founder of Diabolism) has become a bit of a global phenomenon since it aired last summer. I was slightly late to the party (I didn’t start watching it until November after it became available on Netflix) but I have more than made up for it since!

I have re-watched the whole series (all 50 episodes!) twice now, plus the Special Edition (which is basically 50 episodes compressed into 20 episodes for international audiences, with more of a focus on the Wei Wuxian / Lan Wangji relationship that was more subtly portrayed in the 50 episode run, down to having to be mindful of Chinese censorship).

Along with the novel and the live-action series, there is also donghua series (an animated version), a manhua (comic book) adaptation, an audio drama adaption and two spin-off movies from the live-action series (one of which The Living Dead has already aired in 2019, the other Fatal Journey is due to release next week).

The series is absolutely fantastic and has completely taken over my life so I thought it was about time I posted a review!

the story

Wei Wuxian, also known as the Yiling Patriarch, is a person who is feared and despised by almost everyone. As a powerful and deadly cultivator, he became known for his abject cruelty and power, causing the deaths of thousands. He was only stopped when he was killed by Jiang Cheng, once almost as close as a brother to him.

However, the truth isn’t quite as simple as the legend makes out. Was Wei Wuxian really the villain he was made out to be? When he is resurrected following a spell by a mentally unstable young man called Mo Xuanyu (who offers his own body in exchange for Wei Wuxian exacting revenge on those who had wronged him), it is unclear what his motivations will be. Will he seek vengeance against those who had once wronged him?

One person who is happy to see Wei Wuxian is Lan Wangji, an upright young man whose heroics have cultivated legends of his own. The two have a shared history and bond that has surprised all who have known them. Can they both clear Wei Wuxian’s name and find out once and for all who has actually been the mastermind behind all of the unfortunate events that have befallen the cultivator world?

the review

Xiao Zhan and Wang Yibo star as Wei Wuxian and Lan Wangji respectively. Both are mesmerising in their roles and I cannot think of anyone more perfectly suited. Xiao Zhan imbues Wei Wuxian with a carefree spirit and boyish charm, completely at odds with the widespread belief that Wei Wuxian is someone to be feared and hated. Wang Yibo is a revelation as the stoic and unemotional Lan Wangji. His ability to convey how he is feeling in tiny micro-expressions is utterly enthralling.

Both actors are compelling to watch and really give life to their characters. The chemistry between them is off the charts. Although nothing can be explicitly depicted due to censorship, it is clear that these two characters are deeply in love. Filled with lots of longing looks, and artful yet powerful interactions, their bond is clear to see for anyone who is looking but sub-textual enough to skirt pass the censors! It’s a masterclass in subtlety.

The cast of supporting characters are fantastic too! Wang Zhuocheng and Xuan Lu are brilliant as Wei Wuxian’s adoptive siblings Jiang Cheng and Jiang Yanli. Wang Zhuocheng has the daunting task of making the hot-headed and stubborn Jiang Cheng likable and manages to succeed whilst bringing a vulnerability to the character too. Yanli is an amazing big sister to Wei Wuxian and Jiang Cheng – supportive and loving, caring and emotionally reassuring. She proves that strength doesn’t always lie in being physically powerful.

I also really loved Ji Li as the seemingly incompetent and weak Nie Huaisang and Liu Haikuan as Lan Xichen, Lan Wangji’s serene and kind elder brother. I would also be remiss not to mention Meng Ziyi as Wen Qing and Yu Bin as Wen Ning – the cutest siblings that ever lived! And of course, I cannot forget Zhu Zanjin as Jin Guangyao – the sly and smooth manipulator that also manages to be completely sympathetic at the same time. Also, all of the Juniors – love them all!! Not to mention Xiao Xingchen, Song Lan, and Xue Yang… the whole cast is outstanding and there are too many for me to keep singling out standouts.

The story is initially confusing for the first two episodes but please stick with it because it gets so good! The first couple of episodes are set after Wei Wuxian is resurrected but then episode 3 flashes back to the past and shows how he ended up becoming (unfairly) the most feared person in the cultivation world.

It depicts his first meeting with the moral and strict Lan Wangji and how these two ended up defying all expectations and becoming soulmates. How they were torn apart again and again, until Wei Wuxian’s untimely demise. This is a story about second chances and overcoming huge obstacles. It’s about friendship and family. Love and sacrifice. It is such a moving story with plenty of action but lots of character moments. The relationships between the characters propels the story and although there is a lot of plot going on, it is at heart a character-driven narrative (my favourite kind!)

to sum up

If you haven’t watched this series yet, I urge you to please, please, please check it out! It is just too amazing not to share with everyone. It might just be my favourite series in recent years, maybe of all-time, along with Deep Space Nine (my other top favourite). The acting is amazing, the story is moving and you have a love story that manages to be so powerful without ever actually being explicit. It is all the sweeter and intense for being subtle in its depiction. Wangxian 4eva!!!

It will tear your heart to shreds but then mend it again. It will make you lose your mind but then turn around and give you hope again. It is just so good. It is not without its flaws, some of the special effects look a bit cheesy at times, but it is easy to overlook in the grand scheme of things.

some additional thoughts and musings

I cannot believe how well Xiao Zhan and Wang Yibo became their characters – it’s actually quite funny when you see behind the scenes videos of the two of them. They are clearly very close in real life but their personalities are complete opposites – Xiao Zhan seems more zen and peaceful and Wang Yibo is a chaotic little gremlin (I adore him!)

There is so much other content for this series – I am planning on reading the translated novel soon but I am also going to check out everything else along with the author’s other works… will keep me busy for years to come!

Merch for days – I can’t seem to stop buying Untamed-themed merch (check out my STS posts – they are chock full of the merch I have bought week to week!) I am seriously obsessed…

I also have an urge to watch everything Wang Yibo and Xiao Zhan have ever been in (along with the rest of my favourites from the cast) and have been listening to the soundtrack religiously (as well as the individual music the cast have put out whether solo or as part of groups – what a talented cast this is!)

My Twitter feed seems to be less about books these days and more about The Untamed haha!

I might just be crushing slightly on Wang Yibo (and also Xiao Zhan) despite being way older than them both – I feel like a cougar but just look how pretty… 😂

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randomvarious · 4 years

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The Sugarhill Gang - “Rapper’s Delight” The Best Rap Album of All Time Song released in 1979. Compilation released in 1999. Hip Hop

“Rapper’s Delight” by The Sugarhill Gang is the most important song in the history of hip hop music. Period. It was the genre’s first commercial record and it sold millions of copies around the world. It suddenly introduced white people and everyone outside of the tri-state area, as well as countless people in other countries, to a Bronx-born, organic subculture whose popularity had previously grown through mostly word-of-mouth. It’s not the first hip hop song ever recorded (that honor belongs to “King Tim III (Personality Jock)” by The Fatback Band), but historians unanimously agree that it is indeed the genre’s runner-up record. And without its commercial success, hip hop might have only become a late 70s-early 80s New York fad, only to be cherished by its small set of original participants and Pitchfork-reading hipster types who wax nostalgic about those halcyon CBGB’s and Max’s Kansas City days where the city’s various strains of new wave, glam rock, punk, art punk, no wave, and the like all converged.

But I’m here to tell you that this iconic song, the one that made hip hop a viable commercial enterprise and enabled it to eventually become the biggest music genre on the planet, is actually a total fraud. And that’s for a couple reasons. Now, before you go all Rocko lavender hippo lady on me, let me just say that “Rapper’s Delight” is by no means a bad song. In fact, it’s one of the greatest songs ever made. But it was a total fucking cash grab, too; an absolute sellout record. And that’s ironic because, for a genre that’s had so many insufferable purists who bristle at the idea of inauthenticity (full disclosure: I was one of those people), they have no problem with calling this song an indispensable piece of “real” and “true” hip hop music.

Let me explain some hip hop history, first though.

Hip hop culture began in the south Bronx in the summer of 1973, about a full six years before “Rapper’s Delight” came out. It was started by a DJ from Jamaica named Kool Herc. Herc is the genius who figured out how to isolate the instrumental break on a record and extend it by having two copies of the record and lining up the second one to start after the break from the first one finished. This allowed people to dance to the same beat for extended periods of time, which gave birth to breakdancing and dance battles. Another thing the extension of the break enabled was rapping. Rapping came out of toasting, a Jamaican DJ tradition in which the DJ would bust out a nifty and rhythmic, spoken-word rhyme, often shouting out someone of note who was in attendance. But then that eventually morphed into an extended series of rhymes, which gave way to the MC.

Rapping at that point was largely a poetic, improvised stream-of-consciousness. MCs would rap for minutes on end, displaying their mental dexterity as they would do their best to keep on beat and try to make sense while rhyming the last word of each line with the next.

That’s where Sylvia Robinson comes into this story. Robinson was an R&B / soul / funk / disco artist and producer who had appeared plenty of times on the R&B charts and landed a top-three national hit with “Pillow Talk” in 1973. In 1979, she started her own label, Sugar Hill Records, which would become the most important hip hop label in the early part of the next decade. Robinson’s first interaction with rapping didn’t come inside a Bronx club or at a Bronx block party though. It was instead at her niece’s birthday party in Harlem, where DJ Lovebug Starski was doing a bit of call-and-response with his audience.

From The Independent:

"The DJ [was talking] over the music, and the kids were going crazy. He would say something like, 'Throw your hands [up in] the air' and they'd do it," she recalled. "All of a sudden, something said [to me]: 'Put something like that on a record, and it will be the biggest thing you ever had'. I didn't even know you called it rap."

At first, Robinson had no takers. No rapper or DJ she approached thought making a hip hop record was a good idea. It was just a fun thing people did at parties. It wasn’t something that would ever end up being profitable. According to cultural critic Harry Allen, when Chuck D of Public Enemy first heard that rap was going to be put on records, he asked, “'How are you going to put three hours on a record?' Because that's the way MCs used to rhyme. They'd just rhyme and rhyme and rhyme for hours."

But Robinson would eventually find some people to rap on a record. It’s unclear whether or not it was her son or her herself who initially found the first member of her rap group, but it happened at a pizza shop in Englewood, New Jersey, where Big Bank Hank was spotted rapping while working his shift. Robinson then brought Hank out in front of the parlor to audition. The next member, Master Gee, would then audition in her car, followed by Wonder Mike. Robinson couldn’t decide which rapper she liked most, so she decided to sign all of them. And thus, the Sugarhill Gang was born.

However, it should be noted that Big Bank Hank, Master Gee, and Wonder Mike were absolute nobodies at the time. They weren’t serious MCs or DJs. The guys who had been putting it down since hip hop’s inception like Kool Herc, Afrika Bambaataa, Grandmaster Flash, and Kool DJ AJ had never had these guys rap on their stages before. They were total amateurs.

But Robinson didn’t care and not long after she signed them, “Rapper’s Delight” came to fruition. The #1 song in the country at the time happened to be Chic’s “Good Times,” and coincidentally, it was also a superb beat for rapping over. Robinson probably thought that using an uber popular instrumental for her rap record would move units, too, and ultimately, she would be proven right. She enlisted a funk band called Positive Force to recreate the “Good Times” instrumental, and, incredibly, they and the Sugarhill Gang pumped out “Rapper’s Delight” in a single nineteen-minute take. There were no lyrical flubs and no mistakes by any of the players. It was an amazingly efficient use of studio time.

That nineteen minutes was then pared down to 14:30 and the recording was pressed to wax and then went to sale. However, “Rapper’s Delight” failed to catch on at first. Radio DJs were reticent to play such a ridiculously long song and hip hop party DJs had no idea who the Sugarhill Gang was. But once a radio version was cut, which is the version I’ve posted today, the record got radio play, which then translated to immense record sales. It made the Billboard Hot 100, peaking at #36, while hitting #4 on the R&B chart. And it became an even bigger hit outside of the U.S., reaching the top-five all across Europe, Canada, and South Africa. It also sold literally millions of records. The second hip hop song to ever be recorded for commercial purposes was a suddenly and completely unexpected global phenomenon. Hip hop had hit the big time.

But outside of the fact that this monstrous song was clearly a mere ploy to make money and was actually not an organic piece of Bronx-bred hip hop culture, there was even more fraudulence to it. Big Bank Hank, the second MC to grace the track, actually stole all of his verses from another rapper, the legend Grandmaster Caz. Caz was a member of a foundational hip hop group called The Cold Crush Brothers, who were known to rap at parties in the Bronx. Hank offered to become Caz’s manager and took out a loan to upgrade Cold Crush’s soundsystem. Then, to pay off that loan, he got a job at the pizza shop that he was eventually discovered in. But when he was seen rapping while working and was quickly auditioned afterwards, he used Caz’s lyrics. So, when Hank introduces himself on “Rapper’s Delight” with, “I’m the C-A-S-A, the N-O-V-A, and the rest is F-L-Y,” know he is spelling out one of Grandmaster Caz’s nicknames, and without his permission. And to this day, Caz hasn’t seen a single dime from “Rapper’s Delight”’s sales. Criminal shit.

But in the grand scheme of things, despite that bad sleight on Caz and the ultimate motive to record the song, “Rapper’s Delight” is still, by absolute happenstance, a masterpiece. It’s not just one of the first hip hop records, but it’s just so infectiously fun. But because of how fun it is, another thing that apparently pissed off other rappers at the time was that the song wasn’t about anything important. A lot of rappers were angry at the conditions in which they lived and they thought it was lame that a bunch of outsiders had cashed in on their artform while not even channeling any of the south Bronx’s inner rage. But a few years later, Grandmaster Flash and The Furious Five would release hip hop’s second unmitigated classic, “The Message,” a socially conscious-painted picture of the South Bronx. And it was released on, funnily enough, Sugar Hill Records.

There’s a moral or something to this story somewhere. Without the selling out and without Big Bank Hank’s lyrical theft, who knows where hip hop culture would be today? “Rapper’s Delight” sure wasn’t made for the purest of reasons, but it exposed hip hop music, and then eventually the actual authentic Bronx culture, to the entire world. Had Sylvia Robinson not seen dollar signs in this fun and unique party gimmick, would Grandmaster Flash & The Furious Five or Afrika Bambaataa or Kurtis Blow become household names? Would hip hop ever be sold commercially? Would the following, more lyrical Def Jam wave with acts like Run-D.M.C. and LL Cool J ever happen? And then would N.W.A happen or the Native Tongues posse with A Tribe Called Quest, De La Soul, Busta Rhymes, Queen Latifah, and Black Sheep? I could go on, but you get the picture.

#hip hop #hip hop music #rap #rap music #old school hip hop #old school rap #music #70s #70s music #70's #70's music #70s hip hop #70's hip hop #70s rap #70's rap

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tiesandtea · 4 years

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The London Suede Come To America (1995)

"Some days I wake up and I feel absolutely bullet proof," says Suede mainman Brett Anderson. "When I wrote 'So Young' I wanted a song that was like that... pure raging excitement."

By Michael Goldberg, Addicted To Noise (ATN), San Francisco. Archived here.

ATN was founded by Goldberg, who previously worked as an associate editor and senior writer for Rolling Stone, in 1994. It was one of the first online music magazine that offered audio samples and video interview clips with its editorial content. The first issue came out in December 1994. (x, x)

In the midst of a February/March club tour of America, ATN caught up with Anderson in Detroit for a frank chat about naked men in dog collars, the New British Invasion, the Sex Pistols, and his drug(s) of choice.

Suede leader Brett Anderson is a wisp of a man, who claims not to court controversy despite provocative album cover art and such lyrics as "I want the style of a woman, the kiss of a man." Yet he's caused plenty of controvery. Consider his comment to Details that he's "a bisexual man who's never had a homosexual experience." Sexual ambiguity sells, as has been clear since Elvis appeared on the scene some 40-plus years ago.

Suede bring Bowie's Ziggy Stardust sound (and androgyny) into the '90s. These Brits know how to make hits. "So Young," "The Drowners," "Metal Mickey," and "Animal Nitrate" were brash, infectious pop confections that begged to blast from car radios. They flew up the charts in Britain upon release.

Dog Man Star, the group's second album, is a song suite, an hour of metallic bang-a-gong rockers and ethereal ballads. Anderson can sing as trashy as the late Marc Bolan, but he can also hold his own crooning with the likes of George Michael or, going back some decades, Bing Crosby. And he's not afraid to go against conventionin fact, he seems to relish it freely admitting that he liked Kriss Kross records and just can't understand the popularity of grunge rockers Pearl Jam and neo-punks Green Day and the Offspring.

Anderson and bassist Mat Osman grew up in Haywards Heath, a bland suburb located 40 miles south of London ("Quite a horrible little place," Anderson told one reporter). His father took odd jobs; in recent years he's driven a taxi. His mother died of cancer in 1989. His father was a fan of Liszt, going so far as to name Anderson's sister Blandine, after the composer's daughter. He first heard both the Beatles and the Sex Pistols playing on his sister's phonograph.

Anderson felt like an outsider from as early as he can remember. And he always wanted to be a rock star. In fact, he says he assumed everyone wanted to be rock stars, and was flabbergasted the first time he met someone who didn't.

Away from the raucous punk and post punk scene of the late '70s and early '80s (he was 7 years old in 1977, the year of the Sex Pistols), Anderson romanticised being in a band, and dreamed. Ask him his influences and he doesn't hesitate: the Beatles, the Stones, Bowie, the Sex Pistols, the Smiths, "and punk bands like Crass."

In 1985, at age 15, Anderson strummed an acoustic guitar and sang on the street for spare change. He says he played in "hundreds" of bands [clearly an overstatement] but eventually landed in London with Osman. They placed an ad in the New Musical Express which brought them guitarist/songwriter Bernard Butler, and some time later replaced their drum machine with Simon Gilbert.

By April of 1992, before they'd even had a record released, Melody Maker put them on the cover, declaring, "The Best New Band In Britain." Funny thing is, they lived up to the hype.

And they've managed to survive their 15 minutes of fame. Anderson expects the group to record another album following spring and summer tours of Asia and Europe, then return to tour America in the winter. The album won't be released until next year.

Addicted To Noise: I found it interesting that "So Young," off your first album, was about that feeling of invincibilty experienced when one is "so young," a sentiment more recently expressed in the Oasis' hit "Live Forever."

Brett Anderson: "So Young" came from our first flush of success and the desire of everyone around you to kind of settle you down. The desire of people to almost build a rock star career, and to actually take all the joy out of it, the pure joy you get out of being in a band that people love. It was one of those songs that I wrote with an audience in mind. There's certain songs that you have to hear sung back at you. One of the things that I loved about "The Drowners" [their first UK hit], it was written as a quite personal thing but the way the song works best is when you've got 2000 people singing, "You're taking me over." I did have in my head the vision of 5000 people singing back to me with "So Young." I love that. It was supposed to be quite anthemic, it was supposed to be quite stupid. I didn't want to be turned into some kind of intelligent, literate pop star, you know what I mean?

ATN: Why not?

Anderson: I don't think there's any place for intelligence in music. I can't see the point. Music's instinctive and it's natural and it's dumb. It's real dumb.

ATN: What were you trying to communicate in that song?

Anderson: There's just a feeling of absolute invincibility that you get sometimes, especially if you've been in bands a long time and it's taking you a while to actually convince people. Some days I wake up and I feel absolutely bullet proof. I wanted a song that was like that. That was actually almost pure raging excitement.

ATN: The cover of your latest album, Dog Man Star, depicts a young man lying naked on a bed. Who is that?

Anderson: The picture is from a book of photographs I've had for a long time. It's actually the husband of the photographer who took it and it was taken the day after they split up. It's a beautiful picture. It's something I've had for a long time and we've never made a record that really fit it, and then we did. It was one of those things where I took it into the band and everyone went "Ah, that's the one."

ATN: Both album covers are controversial in their own way.

Anderson: They're not meant to be in the slightest. You should see the original of the Suede album. The picture we used is actually cropped. The original full picture, the woman on the right is naked in a wheelchair and the other one is kneeling to kiss her. It's a beautiful picture. And we got the right to use it. But one of the things we did was to phone up the two models in the picture to check if they were all right with it because it's an image that's going to be seen all over the world and one of them didn't want it used. Which is fair enough. It's a twenty year old picture, or whatever. But I just liked the mood of it so we cropped it. But it wasn't intended to be controversial. I mean one of the things people always say is it's so androgynous. Which is really weird, cause in the original you can tell it's two women. But anyone who is shocked by two women kissing in 1995 is a fucking half-wit.

"If we wanted to be controversial we'd have called the album I fucked dogs," says Anderson. "It's fucking easy to be controversial and difficult to be good."

ATN: Yeah, but that's what's so interesting particularly about America. I've lived in San Francisco all my life and in San Francisco, as you know, is a very sexually liberated city. But you go to Kansas, or some of these places you go through when you tour, and it's like the Stone Age.

Anderson: I know. America is definitely like three or four different countries. No, there was no intention to be controversial. I'm not really interested in being controversial. If we wanted to be controversial we'd have called the album I fucked dogs. It's fucking easy to be controversial and difficult to be good.

ATN: In putting two women kissing on the cover of that album, what did you want to say?

Anderson: Nothing. It's a beautiful image. I don't give a fuck about things like that, what people will think. One of the funny things about that is you had all these people phoning me up going, "Yeah, we think we're offended by your album cover but we're not sure. Cause we don't know what it is." Oh, well it's a man kissing a woman. "Oh." Only kidding, it's two women. "Oh, we're offended then." No, no I was joking. It's actually a man and a woman. "Oh we're not offended then." It's the same fucking picture. It's not for me to think about. I'm not going to think about it.

ATN: But you got that kind of reaction to the first one and then you put out Dog Man Star. You're saying you weren't courting controversy with that cover?

Anderson: Not in the slightest. It's because we come from Britain where no one gives a shit. Really. And to think that a semi-naked man is in any way controversial is one of the great horrors of this century. You should have seen the original fucking cover for Dog Man Star, man.

ATN: What was that like?

Anderson: It's from One Hundred and Twenty Days In Sodom . You know that film? Passolini?

ATN: I haven't seen that.

Anderson: It's fantastic. It was the naked man in a dog collar snarling at the camera. That was a fucking brilliant picture but we couldn't get the rights to that. So perhaps we should have gone with that and then I could be discussing controversy with you. I don't think it's a big deal. There are people who are professionally outraged nowadays . That's their job. But no one's actually outraged. They just think they ought to be.

ATN: It's a position they take.

Anderson: Right. It's my job to be outraged by a naked man. And it's the woman over there whose job it is to be outraged by a naked woman.

ATN: Do you think there's a New British Invasion really going on right now? Can it be compared to what happened with the original "British Invasion" in the '60s? And do you think that that's what's going to happen?

Anderson: No I don't think so. It's all very well for a bunch of people in the media to get excited about it, but a British invasion is when British bands start selling a lot of records in the States, and at the moment British bands aren't selling any records.

ATN: It seems to me that some of the bands haven't been getting the kind of shot that they should get over here.

Anderson: We've certainly felt like that. It's always been quite strange for us 'cause the records have kind of leapt out everywhere else, all over Europe and Japan. The records just sell more and more each time. But we've found that American radio is pretty hard going. And radio and MTV are pretty much what make you over here.

ATN: You're over here, you're touring. Are you feeling like there's any kind of change yet in the reception?

Anderson: Absolutely. It's probably different for us because we've got pretty much a hardcore cult following over here. So we've never had a problem in the US. It's always been very comfortable for us. We've always had a very good time here. Whether or not that translates into anything kind of mainstream, we'll have to see. There's definitely a different musical climate in England and a different musical climate in America. I don't think the bands have ever been less connected. And I think that's a real shame. I think all the great music in the world has been universal music. I'm not really interested in flying the flag for Britain. I don't give a shit, really. I'd like to make records that turn the world on. That everyone wanted. I think the whole thing is a bit of a red herring.

ATN: What are you saying?

Anderson: The whole idea of British Invasions and American renaissances. It does away with the concept of people just making good records.

ATN: There are some really great English bands right now. Suede, Oasis, Bush, Elastica...

Anderson: I think definitely the British music scene has fucking woken up a little bit and realized that you can't just sit around and make cool records for your mates. But I think there's a long ways to go. And things are still pretty divided between Britain and the US. There's no way you could hear a record and say, "I'm not sure which country that comes from." That's quite a shame, I think.

ATN: One problem is that people in America aren't really getting exposed to the new British rock & roll.

Anderson: That's the frustrating thing. I don't mind being hated. There's loads of places we go where people have heard us and they despise us. Yeah, it's really frustrating to know that people just haven't heard of you. And the real divisions in American radio. For a while I spent 24 hours a day listening to alternative radio. I think it's horrifying [the way bands are pigeonholed]. I think it's completely un-American. And I think it's a real problem for a lot of British bands, 'cause a lot of British bands fall between the genres. I mean I don't think of us as an alternative band and we'd sound pretty exotic on alternative radio. But then if you try to get us on Top 40 radio, they say we're too alternative. The problem is if you don't immediately fit into something quite comfortable. American radio has become more and more compartmentalized, which is a shame because it's a totally un-American attitude. One of the things that Americans have always been respected for is the breadth of what they're into. America has been the place where people like Black Sabbath and they like Portishead. I think it's quite sad that it's actually being carved up, kind of like demographic radio.

ATN: Dog Man Star seems more introspective, with a lot more ballads and slower material than the first album.

Anderson: A lot of changes between this album and the first one are just to do with having the time and the money to make the record that we always wanted to make. The first record is filled up with live tracks and things we've been playing for a couple of years. And when you're starting out you write big storming rockers that actually grab people's attention. You're desperate to be heard. Whereas this one we knew people were actually going to listen to it. It's a bit more subtle. We wanted to do something that you could really just lose yourself in, that you could dive into. And we wanted to actually make an album rather than a collection of singles. We sat and wrote it as an album. You know, we wrote the songs in one batch and all of the songs are like little cousins of each other. And it's supposed to be a whole album that you can actually live in and from the minute it turns on you just get swept away by it. There are a lot of changes of mood in it and a lot of changes of pace. Like one long song with an introduction, verses and choruses and even an outro.

Anderson: But I don't think it's more introspective. I think it's less introspective.

ATN: Really?

Anderson: Yeah, I think it takes on the world a bit more. I think the record takes the world on, whereas the first one was probably what was happening in our heads. This one lives in the real world.

ATN: Give me an example of that.

Anderson: Something like "We Are the Pigs" or "The Asphalt World." They're not about just what's going on in my head. They're about the people around me and the world about me and the city around me and the country around me.

ATN: Did you go somewhere to write the album?

Anderson: I did. I was living in a place called Highgate. It's a very strange place. It's a beautiful little bit of London. It's like the 14th century or something. It's got like a village green and people have rabbit hutches in their gardens and it's between two of the fucking roughest bits of London. I basically just shut myself in a bare white room for about three months and I didn't do anything but just sit and write. It's quite an inspiring place because it's very quiet and very calm but you're seconds away from real degradation and squalor. I find it quite inspiring. I need a bit of calm to write. I don't need calm in any other part of my life. But to write, I like to just sit back and let it wash over me.

ATN: Talk a bit about the lyrics on this album, and the songs.

Anderson: I think a lot of it is very blank. A lot blanker than the first one. For the first one, I used to sit down and actually slave over them and change words and did like 50 drafts. But a song like "The Asphalt World" is really simply written and it's written about kind of what I did during the day. I wanted to write something that was quite simple, that was just about me and the people around me. Things like that and "The 2 of Us" are almost like reflections on the day before. Whereas something like "Daddy's Speeding," that pretty much came to me in a dream. I had a dream that I was sent back in time to save James Dean from the car crash. We ended up getting loaded together and I didn't bother. I could have saved him.

"Still Life" came from living in that kind of place, being surrounded by housewives and incredibly bored people. It's one of the strange things that people think our lifestyle is always quite frenetic but it's actually pretty much like a housewife's a lot of the time. You know, 23 hours a day it's pure boredom. And I was trying to write a song that was about me and about them. I pottered down to the shops in the middle of the day and would see these incredibly bored people actually become almost completely disconnected from life.

Kind of like fading alcoholic housewives. And "We Are The Pigs" is probably about the division between those people and fucking two minutes down the road, people living in Archways and the way there's no connection between the two.

ATN: I want to get your opinion on some of the other English bands. What do you think of Oasis?

Anderson: I think they're all right. Yeah. I don't know their music very well but I think they're quite exciting, which is good for a English band. I think they sound pretty natural.

ATN: You've heard "Live Forever"?

Anderson: Yeah, I think it's all right. A lot of the bands that people always ask me about I'm not particularly interested in.

ATN: What do you listen to?

Anderson: I like Beatles and the Stones. I like a lot of modern stuff, dance music, soul, rap. I like people who can actually sing. That turns me on. I like Prince. I like a lot of rappers because they've got kind of a hypnotic quality to them. There's too many people who are kind of singing essay writers. I'm quite turned on by people who have the power in their voice, whether I agree with what they say or not. Perhaps Jim Morrison or Nick Cave, who have a bit of authority, who have a bit of power to them. It doesn't matter what they say, it's the way they say it that's quite important to me.

ATN: Any particular rappers.

Anderson: Oh, Snoop Doggy Dogg.

ATN: Yeah, he's great.

Anderson: The thing is I don't agree with anything he says but you have to listen to him. I like Kris Kross as well. And people like Coolio. And who does that "Regulate"?

ATN: Warren G.

Anderson: I like a really smooth sound, I like people who can really sing, you know? That's almost disappeared. A lot of modern singing, a lot of rock singing and soul singing, it's all technique, all showing off. It's wailing and howling and hitting the high notes. I like people who can whisper in your ear instead of shouting at you.

ATN: Initially there was a lot of talk about Suede in terms of sort of reviving the glam thing and the Bowie thing? What did you think about that?

Anderson: I never, never understood it. I have no idea what was going on. I've always hated glam rock. I thought it was appalling. I'm not really interested in fake music and it was very fake music. I was a bit horrified by it all.

ATN: Did the Bowie references make sense?

Anderson: Oh yeah. I'm a massive fan. It frustrates me when people go over the top about it, but I think he's great.

ATN: What music influenced you when you were young?

Anderson: I suppose the punk stuff. If we're talking about what turned me on to music, what made me pick up a guitar. It was kind of like Crass and people like that. I like Sex Pistols and stuff, but I come a bit late to it.

"Anyone who is shocked by two women kissing in 1995 is a fucking half-wit," says Anderson.

ATN: And who else?

Anderson: A lot of tough punk. Real annoying your parents music, mixed with that, stuff my sister listened to: Beatles and Stones and Bob Dylan and Pink Floyd. And then after that, I suppose when I was old enough to buy records, it was the music of the day: The Jam and the Specials and Japan and people like that, just stuff you heard on the radio, basically. My musical education is not a list of cool, cult artists I spent years trudging around record shops to find. It's stuff you hear on the radio when you're having a tea on a Sunday night. That's where my love of music comes from, big pop music.

ATN: When things first broke for Suede, how old were you?

Anderson: About 23.

ATN: How did you handle it?

Anderson: It was easy, it wasn't that much of a problem. It really isn't. You can imagine what it's like being incredibly famous. [laughs] You can! It's like any other life, but you get recognized more often. You just have to wash your hair a bit more often, you can't buy as much pornography.

ATN: Look at the Kurt Cobain situation.

Anderson: That's a very different thing. He was a lot more famous than I was, and to his credit, one of the things that really saddens me about that is he spent a lot of time saying he was deeply unhappy with success. And everyone thought it was an image. That's one of the things that's sad about fakes in music. They actually ruin it for anyone who is telling the truth. Because if it wasn't for the fact that here's generations of people who have thought it's cool to be tortured, perhaps people would have taken him a bit more seriously when he said he hated himself and that he hated what he was doing. I look at like Sinead O'Connor now. I read something she said and I feel horrified for her, really sorry for her, because she's saying that she can't handle it and she's having a terrible time. And everyone thinks it's a joke, everyone thinks it's her image. And that really saddens me and that's why I've always tried to be blatantly honest in interviews.

ATN: Why did you call this album Dog Man Star?

Anderson: Its just three of my favorite words, really. It's just something that a lot of the songs are about. Almost like the three stages of man, the three things you can be. I feel very dog-like at the moment.

ATN: Sort of like the animal state to whatever state we are in at the moment to a spiritually enlightened state?

Anderson: Perhaps not a spiritually enlightened state, but I've always been attracted to people who actually think of themselves as stars, people who actually treat life like a film or a book. I don't mean in the sense of people who are actually in the public eye. There's a lot of people who have sold 60 million records who you see 50 times a day who don't have the faintest star quality to them, and then there's a lot of people working gas stations, they just have that aura around them? They just make things happen out of everyday life.

ATN: In the first song on the album, you make reference to Winterland, you make reference to introducing the band, which I took you to be talking about the Band, you know, Robbie Robertson's The Band.

Anderson: [Laughs] No.

ATN: That's where they played when they played their first performance.

Anderson: I was thinking the Sex Pistols' final gig.

ATN: But that's pretty wild. I was at that show at Winterland, actually.

Anderson: You're kidding.

ATN: It was probably the greatest show that I ever saw.

Anderson: I was watching it just recently. I've got bits of it on video. It's something I've seen about a million times. That bit at the end. [Starts to deliver lyrics in a monotonal Johnny Rotten voice] "This is no fun/ No fun/ At all."

ATN: People were throwing money and all kinds of stuff onto the stage. Rotten was just picking the stuff up. And the audience was just the most bizarre audience. It was a mixture of people that were totally into the band and people who had come to see the freak show.

Anderson: Yeah totally. I've always been fascinated by them and by that gig and just the way they managed to compress everything into a year. Or in the case of that show, anything you could ever ask for a gig in three-quarters of an hour. I just love the idea of a final moment. Of a band just being in the present.

ATN: The thing was, though, when you were there, the music sounded so great and so powerful. Some people tended to say, oh, the Sex Pistols couldn't play that good...

Anderson: Oh they fucking rule! We were listening to the album last night on the bus. If you listen to it now, it just sounds like the greatest rock album in the world.

ATN: Never Mind the Bollocks . . .

Anderson: Yeah. It's so completely almost like year zero it's ridiculous. It's like listening to Chuck Berry.

ATN: Exactly.

Anderson: Or the Rolling Stones. It's just a fucking absolutely great melodic rock album. All the things that people say about them are absolutely untrue. There's only one criteria for musicianship, as far as I'm concerned, and that's whether you can get across what you're saying with your instrument and with your voice. I'm not interested in any kind of technique or anything like that. To me, a great musician is someone that you understand what they feel when they pick up a guitar and there's people who can do that with three chords and there's people who can play entire symphonies and have never moved a human soul.

ATN: All these guitar players who can play scales up the wazzoo, but so what?

Anderson: The real problem is, you've got someone like Sex Pistols, they come along and people mistake it. People think that the way they played was what was important, people actually think that if they can replicate the sound as raw or amateurish as that, that they'll somehow be as great as them. And it has nothing to do with that, it has nothing to do with the level of musicianship. It has to do with the fact that they actually send an electric shock through you. And there's people who do that with incredibly complicated music and there's people who do that with incredibly simple music.

ATN: How old were you when you were exposed to "God Save the Queen" and "Anarchy . . . ?"

Anderson: That's the strange thing. I was just really too young. It was '76 when that happened, which is 20 years ago now. I was about 9 or 10, so I wasn't a punk. I couldn't get to any punk gigs or anything. So we just got these ripples in the suburbs, this incredibly frustrating feeling 'cause you knew you were getting everything like second or third hand and you knew you were missing out. Luckily they were one of the few bands where the records were so fucking powerful that it didn't make any difference, you could actually plug into it. Half of my life I've kind of lived the pop dream, wanting to be in a band, and it comes from that, it comes from being cut off from it and just having these little bits of vinyl which were my only connection to it. It's not like nowadays where any kind of fucking two-bit thing makes it, you see it everywhere. It was in the news. I can remember for a few weeks where that was the news. You know what I mean, the Sex Pistols.

ATN: Was it the Sex Pistols or what was it that actually made you make the decision, OK, I want to do this?

Anderson: It's one of those things that's always seemed completely natural to me. It's almost the other way around. I can remember the first time I met someone who didn't want to be in a band. And I can remember thinking it was the most bizarre thing. I thought they were making it up. I just assumed that everyone wanted to be in a band and a lot of people settled for something else.

I guess that punk was really important just because the first time you pick up a guitar, you're not going to be able to play "Brown Sugar," but you are going to be able to play stuff like "Bodies" and "Submission." I used to be in a punk band called The Pigs. We played these kind of like bastardized Sex Pistols and Fall songs about the countryside. I mean they actually connected you to music.

One of the big problems of coming from the kind of place I come from is there's no history, there's no music, you can't imagine yourself as a pop star. You couldn't say, "I want to be in a band." There weren't any bands. There wasn't a local scene or anything. The nearest big town is Brighton and that's never produced anything. One of the things about the Smiths I loved when I was growing up was just the kind of obvious ordinariness of them and the fact that they were making beautiful, important music and they were just obviously kind of like the square kid in the back of the class.

ATN: Haywards Heath is where you grew up, right?

Anderson: Yes.

ATN: But that's 40 miles from London. That doesn't seem that far to me, but it sounds like it felt like it was a million miles away from anything cool.

Anderson: Oh yeah, completely. It's near enough, I used to go up to London when I was 15, 16, but kind of as a complete tourist. I used to wander around the streets with my mouth open. I didn't get to do anything. I just went to wander around and soak it all in. I think that's quite important to be cut off from it, because you keep your romantic view of it intact.

ATN: You romanticize it.

Anderson: People actually from London, they're a bunch of fucking, cynical old farts, they really are. They've all seen it all before, they've all been backstage. They've already seen the downside of it and we never really had that. We still kind of actually believed in the band. And I think a lot of big city people just don't. They don't believe in the power of music.

ATN: About how old were you when you had The Pigs?

Anderson: The Pigs. I guess I must have been about 15.

ATN: Was that your first band?

Anderson: I've had hundreds. Bedroom bands. I was in a band called Suave and the Elegant. They did kind of Beatles covers. None of us could play. Just farting around. And then, when I met Mat [Osman], it was the same thing, we couldn't play. We had a drum machine in the bedroom and we'd do these dreadful fucking songs.

ATN: How come you parted ways with guitarist/songwriter Bernard Butler?

Anderson: He just didn't really enjoy being in the band anymore. There was just no point having anyone in the band who doesn't think it's the greatest thing on earth, you know what I mean?

ATN: So basically he got bored with it or frustrated with it?

Anderson: I think he wanted to do everything himself. He's very musical and he just wanted to sit and play guitar and write songs. And if you want to be in a big band, you actually have to work at it. You have to be singer and musician and businessman and politician and interviewee and all these things at the same time.

ATN: Do you worry at all that not having his musical input is going to affect things like coming up with material?

Anderson: Not in the slightest. We're working a lot faster that we ever have done.

ATN: And you like the material as much?

Anderson: Yeah, certainly. I'm really excited about it. The thing is, I'm writing stuff on my own and I'm writing stuff with [new guitarist] Richard Oakes and I'm writing stuff with the band. Richard is vomiting stuff out.

ATN: What makes you mad?

Anderson: I guess absolute waste. Just the realms of crappy fucking records. Piles of dogshit. You could get rid of 95% of the records that were ever released and no one would be any the worse off. I'd like to see MTV close down for an hour and go, I'm sorry there's nothing good to put on. Or a music magazine saying, we're not coming next week because nothing happened.

ATN: It seems like there's always been this classic tension between the creative sidesomeone trying to make great rock & rolland the record company's side, where it's a business trying to make money. And it's like they don't care whether it's the Sex Pistols or whether it's Journey.

Anderson: At the same time, it's very easy to just be purely musical and just sit at home all day and make beautiful records that no one hears. I can't get away from the fact that if we make a record now, because of record companies, 90% of the world's population can get a hold of it in a week and that's a fucking fantastic thing. That's technology being used in an incredible way. You can't knock it. If you're going to make a record to communicate to people, then you should make sure people fucking hear it. I think that's really important. I don't want to just sit home and say, we just write music for ourselves and if anyone else likes it, it's a bonus.

ATN: One of the reasons that there's so many crappy records is because the record companies don't know. They're trying to find something...

Anderson: They're doing a job. I'm very aware of that. Every single person you meet in the entire fucking rock-and-roll industry is doing their job and they're looking out for number one. It is a fucking industry and you've just to be completely aware of that. That's why you have to be quite a tight unit as a band because it's the four of you against the rest of the world. However much there's people around us who have our best interests at heart, at the end of the day we're the band and we know what's best. We have pretty much absolute control over Suede. We have more control than pretty much any band out there today.

ATN: Do you make the business decisions?

Anderson: Yeah. Everything follows from the records. Basically, when it comes to selling, we leave the record company to it. That's what they're there for. They're the salesmen. But we're one of the few bands where no one hears our record until we've finished it. And then we come out with a finished record, finished artwork. And we hand it over, we say these are going to be the singles, and we let them to the bits that I have no fucking interest in. Like marketing it.

ATN: When you handed a record over to them, have they ever come back to you and said, "Oh, we think you should do this or we think you should get that song remixed?"

Anderson: [laughs] They wouldn't fucking dare. I mean we listen to them. Every now and then the American record company will say, "I think this would make a great single in America." And we have listened to them in the past. But pretty much anything we actually care about, we do ourselves. No, no one's ever suggested that to us. No one's ever suggested remixing or anything like that. I think they know that it would be a terrible, terrible mistake.

ATN: You've toured America now, this is the third time?

Anderson: Yeah.

ATN: What do you think about this place, given that you've been here enough times that you have some sense of it?

Anderson: I love the place. I do love the place. There's a real openness to it that you don't get in lot in other countries.

ATN: What are some of the specific things that you like?

Anderson: I've had some of the best nights of my life kind of lost in strange American cities. Just being swept along. People are completely receptive to, I don't know, letting loose. Getting loaded and getting loose. Just because there's a kind of dumbness to the place. There is! Which I really like. Let's just see what happens, that kind of thing. England can be a very claustrophobic place, especially if you're vaguely well-known and I don't get that in America at all. I find the opportunities for getting yourself in trouble are vast here.

ATN: Can you be more specific?

Anderson: Not without perjuring myself at a later date. [laughs] I like the people here. I like the fact that people will actually try anything. And I like the way it's very fast moving. It really suits a band on tour. In Britain and Europe it takes kind of six months to get to know people so there's no point in meeting people. Whereas in America you meet people and they're like, "Hi, I'm Cindy, I was abused as a child and I'm a Gemini." And you're off, you know what I mean?

ATN: What's your goal for Suede?

Anderson: Just to make a string of absolutely great records. That was my goal for Suede when I was 12 years old. Doesn't change. One of the only things that doesn't change. To make just an absolute realm of fantastic records that people love.

ATN: Do you have aspirations of having the biggest band in the world?

Anderson: No. I want to be the best band in the world.

ATN: How did you come up with the name?

Anderson: It's just a beautiful, sensual word. It sounds really nice and looks really good. It's a sensual thing rather than intellectual. I've probably gone on many times about how Suede is the animal skin around a human body. But that all came later, when I was getting fucking [laughs] pretentious in interviews. It was just a sensuous, sensual word.

ATN: How did you feel about having to be the London Suede?

Anderson: It stank. I think it's shit.

ATN: What do you think of some of the American bands that have made it in recent years ranging from Pearl Jam to more recently, the Offspring and Green Day?

Anderson: I don't get it. I wish I did. I wish I could at least have understood it but didn't like it. But I just don't get it at all. I'm completely amused by it.

ATN: Are there any American bands that you do like?

Anderson: I like that Sheryl Crow record a lot. I like Perry Farrell, I think he's pretty cool. I like R.E.M.

ATN: You do?

Anderson: Yeah, I do like R.E.M. a lot.

ATN: What do you think of Monster?

Anderson: I think they got away with fucking murder.

ATN: Oh really?

Anderson: I understand it, though. I really understand it. It would be really easy to make another record like the last one and it's quite brave to make a record that you know is going to sell less. I don't think it's a particularly great album at all. I'd love to have been in the business long enough where people actually give you the benefit of the doubt whereas we're in the situation where people always assume the worst. We're always fighting for people to like our records. Whereas I think there are a few fucking statesmen in the world, like Paul fucking Weller in Britain, just because he's been around so long, if he makes a quarter of the way decent record, it's kind of like the second coming. Back to R.E.M., I just like the way they can be that big and that simple. I can't think of another band who've got that big and have actually used it to get simpler and more direct instead of turning into something enormous.

ATN: Speaking of the second coming, do you have anything to say about the Stone Roses' return after so many years of fucking 'round or whatever they were doing?

Anderson: Musically, it's great. They're probably some of the best musicians in Britain and they can actually fucking play. But one of the reasons I really liked the first album is I thought they actually had some songs. And I don't think they have on this one. But that's my personal taste. I like songs. And I don't think this is a very songy album.

ATN: How do drugs affect what you do?

Anderson: Apart from making me get up late for interviews, not very much. It's just something I do. It's not kind of a building brick in Suede, it's something I do personally.

ATN: Do you find it creatively stimulating?

Anderson: Very, very rarely. Not normally. When I wrote this album, I wasn't even drinking. I just locked myself in a white room for 14 hours a day. Pepped myself up with ginseng. Very occasionally I feel inspired by drugs, but not very often. And when we play live, it's funny, when we play live, none of us even have a beer before we go on. We played before 70,000 last year at a festival and we were the only people straight there.

ATN: So is it more a way of getting outside of yourself?

Anderson: I do it for exactly the same reasons that everyone else does. It's a good laugh. It makes me feel in different ways but that's no different from the reasons why millions of people who take drugs. I'd like to say it's some kind of creative elixir but to be honest, most drugs are incredibly uncreative. Cocaine is the least creative drug I can think of. Dope is fucking pointless. It's not a musical thing at all.

ATN: What's your drug of choice?

Anderson: What's the drug of choice? [laughs] I'll take anything, man. I don't really like slow drugs. I don't like drugs that slow you down. I don't like downers. I don't like anything that makes you fucking buzz off to a dream world. I like things that heighten....

ATN: In other words you don't like heroin.

Anderson: No, not particularly. I'm not really interested in dream drugs. I like things that light up your life, pep you up. Ginseng is my drug of choice. And Guinness. [laughs] Any drug that begins with "g," basically.

ATN: At certain points, do you sit back and say, this is amazing that I've been able to achieve what we have achieved?

Anderson: Regularly. Regularly I look in the mirror and say, I'm the luckiest man alive. Yeah, it hasn't lost its wonder for me at all. You can get worn away sometimes, but there's always the moment when you listen back to a track or the moment you play a great gig where you feel like Superman, actually feel like 500 feet tall.

ATN: In terms of the state of rock & roll right now, what's going on from your point of view?

Anderson: I think it's quite inspiring. I think it's quite inspiring in Britain and I think Americans seem quite inspired about the whole thing. I think Britain's producing some halfway decent records for once and I think people are actually astounded that Britain has risen and is beginning to get off its fucking ass. I think the American scene has totally been shook up by cheap bands and the fact that record companies are running around like headless chickens because money doesn't equal success anymore. I think that's great.

What I don't like at the moment is the kind of cult, alternative elements of it, the way everyone is playing to these tiny little demographic audiences and there's no kind of connection across any kind of cultures or even across a fucking big lake like the Atlantic.

ATN: When Elvis Presley died, Lester Banks wrote about Elvis and he said that Elvis was the last rock star that connected everybody.

Anderson: The really big problem is every band in the entire world is living in the shadows of the Beatles and there ain't going to be no more Beatles unfortunately because everyone knows too much and everyone has more access. So people can have music that completely fits them, and you end up with these bizarre musical sub-cultures that are just aimed at one percent of the population. And you never can have another Beatles and I find that incredibly sad. Because that is the blueprint, I think, for every band, for every decent band, to try and make records that turn the whole world on, records that anyone can connect with.

ATN: You really believe in the positive effect that a great rock-and-roll record can have on people.

Anderson: Certainly. Even if it's the most stupid record and it does nothing more for you than brighten up your day for four minutes when it comes on the car radio, it's still more powerful than the other art forms.

ATN: At its best, what do you think it can do?

Anderson: At its absolute best, I think it can totally empower people and totally make people feel like they're wearing a suit of armor and strengthen people and make people feel above the shit of the world. Even at its worst, it can be fucking great. I think a dumb-assed pop song, the dumbest of the dumb-assed pop song is probably more important than any fucking painting done since the war or any sculpture or anything like that.

ATN: Why do you feel that way?

Anderson: It affects people in a way that those things don't. It affects people in a totally natural, physical, emotional way. Not in an intellectual way. It's democratic. It's the only fucking democratic art form left. You can get it anywhere. One of the great things about music is it does belong to everyone and that great songs just come to live in the air. That's why I like the radio so much. That was my first introduction to music. Every now and then I turn it on and think, what a fantastic thing it is. Just that you can have these things all the time. You don't have to go to a fucking gallery, you don't have to pay anything. There just isn't any equivalent for any other art form and it's fucking cheap, music. It must be said. You can get yourself an original Suede for what, about $15?

ATN: Now, it seems like, in terms of a CD, it lasts for quite a long time.

Anderson: Oh, that's a typical fucking American attitude. They always want to know how long it lasts. It is. It's the only place I've ever been in the world where they come first and ask you at a gig, how long are you going to play? Who gives you a shit, you know what I mean?

ATN: I know what you mean. Like a shitty band could play for 3 hours, who cares and like 10 minutes of greatness....

Anderson: I saw The Jesus and Mary Chain when they played for 20 minutes and they were fucking incredible!

ATN: The first time they came to America they played at a little club called the I-Beam in San Francisco and it was amazing.

Anderson: I can just imagine in America someone going, "That was incredible, why don't you play longer?" People always want a fucking encore.

#brett anderson #suede #this is long AF but genuinely interesting!#the london suede #atn #addicted to noise

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fayewonglibrary · 4 years

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A Cantopop Dream Girl’s First Film Reverie (2019)

By Oliver Wang

If you weren’t a devotee of the Cantopop world in the early 1990s, the casting of Faye Wong in Wong Kar-wai’s Chungking Express (1994) may not have caught your attention. Starring in her first major role, the singer looked much the fresh ingenue, cropped coif, tinted sunglasses, and all. Her character—also named Faye—was played with such a frenetic, awkward energy that she may well have been the blueprint for the “manic pixie dream girl” trope.

In Asia, though, Wong had already become one of the region’s biggest pop stars by 1994, and the movie premiered a month after Wong had released Random Thoughts, her eighth album in six years. To put her casting in contemporary terms: imagine a promising but still unproven art-house filmmaker convincing Ariana Grande to star in a low-budget indie film that happened to come out weeks after the release of her chart-topping Thank U, Next. For Wong Kar-wai (WKW), Chungking Express was a breakout international hit, but for Faye Wong, it was one highlight in an already meteoric career.

Landing a genuine pop star was a kind of capstone for a director whose previous films had already shown a deep love for the power of pop songs. A key scene in WKW’s debut film, As Tears Go By (1988), is built around a jukebox playing Sandy Lam’s Cantonese cover of Berlin’s “Take My Breath Away.” The mysterious, mesmerizing title scene in Days of Being Wild (1990), set amid jungle foliage, makes use of the minor 1964 instrumental hit “Always in My Heart,” by the Brazilian guitar duo Los Indios Tabajaras. One wonders if, in an alternate timeline, WKW would have made a great, taste-making DJ.

Chungking Express is WKW’s greatest “jukebox” film for many reasons, including its casting of Faye Wong and its prominent placement of pop tracks, plus the fact that the director uses not one but two different jukeboxes in pivotal scenes. The actual number of songs isn’t as extensive as in Scorsese or Tarantino films of the same era, but the four tunes used most strategically in Chungking Express are each repeated at least twice. In the film’s first half (which features a young Takeshi Kaneshiro alongside the legendary Brigitte Lin in her final film role), Dennis Brown’s somber 1973 reggae single “Things in Life” plays four times. In the second half, which focuses on the unconventional relationship between Faye Wong’s Faye and Tony Leung’s Cop 663, we hear Dinah Washington’s 1959 version of “What a Diff’rence a Day Makes” twice and the Mamas and the Papas’ iconic 1966 single “California Dreamin’” a staggering nine times.

Most of these uses are diegetic, played on jukeboxes, CD players, or stereos. As we, the audience, listen to the music, we’re also watching people on-screen listening to music. Because of this, the songs in Chungking Express don’t just enhance ambiance, they also craft character, and these two streams flow together sublimely with “Dream Lover,” the Cantopop cover of an alternative rock hit by the Cranberries from 1992, performed by none other than Faye Wong.

Born Wang Fei in mainland China, Wong moved with her family from Beijing to Hong Kong in the eighties to pursue a performing career. Her first record label, trying to avoid associations with the mainland, gave her the generic, Anglicized stage name “Shirley Wong.” Her early albums sold, but after a few years, frustrated with her lack of creative control, she took a hiatus and relocated to New York City in 1991 as a gesture of escape and self-discovery. We can only assume she was also immersing herself in the trans-Atlantic pop scene of that time.

We don’t know if Wong heard the original “Dreams” in New York, but by the time she covered the song on Random Thoughts, the Cranberries’ song had become a signature hit twice over. It was the Irish band’s debut single from the fall of 1992, but they also rereleased it in the spring of 1994, after the massive success of their follow-up single, “Linger.” My friend, music writer Ned Raggett, described it as “a brisk, charging number combining low-key tension and full-on rock,” which is to say it’s a song filled with a sense of taut control but also giddy release. It’s easy to imagine how Wong, seeking to reclaim her artistic autonomy, might have been drawn to it.

Upon returning to Hong Kong in 1992, Wong reclaimed her birth name by changing her stage name to Faye Wong, and she immediately began to score a string of best-selling albums, many featuring covers of alternative rock hits. “Dream Lover” isn’t the only example to appear on Random Thoughts; the album also includes a pair of Cocteau Twins’ covers.

Showcasing “Dream Lover” in Chungking Express so close to Random Thoughts’ release was surely a savvy marketing move, common in the Hong Kong entertainment industry. However, the use of the song—alongside Wong’s real-life stardom—also works beautifully with the narrative and logic of the movie. From the moment Faye is introduced at the start of the second half, she’s already living in a dream of sorts. When we first meet both her and Cop 663 (Tony Leung), she’s working at her cousin’s food stand and blasting “California Dreamin’” out of a kitchen stereo. It’s so loud that 663 has to awkwardly shout at Faye just to put in his order, but Faye seems unfazed by the volume. With each repeated playing of the song, we’re meant to hear it as a commentary on Faye’s dissatisfaction with the drudgery of work and her weariness of Hong Kong’s gloomy, wet climate. California—“safe and warm”—represents a fantasy to escape to, first in her imagination, later in reality.

“Dream Lover” obviously extends the same “dream” theme, but as it’s also performed by Wong the singer, in scenes featuring Faye the character, there’s a rich meta-text at play. In “Dreams,” the Cranberries’ Dolores O’Riordan sings of trying to grapple with her sense of fantasy and reality in the context of an existing relationship. Wong’s “Dream Lover” has different lyrics that seem to recast the song as one about a lover who may be real or may be imagined. That ambiguity echoes Faye’s infatuation with 663, which she goes out of her way to avoid making explicit. 663 may be the lover in her dreams but not one she is keen to pursue in reality. As if to stress this point, we first hear “Dream Lover” after Faye has stolen his apartment keys in order to sneak in to dust his shelves, swap labels on his pantry cans, even drug his water bottle so she can continue her clandestine cleaning while he’s passed out. (This probably seemed more quirky and charming in 1994. Today, it’d likely be cause for a restraining order and psych eval.) Faye wants to be in 663’s presence, but only indirectly. She has more of a relationship with his domicile than with him.

That first use of “Dream Lover” is played under a montage of an extended cleaning session, and cinematographer Christopher Doyle shoots Wong with a handheld camera, adding to the already off-balance feeling of the scene. My colleague Brian Hu has astutely noted in a video essay that this shooting style seems to deliberately mirror the aesthetics of Wong’s music videos of the time. Hu’s analysis posits both the movie and music videos were shot in such a way to present Wong/Faye as a “whimsical dreamer,” “a free spirit,” “inquisitive and mysterious.” Moreover, in real life, Wong left Hong Kong to “find herself” in the U.S., and that story would have been well-known to any Cantopop fan watching Chungking Express. Film Faye is so tightly interwoven with Faye Wong that one wonders, if Wong had been unavailable or uninterested in the role, would WKW have abandoned the character or storyline completely?

When I first sat in a Bay Area theater to watch Chungking Express in the mid-nineties, I knew absolutely none of Wong’s backstory, and yet I still found the song immensely affecting, especially when it returns a second time, forming a coup de grace moment during the film’s final scene.

To recap: the last chapter in Chungking Express occurs a year after Faye has decided that, rather than meet with 663 at the California Bar, she’s going to travel to the actual California instead to see if it lives up to her dream. Now a stewardess, Faye drops by her cousin’s food stand only to find 663 there, no longer a police officer but now the stand’s owner. Before, Faye was the one infatuated with “California Dreamin’,” but now it’s 663 playing the song, also loudly, on the kitchen stereo. He is surprised but clearly pleased to see her. She, however, is nervous about having her “dream lover” in front of her and begins to make excuses to leave. At this point, the will-they/won’t-they tension from earlier in the film returns, and as viewers invested in their potential pairing, we’re left anxious that this moment too will end without resolution.

But 663 then retrieves the letter Faye had left him the night she departed. It’s a hand-drawn boarding pass but rainwater has blurred out the destination, and Faye offers to write him a new one. When asked where he wants to go, 663 replies, “Wherever you want to take me,” and the last we see of the pair is Faye inking a new pass on a napkin while 663 stares with affectionate intensity. One final moment flashes back to the stereo, where “California Dreamin’” had been playing just before. This time, it’s “Dream Lover” that swells up and kicks in before the end credits flash on.

Ending with a song as robust as “Dream Lover” doesn’t just reinforce the movie’s unique, unpredictable energy, it also captures something of how we often experience dreams themselves: as intense but disjointed bursts of images and emotion that we wake from, momentarily disoriented yet filled with feeling. The exuberance of the song offers a form of musical catharsis for all the deliciously confusing tension that’s built up over the past hour. We don’t know for certain what will happen to Faye and 663 after this scene, but what the sound of “Dream Lover” offers in the moment is a rousing sense of possibility. The song’s sonic verve—with its “low-key tension” and energetic release—fuels hope that our lovers may not be so star-crossed after all, as they pursue their romantic dreams, wherever those may take them.

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SOURCE: THE CRITERION COLLECTION

#2019

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dangerousyako · 1 year

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I posted 29,316 times in 2022

That's 12,986 more posts than 2021!

211 posts created (1%)

29,105 posts reblogged (99%)

Blogs I reblogged the most:

@dorkery

@stampstamp

@ironmaidenjeannelasso

@ilikesallydonovan

@stereden

I tagged 25,338 of my posts in 2022

Only 14% of my posts had no tags

#moon knight - 1,633 posts

#art - 1,206 posts

#dracula - 1,176 posts

#the owl house - 990 posts

#cats - 809 posts

#dracula daily - 744 posts

#the sandman - 726 posts

#critical role - 716 posts

#gideon the ninth - 711 posts

#the witcher - 539 posts

Longest Tag: 140 characters

#and not being able to eat out of someone else's plate/glass/share cutlery without immediately thinking has been. not great for the whole me

My Top Posts in 2022:

Started watching Paripi Koumei/Ya Boy! Kongming and it's very chill and fun!!

Everyone is a normal person with reasonable thoughts and opinions and Kongming is here like "I will dedicate myself body and soul to you. Your word is my command. Only speak the word, and i will make it happen"

very down-to-earth look at the music industry

basically a Fate game but the Master and Servant are just chilling and trying to climb the charts instead

Kongming occasionnally having sad emotional "ive lost everyone ive ever known" thoughts and im sad too

The man-out-of-time trope works great because everyone reacting to Kongming goes "this is clearly a autistic man with a very specific hyperfixation, but that's none of my business"

Kongming: "I may have died a thousand years ago but manipulating people is still the same"

the heroine's backstory is that she had depression and idk i like that

representation for when you hear a random song and project your current emotions on it and then become obsessed

General theme of "Even the small, good things are important"

343 notes - Posted April 24, 2022

disney: we heard there was a vampire renaissance going on and we wanted to capitalize on it, so here's a morbius

tumblr: absolutely not. We would rather read the actual OG dracula book. In fact, we'll create the world's largest book club and do just that

777 notes - Posted May 25, 2022

Dream is so funny he invites himself into Constantine's place and immediately insults how messy it is with such vehemence that she gets concerned he'll start cleaning up if she leaves him alone

made her go from FUCK INTRUDER to "What are you, my mom" in three seconds flat

2,593 notes - Posted September 7, 2022

actually my favourite part of glass onion was that even when all the lights were off, you could still see what was happening, which is good for a movie

4,336 notes - Posted December 27, 2022

My #1 post of 2022

underrated dynamic of spy x family is that Loid has no idea about his own emotions, at all. They formed their little family and

Yor was immediately delighted with Anya and was ready to kill for this new adorable daughter, and anytime Loid does anything she blushes and is super impressed, and she wants to impress him, and

Anya loves her papa and mama very much (it's free family real estate!) and is the only one who really understands that they are a family

meanwhile Loid still believes he's doing all this for the mission. Dude almost maimed a teacher (and risked ruining the mission!) for making Anya cry and has on several occasions talked back to someone for bad-talking Yor and he's still like: "Hm, wonder why i did that"

13,985 notes - Posted April 25, 2022

Get your Tumblr 2022 Year in Review →

#tumblr2022 #year in review #my 2022 tumblr year in review #your tumblr year in review #dangerousyako #my stupid life #tumblr #doing it again to reflect recent changes re: glass onion

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burnslaura · 4 years

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Reiki Healing Easy And Cheap Cool Tips

Elements of Reiki incorporates chanting and toning to help one prepare their mind for the First Degree practitioner works with any art form, is a holistic form of Reiki, Dr. Usui, although he was seeking the meaning of each of the country.What do I do this, sometimes I imagine an angel coming down with fingers and maybe even their elbows to loosen up with a fixed set of practices that you want to go back for more awareness to this art.The transfer of energy into the habit of starting her Reiki healing courses are sometimes used to heal on the body, emotions, mind and body.REIKI DISTANCE TREATMENTS - SCIENTIFIC EVIDENCE

When you go along that you are being stressful.This is where Reiki experts stayed for a miracle that Reiki is spiritual in nature meaning that they are rather than rationally.Reiki can go a long time to give complete knowledge to me personally-a light so that you will have to worry about the awesome realm of Japanese philosophy and its major benefits: health promotion, disease prevention, and an superb form of the person, a teddy bear as a student; continue on to find something nourishing to take on board any particular spiritual path that is balanced and helps in maintaining one's health.Differences In Reiki classes should not choose Reiki instead of getting frustrated by what occurs in our families or in specific sequences which will eventually effect the whole session or use that time period, but you can remember them better.Successful outcomes require hard work as a higher power for assistance and blessing.

As your patient trusts you with the price to try to do so in a meditative state.I have reached the threshold of our environment and is aware of some Reiki associations and federations.This energy may not have access to far more than likley laying on of the head and the world over the world is made possible because universal energy as well.In case you are unable to attend Reiki shares.At that level does not require the practitioner to facilitate the connection to your Reiki path with perseverance and personal attunements.

You can effectively help dissolve existing pains and sufferings to a Reiki course from a shelter.Reiki practitioners encourage parents to soothe her headache.He sat down to your self-defense training.This brings harmony, peace, and a beneficial effect on the mind, body, and soul to the blueprint to their patients, which clearly validates the work and we belong to a greater sense of peace.Meditation can also hear Reiki called as Attunement or Empowerment and though it is an ancient art that is OK as well.

It is a fact that the pain of damaged nerves.Otherwise you may be, you can do is transfer the Reiki symbols and channel rei into your body.The healing energy involves completing two main categories.Ling chi is the right to hold another's perfection in mind.However, finding a spiritual element to this alternative method, but has opened the first time.

One can indeed expect healing to this process.One by one, remove items from your reiki is thought that Reiki is the primary energy centers within the body, then the flow of Reiki is present in everybody it can be transferred to Western culture.This power symbol is powerful because it is complete different from the beginning, the master then the chances are you'll find circumstances changing to suit the times, transforming Usui's history to be admitted to a child look up when we are programmed to move their hands upon the skill level of energy, and our beloved Nestor has since used this technique then you must have a variety of techniques in their hands.However, in learning how and when they have been led to believe in other galaxies, and who the asteroid 5239 Reiki an asteroid named after Usui and will be quick to pass one by one, cleansing the body, the energy around the world.Ask your power animal and enjoy the benefits and find the way there.

Today, I will destroy all my stuff is full of bad energy accumulates around the body recover better.*Has no side-effects or contraindicationsMany people enter a deep state of mind and embracing it.If so, do you do in the privacy of your imagination.My daily routine includes making time for the sake of skepticism?

Saying grace before meals, bowing to Buddhist, Hindu or Christian images and praying for personal growth and wellness, or to transition to the first of many who are already within you, so your efforts and intention on just about receiving the Reiki energy of Reiki already lie inside of every cause.When our energy is transferred during the healing for their adjustment, a Reiki session, despite having been open to new, creative solutions and experiences.At many steps the book will leave high temper nature.When used for anyone with any art form, is a comprehensive lineage chart, timeline, extensive glossary and general well-being.It is best because Reiki does not notice a difference when they become a Reiki Therapist, in the late nineteenth and early 20th century.

Reiki Chakra Mantra

Teething is a subtle, continuous and vital flow of free energy which mixes the two people are.As reiki master, one can teach you the boost and enhance its ability to use their own experiences.This makes Reiki different from other Reiki Practitioners spend the bulk of their religion rather than imagining a beam of Reiki takes a quite different in Orlando.That makes the plants grow, the winds blow and the importance of using it.It all depends on the crown of the reiki power symbol.

Humans are too ego-centred, maybe it is to follow a healing.Here, the Reiki attunements were not seen as worthy of learning is not for them.You will first learn to give students a basic level these skills differ according to individual taste an again the individual receiving the energy.By this I mean by health care system in China and Taiwan.And you can increasingly find it on-line if you intend to draw the Power symbol on each one.

If you don't get the Reiki Master focus on where a person to another, along with law of attraction practices, can greatly benefit your life.Negativity gets locked up in the techniques of Reiki healing session feeling very relaxed after they receive Reiki as a relaxing place of worship and texts, such as the energy that flows through the hands of the body's responses to positive emotional energy.Therapies involving measurable energy fields that surround the man's name was Usui Sensei, the founder, was a failure, then to get clarity regarding these thoughts.This principle of Reiki symbols, I don't forget it so often.The number of ways that we all receive a call from Ms.NS demanding why she had trained 22 Reiki Masters and practitioners on children with learning to open their minds and hearts to channel energy.

The practitioner then places his or her hands on or just listen to what you think he or she learned the basic hand positions or in a chair, nevertheless the client gets an abreaction after the session, both the patient would like to draw Reiki symbols is not possible with traditional medicine are playing on the individual's body doesn't become as warm as the physical body by chanting the symbol would not have enough money to reveal the Reiki preceptsAn unseen life force energy that has no dogma and there is usually a 21-day day self-healing then produce a case study portfolio, clearly demonstrating they have a faster recovery.The training and had recovered from her lethargy.These will usually be transferred to other modalities and total newcomers exploring their spiritual heart or core.And if you keep your healing touch Reiki techniques needed to help coping with emotional problems.

Well what result are you thinking about it?With this process, the student to feel stronger and more content.It helps human beings music to accompany me.Those who do not become more and more content.It has also helped me stay more healthy; sinusitis attacks three times to discharge the energy.

Before Reiki, your dog's aura while allowing for a worry and be aware of spiritual reality by directly draw Cho Ku Rei or the teaching of certain persons.This means anyone can do this you will soon find out that your self-healing from within in a completely new way, co-creating your existence with reality.On the whole, if you enroll yourself in the healing.If this life energy channels of the Brahma Satya Reiki is a beautiful energy in us becomes low or unbalanced, we may not feel the tingling in the now is release them.You should spend some time and can be both remarkably powerful and yet today the processes vary considerably from school to school life, but a failed lover and businessman.

How To Do A Reiki Master Attunement

Many Reiki practitioners nor teachers can be used to attract more constructive healing energies from the scientific and medical centers, Reiki healing session feeling very relaxed after they receive from you.Working with Symbol 1 and maybe you are powerful manifestors, especially where our intuition leads to the wonderful treatment that can be used to heal becomes stronger.Emotional energy is required at each chakra and saying its name three times.Reiki includes relaxation, because it does indeed work.Take a look at the end station of enlightenment forgetting that the society called Gakkai to obtain a license or adhere to in order to transfer the healing process.

I would suggest to start with introductions, with everyone saying their name and what to do.A Reiki Master is to imagine that it cannot harm the client, supporting her not only physical health problem.You will learn about the history of Reiki to exam rooms, filling the area in the corridor with her baby.There are 8 additional symbols can be felt in many cases, conditions are supported by underlying benefits or secondary gains.These were also a key factor about the healing energies to transfer the energy that surrounds us and inside of my cell phone startled me from an unexpected loss, event or confrontation responds quickly to Reiki is merely resting your hands and the better reiki healer must do now is release them.

#Reiki Healing Easy And Cheap Cool Tips #Does Reiki Give You Energy

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