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#twc music
I was looking through the “UB as” posts you have and I was hoping you could do UB as Taylor Swift songs? 🥺👉👈
MY TIME HAS COME
A: Say Don’t Go, I Can See You, Snow On The Beach, All You Had To Do Was Stay, I Wish You Would, Foolish One, Sparks Fly, my tears ricochet, You All Over Me
N: Style, Suburban Legends, Safe & Sound, Timeless, Paris, Begin Again
F: You Belong With Me, Mine, Paper Rings, When Emma Falls In Love, Ours, Cornelia Street, Everything Has Changed, I Think He Knows, Stay Stay Stay
M: Lover, Don’t Blame Me, “Slut!”, Mr. Perfectly Fine, Sweet Nothing, Betty, Afterglow, Call It What You Want, Daylight, gold rush
LT: Cardigan, You’re Losing Me, Wildest Dreams, Delicate, august, Glitch, right where you left me, ivy, Death By A Thousand Cuts, hoax
Bobby: We Are Never Ever Getting Back Together, Now That We Don’t Talk, Bad Blood, Back To December, All Too Well, Clean, Champagne Problems, exile, tolerate it, happiness
Verda/Tina: dorothea
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agentnatesewell · 5 months
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This is such an N Sewell song I am sick !!
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ejunkiet · 1 year
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Kiss me on the mouth and set me free, Sing me like a choir
I can be the subject of your dreams, Your sickening desire
So kiss me on the mouth and set me free But please, don't bite.
agent M playlist: spotify link.
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wayhavenots · 5 months
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Aaand I forgot it was possible to ask about multiple songs in one go, so if you feel like it, feel free to ignore the previous message and answer this one for numbers 11, 57 and 88!
Thank you, Seren!!!
11. Cocaine Jesus by Rainbow Kitten Surprise
High as hell, feeling fine, nothing bad but nothing kind
Not a word from me, at least nothing you would mind
In my head, in my head, I get lonely sometimes
57. Riptide by Vance Joy
Lady, running down to the riptide
Taken away to the dark side
I wanna be your left-hand man
88. It's Time by Imagine Dragons
It's time to begin, isn't it?
I get a little bit bigger
But then I'll admit
I'm just the same as I was
Now don't you understand
That I'm never changing who I am?
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moderarato · 1 year
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some things are better kept in the dark | mitski // japanese breakfast // mitski // florence + the machine //  paramore
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nat-seal-well · 7 months
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“All I Ask Of You” but it’s N and the Detective
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lebuc · 1 year
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music & metaphysics ( ala Lester Young )
* ...hoping for a jam session with the Ultimate band leader 
who's not gonna play the ax for you, or help you hit those solo notes;
just making sure there's space for your riffing & flows
...digging it when you find your way through
but should you start blowing sour notes, one who'll call you out, man  with the love & respect due a true player.
& that's where the metaphor hits the breaks, dig?
cause a true cat won't let a young'un step on somebody else's toes - noway, no how -
what with the pain & suffering through so many bad gigs worldwide,
cats getting dropped & otherwise fallin off, i don't really know what to tell you.
so the question du jour:
whether there's a truly righteous force up there looking out for us, like a cat that's got your back when you're in a tight spot - or not.
groovin thru this crazy world, dippin & dabbin like Coltrane riffs, it'd be nice to know there's something keepin us on the one;
cause if not, it can all turn into chaos & dissonance just like that, man
& pros will tell you
that's no way to make great music  - like we aim to. * 5/23 - lebuc - music & metaphysics ( ala Lester Young * )
* look him up...
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vaporwave · 11 months
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youtube
4departing4 - Looking Out The Window
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CFP: Centering Blackness in Fan Studies **DEADLINE EXTENDED**
This special issue centers Blackness in fandom studies. Fandom studies has gestured toward race generally, and Blackness in particular, from its alleged white center while always keeping race at its margin. It has largely co-opted the language of race, difference, and diversity from the margins and recentered it around white geeks and white women. Indeed, fandom studies has done lots of things—except deal with its race problem. But as Toni Morrison (1975) asserts, that is the work of racism: it keeps those at the margins busy, trying to prove that they deserve a seat at the center table. In this way, those considered marginal expend energy trying to be granted access to the center while citing, reifying, and expanding the supposed universality of the center that fails to engage the margin because it is too particular. If, as the title of Audre Lorde’s famous 1984 essay reminds us, “The Master’s Tools Will Never Dismantle the Master’s House,”  then it is time to willfully ignore white fandoms, just as Black fandoms have been willfully ignored.
For this special issue, we seek to privilege and celebrate Blackness, not as a comparative but as enough on its own. We want essays that build on the relatively small but groundbreaking scholarly work that centers Black fandoms, including work on young Black male (Brown 2000) and female (Whaley 2015) comic readers; Black gay sitcom fans (Martin 2021a); Black fan “defense squads” that protect fictional characters’ Blackness (Warner 2018); Black fan labor (Warner 2015); Black antifandom (Martin 2019b); Black fans’ enclaving practices (Florini 2019b); Black female music fans (Edgar and Toone 2019); and Black acafans (Wanzo 2015). It also engages and with and builds on our Black feminist foremothers, including bell hooks (1992), Jacqueline Bobo (1995), and Robin Means Coleman (1998), who showed us ways to think about how Black audiences engage with media. This corpus of work on Black audiences and fandoms provides a base for further theorization about the experiences and meanings of Black fandom. We encourage work that engages, nuances, and challenges this foundational work, leading to novel reconsiderations of how fan studies defines and understands Black fandoms.
We invite submissions that contribute to a conversation that centers Black audiences, fans, antifans, and global Blackness itself. We are not interested in comparative studies of Black fandom practices, because Blackness is enough. This issue seeks to center Blackness and (anti)fandom in all of its permutations. We hope the following suggested topics will inspire wide-ranging responses.
Black folks and “doing” fandom.
Black fans and deployment of (anti)fandom.
Black fan practices imbricated in a politics of representation.
Affective Black fandoms.
The politics of Black (anti)fandoms.
Interactions between Black fans and media producers.
Audience/fan response to Black-cast remakes and recasting non-Black-cast texts with Black actors.
Black fandoms of non-Black-cast media.
Blackness and enclaving.
Black music fandom.
Black sports fandom.
Black fandom and labor.
Black fandom and affect.
Black antifandom and hate.
Global Black fandoms.
Black fandom and contemporary or historical politics.
Mediated constructions of Blackness.
Black fandoms and celebrities/parasocial relationships.
Black queer fandom.
Disabled Black fandom.
Case studies of specific texts related to Black fandom.
Historical and archival accounts of Black fandom.
Submission Guidelines
Transformative Works and Cultures (TWC, http://journal.transformativeworks.org/) is an international peer-reviewed online Gold Open Access publication of the nonprofit Organization for Transformative Works, copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that welcomes fan-related topics and promotes dialogue between academic and fan communities. TWC accommodates academic articles of varying scope as well as other forms, such as multimedia, that embrace the technical possibilities of the internet and test the limits of the genre of academic writing.
Submit final papers directly to Transformative Works and Cultures by January 1, 2023.  JULY 1, 2023
Articles: Peer review. Maximum 8,000 words.
Symposium: Editorial review. Maximum 4,000 words.
Please visit TWC's website (https://journal.transformativeworks.org/) for complete submission guidelines, or email the TWC Editor ([email protected]).
Contact—Contact guest editors Alfred L. Martin Jr. and Matt Griffin with any questions before or after the due date at [email protected]
Due date—July 1, 2023, for 2024 publication.
Works Cited
Bobo, Jacqueline. 1995. Black Women as Cultural Readers. New York: Columbia University Press.
Brown, Jeffrey A. 2001. Black Superheroes, Milestone Comics, and Their Fans. Jackson: University Press of Mississippi.
Click, Melissa A., and Sarah Smith-Frigerio. 2019. “One Tough Cookie: Exploring Black Women’s Responses to Empire’s Cookie Lyon.” Communication Culture and Critique 12 (2): 287–304. http://dx.doi.org/10.1093/ccc/tcz007.
Coleman, Robin R. Means. 1998. African American Viewers and the Black Situation Comedy: Situating Racial Humor. New York: Routledge.
Early, Gerald. 1988. “The Black Intellectual and the Sport of Prizefighting.” Kenyon Review 10 (3): 102–17.
Edgar, Amanda Nell, and Ashton Toone. 2019. “‘She Invited Other People to That Space’: Audience Habitus, Place, and Social Justice in Beyoncé’s Lemonade.” Feminist Media Studies 19 (1): 87–101. https://doi.org/10.1080/14680777.2017.1377276.
Everett, Anna. 2001. Returning the Gaze: A Genealogy of Black Film Criticism, 1909–1949. Durham, NC: Duke University Press.
Florini, Sarah. 2019a. Beyond Hashtags: Racial Politics and Black Digital Networks. New York: NYU Press.
Florini, Sarah. 2019b. “Enclaving and Cultural Resonance in Black Game of Thrones Fandom.” In “Fans of Color, Fandoms of Color,” edited by Abigail De Kosnik and andré carrington, special issue, Transformative Works and Cultures, no. 29. https://doi.org/10.3983/twc.2019.1498.
hooks, bell. 1992. Black Looks: Race and Representation. Boston: South End Press.
Martin, Alfred L., Jr. 2021a. The Generic Closet: Black Gayness and the Black-Cast Sitcom. Bloomington: Indiana University Press.
Martin, Alfred L., Jr. 2021b. “Blackbusting Hollywood: Racialized Media Reception, Failure, and The Wiz as Black Blockbuster.” JCMS: Journal of Cinema and Media Studies 60 (2): 56–79. http://dx.doi.org/10.1353/cj.2021.0003.
Martin, Alfred L., Jr. 2019a. “Fandom while Black: Misty Copeland, Black Panther, Tyler Perry, and the Contours of US Black Fandoms.” International Journal of Cultural Studies 22 (6): 737–53. http://dx.doi.org/10.1177/1367877919854155.
Martin, Alfred L., Jr. 2019b. “Why All the Hate? Four Black Women’s Anti-fandom and Tyler Perry.” In Anti-fandom: Dislike and Hate in the Digital Age, edited by Melissa A. Click, 166–83. New York: NYU Press.
Morrison, Toni. 1975. “A Humanist View, Part 2.” Presented at Black Studies Center public dialogue, Portland State University, May 30, 1975. Transcription available at: https://www.mackenzian.com/wp-content/uploads/2014/07/Transcript_PortlandState_TMorrison.pdf.
Rose, Tricia. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, NH: Wesleyan University Press.
Shankman, Arnold. 1978. “Black Pride and Protest: The Amos 'n' Andy Crusade.” Journal of Popular Culture 12 (2): 236–52. http://dx.doi.org/10.1111/j.0022-3840.1979.1202_236.x.
Stewart, Jacqueline Najuma. 2005. Migrating to the Movies: Cinema and Black Urban Modernity. Berkeley: University of California Press.
Tracy, James F. 2001. “Revisiting a Polysemic Text: The African American Press's Reception to Gone with the Wind.” Mass Communication and Society 4 (4): 419–36. http://dx.doi.org/10.1207/S15327825MCS0404_6.
Wanzo, Rebecca. 2015. “African American Acafandom and Other Strangers: New Genealogies of Fan Studies.” Transformative Works and Cultures, no. 20. https://doi.org/10.3983/twc.2015.0699.
Warner, Kristen. 2018. “(Black Female) Fans Strike Back: The Emergence of the Iris West Defense Squad.” In Routledge Companion to Media Fandom, edited by Melissa A. Click and Suzanne Scott, 253–61. New York: Routledge.
Warner, Kristen J. 2015. “ABC’s Scandal and Black Women’s Fandom.” In Cupcakes, Pinterest, and Ladyporn: Feminized Popular Culture in the Early Twenty-First Century, edited by Elana Levine. Champaign: University of Illinois Press.
Whaley, Deborah Elizabeth. 2015. Black Women in Sequence: Re-inking Comics, Graphic Novels, and Anime. Seattle: University of Washington Press.
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istanbulite · 7 months
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and repostin this! not many songs but its a wip ~ along with my rendition of everyone's favorite grumpy vampire forever ignoring the facial hair bit
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Lover by Taylor Swift obviously fits all the ROs with the detective but like especially M right
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agentnatesewell · 5 months
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keep this a secret if you want - the balletomane in me wants to know if your st petersburg 1876 n comment had anything to do with tchaikovsky or the mariinsky? i know tchaikovsky was still composing then and the mariinsky was opened in the mid-late 1800s so classical arts were thriving 🩷
Hello hello! I don’t mind sharing! The comment was referring to Tchaikovsky!
He was commissioned to compose a series of pieces through the year, it was called The Seasons. One piece per month was released through the year
I didn’t know about the Mariinsky (i have a lot to learn about the classical arts!) but - YES! Definitely!
It would have been a great year for them to be there
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cavernsofdarkness · 1 year
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ƬӇЄ  ƛƧӇЄƝ  ƤƦƖƝƇЄ
°°°°°°°°°
The 'Ashen Prince', the 'Masked King', the 'Roving Gloom’ — the ruler of the Winter Court goes by many names. Widely regarded as the strongest and most dangerous of the winter fae, his dominion over the Gelid Throne remains uncontested.
While the Shatterveil Expanse is his primary domain, the entirety of the Winter realm responds to his will. For an entity whose presence is widely felt, he is rarely seen. They say, if you are unlucky, you can catch a glimpse of the elusive Ashen Prince roaming the Savariden Taiga.
°°°°°°°°°
*Lore Note*: The Shatterveil Expanse is a massive region within the Land of Eternal Winter that contains within it other areas. The Expanse is home to the capitol of the Winter Court. Though the Shatterveil is mostly tundra, the Savariden Taiga is the large (and only) forest in the region. 
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Two souls have been bound by time In a sequential form of love Reaching multiple lives Connected by the stars above
Wayhaven PD Detective Lukas Vanir He/Him | Gay
༺☆༻ Don’t repost or edit ༺☆༻
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grapecaseschoices · 5 months
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20 & 23 for the spotify wrapped!! <33
Truly Madly Deeply [Cover] - Yoke Lore
And when the stars are shining brightly in the velvet sky I'll make a wish send it to heaven and make me want to cry The tears of joy for all the pleasure and the certainty That we're surrounded by the comfort and protection Of the highest power in lonely hours The tears devour you Oh you can see it baby? You don't have to close your eyes 'Cause it's standing right before you All that you need will surely come
Sea Lion - Sage Francis
Get in the bus. Hop in the van. Jump in the water. Crawl to the land. Build another castle out of sand. Break it down and then get into the saddle again. I'm going city to city - i'm already lost. Tell the boss who is new in town. I'll ride this horse 'til it it bucks me off and i'm forced to shoot it down. I'll take him out for some gasoline. Trade this cow for some magic beans. Gonna make mom proud of the deals that I made, 'cause I'm just a modern day Johnny Appleseed. But I'm glad that I never passed the genes, and I never put down the axe.
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wordsandmorewords · 1 year
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Sing (swooning and crooning)
dearest, I'll bring you a song for you to sing ...and I will sing along a beauteous, harmonious thing and we are soulfully strong
we cannot separate and cannot divide our heart strings are tied together—forever—for life   
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