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keerysfreckles · 5 months

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OKAY BUUT IF ITS NOT TO MUCH CAN U DO A LUKE CASTELLAN X APOLLO READER AND LIKE IF U EVER HEARD pure as the driven snow (hunger games song) I CAN TOTALLY SEE APOLLO READER SINGING THIS TO HIM INFRONT OF PEOPLE

(Sorry for typing in caps I got excited 😰 but it’s okay if u don’t this request 🫶🫶🫶)

mamma mia — luke castellan

pairing: luke castellan x apollo fem!reader

warnings: none!

a/n: i did twist this request only with the song, i used lay all your love on me by abba :) i hope you still like it!

masterlist !

꒰ა ☆ ໒꒱

saturday's were y/n's favorite day. not only because it was a free day throughout the whole camp, but also because of the apollo singalong at the bonfire.

every weekend a camper or two from apollo's cabin would take turns performing to start off the night. this weekend it was y/n's turn.

herself, and her two closest friends from the cabin were all getting ready. abigail, a tall brunette, was wearing a blue and purple 70s inspired jumpsuit. they were flared at the bottom of the legs and elbows of the sleeves. she finished the look with her hair straightened with a matching purple scarf acting as a headband.

stephanie, a shorter blonde, was wearing a green and silver two piece 70s set. it was a halter styled top, paired with bell bottom pants. she wore the same white boots abigail had, and had her platinum blonde hair in a ponytail, with her bangs covering her forehead.

stephanie and abigail were currently setting up their mini stage for their performance. the other campers were starting to file in the area, filling the empty seats of the amphitheatre fairly quickly. stephanie noticed hermes' cabin was front and center. both girls knew y/n would love the fact her boyfriend was right in front of the stage.

abigail and stephanie finished setting the stage, and went to get y/n from the cabin as chiron and mr. d started to announce tonight's events.

"will you hurry up? lover boy is out there waiting," stephanie walks into the cabin, before looking over her outfit once more in the mirror.

"what steph means to say, is the stage is set, and camp is waiting for you," abigail stands behind y/n at the shared vanity, and places her hands on her shoulders.

y/n continues fiddling with her hair, which was teased slightly, with a white headband, with a few front pieces framing her face. she had a similar 70s inspired outfit like abigails. hers was pink and orange, and the top was cropped. her bottoms were the same colors and they had five layers of ruffles adorning the bottom. of course, she had matching white boots just like her sisters.

"what if i mess up?" y/n asks no one in particular.

abigail continues rubbing her shoulders, "you've never messed up one of our performances, why is this one so different?"

y/n shrugs, "maybe the fact luke and i are dating now? and i guess i still want to impress him."

"he's impressed with anything you do," stephanie speaks up from the other side of the cabin, "this can just be another thing he brags about to his friends. how cool his girlfriend, and her friends, are."

y/n stands from the vanity, and simply holds her arms out, "group hug before we go out there."

stephanie and abigail happily oblige before the trio start walking towards the amphitheatre. the three girls grab their matching white microphones and get into their very stereotypical stances on stage, just as chiron finishes his speech.

the music starts, which makes all the campers quit their side conversations.

abigail, y/n and stephanie who were in a line, were now in a triangle, as abigail starts singing.

"i wasn't jealous before we met. now every woman i see is a potential threat. and i'm possessive it isn't nice. you've heard me saying that smoking was my only vice."

abigail continues to sing the second verse, when y/n takes the center of the stage as abigail and stephanie stand behind her.

"don't go wasting your emotion, lay all your love on me."

as soon as y/n met luke's eyes as she sang her line, she could've sworn she saw hearts in his eyes.

stephanie sang the next two verses, as y/n and abigail had choreography while they were behind the blonde.

y/n moved to the middle again, and the trio all began dancing with the same choreography. she started singing thr chorus again.

"don't go wasting your emotion, lay all your love on me. don't go sharing your devotion, lay all your love on me."

the campers had started clapping along and moving to the rhythm of the song, as the girls on stage sang another verse and the chorus a few more times.

as the song came to a close, y/n brought both of her friends into a hug, before chiron instructed for the ares cabin to gather the firewood for the bonfire.

y/n was talking with abigail and stephanie on stage, and shrieked when she felt a pair of arms pick her up and spin her around. her feet land on the marble ground instead of the stage. she turns in the stranger's arms and her smile grows once she sees luke.

"you look like you walked right out of an abba music video," he laughs.

"that was kinda the point babe," she leans up and kisses his cheek. "did you like the song?"

luke nods quickly, "you all were amazing, but you," he paused to kiss y/n's forehead, "i couldn't keep my eyes of you."

"it was meant for you, if you couldn't put that together," y/n giggles.

"oh i was hoping it was meant for me. if it was for any other camper i wouldn't hesitate to share a few words with you missy," he tries to sound affirmative with y/n, but it only makes the girl laugh more. the couple and the rest of the campers who were standing were all instructed to sit by chiron, as the ares' kids all came back with firewood.

luke kissed y/n's cheek once more before he dragged her to sit with him for the rest of the night.

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bestmusicalworldcup · 8 months

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Every article and video about Sondheim ever: Stephen Sondheim's critics disliked his work because it had overly complex and unhummable tunes.

Me before I had listened to any Sondheim musicals: Interesting!

Me when I listened to Sondheim musicals for the first time: Why are are there so many hummable tunes??? Where are all of these unhummable tunes I was promised???

I suspect this is because the standard for what a "hummable tune" is has changed quite a bit since the 70's. It should also be mentioned that I started listening to contemporary musicals long before I began to try out musicals from the Golden Age, and so my idea of a "hummable tune" is probably different from someone primarily versed in the works of Rodgers and Hammerstein, Lerner and Loewe, or Cole Porter.

#stephen sondheim

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gerogerigaogaigar · 20 days

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In the wake of the Drake/Kendrick beef its become clear that a lot of people here don't know what hip-hop is and/or don't know how to listen to it. Instead of dunking on people's ignorance I'd like to offer up an educational opportunity. Hip-hop can be difficult to get into if you come from an exclusively white and rock oriented upbringing. It simply listens differently than other popular music and you have to learn how to listen to it. This is honestly true of all music, but white america grows up with modern rock and pop that more or less derive their structure from tin pan alley music of the early 1900's. Hip-hop is a derivative of the 70's disco scene. Disco had an even more dance oriented feel than the funk that it spun off from. And funk was already more rhythm heavy than the Soul and Rhythm & Blues that birthed the funk scene.

Hip-hop is, first and foremost, a black artform and I am not black. So I'm not trying to position myself as a community ambassador or anything, but I do get that there are some barriers that white suburban kids face when it comes to getting into hip-hop. I also know that I am very, very into hip-hop so being a suburban white kid is clearly not an excuse for dismissing an entire artform. And racism isn't something you are it's something you do. So its time to stop talking about Weird Al and Eminem* whenever someone asks if you like rap. Right now it is time to learn how to listen.

*all due respect to eminem, he's actually really good, but we aren't talking about white rappers right now

When listening to rap one of the first things you need to pay attention to is the rapper's flow. A rapper's instrument is their voice, but unlike what you may be used to rap vocals are part of the percussion. In the songs included below, try to listen for how the vocals create a rhythmic counterpoint to the instrumentals. and listen for how rappers use rhyme as well as rhythm to create a pleasing cadence. Don't worry about what they're saying, listen to how they say it.

All Caps We start with All Caps, an absolute beast of a song. MF DOOM meets the frantic energy of the beat with a steady even flow that feels effortless. DOOM interlocks Rhyme schemes and uses matching vowel sounds throughout the verses to create the illusion that he is just dropping thoughts off the top of his head. The maneuver he pulls in the last stanza always blows my mind. making a *pop* sound to onomatopoetically match the vowel sound in pot, got, and snot while also rhyming troubles and bubbles.

A Milli Next up is Lil Wayne. Much like DOOM he can bury rhyme schemes for days, but instead of a smooth even flow he goes in bursts of frantic energy to contrast the very steady beat.

Ultimate Denzel Curry is probably one of the best in the trap scene and Ultimate is an early track where he is nailing the lazy beat, angry delivery thing. his shouted couplets overlay the trilled snare to create a texture that is actually very typical of trap music.

Izzo (H.O.V.A.) Jay-Z has a triumphant tone and a sing-songy cadence to his voice. He tends to match the percussive parts of his raps to the downbeat of the drums and it further emphasizes the strings from the Jackson Five sample and his more melodic lilting.

Bad Character You might notice that Quasimoto sounds... uh... well its Madlib with his voice pitched up. Weirdly Quas has a totally different cadence than Madlib. The timbre of his voice is so distinctive but he raps so casually. It almost feels like he is disconnected from the beat, but he's still right on it. It is a weird quirky atmosphere.

ATliens ATliens is the first song on the list with multiple rappers on it. Big Boi is a master of the straightforward 90's gangsta style while Andre 3000 has a supernatural sense for where he is on the beat that allows him to dodge and weave around it. the two of them work together by giving a back and forth between the extreme steadyness of Big Boi and the extreme wonkiness of Andre 3000.

Protect Ya Neck The Wu-Tang Clan had a lot of members and Protect Ya Neck has all of them on it. It would take forever to explain the different styles of the whole Clan so I'm just gonna let you hear it all yourself. even if you can't tell them all apart it is still pretty easy to tell when they pass the mic.

Ready Or Not Wyclef Jean and Ms. Lauryn Hill are two of the best rappers, and also Pras is here. The interpolation of soul hooks that show off Lauryn Hill's singing skills were standard for the group, but Hill could switch from singing to rapping on a dime. Even when they are rapping there is a sense of soul music underlying their music.

Life's A Bitch Another track with a laid back beat. I couldn't tell you when Nas takes a fucking breath in this song. he just goes and goes. everyone on this is so smooth.

Fix Up, Look Sharp Finally I had to get some really rowdy shit on here. Dizze Rascal's flow is so bombastic. he hits every downbeat as hard as possible and almost drowns out the steady snare-kick beat with his voice alone. Like Jay-Z he is also very sing-songy.

#hip hop #kendrick lamar #drake #kendrick drake beef

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ladycharles · 2 years

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My new song Flower Boy is out!

It's a psychedelic journey between very dark and liminal verses and very 70s art rock choruses. If you like of Montreal, David Bowie, Kate Bush, MGMT etc. You may enjoy my music.

The song was written by my friend Fliss who I think deserves fame and fandom. Fliss is a super cool queer country crooner who also plays in Ada Lea out of Montreal.

I played everything except drums (Francy Karema nailed those)

I really hope you like it!

#Glam rock #Art rock #New music #David Bowie #MGMT #of montreal #nonbinary musicians #indie rock #Nonbinary #Lgbt artist #Kate Bush #Lady Charles #Spotify

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inbarfink · 2 years

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I mean, the thing that’s really amazing to me about the Rocky Horror Cult Phenomena is how much it fits with the themes of RHS. Like, Rocky Horror becoming The Midnight Movie and gaining this huge culture of callbacks and cosplay around it wasn’t like something anyone planned for or anything like that - it was a super-unexpected and strage and organically-grown thing and it just amazing how well it resonates with the movie itself. So many movies gain Fandoms that are kinda at Odds with What the Movie is Actually, so it’s really incredible that even with the Rocky Horror Fandom being what it is, it’s also so in-sync with the movie it’s based around in a strange way.

Like, if you actually wanna think seriously about RHS, there are few major lenses of interpetation you can view it through: as a 70′s-style mockery of the 50′s, as a narrative about both the anxiety and thrill that comes with the changing times, as a Garden of Eden allegory starring a weird Reverse-God whose gospel is debauchery... but I think one of the biggest ones for me is how it is obviously a tribute to the experience of watching horror and sci-fi movies late at night - and the way these movies, however silly, can offer a sort of getaway from the restrictive, repressive environment of your everyday life.

Like that is kinda what “Science Fiction/Double Feature” is literally about?

It’s about how much the speaker wants to watch a late-night screenings of science fiction\horror movies. And the verses are peppered with all of these vaugely sexual innuendos, it’s clear that this is at least part of why the speaker wants to go to the late night double feature picture show. Whatever it’s because sci-fi outfits allow for a bit more fanservice than your Regular Movies (”And Flash Gordon was there/In silver underwear”), or cause the thrills of the monsters can become strangely sexual (”And I really got hot\When I saw Janette Scott\Fight a Triffid that spits poison and kills”) or just for some midnight alone-time in the back row...

And in the stage version that line is usually sung by an Usherette character which kinda makes it like... it puts another layer of reality between the audience and the plot. Like, what is seen on stage isn’t a musical abstraction of Brad and Janet’s misadventure but a musical abstraction of the experience of the Usherette (and the cinema audience played by the Actual Audience) watching a horror movie starring Brad and Janet. In the Picture Show, this is replaced with just like... a lot of intentionally kitchy transitions and editing tricks to constantly remind the audience that This Is a Movie. Because regardless of the medium, Rocky Horror is in some way about the Experience of Watching Movies.

And this also comes up when the Criminologist speculates about the nature of reality - it is actually true that life is an illusion and reality is a figment of the imagination, because he is a fictional character in a movie. And Magenta’s verse in “Time Warp”

Like, I suppose literally in-universe she’s talking about her hobby of spying up on people in the castle (like she did to Janet and Rocky in ‘Touch-A-Touch-A-Touch-A-Touch Me’) but like... this is also about being The Audience? Like, the Audience watching the movie are the one who are sitting invisible in ‘another dimension’ and see everything that’s going on... and are being freed by fantasy. (and also it’s important to note that Magenta and the Usherette generally share an actress on stage, and in the Picture Show, share lips but not a voice).

I think you can very easily read Rocky Horror as being About how yeah these old horror movies are cheesy and stupid but they’re also, like, a place of escape from mainstream conservative culture, where you can allow yourself to celeberate the weird and transgressive. Even if it’s kinda bittersweet under the conditions that this transgressiveness always has to come from Monsters and Aliens, and that it was to always Obviously Be Bad, and it must be Defeated and Destroyed at the end - as both the protagonists and the audience must return to the daytime world of normalcy.

Even with Magenta kinda being the Usherette, I think the comperison between Brad and Janet and the Audience is a bit more important. They’re the one who transition from the everyday daylight world of social norms into the late-night world of transgression and release that is Frank’s Fantastic FuckCastle. I mean, that’s why they have so little agency in the plot, they are mostly just sitting back and watching the events unfold. That’s also why Brad seems to have adapted the “Dr. Frank N. Furter did nothing wrong” position by the movie’s climax (”What’s his crime?”). It’s kinda like he’s not really viewing him as a real life person within his own reality, but like a fictional villain. Which is also how Frank views himself - as we can see at the end of “I’m Going Home”. From an in-universe perspective, it seems like a delusion. but from our perspective he is 100% correct. There IS an audience of people watching that entire show unfurl and cheering for him.

Basically yes I am saying Frank N. Furter is himself’s, Brand and Janet’s Problematic Fave

And then when Frank dies and the Servant Duo beams back to their home planet, it’s explictly not a triumphant moment. It’s not a moment of heroism or any sort of moral victory for normalcy over transgressivism. Like, Frank and Riff-Raff share a lot of the same rotten personality flaws - it’s just that Frank is confident and flamboyant about them while Riff-Raff is resentful and self-loathing. That’s part of why Columbia and Rocky had to die, to drive home the fact that Riff-Raff isn’t doing any of this out of concern for Frank’s victims or even really to go home. It’s purely about his own personal beef. And for Brad and Janet, the ending is really melancholy due to the way they have been stranded back in the ‘real world’. All of the strange characters are either dead or gone, the setting itself literally beamed off the planet. They’ve been changed by their experience, but now they’re back in this daylight world that they escaped from. Cause in the end, the Science Fiction Double Feature always ends.

And you’ve got all of this, and then you look at Rocky Horror The Cultural Phenomena and it’s like....... it became like the ultimate encapsulation of what it was tributing to begin with. The Rocky Horror Picture Show is THE late-night science fiction/horror movie event. Midnight Screenings carry this movie and this movie is iconic to Midnight Screenings. And it’s this place that allows you an escape from normalcy and a space to be transgressive - through shouting sexual and\or dark jokes along with everyone else in the movie theater and through being a space for experimenting with gender presentation and\or sexually provocative outfits....It really just became the extremely concentrated version of the experience it was trying to convey in the first place.

And the whole Audience Participation and Shadowcast phenomena really works to enchance the movie’s film of nonreality, which is I think Important to it. Like you know, when you’re sitting in a very rowdy movie theatre shouting profanities at the screen while a bunch of friends mimic the actors’ actions with a few cardboard props because they’ve seen the movie so many times they know them by heart - the murder and the cannibalism seems more and more unreal by emphasizing how much it’s Performance. But “Don’t Dream It, Be It” - already an in-universe Performance by the one character who knows there’s an Audience, feels just as real as ever.

And it just, it FITS SO WELL TOGETHER, it’s amazing none of this was intentional or even predicted. It’s really just beautifully poetic that this fandom happened.

#rocky horror picture show #rocky horror show #rocky horror

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rhapsodynew · 1 month

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Little-known facts about the cult rock band – part one.

Led Zeppelin – founded in England in 1968, the band was almost doomed to success because its founder, guitarist Jimmy Page, and his buddy, bassist and keyboardist John Paul Jones, were already experienced session musicians. Adding a vocalist Robert Plant and the drummer John Bonham – both young but well versed in their shared local music scene – complemented the band perfectly.

An international sensation of the 1970s, Led Zeppelin remains one of the most successful and legendary bands in rock history, breaking records with their rousing live performances, diverse genre catalog, and refusal to play by the rules. Some of their songs, including the iconic "Stairway to Heaven" and "Whole Lotta Love", became classics of the time and genre.

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However, over the years, the band's touring exploits – in particular, frequent fun with female fans, the destruction of hotel rooms and reckless use of substances and alcohol – have become a cautionary tale about the dark side of rock and fame in general. It may look colorful and interesting, but in fact the career of the Zeppelins was extremely dark and tragic...

Below are some of the most unique and little-known facts.

Robert Plant plays the harmonica

Robert Plant was afraid of the stage – at first

While this may seem shocking, given that Robert Plant is now widely known as one of the most iconic rock frontmen of all time, the lion-maned singer once suffered from self-confidence issues. Plant was still literally a teenager (namely, he was 20 years old) when Led Zeppelin first hit the road in 1968, and the shouts of the crowd, as well as harsh media reviews, were initially unbearable for him...

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At the beginning of their journey, critics were not kind to the Zeppelins, and Plant, being the face and voice of the group, often bore the brunt of their insults. Some accused Robert of affectation, others of "excessive femininity.".. The cruel words deeply hurt Plant, who was already prone to self-doubt.

Later, the group manager Peter Grant admitted that he had to hide bad reviews from Plant in every possible way, and even comfort the anxious vocalist just to bring him on stage. It was for this reason that Robert also hesitated to write lyrics, which is why many considered him the weak link of the group (again, at the initial stages).

John Paul Jones miraculously did not die in the fire.

John Paul Jones

During a tour of America in 1973, Led Zeppelin threw a party in New Orleans, Louisiana. The group stayed at a hotel in the French Quarter, known for its vibrant nightlife... And that night the bass player John Paul Jones will never forget!

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The story goes how John met a certain Stephanie, and invited the girl to his room. The problem came up soon, and it was that Stephanie was actually a man! However, John later claimed that he knew this, and that Stephanie was his good friend, with whom they drank and had fun. In any case, it's not about what gender Stephanie was, and who she was to John. After entering the room, the two had a few drinks and smoked. They were so drunk that they forgot to put out their cigarette butts, and just fell asleep. Soon a fire broke out in the room, and John and his friend miraculously survived – they were found unconscious when the firefighters arrived! It was this incident that Robert Plant immortalized in the song "Royal Orleans".

"Everything is in perfect order on Bourbon Street –You can meet my friends, they hang out there all night long..."

The band was robbed during a US tour.

Led Zeppelin. Early 70s

On July 29, 1973 – the last night of the American tour – Led Zeppelin became the victim of a strange crime. The story goes that tour manager Richard Cole opened the band's safe while at the hotel and found it empty!

"I opened this thing, and there's nothing there–it's empty! Only passports! I burst out swearing because nothing else came to mind at that moment..."

To understand the full range of Cole's emotions, it's worth emphasizing that there were more than $200,000 in the safe– a significant portion of their income from the tour. Not wanting to disturb the band before they went on stage, Cole proceeded to resolve the issue as confidentially as possible. While the Zeppelins were performing, the FBI guys searched the hotel. There were no signs of forced entry on the safe, indicating that whoever stole the money had used the key. Cole was the first to come under suspicion, and he even had to undergo a lie detector test (which, by the way, did not reveal a lie in his words).

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After the show, the FBI also questioned the band members, but found no leads. The next day, the robbery made national news. Although the crime remains unsolved to this day, many believe that Peter Grant is responsible for the theft.

John Bonham struggled with depression.

Despite the fact that he looked brave and fearless on stage, the drummer John Bonham had great difficulties on the road. A family man at heart, Bonham, known to his bandmates as Bonzo, often missed his wife and two young children who stayed in England when he toured. At the beginning of his career with Led Zeppelin, he started drinking a lot to fight his depression and homesickness, which most often led only to chaos...

A friendly and gentle man when sober, Bonham was prone to anger, recklessness and outbursts of rage when intoxicated. He often took out his alcohol-induced rage on hotel rooms and anyone unlucky enough to be near him at the time of his rampage. Over the years, this behavior earned him the nickname "The Beast".

"Bonzo drank because he hated being away from home, it's true. Between performances, it was difficult for him to cope with emotions ...", – said John Paul Jones.

John Bonham

The tour also aggravated Bonzo's mental state. He began to be afraid of flights, and also suffered from constant panic attacks before performing. One day he confessed to a journalist:

"Every year it gets worse for me. I have terribly bad nerves all the time... It's even worse at festivals."

Zeppelin concerts have become dangerous.

As their popularity grew, Led Zeppelin began to give larger-scale concerts, which led to new problems. On July 5, 1971, the band performed in front of a boisterous crowd of about 15,000 people at the stadium Velodromo Vigorelli in Milan, Italy. The promoters begged the band to ask the public to stop lighting the fire, which frontman Robert Plant repeatedly did, but to no avail. The situation escalated, and hundreds of police used tear gas, water cannons and batons to subdue the crowd. Many were injured.

Led Zeppelin

Disoriented by the blinding smoke, panicked onlookers rushed onto the stage, causing the band to drop their gear in the middle of the performance and flee. In the confusion, one of the Zeppelin roadies was hit on the head with a broken bottle and was hospitalized. Page later recalled:

"It was absolutely terrible..."

And this was just the first of many dangerous performances by the Zeppelins. During the band's 1977 American tour, fans without tickets burst through the gates at several concerts, leading to hundreds of arrests. That same year, violent riots broke out in Tampa, Florida, among a crowd of 70,000 when the show was interrupted due to rain, leaving the police outnumbered and powerless. Then, during a concert in Cincinnati, Ohio, a fan fell from an upper floor. It was the last concert in his life...

The extension follows....

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cloama · 26 days

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I just heard Coco Jones’ new track, Here We Go(Uh Oh), a song definitely for the girls who still aren’t ready to go No Contact with their on again/off again ex. It’s something relatable for the twenty-somethings to screamiing along to in the car as they drive to afters. I did. It relate but I will tell you why that doesn’t matter. Because R&B. Storytelling is back, baby! Paint us picture, Miss Coco.

I really enjoyed the cinematic music video that accompanies the song. She’s going all in on the back half 20th century nostalgia here, with a little bit of everything. The cover art is cute 70s nod. No clue if that’s going to impact the entire album rollout but I’m sat, regardless. Having a retro aesthetic while singing about likes and posts is so anachronistically pleasing to me. She’s such a star and I really like this choice for a single. This track is going to get spins because it is so relatable to so many. Coco is going right up there with SZA and Summer Walker who are actual titans of Female Singer-Songwriters but don’t get the credit they deserve despite the numbers numbering. That is because they’re R&B artists and I encourage you all to go back to listen to them if you haven’t. R&B didn’t stop after your need for middle school slow dances. It’s still here and writers are still crafting stories. Coco is absolutely on that path to being an all-star writer and I’m excited to see her lock into this next phase of her career.

Back to my hope for the song… I believe this song will help keep up the momentum. It’s radio ready, with a classic sample that will drive spins to the original track as well as her own. Here We Go has a verbally stoccato chorus which is fun in R&B bc you can clap 👏🏿 your 👏🏿 hands emphatically along to the words and mean that shit.

By the second chorus I was ready:

🎶I 👏🏿know👏🏿when👏🏿said👏🏿say👏🏿good👏🏿bye👏🏿you👏🏿ain’t 👏🏿mean👏🏿no👏🏿good👏🏿bye👏🏿🎶

It reminded me of the “oh oh oh oh oh’s” in the original track.

Speaking of the Lenny Williams sample: it works. I am one of many who are tired of the lack of artful sample. This, to me, was artful and useful. The song being full length with a verses, choruses, and bridge (silly thing to point out but songs have gotten ridiculously short these days) means the sample comes dangerously close to wearing out its welcome, But it comes in just under the gun. I didn’t get tired of it. Why? Her steady melodies in each verse sail your through nicely and then you smack right into that fun choppy waters of the chorus. When the next verse hits you’re ready for another go. It feels exactly like going round and round with a partner. Come on, musical theme! Come on, melodic device!

This is absolutely my favorite thing about this track. Coco Jones is a super talented young woman. I genuinely hope it’s a hit.

4/5

#going to keep writing about things I do like bc it’s good for me.#coco jones #music #r&b #new music Friday #I’m a week late but shut up.#no I’m not #SoundCloud

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inawearyworld · 5 months

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music makers/dreamers of dreams: a fiytwtb addition

a study of wren's relationship with music at two pivotal points, and music's relationship to the world of wonka as a whole

2023!wonka x oc (though lbr there is also a SIZABLE dose of fickelgruber), ~1.9k

alrighty SO. i was thinking more about this dang movie (as you can probably see by the rest of this blog) and all those thoughts came here. i am a big ole motherfreakin nerd for music and shakespeare and many other things, and therefore so is wren.

also this takes place in the universe of the original screenplay (in which pure imagination is first sung by noodle as she teaches willy to read). my take on that song here in general is more like the original in the 70s movie; there’s just Somethin About It Man.

alrighty, enjoy, like comment reblog etc, love yall <3

fic masterlist

“We are the Music Makers, and We are the Dreamers of Dreams”, being a Prologue and Epilogue to “the Chronicles of the Songbird”, regarding the Songs in question and their Bird, one Wren Matterson.

Two Years and Eight Months Prior to Chapter One

This had been a very odd evening.

Wren had been put up in a luxury hotel for the amount of time she’d agreed to stay in the city, which had taken quite a bit of getting used to. Coming back to her room after a day of work voicing advertisements, she had noticed a crisply thrice-folded paper slipped under her door, held together with an emerald wax seal.

Yes, that was where the oddness had started.

She’d torn the seal, read the note conveyed by a cursive hand so elaborate it nearly caused a headache, and crinkled her brow.

She’d opened the door to her room’s closet, faced with the sight of a dress, stole, and gloves of deep green velvet that she soon learned were impossibly well-tailored.

She’d followed the address of the note, becoming even more confused when it led her to the city’s cathedral, but presented it to the bishop as instructed. He had looked her up and down and ushered her into what turned out to be an elevator.

She’d continued through the corridors, growing more and more curious and undeniably uneasy, greeted by a woman with tired eyes whom she wished she could have truly talked to. Any attempt at conversation that Wren made, though, was interrupted by whispers that came from the other side of the heavy door-

“The two of you must stay mostly in shadow, she won’t agree if she recognizes you and knows of our arrangement too early.”

“Are-are you sure of her, then, Felix, if she’s too-”

“Oh, do shut up, Gerald, she’ll certainly come around by the time we’ve-besides, you know you owe me one-”

“Gentlemen, please. Let’s just focus on the…ahem…altered choreography.”

“You can’t be in the center all the time, Arthur, it so happens that for this particular-”

“Fine, fine. Miss Bonbon, lights at the ready?”

And then the guard had cleared her throat, the whispers had ceased, and Wren went inside, asking if this summoning was for some sort of rerecording session.

And that was how she had gotten to this point, whatever point this was.

The evening’s oddness now found her the focal point of a whirling tango, a display so dizzying she barely knew which way was up. It was a teenaged fever-dream fantasy come to life, colored lights flooding and hands on her waist and trembling twixt-verse vamps and velvet and tweed and silk.

It was a too-sweet overwhelm of something, but at least it was something at all.

The lighting was such that she couldn’t tell exactly where she was, but she realized that, in that moment, she didn’t care. There was a taste of dark mint chocolate in the air, and she became aware that at some point a massive necklace of dewdrop emeralds had been clasped around her neck by a deft, grazing touch and was now dappling her collarbone as she was twirled, dipped, tossed, thrown.

Most inescapable of all was Felix Fickelgruber’s voice in her ear, accompanied by tight harmonies that came from seemingly nowhere, promising her every speck of security and influence that she’d been in need of her whole life. Any question or dissent from Wren was smoothly dismissed in rhyme, and even when she could get a few words in, they somehow always came out in rhythm.

It was almost as if her innate tendency to musicianship overruled any resistance.

It was almost as if he’d known that would be the case.

The realization was alarming and delicious all at once, and with the current sensation of melodies pronounced against her neck, she was inclined to focus on the latter.

The music from nowhere started to build, shifting from the driving tango into a blasting Broadway finale. Clear-toned horns, stunningly blaring lights, this sauntering silhouette with his sea-of-chocolate eyes calling her by a new name-it was too much, one quiet thought piped up, something’s being hidden.

“You’ll be living so high, don’t refuse my-”

Then the lights dimmed further and all else seemed to disappear, save for Felix and the sound of one solo violin.

“-question it took all this to confess.”

The violin threw in a chromatic accent, adding to her held-back and long-delayed swoon, and she realized the next line was hers.

“Don’t know if I should play it…”

“Darling, won’t you say it?”

Then his hand was lifting her face, and there was silence for the first time in what felt like ages.

She was backed up against a wall, not only in metaphor.

There was only one syllable left in the stanza, and only one possible rhyme.

“Yes.”

She let out a breath, which was soon caught up into his own as violins swooped into a sickeningly soaring final beat.

A Few Minutes Following Chapter Five

The librarian that had been the first in this city to give Wren a kind smile all that time ago was standing on her steps, hugging her daughter, who looked as if she was finally breathing for the first time in her fourteen years.

Without question, this was the most beautiful thing that the other woman had ever witnessed.

Something close to the same was probably true, too, for the man who stood beside her.

“If you want to view paradise, simply look at them and view it.”

He’d sung to Noodle to encourage her as they approached the library, a lilting melody that he was currently continuing-to himself now, and with tears in his voice.

“Somebody to hold onto; it’s all we really need.”

They both knew Noodle would stay in touch with them, they knew they were more than happy for her, but they were still touched with tears. Wren had her own bond with the girl, but she knew Willy would miss her the most out of everyone, so she took his arm, and they leaned on each other.

“Nothing else to it.”

He was probably thinking of his own mom, too.

And she was thinking of hers.

They’d finally been able to write back and forth again; Wren had read over and over the two years’ worth of her family’s letters, remembering all the time she’d spent worrying and wondering aloud to Felix why she’d never gotten a letter from them. He’d always flicked her words away, assured her they must have simply been busy, that the mail these days was spotty; his voice was always sweet and smooth on those days, and she’d allowed it to comfort her when she thought nothing else could.

Never again.

She’d written pages of apologies and explanations to her mom, pouring every ounce of love into that paper, and receiving the reply felt like a world-heavy weight off of her shoulders.

It was the same feeling that she knew her friend was feeling now, that her new love had felt in spirit just minutes ago.

They held each other, certain and close within the shared tinge of loneliness.

“So goes a good deed in a weary world.”

They turned to see the Oompa-Loompa just down the path, looking between them, his eyebrows going up a bit when his gaze found Wren.

“Oh, I’m terribly sorry, Mr. Wonka,” he said half-sarcastically, “it seems I’ve misquoted in the presence of your aficionado of the Bard. ‘So shines a good deed in a naughty-’”

“It’s fine,” she laughed. “Portia’s…not exactly the most admirable of characters to need to quote correctly, anyway.”

“Quite right.”

“And I do like ‘weary’,” Willy mused. “It’s not what’s written, but it…”

“Just feels better,” Wren agreed, and Willy smiled at her before turning back to the Oompa-Loompa.

“I was wondering if I’d see you again.”

One negotiation later, the three were walking across an old bridge to a castle of ruin that nearly took Wren’s breath away. There was history in these old stones, so much life, so much room to dream.

“It’s beautiful, Willy.”

“Just wait,” he said with a grin.

“It was sweet, by the way, what you sang to Noodle. How did you find that melody?”

“It was hers, actually. Seems the idea of imagination can…”

He trailed off when the church bells tolled in a way that Wren had never heard them ring before.

High B flat, low A, low B flat.

Over the ostinato, she started to hum Noodle’s melody, and Willy stopped in his tracks, looking straight at her.

“What?” Wren said.

“...It fits.”

“Yeah, perfectly,” she smiled.

“Keep going,” Willy said, getting that sort of shimmer in his eye that usually came when he’d thought up some sort of wonderful new idea. “You’re the only person I’ve known who sees beauty in an old ruined castle-not only what it could be, but even just what it is. So”-overwashed with thoughts, he took her hands and kissed them, the dreamer in his element, and she laughed, and the Oompa-Loompa rolled his eyes, and Willy grinned, leading them into the castle-“so, Wren, my dear Wren-tell me what you hear.”

She closed her eyes for a moment and let it come. The possibility of the place, the fulfillment of the past few weeks, the melancholy and wonder, the magic that had entered her life.

“Start with a minor chord on the second,” she said softly, slowly. “Repeat your first few notes, let it fall into the five, then-then it goes to that major seventh.”

She swooned into the unexpected chord, then realized that, as she was murmuring each suggestion, it was blooming into full orchestral realization behind the chocolatier’s voice. At the same time, the castle’s courtyard was starting to take shape; the crumbling walls returned to their speckled glory, a beautiful domed ceiling of glass appeared from nowhere, and colorful ingredient pipes started to snake around each corner. Willy’s eyes widened with wonderstruck joy as his creation came to life, and he and Wren looked at each other with equal and mirrored pride.

For his part, the Oompa Loompa started to seem the slightest bit impressed, which the couple took as a win, smiling in awe as they danced into the space.

“We’ll begin with a spin, traveling-”

“One, two, diminished flat three…”

“-in the world of my creation!”

He was the taste and the sight, she was the sound and the sense.

“What we’ll see…”

“Two-five…”

“…will defy…”

The dance came to a pause, and he turned to her, eyes shimmering with anticipatory trust.

The answer came to her as a miracle would.

Your wheel mixes its chocolate, my song mixes its mode. Subvert their expectations, my love, just like you always have.

“Major three,” she said breathlessly, and-

“Explanation.”

The chord ricocheted through the space, and something like a sigh of a laugh escaped them both. Then the bridge came, soaring and swooping with a much truer hope than anything she’d ever heard before.

Wren Matterson had always loved music-it had been once her lifeline, then her work, then the thing that had held her in place. But now, it didn’t have a betraying hold on her, no-now it was hers, born of inspiration from those she loved, coursing through her skin with a warmth unlike anything she’d ever felt.

Perhaps there wasn’t exactly nothing to it, but they had indeed changed quite a bit of the world, and she had the feeling that they’d only just begun.

“There is no life I know to compare with pure imagination. Living there, you’ll be free if you truly wish to be.”

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randomvarious · 9 months

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Chicago House Playlist

Alright, folks, here's something that's been a long time coming: a playlist of house tunes that came from the city that gave birth to the global phenomenon in the first place, and also kickstarted the whole evolution of electronic dance music as we currently know it. When house music began, most dancefloors had moved on from disco to a mishmash of post-disco, boogie, hi-NRG, dance-pop, synthy funk, electro, freestyle, and a whole lot of other stuff, but there was something different that started to brew itself into a movement during the mid-1980s among a predominantly black, gay crowd in the city where disco had first been symbolically murdered in 1979.

And eventually, it became known as house music, named after both The Warehouse, the place that the genre's godfather, Frankie Knuckles, would have residency, and the posters that would be hung up to advertise the venue's events, which referred to 'house parties' and 'house music.' The Warehouse would open up in the late 70s and close in the early 80s, but in 1983, Frankie would open up his own club, The Power House, which would then change its name to the Power Plant, and then change its name again to The Music Box, after another legendary house DJ, Ron Hardy, would take up residency there.

So, a lot of this playlist channels the greatness of some of those halcyon Chicago house days. And so much of it is just pure, primordial dance music bliss; lighthearted, unserious, super fun, revolutionary grooves. There was an amateurishness to a lot of it back then that gave it a significant level of goofy charm, and that's something that seems to have gotten mostly left behind as the music continued to grow into the 90s. Songs like "Move Your Body," by Marshall Jefferson, which opened with this rich and clanging, jauntily unpolished piano rag of sorts, was so infectious, and his plainly bad, but passionate singing voice that would follow that iconic intro couldn't help but be adored too. And the song on this playlist that currently comes after that one, "Love Can't Turn Around," by Farley "Jackmaster" Funk & Jesse Saunders, is in much the same vein, as featured vocalist Darryl Pandy goes over-the-top berserk to start his second verse, making for another song that you really just can't resist 🥰.

Another total favorite of mine on here is one that was produced by Frankie Knuckles himself: "Let the Music Use You," by the Night Writers, which is a near-eight minute masterpiece that has a divine, string-pad-and-bell-laden beat that immediately shows you why Frankie was revered as such a master of his own craft. And that beat gets paired beautifully with Ricky Dillard's soft and tender, heartfelt vocals too.

And then there's Kevin Irving's "Children of the Night," which features his excellent, soulful voice on a beat that combines string pads with prickly electro stabs, and was made by Larry Sherman, the founder of the most important label in the history of Chicago house itself, Trax Records, which has also caught a lot of flak over the years for its shady business practices.

A couple more notes: first, be forewarned that the track that starts this playlist is another tremendous classic, "Mind Games," by Quest— which features the voice of Liz Torres and some great and dreamy freestyle-type synth work—but even though it's on Spotify, it is, unfortunately, pretty damn scratchy. Luckily, I was able to include a much cleaner version on the YouTube version of this playlist, though 😊. And second, I like to keep these playlists as chronologically ordered as possible, but I couldn't, for the life of me, figure out when Screamin' Rachael's "Bip Bop" was actually made. It has an aggressive male rap vocal on it that's reminiscent of Turbo B's on Snap!'s "The Power," so it could be from that early 90s period, but I really don't know. So I just put it at the end, where it will stay until I one day possibly figure out when it was actually created.

This playlist is ordered as chronologically as possible and links are provided below to songs that have been posted about previously in order to give them more context:

Quest - "Mind Games" Marshall Jefferson - "Move Your Body" Farley "Jackmaster" Funk & Jesse Saunders - "Love Can't Turn Around" On the House - "Pleasure Control" Housemaster Boyz - "House Nation" Ralphi Rosario - "You Used to Hold Me" Night Writers - "Let the Music Use You" Dalis - "Rock Steady" Kevin Irving - "Children of the Night" Bam Bam - "Where's Your Child?" Paul Johnson - "3rd Dimension (Remixed by Armando)" Screamin' Rachael - "Bip Bop"

And while there are some incredible moments in that Spotify playlist, I still have way more Chicago house music to show you in the YouTube version. Some tracks that stand out in this bonus crop are the first one, the silly and campy "Undercover," by Doctor Derelict, which has about 3,500 plays on YouTube across a couple uploads; another one from Frankie Knuckles, which is a rare remix of his very popular "Baby Wants to Ride" that has ~31.6K plays, and features some political opining from vocalist Jamie Principle, and even a detouring interpolation of "America the Beautiful" in its second half (😆); and then one from a later era of Chicago—'99, to be exact—called "Testing & Balancing," by Jimminy Cricket, aka James Curd, that has around 170 plays and liberally samples from Al Green's soul classic, "Love & Happiness."

Doctor Derelict - "Undercover" Jungle Wonz - "The Jungle" Steve "Silk" Hurley - "House Beat Box" On the House - "Ride the Rhythm"Libra Libra - "I Like It" Paris Grey - "Don't Make Me Jack" Liz Torres - "Can't Get Enough" Frankie Knuckles - "Baby Wants to Ride" On the House - "Let's Get Busy" Mister Lee - "Come to House" Jimminy Cricket - "Testing & Balancing"

And this playlist is also on YouTube Music.

So, with the Spotify version of this playlist, we currently have 12 songs that total an hour and 16 minutes, and with YouTube, we're at 23 songs that total 2 hours and 24 minutes. Clearly, there are a whole lot more goodies in that YouTube one.

And if you want a Chicago house playlist that's a bit shorter, I have one that's made of stuff that's solely from the 80s too.

1980s Chicago House: Spotify / YouTube / YouTube Music

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

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