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Lyrics to 'Real Love' by The Beatles. All my little plans and schemes Lost like some forgotten dreams Seems that all I really was doing Was waiting for you Just like little girls and boys All You Need Is Love Lyrics: Love, love, love / Love, love, love / Love, love, love / There's nothing you can do that can't be done / Nothing you can sing that can't be sung / Nothing you can say ... Here are the 15 best Beatles loves songs of all time, along with quotes from our favorite lyrics. 1. 'All You Need Is Love' — released as a non-album single in July 1967 [Intro] Love, love, love Love, love, love Love, love, love [Verse 1] There's nothing you can do that can't be done Nothing you can sing that can't be sung Love, love, love Love, love, love Love, love, love There's nothing you can do that can't be done Nothing you can sing that can't be sung Nothing you can say but you can learn how to play the game It's easy Nothing you can make that can't be made No one you can save that can't be saved Nothing you can do but you can learn how to be you in time ... The Beatles - Love Songs Album Lyrics; 1. I Will Lyrics: 2. I Will Lyrics: 3. And I Love Her Lyrics: 4. And I Love Her Lyrics: 5. You've Got to Hide Your Love Away Lyrics: 6. You've Got to Hide Your Love Away Lyrics: 7. She's Leaving Home Lyrics: 8. She's Leaving Home Lyrics: 9. This Boy Lyrics: 10. This Boy Lyrics: 11. The Long and Winding ... 100 funny, deep, and Inspiring Beatles quotes and song lyrics on love, success, and life form John Lennon, George Harrison, Paul McCartney, and Ringo Starr. Love, love, love Love, love, love Love, love, love. There's nothing you can do that can't be done. Nothing you can sing that can't be sung. Nothing you can say but you can learn how to play the game It's easy There's nothing you can make that can't be made No one you can save that can't be saved. Nothing you can do but you can learn how to be ... The Beatles - And I Love Her Lyrics. I give her all my love That's all I do And if you saw my love You'd love her too I love her She gives me everything And tenderly The kiss m Lyrics. The Beatles Love, love, love, love, love, love, love, love, love. There's nothing you can do that can't be done. Nothing you can sing that can't be sung. Nothing you can say, but you can learn How to play the game It's easy. Nothing you can make that can't be made. No one you can save that can't be saved.
2020.10.17 18:55 SirUlrichVonLichtenMy little brother had been missing for 17 years, and when I finally saw him again he hadn't aged a day.
My little brother Percy went missing on June 23rd, 2002. I'll never forget that day for as long as I live. Percy and I had been sitting out on our back deck, and I was giving him my old binder of Pokemon cards. I was 15 and had kind of grown out of that stuff, but Percy was 11 and he still loved it. I remember how excited he saw the Scyther card, which he put in his pocket. It was the only card he took out of the binder. "Thanks Alex," I remember Percy saying. "You're the best brother in the whole world." "I have my moments," I said grinning. After giving him my cards I went back inside and went up to my room. The thing about disaster is you never see it coming. As I walked up to my room, I was like a sailor who went out to sea, unaware of the huge wave that was about to capsize his ship. My life was about to be turned upside down in ways I could never have imagined... A couple hours after going up to my room my mom had asked me where Percy was. I shrugged, assuming he had come back inside....but he never did. He wasn't in his room, or the living room, or out back or out front. My mom called several of Percy's friends, but they had not seen him either. And it was getting dark. The binder of Pokemon cards I had given Percy was still laying out on our back deck. I remember picking it up and thinking how strange it was that Percy left it there, especially when he was so happy to have just received them. What followed next was a blur filled with flashing police sirens, reporters asking questions and exhausting searches in the night. At one point it felt as if the whole world was watching my family; there were always reporters outside of our home and Percy's face was always plastered on the evening news. They interviewed his teachers and his friends. It was as if every single person that ever talked to Percy was given their 15 minutes of fame. My mom would cry in front of the cameras and tell the reporters what a good singer Percy was. That he had the voice of an angel. My dad hated the reporters. I tried my best to act unbothered by it all, because I assumed Percy would show up again; he would have to show up again. I couldn't lose my little brother, the little brat probably just ran away. But he would come back. He had to come back. Stuff like this happened to other families, but not mine. We searched for days, but those days eventually turned to weeks, and those weeks turned into months....and Percy never came home. Eventually the reporters left. "Good riddance, you goddamn parasites," I remember my father saying. Percy's face stopped appearing on the evening news. And eventually the police told my parents they'd have to stop the searches, that their attention was needed elsewhere, but they'd leave the case open. When Percy first went missing our neighbors told us they'd always be there to lend us a hand, but eventually they stopped helping too. When the searches first started there were a hundred of us going out each night. An army of men and women shouting "Percy! Percy!" as they searched the town....but several months later, only my dad and I were left. It was hard to tell who took Percy's disappearance the worst, my mom or my dad. My dad was a big man and had always seemed invincible to me; but after Percy went missing, he would cry every night. He wouldn't let me see, but I heard him every time I walked past my parents' room. Is there anything more terrifying to a 15 year old than hearing his father cry? My mother never seemed to give up on Percy, she'd always wait out on the front porch, as if Percy had just gone out and was expected back for dinner. She didn't go out on searches with us, because she was adamant that someone needed to be home in case Percy showed up. Sometimes she'd stay up all night. I'd tell her to come inside or go to bed and she'd just smile and say, "Percy's coming home tonight Alex. Isn't that nice? Your brother's coming home." One time I got mad at her, and told her to stop that, because Percy wasn't coming home....not now, not ever. I regretted saying it the moment the words came out of my mouth, but my mother was not bothered by it all. She simply smiled and went back to waiting. Waiting for dear Percy. My father died of a heart attack 4 years after Percy went missing. My mother's mental and physical health deteriorated badly over the years, and only got worse after my father passed away. When I went to college, she moved in with my aunt. I use to call her regularly, but the conversations always shifted to the same topic....Percy. "He's coming home today Alex," my mother would say on the other end of the phone. "He's coming home. Percy is coming home. He'll sing for us Alex. He has the voice of an angel." "Sure mom," I would say. My aunt told me my mother's health had gotten so bad that she was bedridden now. Eventually I stopped calling my mom as much. I loved her, but I didn't want to talk about Percy or hear how he was coming home. I couldn't talk about it. The truth was deep down inside I felt a tremendous amount of guilt. I was Percy's big brother after all. I was the one who was suppose to look after him, and make sure he was safe. And I failed. I failed my little brother. "You're the best big brother in the whole world" I had become severely depressed over the years and things might have taken a turn for the worse, if I hadn't met Trudy in college. Trudy saved me. I told her about about Percy on our first date together, which was strange because normally I didn't talk about Percy. His disappearance was like at toxic cloud that always hung over me, and I did everything I could to not draw attention to it...but Trudy was different. I could talk to her. Really talk to her. We fell deeply in love with each other and moved in together after graduating college. It was last year when Trudy said she wanted to go out to one the bars in town. "There's suppose to be some music act their tonight that's getting a ton of buzz," Trudy said, using a hand to push back her bangs, which were dyed blue. "Why not," I said smiling. "Sounds like fun." The bar was well, a bar for hipsters. Men in flannel shirts and skinny jeans, girls with hoop earrings and colored hair. This was Trudy's world, I was just a visitor along for the ride. The beer was good at least, though I tried not to drink as much anymore. I use to drink a lot before meeting Trudy. Sometimes I'd get so drunk I'd start to talk like my mother. "Maybe Percy's coming home. Yeah Percy's coming home. Percy oh god Percy what happened to you please come back please please please". The hostess came on stage and tapped the mic, which made a high pitched noise and everyone groaned. "Thanks for coming out tonight folks," the hostess said. "We've got a good one here. I want you all to give a round of applause for tonight's musical act - The Perishable Syndicate!". The crowd clapped, but soon the applause turned into a curious murmur, as the band stepped out on stage. It was a two man band. One of the members was a lanky fellow in a fine black suit. He had long black hair, beady eyes, and a hooked nose....but it was his skin that was odd. He had such pale skin. So pale it was almost luminous. The curious murmur among the crowd soon turned into silent awe. He was so tall and lanky, that the other band member wasn't even spotted at first. But then he stepped from behind the tall man.... The other member was a boy. He looked no older than 11. He wore an identical matching black suit and just like the tall man he was incredibly pale. And he looked just like my brother Percy. "Trudy...." I said, finding it hard to breath. I felt like a sailor drowning. "Trudy...I think...that-" "Shhh," Trudy said. "Show's about to start dude!" Trudy had seen pictures of Percy, but only pictures. I knew my brother, knew him from top to bottom. The boy on stage was identical to him in every single way...except for the pale skin. That was nothing like Percy. The tall man brought out a guitar and the boy sat on a stool in front of the mic. I wasn't close to the stage, but for one fleeting moment I thought the boy saw me. I thought I saw recognition in his eyes. But it was gone just as soon as it came. The man began playing the guitar, it was a folksy kind of melody. It was nice. And then the boy started to sing, and I wanted to rip my ears out. I wished at that moment I had gone deaf, because the boy didn't just have an amazing singing voice.... He had Percy's singing voice. It was the voice of an angel, like my mother use to say. But that wasn't possible. Couldn't be possible. I can't tell you the lyrics of the song or how long it lasted, I can only say that every person in the bar listened with rapt attention. Some people began crying, others laughing and giggling and when the song ended the crowd broke into a tremendous applause. It was like a strange fervor had taken over the bar. You would think The Beatles had just performed on stage. The pale man and boy bowed to the audience and then left. "How about that folks? Wasn't that something special..." The hostess said when she came back on stage. I immediately got up and headed for the back of the stage. "Alex, where are you-" I heard Trudy say somewhere behind me. I ignored her. I wrestled through the crowd and pushed my way through a door. After a short hallway, I made it through another door and was behind the stage. I felt nauseous. I felt like I was going to hurl. I didn't know if I was having a panic attack or if someone had slipped something into my drink. I felt the edges of my sanity begin to peel off. The same thing played in my mind, like a record on loop. That was Percy oh god that was Percy. "Be sure to buy a lot of booze and tip your waiters." I heard the hostess say out front. I began searching frantically for any sign of the man and boy. "Percy! Percy!" I started shouting backstage. "Percy! Are you here? It's me Alex!". "What's going on here?" Said a large man in a t-shirt with the bar's name written on it. The bar's manager no doubt. "The man and the boy, are they here?" I said desperately. "Look buddy," the manager said. "You can't be back here." "Tell me where they are!" I yelled at the manager. Please tell me where they are. Don't you know who that was mister, don't you know that was my little brother? "Please, that boy-" "Alex?" It was Trudy. She came through the door and had a concerned look on her face. "Alex, what's going on?" "Look, I get you like the band," the manager said "But you can't be back here. Please return to the bar." Ignoring the manager I grabbed Trudy. "Trudy, that boy....that was Percy. I know it. I know it was him." "Percy..." Trudy said cautiously. And she looked at me in a way she never had before. She looked at me with pity. It broke my heart. "You mean your brother Percy?" "I don't know what's going on here," the manager said and he was starting to sound furious. "But if you don't leave this area, I'm calling the cops. You. Can't. Fucking. Be. Back. Here." "It's okay, we're going," Trudy said and she grabbed my hand. "No Trudy," I said pulling my hand back. "It was him, it was Percy it was -" "Alex, think about what you're saying. Percy went missing 17 years ago. He'd be an adult by now. That kid was...well a kid!" Her words hit me like a ton of bricks. Suddenly, I was brought back to earth. Suddenly, I felt very embarrassed. I felt my head clear, felt my sanity begin to piece itself back together. I turned back toward the manager, who simply shook his head and pointed his finger at the door. Trudy grabbed my hand again and this time I didn't resist. A couple minutes later, I was sitting in the alley outside the bar, crying softly into Trudy's arms. "I thought....I thought..." "It's okay," Trudy said gently. "You're okay. I'm here Alex. I'm right here with you." "Why, why did I think that was him?" I said through the tears. "What's wrong with me?" "It's okay," Trudy said. "You had an episode. It happens. But I'm here for you Alex. I'm right here." That night as we laid in our bed, I thought about what Trudy had said. He'd be an adult by now. She was right of course. If Percy was alive, he wouldn't look like the boy I knew. He'd be a man. But I couldn't stop thinking about the boy. His voice....his voice was the same. I had heard Percy sing at church a million times. That was his voice. But that was impossible. He was just a boy that looked like Percy. A boy that looked and sang just like Percy. Just a boy I didn't know, who was in a two man band with a incredibly tall and pale looking man. And the boy, wasn't he pale too? Oh jesus, oh jesus... The next morning Trudy and I talked about the bar incident again. We agreed that I had had some kind of episode; but it wasn't necessary to seek professional help unless it happened again. I didn't tell Trudy that the whole thing still bothered me. That one part of my brain was screaming at me to find Percy. That the boy on stage was my brother, no two ways about it. It was the first time I kept something from her. I didn't tell her because I thought of that look she gave me the night before. That look of pity. I didn't ever want to see her look at me that way again. So we resumed our lives, happy as can be. I would get home from work two hours before Trudy, and that's when I would make my calls. I started calling all the bars and music venues around town and asking if any of them had booked the band, The Perishable Syndicate. Some of the venues said they had played for them weeks ago, but couldn't give me any other information on them. Others said they had never heard of them. None of them had booked them for any upcoming shows though. I kept these calls a secret from Trudy. I felt like I was cheating on her. But I didn't stop. I made calls everyday. It was him. I know it was him. I called my mother for the first time in a long time. She sounded bad, real bad. Her voice sounded so weak. "Percy's coming home Alex. Didn't you here? He'll sing for us, won't that be fine?" I didn't tell her about the bar incident. After a couple weeks of making calls I started to feel discourage. Then one day my phone rang. It was an unknown number and I thought of not answering at first - I hated spam calls. But curiosity got the better of me and I answered. "Hello?" At first no one responded. I could here a sort of heavy breathing on the other end of the phone. I was going to hang up when a voice spoke. The voice was like nails on a chalkboard. "I hear you're looking for The Perishable Syndicate." "Who is this?" I asked. Again there was silence filled only with heavy breathing. "They're having a show tonight at 10 PM." The voice said eventually. Something about the voice made my skin crawl. "Where?" I asked, and I felt that same madness I felt that night at the bar. It was a greedy madness. "Please, tell me." There was more heavy breathing and then the voice on the other end gave me an address. Then without saying anything else, they hung up. I looked up the address and saw it was several hours from me. It was already 6 PM and Trudy would be home soon. But if I left now, I would be able to get there just in time. It didn't take long for me to come to a decision. I sent Trudy a text saying I was going to see my mom and for her not to worry. I drove. Percy. I'm coming Percy. The drive took me through several small towns. I only saw the occasional person. They stared out from their windows like mannequins. I was struck by how quiet and empty these towns seemed. Eventually I made it the address the stranger had given to me. It was a building in the woods. There was no signs out front, and the building had no windows. There were no cars in the dirt parking lot I pulled into and an eerie silence hung over the building. It certainly didn't look as if there would be a show playing there tonight. I was beginning to feel foolish. I thought maybe whoever called me had lied. Had sent me off on a wild goose chase. Probably one of the employees from the previous venues I called. It was all just some kind of prank. *"Hey remember that asshole who called about The Perishable Syndicate? Let's fuck with him." I was the butt of someone's cruel joke. I was thinking of turning back, when the door to the building opened. Dim light escaped from the building and a woman walked outside. She had black hair, was dressed nicely....and she had pale skin. I got out of my car and approached her. The woman looked up at me and I saw shock on her face. Her eyes went bug eyed. "What are you doing here?" The woman said. "Oh, well, is The Perishable Syndicate playing here tonight? I heard they were playing here and I -" "Who told you they would be here?" The woman snapped at me. "You shouldn't be here-" "It's okay Sonia," a familiar voice said. It was a voice that made my skin crawl. A man walked out from the door. Like the woman he was dressed nicely and had that strange pale skin. Unlike the woman, who was beautiful in her own way, this man was ugly as sin. He had a pinched face that reminded me of a rat, and a smile that seemed a little too wide. "I invited him." "You should not have done that Marcus," Sonia said. The man, Marcus, merely shrugged. And then with a crooked finger gestured for me to come forward. "You're the one who called me?" I asked. "I am," Marcus said in that horrible voice of his. "Please come in. The band is getting ready to play." I looked at Marcus and the dark building behind him. The rational part of my brain was telling me to run. Don't you see how wrong this all is? Run, Alex, Run. But another part of me spoke too. "You're the best brother in the whole world" I followed Marcus inside and we made our way down a set of stairs. It was a basement bar. With every step I started feeling that greedy madness again. That madness that said I needed to find my little brother. We entered a room that was packed to the brim with people. The people here were pale, and beautiful, and ugly, and tall, and short. They were all dressed in fine black clothes, and were seated at tables with glasses of red wine. Trudy loved wine. I wondered if she would know this brand. It was thick and syrupy looking and the bottles around the room didn't have any labels. They were all in conversation, these beautiful and ugly people, but when I stepped into the room the conversation stopped. No, it died. They all turned to look at me. Some of them looked confused, like Sonia did in the parking lot. Others looked angry. But most of them smiled. And it was the ones who smiled that downed their red glasses of wine and licked their lips seductively. I heard chuckles and laughter break across the room. "What have you brought us here Marcus?" One of them said. "Little lamb, little lamb," another one cooed. "Thirsty, always thirsty," someone said drunkenly. "Can I have this one? Please, let me have this one!" Their voices rose and a fervor swept across the room. Next to me Marcus giggled. The stairway behind me was suddenly blocked, and the beautiful and ugly pale creatures began surrounding me. Soon, they were touching me. Grabbing at my clothes, my arms, my legs, my face. Some caressed and others shoved. Some hissed and others purred. I did my best to push them away. But there were so many of them, and I was drowning in the crowd, and oh god they were beginning to open their mouths, and their teeth...their teeth... "STOP!" Their mouths closed, and their hands left my body. They all turned toward the sound of the voice. Turned towards the stage. The boy was there. Wearing the same black outfit he had worn the other night. The tall and lanky man was standing beside him. But it was boy who spoke. The boy who told them to stop. And there was a look on all their faces as they stared at my little brother, and I was sure now it was my little brother. It was a look of reverence....and fear. "Please, young master," Marcus said. His horrible voice sounded timid and weak. "I brought this one here as a gift for us. He was so curious, so curious..." And the pale things turned back to me and again began to open their mouths. "Did you not hear my son? Does his voice fall on deaf ears?" And it was the lanky man who spoke and when he did, many of the pale creatures flinched. Some threw their heads down and others gave pitiful cries. Immediately the ones closest to me backed away. "We will deal with you later Marcus. For now, bring him to my quarters." The lanky man and the boy left the stage. Someone grabbed me, though gently. I turned...it was Sonia. She had a nervous look on her face. "Come," she said. She lead me through the crowd of pale creatures, and now none of them would even look at me. We walked through a small hallway and then we stood outside of a black door. She inclined her head. I opened the door and stepped into the room. It was dimly lit, like the rest of the building, but was well furbished, with expensive looking upholstery. The pale man sat in a red chair. The boy was standing in the middle of the room. The door closed behind me and for a moment, no one said anything. Then I began crying. "Percy...It is you, isn't it Percy?" I wanted to run to him. I wanted to wrap my arms around him, but something was stopping me. I looked at the pale man sitting in the chair. He sat nonchalantly, but there was also a quiet stiffness to the way he sat. As if he could pounce at any moment. The boy squinted his face, as if he was having trouble finding the right words. And then he spoke. "Not....anymore." "What do you mean not anymore?" I said. "Percy...who are these people? What did they do to you? Where did you go Percy, god where did you go?" "I...left," Percy said. His voice was quiet. Cold. Yet there was a hint of embarrassment too. "You left? Percy, do you have any idea how heartbroken mom and dad were? Do you have any idea what it did to them?" "He is my Father," Percy said, pointing to the pale man. "And she is my Mother." He pointed behind me. I turned around. It was Sonia. She had come in without me noticing. Somehow. "Your father?" I said disgusted. "Our father cried for you every night. He cried and looked for you and never stopped looking until his body couldn't take it anymore and he died. He died, Percy. And our mother Percy. She lives with Aunt Lydia now. She's so sick and she misses you so much." "Aunt Lydia? With the rose garden?" Percy said and his voice was hazy. As if remembering a forgotten dream. His hand went up and he gently touched the pocket of his coat. There was something in there... "Yes, Percy, yes. You remember don't you?" I said. "These people aren't your family." "Why...why did you let them take me?" Percy said and there was the faintest hint of tears gleaming in his eyes. "I'm sorry," I said ashamed. "I'm sorry I wasn't there to protect you. Please come home. We miss you so much. I miss you so much, Percy." Sonia walked around me and put her arms around Percy. The pale man sat up and stood near them. Together, they looked like something out of a nightmare. A pale and beautiful nightmare. "I allowed this conversation," the pale man said. "Out of respect for my son's previous life. And as a courtesy and repayment for the trick Marcus played on you. You were not suppose to come here." "You son of a bitch," I said and I wanted to charge him. But I thought of those teeth....those awful teeth. "I...I'll call the police. I'll tell them about this place." "Please, do," Sonia said. "When they come here they'll find nothing but an empty building." "You won't ever find us, no matter how hard you look," the pale man said. And his beady eyes narrowed. "And you won't ever see our son again." I looked at my little brother, who use to snore loudly, and get mad every time I beat him in video games. My little brother who had the voice of an angel, and was so happy when I gave him my binder of Pokemon cards. My little brother...who had been turned into something horrifying and pale. "Please, Percy. Please come home." Percy blinked and if there was ever any trace of warmth in those cold eyes, it was gone. "I am home." The next thing I saw was the pale man approaching me, and then I blacked out. When I woke up, I was still in the room, but there was no one else there. And I knew there would be no one else left in the building as well. I walked through the empty hallway and bar, and made my way up the stairs. When I opened the door, sunlight struck my eyes. I got in my car and saw I had numerous texts from Trudy asking if I was okay, how was my mom, and when I'd be home. I started my car and drove away from that terrible dark building. I drove past the empty towns, where mannequin like people stared at me from their windows. I drove on and on and only stopped to fill up gas. I drove until I came to a house with a rose garden out front. I knocked on the door and Aunt Lydia looked surprised to see me. "She's doing really well today Alex," Aunt Lydia said as we walked through her house. "Go ahead and see for yourself. I haven't seen her this well in a long time." I walked up the stairs and made my way down the short hallway. I opened the door and saw my mother laying in her bed. She was so frail looking. When did she get so frail? She saw me come in and smiled. "Oh Alex, sweetie," my mother said. "You came." "Hey, mom," I said sitting down on the bed. "You won't believe it Alex," my mother said beaming up at me. "Percy came. I saw him. He came last night. He came through the window. Just like Peter Pan. You remember when I read Peter Pan to you boys don't you? Percy loved Peter Pan." I looked up at the window which was closed. "He sang to me, Alex," My mother continued. "He sang to me. He still has the voice of an angel. He sang such sweet songs. My Percy, my little Percy. And he left something for you." My mother lifted her finger. It looked as if it took all her strength to do so. She pointed at the table by her bed. I looked over.....and saw it. There was something blue on the table. It was a Pokemon card, lying face down. I walked over to it and flipped it over. It was Scyther. The card that Percy had put in his pocket that day he disappeared. I picked up the card and wept. You might think it ridiculous to for a grown man to cry over a card, but I couldn't have stopped the tears even if I had wanted to. Percy had been here. He had come to say one final goodbye. I put the card in my pocket, and said goodbye to my mom and Aunt Lydia. I drove back to my apartment. Back to Trudy. I didn't tell her what happened that night, I knew she wouldn't believe a word of it. I only told her that I was better now. We embraced and it felt good to be back with her. It felt right. My mother died shortly after. I wasn't there when she went, but Aunt Lydia said she went peacefully and with a smile on her face. I hope that's true. I know in my heart I'll never see my little brother Percy again. But who knows maybe one day you'll be at a bar with some friends, sipping on some nice cold beers. And maybe the hostess will introduce a band you've never heard of, and you'll see a lanky looking man and a pale boy come on stage. Give them a listen. The boy has the voice of an angel.
2020.10.17 01:55 alexandereschateDo you think Billy will come to regret continuing the pumpkins post 2000?
Let's face it. When you compare the first 5 albums with what he's done post 2000 (with the exception of The Future Embrace which had a bit of magic still left), it's like someone did a recessive gene clone of Billy. The post-2000 pumpkins' material is like a pumpkins parody band. What made the original pumpkin albums great was the combination of great songwriting, intriguing lyrics and immaculate production. Post-2000, either one or the other was missing. There have been some good songs Billy has pumped out but was ruined by either lazy production or bad lyrics. Even the way Billy sings has changed. I always felt it interesting how Billy tried to hide the weaknesses of his voice with immaculate production. He tried to hide the weaknesses of his voice within the folds of the guitars and arrangements. He also sang in a bit of an understated way. Think "1979" where he's basically not singing but almost speaking gently. Even on the aggressive screamers like "Bullet" or "XYU", he's screaming but its like he's struggling to be heard over all the wall of sound. Post-2000, his vocals seem to be center stage. They're bare and at the forefront. It works for rock singers like John Lennon. Think Lennon post-Beatles where he did away with all the fancy production and became more of a barebones singesongwriter, it works for Lennon cause his voice is full of character and is naturally pleasant to the ear. For Corgan, his voice only works as just another instrument and not centerfold. Billy has the same musical addiction problem as Paul McCartney. He desperately needs someone to edit his work and curb his enthusiasm. He may not have alchohol or drug problems but making music and success seems to be his addictions. His career parallels that of Paul McCartney. If you look at Paul Mcartney's career post 1973, it's a lot of albums full of some good decent songs but ruined by lazy production. It seemed like he just wanted to pump the public full of material so he can get back out on tour. That's why even geniuses like Billy and Paul require a real band. People who can restrain him. Although I feel that even with James back in the fold, James is doing a poor job of that. Maybe it really was D'arcy in the old days who restrained him. I'm hoping Billy will have a "turnaround" in his elderly years like McCartney did. After his wife Linda died, McCartney became much more restrained. His work after his wife's death are great stuff. "Chaos and Creation in the Backyard" is perfect example. Great songs with great production. Or maybe Billy just needs to work with a producer like Flood or Nigel Godrich? I don't know. I've been disappointed with every single pumpkins' release since the reunion. The only material recently that has given me any hope of a turnaround is the latest stuff. "Colour of Love" and "Annos Santana" are great songs with interesting production. I'm hoping he keeps going on with this. Maybe this is a resurgence.
2020.10.15 09:45 only-a-northern-songYour favourite consecutive three songs on an album
Mine is on Revolver side A: I'm Only Sleeping, Love You To and Here There and Everywhere. Maybe not the obvious choice but these three songs in particular really grabbed me when I was younger. I'm Only Sleeping and Love You To have such unique, dreamlike atmosphere, and were sonically completely unlike anything I'd heard before (from the Beatles or otherwise). Both have very incisive lyrics about the way people live their lives. Here There and Everywhere is very different from the above two but still a unique sound in its own way, with a bit of dissonance when the low harmony and extra clicks come in on the 'love never dies' bit. But overall it feels like the comedown after the chaos of Love You To. I think these three songs provide a great snapshot of each of the three main songwriters, and also emphasise the Beatles and George M's talent for album sequencing so each song complements the last. Second fav for me would be You Won't See Me - Nowhere Man - Think For Yourself on UK rubber soul
2020.10.15 06:42 OneToastedLoafFinished listening to the entire Pink Floyd discography (studio albums I'll get to the other stuff later)
Thoughts: Piper: very good album, picks up the popular rock sound that was going around at that time that I enjoy but also adds cool sounds and stuff. I like how Syd's lyrics are rooted in English literature and have this sort of nursery rhyme sound to it sometimes. Saucerful of Secrets: only liked a few songs. the song saucerful of secrets is eh but the ending is really nice. Pretty much have the same view of all the albums that were right after Syd leaving. They were too weird sounding and only some I liked More: liked more songs here: I liked how they were starting to get to that melancholy sound that suits them. I also like the energy in Nile Song. Ummagumma: about the same thoughts as Saucerful of Secrets but maybe a little worse than Saucer. Narrow Way is pretty good though. Atom Heart Mother: I like it. I like how they use a band and it's very acoustic. Not a bad album. Also Alan likes marmalade. Relics: I sort of like this a little more than Piper. It had less weird sounds and the style was a really nice version of something similar to the Beatles. Very good album. Has a really cool version of Careful with that Axe, Eugene, and songs like Arnold Layne and See Emily Play are really fun to listen to. Meddle: The album Pink Floyd started to get their sound. Really love this album and how it's like a mix of Dark Side of the Moon's guitar and the weird noises from previous albums. However, I like the Pompeii version of Echoes better. Bass is more fonky and David's lead guitar section with a lot of overdrive has more to it. Obscured by Clouds: Pretty underrated. Songs like Childhood's End are really catchy and it also has some really nice acoustic sounding songs. Dark Side of the Moon: one of their best albums. Kind of like it more than the Wall. I like the idea of making the album one big song. Great spacious sounds and I like that there is a balance in band members. David contributed, Roger contributed, Nick, and Rick all had their contributions and there didn't seem to be much of a dominant member. Wish you Were Here: Might be my favourite album. Every song is just great starting with the masterpiece of Shine On you Crazy Diamond and then Welcome to the Machine which has amazing synth sounds, Have a Cigar is super fonky and fun to listen to and Wish You Were Here is impossible not to sing-along to. The it closes with a groovy version of Crazy Diamond. love it. Animals: Roger is definitely taking more control. Still a good album and is sort of like a mix of DSOTM and the Wall. Really like Sheep. The Wall: One of my favourites. I like that it is a story and it has all kinds of songs in it, sad songs like Goodbye Blue Sky, energetic ones like Young Lust, heavy ones like In the Flesh. I like Comfortable Numb with it's almost DSOTM sound to it. The Trials is really good I like the theater sort of sound to it and the cool, daunting riff where the hammers march. The Final Cut: Ok, Roger now has the entire rest of the band under complete lockdown and has taken the wheel entirely. This album makes me really wish we had more of Syd's poetic lyric writing. Too repetitive and lacks musicality. It's trying to be the Wall sequel. A Momentary Lapse of Reason: A lot of people don't like this album and the Division Bell but personally I like this album. It picks up the sound of the time but still is Pink Floyd to me. Love On the Turning Away and Learning to Fly. I like how, upon Roger leaving, they're music is suddenly really free-sounding and dreamy. I also like David's singing. Divison Bell: about the same opinions as Momentary Lapse of Reason Endless River: I really wish this wasn't the last of Pink Floyd. Really dreamy and nice instrumentals and Louder Than Words is amazing. Good album Summary: I haven't listened to all of these songs multiple times so my opinions can change. Overall really like the Dark Side of the Moon sound and the Wall a little less but still good album. Really wish the band could have gotten along. Favorite sound from Pink Floyd is the more spacious and melancholy sound rather than the full on I hate everything AAA Roger style of Pink Floyd. Ranked:
Dark Side of the Moon, The Wall, Wish You Were Here
Division Bell, Momentary Lapse of Reason, Relics,Piper at the Gates of Dawn
The Final Cut , Obscured by Clouds, Endless River, Atom Heart Mother
More, Ummagumma, Saucerful of Secrets
All the albums are pretty good but this is my scoring.
2020.10.15 00:02 desrae2002[Thank You] Happy Mail Tuesday
Thank you to u/babyraspberry and u/3720to1_ for the exchange and the return (or exchange) mail this week. Thanks for the Alice in Wonderland quote from u/babyraspberry - George Harrison says, "If you don't know where you're going, any road will take you there." My guess has always been that it's lifted straight from Lewis Carroll due to the reflection of nonsense verse and wordplay in Beatles lyrics. Thank you to u/3720to1_ for the Halloween card! My husband loves trick or treat, but I am an ogre who locks the door especially if it has been a work day. This year, we contemplate putting out paper lunch sacks with treats but don't know how we will do this. Possibly tongs or a wheelbarrow by the walkway or create a grid on the front lawn; it is definitely a mixed bag.
2020.10.13 03:55 Cobram00nHow does one learn songs?
I'm using Jusitnguitar to learn and I'm attempting my first song, Love Me Do by the Beatles. The chords are A, D, and E. I'm not very good with my chord changes, and keeping up to Justin and the record is hard. I can keep a 4/4 rhythm on the harmonica but I'm struggling on the guitar. I've tried other videos on the song and sheet music and I'm still having difficulties. I have found a comment on the website with the lyrics and when to play each chord which is helping a bit. I've been attempting this for about a week and a half for 30 minutes give or take. What do I need to work and how should I learn songs in general?
2020.10.13 03:28 BigFatRatGutGuitar chords by album
Is there any Pearl Jam devoted tab page for chords and lyrics? As a Who fan I love Whotabs, and for Dylan or Beatles solo work dylanchords.info is great to go to when I just want to play through songs by albums. Ultimate Guitar is more of a last resort. I was trying to build a Binaural playlist there, but there's no simple chord versions for Evacuation, Rivak, or Sleight of Hand, so it's pretty incomplete (really wanting to play through "Rival" right now too). Thanks!
2020.10.12 08:40 CharliDelReyJepsenThere was a post asking about why there are these trends in pop music from happy to dark, and I think I figured out the answer.
Ok, I am a little sleep deprived right now, so bare with me, but I feel 100% confident I figured out the primary driving force behind these cycles. I'm sure others have figured it out too, and maybe some will disagree, but I will try my best to articulate it. I think it's fascinating. Ok here it goes. So, first we must define the cycles. And instead of looking at this as a trend of pop music, I will instead be considering mainstream music in general. These cycles can be defined in many more nuanced ways, but in their essence they are in one of two states. In one state, mainstream music is celebratory, bright, glossy, and romanticized. The biggest artists have a manufactured pop star persona, which is unrealistic, idealized, commercial, they are really more of a character than a real person. These are the Brittany Spearses, the NSYNCs, Madonnas, Katy Perrys, Nelly, Lil John, etc. Let's refer to this state as idealistic. In the other state, mainstream artists make music which emphasizes authenticity. Generally, their music is moody, introspective, dark, vulnerable, honest. These artists don't exactly have a persona per se. They are just themselves. The good the bad and the ugly. Examples include Billie Eilish, Post Malone, Lorde, Halsey, Kurt Cobain, etc. We call this state authentic. Ok so we have the dichotomy between idealistic vs authentic. But there is another dichotomy at play here. The mainstream and the underground. At any point in time, there is both a mainstream culture and a counter culture. Music is one of the most obvious ways to observe this. The counter culture is never front and center. Many people are hardly even aware of it. But it is the most important piece of the puzzle. In the undercurrents is where lies the subverting force that ultimately sets the trends for the trend setters. As the state of authenticity or idealism in the mainstream starts to become less cool and interesting, the contrarian subculture or cultures which were simultaneously in the opposite state of the mainstream, becomes more cool and interesting than whatever is actually mainstream. This thrusts the subculture into the spotlight. Or in more cases, its fundamental elements are appropriated by the mainstream. This causes the state of the mainstream to "flip". This of course inspires another contrarian subculture that is poised and ready to replace the mainstream state once it no longer resonates with people again. Let's look at some recent examples. The most recent "flip" of mainstream states, began some time towards the beginning of the 2010s. Rap went from club anthems about getting crunk and pouring champagne on women, to Drake rapping about being in his feelings. Pop went from the glossy, romanticized Katy Perry and Kesha bubblegum bops to moodier, more authentic artists like Lorde and Adele. During the aughts when the mainstream was most definitely in an idealistic state, the biggest artists in the counter culture were indie bands like Arcade Fire, The Strokes, and LCD Soundsystem. These artists subverted the commercialized, glossy image of the mainstream stars at the time by simply being themselves. They wore t-shirts and jeans. They had deep, thoughtful lyrics. Their music had an emotional weight. And people were drawn to it. To many, they seemed cooler and more interesting than the mainstream stars who seemed formulaic and materialistic. After a few years, the mainstream caught up. It wasn't cool to be fake anymore. Everyone was rapidly becoming a hipster. Being thoughtful, honest, and humble became the "in" thing. Instead of being flashy and braggadocios. The styles and philosophies and ideas, which were in many ways created by the indie movements of the aughts, were appropriated by the mainstream in the 2010s. Slowly the landscape of mainstream music changed. Royals by Lorde was probably the most defining moment of this flip. We also have the rise of Emo rap. Soon the radios weren't playing so many bubblegum dance hits, but moodier, darker songs that seemed more honest. So right now, the mainstream is definitely in an authentic state. But what happens if we look at the undercurrents? Are they authentic? Well certainly some are. I think there is always gonna be authentic music under the umbrella of what we consider "alternative". Nevertheless, upon close inspection there is actually a pretty big subculture that rejects authenticity. At least in the sense that they don't want to make music that sounds like their real self or even reality. This can be seen in a lot of different places, but it's most pronounced in hyper pop. Now PC Music started a bit before the true solidification of the authentic mainstream. I mean when they first started releasing music ARTPOP had just been released, which is clearly more "idealist" than "authentic". At least from how I've previously defined those terms. Nonetheless, Drake, The Weeknd, Adele, were all incredibly popular at this time. We were far from the peak levels of idealism in the early 2000s and late 90s. PC Music subverted the be yourself trend and went all in on creating commercialized, over the top, idealistic pop personas with music that sounded like Brittany Spears on 20 pounds of Molly. It was over the top, it was camp, it used pop tropes that were sort of off limits at the time, but then they went further than anyone ever has. And the response was that it blew people's minds. Suddenly, the coolest most interesting creative people in music were no longer the deep-thinking hipster bands from Brooklyn. It was the people blurring the lines of gender, creating fake hyper feminine personas, pitching their voices up 2 octaves, and drowning their vocals in layers of glittery, artificial production. PC Music is credited for inventing this aesthetic and subgenre of pop that is now referred to as hyperpop. But 6 or 7 years after PC Music first came out, we're still very much in an authentic state with mainstream music, perhaps even more so than when PC Music first came out, but the idealized pop movement is spreading like a wildfire in the underground. Grimes was subverting authenticity in the indie scene well before PC Music. While every other indie artist was busy turning their diary entires into songs, Grimes made music that was surreal. She was never Claire Boucher, she was Grimes, a character. Her 2015 pop album, Art Angels, is imo one of the greatest pieces of escapist pop ever made. There's also Poppy, who seems to have dropped the act recently, but for a few years, she was a highly advanced cyborg pop star that never broke character in any of her interviews. She even deleted her entire life history off the internet prior to becoming Poppy, in order to keep the illusion. It's not only one of the most brilliant and intriguing ideas in the music world from the past few years, but that takes a level of showmanship and commitment that is really special in this day and age. Charli XCX is perhaps the unofficial leader the hyper pop movement. And it seems like new hyper pop artists are popping every day. I can't keep up with the volume. I also see this trend of subverting authenticity in the bedroom pop scene. They do it by never taking themselves seriously to an almost satirical level. Really simple lyrics, simple production, breezy instrumentation, optimism. Bedroom poppers have such great fashion sense too. They'll wear shit like Fresh Prince 90's shirts, with sweatpants tucked into socks, while wearing crocs. And they honestly pull it off. That scene rocks. A few other artists that I haven't mentioned that I think are huge to this idealist subculture right now are: Oliver Tree, Thudercat, Clairo, 100 gecs, Dorian Electra, Kim Petras, Kero Kero Bonito This massive rise and interest in idealism vs authenticity makes me think we are currently cresting over the peak of the authentic state. So many people right now are just way more interested in seeing someone become a character and do an eccentric, vibrant performance that you can't look away from than watching someone be themself. Like we get it Billie, Post Malone, and Halsey, you're weird, you're sad, life sucks, we know. It sucks for us too. Stop reminding us. We've been hearing that kinda shit for the past 10 years, and 20 if you were a hipster in the aughts. Not that I don't like those artists btw. I love all three of them, but that moody shit just isn't refreshing anymore. Many of us are out of tears, and we just wanna escape by watching or listening to a spectacle. But the point of this post isn't to root for the comeback of idealism. I actually kinda like the way it is now, and I think it's more special and pure if it stays underground. The point of this post is to explain the mechanism for these cycles, and I'm getting kinda sidetracked, so lemme just wrap this up by quickly walking you through all of the flips from the 50's until now. Ok, so we got the 50s and early 60s. Elvis, flashy suits, glittery dresses, pop, songs about twisting and shouting, Beatlemania. Then the Vietnam War. Idealized music no longer has its appeal. The Beatniks who rebelled against traditional society, now look super cool. Hippies are born out of the beatnik subculture. Hard rock is born. Beatles have longer hair now and beards, they trade their suits for bell bottoms and colorful shirts, they're suddenly political. People start wearing jeans. The culture is anti-authoritarian. The stars of this era are far from picture perfect. They have growly voices. Their guitars are heavily distorted. This is our first flip. The mainstream went from idealized to authentic by adopting the underground beatnik movement. Years of an authentic mainstream go by. Vietnam war ends. Hard rock, having long hair and beards is still the mainstream, but it no longer has the purpose it once did when there was more reason for protesting traditional society. Bands like Bad Company and Foreigner are massively popular, but they just don't have the intrigue that people like Hendrix elicited. But wait what are all those hispanics and black people doing in those big cities? Now that scene looks fun, that music makes me wanna dance. I don't care to subvert authority with hard rock right now, I just wanna have a good time. Boom bitch. We have the disco boom bitch. This was a flip from authentic to idealistic. Disco gradually turned into 80s pop. The mainstream was idealist throughout this whole era, and it wasn't just pop. You also have hair metal, and funky, mostly very positive light-hearted hip hop is beginning to take shape. But what's bubbling under the surface of this glossy mainstream culture? Well you got new wave, punk, goth. A very vibrant and diverse counter culture who don't buy into the commercialization and materialism of the decade. By the time of the 90s a lot of other people dont either. So what happens? Grunge, pop punk, all sorts of new and exciting forms of rock music make a huge comeback by borrowing sounds from the 80s underground. This new rock permeates the mainstream consciousness. Kurt Cobain with his ripped jeans and disheveled look seems the polar opposite of the 80s, but his sincerity and brilliance becomes the ultimate source of intrigue and fascination. We now have another flip. Idealistic to authentic. This authentic phase was much shorter than previous states. Only a couple of years. By the late 90s idealism had taken over again and they took over hard. The pop star was probably never so far from from authentic as it was at this time. This is the era of Y2K pop. Here we have Brittany and the boy bands, like NSYNC. The pop star never felt more like a business model than it did now, but people didn't care. It was fun, it was catchy, it was masterfully entertaining. Pop stars became a bit more personable as the aughts went on, but throughout the whole decade, the mainstream was unmistakably in an idealist state. It wasn't just pop. It was party rap too, like Nelly and Lil Jon, songs about getting crunk, pouring champagne on hoes, having a good time, not so much heavy emotional shit. Anyways, as I explained above the indie subculture at this time, eventually inspired our current mainstream, which is now in an authentic state, so I'll just leave it at that. Thanks for reading. I know it was a lot, but hope it wasn't too bad. I'd love to hear your thoughts.
2020.10.11 21:34 tutetibiimperesNugu Roundup #60 - When Proud Pied April, Dress'd in all his trim, Hath put a Spirit of Youth in Every Thing- 201011 + Album Giveaway
Hello and welcome to the latest Nugu Roundup! What is this?: This is a weekly feature designed to highlight the unknown/underappreciated groups and soloists working hard in the Kpop world that often fall under the radar. Please share your own information, favorite performance videos, fanmeet stories, or anything else relevant below! Last week we spent time with Dreamcatcher's little brothers, D1CE! This week let's check out a group that's more on the 'underrated' side than the 'nugu' side, let's get to know April! Look at the first comment below for the winner of the fourteenth Nugu Roundup Album Giveaway, plus details on this week's album up for grabs! What is Nugu?: While in Korean it literally means 'Who' in the broader Kpop context it refers to groups that are generally unknown amongst the greater public. It doesn't have to mean they're extremely new, though it can, and there are of course varying degrees of 'unknown' which some groups having very strong niche fandoms and others being almost invisible. I take a fairly broad view and will include groups that may be known to some, but who don't have widespread name recognition. Let's get on with the show... ________________________________________________________ APRIL Who are they?: April is a six member girl group under DSP Media. While their name in Hangul 에이프릴 phonetically sounds much like 'April' it's also a compound word of 'A Frill' indicating they are pretty women, and with the April name means they want to present a warm and relaxing atmosphere like the month of April. Their fandom name is Fineapple, which is a combination of "Fine" meaning good, and "Apple" representing April. Company: DSP Media was originally one of the largest Kpop companies in the game, representing mega-hit artists such as Fin.K.L, SECHSKIES, and KARA. They lost ground in the transition from 2nd to 3rd generation groups and now represent April and co-ed group KARD. They also have a pre-debut 9 member boy group in development including two Produce X101 contestants. Other notable former artists include the girl group Rainbow and boy groups SS501 and A-JAX. Group Interviews
Facts: She is a former member of short-lived DSP Media group Puretty. She competed on Produce 101, falling just outside the top, and also in the Kara Project. She joined April following the departure of original members Somin (now a member of KARD) and Hyunjoo (who left to pursue acting). In addition to her time with Puretty she has been part of the special project groups CIVA and IBI. She has performed voice acting work for the animated TV series Pretty Rhythm Dear My Future, and has appeared in the dramas Secret Love, Boni-Hana Web Drama, Mohae Mohae, and Everyone's Love. While she was thrust into the position of leader due to her eldest-in-the-group-status she says that the other members have been invaluable in showing her the ropes since she joined the group after debut and she is known for having a beagle-like personality and playing around with her group-mates. She has practiced Muay-Thai and would like to learn Jiu-Jitsu. She was a trainee for over six years. She has mentioned that she has quite a bit of trainee debt still from her time in Puretty but has been paying it down and it now isn't as bad as it used to be. She has released a duet with fellow April member Chaewon called Clock (MV) and has collaborated with Voisper for Lovesome (MV), as well as releasing a special project single called Yellow (audio).
Facts: She is from Gongju, a small mountainous city in west-central Korea. She briefly assumed the role of leader in the group following the departure of Somin and before the addition of Chaekyung. She took part in the KARA Project. She is known as the mother of the group and has adopted mannerisms of an older lady on occasion. She has been in the Web Dramas Reply PyeongChang 100° F and Third Person Dating and has taken part in live theater with Hello, Malpan. She has a personal YouTube channel where she posts song covers and other content (link). In addition to her duet with Chaekyung she released a special winter duet with Somin called Me Inside You (audio) (that probably sounds better in Korean), and several OST tracks including I Need You (audio) with Kisum, Alone Again (audio) with Lee Jinsol, I Cried Loudly (MV) with Ha Hyeong On, and Humming (audio) with Daewon. She joined DSP Media as a trainee while she was still attending school and rode the bus from Gongju to Seoul and back again every day for practice. She was an excellent student and was in the running for 1st in her class. She attended Sungshin Women's University along with Chaekyung and the two have become close friends within the group. She is a big fan of pistachio nuts and enjoys cracking and snacking on them.
Facts: She is from Daejon, a city in central Korea known as Korea's Silicon Valley. She is a former JYP Trainee, leaving just before the Sixteen survival show due to opposition from her parents and lacking confidence in her abilities, but is still close with a number of members from Twice. She studied acting after leaving JYP and has appeared in a number of dramas including Extraordinary You and A-Teen. She has released duets with fellow-member Jinsol including My Story (MV), and Matter of Time (MV), as well as an OST Stars in the Night Sky (audio). She has been a special MC on Music Bank. She is known to be a very kind person and volunteered to work with disabled people in her youth and was also known as someone who would buy food for her friends when they were hungry and had no money. One of her favorite foods is makchang, which is grilled intestines, and she loves maesil-cha, a green plum drink. She was falsely accused of school bullying but the accuser then retracted the statement and said he made it all up. She obtained her driver's license this year.
Facts: She is from Daegu, and inland city in Southeastern Korea known for it's high prevalence of Buddhism and a growing fashion industry. She is known in the team for being forward with skinship and also developed a reputation for a tsundere-like attitude. She is said to resemble Goo Hara in both visuals and voice. She was an MC along with fellow-member Rachel for an MBC Children's Song show. She has recently been cast in what is being billed as the world's first 8K UHD Musical Film called K-School which will debut this December in Korea. She is the most courageous member and was the first in line to go on a bungee-jumping ride when the group went to an amusement park, however she is afraid of cats and has alluded to a negative childhood experience with them. She has been given the nickname 'Squirrel' but doesn't like it, and has been attempting to switch her nickname to 'Po-Do' which means 'Grape'. Bread is her favorite food.
Position: Main Rapper, Lead Dancer, Vocalist
Real Name: Sung Na Yeon
Age: 20 (IA)
Facts: She joined the group with Chaekyung after the departure of Somin and Hyunjoo. She is originally from Seoul but studied abroad in Portland, OR for four years before returning to Korea. Her stage name is the English name she used when studying abroad. She chose to keep it as there are many Nayeons and Naeuns in Kpop and thought it would be less confusing. She has been practicing ballet since she was 7 years old. She is known as the most innocent and childlike of the members of the team, but is also a very hard worker and was seen putting in extra practice time to catch up after joining the group late. Due to her thicker tone and English proficiency she is often given contrasting rap parts to Yena. She used her ballet skills to win April's first gold medal at the ISAC competition for Rhythm Gymnastics. In addition to English and Korean she can speak some German and is learning Japanese. Her favorite foods are eggs, spring rolls, and red bean porridge.
Facts: She moved around a lot growing up, born in Andong and living in Taebaek and Yongin before moving to Seoul. Her parents initially opposed her becoming a singer but she attended a singing school secretly and when she invited them to a performance they relented and supported her dream. She competed on Girl Spirit though was placed in the same group as Kim Bohyung, Uji, and Sojung and thus didn't make the finals, however it was seen as a good showcase for the new group. Though she is the youngest she's the tallest member of the group. She is also known for having a very slim physique. She was a fixture on the show Tok Tok Boni Hani. She has acted in the drama "Met You Again". She has recorded several OST tracks including Perfect (audio), This Love (audio), I Was Wrong (MV), and Like This (MV). Her parents run a restaurant specializing in fried pork. She has been learning how to box. She's a fan of Pentatonix, Billy Eilish, and DJ Khaled. Her favorite foods are sweet and sour pork, dumplings, and chocolate. She is said to resemble Nagyung from Fromis_9.
Debut: August 23rd, 2015 with Dream Candy (MV) Live Stage (Link) Choreography Video (Link)
Song: Described as a 'House style dance track with fantasy elements' this ultra-cute and innocent (seriously, there's a frickin' unicorn) song was the lead single for the group's first EP "Dreaming". Come for Somin in a dirndl, stay for the charming and delightful song that sounds a bit Christmassy.
First Comeback: November 24th, 2015 with Muah (MV) Live Stage (Link) Dance Practice (Link)
Song: The group's first comeback, and first song following the departure of Somin who decided April's concept wasn't for her, this was the promoted song from the group's first single album "Boing Boing". Another ultra-cute song, this one sees the girls dreaming of their first kiss and flirting with a mysterious Caucasian model who stumbled into their Catholic High School/Girl Scout Camp/'50s Diner. It's listed as a 'pop dance song full of exciting beats, a splendid melody, and freshness'.
Third Comeback: April 26th, 2016 with Tinkerbell (MV) Live Stage (Link) Dance Practice (Link)
Song: The lead single from the group's 2nd EP "Spring" the song is about "finding pretty love and becoming your own protagonist in a fairytale when you are tired of reality". It continues with the groups fairy-tale cute concept, and a lush instrumental backing with copious strings and synths sets the mood.
Fourth Comeback: January 3rd, 2017 with April Story (MV) Live Stage (Link) Choreography Video (Link)
Song: The title track of the group's third EP "Prelude" this sees the departure of Hyunjoo who left the group, but remained with DSP Media, to become an actress, and the addition of new members Chaekyung and Rachel. The song is a love song about unrequited love. This also sees the sound and image of the group transition a bit, still maintaining that magical fairlytale aura, but trading some of the playful cuteness for a GFriend-esque power-innocent concept which is also reflected in a more intense synchronized choreography. New member Rachel's ballet abilities are also highlighted.
Composers/Producers:e.one (see above)
Fifth Comeback: May 29th, 2017 with Mayday (MV) Live Stage (Link) Choreography Video (Link)
Song: The first promoted track from the group's 2nd single album "Mayday" this is described as an "Uptempo Arcade Pop Dance" song, and uses the metaphor of calling for a mayday to describe the excitement and butterflies felt when first falling in love. Some fun retro outfits are featured in the MV.
Fifth Comeback Pt 2: May 29th, 2017 with Lovesick (MV) Live Stage (Link)
Song: The second promoted track from their second single album "Mayday". This was originally released as part of the group's reality TV show on NaverTV "A-If-Ril" but due to the popularity of it received an MV and promotional release as well. The song is about unrequited love and features a swingy pop style.
Composers/Producers:e.one (see above)
Sixth Comeback: September 20th, 2017 with Take My Hand (MV) Live Stage (Link) Choreography Video (Link)
Song: The lead single from April's fourth EP "Eternity" this mid-tempo dance song is about metaphorical expressions of love and features an MV that trends the group's fairytale themes over towards magical realism as they turn back time to give themselves another shot at impressing a guy they fancy. Musically this hits me as a blend of GFriend and Lovelyz, and is the most mature sound from the group yet, with some very cool things going on in the chorus that I'd love u/givethatpitchvibrato to comment on if they'd like. Jinsol is also somehow a doppleganger for 2020 Park Gyuri three years ahead of time.
Seventh Comeback: March 12th, 2018 with The Blue Bird (MV) Live Stage (Link) Choreography Video (Link)
Song: The lead single from the group's fifth EP "The Blue" this song is inspired by the fairy tale The Blue Bird) and expresses that "love and happiness can always be found". Musically the lush strings and synth arrangements from e.one (and their individual composers) continue to provide the elegant aural landscape that allows April's magical concepts to flourish.
Composers/Producers:Jeong Ho Hyun (e.one) (see above)
Eighth Comeback: October 16th, 2018 with Oh My Mistake (MV) Live Stage (Link) Choreography Video (Link)
Song: The lead single from the group's sixth EP "The Ruby" this marks the biggest departure from the sound the group had gradually been evolving since their debut and became their biggest commercial success to date along with becoming a fan favorite. Taking on a retro-'80s synthwave style the song is also a departure thematically in which the lyrics speak of confidence and control in seeking love with it being described by the producers as exhibiting "healthy narcicism" (and tellingly the Korean title of the song translates to "A Sin to be Pretty"). Bonus points for integrating a rap break without a slowdown in the tempo.
Ninth Comeback: April 22nd, 2020 with Lalalilala (MV) Live Stage (Link) Dance Practice (Link)
Song: The lead single from the group's seventh EP "De Capo" this marks another departure in sound, and is described as a restart for the group which falls in line with the album title, Italian for "From the top". Taking the groups magical themes into a darker sci-fi realm mixed with cosmic influences that's reminiscent visually and musically of some of WJSN's recent work this is another step into a more mature presentation and sound for the group. According to the producers they worked to make sure each member received a 'killing part' and the strong chorus has been likened to KARA's output.
Tenth (and most recent) Comeback: July 29th, 2020 with Now or Never (MV) Live Stage (Link) Dance Practice (Link)
Song: The promoted track from the group's first summer special single album "Hello Summer". It's described as 'Hybrid Pop' blending guitar and and a fun bouncy synth-brass line into an upbeat and addictive summer song which combine with bright and playful visuals to create a new look and sound for April.
Trivia: On debut April was one of the youngest active Kpop groups, with an average age of 17.5. The group has a mascot, known as Sawori, which is a giant seed representing sprouting love and energy for the group. The group has amassed a number of CF deals including Mexican Chicken (a Korean chicken chain), FIFA Online, and a goat-milk face mask product. Their fandom name was the result of a fan vote and Fineapple narrowly beat out Aries as the top choice. Despite a long hiatus between The Ruby and De Capo the group seems to be gaining momentum, with their special summer album Hello Summer reaching 14,000 physical copies sold, the group's best thus far, while the group had never broken 10K before De Capo. Lalalilala also marked the group's highest single charting at 40 on the Gaon digital chart and 37 on Melon. As a fun little Easter-Egg the first letter of April's first three EPs (Dreaming, Spring, Prelude) spells out "DSP". The group has won three medals at ISAC competitions, all of them for Rhythm Gymnastics. The group is currently one of the longest-running active idol groups that has never won 1st place on a music show. ________________________________________________________ SOLOIST OF THE WEEK Woosung/Sammy Who is he?: Woosung is the lead vocalist, guitarist, and leader of the band The Rose. He has released several solo songs and a solo EP but is also still active with his band. Company: J&Star Entertainment appears to be a new and small company with The Rose being their only musical act, though they also represent a male model and actor by the name of Bonyoung. Real Name: Kim Woo Sung (Korean) Sammy Kim (English) Age: 27 (IA) Pre-Release Debut: July 19th, 2019 with Lonely (audio) Live Performance (Link)
Song: A soulful R&B ballad with simple piano accompaniment which is described by Woosung as a healing song. This was released as a pre-release single ahead of his first album.
Composers/Producers:Woosung (original artist)
Official Solo Debut: July 25th, 2019 with Face (MV) Live Performance (Link)
Song: The promoted single from his debut EP "Wolf". Woosung stated that men are often compared to wolves in terms of being instinctual and aggressive, but he wanted to show the inner side of the wolf, the side that yearns to run with a pack to assuage loneliness and which mates for life. This particular song is about looking beyond first impressions and how everyone has loveliness regardless if they meet traditional beauty standards or not. Musically with a funk-infused pop sound that blends the elements of his music from his band with a more mainstream electronic pop genre it's unique and enjoyable.
Composers/Producers:Woosung (original artist)
First Comeback: November 15th, 2019 with Beautiful Girl feat. Penile (MV) Live Performance (Link)
Song: Released as a single album, this is a song Woosung wrote 5 years prior to release and decided to polish for actual release. It's described as a cute love-song about expressing feelings to a girl you like. Musically this laid-back midtempo R&B jam is the perfect kind of song to lean back and relax to, the odd rap about ham nonwithstanding.
YouTube Channel: via The Rose Trivia: He is from Los Angeles, CA. He competed on the first season of Kpop Star. He participated in the writing and production of the song Yolo from Boys24 (link). His role model for The Rose is The Beatles, a band that showed both vocal talent as well as creativity. During the album cover shooting for his Wolf EP they used a real wolf-dog for the photos, and he says it was difficult because the wolf-dog did not listen to commands and kept wanting to wander away. He is close to BM of KARD and Ashley of Ladies Code due to their US upbringing. When he was young he watched a video of Angus Young of AC/DC and loved the look of the guitar so made one himself out of shoelaces and a toy sword he had. His mother ended up buying him a guitar after that, though it wasn't until he was injured while playing football in high school that he decided to devote his energies fully into music. ________________________________________________________ IN MEMORIAM VERMUDA Who were they?: A five member boy group under Pacemaker Entertainment. Their name in Hangul is spelled the same way as the island of Bermuda. Their fandom name was Triangle, the same as the title of their debut EP. Debut: June 12th, 2017 with Dream Girl (MV) Live Stage (Link) Dance Practice (Link)
Song: Described as "Ratchet" and "Hip House" in style, the goal was to release a debut track that was different than other idol music. A fun bass beat and multiple tempo and texture changes throughout the song do keep things interesting.
Active Between: June 2017 - Sometime in 2019 Reasons for Disbanding: All of the groups social media accounts were deleted or went silent, which combined with no output since 2018 leads to the likelihood that the group has quietly disbanded. No other groups or information can be found for the group's company Pacemaker Entertainment, so it's possible the company folded as well. Trivia: The group featured former members of 100%, ZPZG (which is rumored to be reforming), and Mr. Slam. Member NaKang who contributed to the writing of their final track is a cousin of KiKwang from Highlight. The group had previously been known as BEAM. It appears that they attempted to do live touring internationally including in China and Japan during 2018. ________________________________________________________ That's it for today, let's get the discussion on! As always, if you have any suggestions for groups, content, or things you'd like to see, please let me know in the comments below. Also as always, a big shout-out to u/not-named-in-credits for founding nugutown and u/sharnaranwan for continuing the work over there.
2020.10.11 05:09 iameggbackwardsMouth Moods: Worst To Best / Review
The title says it all. This is a ranked list of every song from Mouth Moods. Without further Adieu... Let's start with the interludes. 20. Blockbuster Out of the "Bust" trilogy in the middle of the album (Bustin' / Blockbuster / Busta), this is just a transitional piece from Bustin' to Busta. It is funny, but it wears itself off on the second listen of it, and it's not even 15 seconds long. It's too small of a moment to call essential. 3.5-4/10 19. Revolution #5 Out of the two songs that incorporate music from The Beatles, one of them is an interlude. Again, it is funny, and it holds another All Star reference which we all love to see, but it's not too necessary. 4.5-5/10 18. Shady Interlude This may be the first controversial pick of the list, but the best interlude is the Shady Interlude. It's not particularly funny, but the transition from this to T.I.M.E. is just flawless. 5/10 Here's the actual songs from the album 17. Busta While I do love the guitar intro from Stairway To Heaven, the mood gets destroyed when No Scrubs gets added on top of it. At least it's a minute long. 5-5.5/10 16. 300MB I'm not sure if this counts as an interlude or not, as it is over 2 minutes long. The clips of the woman ranting about a 300MB hard-drive being this grand and massive technological advancement is funny, but it lasts a bit too long with no huge reward. 5.5-6/10 15. Floor Corn Speaking of controversial. Yeah, this isn't great. It sucks that one of, if not the weakest stretch of songs is placed toward the beginning of the album. Despite Neil's great sense of humor, this feels like one of the last songs written of the album because he needed another song and he ran out of ideas. It just feels like a major element to the mashup was just removed, like an explosion or something. 6-6.5/10 14. Stand By Meme The only funny thing about this is the concept. The song previous was Smooth, a marriage of Smooth Criminal by Michael Jackson and One Week by The Barenaked Ladies. I thought that song was a tad too long. So hearing One Week repeated onto the next track is just such a fatigue that it hurts. 6.5/10 Now this is where the list gets very hard to narrow down. 13. The End Every single time I hear this song, and knowing that In The End is over a fucking Doobie Brothers instrumental always makes laugh like hell. However, it is a bit too long, and the joke does kinda wear itself off by the 2:30 mark. 7/10 12. Annoyed Grunt It hurts to put this so low. The mixture of all of these songs work so damn well. The out of nowhere Basket Case explosion, the Yoshi sample acting like a censor, the Down With The Sickness vocal breakdown thing, the transition between this and Bustin', there's just so much details in this song that I love. But, there are 11 better than this. I can't believe that. 7.5/10 11. Tiger The lyrical edits are just perfect. The vocals are as flawless as ever. But that guitar from INXS' Need You Tonight always makes me think of something that I can't put my finger on and it makes me beyond mad. Good thing the lyrical edits are so great that it makes up for it, and it doesn't last throughout the entire song without breaks. 7.5-8/10 10. Smooth This song is actually kind of interesting, as it has a similar blueprint to songs like Bustin' or Wow Wow, and as a result I could actually listen to this outside of the context of the album as a fully-fledged banger. However, again, it lasts a tad too long, and One Week may actually be one of the most mediocre songs sampled on the album, what with the food-oriented rapping and lyrics I can't quite put my finger on. Not to mention the way T.I.M.E. just almost hard transitions to this, completely uprooting the powerful emotion of that song. But the fact that I call this a banger just shows the quality of it. 7.5-8/10 9. Mouth Pressure Ah, All Star once again. It makes me happy. However, the song does last a bit too long, and everytime I hear those guitars, I get reminded of the "smashing" story behind this song and it puts a bit of a sour taste in my "mouth" (haha). However, it doesn't last long, and the last minute or so is actually quite triumphant. It's one of the more solid minutes on the album that actually makes up for the rest of the song not being the best in the world. 7.5-8.5/10 8. AC/VC I'm just gonna get straight to the point; It works well on paper, but the vocals really put you off guard when you first hear them, almost to the point of it being nearly unlistenable. However, it is a grower of the highest magnitude. When you get to harmonies toward the end of the song, that should be the point where you fall head over heels for it, assuming you do on your first listen. 8-8.5/10 7. Wallspin Only Neil could put Oasis' Wonderwall on top of the You Spin Me Round (Like A Record) instrumental and make it work so amazingly well. It's just anthemic as hell. Nuff said. 8.5/10 6. Shit This song being placed at the end of the album almost reminds me of Trout Mask Replica. By that I mean the album is very consistent, but at the very end of the album, it drops most of its jokes and just delivers a great remix. That being said, the lack of humor in contrast to every other song on the album may be a legit turn off for some people. To quote TheNeedleDrop, "If you took this song and you brought it back in time to 2005 and played it to a club of pop music fans, people [that] would normally hear these songs on the radio, they would most likely think this is like a really cool remix". But I really love the song. 8.5-9/10 Top 5, starting off with... 5. Dear Dinosaur Yeah, I'm surprised this made it this high too. It's just a ridiculously phenomenal marriage of Was (Not Was)'s Walk The Dinosaur with The Beatles' Dear Prudence. It's just the most gorgeous mashup I've ever heard in my life. I can't imagine a mashup more gorgeous unless someone puts TVU's Sunday Morning over a song from OK Computer in the vein of No Surprised or Karma Police.... okay maybe not that gorgeous, but you get it. The chorus is just so oddly catchy. It's so hypnotizing. 9-9.5/10 4. Wow Wow This was actually the first song I heard from the album before going into the album front to back. That intro, to quote a YouTube comment, is the equivalent of going on a rollercoaster and it shooting backwards. I wish I could experience hearing the intro for the first time again. The lyrical edits range from the most absurd things ever ("I'm the slickiwickiwickiest there is", "Buffalo buffalo buffalolololololololo", just to name a few), weirdly gay (I'm not homophobic, trust me) lines ("He got his behind lookin damn good though", "You behind my bum, buddy", just to name a few). Not to mention the chorus. My only issue is that it feels just a bit too close to Bustin', so if I wanted to hear Wow Wow, I would much rather listen to Bustin'. But that "issue" is so small that it barely takes away from it. Still an amazing mashup. And, of course, another All Star inclusion. 9.5-10/10 3. The Starting Line The starting line of the album consists of the starting lines of a bunch of different songs, go figure. There is so much to the song that I can't even mention because I'll take up too much time. The "can't touch this" at just the right moment, the inclusion of the "reluctantly crouched at the starting line" lyric from Cake's The Distance, the scream from James Brown's I Feel Good, the first inclusion of All Star on the album, the way that the first minute transitions to the second minute with Montell Jordan's This Is How We Do It, the last minute being this phenomenal victory lap, and the hard transition into Floor Corn, there's just so much to this song that I could mention, and I'm not even half done yet. 10/10 2. T.I.M.E. The way the Shady Interlude transitions into this is just the definition of art. This song motivates me to do something. The lyrics sound so desperate to bring this homeless man to the Y.M.C.A., what with the instrumental being the Time string section from the Inception soundtrack. This song genuinely gives me a strong emotion outside of just laughing at the jarring combination of songs. The whistling from All Star feels like so much more than just an All Star reference to make you laugh. It adds such an ambient and depressing feel to the song. Shame that it transitions to Smooth in the way it does though. 10/10 1. Bustin' How can you say no to this song? The perfect transition from Annoyed Grunt to Bustin', the tight groove, that little horn lick, the extremely sexual lyrics (in the music video, you see a ghost eating sausages with a man passing out with an ahegao face with "feel good" repeated in the background, if that tells you anything) along with overwhelming inclusions of "sleeping if your bed", the way he fades out in the music video after saying "an invisible man", the way he says "freaky man baby" then gives you this look like he knows you know exactly what he's talking about, the headbanging chorus, the little solo at just the right time, the little "feel good" from Feel Good Inc. at the end, the snoring added in after "If you're all alone / lemme sleep in your bed", that run-on "Yeah yeah, yeah yeah yeah yeah, yeah yeah yeah", the transition into Blockbuster and subsequently Busta. This song carries the entire Bust trilogy on its own. There are so much little elements in this song that brings it above and beyond. This is the perfect mashup. No need for any other mashups. They're not necessary. 10/10 I'm in love with this album. Ever since the 8th of October this year (I made this on the 10th), I've played it 4 times. I can't get enough of this. I'm not gonna say there's not moments weaker than others on the album, but those moments add to the overall experience of this adventure. I have yet to hear his other mashup albums, but I doubt that another one of his mashup albums are better that this. I can easily give this a 9-9.5/10. Hell, there's a sick part of me that wants to give this a 10/10, but with the overall "shortcomings" being as plentiful as the heights, I just can't bring myself to do so. Thumbs up, Neil.
2020.10.10 05:18 snakeeater3422 [M4R] anywhere. Lyricist looking for someone to put music to the words
Hi there. So, I'm looking for someone who can put my words to music. I write, I guess you could say sort of poetic lyrics, and I love music, but I can't write nor read music for crap. I was hoping to find someone who could put my words to music, if possible. Please do send me a Dm if you want to give it a shot, I'm not sure where else to go, and would love a songwriting partner, words and music, as they say. A bit about me since it's required, I like rock music a lot, the Beatles, Pink Floyd, Fleetwood Mac, the Who, Elton John (especially), and Genesis are all big favorites. I want to be remembered for the music, or not at all, and without music, there are no words, in my opinion. As you could tell I'm big into 60s/70s music, but I appreciate music of any kind, so please don't be shy. I can sing as well, and play a little drums and bass, but that's it, and I also can't read nor properly write music since I have no instruments with me. Thanks!
2020.10.09 21:13 Keyboardtyper5780 John Lennon Quotes for his 80th Birthday!
John Lennon was born 80 years ago today in Liverpool, England.. During his all-too-short lifetime, Lennon reinvented popular music with the Beatles and later as a solo artist. His genius was behind such songs as "Come Together", "Strawberry Fields Forever" and "Imagine". At times, he was a controversial figure: Off-handedly saying his band was "More popular than Jesus" in 1966 and protesting war by staging a pair of weeklong Bed-Ins for Peace in 1969 with wife Yoko Ono. He's remembered as one of the most influential figures of pop culture. In honor of what would have been Lennon's 80th birthday, we've compiled 80 quotes and lyrics attributed to the late rock icon. On the Beatles "We're not Beatles to each other, you know. It's a joke to us. If we're going out the door of the hotel, we say, 'Right! Beatle John! Beatle George now! Come on, let's go!' We don't put on a false front or anything." — Look, 1966 "Paul (McCartney) and I made a deal when we were 15. There was never a legal deal between us, just a deal we made when we decided to write together that we put both our names on it, no matter what." — Playboy, published in 1981 "I said we were more popular than Jesus, which is a fact." — Look, 1966 "We were really professional by the time we got to the States; we had learned the whole game. When we arrived here we knew how to handle the press; the British press were the toughest in the world and we could handle anything. We were all right." — Rolling Stone, 1971 "You see, we're influenced by whatever's going. Even if we're not influenced, we're all going that way at a certain time. If we played a Stones record now — and a Beatles record — and we've been way apart, you'd find a lot of similarities. We're all heavy. Just heavy." — Rolling Stone, 1968 "Carrying The Beatles' or the Sixties' dream around all your life is like carrying the Second World War and Glenn Miller around. That's not to say you can't enjoy Glenn Miller or The Beatles, but to live in that dream is the twilight zone. It's not living now. It's an illusion." — Playboy, 1981 "They've been trying to knock us down since we began, especially the British press, always saying, 'What are you going to do when the bubble bursts?' That was the in-crowd joke with us. We'd go when we decided, not when some fickle public decided, because we were not a manufactured group. We knew what we were doing. — Rolling Stone, 1971, on The Beatles "There is not one thing that's Beatle music. How can they talk about it like that? What is Beatle music? Walrus or Penny Lane? Which? It's too diverse: I Want to Hold Your Hand or Revolution Number Nine? — Rolling Stone, 1971 "Why should The Beatles give more? Didn't they give everything on God's earth for ten years? Didn't they give themselves?" — Playboy, 1981 "I've got used to the fact — just about — that whatever I do is going to be compared to the other Beatles. If I took up ballet dancing, my ballet dancing would be compared with Paul (McCartney)'s bowling." — Rolling Stone, 1975 "I said to Paul 'I'm leaving.' " — Rolling Stone, 1971, on quitting The Beatles "It's like saying, you know, 'Did you remember falling in love?' Not quite. It just sort of happens" — The Dick Cavett Show, 1971, on his memories of breaking up with the Beatles On songwriting "All we are saying is, 'This is what is happening to us.' We are sending postcards. I don't let it become 'I am the awakened; you are sheep that will be shown the way.' That is the danger of saying anything, you know." — Playboy, 1981 "I was trying to write about an affair without letting me wife know I was writing about an affair, so it was very gobbledegook. I was sort of writing from my experiences, girls' flats, things like that." — Rolling Stone, 1971, on writing Norwegian Wood years before "The first line (of I Am The Walrus) was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko." — Playboy, 1981 "They can take anything apart. I mean, I hit it on all levels, you know. We write lyrics, and I write lyrics that you don't realize what they mean till after." — Rolling Stone,1968, when asked about "philosophical analyses" of Strawberry Fields "In Baby You're A Rich Man the point was, stop moaning, you're a rich man and we're all rich, heh heh, baby!" — Rolling Stone, 1968 "I'm always proud and pleased when people do my songs. It gives me pleasure that they even attempt them, because a lot of my songs aren't that doable." — Playboy, 1981 "The images (in Lucy in the Sky With Diamonds) were from Alice in Wonderland. It was Alice in the boat. She is buying an egg and it turns into Humpty Dumpty. The woman serving in the shop turns into a sheep and the next minute they are rowing in a rowing boat somewhere and I was visualizing that. There was also the image of the female who would someday come save me ... a 'girl with kaleidoscope eyes' who would come out of the sky. It turned out to be Yoko (Ono), though I hadn't met Yoko yet. So maybe it should be Yoko in the Sky With Diamonds." — Playboy, 1981 On himself "I'm cynical about society, politics, newspapers, government. But I'm not cynical about life, love, goodness, death. That's why I really don't want to be labeled a cynic." — Look, 1966 "I'm a freakin' artist, man, not a (expletive) race horse." — Rolling Stone, 1975 "Yes, if there is such a thing, I am one." — Rolling Stone, 1971, when asked if he thought he was a genius "One of my big things is that I wish to be a fisherman. I know it sounds silly — and I'd sooner be rich than poor, and all the rest of that ... but I wish the pain was ignorance or bliss or something." — Rolling Stone, 1971 "I never went to high school reunions. My thing is, out of sight, out of mind. That's my attitude toward life. So I don't have any romanticism about any part of my past." — Playboy, 1981 "I'm not telling. Lots more than I ever had before." — Rolling Stone, 1971, asked how much money he had "Nobody controls me. I'm uncontrollable. The only one who controls me is me, and that's just barely possible." — Playboy, 1981 On marriage to Yoko Ono "It was very romantic. It's all in the song, The Ballad of John and Yoko. If you want to know how it happened, it's in there. Gibraltar was like a little sunny dream. I couldn't find a white suit — I had sort of off-white corduroy trousers and a white jacket. Yoko had all white on." — Rolling Stone, 1971 "When we got married, we knew our honeymoon was going to be public, anyway, so we decided to use it to make a statement. We sat in bed and talked to reporters for seven days. It was hilarious. In effect, we were doing a commercial for peace on the front page of the papers instead of a commercial for war." — Playboy, 1981, on his and Ono's 1969 "Bed-In" "I was a working-class macho guy who was used to being served and Yoko didn't buy that. From the day I met her, she demanded equal time, equal space, equal rights." — Newsweek, 1980 "She inspired all this creation in me. It wasn't that she inspired the songs; she inspired me." — Playboy, 1981 "It is a teacher-pupil relationship. That's what people don't understand. She's the teacher and I'm the pupil. I'm the famous one, the one who's supposed to know everything, but she's my teacher." — Playboy, 1981 "It’s just the two of us, and our position was that, if the record didn’t sell, it meant people didn’t want to know about John and Yoko – either they didn’t want John anymore or they didn’t want John with Yoko or maybe they just wanted Yoko, or whatever. But if they didn’t want the two of us, we weren’t interested." — Rolling Stone, 1980, on album "Double Fantasy" On fatherhood "If you know your history, it took (Ono and me) a long time to have a live baby. And I wanted to give five solid years to Sean. I hadn't seen Julian, my first son (by ex-wife Cynthia), grow up at all. And now there's a 17-year-old man on the phone talking about motorbikes." — Newsweek, 1980 "Yoko became the breadwinner, taking care of the bankers and deals. And I became the housewife. It was like one of those reversal comedies! I'd say (mincingly), 'Well, how was it at the office today, dear? Do you want a cocktail? I didn't get your slippers and your shirts aren't back from the laundry.' To all housewives, I say I now understand what you're screaming about." — Newsweek, 1980 "I’m not the greatest dad on Earth, I’m doing me best. But I’m a very irritable guy, and I get depressed. I’m up and down, up and down, and he’s had to deal with that too – withdrawing from him and then giving, and withdrawing and giving. I don’t know how much it will affect him in later life, but I’ve been physically there." — Rolling Stone, 1980 On faith "I believe Jesus was right, Buddha was right, and all of those people like that are right. They're all saying the same thing — and I believe it. I believe what Jesus actually said — the basic things he laid down about love and goodness — and not what people say he said." — Look, 1966 "I don't believe in magic ... I don't believe in Jesus ... I don't believe in Buddha ... I don't believe in Elvis ... I don't believe in Beatles." — God, 1970 "Imagine there's no heaven/ It's easy if you try/ No hell below us/ Above us only sky/ Imagine all the people/ Living for today." — Imagine, 1971 On listening to music "There is nothing conceptually better than rock 'n' roll. No group, be it Beatles, Dylan or Stones, have ever improved on Whole Lot of Shaking for my money. Or maybe I'm like our parents: that's my period and I dig it and I'll never leave it." — Rolling Stone, 1971 "All music is rehash. There are only a few notes. Just variations on a theme. Try to tell the kids in the Seventies who were screaming to the Bee Gees that their music was just The Beatles redone. There is nothing wrong with the Bee Gees." — Playboy, 1980 "I'm still a record man. There's nobody — including meself —– on earth that I can sit down and listen to a whole album." — Rolling Stone, 1975 "I don't purchase records. I do enjoy listening to things like Japanese folk music or Indian music." — Playboy, 1981 On other rock stars "It depends who they are. If it's Mick (Jagger) or the Old Guard as I call them, yeah, they're the Old Guard. Elton (John), David (Bowie) are the newies. I don't feel like an old uncle, dear, 'cause I'm not that much older than half of 'em, hehe." — Rolling Stone, 1975 "I didn't come after Elvis and Dylan, I've been around always. But if I see or meet a great artist, I love 'em." — Rolling Stone, 1971 "I stopped listening to Dylan with both ears after Highway 64 (sic) and Blonde on Blonde, and even then it was because George (Harrison) would sit me down and make me listen." — Playboy, 1981 "Wouldn't it be interesting to take Elvis back to his Sun Records period? I don't know. But I'm content to listen to his Sun Records. I don't want to dig him up out of the grave." — Playboy, 1981 "Everybody used to play on each other’s sessions, but nobody ever said anything. Nowadays it’s always said. And Elton asked me to play on 'Lucy.' He said, 'I’m gonna do this song. I’d love it if you came and played.' He was too shy to ask me. He got a friend that we both have to ask me … And I said, 'Sure I’ll come.' So I went to play and sang chorus or some garbage. Why is it not belittling for Mick Jagger to sing in back of Carly Simon? Why am I some kind of God that isn’t allowed to do anything?? It’s (expletive)." — Spin interview in 1975, on Elton John's cover of "Lucy In the Sky With Diamonds" On health and mortality "I don't want to grow up but I'm sick of not growing up — that way. I'll find a different way of not growing up. There's a better way of doing it than torturing your body." — Rolling Stone, 1975 "We're mostly macrobiotic, but sometimes I take the family out for a pizza." — Playboy, 1981 "I could still be forgotten when I'm dead. I don't really care what happens when I'm dead." — The Dick Cavett Show, 1971 "Cat has nine lives/ Nine lives to itself/ But you only got one/ And a dog's life ain't fun." — Crippled Inside, 1971 "Two branches of one tree/ Face the setting sun/ When the day is done." — Grow Old With Me, released in 1984 On drugs "It was only another mirror. It wasn't a miracle. It was more of a visual thing and a therapy, looking at yourself a bit." — Rolling Stone, 1971, on how LSD affected his music after he began experimenting in 1964 "We were smoking marijuana for breakfast. We were well into marijuana and nobody could communicate with us, because we were just all glazed eyes, giggling all the time. In our own world." — on The Beatles during their Help! period "(Happiness Is A Warm Gun) not about heroin. A gun magazine was sitting there with a smoking gun on the cover and an article that I never read inside called 'Happiness Is a Warm Gun.' I took it right from there. I took it as the terrible idea of just having shot some animal." — Playboy, 1981 "If somebody gives me a joint, I might smoke it, but I don't go after it." — Playboy, 1981 "It just was not too much fun. I never injected it or anything. We sniffed a little when we were in real pain. We got such a hard time from everyone, and I’ve had so much thrown at me, and at Yoko, especially at Yoko. Like Peter Brown in our office – and you can put this in – after we come in after six months he comes down and shakes my hand and doesn’t even say hello to her. That’s going on all the time. And we get into so much pain that we have to do something about it. And that’s what happened to us. We took 'H' because of what the Beatles and others were doing to us. But we got out of it." — Rolling Stone, 1971, on trying heroin On fame "I don't mind looking to the camera — it's people that throw me." — Look, 1966 "You don't have to be a star to get a cheese sandwich. You just have to be first." — Look, 1966 "I've withdrawn many times. Part of me is a monk, and part a performing flea! The fear in the music business is that you don't exist if you're not at Xenon with Andy Warhol." — Newsweek, 1980 "Half the time you don't know what you're talking about when you're talking to reporters." — The Dick Cavett Show, 1971 "No longer riding on the merry-go-round/ I just had to let it go." — Watching the Wheels, 1980 On the human condition "You're born in pain. Pain is what we are in most of the time, and I think that the bigger the pain, the more God you look for." — Rolling Stone, 1971 "The unknown is what it is. And to be frightened of it is what sends everybody scurrying around chasing dreams, illusions, wars, peace, love, hate, all that ... it's all illusion." — Playboy, 1981 "Remember though love is strange/ Now and forever love will remain." — Bless You, 1974 "Better recognize your brothers/ Everyone you meet." — Instant Karma!, 1970 "Every day in every way/ It's getting better and better." — Beautiful Boy (Darling Boy), 1980 "After all is said and done/ You can't go pleasing everyone." — I'm Stepping Out, released 1984 On politics and revolution "I don't want to die, and I don't want to be hurt physically, but if they blow the world up ... we're all out of our pain then, forget it, no more problems!" — Rolling Stone, 1971 "That radicalism (of the '70s) was phony, really, because it was out of guilt. I'd always felt guilty that I made money, so I had to give it away or lose it. I don't mean I was a hypocrite. When I believe, I believe right down to the roots." — Newsweek, 1980 "In England, there are only two things to be, basically: You are either for the labor movement or for the capitalist movement. Either you become a right-wing Archie Bunker if you are in the class I am in, or you become an instinctive socialist, which I was." — Playboy, 1981 "There is no denying that we are still living in the capitalist world. I think that in order to survive and to change the world, you have to take care of yourself first. You have to survive yourself." — Playboy, 1981 "It's quite possible to do anything, but not to put it on the leaders and the parking meters. Don't expect Jimmy Carter or Ronald Reagan or John Lennon or Yoko Ono or Bob Dylan or Jesus Christ to come and do it for you. You have to do it yourself." — Playboy, 1981 "All we are saying is give peace a chance." — Give Peace A Chance, 1969 "Some of the nasties think I’m here for tax reasons. But it’s hardly worth explaining to people. I only decided to live here after I’d moved here. I didn’t leave England with the intention … I left everything in England. I didn’t even bring any clothes. I just came for a visit and stayed. If I had wanted to do it for tax I should have informed the British Government; I would have gotten an amazing tax-refund for one year. But I forgot to — so I just ended up paying taxes anyway, here and there. If I’d only thought of it, I would have made a million pounds or something. In America, they should stop saying I do it for the tax. I like it here! Is anywhere better?" — Spin interview conducted in 1975, on moving to America On the future "The sun will never disappea But the world may not have many years." — Isolation, 1970 "I couldn't think of the next few years; it's abysmal thinking of how many years there are to go, millions of them. I just play it by the week." — Rolling Stone, 1971 "I hope we're a nice old couple living off the coast of Ireland or something like that — looking at our scrapbook of madness." — Rolling Stone, 1971, imagining himself at 64 with Ono 'It looks like I'm going to be 40 and life begins at 40 — so they promise. And I believe it, too." — Playboy, 1981 "I hope some day you will join us/ And the world will live as one." — Imagine, 1971 Contributing: Gary Dinges This article originally appeared on USA TODAY:John Lennon: 80 quotes from the Beatles legend for his 80th birthday
2020.10.09 13:08 House_of_Suns/r/QOTSA Official Band of the Week 23: KING BUFFALO
So when you think of cities with high culture and vibrant music scenes on the east coast, what springs to mind? Obviously New York. Thanks to Drake, we all know about the growing music scene in Toronto. You prahbahbly musta tawt a Bawstan tew. Maybe Montreal or Philadelphia or even Baltimore crossed your mind. Hah. Baltimore. Time to check your cultural bias, pal. You passed over a quiet little city on the south shore of Lake Ontario, nestled in the Genesee River valley. It has a history as a hotbed of Abolitionism and Women’s Rights. It is the home of Eastman Kodak, Xerox, Bausch & Lomb, Western Union, Ragu and other innovative companies. It has a lively music scene, great nightclubs, world-renowned universities, thriving museums, arts & culture festivals, and (back when we could actually attend it) live theatre. It is a true cultural gem that many folks overlook. Yep. You bet your ass I am talking about Rochester, New York. Since we know that Stoner Rock can come from anywhere, it should be no surprise that Rochester has produced one of the leading bands in this genre. This week we are going to check out a band you are going to want to listen to. If you know them, you love them. If you haven’t heard of them, you are going to thank me. This week’s band is KING BUFFALO. About Them Hold on a sec. King Buffalo? Not King Rochester? To be fair, King Rochester sounds like the villain in a Disney movie. Kinda hard to imagine that on a T-Shirt. King New York sounds like a particularly obnoxious Yankees fan (and yeah, finding a Yankees fan that isn’t obnoxious is a tough go). King Albany sounds like a car made by Kia. But King Buffalo? That just works. Our heros didn’t start out together. King Buffalo were made up of members of two other Rochester area bands. Randall Coon and Scott Donaldson were playing together in Velvet Elvis. That five piece band played heavy rock with space-based themes in the early 2010’s. Sean McVay and Dan Reynolds were in another band called Abandoned Buildings Club (side note: kinda neat that their initials were ABC), who had a pure psychedelic rock vibe. When both VE and ABC appeared to be having limited success, the four musicians decided to merge their talents into one band. Coon had handled vocals and guitar in Velvet Elvis and Donaldson had been rock solid on drums. McVay had done vocals and guitar in Abandoned Buildings Club and Reynolds had anchored the sound with his bass. All the pieces were there for a classic Beatles-esque lineup. So out of the wreckage of ABC and VE, KB arose. The four members gelled so well that they were able to record their first demo - aptly titled Demo - in just two days. Their sound was immediately compared to tourmates and close friends All Them Witches. But where ATW were bluesy and sludgy, King Buffalo had produced songs full of space. Oh, there were heavy riffs for sure - but there were passages of music that were contrastingly lighter and further apart. The best example of these contrasts can be found in the more than 11 minutes of Providence Eye. The first six and a half minutes come at you at a lulling pace, enveloping you in the moment. You get swept up in the rolling riffs. But then the drop happens and you suddenly realize the song has been building to this peak. The tempo picks up and you ride a relentless rollercoaster until you hit the Black Sabbath-inspired outro, which takes you home. It is an emotional experience. The two other tracks - In Dim Light and Pocket Full of Knife are smaller essays on the same theme. It was clear right from Demo that King Buffalo had some serious talent. But if you have listened to the band you will notice that one thing is starkly different on Demo than from any of their other releases: the vocals. Randall Coon was the lead vocalist on these recordings. If you play them up against anything since by the band they stand out. Our very own QotSA may have successfully had multiple vocalists on multiple tunes, but King Buffalo was destined to have Sean McVay take over the mic. Shortly after 2013’s Demo, Coon left the band to do a solo project called Skunk Hawk. King Buffalo stood at a crossroads: did they look to replace Coon, or should they carry on as a Power Trio? The choice for them was obvious. McVay, Reynolds and Donaldson knew that they had fantastic potential together. They decided they didn't need anyone else. Side note: Regular readers of these write ups know that All Them Witches just went through this exact crisis in 2019. What I didn’t share then is that ATW are close friends with KB. I would not be surprised to learn that ATW had some serious conversations about their lineup with the boys from KB before they, too, decided last year to pare down to just three members. To re-christen their new lineup, in 2015 King Buffalo went in on a split EP with Swedish band Lé Betre (I mean, hooking up with a Swedish partner is a dream of mine, so I see the appeal.) They re-recorded their standout tune Providence Eye with McVay on vocals, as well as two new tracks - Like a Cadillac and New Time. New Time opens their side of the EP with an infectious, descending riff that hooks you immediately. It is clear from the lyrics - No wasting around, it’s a new time - that they had moved on from Coon. Like a Cadillac follows up and is a three and a half minute jam that leaves you wanting more. The re-recorded version of Providence Eye closes out their side of the split EP and leaves no doubt that they are in charge. It is a tighter, heavier version, and the amazing outro is so low down that it will make you want to rob your own house. With their lineup now set, it was time to put together enough music to tour on. In 2016, King Buffalo released Orion. Here you can witness the melding of their influences into something majestic and fantastic, and it is here that they really develop their signature style. To explain this style, you need to understand basic song structure. Most pop songs tend to go verse - chorus - verse - chorus - bridge - chorus - chorus. Sure, you could add in a solo for the bridge, or a detailed intro or outro, or another verse - but this is a tried and true formula. Some variation of this dominates the pop charts to this day. Not with King Buffalo songs. These guys are the masters of the drop, and you hear it in most of their tunes. QotSA fans are no strangers to that long build and release; it is an integral part of tunes like The Evil Has Landed,God is in the Radio,Song For The Dead, and I Appear Missing. One of the sickest drops ever recorded happens in the middle of the Them Crooked Vultures tune No One Loves Me & Neither Do I. It is where the music turns around, and a new riff takes over, often along with a pace change. It is then that you realize that the song has built to this climactic moment, and you are engulfed by the music. King Buffalo does this better than anyone else, and you hear it clearly articulated, again and again, on the album Orion. Take the song Kerosene for example. A rolling bass riff from Reynolds establishes the song right out of the gate. Donaldson produces punchy drum beats with cymbal crashes at the end of each phrase. McVay’s slide guitar rounds out the intro. McVay’s vocals - very Ozzy like, if Ozzy had any semblance of self-control - frame the first verse, which ends in a fuzzy, heavy riff with crashing cymbals. This same pattern is repeated a second time and the drop is teased at just past three minutes in, but does not happen quite yet. The listener’s anticipation builds as the airy, soaring solo from McVay calls out in contrast to the rolling bass. After the guitar solo bridge, the band goes right back into the chorus. But then it happens: THE DROP. Just past 5 minutes in, the song takes a complete and abrupt turn for a totally different riff that is at the same time heavier and brand new, and yet has been there all the while. What King Buffalo does brilliantly is subvert your musical expectations. The standard structure is V-C-V-C-B-C-C. Kerosene is V-C-V-C-B-C-DROP-OUTRO. Just when you subliminally expect something the same, you get something different. The entire album is like that. Orion hardly sounds like a debut. It is a mature and deliberate soundscape built by talented musicians who are making significant choices about their art. Songs like Drinking From The River Rising open with an expansive and elastic topography, but drill down to the molten lava of heavy riffs and distorted fuzz. Sleeps On A Vine begins with one of the most zen riffs you’ve ever heard and ends in a tumultuous and heavy sonic assault that is pure controlled chaos. Every song on the album is a study in contrasts that leaves you with auditory whiplash and a burning desire for more. They are that good. King Buffalo were able to tour on their new material, and did so extensively. They played clubs and larger venues, often with friends and fellow Stoner Rockers All Them Witches and other bands like The Sword and Elder. In 2017, the released the EP Repeater as a follow up. It is just three songs (The vinyl ad reads, All songs on one side! No need to flip!) but it is a heck of a musical journey. The title track off the EP is 13+ minutes long and is one huge build. When the fuzz finally drops after almost 8 minutes, it is a true cathartic moment. It sneaks up on you, and is so welcome when it hits - especially after McVay’s repetition that “Every Day is the Same* - that you intrinsically understand how great it is when things finally change for the better. Too Little Too Late is an instrumental tune that is both enveloping and expansive. It is a terrific bridge to the final track, Centurion, which is an unbelievable groove.Centurion has three minutes of set up leading to an unreal fuzzy drop that is so dirty it will get you evicted from your apartment. The influence of their touring with All Them Witches can also be seen on their next full length release, 2018’s Longing To Be The Mountain. Ben McLeod from ATW produced the album. ATW, The Sword and Elder are all thanked in the liner notes. The album picks up right where Repeater leaves off, with KB experimenting with long form songs like Morning Song and the title track, and shorter jams like Sun Shivers, Cosmonaut, and Quickening. Reynolds and McVay pepper the songs with synthesizer sounds that add colour and texture to the overall compositions. Donaldson drums with impeccable precision to provide each song with a safe mooring to return to, driving the guitars forward at the same time as he holds the rhythm in check. This is most clearly evident in Eye Of The Storm. The result is a rich tapestry of expansive and flowing music full of heavy jams and storytelling that will leave the listener wanting more. Their signature build-to-sonic-explosion style does not let fans down. The success of Longing To Be The Mountain allowed for extensive touring across North America and Europe. It also led to appearances at bigger gigs, like at Rockpalast and the Stoned & Dusted desert rock event in 2019. Anyone that has seen any of their live work knows that King Buffalo are simply hypnotizing on stage. Reynolds’ bass work is reminiscent of Geddy Lee with his complex and flowing style. Donaldson brings controlled power to the drum kit, and is ready to cut loose when the drop comes. And McVay has become a true front man, comfortable with the lead voice on guitar and the microphone. Their most recent release, Dead Star, dropped in 2020 and generated all kinds of buzz in the Stoner Rock scene. Of course, the tour planned to support it got axed when the entire world went into lockdown. But the (short album? EP? New material?) is simply fantastic. Red Star Pt. 1 & 2 continues their long form examination and has everything you’d expect from them. Echo of A Waning Star is a lament of just over 3 minutes that is near-perfect. Ecliptic sounds like the soundtrack to a John Carpenter movie and is a complete jam with serious cool 1980’s vibes. Dead Star, the title track, is almost Radiohead-esque in its evocative and regretful take on death and decay. But the standout track has to be Eta Carinae, which has one of the greatest musical drops and turn-arounds you will ever hear. The entire song pivots just past four minutes in and becomes a 70’s anthem worthy of Led Zeppelin or Black Sabbath. If you listen to no other tune here today, you have to check it out. It will absolutely get stuck in your head. Even though they could not tour, King Buffalo have not been idle during the Quarantine. Their Quarantine Series on Youtube shared excerpts from their catalogue with fans, all played live. They have been back in the studio, and have promised MULTIPLE full length albums of new material coming our way, starting in 2021. They even have (optimistically) set tour dates for next year. Some of us learned to bake during quarantine. Some of us got baked. I, for one, am super stoked that KB kept on writing and recording. I cannot wait for Rochester’s finest sons to release new material. I want everyone to hear this band because they really are something special. Links to QOTSA We know that QotSA front man Josh Homme and Kyuss invented Stoner Rock in the 1990’s. They were the genre-defining band. King Buffalo (and other bands like All Them Witches) have picked up this proverbial torch and are now bringing the sound to the next generation of fans. King Buffalo drummer Scott Donaldson is known to be a huge QotSA fan. Perhaps he saw them live when they played in Rochester in 2014 in support of ...Like Clockwork. It is also sometimes easy to forget that Josh was not the only architect of the low desert sound. Original Kyuss Drummer and co-founder Brant Bjork wrote many Kyuss tunes and continues to be a leader in the music scene today. King Buffalo have played with Bjork at festivals three times: Freak Valley Festival, Black Deer Festival and the aforementioned Stoned & Dusted. There is also a planned collaborative project between Bjork and King Buffalo that may be coming our way soon. The future is bright, my friends. Their Music Providence Eye In Dim Light Pocket Full of Knife King Buffalo songs from the Split EP with Lé Betre Kerosene -- live in 2016 Drinking From The River Rising Orion - entire album on Genesee Live RepeateCenturion -- Recorded Live in the Quarantine Sessions put out by the band Live at Rockpalast in 2019 - includes songs from LTBTM Longing To Be The Mountain - Quarantine Sessions Quickening -- everything is cool until the snake head pops out. Red Star Pt. 2 -- the official video Ecliptic Eta Carinae Dead Star - Full Album Show Them Some Love /KingBuffalo - C’mon, everyone -- there are just 96 subscribers. Those are rookie numbers. You gotta pump those numbers up. 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2020.10.08 22:13 Sprenger941Can you translate the lyrics from Soyol Erdene's song?
https://www.youtube.com/watch?v=2p5SZ8Wf8Q4 This is Soyol Erdene - Song of My Happiness. It was a Mongolian Band modelled to be Mongolia's The Beatles. I really love this song and I wish I could know the actual lyrics. Can anyone here help?
2020.10.07 00:12 bearboblundGetting It: A Love in Phish Story
A story about my first time seeing Phish (Wrigley Field, 6/24/2016). TLDR; See Phish, crap pants, laugh, cry, faint, fall in love, disappoint parents, repeat. - - - - - In the summer of 2016, my then girlfriend and I saw the band, Phish, for the first time. As for firsts and where this inaugural event ranks, what I don’t remember I cannot assert, but from what I can recall, quite vividly in manic, cross-cut sections of Wrigley Field blossoming into a technicolor wave pool, is a first without rival. A first that compelled her and I to see the band twenty more times in the next three years, each show delivering an unparalleled experience, but nothing quite like the first. I wish someone would’ve told me before the show began that years from now, this show, top to bottom, will still rank as my favorite Phish setlist. Of course, my response then would’ve been something like, “Hootie beggar blowfish?” My only conclusion is this: thank god and goddammit I didn’t find them earlier. I might never have if it wasn’t for her. We met on a Sunday in June at a music festival in Nashville. Standing in the middle of a crowd watching Bob Weir, I felt a tap on my shoulder. “Do you have any weed?” I said the first thing that came to mind: “Back at my place?” She laughed, like a grown-up would at a stammering toddler. Of the thousands gathered on that knobby, dirt patch, I was probably the only other person who wasn’t holding. Out of desperation and hollow nobility, I vowed to help her find some. She needed no help attaining fest weed, a freely circulating public good as available in that space as reflections on the Dead’s greatest year. But she didn’t seem to mind the idea of company, and so with a nod of her head, I became her company. At a time in my life where I was only beginning to understand how little I knew about myself, about who I was, and thus a period of marked insecurity and self-deception, she seemed to know exactly who she was and where she was going. Los Angeles-born and bred with no plans to return. College years spent in Wisconsin, which she wore like a merit badge, an honorary Midwesterner. Dad, a former heart surgeon, Mom, a former model. To make matters worse, she didn’t care to talk about herself; she wanted to know my story. I’d made it habit at that point to reveal as little about myself as possible to maintain an air of mystery, but her ability to engage encouraged reciprocation; she was intense, intimate, attentive. She loved Janis, preferred the blues, disliked indie, wanted her rock to rock her. Her tastes were freewheeling and straight from the heart. “The Rolling Stones are the greatest band of all time,” is not an original or outrageous claim nor is it correct, and I told her so, but she defended her point, anyway, and without a hint of self-righteousness, without regurgitating esoteric liner notes or referencing the band’s forebears. Her mission was pure: she simply wanted to convert each and every non-believer encountered. She was a gunner, type-A, but without the arrogance. Smart, but not self-serious. Soft, kind, flirtatious but not forward. Focused, but reflexively free-spirited, which seemed her strongest innate quality, one of the original ingredients that, though shuffled in and diluted with the inevitable responsibility age brings, nevertheless persisted and always would. She didn’t meddle. She had a career in politics. I’d vote for her. I told her so. She was leaving in ten days, heading to Chicago for the next chapter of her life. Three years in the same small city, many nights surely spent in the same corner of the bar, and here we were, meeting at call time. Bob Dylan, the poet laureate of bittersweet moments and inevitable ends, was the night’s final act and provided a beautiful, if not melancholic send-off. The lights came on. We said goodbye, and that could’ve been it. But it wasn’t. We saw each other two years later. Six months after that, I quit my job, packed my shit, drove up to Chicago, and moved in. Almost three years after first meeting, our first night together as roommates happened to be our thirty-fifth night together in total. To say we didn’t know what we were doing is both true and mostly true. Through years of text and phone conversations, we knew plenty of intimate details about one another: favorite movies, foods, political affiliations, fragrances, dreams, fears. On the other hand, if distance makes the heart grow fonder, closeness allows the brain, your neglected ally, to remind you that the leading cause of death is the heart. Luckily, on trying days when our differences felt insurmountable, we had music. It's where we started. We chased concerts, bars, and dance clubs five nights a week in the relentless pursuit of making up for lost time. It was the period of “yes,” to excess and otherwise, no matter the night or idea. And yet, following a friend’s recommendation to see Phish play Wrigley, I was an unequivocal “no.” Why? Because it was Phish. This position of ignorance is a popular one and exactly the type of prejudice the band has perennially inspired. Of course I’d never seen Phish, but what I knew about them had been gleaned from a former roommate, an obsessive who listened to entire tour runs from his room. When I tried to talk Phish with him, he struggled, admittedly, to find the right words to describe their sound, and importantly, the experience of their shows. “They’re like the Dead, right?” I offered, thinking a reference point provided an inroad to unraveling the topic. The question had the exact opposite effect, and my response was to leave Phish in the manila folder marked ‘IDK’ in the back of my musical index. She was receptive to the idea because, why not? On Thursday night, we checked StubHub and tickets were reasonably priced. Who was I to say no? Spurred by the warm weather and lack of adventurous ‘trips’ taken together, we each ingested almost a full eighth between drinks in our kitchen, which doubled as our dinner, and left the apartment with heads full of spirits and mouths full of shards. In an effort to soothe any creeping mushroom reflux, we decided to walk a few blocks before ordering an Uber. It was 6:30, thirty minutes to doors, hour to show time, and we had plans to meet our friend in Shakedown prior to entering the stadium. Only after escaping the heat and settling into the car's backseat did I sense the first, very strong signal that the mushrooms were on the move. Though I wasn’t overly warm, I was sweating intensely from abnormal areas. Not my palms, but the backs of my hands were covered in sweat. A line of sweat beads ran from the temples down either side of my head, pooling under my chin. Both knee pits were sopping. I felt like a can of cream soup that had been pin punctured at random. Even under cover of aviators, there was no mistaking Lilly's expression, eyebrows hovering over the top of the lenses, for anything other than “we’re fucked.” I grabbed her hand and squeezed, a gesture of reassurance that we were OK, but considering the forced half-smile it was attached to, likely succeeded only in reinforcing her belief. She laughed loudly before abruptly suffocating it like a sneeze she hadn’t felt coming. I kept mouthing, “OK”, to her over and over, nodding my head up and down like a defeated football coach absorbing the reality of a massive halftime deficit. She, however, appeared almost excited. Her rosy red cheeks and shit-eating grin produced this cartoonish expression like she was in on the joke, whether this was all in good fun or the way it all ended. On cue, “Werewolves of London” issued forth from the radio, each “Aaaooooo!” louder and more hair-raising than the last as we rolled toward Wrigley. The driver pulled over at the southeast corner of Racine and Addison. We whispered, “thank you” as we exited the vehicle, and he yelled, “Good luck!” from the open passenger window as he pulled a “U” and drove off. We laughed like hyenas before taking a couple deep breaths, wiping the tears from our eyes. The open air was like a splash of cool water as the mushroom limbo balance tipped from fear to fun. Wrigleyville was overrun, its blue hat population replaced by a frenzied community of unknown origin whose presence, by sheer numbers, established a new law and order, free of law and simple in order. People sold, bought and traded items on the street, smoked, drank, and huffed on the sidewalk, shook hands, slapped fives, hugged, danced. The police presence was minimal, most officers posted at the zone’s periphery, serving as guardrails, preventative agents to keep the outside from the inside crowds and vice versa. I watched as a guy trying, but ultimately failing, to catch himself from stumble falling was wrapped up in a bear hug by an officer, who brought him back to his feet and sent him on his way. We zig-zagged through the lot, arms strung around each other in supportive, clumsy embrace, communicating strictly in awestruck toddler-level finger pointing, and quickly found ourselves at the Clark-Addison entrance gate. Located down the first base line, just past the visitor’s dugout in the shallow right field stands, our seats offered an almost direct view of the center field stage. They also offered zero protection from the in-no-rush-to-be-setting sun. With no breeze, the air was stifling, our metal seats scalding hot, and the stadium was nearly empty and unnervingly quiet. “We’re a little early, I guess,” I said. “What time is it?” “Five after seven.” “Why are we here?” she asked, slumped down in her seat. “I don’t know." Acknowledged in the Uber, then completely forgotten during our lot walk, what had felt like stomach jitters now urgently required a bathroom trip. “Oh no…” “Why, oh no?” Lilly said. “I gotta go.” “Oh no,” she whispered through gritted teeth. Inside the tunnels, everyone moved at incredible speeds and in unpredictable patterns. I walked in circles for a few minutes before finding a men’s restroom, located almost directly in front of the ramp I entered the tunnel from. As soon as I sat down in the stall, the urge to shit vanished. Thinking it was a trick, I decided to wait for its return. I pulled out my phone and padded the pulsing, wobbling numbers on the screen, watching them bob up and down like lily pads in stream. My trance was interrupted by a gigantic fart in the stall next door, which prompted a chorus of thunderous laughter on the other side of the stall door. The fart. It wasn’t me, but that didn’t matter. The idea of being assigned blame for the fart by a mob of strangers rattled me. Sweating like a beast, I took a deep breath, pushed open the door and sprinted out of the bathroom, the assumed to be fleeing farter. “Oh my god! What has been happening?” she asked with a crazed grin. I wanted to tell her about the fart, but based on her expression assumed she had somehow already heard. “So much” is all I could offer. Expanding in scale, the stadium now resembled something closer to a coliseum, the half-ring of upper deck towering above us, our section sunken to arena-level. The sun hovered next to the left field upper deck, and cast warm, gold-flecked shades of purple, orange and red across the grounds. Streams of people filled every aisle way, fed from every entrance. The upper deck looked overrun with ants, thousands spreading across its sections. The general attendance crowd flooded across the white tile surface laid over the field, some angling toward the pit in front of the stage, others twirling in back near the stand-to-field entrances. Lilly grabbed my arm. “Let’s go down there!” I laughed. “But we don’t have tickets.” “But it’s right there!” We WOW-ed to each other every 30 seconds or so, fixed in our seats like we were in the front row at the movie theater, turning to describe some unbelievable sight just seen or emotion deeply felt, only to blurt out, “WOW…did you…I just…WOW.” Never had we experienced such a palpable sense of build to a show. Pre-show excitement is of course one of the best parts of any concert-going experience; the chatter of setlist debates, downing of drinks, racing to grab one more before show start, rows of heads nodding to the beat of whatever song plays as the techs complete instrument check. No, this was something above and far out beyond the normal behavior of fans waiting for a band’s walk-on. It looked like a preparation for departure. Most people were sitting, slowly sipping at beers, checking placement of keys, wallets, hugging, holding hands. Normal enough, but not when juxtaposed with everything packed into the “before.” In context, it now felt like we were in the low-pressure wake moments before natural disaster. It was like everyone was preparing to lose themselves completely to the happening that was moments away. The four members of Phish strolled onto the stage. The crowd went apeshit, a jarring reminder for Lilly and I that we were here for a purpose beyond shape shifting through the ether. A silence settled over the crowd, every set of lungs expanding as Trey adjusted his strap, tapped his pedalboard, Mike bum-bum-bum-bumped a few notes from his bass, Fish ta-ting-ting-ting before RaWrRwrrRArrr, Trey’s first strum, the long-awaited signal that it was finally time to go. The crowd leapt into full Harry Carey “Cubs Win!” celebration mode, and I’ve never seen or been part of something more joyous in my life. For the entirety of the first song, if not the first set, all Lilly or I could do was observe in awestruck wonder as the spectacle before us redefined our understanding of what constitutes a good or memorable or worthy live music experience, communicating by way of pointing, gesturing, and screaming like the fucking Beatles had taken the stage. The opening song provided a perfect entry to not only the band, but this night in particular because it sounded familiar, like a rock song you’ve heard before, one with a natural, building progression and catchy pop hook that brought you up and back down without completely untucking your shirt. The second song took care of that. On the heels of the first song came a raunchy, hard-charging guitar lead, converged on by a glissando and rapid-fire drum beat that cranked the stadium’s heart rate into a downhill sprint. There’s no doubt in my mind that the structural integrity of Wrigley was challenged over the next three to four minutes as the suddenly larger than life titans of rock whipped thousands into a lunatic dance frenzy. This was the shit overbearing parents warned their kids about “rock and roll,” but now, surrounded by those same parents, I knew why: they wanted it all for themselves. The second song offered a first glance of, and participation in, the Phish dance, a style and form all its own. Have you ever danced like no one is watching? At home in your room, door closed with a favorite guilty pleasure track playing on repeat? Now imagine doing that with 40,000 people, each feeding off of the high energy, free form dance of the person in front of them as if it’s some sort of competition, but it’s not, there’s no judgment committee, no yes-no, right-wrong, and so what you have is a huge group of receptive individuals free of the notion of preening, free of self-consciousness, being fed this hyper-contagious strain of cathartic dance created for you, specifically for you, by a rock n’ roll band of world class musicians who have mastered the art of live performance, who embody music’s deeply-rooted connection to humanity, joy, release and are as serious about the music as they aren’t about themselves. Before our feet reached the ground, an animatronic voice from above objected: “You have been selected as the first astronaut to explore the planet Mars. The countdown is progressing, and your spaceship is about to blast off on its voyage of discovery.” To Mars we went on a ship fueled by extraterrestrial funk and the collective energy of 40,000 space junkies. Based on experience, I’d come to believe that all concerts follow the same general arc: the band comes out with a lot of energy and gives you something hard and fast, like a new single, right out of the block. A few songs later, the band slows it down, providing a needed breather, release of tension. The build then begins again, there’s maybe one more dip, and the finale packs all the fuck to your face they can muster. We were only three songs in, but exactly none of those rules were being followed here. If anything, we started low and then went up. Phish only went up. There we were, shell shocked, nearly in tears, hands on top of our shaking heads, expressions of disbelief on our sweaty faces as the band punched home the last note of the finale. For the next few seconds, we stood in silent awe, slowly acclimating to the sensory overload of the last seventy-some minutes as patrons dispersed for set break. Wrapping her arms around my neck, Lilly smiled, leaned back, and slowly rocked back and forth. This is her, I realized. Beaming like a nuclear disco ball, bursting at the seams with childlike serenity, this is who Lilly is. She’s intelligent, ambitious, driven, and will accomplish everything she sets her mind to in her professional life, but her definition of success, her fulfillment is simple: to love and be loved and do things we love. When the epiphany settled, I realized how badly I needed to piss. Within the stadium tunnels, the mood was light, energetic, celebratory, but more focused than pre-show. Everyone needed to drain and replenish with bathrooms and provisions, food, beer, and water, simple enough tasks but on a deadline, which added a collective sense of urgency. We walked against the flow of traffic, heading out near the gate we’d entered for a quick breather. Instead of heading back toward home plate direction, we walked underneath the right of home plate upper deck section and wound up at a porta-potty encampment that felt like the Eden of toilet banks. Short lines, friendly, blissed-out faces abound, a Purell station, and a row of vendor carts nearby. After the head, I grabbed two beers and walked over to Lilly who was hammer thumbing her phone. “Here you go,” I said, handing her a beer. “We’re going on the infield!” she screamed, and before I had a chance to question it, she grabbed the beer and started power walking in the direction of right field. As it turns out, this portable oasis we’d stumbled upon was near the tunnel that led to the general admission field entry. The friend we meant to meet up with prior to the show had a GA pass, represented by a silver wristband applied at stadium entrance that permitted free passage through the pearly field access gates. Unbeknownst to us, it was well-known that security at Wrigley was notoriously lax when it came to checking wristband wearers. “We’re just going to wait until there’s a big rush of people,” Lilly explained. Peeking out from behind a vertical column twenty yards from the gate, we watched people presenting their wrists and walking through the 10-foot wide entry, flanked by four security guards in bright yellow ‘SECURITY’ shirts. “And then we’re going to wiggle our way into the middle of the group, hold our right hands in the air just like everyone else, and stare straight ahead until we’re in,” she said. I simply nodded, fully confident in the plan and the fateful trajectory of our night. As bodies started to clog the bottleneck, we made our move. With two guards on the left edge, one on the right, and one situated in the center of the stream of people, the squeeze created the momentary chaos necessary for sneaking in. I looked up as Lilly, perfectly timed, slipped right by the center guard who had just turned his head in my direction. As his scan swung back to the right, with one long stride, I slid through the gap between two people in front of me, past the center guard, and Jesus, take the wheel, I’m a free - Caught. Looking up, I could see only the tips of my fingers flailing above an Andre the Giant-sized hand where my wrist had been. “Nope,” the guard yelled over the bodies passing under his outstretched arm. I scanned the open area past the gates. She’d seen the whole thing. Hands cupped over her mouth, softly shaking her head “no,” Lilly watched as I was led out of the stream of passing bodies by the mighty hand of the law. “Where’s your wrist band?” he asked. “My wife has it, she just walked in.” In my mind, “wife” conveyed legitimacy, much more so than “girlfriend” as I was the aloof husband, not the high as shit boyfriend. The guard responded by laughing in an unfriendly way, in a very cop way, before sharply nodding in the opposite direction. “Get outta here.” Confused and embarrassed, I started walking up the ramp like a kicked dog. I pulled out my phone and turned to see if I could find Lilly again. Before I did, she called. “What happened?” she asked. I saw her now, pacing back and forth, hand on her forehand. “I got caught, baby,” I said, laughing. “Listen, stay on the field. I’ll just go back to our seats. It’s totally fine. They’re probably going to start again soon.” “No fuckin way,” she screamed. “I’m getting you in here!” And with that, she hung up. I headed back to the porta-park. The adrenaline injection tied to the security run-in had momentarily dampened my high. For the first time in hours, I felt capable of coherent speech. “How about that first set, huh?” I said to the guy next to me in the porta line. He shot me an incredulous “are you kidding me?” look. “Duuuude, Torture, Monster, Sand, with a Wedge thrown in, capped with a Free to Blaze close, all in the first? Fuckin heat, man. Hot hot heat. Heaaaaaaater right outta the block!” I nodded enthusiastically, without the slightest clue what any of that meant. Nevermind, I thought. I remain capable of nothing. Inside my blue plastic pod, I started laughing at the thought of trying to get back to our seats. While accepting the evening’s twist of fate and a second set spent wandering aimlessly, trying to figure out what the fuck that guy just said, though not in the least distressed by this notion, I felt my phone buzzing in my pocket. “Come back to the field entrance!” Lilly screamed. “Huh?” “Come back to where you just were!” “There’s no way I’m getting past that guy now. He’s got a line on me.” “We have a wristband for you!” Lilly had found our friends on the infield. Our friend, Jen, was going to meet me on my side of the gate with an extra wristband. I waited behind the same vertical column, carefully watching the gate and my assailant, who I knew was anticipating my return. I saw Jen approaching the gate field-side. Walking up the ramp, she handed me a wristband that I slipped on and a ticket that I put in my pocket, and we U-turned to head back to the gate. I kept my focus on the field. Passed the guard in the center of the walkway. Felt the same splash of the sweet open air of the infield on my face. Caught. Same place. Same vice-like grip. “You again?!” His confident, almost amused expression belied his incredulous tone. “I’ve got my wristband,” I said, pointing up at it like a seven-year old. “Let me see your ticket.” I pulled the ticket out of my pocket and handed it to him. Disappointed, he looked it over before pulling a hole puncher out of his back pocket and emphatically piercing my ticket. “All tickets need to be punched!” he yelled to no one in particular as he handed me back my ticket. I put the ticket back in my pocket, took a few steps forward and raised my hands over my head like Rocky. Fifty yards ahead, Lilly, standing with a group of our friends, shot her hands in the air and burst out laughing. “See!” she said, holding my face in her hands before spreading her arms wide and twirling in a circle. “We have to be down here.” She was right. Having already experienced something truly outstanding with set one, we could’ve left the stadium right then, scarfed an order of greasy Chinese food, and gone to bed knowing live music would never be the same again. Our definition of what is and isn’t a valuable live show, and why, had been blown to smithereens. But walking toward the stage on the infield, sensing the exotic energy of the pit, the thought of being “in it” like never before, what we’d just witnessed already felt behind us, fading in the background of the rearview mirror. By the time we found a clearing, stage right, twenty rows back, to post up for the second set, night had fallen, and the stage, framed by the stark black surroundings, pulsed in swirling red-yellow orbits. When the band reappeared, they walked on in the same unassuming manner of the first set, like four guys walking to the beer line. The roar of the crowd shook my bones and drowned out the wary, doubting voice in my head. Comfortably acclimated, Lilly appeared ready to be led into war as she yelled into the night with what I can only describe as a metal show intensity. The crowd quieted as the members assembled themselves on stage. I could barely hear the sounds being played over the speakers when the crowd went berserk. It first sounded like swirling wind or the hissing squeal of gas escaping a high-pressure chamber. Then, it turned darker, swampier before BAWMP-BAWMP. I turned to the guy on my right. “What is this?” I screamed into his ear. “DOWN WITH THE DISEASE,” he yelled back, as Trey fired three electric missiles directly into the receptive, joyous faces of an army of possessed souls. The second set picked up right where the first left off except now we were in the trenches, which unsurprisingly enhanced the everything-ness of the show and sounds by an IMAX magnitude. From twenty rows back, the wall of sound was like a Bob Marley-coined, doesn’t-hurt-when-it-hits tidal wave. For the first thirty seconds of the second set opener, I didn’t move; just stood paralyzed as my brain tried to figure out what the fuck was going on. A solo piano rhythm slowed things down at the start of the second song, but not for long. As the other instruments joined, the song achieved this big, theatrical, rock opera-y sound before cutting out completely at the first verse, leaving Trey and Mike to quietly sing the lyrics and the crowd to lean in a little closer, get a little tighter. At the last few words, a drum lead fired up the start of another ladder climb crescendo, restarting the frenzy the soft-spoken lyrics momentarily calmed. Then, at the end of the second verse, the lyrics trailed off, creating the quietest moment of the night before – OOOOH OOO OOOOOH OOO OHHHH OOOH! At the first “OOOOH!”, thousands of glow sticks were launched into the air from every corner of the stadium, then picked up and sent sailing again. Smiling like an idiot, I turned in a circle and watched glow stick spouts erupt sporadically across the stands and upper deck, and thought, “how have I spent so much time missing this?” I thought about all the shows I’d been to, and how, in retrospect, regardless of venue size, nothing compared to this. Memories from my favorite shows now seemed in need of revision. The guy on my right turned to me and screamed, “TWIST!”, as the next song started. I appreciated that he knew I must be new to the band and continued to keep me informed. He proceeded to dance like “Twist” was his favorite song. His style was a form of barely controlled chaos; his moves looked like a gang of hornets had been released in his pants and shirt and his only hope was to dance them out. Of course, when I looked at his face, it looked like maybe these particular hornets were armed with ticklers instead of stingers. For us, the second set was a victory lap. Lilly wiggled and writhed like a happily possessed flower child and I slowly regained the ability to speak in words. My friend continued to educate, shouting the titles as new songs started. “Twenty Years Later!” “Waste!” “Alsoshrrackzarusta!” “What?” I yelled back. I couldn’t tell if whatever he’d just shouted was gibberish because he was so excited that the words ran together or because it wasn’t English. But as I listened on, something totally unexpected happened. “Holy shit, I think I know this one!” I screamed at Lilly. It was a cover of the entrance song of none other than the greatest professional wrestler of all time, Ric Flair; also the opening theme song from Stanley Kubrick’s 2001. Of course, what Phish did with the song was funky and absurd, glorious and downright dirty, long periods of jazzy deep-space improv separated by massive peaks, each peak starting with a bat-signal-like sky shot from Trey’s guitar before turning into full, stadium-rattling orchestral finales. With each one, Lilly and I flung our arms in the air like the aliens in Toy Story hoping to be picked up and taken away by the claw. In riding out the lofty, rollercoaster high of the Ric Flair theme song cranked on moon-rock cocaine, it took me a minute to realize Lilly was no longer bouncing in and out of my immediate periphery. She was standing still, holding the inside of her right hip. “Hey, you OK?” “Yeah, I’m fine. Just my tummy.” I narrowed my eyes. She leaned in and put her arm around me. “Really, I’m OK.” I put my hand around her and we swayed back and forth in time with the next song, a rhythmic, light, much needed break from the previous onslaught. Her hand dropped from my side, again grabbing the right side of her stomach. “Lil, what’s the matter?” She inhaled deeply through her nose, bending over slightly between each breath. She looked up. “I need some air.” She nodded in the direction of the boundary fencing to our right. I grabbed her hand and put my right arm out in front to direct our passage, shouting “excuse me” to part the bodies ahead. When I reached the fence, I turned and pulled her toward me. She stumbled, causing her to fall into the fence. I grabbed her by the waist as she pulled herself up, but as soon as she stood, her legs buckled and she fell forward, knocking both of us to the ground. The crowd opened in a circle around us. She slipped off onto the ground, face up, eyes closed. I knelt over her, both hands on her face, trying to wake her. “LILLY! LILLY! HELP! HELP!” Her body was rigid, jaw clenched. I searched the surrounding faces, screaming, pleading for someone to call for security. She opened her eyes wide, blinking several times. “Lilly! Are you OK? Can you stand?” She nodded. I helped her to a seated position. “Did you just have a seizure?” I asked, wiping the sweat from her forehead. “I don’t know.” “Can you stand?” “Not yet.” Someone shouted “hey!” from above. A guy crouched down, smiling, bottle of water in hand. “Everyone OK?” “Yeah, I think so,” Lilly responded. He nodded toward the water. “Here, see,” he pointed toward the cap’s intact seal. “Unopened.” His manner was deliberate; his motions smooth, calming. “Thank you,” we both said. Lilly grabbed the water, twisted the cap off and took a drink. It was quiet. Our backs to the stage, the band sounded faint, far away. We looked up at the half circle of concerned faces focused on us. At least a dozen people extended bottles of water, each showing us the sealed cap. “Wanna try to stand up?” the guy asked. Lilly nodded. We helped her to her feet. “There we go. All good?” he asked. “Yes, thank you,” Lilly said. “I’m so sorry about - Before she could finish, he grabbed her left hand, my right hand and hoisted our arms in the air. “WE’RE ALL GOOD!” he screamed to the crowd. Everyone around us, as far back as we could see, threw their hands up in celebration, screaming, patting us on the back, sending us thumbs up and holding until the signal was reciprocated. In that moment, I believe their energy could’ve raised the dead. We had disrupted their show with what could’ve been easily perceived as an overdose or at the very least, inexperienced users overdoing it, and instead of dismissing or jeering, they responded with an outpouring of love and community that I still can’t get over to this day. That was it. I got it. Phish had “something” no other band had and no other show offered, but the “something” wasn’t one thing; it was everything. As much as it was the band, the music, the production, it was just as much the other side. I’d never been to a show that involved the fans taking such an active participatory role, an almost equal role, in contributing to a show’s creation. It’s of course law that musicians and bands thank their fans throughout a show. With Phish, the act wasn’t even necessary. This was a symbiotic partnership hell-bent on reaching for something higher than just a good showing. Both sides had a job, and the only way to reach peak concert performance was if both sides executed to the best of their abilities. The only way everyone left the stadium satisfied that night was if performance and gratitude levels matched start to finish. A gathering of friends, not one of them willing to let down the other. Lilly and I were grabbed by security guards and assisted out of the fray. Once we reached an open area, the guard holding my arm stopped and directed me to face him. “What happened?” he asked sternly. We were eye level and uncomfortably close. I assumed he had already made his own conclusions as to what happened, and this wouldn’t be a friendly conversation. Until then, I hadn’t realized how hard my hands were trembling. I shook them a few times, took a breath, and started stammering through my story. “And then once she got to the fence, her legs gave out, she fell on top of me, and I think she had a seizure.” “What did you give her?” “Nothing, promise. We haven’t taken anything.” I could see Lilly talking to two guards. “Hey, tell me what you gave her.” “I didn’t give her anything.” “Sit down,” he instructed, then walked over to Lilly and his two colleagues. Their positions semi-obstructed my view of Lilly, so I couldn’t get a read on the tone of their conversation and the likelihood of my arrest. Fortunately, the three guards walked away a few seconds later, leaving Lilly, diminished but smiling through it all. She walked over and sat down next to me. “That’s happened to me before,” she said. “What? The seizure?” “No, I’ve fainted before. I could feel it coming.” We held each other, silent except for the intermittent, “I love you” and “are you OK?” “Let’s get out of here,” I said, getting to my feet. I bent down and placed my hands under hers, and gently pulled her up. We walked slowly, matching our steps. It was only after we walked through the GA field entrance area that I heard the opening piano of “Loving Cup,” one of Lilly’s favorite songs from her favorite band, being played by her new favorite band. On a night that felt bottomless until we crashed, only to be saved and raised by a swarm of pie-eyed angels, Trey and the gang gave us a fitting send-off, a song for the wary and beat, but not beaten souls. When we got home, Lilly walked into the first-floor bathroom. I heard water running from the faucet as I ran downstairs to change clothes. When I walked in, she was lying naked in the tub with arms folded over her stomach, legs bent at the knee and feet on the floor. She’d been crying. I knelt down, resting my knees on the tile. “Feeling better?” “I think something’s wrong with me,” she said. “Why do you think that? Are you in pain?” She shook her head. “That was fucking scary, but we're OK now,” I said. “I don’t think I can pee.” “What?” “I need you to tell me if I’m peeing,” she said. “It feels like I am, but I don’t know if I am.” I shifted to my left and tilted my head down close to the tub’s edge where I could see under her left knee. A yellow stream appeared. “You’re peeing!” I screamed. “We’re OK!” “Does it look right?” “Yes, it looks like right as pee could be.” “I don’t feel right. I’ve fainted before, but this is different. Something’s wrong with my head.” “Listen, we took big doses on empty stomachs, barely drank any water and danced off like ten thousand calories in the process. I don’t think it’s that crazy that you fainted.” “You said I had a seizure.” “It looked like a seizure, but maybe it wasn’t.” “What if I have a brain tumor? I think we should go to the hospital.” “You don’t have a brain tumor.” “But I had a seizure. I’ve never had a seizure.” “I mean, I think it was a seizure.” “What do you mean, you think?!” “I don’t know! It looked like a seizure, but I don’t know if it was a seizure!” We called one of our friends, a doctor, and explained what happened. “I mean, if you had a seizure, you should probably go to the hospital.” So, it was settled. Before leaving, I ran our puppy out. I took a longer route around the neighborhood. I needed it. The night had been one, long extended episode of blunt force wonderful trauma. Except, I was still completely shell-shocked, I couldn’t really even begin to process the night, so I just kind of stumbled around giggling while my pup sniffed around. I opened our apartment door to find Lilly sitting on the couch in her robe, eyes still heavy with tears, on the phone with someone. She pulled the phone from her ear and hit the speaker button. “Wait, he just walked in. Evan, tell my Dad what happened.” Lilly’s Dad, who I hadn’t met in person, who went to Yale when he was 15, where along with acing his coursework, swam on the school’s swim team and nearly qualified as an alternative on the ’64 Olympic team. Lilly’s Dad, the certified genius and human calculator, who chose Stanford for medical school before becoming a heart surgeon and later, an author. Lilly wanted me…to explain…to him…what happened. Blitzkrieg alarm bells rang in my head, my brain firing signals to my legs to jump through the window, but it was too late. I could only watch in wide-eyed horror as Lilly extended the phone toward me, the phone carrying the voice of the man whose daughter I was supposed to support and protect and not, specifically not, allow drug-induced seizures to happen to. “Uhh, hi, hello, Joe –“ “Yeah, hi, Evan,” he said, politely, if not unimpressed. “Hi, so we were at the concert, and Lilly’s stomach hurt, and we tried to exit the crowd, but then she passed out, and we fell down, and her jaw locked up, and her body turned stiff, and so it looked like a seizure, and that’s what happened.” “How long was she out for?” “Not long. Maybe five seconds.” “Lilly,” he said flatly. “Yeah?” Lilly responded. “Did you break out in sweat right away?” “Yeah.” “And you felt fine right after, right?” “Yeah.” “You had a vasovagal response.” “Oh.” I said nothing, praying he wouldn’t test my understanding of vasovagal responses. “Yeah. You’ve had those before.” “Yeah, I know,” Lilly said, receding into the couch. “Lilly, what are you doing taking mushrooms? Your sister’s the druggie, you’re not the druggie! You have a puppy.” There were a million things I wanted to say, mostly pleas to forget this interaction, to resist the temptation to write me off forever, to forgive me for strangling his daughter once we got off the phone. Lilly ended the call quickly, thanking him for calming her down as I did the same in the background. We stared at each other in silence. She apologized. I was too exhausted to be upset, thinking an aneurysm in my sleep would be easier. We went downstairs, climbed in bed, and drifted off to sleep. When I woke up the next morning, Lilly was already up and on her phone. “Good morning.” “Hey,” she said, smiling sheepishly. I yawned and stretched before sitting up on my elbow. “What are you doin?” I nodded toward her phone. “Jen ever ask what happened to us last night? “I’m looking for tickets for tonight.” “You're kidding.” She turned her screen so I could see. “Look, floors!”
currently watching "Psychiatrist Explains How Insecure People Use the Internet" i think that sums it up
I am hanging in there. Work sucks but it is what it is
i am very good i made some fried rice and am playing the show man how are you
The world sucks but I'm ok, i guess.
I'm good! I walked to the grocery store and got some simple things to get through the week, watched some Ratched, and am gonna do some dishes soon.
i have so much homework and i am procrastinating like fuk help me
I'm okay, a little stressed but trying to maintain calm. I hope you are hanging in there and doing well today too.
Doing okay. Just been watching football today. Went to the gym and did a good shoulder workout so that was nice. Made a lasagna for dinner and it was pretty decent. Wishing there was baseball today though.
having an on and off depressive episode, but got to watch football with my parents this morning so that was good.
Pretty good! I got a lot of chores and tasks done today, and made some good meals
Everyone gets +1 ball for telling me how they are. What is your favorite month of the year, and why? bnavis
March. Birthday, spring break, st pattys (not for alc bc of shamrock shakes).
March is a good pick, I do love me some Shamrock shakes. Pjd7510
December. I love the Christmas season. I enjoy the lights and the Rankin Bass movies. I also get to see my family more during the Holidays and we have so many traditions we do
December is a popular pick, and understandably so. jiggy
please don't judge me for the covid-19 rule breaking behavior but the weekend in saskatoon all our friends threw a goodbye party and afterwards we went to one of their places and we all did ecstasy and played beer pong and then chilled in the backyard smoking and talking about life until 7 am and it was just a really really great time of reminiscing and enjoying each others company
Not really an answer to my question, but glad you had a good time! wharble
November bc it's the month in which I was born
Thanksgiving is the 2nd best holiday. dylan
October. Best weather, great scenery in Virginia with leaves changing, postseason baseball/regular-season football at the same time, and typically fun vibes from Halloween.
Halloween + postseason baseball is hard to beat! Bgro
November, I love Thanksgiving and seeing family and the early excitement for Christmas around the corner.
April, because that's the peak of spring blooms.
Solid reasoning. Bad pick for anyone with allergies! polelover44
July, because it contains both my birthday and the trade deadline
february its my birthday! otherwise its july because nice weather, nhl free agency, and baseball season underway
Honestly, maybe this month (this year aside). Living in the Northeast, I really enjoy the fall weather. Springtime around April/May, when it starts getting warmer out, is also up there.
December. I love Christmas and Christmas time. I love the lights and Christmas music (especially Michael Buble's Christmas album). My birthday is also in December. I also love cold weather and rain and snow, which in San Diego there isn't much of that throughout the year so I really enjoy throwing on jeans and a hoodie and feeling the cold air.
December for the weather and for Christmas and time with family and holiday food. Life always seems more joyous for all of December
June. It's just that "beginning of summer" feeling that gets me every time.
Let’s go, Titans! Shoutout to Khris Davis and Matt Chapman. dylan
601–800: Kobe University
UC Berkeley, #7
Honestly like the 4th best UC desmond
"75: Charité - Universitätsmedizin Berlin"
Leave it to des to pick a German university polelover44
12 Johns Hopkins University
Smh they don’t even take the president here when he’s sick jori
U of T
Cornell University, #19
Boring and WASPy *Ruairi *
601-800 San Diego State University
66 University of Amsterdam
I love Amsterdam, would be down to go back to school there. CoryGM
M'Hamed Bougara University of Boumerdès (1001+)
M’Hamed *tips fedora* +3: dylan. +2: Rose. +1: wharble. -2: pkd, iama. Which slack member's proverbial star has shone the brightest the last couple weeks? bnavis
Ruairi is always a shinning star of slack but has truly boosted himself by joining more slack activities
probably ruairi i feel like he's come out of his shell more and more in other channels recently and that makes me very happy i fear often that our constant complimenting of him comes across as kissing his ass because he gives us shit but i really fucking think he's an amazing dude and really would love to be his friend
jori? yeah sure let's go with jori
I promise to you I'm not ass-kissing but :coryyeshahahayes: and :corywo: gives that title to you for now.
A solid gut pick. desmond
Otis because he returned
Did he, though? polelover44
fuck if i know
Try a little harder, jori. iama
that man George Thunder Bolt
Ctp’s equivalent to a slack star is a black hole Ruairi
Wharble because the sim is starting up and that's when we all remember we owe him our lives
Yes this is true. +1 ball to wharble for being the only reason the sim still happens CoryGM
rose has been killin it tbh
Everyone who got named gets +1 ball per mention. +4: Ruairi. +2: Rose, wharble. +1: jori, cory, dylan. -2: iama for picking ctp, who posts roughly three messages in slack per year. I'm giving myself 10 balls. What is your reaction to that? bnavis
i love the mint color you chose for this
Thanks, graphic design is my passion. Pjd7510
Why 10 when you can do 20
I'm not greedy jiggy
give yourself as many balls as liam hendriks threw in his 46 pitch performance
Liam Hendriks famously threw forty-nine pitches in his appearance in Game 2 of the AL Wild Card series, featuring the Chicago White Sox vs. the Oakland Athletics. wharble
You deserve it
Thanks, i really do dylan
Fair enough Bgro
If that's what you really think is right, I guess.
Just a total lack of stance polelover44
You deserve it
Thanks, I really do jori
10 balls like transportation? or testicles? not enough information provided.
Seems okay, I guess
You can have all of the balls I get from this survey
Ruairi McCann - the true paragon of humanity. rose
can i give you one of my balls
No, but thanks for asking. CoryGM
Seems okay, I guess
+3: ruairi. +2: dylan. +1: iama. -1: desmond. -2: jori. -3: jiggy. What is your favorite joke from a TV show? Feel free to link a video, or just type it here. bnavis
You gotta watch out for those baby-dude-bangin dudes wharble
"Identity theft is not a joke, Jim" not bc it's funny on its own but bc Ruairi used it as inspiration for the title of a jim edmonds moment in the show
A solid bit, if not a bit basic dylan
"Fosters Home for Imaginary Friends was a gold mine of funny moments that I can't find anymore, but they stick enough with me. The first one that jumped into my head was something like this: ""I was born on the streets"" ""I thought you were born in Mac's apartment?"" ""... which overlooks the street"""
I chuckled Bgro
“If I had a gun with two bullets and I was in a room with Hitler, Bin Laden, and Toby, I would shoot Toby twice.” (a classic but still a great piece of writing)
Never found this one funny, tbh. Glad you enjoy it though! desmond
“He swore by that Glisten. I can still hear him, now… ‘Who left the cap off my f****** Glisten?!’” CoryGM
"From Community: “The team's name is 'The Human Beings'?”— Shirley “Yep, my idea! It was originally the Greendale Grizzlies but I thought that um, well [under breath] a lot of these students have been called animals their whole lives.”— Dean Pelton"
This joke never fails to make me bust up laughing, and it came so early in the show’s run. 3: bnavis. 2: pole. 1: rose. -2: pjd for making me watch a 10 minute wrestling video. What is your favorite architectural style, and why? bnavis
whatever the fuck frank lloyd wright was doing, shit's cool as fuck. Plus I read the book Catching Vermeer and it's all about his houses and i really like that shit
I believe he mostly worked in the “Modern Prairie” style. And yes, his buildings are great - I remember touring Taliesin with my mom a few years back. Wrote a song about it, I think. Pjd7510
I honestly dont know much about Architecture so i will go with the lego style because legos are badass
Legos are cool; decidedly not an architectural style. jiggy
"straight up architectural: postmodern brutalism interior: mid century modern"
"the pretty one with all the shapes but also, spanish colonial (I'm from LA what can I say)"
Big fan of Spanish Colonial dylan
Brutalism not because I actually enjoy it aesthetically but it is a really fascinating deep dive into how the world utilized it. It's very dystopian but extremely interesting to me.
Brutalism is neat. Bgro
I'm a sucker for Mid-Century Modern
Bgro belongs in 1950’s Hollywood desmond
Depends on what we're talking about. I'm a big fan of Italiante, Art Deco, and Moorish to name a few. I like simple yet pungent ornamentation. Symmetry, geometrical designs, and long lines.
This Man knows what he likes! polelover44
Gothic. Who doesn't love big stained glass windows and flying buttresses?
Show me the person that hates flying buttresses and I will show you an absolute moron. jori
Postmodern architecture because honestly I am basic. I love a large skyscraper with glass windows on every floor so you can see the city.
Hey, ain’t nothing wrong with LARGE SKYSCRAPERS rose
Greek Cycladic architecture makes living on an island seem like the most beautiful and perfect way to live life
Oh I absolutely love that shit. You’re right, too - there is nothing more idyllic than pictures of Cycladic Greece. CoryGM
A tie between Art Deco (thanks, Bioshock) and Craftsman
3: rose. 2: desmond. 1: wharble. -1: pjd. -3: jori. *Do not select Yes * Unfortunately, every single one of you (including me) selected the wrong “Yes”. -1 balls for everyone. What is your least-favorite Beatles song? bnavis
Yellow Submarine. Not only is it mid, it's the first song everyone brings up to make the argument that the beatles suck. like no shit it's a bad song, beatles still have some bangers. no one ever listens to helter skelter and is like "fuck this band"
Not necessarily my least favorite track, but this absolutely true. Pjd7510
The Continuing Story Of Bungalo Bill, the only song on the white album i dislike A popular answer, and with good reason.
imagine (has always sucked and i hate it even more since march)
"Imagine" is a song by English rock musician John Lennon from his 1971 album of the same name. The best-selling single of his solo career, its lyrics encourage listeners to imagine a world at peace without the barriers of borders or the divisions of religion and nationality and to consider the possibility that the whole of humanity would live unattached to material possessions. Shortly before his death, Lennon said that much of the song's lyric and content came from his wife Yoko Ono, and in 2017 she received co-writing credit. Lennon and Ono co-produced the song with Phil Spector. Recording began at Lennon's home studio at Tittenhurst Park, England, in May 1971, with final overdubs taking place at the Record Plant, in New York City, during July. In October, Lennon released "Imagine" as a single in the United States, where it peaked at number th wharble
Revolution 9 is the most useless of all Beatles song, followed by The Inner Light
Revolution 9 sucks so goddamn much dylan
The Continuing Story of Bungalow Bill
Free As a Bird (their "new" song that came out in like 1995)
Oh yeah this song sucks lmao desmond
I Need You - I hate that guitar sound
I like the song, and the guitar effect, but I agree it sounds like shit here. polelover44
Only a Northern Song
True, this is just them getting way too cute. jori
I just wanted you to know that if I could've selected neither i would've selected neither on the previous question. Also most of their songs are bad do not @ me.
Congrats on not answering the question, twice! iama
Here Comes the Sun
Here Comes the Sun is actually a great song. Ruairi
I Want to Hold Your Hand
Yeah this song is too corny for its own good. Good melody, though. rose
Birthday is just not good
Lots of White Album on this list - I get it, though. That’s an understandably polarizing album. CoryGM
Doctor Robert, mostly because it feels so extremely out of place coming immediately after "For No One"
3: bnavis. 2: wharble. 1: pjd, dylan. -2: jiggy. -3: jori, iama. Tell me where to send $15. It can be your favorite charity, a bail fund, your personal venmo, etc. bnavis
Keep ur 15 bucks and invest it in stonks then u will be very rich
Wall Street scum iama
if you really want to (but you are NOT obligated to do so and should not feel obligated), www.mndassociation.org
Buy yourself something good to eat. Treat yourself king, you deserve it
I have enough to eat, but thanks champ! rose
bnavis what’s your venmo CoryGM
First person to read this and say the keyword "dongle" to me gets an extra $15 to their response choice (if it was an actual person/charity).
Anyone who actually responded with a real suggestion gets +1 balls. Anyone who responded with a joke: I will not subtract balls, but you should know that you had an opportunity to put a small bit of good into the world, and you squandered it. Final Ball Totals: dylan 11 rose 10 CoryGM 9 Ruairi 8 wharble 7 bnavis 6 desmond 4 Bgro 1 polelover44 1 iama -2 Pjd7510 -2 jiggy -4 jori -8
2020.10.05 14:11 VZmatthewsProbably a popular opinion but: Ten Hours is unironically a super good pop-rock album (also a review of each track!)
I just wanna express my thoughts on how great this album is- to think that one of my favorite albums is one recorded in less than 24 hours (and not even a fully serious one) is bonkers. While I'm typing this, I'm just gonna go ahead and write my quick thoughts of each track, due to how much I like this record:
Woo!- Funny and energetic start to the album, and I like how it transitions perfectly into Can't Be Stopped. (both in the key of G)
Can't Be Stopped- Probably the best song on the album, even their ENTIRE discography in my opinion. The song just flows super well! A catchy chorus, Andrew's guitar solo, even the acapella clapping section- the song is just pretty much perfect.
Two Friends- I really like the light and easy-going vibe here, as one comment on Youtube pointed out, like "Yellow Submarine" or "Octopus Garden" by the Beatles. And as another comment pointed out, it NEEDED a kazoo! The footage of Andrew and Rob coming up with this song is so hillarious too, with the pan to the engineer's (also Rob!) bewildered look. xD
Don't Go To My House- not much for me to say to be honest, except the funny premise and Rob's vocal performance.
Don't Go- A sparse acoustic ballad that probably doesn't deserve to sound as beautiful as it is- even if the lyrics don't neccessarily make sense! Again, for how quick and kinda goofy the album is, a song like this is so unexpected. I do like the re-recorded theorbo version with Brandon Acker more, though.
Rollerbladin- I absolutely love the guitar riff in this song! Andrew's vocals in the chorus are amazing too. I do feel like the song loses a bit of momentum after the second chorus, where it starts to feel a bit underwritten. Which is obviously to be expected, due to the 10 hour time limit. Its of course, still super catchy, and one of my favorites on the album as well.
Things To Do- Another super cool guitar riff, in the verses. Its probably the most energetic song on the album, with the anthemic-sounding chorus and the improvised back-and-forth between Andrew and Rob. I should totally get pizza, man...
Always- Now this is I would say the second best song in the album, second to Can't Be Stopped. Love the tapped "math rock" guitars in the verses, and even the super sparse chorus, with slow guitar and Andrew's vocals. I also love the incredible lyrical payoff in the end, with the "you were always.... THERE" into a beautiful euphoric outro. Great!
Spoilers For Playdead's Inside- I dig how oddly sad the song sounds, definitely helped by the references of the song's titular video game. Rob's improvised vocals are actually quite impressive, as they were recording them during the last stretch of the 10 hour session.
Possible Band Names- I would have actually liked if they kept this as an instrumental outro, but Andrew's echoe-y improvised vocals and many others is surprisingly funny. Still, it does its job as a dreamy chilled-out outro really well. (albeit of course, with the occasional Foo Foo Dolls and Goo Fighters whisper. xD)
All-in-all, a really entertaining and fun album, with suprising musical depth. Really looking forward to album from them next year!
2020.10.05 08:54 -Semaj-Paul Stanley is insecure and mad at women rejecting him
I've been going through the band's discography over the past month after having listened to them obsessively in high school about a decade ago. They were my dad's favorite band and became mine through osmosis; I recognize Paul and Gene's voices on par with my own parents (Shania Twain also falls into this category). It's been great fun leaning their catalog on guitar and a lot of their stuff genuinely rocks when played a little faster on a modern amp, but... goddamn there's just one major elephant in the room that prevents this stuff from aging as gracefully as it should. To some extent it's funny, but other times it's just... sad. Paul Stanley is very insecure and angry at women rejecting him, to an almost comical degree. This central theme dominates his lyrics, as well as his 2014 autobiography. I don't like using the term "incel" because I personally think it's a made up term created by the media as a way to continue picking on nerds long after high school is over, but KISS comes very close to being the literal definition of "incel rock" and Paul's songs definitely fuel this over a period of almost 25 years. Pre-Destroyer, Paul's songs are very Beatles-esque. Strutter, Got to Choose, and Love Her All I Can encompass the original "Heavy Metal Beatles" vibe the band set out to ascertain. These are goofy, bouncing songs with the level of wit that the Beatles would inject into their own material. Destroyer represents a complete 180. There is no longer any wit, just anger. Do You Love Me? is a very bizarre song in which Paul is basically paranoid that his girlfriend is using him. I Want You is kind of stalkerish, and I Stole Your Love is vindictive. Tonight You Belong to Me, arguably Paul Stanley's greatest song, is depressing and is aimed at one of his ex-girlfriends (she is mentioned in his bio). Things continue on into Dynasty and Unmasked; Magic Touch, Sure Know Something, and track one on Unmasked, Is That You, are all slights at women - some of them Paul has named, others are anonymous. We aren't very far into the band's discography but the number of vindictive/breakup songs outnumbers the "fuck me, suck me songs" that the band is actually known for, and they're all written by the same guy who spends about 30% of his biography listing the various women he's upset at. Things go off the rails in the 80's. Creatures receives I Still Love You, whereas the title track of LIU, as well as A Million to One, are both aimed at Donna Dixon (biography). The latter being the sappy ballad, whereas the former is just the 1983 version of "I Stole Your Love", the ultimate "fuck you, I don't need you" letter. Paul is not done using I Stole... as a template. Paul runs out of incel rage for Animalize, but returns in '86 with "Tears are Falling." He re-visits the same theme as Tonight You Belong to Me. CCN regurgitates the "I don't need no woman holding me down" mentality with Reason to Live, whereas HITS is just a mess and features so many outside writers that it's not really a Kiss album at that point so we can skip over this, although it's interesting that right around the time he starts looking for a wife (according to his bio), we get "Forever" - a wedding song. When the band is finally free to do their own thing and create Destroyer II (what would be known to the world as "Revenge"), incel Paul returns with I Just Wanna and Heart of Chrome. This continues into Carnival of Souls with In the Mirror. It is entirely possible Bruce Fairbairn noticed Paul's tendency to dip into incel territory, and steered the band away from that during the creation of Psycho Circus, because goddamnit Paul you're almost 50 years old. We will obviously never be privy to internal studio conversations, but if there's a reason PC feels weird and un-KISS like, it's because not a single song features Paul being angry at women when this had been pretty standard since Destroyer some 25 years earlier. Bouns Round! Live to Win, the 2006 solo album, is a chronological re-telling of Paul's divorce. With Thayer and Singer as co-pilots, the first song on Sonic Boom is... Paul ranting about women. Modern Day Delilah is a thematic rehash of I Stole Your Love. In that aspect it's quintessential Kiss, but it's also a 55 year old man ranting about women again. So many of these aforementioned songs are fantastic snapshots of the band's overall catalog, but given they're all written by the same guy and given the stuff mentioned in detail his autobiography, they paint a picture of an extremely unhappy, lonely man at the center of the world's biggest rock band. Love Gun is typically held up as the prime example of the themes KISS covers, but in reality it's actually an outlier. The majority of Kiss's discography, at least the tracks penned by Stanley, are basically incel rock and it's very, very weird. But also kind of hilarious, and catchy, so who really gives a shit at the end of the day?
2020.10.05 00:39 rodrigowb4eyNeed help with the lyrics of a Liverpool Express song
Hello from Brazil =) I've been listening non-stop to a Liverpool Express song called "John, George, Ringo & Paul", which is, as the name gives away, a tribute to the beatles, but i'm finding it a bit difficult to get some parts of the lyrics. Here's what i got so far: Hey John, George, Ringo and Paul Here’s a big thank you note From us all Thanks for some great memories Hey Jude and Walrus and Let it be Hey John, George, Ringo and Paul Strawberry fields, we all can recall Michelle, love, love me do Lucy in the sky, you know she loves you You changed the world, you changed the fashions For the benefit, unless you count on Penny Lane (now, this is one of the parts i'm not sure if i got correctly) And Sgt. Pepper made the headlines But you’ll never come together again… Hey John, George, Ringo and Paul Lady Madonna is still on my wall We loved old Bungalow Bill Maxwell’s silver hammer and the fool on the hill You changed the world, you changed the music And you loved to turn us... (frankly i've listened to this part like 30 times already and i still don't know lol) You missed the chances that you wouldn’t take And you’ll never come together again… Hey John, George, Ringo and Paul Here’s a big thank you note From us all Thanks for some great memories Hey Jude and Walrus and Let it be Let it be Let it be Na na na nanana…. here's the youtube link: https://www.youtube.com/watch?v=TwPJX6o4rhI i've searched for the lyrics all over google but it seems no one has ever bothered to write them, so i was hoping that someone around here could give me a hand, if possible. i'd appreciate it very much!
2020.10.03 05:31 goddredCan we talk about A Hard Day's Night for a second?
I love everything this album brings to the table, and for just the third the Beatles had made, it was remarkable how much progression was already in the mix. An excellent first having all original material, that wouldn't happen again (unless you don't count *Act Naturally & Dizzy Miss Lizzy on Help!) until Rubber Soul. Even though the songs were mostly written by Lennon, the part McCartney contributes is unforgettable and level in quality with what Lennon created. The improved lyricism the band is appreciated for doesn't seem to get much acknowledgement for anything before Rubber Soul. Rubber Soul broke the mold, but it seems fair to say A Hard Day's Night was when the maturation was noticeably established. The energy and flow overall is breathtaking and something I think you can only really appreciate after you've listened to the album a few times and you're not caught up basking in the beauty of the music. It would be a leap to say A Hard Day's Night is a concept album, but I think it has the form and uniformity of one all the same. It's like each song perfectly leads into the next without a hitch. I don't pay attention to Ringo's drumming specifically or appreciate them for what they are as much as I should, but upon listening to this album, I began hearing what he was doing more intently. The variety he brings is not only well-executed, it is subtle and succinct. Going back to the lyrics and feel... I adore George and Paul's vocals, but it seemed like Lennon lit himself on fire for many if not all of his performances. I believed every syllable he sang, and that was something I'd convinced myself I wouldn't be able to do considering how he either resented or dismissed most of the songs he wrote with the group after the breakup. There's never a moment where I feel bored listening to the group's early discography, but I can recall this being the first time I was engaged fully and could witness just all of what the band was capable of doing. I love that it retains the feel of rock that the band started with but was also the beginnings of the wonderful madness that would unfold just a few years later. If there's anything I missed about the album that makes it great or anything in particular you liked about it, I'd love to hear it! I just got done listening to it and felt overjoyed enough to make a post covering my thoughts. Oh, and I also love how the title came from Ringo... and it came from Ringo inadvertently, in the form of a malapropism, how great is it that a misquote becomes the accidental inspiration for the name of the album? A great name too at that. *EDIT: I wasn't aware that 'Act Naturally' on Help! was a cover. thanks to u/jotyma5
All you need is love - The Beatles (LYRICS/LETRA ...
The Beatles - All You Need is Love w/ Lyrics - YouTube
The Beatles- All You Need Is Love (LYRICS) - YouTube
Love me Do-The Beatles ' 62 - YouTube
Love me do - The Bealtes - lyrics - YouTube
The Beatles-All you need is love-HD - YouTube
Love Me Do (Remastered 2009) - YouTube
Love Is All You Need - Beatles - YouTube
THE INSTRUMENTS IN THIS SONG ARE FROM THE MOST HONORABLE RIOHEY KANAYAMA PLEASE SUSCRIBE TO HIM: https://www.youtube.com/user/goldmine196909 If you liked thi... A tribute to this wonderful band... Peace & Love Here are the lyrics to all you need is love by the beatles. The Beatles Song: Love, love me do Album: Please, please me. Love, love me do You know I love you I'll always be true So, please Love me do Oh, love me do Lo... Las mejores 3.574.221 canciones de la Historia. Provided to YouTube by Universal Music Group Love Me Do (Remastered 2009) · The Beatles Please Please Me ℗ 2009 Calderstone Productions Limited (a division o... SI TE GUSTÓ,SUSCRIBETE XD