#this was mid 2000s humor at its peak | Explore Tumblr Posts and Blogs

socialwicked · 2 years

Photo

Everyone Should Watch the Absolute Best Show on Apple TV Plus

Remember in the early 2000s? Try to remember the “golden age” of Television set?

TV’s golden age in all probability started with The Sopranos in 1999, but it seriously got rolling with shows like The Wire, Lost and Deadwood in the mid-2000s. Significant-time productions that could match Hollywood in terms of price range and scale.

But that was just the beginning. Television saved steamrolling . Towards the stop of the 10 years it was Breaking Undesirable and Mad Adult men, afterwards it was Activity of Thrones and The Walking Lifeless. Finally, the idea that television performed second fiddle to the cinematic experience commenced to erode and collapse.

Television was king.

The cast of Severance is stellar across the board.

Apple Tv Additionally But the golden age of Television under no circumstances truly ended. It just kept going to the place when the phrase golden age stopped producing perception. “Prestige Television,” or whichever you want to phone it, was just the new ordinary: written content that pushed the boundaries of what was feasible. New suggestions, fantastic creating, world-class performances. This top quality is baseline now. There are totally grown older people who have practically zero comprehending of what it was like to scramble for scraps by using reveals like Twin Peaks or The X-Data files.

For the very last 20 years we have been swamped with incredible television. Drowning in it.

The 12 months 2021 was one of the very best for Tv set that I can remember. Ever. Yellowjackets, Station Eleven , The White Lotus, Succession, Dopesick, Arcane, Midnight Mass. That is before we even commence chatting about the superhero demonstrates they keep dropping on Disney Additionally .

Which is just one yr! One One Yr!

Amazingly, 2022 has not enable up. Which brings us — at last — to the clearly show I want to speak about now: Severance .

Severance is a sci-fi show on Apple Tv set Furthermore , established in a hardly spelled out universe exactly where a approach named “severance” enables personnel to split themselves into two discrete entities: A perform self, who exists all through workplace hours only, and a household self, who’s fully divorced from function. The operate self has no understanding or reminiscences of what goes on outside the house the office environment, and vice versa.

At its main Severance is a significant thought display acutely targeted on discovering that authentic notion — of split life and artificially enforced, physically induced get the job done-lifetime stability. But despite its one of a kind higher principle, Severance also performs on the tropes set up around the previous 20 decades of status television.

It operates on a range of amounts. Severance is undoubtedly a “mystery box” display, like Lost. There’s a central thriller to be solved, and the display drip feeds the audience information and facts, playing to the Reddit sleuths who enjoy to determine out the twists just before they unfold.

Severance’s take on the banality of operate is just the complete very best.

Apple Television As well as But Severance subverts that by also staying… particularly humorous. It hardly ever takes alone as severely as a show like Westworld . It hardly ever wallows in its possess self-value. In many methods Severance takes its cues from (but also parodies) shows like The Office, which celebrate the day-to-day grind of business office life. The casting of Adam Scott, who expended a long time on Place of work-like Parks and Recreation, performs a critical function in this article and will help play up the disparity. Severance characteristics a stripped again, minimalist business office significantly like the a single you could possibly see on Parks and Recreation, but not all is what it appears to be.

That’s what will make Severance unique. It receives to be compelling like Misplaced and humorous like The Place of work. It receives to wax lyrical about the human issue, but also manages to parody the era it’s component of. In a lot of ways Severance is the 1st article-prestige Tv set common. It does every thing.

Severance just isn’t flashy, it would not have to set up its greatness with self severe monologues or soaring orchestral soundtracks. It really is a exhibit that will get to have its cake and consume it. Severance is educated by the classics that preceded it but feels distinctive from them. A show that swallows and digests everything we have been consuming for the previous 20 a long time and vomits it up as a fully fashioned, barf masterpiece that subverts the kind of television we’ve come to be accustomed to above the past two a long time.

Nevertheless Severance is only a single period deep. Promising exhibits have fallen apart prior to. Even a clearly show as absolutely formed as Severance could crumble beneath audience anticipations. They could screw it up.

But I have a great deal of religion in Severance. It has the illustration of demonstrates like Dropped and Westworld to discover from. We know what could go completely wrong. If Severance retains its narrative restricted, and stays true to what made the present so compelling to get started with, we could be witnessing greatness. At the incredibly minimum, Severance is my preferred demonstrate of 2022 so significantly and — for my money — the very best demonstrate on Apple Television .

Motion pictures Coming in 2022 From Marvel, Netflix, DC and Extra See all photos

https://socialwicked.com/everyone-should-watch-the-absolute-best-show-on-apple-tv-plus/

1 note · View note

buttercup89 · 4 years

Text

Are you a Po-Tay-Toes queer or a They're taking the hobbits to Isengard! homo?

#lotr #tolkien #legolas #sam #samwise #samwise gamgee #lord of the rings #gollum #potatoes #po tay toes #potaytoes #isengard #they're taking the hobbits to isengard #this was mid 2000s humor at its peak #hobbits #lotr memes

18 notes · View notes

enyayo · 3 years

Text

i saw this tweet today and it “triggered” me. that’s not the right term lol but a lot of things clicked like the realization of the passage of time and um it made me want to write this

Vaporwave

late 2016-early 2018

vaporwave did start in the early 2010s but these are the peak years

——————————————————

Enya Umanzor, and influencers close to her, came to popularity during the mid-2010s using vaporwave/Yung lean aesthetics claiming hold as the humor tied to this era. Their videos, music tastes, and clothes embodied the aesthetic throughout their Instagram posts and youtube editing styles at the time. Making a name for themselves as this aesthetic died, they slowly transitioned into a new rising era of “Cool Underground Teen Aesthetic*” encapsulated by the term “drain gang” This style is also mixed with another aesthetic found popular in CUTA*: cottage core.

Vaporwave was a time stapled by the large decline of people using Tumblr and the incline of .jpeg photo edits popping off on Instagram. The edits were reminiscent of early 2010 and late 2000s scene culture photos and cultivated the 2018/2019s short-lived eboy/ girl trend. It can be categorized by its neo-oriental fashion characterized by random Asian characters and phrases used as a style on Arizona tea type patterns. It felt like a 90s 80s fashion revival surrounded by odd future shirts and Roy purdy glasses.

**Cool Underground Teen Aesthetic isn’t a real term but, I use it as one to define the styles that come out of every generation stapled by mid to late teens who listen to underground yet popular music (later to be recognized as cool and hold cult followings) of that time

ex: scene kids, early fans of odd future, etc

——————————————————————————

i feel like vaporwave is dead. but i could be wrong and it can turn out to be a legitamite subculture like goth

i was also only apart of a small part of this subculture and got into around 2017/ the time i found enya so this take isn’t super expansive or well researched.

here are some videos by people who were/ are apart of the subculture and very knowledgable about it talking about the history:

youtube

238 notes · View notes

dweemeister · 3 years

Photo

The Daydreamer (1966)

By the 1960s, Christmas television specials were in vogue in the United States. Yet this recent phenomenon had yet to yield a true cultural touchstone. On December 6, 1964, the first Christmas special mainstay aired on NBC. Produced by a fledgling animation studio, Rudolph the Red-Nosed Reindeer put Rankin/Bass, named after co-founders Arthur Rankin, Jr. and Jules Bass, into the public consciousness. Rankin/Bass’ brand of stop-motion animation (“Animagic”) was mostly outsourced to Japanese studio MOM Productions in Tokyo, under the direction of Tadahito Mochinaga. With the windfall of Rudolph, Rankin/Bass and MOM Productions delved into the realm of feature theatrical films. This review concerns their second feature film, The Daydreamer – a stop motion animation/live-action hybrid based on Hans Christian Andersen’s stories. The Daydreamer has starpower in its cast that no Rankin/Bass production had yet matched. But as one might expect from a Rankin/Bass film, there are narrative flaws abound. The Daydreamer, episodic in nature and alternating between live-action and animation scenes, suffers due to the inconsistent quality of the handful of Hans Christian Andersen adaptations it has and the kitschy live-action acting.

The young Hans Christian Andersen (“Chris”; Paul O’Keefe) is the son of a cobbler (Jack Gilford). Papa Andersen often has to face the verbal tirades of frequent customer Mrs. Klopplebobbler (Margaret Hamilton; it is difficult not to think of Hamilton’s portrayal of the Wicked Witch here). His struggling business often means he cannot pay the gangling Pie Man (Ray Bolger; yet another Wizard of Oz star). To take him away from these troubles, Chris will let his imagine run wild while napping. If he can only just find the mythical Garden of Paradise, all these troubles might vanish. One evening, the Sandman (voiced by Cyril Ritchard) promises him to guide him there. Along the way, Chris is subject to dreams that may seem familiar to the viewer. These dreams shift away from live-action into the signature Rankin/Bass animation – adapting “The Little Mermaid”, “The Emperor’s New Clothes”*, “Thumbelina”, and “The Garden of Paradise”. Elements of “The Ugly Duckling” and “Little Claus and Big Claus” also appear.

Among the many voice actors during these animation sequences are Hayley Mills (The Little Mermaid); Burl Ives (Neptune – I have never heard Ives’ voice so devoid of jaunt before); Tallulah Bankhead (the sea witch); Terry-Thomas (the first tailor); Victor Borge (the second tailor); Ed Wynn (the Emperor); Patty Duke (Thumbelina); and Boris Karloff (the Rat).

The film’s adaptations of Andersen’s tales differ in that Andersen himself becomes a character in each of the stories. The Daydreamer approaches the stories as if the ideas are only just forming in the young Chris’ head, to be written and published when he is an adult. Within these dreams-someday-to-be-stories, Chris is largely a passive character. He takes instruction from the central figures of his future tales, never really asserting himself or asking basic questions about the misadventures he goes through. Chris acts as if lost in his own imagination – which fits the conceit of the film. So when he awakens into the real world, the film’s pacing slams the brakes. In the real world, everyone except Chris is a caricature, somehow less realistic than the individuals appearing in the daydreams. The transitions between animation and live-action will take the viewer out of the film because of the unceasing manic acting in the latter, as opposed to the charming puppetry of the former. As such, The Daydreamer’s weaknesses lie almost entirely with the live-action scenes – too consciously playing to the audience and over-the-top in their absurdity.

In an era of American animation defined by Disney on the screen and Hanna-Barbera on television, Rankin/Bass carves out its own niche in how it tells its stories. The meta humor and fourth wall breaking of Hanna-Barbera’s works (a legacy of the duo’s work at MGM) makes no appearances here. Disney’s clean-cut fairytale endings also do not apply. The Daydreamer’s adaptation of “The Little Mermaid” does not have the gruesome premise as Andersen’s original fairytale, but it retains the ending’s heartbreak. There appears to be no alterations to “The Emperor’s New Clothes” – which includes Chris, but he just feels superfluous to the plot and to the tale’s keen comedy. Each of the film’s segments bring Chris closer to the final animated sequence, “The Garden of Paradise”. The adaptation of that tale sanitizes its deathly overtures for a devil-like creature, but keeps the ambiguous, open-ended conclusion. By maintaining the original conclusion, “The Garden of Paradise” is a curious coda for The Daydreamer – a film that ends as abruptly as its several transitions, like a daydream.

The Daydreamer’s live-action sets benefit, however, due to the fact many of its scenes were shot at the 1964 New York World’s Fair. The World’s Fair pavilions used in this film mimic a feel of small-town, nineteenth century Europe more realistically than a Hollywood soundstage might. The production design for the animated dream sequences, too, are mesmerizing. Perhaps this is best exemplified in “The Little Mermaid”. There, the special effects work make it appear as if the whole sequence was shot underwater, rather than a room that contained blue lights streaming into Neptune’s palace. Where are the strings and wires suspending the puppets in mid-air while they “swim”? To the animators’ credit, there are none to be found. Neptune’s palace is one of the grander sets constructed for a Rankin/Bass production; its imposing walls and generous empty spaces reflect a sense of regal grandeur. That royal otherworldliness does not extend to “The Emperor’s New Clothes”, but many of the same production design decisions carry over. Rankin/Bass and MOM Productions are obviously working with more money and manpower for these animated scenes than in the likes of Rudolph or their many holiday television specials. The sense of scale and grandiosity seen here in The Daydreamer and Mad Monster Party? (1967) would rarely, if ever, be replicated for television. And it is also obvious that the filmmakers put the money into the animation and for paying headline-worthy actors, rather than for any writers able to string the animated and live-action halves together.

Seven songs comprise The Daydreamer’s musical soundtrack. Composed by Maury Laws and Jules Bass, most of the songs are forgettable once your viewing is done (including Robert Goulet singing the title song over the opening credits, despite the fact I admire Goulet’s voice). But there are notable exceptions. Sung by Hayley Mills at the end of “The Little Mermaid”, “Wishes and Teardrops” brings the segment to a worthy close. Her loved ignored, the Little Mermaid sings this lament – backed with percussion straight from a ‘60s love ballad and timeless swelling strings – for herself:

Wishes and teardrops Won’t make him love me. He’s gone and he’ll never return. Does he know how teardrops can burn, When they fall for a wish That can never come true?

In the film’s final third, “Luck to Sell” injects a jolt of energy sorely missing from many of the other live-action scenes. The song itself is simple and the singing just avoids being flat, but when paired with the energetic choreography from Paul O’Keefe and company, it elevates itself from the rest of the soundtrack (save “Wishes and Teardrops”).

Not often will a viewer encounter a film with two sets of opening credits. I’m not writing about films that have an overture that transition to opening credits (an entirely different approach that modern filmmakers should utilize more), but two sets of opening credits that list the names of the actors involved. For the first set of credits, caricaturist Al Hirschfeld (uncredited) was hired to draw caricatures of the various actors and actresses appearing in, or lending their voices to, The Daydreamer. The Daydreamer is the second of three films that Hirschfeld was involved in. The first, appearing as himself uncredited, was in Main Street to Broadway (1953); his third and final film was as an artistic consultant on the “Rhapsody in Blue” segment (which was influenced by his caricatures) in Fantasia 2000.

Rankin/Bass’ ventures into feature film animation peaked several months later with Mad Monster Party? After that and the unfortunate production of The Wacky World of Mother Goose (1967; a traditionally animated eyesore), Rankin/Bass almost completely dedicated itself to its animated television specials. The Daydreamer, distributed by the now-defunct Embassy Pictures and currently owned by Sony Pictures Television (the ownership of the rights to Rankin/Bass’ features are exasperatingly scattered), has not been widely seen when compared to Mad Monster Party?, let alone Rankin/Bass’ television specials. If one can find a serviceable print of The Daydreamer, the viewing experience will be a valuable glimpse into the studio’s collaboration with MOM Productions. A Rankin/Bass fan that has only known the studio through its television specials will see their work operating with higher production values; Rankin/Bass novices can experience a dimension of animated filmmaking too often considered an afterthought.

My rating: 6/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* “The Emperor’s New Clothes” was adapted twice by Rankin/Bass. The second adaptation is the heart of the television special The Enchanted World of Danny Kaye (1972), starring Danny Kaye. That adaptation of “The Emperor’s New Clothes” is distinct from the one that appears in The Daydreamer. The Danny Kaye special’s adaptation has a more developed storyline, completely different voice cast, and completely different soundtrack.

20 notes · View notes

seancekitsch · 3 years

Note

A little check in, How are you today? I hope your doing amazing! Also, do you have any show recommendations?

hey!!! im well!! how are you, hun???

as for show recommendations:

deadly class: mix 80s, punk and hip hop music, comic books, a good dose of gore and violence and characters that i love dearly.

peep show: absolutely a throwback mid 2000s british humor. some of the jokes are dated as fuck but like, this show is so funny and awkward.

mr. robot: uhhhhhh my favorite show of all time ever its just so fucking good. its got cyber terrorism, surrealism, lesbians not in a period drama where neither of them die, a fantastic soundtrack!!!!

venture bros: its just bonkers and the funniest thing but so well written and it takes so many weird turns and such good writing.

twin peaks & twin peaks the return: buckle in.... surreal mystery show with a supernatural twist but some of my favorite tv episodes of all time and some of my favorite characters of all time

euphoria: american skins with better fashion but ugh i love it so much plus like it has a trans main character with an actual trans person in the role !!!!

3 notes · View notes

mel-at-dusk · 3 years

Photo

HOW THE MARASCHINO CHERRY BECAME A COMFORTINGLY TRASHY AMERICAN ICON

Just when did the syrupy, lipstick-red lynchpin of ice cream sundaes, 1970s fruit salads and throwback cocktails conquer the world (and your grandparents’ home bar)?

The cocktail cherry may be small, but it looms like a fiery red planet over the modern history of eating and drinking. Look, there it is, bobbing around in the rust-brown murk of a Manhattan; and, hey, there it is again nestled in the snowy peak of an ice cream sundae, lurking in the syrup-soaked folds of an upended can of fruit salad, or in your parent’s drinking cabinet, languishing in a sticky jar first opened at the dawn of the Clinton administration.

For more than 100 years it’s been the Zelig of the culinary world, beaming out from multiple places it probably shouldn’t be, inviting you to spear one with a cocktail stick, bite down and let your mouth flood with the unmistakable taste of… well, what exactly?

Not actual, fresh cherries, that’s for certain. No, the taste of a cocktail, glacé or ersatz maraschino cherry has nothing to do with the luscious, grape-like subtlety of real stone-fruit. Its impact on the palate — almonds and preservatives and a great, hallucinatory wash of artificial sweetness — is the flavor profile of a cherry as described by a drunken child. Something that, even way back in 1911, was railed against in a New York Times editorial as “a tasteless, indigestible thing, originally, to be sure, a fruit of the cherry tree, but toughened and reduced to the semblance of a formless, gummy lump by long imprisonment in a bottle filled with so-called maraschino.”

And yet, even though this resistance to the gloopy, synthesized commercialism those little red globules represent is at least a century old, the cocktail cherry abides as a cultural artifact. Not just in the post-Mad Men context of master mixologists hoarding artisanal Luxardo cherries or producing their own housemade varieties, but in studiedly kitsch, revivalist dessert parlors like New York’s Morgenstern’s Finest Ice Cream; and even, scattered throughout Quentin Tarantino’s Once Upon A Time… in Hollywood, garnishing the industrial-strength whiskey sours of one Rick “Fucking” Dalton.

“When you see a bright red one now, it’s like a bartender with a waxed moustache and sleeve garters,” notes Jared Brown, drinks historian and master distiller with venerated British gin brand Sipsmith. “It’s no longer just itself. It’s nostalgia and irony and humor.”

So how does something so ridiculous and occasionally reviled come to have such durable appeal? How the hell are they even made? And what, exactly, do bitter food standardization wars, embalming fluids and carcinogenic food dyes have to do with it?

Well, pour yourself a stiff Mai Tai, crown it with what may be your final ever cocktail cherry, and let’s chart the turbulent life, near-death and eventual resurrection of a near-indestructible American icon.

As with most convenience foods, the cocktail cherry story starts out innocently enough. Cherries stretch back to the prehistory of Europe and West Asia, and pretty much since that time, they’ve been notorious as the frail divas of the produce aisle — difficult to transport, susceptible to bruising and known to liquefy without refrigeration. And so, innovative orchard owners in the early 1800s — most notably the Croatian-born, Italian-based Luxardo family — started preserving at-their-peak cherries, both as an alcoholic liqueur and steeped in a boozy brine made up of mulched cherries, pits and sugar.

This was the Big Bang that gave us the maraschino, named for the sour, Marasca cherry variety that Luxardo made their own. It wasn’t long until these pickled fruits were infiltrating the U.S. as part of the wider mania for cocktails in the mid-to-late 19th century. (The original 1888 recipe for the martini, as Brown notes, called for a “cherry rather than an olive.”) But soon, that original, burgundy-hued Luxardo maraschino was joined by a whole Rothko color wheel of lurid U.S.-made knock-offs, soaked in cheaper preserving syrups.

One reason for this was pure cosmetics. “The first taste is with the eye, and in the days before social media, the maraschino cherry offered a huge visual bounce,” notes Brown. “Think of it resting in the brown tone of a Manhattan — it’s like a bright red beacon in the drink. [And so,] there was a need to get it as brightly colored as possible.”

Yet it’s also notable that the maraschino cherry’s turn-of-the-century ascendancy also coincided with the wider vogue for lab-made dyes, flavorings and additives that flourished in the pre-FDA era. (Relevant: This was also a time when, at the behest of nervous dairy farmers, margarine had to literally be dyed pink in some states to broadcast the fact it wasn’t butter.) “For many years, I’ve asked audiences at tasting events what maraschino cherries, grenadine and sloe gin have in common,” says Brown. “And the answer, of course, is nothing. Nothing! And yet, go back to my childhood and they were all the same color and flavor because they came from the same lab.”

Throw in the arrival of Prohibition in 1920, and the fact it meant fruit could no longer be preserved in alcohol, and other brining methods needed to be found. It was a team of Oregon-based scientists who, after more than five years of experimentation, realized that calcium salts could preserve the Northwest’s seasonal glut of fresh cherries, and also help them retain their firmness. What’s more, in the 1930s, this same team realized that if you bleached the cherries and then dyed them red (or green, or even, occasionally, electric blue) the vivid pop of color would be even more pronounced. At this point, the American “maraschino” — leached of its natural color, embalmed in synthetic preservative and flavored with almond-derived benzaldehyde — had mutated into something only tenuously related to its European forbearer.

The original maraschino farmers in Italy were — if you can believe this — not crazy about American producers using their name to hawk cloying, cherry-shaped candies the color of antifreeze. But by 1940, they had lost a long-stewing food standardization battle, when the FDA decreed that the name “maraschino” had now evolved beyond its original meaning and, to most Americans, meant the artificially flavored neon red scourge of the Luxardo family.

And so, in the wake of World War II, the cocktail cherry’s cultural dominance truly began; slotting into an additive-laced mid-century food landscape, they gleamed from Betty Crocker cake recipes, adorned every other drink at a newly established 1950s Tiki bar chain called Trader Vic’s, and even, come 1978, gave their name to a hardcore adult film called Maraschino Cherry. “I remember adoring them,” says Brown, recalling his 1970s childhood in upstate New York. “There was nothing better, when we were out at a restaurant, than getting a cherry on a little plastic cocktail sword.”

If anything they were even more adored in the U.K., where a collective, post-rationing proclivity for all things sweet only added to their appeal. Eccentric TV chef Fanny Cradock would place them on the top of troublingly phallic “banana candle” party concoctions, and in Only Fools and Horses — a beloved, long-running BBC One sitcom about a family of luckless grifters living in South London — it became synonymous with main character Del Boy and his fondness for gaudy drinks that represented a tacky sort of sophistication. Even when I was growing up in 1990s London, my parents — first-generation Nigerians who rarely drank — would always have a glowing container of what we knew as glacé cherries beside a long-opened bottle of brandy.

“You can’t underestimate the power of a good garnish,” laughs Alice Lascelles, drinks writer and author of Ten Cocktails: The Art of Convivial Drinking. “That Day-Glo cherry is something I associate very strongly with childhood and the idea of a grown-up drink, a celebratory drink.” This mixture of childishness — of innocence — and a more adult glamor seems to be at the heart of the cocktail cherry’s appeal throughout this period toward the end of the last century; they’re fruit with all the subtlety and unpredictability chemically extracted, an unapologetic hit of trashiness that appeals to both Chuck E. Cheese birthday party attendees and the kind of chain-smoking bar flies we all sat two stools from long before social-distancing measures required it.

But, of course, the cocktail cherry party came to an abrupt halt later in the 1980s. Partly, this may have been lingering scares over the occasional use of Red Dye Number 4 — a chemical colorant with some links to cancer in animal trials — in some preserved cherries, permitted because they were deemed to be “decorative” rather than a foodstuff. Also: There were unfounded rumors about formaldehyde being used as a preservative which, perhaps fittingly, just wouldn’t die.

Mostly, though, their waning was linked to the demise of the movement that first popularized them in the U.S. “The maraschino cherry collapsed precipitously along with the collapse of cocktails,” says Brown. “Suddenly, you weren’t finding anyone over the age of 10 lunging toward maraschino cherries, and what happened was people discovered wine, which eventually went into craft beer.”

At that point, in terms of the popular consciousness, cocktail cherries were mostly glimpsed at the fringes of culture, or within insalubrious bars with “C” hygiene ratings tacked to their windows. Then, inevitably, as the cocktail revival of the mid-2000s began in coastal cities, sailor-tattooed mixologists started looking into what preceded the neon cocktail cherries of their youth, and eventually rediscovered Luxardo’s original, burgundy-colored and naturally sweetened maraschinos.

“I remember I’d race [Milk & Honey founder and bartender] Sasha Petrosky and Audrey Saunders [of the Pegu Club] to a place called Dean & Deluca because it was the only place you could buy Luxardo maraschino cherries in New York,” recalls Brown about the frenzy during the craft cocktail boom. “It didn’t matter which one of us got there first; we would end up [dividing] them out until the next shipment.” Now, Brown reports, Luxardo is sending “palette-loads a week over” for import and he himself preserves around 200 jars of maraschino-style cherries a year to sell from his home in the English countryside. In 2017, Luxardo planted 2,000 new Marasca cherry trees in Northern Italy — taking their total to 30,000 — just to keep pace with demand.

The pendulum, after all those years of traffic light-red candied cherries, has swung back to something purer again. Yet, interestingly, the unnatural cocktail varieties haven’t disappeared. They’ve had their own rebirth, whether crowning old school cocktails at acclaimed, 1960s-inspired Detroit bar Hammer and Nail, or clogging social media feeds as part of author Anna Pallai’s Twitter account-turned-campy-coffee-table-hit 70s Dinner Party. “There’s a definite trend for kitsch that’s brought them back,” says Lascelles. “Instagram has helped as well, because they really pop in a picture.”

It makes sense that the current, extremely online moment — where almost everything can be both completely sincere and larded in multiple confusing layers of irony — would be the time when both these diametrically opposed approaches to cherry preservation would find room to flourish. They are, as Brown notes, “jubilant and ebullient at a time when humor and fun is something we are all desperate for.” It seems as plain as the unearthly red glow, beaming from the bottom of a filled coupe glass in the corner. Like that opened jar in your parents’ home bar, the cocktail cherry isn’t going anywhere.

2 notes · View notes

ckret2 · 4 years

Note

“You’re so vain” “Give em hell kid” And “I hope you die” I’d love to hear those explanations

Righto! Okay so recap for the people who might have missed it, this is about the radiosnake playlist I mentioned/linked a bit over a week ago, Serpentine & Demonswing. When I posted it I also added an “and if you wanna know why any songs are on the playlist you’re free to ask.” The playlist is a work in progress so some of my answers are gonna be “so here’s the explanation for why it was included but tbh I’m not 100% on keeping it.”

Important things to mention before getting into it: the playlist is build specifically off my headcanons from “Cold Day In Hell,” and so all of the songs act on the assumption that CDIH is “canon.” (tl;dr: they’re exes, because Alastor got scared of emotional intimacy, told Sir Pent he never actually liked him, and ran off after blowing up all his airships.) The first chunk of songs is from Sir Pent’s perspective, the second chunk is from Alastor’s, the third is from them both or about them both, and the last few songs are “I like the vibe but honestly am not sure this fits the playlist.”

Also, y’all are welcome to keep asking me about songs, because this is a lot of fun.

I’m absolutely sure that tumblr is going to delete this read more out of the post but I’m going to put one anyway, maybe it’ll let this one work just to be contrary. If it doesn’t, I apologize for the dash stretcher, that’s just how tumblr do.

So! Explanations:

You’re So Vain (Lyrics)

This one is on the Sir Pentious side, so, although it’s not directly/accurately about Alastor, it is about how Sir Pent sees him in light of their catastrophic breakup.

Verse 1 is less on the nose in its description of Alastor, but you get the impression of someone who is obsessed with how he comes across to other people, and who is far more interested in himself and the image he’s giving off than he is in any of the people he’s trying to impress. A great deal of Alastor’s personality is—or at the very least, comes off as—completely performative. As though to this day he’s still nothing but a radio host performing for a listening audience, even when he’s only talking to one person. The fact that he’s always wearing a fake smile and pointedly providing his own sound effects adds to that impression of a performer who never breaks character.

And the fact that the character in the song is still wholly self-absorbed even when he’s dancing with a partner gives a nice little glimpse into how Sir Pent’s retroactively reinterpreted his last evening with Alastor.

Verse 2 is the stanza that comes closest to completely accurately reflecting what went down between them. First, the alliance between them, the implicit promises that they the were going to conquer Hell and then Heaven as partners in crime—“Well, you said that we made such a pretty pair / And that you would never leave”—and then, the breakup—“But you gave away the things you loved / And one of them was me.” It’s the one line that acknowledges that the character in the song did, indeed, actually love the singer, and wasn’t just performing a role/playing at being in love.

It’s also a line that would ring false to Sir Pentious, because in the aftermath of CDIH, he genuinely doesn’t believe that Alastor ever loved him. He completely buys Alastor’s claim that he was just screwing around with Sir Pent’s emotions for his own entertainment. Words to the effect of “one of [the things you loved] was me” would never come out of Sir Pent’s mouth.

However. Of all the lines in all of the songs in Sir Pent’s portion of the playlist, that one line is the most accurate thing that could be said about Alastor, the blade that would stab into the core of who he is and the role that he played in this story. Because of his vanity—his selfishness, his pride, his obsession with his own independence, his fear of love, his fear of vulnerability, his fear of sharing his life with someone else, etc.—he didn’t just lose what he loved, he did very deliberately and intentionally give it away.

(I’ve always found that line to be the most interesting in the song, for the hint that this vain person did indeed truly feel for someone else, so I’m glad that line fits so well here.)

Verse 3 is just more “what Alastor is like as observed by Sir Pent,” except even more accurately than the first stanza. Constantly running around, constantly moving on from one brief source of entertainment to another (just stuff “threw his support behind the Happy Hotel” somewhere between “gambled on a horse race” and “watched an eclipse”), constantly socializing with dangerous people and people whom he’s going to hurt without caring in the slightest.

Okay so that’s the lyrics.

Making sure the aesthetics/styles/genres of the songs match the character they’re for is one of my high priorities on this fanmix—not to the extent that having the wrong style is an instant dealbreaker, but I’m going to be hesitant to include a song that doesn’t at all match the sound I’m going for. For Sir Pentious, I’m kind of running with two styles.

The first style is “sounds Victorian-ish enough to get a shrug and a nod from anybody who doesn’t actually know/care about Victorian-era music,” so that’s gonna be just about anything orchestral/symphonic that doesn’t clearly fall into a different genre, symphonic metal that sounds symphonic enough to satisfy me, instrumental covers of other songs (string quartets, piano, full orchestra...), things with harpsichords (LISTEN i know that harpsichords are more baroque but they’ve got the right Vibe, you know, they’ve got the Feeling), and things with organ—but like, it’s gotta sound like pipe organ (pipe organ—sounds like a church) and not like Hammond organ (Hammond organ—sounds like a baseball game). Also steampunk, except a lot of “steampunk” genre music sounds swingy/jazzy, so those songs get ruled out because that’s Alastor’s aesthetic. And also, like, actual classical music, but I’m not into a lot of actual classical music, so I don’t think any’s actually made it in yet, lmao.

The second style is based on what the creator herself said about Sir Pent’s music preferences: “Sir Pentious would listen to Blink-182. Pentious would literally listen to stuff like Linkin Park, Green Day, the emo stuff.” So I took "the emo stuff” as “oh okay cool so the stuff I listened to at 15 got it” and ran wild with that. I’ve been most heavily drawing from My Chemical Romance, Panic! At The Disco, and Mindless Self Indulgence to represent that half of Sir Pent’s preferences. (MSI because I feel like that fits an in-your-face and morally jaded villain, P!ATD because their newer stuff fits his flamboyance and exuberance and egotism, and MCR because... because I know them best.) I haven’t yet made much time to carefully comb the discographies of the other bands listed or look into other more traditional emo-associated acts.

Carly Simon’s original “You’re So Vain” matches neither of these styles.

I combed through about 60 different versions of “You’re So Vain” on Spotify looking for ones that meet one of these aesthetics. Like 90% of them were, I’m pretty sure, just various singers adding their vocals directly over a karaoke version of Carly Simon’s original.

In the end, the only one that came close was Marilyn Manson’s cover. He’s a bit outside of the bounds I try to stick in for Sir Pent, but like, okay, he’s industrial metal, but in a particularly goth way, that’s close enough to emo. To my mind, “Sir Pent listens to emo” is like... Sir Pentious’s musical preferences are going to be, 1) counterculture, the kind of stuff that causes conservative Christian moms to go into moral panics, but also 2) mainstream counterculture, the kind of bands that produce huge hits & get featured in major blockbuster movies, but also also 3) slightly dated mainstream counterculture, i.e., at the end of the 2010s he’s listening to the bands that may still be popular but that peaked in the mid 2000s, in keeping with the way he’s trying to keep hip and modern but always seems a little bit behind.

So, in the 2010s, he’s listening to 2000s emo acts. In the 2000s, he was listening to the 1990s’ biggest metal acts (like Marilyn Manson) and possibly grunge acts (things like Nirvana, Smashing Pumpkins). In the 1990s, he was listening to the 1980s’ biggest post-punk and new wave acts (like The Cure, Joy Division/New Order, Depeche Mode). Always evolving his stylistic preferences, always trying to keep up, but always a little behind. So that’s how I justify putting Marilyn Manson in lmao.

Although that was the only version of “You’re So Vain” I thought fit well enough, I also found a version by Trash Pour 4, a version by Les Reed Orchestra, and a version by Giant Sand that were all very good. Trash Pour 4 is driving me crazy because I can’t quite figure out what genre they are, I just can’t place them—but they’ve got several other good covers that I’d like to take advantage of at some point.

I also found a song called “You’re So Vain (Christian Dior)” by The Energy Commission that’s not a cover of Carly Simon’s song, just a new song with the same name. I’m lowkey considering including on Alastor’s side of the playlist. It’d serve as a very sharp critique of how image obsessed Sir Pent is, there’s some snappy turns of phrase that seem like they’d appeal to Alastor’s sense of humor (my two favorites are “He went off the deep end ‘cause he’s so shallow” and “He’s got a timepiece on his wrist and it says ‘watch me’”), the fact that it’s a critique specifically of high class materialism fits with the fact that I headcanon Sir Pent as coming from British nobility while Alastor’s ancestry is both racially and socially mixed (including at least one close relative who was a slave, I’m thinking a grandparent but haven’t settled on my headcanons yet), and I love when there are parallels like that in playlists about the relationship between lovers/partners/rivals/siblings/any-combo-of-two-people.

The reason I haven’t added it yet is because, by the end of the song, it’s not just a critique of being a rich shallow image-obsessed douche, but specifically of how that culture ties in to exploitative capitalism that’s wrecking human lives and the world—which, in the context of the characters we’re talking about here, would translate into a criticism of Sir Pentious’s very-imperialist-sounding take-over-the-world villain ambitions. Which isn’t something I think Alastor cares about. He probably should, but like, he just doesn’t. He’s a villain himself. I’m sure he’s got his own morals and standards and hard limits but “take over the world” isn’t on his list of dealbreakers. What’s taking over the world include? Mass murder and subjugation? Yeah, he’s cool with that. So that’s why I’m still on the fence about adding it.

Give ‘Em Hell, Kid (Lyrics)

So remember how I said that My Chemical Romance is one of the bands I’ve drawn from most heavily so far in looking for emo Sir Pent songs? Yeah for about a day there were six different MCR songs sitting in Serpentine & Demonswing as I slowly whittled them down to the ones that I thought fit best. “Give ‘Em Hell, Kid” is one of the last three, and actually one that I’m constantly on the verge of cutting.

Lyrically, it’s an Alastor song. There’s mentions of the singer having come from New Orleans (listen... i am a sucker for songs that mention New Orleans, it automatically earns five points on the imaginary “is this an Alastor song?” rubric in my head). The singer is singing about a love interest who’s gone, and he’s making no moves to pursue/reclaim the love interest, wishing them well (“So go on, live your life”), but he’s a wreck and a lesser person without them (“If you were here, I'd never have a fear,” “Well I'm a total wreck and almost every day”), and it’s just getting worse with time, not better (“But I miss you more than I did yesterday”).

The line “Some might say we are made from the sharpest things you say” although directed toward “you,” i.e. the love interest, i.e. Sir Pentious, in my head actually reflects more on the things Alastor said to Sir Pentious: the cruel things he said to Pent—that he’s weak, ineffective, behind the times, a has-been, never going to conquer hell—ended up a self-fulfilling prophecy, because that’s exactly what Alastor’s rampage made happen. Today, as he is now, Sir Pentious is made from the sharpest things Alastor said.

“Your dreams and your hopeless hair” makes me think of Sir Pent’s wild efforts to conquer hell (and, of course, his ridiculous cobra hood), and “We never wanted it to be this way for all our lives” is a perfect expression of Alastor’s regrets/remorse over what his actions have done to both of their lives, but especially to Sir Pent’s life.

And all the references to violence—murder scenes, firing squads, sharpest things—fit with the fact that both of them chose to live lives soaked in blood.

So it’s a perfect Alastor song. The only problem is, it’s an MCR song, which is sooo far outside of my acceptable genres for him. (I’m not gonna get into Alastor’s genres now bc there are better songs to do that on, just know emo ain’t it.) And not only is it outside of his acceptable genres, it’s in the OTHER character’s acceptable genres, which is very messy. I can vibe with “lovers’ songs borrowing from each other’s aesthetic” a LITTLE bit when it’s used to represent, like, emotional synchronicity or the like (ex: both “Roustabout” and Vernian Process’s “Maple Leaf Rag” are on my “Alastor+Sir Pent style fusion songs” list). But MCR is a big departure from Alastor’s acceptable styles.

Plus, the playlist already has two MCR songs, and do I really need three songs from the same band? Unless there’s a really good reason, I try to avoid having repeats from the same band on one playlist—I feel like a good well-rounded fanmix oughta have a diversity of sources. (With “a really good reason” being something like “I’ve got the playlist divided into five sections detailing five phases of the character’s life and each section is introduced with a different track from the same band” or “I’ve got an instrumental version of the song to kick off the playlist to serve as ‘foreshadowing’ for when the version with lyrics shows up at the most dramatic moment” or something like that.)

If I was going to, like, make it a thing, I could. Justify it like “there’s one MCR song that represents them when they’re together, one MCR song from Sir Pent’s perspective, and one MCR song from Alastor’s perspective, like a little triangle,” but like... if I was going to do that I feel like I’d want to do it with a style that’s either representative of both of them or else independent of both of them, and MCR is so heavily a Sir Pent sound. Basically, having three songs from one band would be okay if it was a band that vibes with the overall tone I’m shooting for in the playlist—but it’s not. So I’m very torn on “Give ‘Em Hell, Kid.”

“El Tango De Roxanne” + “Overture” + “I Hope You Die”

Okay before I can talk about “I Hope You Die” by itself, I kind of have to explain its exact position in the playlist and its relationship with the other two songs I just listed.

While MOST of the playlist is chunked up into the four sections I mentioned earlier (Sir Pent, Alastor, both, undecided), within those sections the songs aren’t really in any particular order. The one exception is the very first three songs on the playlist/the very first three songs in Sir Pent’s section.

These three songs, presented in that order, all as Sir Pent songs, serve as Sir “in war, the side remembered is the side with the most style” Pentious the Super Villain making his big entrance like:

youtube

“El Tango De Roxanne” starts slow/quiet, and then (with a couple of brief dips) it gradually builds in volume and pain and intensity, getting faster and more emphatic, switching from mournful longing to nearly-angry anguish, until it ends with a pained scream, steampunkish percussion, howling background singers, and a wailing violin.

And then it pauses, for just a moment.

And then “Overture” hammers you with the most dramatic opening chord you will ever hear on an organ in your life, perfectly matching the energy at the end of “El Tango De Roxanne” and maintaining that level of energy throughout the song.

And then it stops so quickly it’s like someone gasped, holding its breath for a split second—and then some dude yells “You must die! I alone am best!” and the guitars kick in for “I Hope You Die,” leading into a depiction of the most intense, vitriolic, disgusting sort of loathing imaginable.

The build-up from “El Tango De Roxanne” and “Overture” really revs up “I Hope You Die,” the intensity of the organ in “Overture” highlights the intensity of the guitar in “I Hope You Die,” and all together it hypes up what could have been just a dark humor song about hating someone into something that sounds like a very genuine demonstration of hatred.

And taken all together, it makes for a fantastic intro for Sir Pent.

It also serves as a perfect intro to the current state of affairs between him and Alastor—sort of expressing his personal emotional journey on the morning Alastor betrayed him, as his reaction transforms over the course of three songs from grief/despair to fathomless fury.

There’s more I could say individually about “El Tango De Roxanne” and “Overture,” but I won’t, because it’s “I Hope You Die” time.

“I Hope You Die” (Lyrics - warning for a whole stanza dedicated to hoping someone gets raped in prison)

A small handful of the songs in my Hazbin playlists were discovered in and added from existing Hazbin character playlists I found on Spotify before I started making my own. “I Hope You Die” was one of them, found here. Which is why it was added even though it doesn’t fit my strict genre standards, it won me over before I narrowed down the styles I’m working with lmao.

(I feel like “El Tango De Roxanne” was one of those too, but I can’t now find a Spotify playlist containing it that added it before I did. Where did I grab it from? It’s not something I would’ve looked up on my own, something must have inspired me. IDK what though. None of the other songs mentioned in this post were found on other playlists.)

So this song is, obviously, just about how much some dude hates somebody else and wants extremely horrible things to happen to them. It’s sorta... *eyes lyrics uneasily* ... sorta tasteless; but, tasteless in a way that I feel like reflects back on the character singing the song. The feeling I come away from after finishing the song isn’t “the band wants you to think the person they’re singing about deserves this to happen to them,” because it doesn’t even give a reason why the singer hopes this person suffers; but rather, “the band wants you to think that this is the kind of hatred that the character/persona the singer is portraying is capable of, this is the kind of vile stuff that character wants to see done to their enemies, this is representative of the depths of that character’s rage.” Which is why I’m like “yeah... okay, sure, that fits” even though I’m real iffy about the last couple stanzas.

Because for a character who’s in Hell surrounded by people who have stomped on the last dredges of their civility and decency, and a character who’s patterned after a super villain (and, because the series creator dropped the idea that there are heroes/villains in the living world, the only super villain in this setting), and a character who gleefully boasts about being evil, and a character who we know demonstrates very rapid/extreme emotions and expressions of hate/outrage... Yes, I can absolutely see this song as the exact sort of hatred Sir Pentious would level at somebody who’s slighted him. And Alastor blew way the hell past “slighting” him. Alastor, without exaggeration, has ruined his life (afterlife?) and over fifty years later Sir Pent is still unsuccessfully struggling to get back up to the level he was at before he even met Alastor. Right now, Sir Pentious really and truly and deeply despises Alastor.

A song like this—sheer, frothing, unrestrained, vengeful contempt—tells you a whole lot about what kind of emotions Sir Pentious is capable; and it tells you a whole lot about the kind of effect Alastor’s actions have had on him, to inspire this level of reaction from someone who was very close to him for fifteen years and increasingly in love with him for probably a good amount of that time.

Plus, the “You must die! I alone am best!” is such a very, very Sir Pentious sentiment.

So that’s those songs! Again, y’all are free to ask me for my thoughts on more. Yes, most of them will probably be like this, lol.

#(i'm p sure the fact that i included links means this will stay out of the main tags)#(but i'm gonna include some dummy tags so the main fandom tags aren't in the first 5 just in case)#anonymous #ask #music #radiosnake #hazbin hotel

33 notes · View notes

bill-the-baker · 4 years

Photo

I’ve also decided to finish this decade with something more light-hearted, detailing the many trends that one can associate with the past ten years. I styled this picture in a similar fashion to those gaudy collages you have relating to the 1980s and 1990s, with this mainly being reflected in the style of this picture. The title of the picture holds a very minimalist design, and is shown from inside a phone, whilst the rest of the poster has a dull white background. These main design choices were added to reflect the omnipresence of smartphones in this decade, as well as the general trend of Minimalism, which has been followed by many companies in recent years. The decision to make the background seem plain was not completely because I’m feeling lazy, but because I tried to follow the trend of minimalism, a trend I personally hate because of how boring it is (I probably would have added in a pretty pattern if there was some other major design trend).

Beyond this though, there are a few other things I chose to add in to reflect the 2010s:

-Ragecomics- The basis of most early-2010s memes.

-Skrillex (or rather Dubstep in general)- A key figure in a genre of music that you either loved or hated.

-Obama- A fantastic President who laid the groundwork for change that will hopefully be built upon in the future.

-Hipster culture- Fresh-out-of-college rich kids who made avoiding the mainstream a mainstream trend.

-The Occupy Movement (“We are the 99%” sign)- A promising post-Great Recession movement with disappointing results.

Gay Rights- Gay marriage is now legal in places like the United States, and homosexuality is more accepted the western world, so much so that companies are now no-longer afraid to pander to them whenever June comes around. Still, other parts of the planet have yet to change their outdated ways.

Trans rights- With people like Caitlyn Jenner and Leelah Alcorn, Transgenderism has arrived into the forefront of social issues, though it remains a strongly divisive issue throughout the decade.

Drones- Like helicopters but smaller and cheaper.

Overwatch- An interesting game that offered a unique personality to the shooter genre in a decade oversaturated with annual Call of Duty releases.

Cuphead- A challenging run-and-gun platformer with a Golden-Age animation-style, showcasing what can be made through video games these days.

Minecraft- The game that doesn’t die. It defined the childhoods of many gamers who fondly remember the early-2010s, and has since made a major resurgence in the decade’s end.

Steven Universe- A much-loved show that offered many unique and progressive themes, which I can admire despite my mixed feeling for the show itself.

Gravity Falls- A show aimed at children didn’t have to be this immersive and interesting, but Alex Hirsch and his team did it anyway and offered the world two seasons of hilarious and yet gripping television.

Political correctness/Woke-ness (“That’s Offensive” speech bubble)- Something that has been pushed to death among the political mainstream, but especially by the Left, as people are silenced whilst others demand safe spaces to keep their precious feelings from being hurt. Political correctness is a somewhat-trend that is better off staying in this decade.

Shrek- Whilst the 2010s have been starved of a new Shrek film besides the contested “Shrek Forever After”, the “Shrek is Love, Shrek is Life” greentext story, despite its crude subject matter, has made the brutish but kind ogre a mainstay in meme culture, whilst offering people the opportunity to explore the nuances of the franchise, after growing up with the character.

Pewdiepie- Starting out strong in the decade, making a name for himself as “that funny Swedish guy who screams as scary games”, an incident in February 2017, in which he was called a Nazi by the mainstream media, resulted in him becoming a more independent and politically incorrect figure, before going on to unite the internet in a battle for the most subscribed YouTube channel against a corporation. He lost in the end, but it was fun while it lasted.

Tyler, the Creator- Offering a unique sound among waves of forgettable Pop music, Tyler evolved from an edgy but somewhat humorous rapper, to an interesting and poignant singer in this past decade, achieving near-mainstream success.

Marvel Cinematic Universe (Endgame logo)- Many mainstream cinemagoers are bound to have seen at least one of these groundbreaking movies in cinemas, with their intense action and perfectly balanced humour, all culminating in the outstanding films “Avengers: Infinity War” and “Avengers: Endgame”.

Death Grips- Unlike anything that has ever been popular among general audiences, the exciting tunes concocted by MC Ride and Zach Hill have remained in the minds of many younger and more alternative individuals.

My Little Pony: Friendship is Magic- Arguably the most unlikely of fanbases to come around in this decade, this re-imagining of an 80s cartoon series had a style of humour and storytelling that peaked the interests of a group of adult men known as “Bronies”, who’s reasons for being interested were questioned and much of the internet hated them, but they were certainly something to behold throughout these years.

The 2016 Presidential Election (Hilary Clinton and Donald Trump)- A time many can regard as the branching-off point between the first and second halves of the decade, as the extremes of both sides were exposed to the world with astonishing results.

Vine- A social media platform that has since disappeared off the face of the Earth, but brought about many notable celebrities and memes that are often remembered by younger generations.

Vaporwave- Alongside Hipsters, Vaporwave was perhaps one of the few examples of a concrete “counter-culture” movement, offering an anti-Capitalist message within its use of music and iconography from the 1980s and 1990s. Since then, it is best known for offering a warm and interesting “aesthetic”.

Pepe the Frog- A frog best known for saying “Feels Good Man” earlier on, was later used by certain Right-wingers and has since been touted as a symbol of hat. But, with a smug grin like that, it appears that he doesn’t seem to care about what others say.

Social media- It already played a massive role from the mid-2000s-onwards, but now, the scale of social media has grown exponentially, with people moving away from mainstream news and entertainment and instead choosing to get their kicks on Facebook, Instagram, Twitter and YouTube. This focus on gaining the news from social media has held some negative consequences as fake news continues to fool gullible Boomers.

Hyperbeast fashion- In terms of fashion, the Hypebeast is the late-2010s’ version of the Hipster, though unlike Hipsters, who are financially-independent rich kids who make questionable purchasing decisions, Hypebeasts are often preteen/teenagers who suck money out of the credit cards of their rich parents.

Adventure Time- A rather interesting cartoon that started off as a fun show to get high to, but evolved into a gripping epic with an expansive lore and interesting world.

Minions- While they were rather annoying to older viewers following their introduction in the otherwise top-tier film Despicable Me, children and especially 40-something year-old Facebook Mums couldn’t get enough of these wacky tic-tacs.

Brexit- A subject that I, as a Brit, couldn’t seem to get away from in the past few years, as politicians refused to move forward with the people’s decision. But, with the Tory majority in Parliament, as depressing as that sounds, it seems possible that we can finally move on as a country to more important matters.

Vaping (Juul-smoking mouth)- Recovered chain-smokers and rebellious teens have made this trend a popular pastime, though its popularity has waned recently over health concerns.

Doge- Whilst it began as a singular image of a cartoonish-looking Shiba Inu making a weird face, as brightly-coloured Comic Sans surrounds her, this dog has become the subject of many surreal and unique memes, taking on many different forms, solidifying the transformative nature that all memes should strive for.

Hoverboards, Fortnite, Dabbing, and Fidget Spinners (The monstrosity on the bottom-right)- What do a handle-less Segway, a more cartoony (but somewhat better) version of PUBG, a dance based off of post drug-taking sneezes and small bits of metal for Autistic children have in common? They have all ascended to levels of annoying trends that at least some people have had fun with.

Undertale (Sans)- An interesting game that has gained a heavy degree of fame for its interesting themes and interesting characters, some of which have been admired a bit too much by certain teenage girls.

As for my personal experiences of this decade, I can say that, whilst I was born in the early-2000s, I was definitely raised in the 2010s. Much of my memories of the previous decade are rather minimal, and I didn’t follow that many trends considering I only lived on constant repeats of SpongeBob by the start of this decade. Since then, though I have gained many impactful memories from these past few years. Some good, some bad, some great, all of which were a part of growing up. In about two-weeks’ time, I will finally become a legal adult, and shall begin the rest of my life. So, I wish you all well, and hope your Twenties are truly roaring!

#2010s #2010s nostalgia #collage #retrospective

18 notes · View notes

stratharchives · 4 years

Text

Guest blog post- Rachel E ‘Betty’ Stark: speech therapist and Himalayan mountaineer

Our Speech and Language Therapy friend, Dr Linda Armstrong, has been continuing her research and has uncovered the fascinating story of ‘Betty’ Stark, adventurous speech and language therapist 1940s-1970s.

I’ve just had the most interesting ‘journey’ finding out more about Betty Stark … while staying at home. There is information about the first fifteen or so years of her professional career in various types of Royal College of Speech and Language Therapists’ documents held at Strathclyde University Archives and Special Collections (committee minutes, the journal and Bulletin). To find out more about Betty in recent weeks though, I’ve been to the 2002 exhibition ‘On top of the world: Scottish Mountaineers at Home and Abroad’ at the Scottish National Portrait Gallery, to Scotland’s People at the National Records of Scotland, to the Himalayas and to the headquarters of the American Speech and Hearing Association in Maryland (currently in coronavirus lock-down like us) - all without opening my front door.

Her name is probably not familiar to many of today’s speech and language therapists, in comparison with some of her contemporaries. Nevertheless, Betty Stark’s contribution to the profession - and her mountaineering achievements - should be remembered and applauded.

Betty was born Rachel Elizabeth Stark and used various forms of her first names throughout her life. In the mountaineering world, she seems to have been known as Betty. In the 1940s and 50s she was known, at least professionally and in publications, as Elizabeth. By the late 1950s and on her emigration to USA, she was published as Rachel E Stark. I don’t know why her first name adapted over time, but wonder if it was tied in with her developing and changing professional identity. She maybe continued to be called Betty informally.

The Glasgow School of Speech Therapy (now part of the University of Strathclyde) is 85 years old in 2020. Betty was one of its early graduates. Its historical records are also held at the University of Strathclyde Archives and Special Collections. She studied there in the final years of the second world war and became a Licentiate of the College of Speech Therapists in early 1946. By 1950, she had acted as editor for two issues of Bulletin and in the following decade published articles in the College of Speech Therapists’ newsletter on disparate topics. For example, one from 1953 uses both audit and research to examine the effectiveness of three sessions of speech therapy per week. This built on previous work by Maud Wohl in Dunbartonshire. Today’s paediatric speech and language therapists will recognise the benefits and challenges of delivering this type of service. In 1958, an evaluation of the effectiveness of speech therapy for children with dysfluency focuses on prognostic indicators. In the same year, she shows lyrical and humorous talents in a poem called ‘A Cautionary Tale’ about how Jock Tamson (here a tape-recorder hirer!) won over a phonetician with a bag of conversational lozenges. This was published in November, not on April 1st.

Mountaineering was one of her hobbies. In 1955, Betty was part of a group of three Scottish women who climbed a then unnamed peak of 22,000 feet in the Himalayas, without oxygen and supported by porters and Sherpa guides. She spoke about this experience to speech therapists on at least two occasions. At the Scottish Area meeting in November 1955, Dr McAllister (Director of the Glasgow School)

remarked that very early in her acquaintance with Miss Stark she had discovered these qualities of courage, enthusiasm and leadership which she had brought to bear on the expedition. (Bulletin No. 58, December 1955)

Image above copyright HarperCollins- reproduced with kind permission of archive.

Betty also gave a presentation supported by coloured slides at College’s 1957 AGM. The expedition was partly funded by Collins, who published an account of it in the book ‘Tents in the Clouds’ co-authored by Betty. When I contacted Collins (now HarperCollins) to ask permission to use the picture of Betty from it in this blog-post, I was delighted to find out that a recent intern in their archives department had chosen this book to write about in a blog last year!

https://www.collinsdictionary.com/word-lovers-blog/new/from-the-archives-the-cloak-and-dagger-expedition,556,HCB.html

Betty’s mountaineering achievements continue to feature in exhibitions, talks and mountaineering blogs long after her death.

Betty’s award of Fellowship of the College of Speech Therapists in 1963 was for her thesis ‘The incidence and nature of stammering in educationally sub-normal children’ [now children with learning disabilities]. By that time, she had already emigrated to the USA. I’m not sure of the reason for this but within a few years she had received a Masters degree in speech pathology from Northwestern University and a doctorate from the University of Oklahoma Medical Centre, so it may have been for career development. At that time, most speech therapists in UK qualified with diplomas and none had yet graduated from a degree-level course. Her post-graduate studies would have been quite exceptional here in the mid-1960s.

I’ve only found one article by Betty in College’s professional journal. It appeared in 1978 when the journal was called the British Journal of Disorders of Communication and was about her innovative work in infant speech development. She specialised in speech and language development and disorders in children, writing many articles and editing at least one book on this fundamental aspect of speech and language therapy work.

Article image: BJDC (1978) 13/1, 41-47.

She had a long and illustrious research and academic career in the USA, including at the John Hopkins School of Medicine and the Kennedy Institute of Baltimore. Latterly, Betty was Professor of Audiology and Speech Sciences at Purdue University from 1987 to 1991. Her name continues to be lent to a professorial post there (Rachel E Stark Distinguished Professor).

It’s been a pleasure to research her life and career. I’m hoping to learn more about the Himalayan expedition in the forthcoming exhibition ‘Petticoats and Pinnacles’ at the National Library of Scotland in October 2020. Betty Stark (1923-2000) – speech therapist and mountaineer – one of Jock Tamson’s bairns - what a woman!

#StrathSLT85 #RCSLT75 #guest blog #archives and special collections #university of strathclyde #speech therapy #speech therapists #20th century #women #mountaineering #Glasgow School of Speech Therapy #SpeechTherapy

1 note · View note

aviewfromhell · 5 years

Text

Metal in 2018

DISCLAIMER- Increasingly, I find these year-end album lists becoming more personal and less critical. This is definitely a list of my personal favorite records from this year, and is not intended to be a critical survey of the artistic merits of various albums falling under the metal banner in 2018. Most of your favorites, and a huge percentage of metal journalism’s consensus “best of” will therefore be absent. There are even things here that probably aren’t “metal,” and definitely something that isn’t (originally) from 2018. So, you caught me. The title is a lie. But then again, it is my list, so I guess I can make the rules.

Immortal – Northern Chaos Gods

Mighty Ravendark returns! When Immortal parted ways with Abbath a few years back, most people assumed the band was essentially done. Shortly thereafter, founder Demonaz picked up his rime-crusted axe of old and announced that not only was the band not done, but that a new album was in the works. Many fans were skeptical, myself among them. How good could a new album without Abbath be?

This year, Demonaz (with the help of longtime drummer Horgh and session bassist/producer extraordinaire Peter Tagtgren) let the deathblow of his mighty axe fall, cleaving the heads of skeptics and doubters alike with the incredible Northern Chaos Gods. How good could this new album be? Better than anyone expected.

Far from sounding out of place, Demonaz's vocals fit the new material perfectly, and his lyrics are spot-on as always.Tagtgren's production is a great fit as well, and I hope the band continues their collaboration with him.While everyone will miss the grandeur of Abbath-led Immortal at their peak, I'm equally excited for this new incarnation of the band. If we keep getting albums of this quality from Demonaz, and Abbath continues releasing killer records utilizing his own trademark Abbath-isms, it may even be better than if the band had stayed together. If I had to pick a single release to be my actual "Album of the Year," this would most likely be it. Northern Chaos Gods has gotten more spins from me than any other 2018 release, and writing about it just makes me want to go listen to it again.

Judas Priest – Firepower

Judas Priest suffer from a rare condition in the metal world. They have so many great records that it's extremely difficult to release something new and relevant that plays to their strengths and isn't doomed to live in the shadows of their monolithic masterpieces. However, with this release, I think they achieved it. Sure, Firepower feels closely related to the untouchable Painkiller in pacing, structure, and overall style. However, Andy Sneap's production really sets this record apart as its own beast, and the combination of classic Priest writing and modern punchy production make Firepower one of the best metal records of 2018.

Aura Noir – Aura Noire

Norway's black thrash masters surface once again with an album that simultaneously feels like both a direct follow-up to their 1996 debut full length Black Thrash Attack, and a fresh new take on their abrasive, in-your-face style. Blasphemer, as usual, provides sickening riffs aplenty, melding different styles and techniques together into his own unmistakable sound. Aggressor and Appolyon deliver their signature, often over-the-top vocals in spades, and Aura Noire presents us with several tracks I'd consider to be new Aura Noir staples in an already impressive roster of black thrashing death anthems. All hail the ugliest band in the world!

High on Fire – Electric Messiah

One of the consistently best bands in American metal unleashed another monster upon us in 2018. Electric Messiah is solid throughout, and I'm as impressed as ever by Matt Pike & co.'s ability to deliver high quality albums like clockwork since their inception nearly two decades ago. Still, vicious album opener "Spewn from the Earth" does make me wish the band would release a record of nothing but high-speed rippers. Maybe one day, but until then I'm perfectly content with the killer mix of doom-drenched thrashy three-piece arcana that High on Fire has honed to perfection.

Sigh – Heir to Despair

Just look at the cover art. It may be the most "Sigh" thing I've ever seen. Mastermind Mirai Kawashima and friends return with the band's 11th full-length album, considered by many to be their best in years.The band's provenance is more evident than ever before; Heir to Despair's lyrics are almost entirely in Japanese, and various flutes, piccolos, and even taishogoto feature prominently. This album also happens to be one of the most "metal" in the band's recent discography, while still being as off-the-wall and unpredictable as fans have come to expect. This avant-garde offering delves deep into themes of madness and insanity, and I dare any listener to sit through the full album and claim they haven't gone a little crazier themselves.

Mayhem – Grand Declaration of War (2018 remix/remaster)

I know, I know. This album is from 2000, not 2018. However, as a Grand Declaration of War connoisseur, I can affirm that this is different enough from the original that it warrants inclusion on any list willing to allow remix/master/makes of any kind.

By most standards, this new version sounds almost objectively better in every way normally employed to determine musical sound quality. The album sounds much more organic and warm, particularly the drums. Everything sits nicely in the mix as well, with each instrument a little easier to pick out and enjoy than on the 2000 original. However, like other Grand Declaration of War enthusiasts have noted, the cold, digital, clinically-dead sound of the original was part of its charm. It added to the overall aural aesthetic and concept of the record. This 2018 version doesn't have that same detached quality, but luckily, we don't have to choose between versions; Mayhem has graced us with both.

I intended to restrict myself to talking only about the new release (since that's the only thing '2018' about the record), but I can't resist a small rant about Grand Declaration of War as a whole. This album was, and remains to be—if slightly less so—very controversial among black metal and Mayhem fans. Lots of fans hate(d) this record. They're wrong. Grand Declaration of War embodies both Mayhem and the spirit of Norwegian black metal perfectly. One of the absolute highlights of my year was being fortunate enough to play a gig with Mayhem, and the highlight of their set, for me, was "Bloodsword and a Colder Sun."

Maggot Heart – Dusk to Dusk

Perhaps my most anticipated album of the year, Dusk to Dusk did not disappoint. Last year's City Girls EP set the stage, and the full-length delivered big time. Maggot Heart is hard to classify, but if you look at the performers and their past bands, the sound won't really surprise you. Linnéa Olsson is writing some of the best riffs in a world where rock and guitar music is increasingly considered dead. Moreover, her vocals really shine on Dusk to Dusk, and I can't wait to see what the future holds for the band. Maggot Heart may be the most irresponsibly overlooked band of 2018.

Deth Crux – Mutant Flesh

This mid-December release is a perfect example of why I try to wait until the last minute to write any kind of year-end list. For me, it took about a listen and a half to know Mutant Flesh belonged here. A ton of vague descriptors could be used, but I'll just go with dark, weird, catchy, and awesome. The band isn't necessarily reinventing the wheel, per se, but they also aren't committing the grave offense of just making a worse version of the records that influenced them. The album is hooky, memorable, and original in the ways that count. The instrumentation and vocals swirl and haunt, coalescing into a driving, addictive blend of gloom and defiance. Sanford Parker's production is a huge plus for the record, and clutch sax contributions from Bruce Lamont seal the deal.

That’s it!

While a few of these records were probably obvious, I hope this list exposes some friends and readers to stuff they otherwise wouldn’t have checked out.

I normally end these with some humorous, often snarky mini-lists, but I'm afraid I'll have to skip that this time around; I'm engaged in listening to mixes of the upcoming unarguably BEST metal album of 2019. But now is not the time nor place for discussing that. . .

3 notes · View notes

poresorpixels · 5 years

Text

Berberian Sound Studio (2012)

The Duke of Burgundy

(2014)

lulbuozets: Giallo meets Brakhage, sensssoohaahlity, style as substance, savory>sweet, brittle grasps, (p)lush interiors, asmr, vixens, dominance/submission, sedate hysteria, dissociative gracenotes, tuff luv, dream illogic, september/may

In a sense, English director Peter Strickland is a sort of executive lounge perv - like those chin stroking suits in Enemy, watching high-heeled women squish exotic spiders in a secret, dark room. Not unlike Cronenberg, he's an unapologetically glazed over sensationalist, dragging the intrepid moviegoer into his tantric hedonism kaleidoscope. Both of his films here are the sort where you are more likely taken for a blind ride by their signature quality than premeditatedly engaged. They don't offer expansiveness in the traditional sense, more often content to snuggle up to their vividly rendered seedy spaces and graze.

He is tremendously good, so far, at doing him. Already having a calling card style is quite astonishing, given an ouvre standing at two as I write this. Though it is technically his third film (with one on the way). Sadly, his first - 2009's Katalin Varga, is available next to nowhere (in the uk, on region 2 dvd). It seems like something else entirely, which has me abuzz with curiosity. Hopefully it will turn up somewhere soon.

Berberian Sound Studio has much to love and explore. The soundtrack contains the last work of the fantastic early 2000's group, Broadcast, its production sadly coinciding with lead singer Trish Keenan's sudden passing. It is a fine thing, and their hard-charging harpsichord title sequence song is arguably the most exciting passage in the film. The sequence cleverly (perhaps confusingly for some) contains credits for the film within the film, which i'll annotate forthwith.

producer: Francesco Coraggio (Cosimo Fusco) A vile mysoginist, who doesn't have anything positive or neutral to say about anyone or anything.

director: Giancarlo Santini (Antonio Mancino) A self-aggrandizing, work averse glad-hander. Doesn't seem that interested in post-production studio rigors, beyond pawing at his female cast.)

Il Vortice Equestre (The Equestrian Vortex) In Santini's witch torture-fest, this title never comes to mean a damn thing. Not even some foley coconuts - which is hilarious.

music: Hymenoptera (Broadcast) Defined as a large order of insects, comprising sawflies, wasps, bees and ants. This never comes to any sort of significance either, and Burgundy is preoccupied with lepidopterology. I'm guessing its something to do with the gynecological root of the word.)

The doleful, adorable puss of Toby Jones is a special thing, and Strickland surely isn't the only one to've capitalized on this fact. But I don't know if I've ever seen him oogled quite to this extent, at one (seemingly signicant) point being rippled and mushed like a wad of celluloid playdough. Perhaps his sweet, daddy long-leg rescuing Gilderoy is too sympathetic for a film so resistant to a storyline. His disgust with the lurid set pieces he is producing sound for is a hook of sorts, but it doesn't pay off. Despite his grounding of a winningly surreal setting full of clunky vintage gear and sudden power outtages, Strickland seems content to merely fold him up like wallpaper origami. The shift to him, and his increasingly dire letters from mum, being the subject of another film within a film, comes off like a solipsistic punch-out.

But it's a fun mess, with all its noisome fruits and veggies and demented, face contorting soundbooth histrionics (was reminded of Mike Schank's blood curdling soundbooth howl in American Movie). One I was sure I'd enjoy more than the S&M love affair of his next film. But I was decidedly wrong. Where Berberian Sound frustrates, and lunges for a cheap beginning-to-end loop with its blurry film reel image, The Duke of Burgundy is an impressively well rounded circle.

Again there is repetition. But rather than mere recurring visuals (that flashing "SILENZIO" sign of diminishing returns) it is direct reckoning with the practice. Particularly, when it fails to make perfect. Perfection in role playing seems to be the goal in the relationship on display. But despite fooling us with their act at the onset, it becomes clear that the imperiously beautiful Cynthia (Borgen's imperiously beautiful Sidse Babett Knudsen), who is older, is mostly driven by the desire to make Evelyn (an eerily faux-innocent Chiara D'Anna) happy. We see their routine, day-spanningly meticulous as it may be, going from refinement to going through the motions.

The world of moths and butterflies seems infinite to Cynthia, the imagery of her studies juxtaposed with her more traditional gratification from Evelyn when the play is done. In these moments, there are whispered devotions (uncannily spooky, like those of Let's Scare Jessica to Death) that we do not see Evelyn mouthing. When we see the fear in Cynthia's eyes, it comes clear that these reassurances are in her head. When the strain of trying to keep up the charade later reaches its peak, these whisperings shift to one word: "pinastri" (Sphinx pinastri aka the pine hawk-moth). Their safe word, a discouraged protest for Evelyn, becomes Cynthia's haunted keening on the doubt infesting and devouring her love's foundation.

Perhaps Evelyn tries to be accomodating, but she is unmistakably insatiable in everything she does. Even her delvings into encyclopedic butterfly trivia feel like but a fetishized extension of Cynthia's confectionarily domineering role for her. Cynthia has to be someone else, while Evelyn only need be served. Even after Cynthia finally breaks down in tears under the rigors of keeping up the routine and Evelyn vehemently consoles her, the older woman knows its 'either buck up, or let this girl slip through your fingers'.

Much moreso than his previous work, The Duke of Burgundy expertly arranges its drama, deadpan humor and surrealist chills into a satisfyingly seamless whole. And even more compellingly, these elements are often interchangeable. Cynthia's sonorous snoring, for example, is both a funny contrast to her sleek routine and a touchingly sad tell after she has exhausted herself to the utmost for her love's devotion. Elsewhere, acts that might be repulsive are rendered kind of bittersweet. Without bespoiling his (their) heightened tableau, he gives the unglamorous rigors of human frailty their full thematic due.

Once again, we are graced with a drop dead gorgeous soundtrack, this time from the duo, Cat's Eyes (awesome cat in this movie as well, who is content to just look on). The opening Belle & Sebastianesque piece is particularly winning (there's that harpsichord again) with its distinct use of a single clipped breath on the downbeat. It closes with a much sadder, Julee Cruise kind of thing, which is fitting given that Cynthia will likely keel over in mid face-sit some day.

Worth mentioning as well is the welcome return of instantly striking Romanian actress Fatma Mohamed, who plays a kink specialist carpenter with unnerving, Lynchian command. She was a spirited, camera-beloved highlight of Berberian, giving no quarter to her dickhead bosses. Luckily she's back for this year's release, In Fabric, along with Knudsen, Gwendoline Christie (Brienne of Tarth herself), Julian Barratt and Marianne Jean-Baptiste (who played one of the best characters ever with the lovable, all-suffering Hortense Cumberbatch in Mike Leigh's Secrets & Lies). With that cast, and the significant improvement ratio between these two films, I'm chomping at that bit to see what that dirty birdy Strickland has in store.

1 note · View note

blackkudos · 6 years

Text

Millie Jackson

Mildred Virginia (Millie) Jackson (born July 15, 1944) is an American singer-songwriter. Six of her albums have been certified gold by the RIAA for over 500,000 copies.

Her vocal performances are often distinguished by long, humorous, and explicit spoken sections in her music, which she started doing on stage to get the attention of the audience. She has also recorded songs in a disco or dance music style and even some country styled songs. She is the mother of Keisha Jackson.

Early life

Born in Thomson, Georgia, Jackson is the daughter of a sharecropper. Her mother died when she was a child and subsequently, she and her father moved to Newark, New Jersey. By the time Jackson was in her mid-teens, she had moved to Brooklyn to live with an aunt. She occasionally worked as a model for magazines like JIVE and Sepia.

Career

Jackson's singing career reportedly began on a dare to enter a 1964 talent contest at Harlem nightclub Smalls Paradise, which she won. Although she first recorded for MGM Records in 1970, she soon left and began a long association with New York-based Spring Records. Working with the label's in-house producer, Raeford Gerald, her first single to chart was 1971's deceptively titled "A Child of God (It's Hard to Believe)," which reached number 22 on the R&B charts. In 1972, Jackson had her first R&B Top Ten single with the follow-up, "Ask Me What You Want", which also reached the pop Top 30, then "My Man, A Sweet Man" reached #7 R&B; all three hits were co-written by Jackson. "My Man, A Sweet Man" retains its popularity today for northern soul enthusiasts and is played on the radio in the UK and quoted as an example from this musical genre as is her 1976 recording, "A House for Sale". The following year brought her biggest single success and her third Top Ten hit, "It Hurts So Good," which made #3 on the R&B charts and #24 on the Billboard Hot 100 pop chart. The single was featured on the album of the same name and in the blaxploitation film Cleopatra Jones, also appearing on that film's soundtrack along with the song "Love Doctor".

In 1974, she released the album Caught Up, which introduced her innovative style of raunchy rap. The featured release was her version of Luther Ingram's million-seller, "(If Loving You Is Wrong) I Don't Want to Be Right", for which she received two Grammy nominations. By now, she had switched producers to work only with Brad Shapiro, recording at Muscle Shoals Studio in Alabama with the renowned Muscle Shoals Rhythm Section. She continued to record most of her material for Spring there, including the follow-up album, Still Caught Up.

Over the next ten years, Jackson had a string of successful albums and numerous R&B chart entries, the biggest being her 1977 version of Merle Haggard's country hit "If You're Not Back In Love By Monday". That hit single was followed by many more, including her version of the Boney M. song, the disco single, "Never Change Lovers In The Middle of The Night." This single peaked at #33 on the Black Singles chart in 1979.

Jackson recorded an album in 1979 with Isaac Hayes called "Royal Rappin's" and the same year saw her release a double album, "Live And Uncensored", recorded in concert at Los Angeles venue, The Roxy. Jackson also formed and produced the group Facts of Life. They had a major hit in 1976 with "Sometimes" (#3 R&B, #31 Pop).

Jackson found herself without a label when Spring closed down in 1984, but in 1986, she signed with Jive Records in a deal that produced four albums and resulted in further R&B Top Ten hits with "Hot! Wild! Unrestricted! Crazy Love" and "Love Is a Dangerous Game". She appeared on an Elton John track in 1985, "Act Of War", which was a Top 40 hit in the UK, but failed to chart in the USA. In 1991, she wrote, produced and starred in the successful touring play Young Man, Older Woman, based on her album of the same title for Jive.

On November 24, 1994, Jackson appeared in the Thanksgiving episode Feast or Famine of Martin as Florine.

In 2000, her voice featured in "Am I Wrong" by Etienne de Crécy, sampled from her performance in "(If Loving You Is Wrong) I Don't Want to Be Right".

Jackson may be most famous in the internet age for her album covers, which frequently appear on "worst ever" lists. E.S.P. (Extra Sexual Persuasion) features Jackson peering into a crystal ball that accentuates her cleavage; Back to the S t! depicts Jackson sitting on a toilet.

Jackson now runs her own record label, Weird Wreckuds. After a lengthy hiatus from recording, she released her 2001 album, Not For Church Folk, which marked a return to her "tell-it-like-it-is" lyrical style with an Urban contemporary sound. The album features the singles "Butt-A-Cize" (a dance song) and "Leave Me Alone" (a ballad). The album also features a collaboration with rapper Da Brat on the song "In My Life."

Jackson had her own radio show in Dallas, Texas for 13 years. Broadcasting via remote from her home in Atlanta, Jackson worked in afternoon drive-time from 3-6 pm on KKDA 730 AM, until January 6, 2012.

In 2006, five of Jackson's best-selling albums – Millie Jackson (1972), It Hurts So Good (1973), Caught Up (1974), Still Caught Up(1975), and Feelin' Bitchy (1977) – were digitally remastered and released on CD with bonus tracks. All of Jackson's Spring Records-era albums are available from Ace Records in the UK.

An Imitation of Love was re-issued on CD in 2013 by the Funkytowngrooves label in a remastered, expanded edition. Other albums released on the Jive and Ichiban labels remain out of print, though some of those songs appear on compilation CDs.

On February 6, 2012, the documentary, Unsung - The Story of Mildred 'Millie' Jackson aired on the TV One network.

Jackson performed at Washington, D.C.'s historic Howard Theatre on August 3, 2012, and at B.B. King's Blues Club in New York on August 4, 2012. On June 6, 2015 Jackson was inducted into the Official Rhythm & Blues Music Hall of Fame in Clarksdale, MS.

Personal life

She has two children: Keisha Jackson, born in the 1960s before she was married, and son Jerroll born in the late 1970s. She is not related to the Jackson family of singers and musicians from Gary, Indiana.

Discography

AlbumsSingles

"A Little Bit of Something"

"A Child of God (It's Hard to Believe)" (US: #102)

"Ask Me What You Want" (US: #27)

"My Man, A Sweet Man" (US: #42), (US R&B: #7) (UK: #50)

"Breakaway" (US: #110)

"It Hurts So Good" (US: #24), (US R&B: #3)

"I Miss You Baby"

"How Do You Feel the Morning After" (US: #77)

"I'm Through Trying To Prove My Love To You"

"I Got to Try It One Time"

"(If Loving You Is Wrong) I Don't Want to Be Right" (US: #42)

"Leftovers" (US: #87)

"Loving Arms"

"The Rap"

"A House for Sale"

"Bad Risk"

"Feel Like Making Love"

"There You Are"

"I Can't Say Goodbye"

"If You're Not Back in Love By Monday" (US: #43)

"A Love of Your Own"

"All The Way Lover" (US: #102)

"Sweet Music Man" (US R&B #33)

"Keep The Home Fire Burnin'" (US R&B #83)

"Never Change Lovers In The Middle of The Night" (US R&B: #33)

"We Got To Hit It Off" (US R&B #56)

"A Moment's Pleasure" (US R&B #70)

"Kiss You All Over"

"Despair"

"Do You Wanna Make Love" feat. Isaac Hayes (US R&B #30)

"This Is It (Part I) (US R&B #88)

"You Never Cross My Mind"

"I Can't Stop Loving You" (US R&B #62)

"Anybody That Don't Like Millie Jackson"

"I Had to Say It"

"It's Gonna Take Some Time This Time"

"Special Occasion" (US R&B #51)

"Passion"

"E.S.P."

"I Feel Like Walkin' In The Rain" (UK: #55)

"Sister in the System"

"Hot! Wild! Unrestricted! Crazy Love" (US R&B #9) (UK: #99)

"Act of War" feat. Elton John (UK: #32)

"It's A Thang" (US R&B #79)

"Love Is A Dangerous Game" (US R&B #6) (UK: #81)

"An Imitation of Love" (US R&B #58)

"Something You Can Feel" (US R&B #45)

"You Knocked the Love (Right Outta My Heart)"

"Will You Love Me Tomorrow"

"Young Man, Older Woman"

"Living With A Stranger"

"Taking My Life Back"

"Love Quake"

"Check in the Mail"

"Chocolate Brown Eyes"

"Breaking Up Somebody's Home"

"The Lies That We Live"

"Did You Think I Wouldn't Cry"

"Butt-A-Cize"

"Leave Me Alone"

"Black Bitch Crazy"

Wikipedia

#Millie Jackson #07-15

6 notes · View notes

annettazick42961-blog · 5 years

Text

The Finest Music Books Ever

Genres in music are like branches of a tree. Many kinds of music, equivalent to traditional blues and people music were not written down in sheet music ; as an alternative, they were originally preserved in the memory of performers, and the songs have been handed down orally , from one musician or singer to another, or aurally, in which a performer learns a tune " by ear ". When the composer of a tune or piece is not identified, this music is commonly labeled as "traditional" or as a "folk tune". Totally different musical traditions have different attitudes in the direction of how and the place to make changes to the unique supply material, from quite strict, to people who demand improvisation or modification to the music. A tradition's history and stories can also be handed on by ear by means of tune. Two mid-вЂ90s albums outlined these ideological threads better than some other. In 1994, GravediggazвЂ debut 6 Ft Deep found RZA and Prince Paul collaborating at the peak of their powers together with StetsasonicвЂs Frukwan, plus, um, a fourth man. The end result was dusty, violent, humorous, and endlessly creative, valorizing unhealthy PCP journeys and imagining a suicide hotline that talked you into it. A 12 months later, MemphisвЂ Three 6 Mafia released its eerie, lo-fi debut Mystic Stylez, www.audio-transcoder.com a druggy exploration of 35mm, oversaturated haunted-home music. ItвЂs an album of just about ambient violence, its warbling synths a pink fog that creeps in from underneath your door and subtly normalizes its lyrical malevolence, like the gradually reworking worlds of JacobвЂs Ladder or Silent Hill.

Individuals, stop voting for that ineffective R&B, Pop music. It rots the brains of youngsters of this technology. microhouse : Microhouse is a mix of house music and minimal techno. With origins within the '80s and '90s, microhouse gained recognition in the early 2000s with its minimalist tackle house music. Microhouse makes use of quick samples to switch drum machine sounds with clicks, static, or on a regular basis noises. Quick: How Many Totally different Genres of Popular Music Are There? No. You are Improper. One of the best music anime actually tends to characteristic an incredible soundtrack to go with the motion of the present. However oftentimes what drives the story ahead and retains viewers intrigued is the drama behind the music; the motivation, struggle, romance, and friendship between characters are very important elements to what are often very emotionally charged narratives. Here are 15 of the perfect music anime for lovers of music, and an excellent story. This line of research thus implies the next general proposition: despite the growing complexity of style designation and elevated reliance on further-genre sorting mechanisms, genres should however persist as important strategies of sorting and sense-making in musical spheres. With established brands in native markets related to sure genres and formats, radio stations could earn a key place within the sensible speaker market by building out their digital presence. Below is the record of the High 10 best musicians in Italy, great singers who each Italian music fan should know and adore for their superior talent in the genre.

Nice love songs I've pay attention in R&B. most romantic musics. nothing shout like different genres. Amuse is the only music distribution service that lets you launch music direct out of your phone. Obtain the Amuse app to upload your music, most famous music Genres 2017 monitor your development and withdraw royalties. Nonetheless, Bluegrass music normally retains to its origins and has a really particular sort of sound, often generated with a string instrument, which consists of a really quick plucking in excessive-pitched tones, sometimes combined with the excessive lonesome sound". It is considered to be more free regarding rhythm as nicely, usually associated to improvisation. That final half is mostly the principle focus of the music. The music genres that Analyst character varieties have a tendency to understand greater than the other Roles - rock (80%), classical (76%), jazz (fifty four%, tied with Diplomats), punk (46%), and metal (forty four%) - additionally are usually the ones which are most frequently respected for the sheer technical expertise at work as a lot as for the extra emotional qualities of those songs. Not to say that other genres are lacking in musicianship, however Analysts could nonetheless discover these five forms particularly likely to prize efficient, precise virtuosity for its personal sake. In spite of everything, the one thing an Analyst loves greater than a superb problem is seeing that challenge bested by way of talent alone, whether the problem is a dazzlingly intricate guitar solo or a whole movement of a difficult concerto. The chillout music sometimes called chill-out is an electronic music subgenre and umbrella time period for electronic music characterized by mid-tempo and mellow style beats. The music began within the mid-Nineteen Nineties at dance club chill rooms where a relaxing music might be performed to allow a dancer to relax out from a quick tempo music that performed on the dance floor. A few of this music's notable artists embrace Moonbotica, Moby, Paul Kalbrener, and air. The genres related to this music are ambient, down tempo and nujazz. Dub step is growing increasingly extra standard of late and has pushed EDM into the spotlight, introducing digital music genres to many people who might not have been conscious of them beforehand. After all, just because it has become standard not too long ago does not imply that dubstep as a style hasn't been around for a great long whereas. This is a little more easy than the examples above. Feeling relaxed may be very subjective, which implies that songs for rest and de-stressing is dependent in your musical tastes. Allways use the large picture and follow logic and scientific criteria. The reality is that every one those genres you hear arround you (this rock or that rock, or this jazz or that jazz) are SUB-genres, not genres, they use almost the same language and fluctuate solely in details. I thought it could be useful to share a playlist featuring one song from every of the genres listed. Given the varied range of content material we have covered, it's a actually blended bag — but it's positive to get you serious about all of the obscure genres that you just're at present lacking out on.

Traditional music is carefully tied to a folks's language, environment, and social customs. It's the oldest and most prevalent category of music. Popular music is primarily leisure and is usually not restricted to particular makes use of or settings. Senegalese singer & percussionist, Youssou N dour was born in the busy city of Dakar. He is without doubt one of the pioneers of the favored music type known in Wolof as Mbalax. As a celebrated singer, songwriter, and composr he is regarded very extremely internationally. His fusion of Mbalex with Cuban, Latin, Hip-hop and parts of pop has earned him a world following.

0 notes