#rocka youre not funny
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When something is big enough to reach "international news" it doesnt just lose traction online. It gets censored and/or heavily monitored.
There are people sneakily fighting against you, behind the scenes, hiding tags, deleting accounts, etc, so you lose hope thinking no one cares anymore. But its all propaganda to make you give up, move on, and forget whats happening just next door to you.
I don't want to forget. I dont want to move on.
Im sick of watching history repeat itself because the ones in power are too cowardly to do anything because they gotta save face.
But at the same time Im hesitant to post this lol so am I really different?
Anyway, from the bottom of my heart,
From the river, to the sea. Palestine will be free.
#watching everything slowly get censored or erased is making me sick#its why o was so happy about the macys parade#try censoring that you pricks (tho apparently they tried lol)#rocka youre not funny
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THE MANY CRUSHES OF LUKE PATTERSON... AND THE ONE THAT STUCK
💌💌💌💌💌💌💌💌
1982
Luke Patterson's first crush ever was Haley Martin. He adored the colour of her hair — like the clementines his mom bought — and the way she finger-painted, enough for his four year old eyes to stare at her in awe.
He watched her make mud pies in the sandbox from the monkey bars, only to ruin them to get a rise out of her. He couldn't understand why she didn't like him the way he did, so he nagged his mom to explain.
"Teasing girls should be fun for them too, sweetheart," she soothed. "This Haley clearly didn't like it."
He blinked. "Huh?"
Her smile stayed warm, similar to hot chocolate and whenever grandpa conjured candies from behind his ear. "Why don't you share your grapes with her tomorrow? I'm sure she'll like that."
His nose scrunched up. "Why?"
"Because it's sweet, Luke."
"I don't get that," he shrugged. "But I'll try."
The next day, he sat beside her during storybook time and that seemed to help a little already. By the time it was lunch, her mood was lifted, which excited him too, and urged him to offer the grapes.
It earned him a featherlight kiss on the cheek.
Luke squeaked in surprise, flushing a firetruck red, to which she giggled and plopped another grape in her mouth.
Three days later, his crush was gone from his mind and he began sharing his grapes with his new friend Reginald instead.
1986
"Can you ask Jessica what she thinks of me?" Luke hurriedly whispered, eyes flickering between Reggie and the girl from across the courtyard.
Normally, Luke Patterson exuded confidence. The resident class clown, always opening his jaw to react to the teacher without raising his hand, catching fights with stupid classmates, sneaking into dad's stationwagon to create mixtapes.
Fearlessness was his freaking middle name. (It was actually Beck, but whatever. He wished it was something cool like Duran Duran though.)
But when it came to girls... he got so nervous. Because they were girls! He didn't understand them! They hated rambunctious boys and only listened to stupid pop music and blabbered about how they stole makeup from their sisters.
Jessica, however, somehow made his heart flutter and his stomach twist up. She just looked cool in her dungarees and she had a pretty smile and she didn't wear that overwhelming, sugary perfume that was now popular.
Reggie snickered, in the way only eight year old boys could. "You liiiiiiike her!"
"No!" He scowled. "I–I'm just curious."
"Sure," he drawled, but then shrugged in agreement, the oversized leather jacket rustling on his shoulders. He stole it from his older brother after he saw him kissing (!!!) some girl and figured it held some magic to impress the ladies with.
"Just do it!"
With a dramatic flourish, the boy left their hiding spot, Luke lurking around the corner of the alcove to watch. Jessica looked up from her hard work of creating friendship bracelets and smiled at Reggie.
Oh, gosh. She was pretty.
A minute later, a sheepish Reg slowly crawled back to him, cheeks red and fiddling with the zipper of his jacket.
Luke grabbed his shoulders, urgent. "What did she say?"
"Uh... well..."
"C'mon, dude!"
Reggie sighed. "She... likes me, buddy. Sorry."
His hopeful face crashed into one of devestation, quickly covering it up with a laugh and a squeeze of the shoulder. Oh, man, what would Steven Tyler do?
"That– that's dope!"
In the end, Reggie and Jessica were boyfriend and girlfriend for a week while he wrote an angry poem about how stupid dungarees were.
Huh... it was surprisingly good.
1988
"Hey, Luke," Gwenn greeted, shy, tucking her hands in her Camp Wacky Rocka hoodie. "I really liked that song you made about your guitar."
Jumping from the tree branch to the ground, Luke dazzled her with an appreciative smile. From above, Reggie and their new friend Alex watched on curiously.
"Thanks!"
Who would've thought that summer camp would be the first time he made a real, girl friend! Gwenn was super cool and she played the saxophone and she liked Joan Jett and her hair was all curly and big and it reminded him of pretty clouds.
Looking over her shoulder, he noticed a gaggle of girls staring at them. Like they were waiting.
Gwenn stared at him. "Can you close your eyes?"
He frowned. "Why?"
"Just 'cause."
Whatever. Maybe she wanted to show him something cool and would stick it in his hand. Complying, he closed his eyes and impatiently waited, bouncing on his heels.
"So?"
Suddenly, he felt a light, warm touch on his mouth and — oh! She was kissing him!
Luke staggered back in surprise, gawking at a blushing Gwenn as she squeaked a sorry and ran back to the now giggling and screeching girls. They ran away like a flock of birds.
It was a dare! His first kiss, stolen by a dare!
His boys jumped down beside him, awed.
Reggie hollered. "You kissed Gwenn!"
"I don't get it," Alex muttered.
Luke's face twisted up in a sour expression. Camp Wacky Rocka should be all about the music and becoming legends and Gwenn ruined it!
He stuck his tongue out. "Whatever. Let's go to the mess hall!"
1989
When Luke turned eleven, he kissed someone for real.
His birthday party was at the arcade, loud chatter and robotic sounds clashing together in an amazing cacophony. His parents hated the place, which is why Luke loved it.
Of the twenty guests, Yasmine clapped the loudest after he finished his song with the boys — Math Is For Losers! — and grabbed his hand as they walked to a duel game.
Luke felt fuckin' giddy the entire time. (Freakin' in front of his parents, fuckin' with friends.) The swoop in his stomach, his cheeks stretched into a wide beam.
Freshly eleven and the king of the arcade, he boldly asked if he could kiss her.
She smiled, her purple headband glittering in the neon lights, and nodded.
It was short and warm and her lips tasted like pink lemonade and sour gummies and it gave him an entirely new buzz. It was exciting.
He kissed her a couple more times the days after, eager and curious, until she claimed she was now only interested in twelve year old boys.
Since Luke now held the record of most kisses between him, Alex and Reggie, he wasn't too bothered by it. They shook hands, complimented each other on the kissing, and that was that.
1992
"Are you or are you not my boyfriend?" Olivia bit, crossing her arms.
Luke sighed, lazy gaze drifting from her to his band waiting by their bikes. Damn, he thought having a girlfriend would be way easier. Why was she so tense?
"I am," he said. "Why do you think I'm not?"
"Because you ignore me, like, all the time!" Pouting, she fiddled with the hem of her tartan skirt. "And now you're going to be with your band!"
He shrugged. "You can come with us and listen, if you want."
Luke met Olivia this year as deskmates in French class. Her raven hair was long and thick and her lips were all shiny from lip gloss and maybe he got a little cocky, thinking he could be dating the hottest girl of freshman year, so he naturally asked her out.
Maybe he should've considered beforehand whether they had anything in common, but he'd always been the overzealous type. And besides... she was a good kisser.
She scoffed. "That's not any better. Whatever. I'll just hang with Tina and Priscilla then. Laters!"
Plopping a kiss on his lips, she turned around and stalked to her whispering friends. Luke puffed, adjusted the beanie and made his way to the boys.
Girls were confusing.
"I bet dating boys is easier," Alex mused. "Like, equally terrifying, but also... easier. I think. Maybe."
Bobby laughed. "How's the girlfriend, Luke?"
"Ha ha," he deadpanned. "Let's go. I got this new song, Crooked Teeth, and it's a fucking banger!"
Olivia broke up with him after Sunset Curve's first, official gig at the arcade with the explanation that he loved music more than her. He never loved her to begin with, so maybe that was the problem.
She made out with Bobby that same night.
Holy shit, man. He supposed that bitter feeling at the sight of them tasted like rock 'n roll, the one thing he actually craved.
What a funny, funny feeling. (He wrote a hell of a lot of songs about it after. He never quite looked at Bobby the same way either.)
1995
"Hey, Maisie." Leaning against the locker beside the girl, he shot her a million dollar smile. "You comin' to our gig tonight? It's at The Orpheum."
Maisie was fucking awesome. Always in short, flowery dresses and fishnet tights and thick eyeliner like a rockstar, always listening to something new on her walkman. She came from a rich family, but that didn't hinder them from becoming friends.
Her jaw fell slack in awe, him instantly gaining more confidence. Ducking his head to meet her eye, he leaned a little closer. He knew damn well what he was doing, and he got a thrill every time it worked.
"Really?" She gasped. "That's awesome! I'll so be there!"
"Sweet," he grinned. "And stay after too."
A brow quirked up, intrigued. "Why?"
He shrugged. "Just 'cause."
"Right," she drawled. "Nothing is 'just because' with you, Luke."
"And that's why you gotta stay," he teased, nudging her shoe with his. "To find out."
If they rocked that gig and he felt like a fucking legend, he hoped it would end with the two of them hooking up. He wasn't interested in dating — having learned his lesson after Olivia — and he knew she wasn't either, but she was fun.
And that was the most important to him: to have fucking fun. Luke Patterson was here for a good time, not a long time.
And if nothing happened between him and Maisie, then he'd still feel like a legend. In a couple of hours, he was going to play at The Orpheum! How gnarly was that?!
2022
Twenty-seven years later, Luke was still seventeen years old. While he preferred to not question the science behind ghostly activities — he flunked physics anyway — he was happy that he froze at this age.
Because Julie was seventeen, too.
And, man. He was madly in love with her.
He loved everything, from the babyhairs curling around her ears, to her voice and compassionate soul, to her beautiful smile, all the way to her cute, doodled sneakers.
Her epic music taste, her snark, the way she always found his gaze, the way she finished his lyrics, the way she always knew what to say to make him feel better.
His heart melted to a flickering candle whenever she hugged him, a raging wildfire erupting between every kiss. He was a fool for her.
"Stop moving," she giggled, one hand coming up to hold his chin.
He grinned, "Sorry, Jules."
Shifting closer, she dabbled more glitter on his cheeks. They were playing at a black-light club tonight, so Julie and Flynn bought all the glow in the dark makeup available at the store for the occasion.
They looked ridiculous in daylight, Julie's weirdly pink lipstick claiming all his attention, but he knew they'd look fucking cool once the lights went down.
"You want to watch a movie after the gig?" she whispered.
Luke rolled his eyes, playful. "You're gonna fall asleep."
"Yeah." With a bashful tilt of the shoulder, she leaned in closer. "But then you'll be with me."
"Julie! How scandalous," he teased, though his chest swelled at the thought of having some alone time, some cuddle time, with Julie.
"So?"
Murmuring a yes, he closed the little distance to kiss her, sealing the deal, only for her to chase after him — an attempt to wipe the lipstick stain off his lips.
"Nah, keep it." A smirk grew. "So the people know."
She tsked. "Idiot."
"You like it."
"I'm still taking it off though, seeing as you're supposed to be a hologram," she pointed out. "But... you can kiss my lipstick away after the show."
He sighed, dreamy. "I love you."
Finishing his glitter and removing the stain, she dazzled him with a satisfied smile. "Love you too."
She rose up from the couch and went to search for Reggie, the boy likely with Carlos. For a moment, Luke was alone in the studio, allowing himself to sink into that warm, fuzzy feeling.
No matter how many blunders he went through with girls — Haley, Jessica, Gwenn, Yasmine, Olivia, Maisie — they all prepared him, in one way or the other, for Julie.
To not only recognise when an awesome girl was standing right in front of him, but also how to treat her — because Julie Molina deserved the fucking world.
Even if that world now included the supernatural.
Whatever. They were all a little crazy.
💌💌💌💌💌💌💌💌
@bluefirewrites @blush-and-books @pink-flame @ourstarscollided @constantly-singing @unsaid-emily @willexx
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Ring Ding Dong (English Translation)
I got extremely bored so i decided to translate Shinee’s Ring Ding Dong and adding my own little twist to it. I couldn’t get the song out of my head. (Guess you can say it was...ringing in my head-
Haha...not funny? )
All jokes aside, these are my lyrics/my translation. If you wish to use them by all means, use them! Just please credit me!
——————
Lyrics
Baby, I have fallen hard
So why treat me like this
There’s no use running, I’ll always find you
Why don’t you start trusting me firstly, my lady
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding
Butterfly was the first thing that came to mind
When I saw you as my heart had stopped
And a bell rang in my heart
People may not find me attractive, none the less
I don’t care about all those things
But I know I make a decent bad by
Just like a butterfly, you were so weak, it stopped my heart
So gentle, This won’t do- you need someone by your side
Now just trust me girl, trust me girl
I’ll be the one to take all your fears
You’re never out of my sight, I’m wrapped up in your love!
Baby, when you’re here- my breath hitches, oh crazy
God, you’re so pretty I get oh crazy
I need you, don’t care if I’m crazy
Why is this?
We wanna go rocka rocka rocka rocka rocka
(So fantastic)
Go rocka rocka rocka rocka rocka
(So elastic)
Fantastic fantastic fantastic fantastic
Elastic elastic elastic elastic
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding (I can here it ringing now)
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding (My head is calling out)
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding (My heart is calling now)
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding
I called you butterfly as the days are passing by
My mind is only filled with you girl, it drives me straight to the edge
Come on and choose me now (Please don’t turn away now)
Choose me girl (Please don’t turn away now)
I’m a love struck fool that has fallen for you, I’ll now be in your care
Baby, (Hey!) when you’re here- my breath hitches, oh crazy (Hey!)
God, you’re so pretty I get oh crazy
I need you, don’t care if I’m crazy
Why is this?
How come you’re still stuck in this stupid kindness syndrome facade
You know you can break out of that image, I won’t love you any less now
Break out (Hey!)
Break out (Hey!)
Break out (Hey!)
Break out (Hey!)
Ring ding ding ding ding di di di di di di di dong dong dong dong dong dong dong
I get so nervous about the way you think of me
I just know, in your mind, you might have a good impression of me
My heart pumps in fearfulness whenever I’m around you
I don’t wanna let you go!
Complicated girl
Please don’t turn away, have faith in me
I’m a decent guy- just trust me babe
My head will spin if you go away
Don’t be silly girl (oh silly girl)
You’re my miracle (my miracle)
If I can’t have you then I don’t want anything else in the world
Baby, (Hey!) when you’re here- my breath hitches, oh crazy (Hey!)
God, you’re so pretty I get oh crazy
I need you, don’t care if I’m crazy
Why is this?
We wanna go rocka rocka rocka rocka rocka
(So fantastic)
Go rocka rocka rocka rocka rocka
(So elastic)
Fantastic fantastic fantastic fantastic
Elastic elastic elastic elastic
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding (I can here it ringing now)
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding (My head is calling out)
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding (My heart is calling now)
Ring ding dong ring ding dong
Ring diggy ding diggy ding ding ding
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So. I have started summarizing episodes of avatar as I rewatch them.
Avatar s2e7: zuko on some "come back Shane" western wandering stranger shit. Azula was always evil and someone should have poisoned her fire flakes.
Avatar s2e8: further proof that Iroh is the best father figure ever. Ty Lee want that Sokka Cocka
Avatar s2e9: Aang is a soft hippy wimp while Sokka talks to fufu cuddly poops (Sokka acknowledges that meat and sarcasm are his whole identity) . Iroh wisdom and Zuko angst gets turned up to 11.
Avatar s2e10: Toph makes 2 of the best blind jokes in the series. Sokka thinks he can outsmart an all knowing spirit being .
Avatar s2e11: FRIENDLY MUSHROOM mushy GIANT FRIEND and Aang changes his name to Aangst. Iroh and zuko score pots through pai sho.
Avatar s2e12: Hi I'm jet and I always find a piece of wheat grass to put in my mouth regardless of location. Sokka doesn't want to lose another girlfriend after his last one turned into the moon. Cue Toph and suki slashfic
Avatar s2e13: Uncle Iroh got game, but stupid heats up tea with fire ending. Toph blind joke number 5, Ty Lee still wants Sokka to rocka her world (Sokka isn't NOT down, proving that p*ssy is power).
Avatar s2e14: the manchurian candidate episode. Jet mourns the loss of his blade of wheat grass as he exclaims that those tea makers made tea hot.
Avatar s2e15: one of the best episodes in the series. Sokka has haiku BARS. Zuko gets a date with a girl who is super smooth. Iroh makes everyone who isn't a monster cry.
Avatar s2e16: Appa is an adorable giant fluffy baby and everyone should love him.
Avatar s2e17: Toph blind joke number 7. Lake laogai is my safeword. Zuko face turn number 2.
Avatar s2e18: Team avatar basically blitzes through all the royal guards, the earth king rides appa. Zuko's cognitive dissonance makes him sick. Sokka thinks long feng is long gone.
Avatar s2e19: Onion and banana juice. Zuko smiles. Azula is still evil and conniving AF.
Avatar s2e20: Yeah daddy, let me heal your big bad scar with this magic liquid. Zuko heel turn number 2. Bosco good bear. PikAzula, Thunderbolt!
Avatar s3e1: someone could have at least given Aang a fade. Katara has issues with her dad leaving for the war, because she needed more reasons to cry this episode. Zuko knows Azula is up to something.
Avatar s3e2: The episode where Aang basically becomes Kevin bacon in footloose. Flamey-o hotman! Zuko hurts Iroh's heart.
Avatar s3e3: Katara is justice, Katara is the night.
Avatar s3e4: the gang doesn't know how to be funny or pass the time while Sokka becomes a padawan. Iroh is playing 3 dimensional mental chess.
#AvatarTheLastAirbender#Avatar#AvatarSummary#Zuko#Azula#Ty lee#lee#Katara#Sokka#Toph#Aang#Netflix#Iroh#Appa#Anime
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you can usually tell a lot about a person by the type of music they listen to. put your favourite playlist on shuffle and list the first ten songs then tag ten people! no skipping!
I was tagged by @neurosquared
I hit “shuffle all stations” in pandora, and got:
(Sittin’ on) the dock of the bay
by Otis Redding
Crazy in Love
by The Puppini Sistets
Istanbul (Not Constantinople)
by They Might be Giants
One More Time
by Daft Punk
A Million Ways
by Ok Go
This Year
by The Mountain Goats
Cuka Rocka (extended)
by Chingon
Nausicaa of the Valley of the Wind (Symphonic Poem 1st Movement)
by Joe Hisaishi
Funny Bunny
by The Pillows
Spirited Away - The Sixth Station
by Joe Hisiashi
I’m kinda disappointed more weird stuff didn’t show up. I have a image to maintain 😛
Uhhhhhmmmmmm... if it would amuse you to participate. @joekerspades @thedarkunknownmind @zhongluong
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The Space Games
I put hunger games and Sc5 together oh nooooooooo
TW??: People die and also semi brutal deaths..
i’m doing the entire thing so it’s under the cut baby
o,,,,oh,,so much has happened..Jaguar no, PADDING NO, MR GENTLE WHAT HEHS FiRKCANad
Soon-Soon needs to like,,look before she eats because SHE GOT POISONED TWICEA akdlmdsk, ALSO PINE BRUH WHAT...ULALA GOT A SPEAR TOOOOOOA?SDMKA
Can i get an F for these fallen soldiers...F
let’s keep going
HOW FUNNY PURGE DIED OF HYPOTHERMIA BEcAUSE TECHNICALLY IT WOULD HAPPEN,
Also MY WIFE KELL IS DEAD WTFWTFFtwftwFTFtfwt
rocka Billy just Beats Purge the king with his guitar akdmaslkdmsa
If Giant Evila almost killed Fuze(ingame) she can game end Noize, as a treat.
PON PIRIRI HAS NO KILL COUNT BUT THEN MAKES HOORG TO GAME END JAGUAR’S ALTER EGO OR THE LITERAL PRESIDENT OF MORODIANASDNLANNK
Kie also dies of hypothermia, rip to him
Another F for the fallen Tribute:
Noize and Purge are now making Bots in heaven along with Shadow, Kell is doing heaven Yoga, and Kie watches Lou from the stars
BRACK KILLS OUR MAIN REPORTER AND AN AI, CAN SOMEONE STOP HIM??!!?!?, also Glitter and Sexy 1(aka lily) bonding time
Noize thought abt winning and died, Lou YOU PROBABLY SHOIULDNT GO THE SAME ROUTE HE DID. Pine Kills a woman,,more at 5.
the “pon piriri dies of dysentery” is funny to me kadnlsa
ROCKA BILLY KILLS PEACE ARCHER STYLE hKLNKSNJ, Hoorg tending to Mimi’s wound is kind of a wholesome idea, another drawing idea ohohooho.
Pon Piriri and Peace are jiving together, Ulala and Mr,Gentle are patching up Bello’s wounds peacefully,all in space heaven hehe.
ROCKA BILLY KILLS HIS CO-WORKER WHAT!?!!?!?!?!? G.EVILA TRIES TO KILL A MAN BUT GETS KILLED HERSELF, AND WHAT DID TACHIBANA DO TO SCREAM FOR HELP WHAT????!!!!! also glitter n peace carrier bonding time
petition to take other-moro home :’),
ROCKABILLY IS ON A KILLING STREAK BRO IS EVERYTHING OK?????!!!!!
i’d write smth wholesome here but i have nothing but everyone is cheering on pudding playing her gweetar
unrelated but ROCKABILLY IS RUTHLESS,,CHILLLLLL
I THOUGHT YOU DIED PADDING?!?!?!? SHE CAME BACK also Im convinced that Mimi is humming Pine’s theme,,speaking of Pine i wonder where she is..oh nvm i didn’t even read it lol
finally, Rockabilly is bad at something for once lol,,,
FINALLY ROCKABILLY IS DEAD HE WAS OVERPOWERED,,
PINE YOU JUST TURN ON YOUR PALS LIKE THAT,ohhhhhh good comic idea owo!! ALSO OH GODDDDDDDD LOU IS DEAD WYFFTTFWTFTFTWFT
Evila is no longer an ally tho lol... tachibana tends to padding’s would so i guess tha heals the pain..
YALL LCKY I READ THE HUNGER GAMES AKSJDLK
also HOW DO YOU GRAB GLITTER AND ah i guess rheir all human sized lol..ALSO PINE BETRAYS ANOTHER ONE OF HER MEMBERED BRUHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!
also im just going to say it makes sense G.Evila survives survives because how do you sting a big metal baby
Lily and Mimi are now envious because Pine k-worded em, Glitter and the other-moro are not just vibing, and Evila(ally) and Hoorg fight rockabilly because he had the highest kill count of 4
PINE INHERITED ROCKA BILLY’S SANS ABILITY OH GOD ALSO G.PURGE IS DEAD IM GOING TO CRY... im so tempted to say her and Tachibana have a high kill count because ya know Pine has a crush on him but nooooo it's not even close, rockabilly and pine is the new ship lol..
4 people left i think, i dunno i can’t count atm...im just going to add that im sure G.Evila is going to die next because like,,,she’s kinda green/orange and ALSO REALLY VISIBLE IN PLAIN SIGHT AJDKLM
what other tributes
BRACK NOOOOOOO
I TOKE YOU BRACK DON’T THINK ABT WINNING OH HECKKKKKK
pine your lover just killed you wtfrick...(also..if you think abt winning your chances of dying is now raised to 50%)
I can’t beleive it....G.Evila won... Make Blank Proud G.Evila..
even if you’re a little traumatized
#me#space channel 5#The Space Games#that's the name of this thing sdkmldk#hunger games simulator#cherryflavoredart#yeah i drew that last bit lol
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TAG DIRECTORY
iron maiden & rocka rolla : general tag for qpp fun with ranmaru
iron maiden & rocka rolla art : all art (does not include Just Ranmaru pieces)
scribblings : all fic - includes proper finished pieces, some particularly fleshed out askbox answers, and most au content
jukebox : iron maiden/rocka rolla songs - mostly a disorganized selection of stuff that had the right Vibe in the moment
askbox games: what it says on the tin ; includes reblogs of others’ askbox game answers
memery: filling out meme templates & questionnaires, not the funny haha pictures lmao
au’s:
dragon AU (og @dekiaibadchoices / @utanoprinces )
Shining Quest AU (based off of my own crazy offshoot of the Shining Quest designs! )
florist and tattoo artist AU
pirate AU
gekkan shojo nozaki-kun AU
some other quick notes:
if you’re interested in playing around in my Shining Quest AU, fuckin go for it. I’m not comfortable sharing Ranmaru (feel free to make as much content as you like! just don’t tag me in it, haha) -- but DO tag me in any shit you do in it otherwise, please, I’d LOVE to see!
if I reblog your ship’s content and you have a tag name for it, I’ll usually try and copy that and keep it consistent. I tend to leave out emojis and much anything other than letters, though.
this blog is not discoverable; all specific tags will not (should not) show up in general tumblr searches
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George Harrison performing at the Royal Albert Hall (1992)
Guitar World Interviews George Harrison (released Jan. 2001 - original interview from 1992)
George Harrison looks back at the days when he played lead guitar in The Beatles, the greatest rock and roll band the world has ever known.
By Vic Garbarini
“So, you’re a real loony too,” laughs George Harrison, with the familiar droll, nasal Scouse (as they call it in Liverpool) accent. “Remember lying in that room all day, needle in your arm, feeling dazed, staring up at that ugly lime green ceiling?”
Well, yes, actually I do. And no, we weren’t shooting dope together in some dive. The lead guitarist of the most important group in rock history is reminding me of when we met a few years back in Dr. Sharma’s clinic in London. Sharma is an M.D. who is also an internationally recognized expert in alternative medicine - in particular, homeopathic and Indian Ayurvedic medicines - and it was these treatments that appealed to Harrison’s Eastern philosophic bent. Her waiting room looked like backstage Live Aid: Tina Turner and members of the Police, Pink Floyd - and of course an occasional Beatle - were drifting in and out. Through Sharma, I’d been promised an interview with George Harrison, and now 10 years later - we were finally sitting down to talk. It was late 1992, and George was promoting Live in Japan (Warner Bros.), the concert album of his 1991 tour with Eric Clapton and the last album he released to date.
So why is this interview finally finding its way to print eight years after the fact? Simple: it was lost. Parts had appeared in Guitar World and other places, but the body of the tape disappeared when the famous 1994 L.A. earthquake turned my apartment into a cosmic Cuisinart. Recently, while I was cleaning out a closet, the long-lost tape literally fell into my lap. The timing couldn’t have been better: All Things Must Pass, Harrison’s superb 1970 solo album, had just recently been issued in a remastered and expanded format. What’s more, the massive Beatles Anthology (Chronicle Books) has once again put the Fabs back in the limelight; but while the book is crammed with minutiae that will fascinate anyone with any interest in the Beatles, it contains little information on how the group created its music, the source of its internal conflicts or how those two elements interacted over the years.
I found that Harrison needed a little prodding before he would discuss the band’s inner turmoil. Once he opened up, though, he gave a most revealing and candid interview in which he expressed his true feelings for his fellow bandmates. Although Harrison was the first lead guitarist to become an equal in a major band (pre-Beatles guitarists like Scotty Moore, from Elvis Presley’s band, were clearly hired guns), he was sandwiched between the two most towering songwriters in rock history - and they often wanted to control his playing - or even do it for him. And of course, getting a decent hearing of his songs was no picnic either.
Perhaps it is for these reasons that Harrison has a reputation as the most dour of Beatles; yet he was witty and upbeat during our talk. He forgave Paul McCartney’s controlling tendencies and John Lennon’s indifference - but, it was clear, he hasn’t forgotten. He seemed emotionally evenhanded, even when angry, balancing the good with the bad and always seeing the positive dimension to all his struggles.
“I’m a Pisces, you know,” he joked. “One half always going back where the other half has been.”
George was also surprisingly willing to talk about the Beatles from the unique perspective of a guitarist as well as that of a composer. He told how he developed a guitar style that combined the music of the Mississippi Delta with that of India’s Ganges Delta, thereby creating his distinctive sound. He spoke of his relationships with Lennon and McCartney: who was more stimulating - and difficult - to work with, and why. He also described how he sneaked Eric Clapton into the studio to rescue one of Harrison’s greatest songs, “While My Guitar Gently Weeps.” And he answered the long-standing questions about whether he was bored during the making of Sgt. Pepper’s.
This may well be the most comprehensive, free-ranging discussion Harrison has ever granted on his years with the Beatles. So, now, here’s the man from the band you’ve known for all these years: Mr. George Harrison.
Guitar World: John Lennon said, “I grew up in Hamburg - not Liverpool.” Is that also true of the Beatles as a group?
George Harrison: Oh, yeah. Before Hamburg, we didn’t have a clue. [laughs] We’d never really done any gigs. We’d play a few parties, but we’d never had a drummer longer than one night at a time. So we were very ropy, just young kids. I was actually the youngest - I was only 17, and you had to be 18 to play in the clubs - and we had no visas. They wound up deporting me after our second year there. Then Paul and Pete Best [the Beatles’ first permanent drummer GW Ed.] got deported for some silly reason, and John just figured he might as well come home. But when we went there, we weren’t a unit as a band yet. When we arrived in Hamburg, we started playing eight hours a day - like a full workday. We did that for a total of 11 or 12 months, on and off over a two year period. It was pretty intense.
GW: Paul McCartney told me that playing for those drunken German sailors, trying to lure them in to buy a couple of beers so you could keep your gig, was what galvanized the band into a musical form.
HARRISON: That’s true, because we were forced to learn to play everything. At first, we played music of all our heroes - Little Richard, Fats Domino, Chuck Berry, Buddy Holly, the Everly Brothers, Ray Charles, Carl Perkins - anything we’d ever liked. But we still needed more to fill those eight-hour sets. Eventually we had to stretch and play a lot of stuff that we didn’t know particulary well. Suddenly, we were even playing movie themes, like “A Taste of Honey” or “Moonglow,” learning new chords, jazz voicings, the whole bit. Eventually, it all combined together to make something new, and we found our own voice as a band.
GW: I can see how all this musical stretching gave you the tools to eventually create your own unique sound. But it’s hard to believe drunken sailors would want to hear movie ballads.
HARRISON: No, we played those things because we got drunk! If you’re coming in at three or four in the afternoon with a massive hangover from playing all night on beer and uppers, and there’s hardly anybody in the club, you’re not going to feel like jumping up and down and playing “Roll Over Beethoven.” You’re going to sit down and playing something like “Moonglow.” And we learned a lot from doing that.
GW: Did those tight, Beatles vocal harmonies also come out of Hamburg?
HARRISON: We always loved those American girls groups, like the Shirelles and the Ronettes. So yeah, we developed our harmonies from trying to come up with an English, male version of their vocal feel. We discovered the option of having three-part harmonies, or lead vocal and two-part backup, from doing that old girl-goup material. We even covered some of those songs, like “Baby, It’s You,” on our first album.
GW: When you broke through in America, Carl Perkins and Scotty Moore, Elvis’ guitarists, were clearly your main influences as a guitarist. And, like them, you were using a Gretsch guitar. What was it about that rocka-billy style that captivated you?
HARRISON: Carl was playing that simple, amazing blend of country, blues and early rock, with these brilliant chordal solos that were very sophisticated. I heard his version of “Blue Suede Shoes” on the radio the other day, and I’ll tell you, they don’t come more perfect than that. Later, when we met Carl, he was such a sweet fellow, a lovely man. I did a TV special with him a couple of years ago and I used the Gretsch Tennessean again for that, the one I like to call the Eddie Cochran/Duane Eddy model. And you have to understand how radical that sound was at the time. Nowadays, we have all this digital stuff, but the records of that period had a certain atmosphere. Part of it was technical: the engineer would have to pot the guitar [adjust its level and tone] up and down or whatever. It was a blend that was affected by the live “slap echo” they were using. I loved that slap bass feel - the combination between the bass, the drum and the slap, and how they would all come together to make that amazing sound. We used to think that the drummer must be drumming on the double bass’ strings to get that slap back - we just couldn’t figure it out.
GW: The other major factor in your playing was Chuck Berry. I remember being a kid and hearing you do “Roll Over Beethoven” and thinking it was a Beatles song. We never heard black artists on the radio in those days.
HARRISON: Oh, that’s still happening. We did a press conference in Japan when I played live there with Eric Clapton [in 1991], and the first question was, “Mr. Harrison, are you going to play ‘Roll Over Beethoven’ in concert?” And when I said yes, the whole hall stood up and applauded! It was such a big thing for them, which seemed so funny. Then I realized they must still think I wrote it.
GW: Going back to the Beatles’ early touring days, Ringo Starr told me that you all gave up on playing live because you literally couldn’t hear each other, due to all the screaming and the primitive amplification.
HARRISON: We couldn’t hear a thing. We were using these 30-watt amps until we played Shea Stadium, at which point we got those really big 100-watt amps. [laughs] And nothing was even miked up through a P.A. system. They had to listen to us just through those tiny amplifiers and the vocal mikes.
GW: Did you ever give up and just mime?
HARRISON: Yeah, sometimes we used to play absolute rubbish. At Shea Stadium, [during “I’m Down,”] John was playing a little Vox organ with his elbow. He and I were howling with laughter when we were supposed to be doing the background vocals. I really couldn’t hear a thing. Nowadays, if you can get a good balance on your monitors, it’s so much easier to hear your vocals and stay in pitch. When you can’t hear your own voice onstage, you tend to go over the top and sing sharp - which we often did back then.
GW: The Beatles stopped touring in 1966 around the time of Revolver. That album was a quantum leap in terms of the band’s playing and songwriting. Rock could now deal with our inner lives, alienation, spirituality and frustration, things which it had never dealt so directly with before. And the guitars and music warped into a new dimension. What kicked that off? Was it Dylan, the Byrds, Indian music and philosophy?
HARRISON: Well, all of those things came together. And I think you’re right, around the time of Rubber Soul and Revolver we just became more conscious of so many things. We even listened deeper, somehow. That’s when I really enjoyed getting creative with the music - not just with my guitar playing and songwriting but with everything we did as a band, including the songs that the others wrote. It all deepened and became more meaningful.
GW: Dylan inspired you guys lyrically to explore deeper subjects, while the Beatles inspired him to expand musically, and to go electric. His first reaction on hearing the Beatles was supposedly, “Those chords!” Did you ever talk to him about the way you influenced each other?
HARRISON: Yes, and it was just like you were saying. I was at Bob’s house and we were trying to write a tune. And I remember saying, “How did you write all those amazing words?” And he shrugged and said, “Well, how about all those chords you use?” So I started playing and said it was just all these funny chords people showed me when I was a kid. Then I played two major sevenths in a row to demonstrate, and I suddenly thought, Ah, this sounds like a tune here. Then we finished the song together. It was called “I’d Have You Anytime,” and it was the first track on All Things Must Pass.
GW: Paul told me that Rubber Soul was just “John doing Dylan.” Do you think Dylan felt that?
HARRISON: Dylan once wrote a song called “Fourth Time Around.” to my mind, it was about how John and Paul, from listening to Bob’s early stuff, had written “Norwegian Wood.” Judging from the title, it seemed as though Bob had listened to that and wrote the same basic song again, calling it “Fourth Time Around.” The title suggests that the same basic tune kept bouncing around over and over again.
GW: The same cross-fertillization seemed to be going on between the Beatles and the Byrds around that time. Your song “If I Needed Someone” has got to be a tip of the hat to Roger McGuinn, right?
HARRISON: We were friends with the Byrds and we certainly liked their records. Roger himself said that the first time he saw a Rickenbacker 12-string was in A Hard Day’s Night, and he certainly stamped his personality onto that sound later. Wait - I’ll tell you what it was. Now that I’m thinking about it, that song actually was inspired by a Byrds song, “The Bells of Rhymney.” Any guitar player knows that, with that open-position D chord, you just move your fingers around and you get all these little maladies…I mean melodies! Well, sometimes maladies [laughs] And that became a thrill, to see how many more tunes you could write around that open D, like “Here Comes the Sun.”
GW: When you did that tour with Eric Clapton in Japan, you opened with “I Want to Tell You,” from Revolver. The song marked a turning point in your playing, and in the history of rock music writing. There’s a weird, jarring chord at the end of every line that mirrors the disturbed feeling of the song. Everybody does that today, but that was the first time we’d heard that in a rock song.
HARRISON: I’m really pleased that you noticed that. That’s an E7th with an F on the top, played on the piano. I’m really proud of that, because I literally invented that chord. The song was about the frustration we all feel about trying to communicate certain things with just words. I realized the chords I knew at the time just didn’t capture that feeling. So after I got the guitar riff, I experimented until I came up with this dissonant chord that really echoed that sense of frustration. John later borrowed it on Abbey Road. If you listen to “I Want You (She’s So Heavy)” it’s right after John sings “it’s driving me mad!” To my knowledge, there’s only been one other song where somebody copped that chord - “Back on the Chain Gang” by the Pretenders.
GW: Around the time of Rubber Soul and Revolver, you met Ravi Shankar and went to India to study Indian classical music, which is full of microtonal slurs and blends. When you came back, your guitar playing became more elastic, yet very precise. You were finding more notes between the cracks, like you can in Indian music - especially on your slide work. Is there a connection there?
HARRISON: Sure, because whatever you listen to has to come out in some way or other. I think Indian music influenced the inflection of how I played, and certain things I play certainly have a feel similar to the Indian style. As for slide, I think most people - Keith Richards for example - play block chords and all those blues fills, which are based on open tunings. My solos are actually like melodic runs, or counter melodies, and sometimes I’ll add a harmony line to it as well.
GW: Like on “My Sweet Lord” and the songs on your first solo album [All Things Must Pass].
HARRISON: Exactly. Actually, now that you’ve got me thinking about my guitar playing Indian music, I remember Ravi Shankar brought an Indian musician to my house who played classical Indian music on a slide guitar. It’s played like a lap steel and set up like a regular guitar, but the nut and bridges are cranked up, and it even has sympathetic drone strings, like a sitar. He played runs that were so precise and in perfect pitch, but so quick! When he was rocking along, doing these really fast runs, it was unbelievable how much precision was involved. So there were various influences. But it would be precocious to compare myself with incredible musicians like that.
GW: When you came back from India, did you intentionally copy on guitar any of the techniques you learned there?
HARRISON: When I got back from this incredible journey to India, we were about to do Sgt. Pepper’s, which I don’t remember much at all. I was into my own little world, and my ears were just all filled up with all this Indian music. So I wasn’t really into sitting there, thrashing through [sings nasally] “I’m fixing a hole…” Not that song, anyway. But if you listen to “Lucy in the Sky with Diamonds,” you’ll hear me try and play the melody on guitar with John’s voice, which is what the instrumentalist does in Hindustani vocal music.
GW: Paul told me you wanted to do a similar thing on “Hey Jude,” to echo his vocal phrases on the guitar, and that he wouldn’t let you. He admitted that incidents like that were one of the causes of the band’s breakup. And Ringo said you had the toughest job, because Paul in particular and George Martin as well would sometimes try and dictate what you should play, even on your solos.
HARRISON: Well, you know, that’s okay. I don’t remember the specifics on that song. [pauses] Look, the thing is, so much has been said about our disagreements. It’s like…so much time has lapsed, it doesn’t really matter anymore.
GW: Was Paul trying to just hold the band together, or was he just becoming a control freak? Or was it a little of both?
HARRISON: Well…sometimes Paul “dictated” for the better of a song, but at the same time he also pre-empted some good stuff that could have gone in a different direction. George Martin did that too. But they’ve all apologized to me for all that over the years.
GW: But you were pissed off enough about all this to leave the band for a short time during the Let It Be sessions. Reportedly, this problem had been brewing for a while. What was it that upset you about what Paul was doing?
HARRISON: At that point in time, Paul couldn’t see beyond himself. He was so on a roll - but it was a roll encompassing his own self. And in his mind, everything that was going on around him was just there to accompany him. He wasn’t sensitive to stepping on other people’s egos or feelings. Having said that, when it came time to do the occasional song of mine - although it was usually difficult to get to that point - Paul would always be really creative with what he’d contribute. For instance, that galloping piano part on “While My Guitar Gently Weeps” was Paul’s, and it’s brilliant right to this day. On the Live in Japan album, I got our keyboardist to play it note for note. And you just have to listen to the bass line on “Something” to know that, when he wanted to, Paul could give a lot. But, you know, there was a time there when…
GW: I think it’s called being human - and young.
HARRISON: It is…[sighs] It really is.
GW: How difficult was it to squeeze your songs in between the two most famous writers in rock?
HARRISON: To get it straight, if I hadn’t been with John and Paul I probably wouldn’t have thought about writing a song, at least not until much later. They were writing all these songs, many of which I thought were great. Some were just average, but, obviously, a high percentage were quality material. I thought to myself, If they can do it, I’m going to have a go. But it’s true: it wasn’t easy in those days getting up enthusiasm for my songs. We’d be in a recording situation, churning through all this Lennon/McCartney, Lennon/McCartney, Lennon,/McCartney! Then I’d say [meekly] can we do one of these?
GW: Was that true even with an obviously great song like “My..uh.”
HARRISON: "Piggies”? You mean “While My Piggies Gently Weep”? [laughs] When we actually started recording “While My Guitar Gently Weeps” it was just me playing the acoustic guitar and singing it [This solo version appears on the Anthology 3 CD-GW Ed.] and nobody was interested. Well, Ringo probably was, but John and Paul weren’t. When I went home that night, I was really disappointed, because I thought, Well, this is really quite a good song, it’s not as if it’s shitty! The next day, I happened to drive back into London with Eric Clapton, and while we were in the car I suddenly said, “Why don’t you come and play on this track?” And he said, “Oh, I couldn’t do that. The others wouldn’t like it.”
GW: Was that a verboten thing with the Beatles?
HARRISON: Well, it wasn’t so much verboten; it’s just that nobody had ever done it before. We’d had oboe and string players and other session people in for overdubbing, but there hadn’t really been other prominent musicians on our records. So Eric was reluctant, and I finally said, "Well, sod them! It’s my song and I’d like you to come down to the studio.”
GW: So did that cause more tension with the others? How did they treat him?
HARRISON: The same thing occurred that happened during “Get Back,” while we were filming the movie [Let It Be, (Apple Films) 1970]. Billy Preston came into our office and I pulled him into the studio and got him on electric piano. And suddenly, everybody started behaving and not fooling around so much. Same thing happened with Eric, and the song came together nicely.
GW: Yet, rumor has it you weren’t satisfied with your performance on the record. Why?
HARRISON: Actually, what I was really disappointed with was take number one [i.e., the solo version]. I later realized what a shitty job I did singing it. Toilet singing! And that early version has been bootlegged, because Abbey Road Studios used to play it when people took the studio tour. [laughs] But over the years I learned to get more confidence. It wasn’t so much learning the technique of singing as it was just learning not to worry. And my voice has improved. I was happy with the final version with Eric.
GW: Did you give Eric any sense of what you wanted on the solo? He almost sounds as if he’s imitating your style a lot.
HARRISON: You think so? I didn’t feel like he was copying me. To me, the only reason it sounds Beatle-ish is because of the effects we used. We put the “wobbler” on it, as we called ADT. [Invented by a Beatles recording engineer. ADT, or artificial double tracking, was a tape recording technique that made vocals and intruments sound as if they had been double tracked (i.e., recorded twice) to create a fuller sound. The technique also served as the basis for flanging.-GW Ed.] As for my direction I may have given him, it was just, “Play, me boy!” In the rehearsals for the Japanese tour, he did make a conscious effort to recap the solo that was on the original Beatles album. And although the original version in embedded in Beatles’ fans memories, I think the version we captured on the live album is more outstanding.
GW: Want to play rock critic for us and critique his playing?
HARRISON: Ah, well, he started out playing the first couple of fills like the original, and the first solo is kind of similar. But by the end of the solo he just goes off! Which is why I think guitar players like to do that song. It’s got nice chords, but it’s also structured in a way that gives a guitar the greatest excuse just to wail away. Even Eric played it differently every night of the tour. Some nights he played licks that almost sounded like flamenco. But he always played exceptionally well on that song.
GW: You talked about the pluses and minuses of working with Paul. What about John? He was a much looser, more intuitive musician and composer. Did you help him flesh things out?
HARRISON: Basically, most of John’s songs, like Paul’s, were written in the studio. Ringo and me were there all the time. So as the songs were being written, they were being given ideas and structures, particularly by John. As you say, John had a flair for “feel.” But he was very bad at knowing exactly what he wanted to get across. He could play a song and say, “It goes like this.” Then he’d play it again and ask, “How does that go?” Then he’d play it again - totally differently! Also his rhythm was very fluid. He’d miss a beat, or maybe jump a beat…
GW: Like a lot of old blues players.
HARRISON: Exactly like that. And he’d often do something really interesting in an early version of a song. After a while, I used to make an effort to learn exactly what he was doing the very first time he showed a song to me, so if the next time he’d say, “How did that go?” we’d still have the option of trying what he’d originally played.
GW: The melody on side two of Abbey Road is a seamless masterpiece. It would probably take a modern band ages to put together, even with digital technology. How did you manage all that with just four - and eight - track recorders?
HARRISON: We worked it all out carefully in advance. All those mini songs were partly completed tunes; some were written while we were in India a year before. So there was just a bit of chorus here and a verse there. We welded them all together into a routine. Then we actually learned to play that whole thing live. Obviously there were overdubs. Later, when we added the voices, we basically did the same thing. From the best of my memory, we learned all the backing tracks, and as each piece came up on tape, like “Golden Slumbers,” we’d jump in with the vocal parts. Because when you’re working with only four or eight tracks, you have to get as much as possible on each track.
GW: With digital recording today you can also do an infinite number of guitar solos. Back then, did taking another pass at a solo require redoing almost the entire song?
HARRISON: Almost. I remember doing the solo to “Something” and it was dark in the studio and everyone was stoned. But Ringo, I think, was doing a drum overdub on the same track, and I seem to remember the others were all busy playing. And every time I said, “Alright, let’s try another take” - because I was working it out and trying to make it better - they all had to come back and redo whatever they’d just played on the last overdub. It all had to be squeezed onto that one track, because we’d used up the other seven. That’s why, after laying down the basic track, we’d work out the whole routine in advance and get the sound and balance. You’d try and add as much as possible to each track before you ran out of room. On one track we might go, “Okay, here the tambourine comes in, then Paul, you come in at the bridge with the piano and then I’ll add the guitar riff.” And that’s the way we used to work.
GW: “Something” was your most successful song. I think every guitar player wonders, did you get that riff first?
HARRISON: No, I wrote the song on the piano. I don’t really play the piano, which is why certain chords sound brilliant to me - then I translate them onto the guitar, and it’s only C. [laughs] I was playing three-finger chords with my right hand and bass notes with my left hand. And on the piano, it’s easy to hold down one chord and mostly the bass note down. If you did that on the guitar, the note change wouldn’t come in the bass section; it would come somewhere more in the middle of the chord.
GW: But you did play that Beatles-sounding bridge riff in “Badge” on Cream’s Goodbye album, didn’t you?
HARRISON: No, Eric played that! He doesn’t even play on the song before that. We recorded that track in L.A.: it was Eric, plus Ginger Baker and Jack Bruce, and I think the producer, Felix Pappalardi, played the piano part. I was just playing chops on the guitar chords and we went right through the second verse and into the bridge, which is where Eric comes in. Again, it sounds Beatle-ish because we ran it through a Leslie speaker.
GW: Any contemporary bands that strike you as having a bit of the same spark that your early heroes had?
HARRISON: I can’t say I’ve really heard anything that gives me a buzz like some of that stuff we did in the Fifties and Sixties. The last band I really enjoyed was Dire Straits on the Brothers in Arms album. To me, that was good music played well, without any of the bullshit. Now I’m starting to get influenced by my teenage son, who’s into everything and has the attitude. He loves some of the old stuff, like Hendrix, and he’s got a leather jacket with Cream’s Disraeli Gearsalbum painted on the back. As for recent groups, he played me the Black Crowes, and they really sounded okay.
GW: You made music that awoke and changed the world. Could you sense that special dimension of it all while it was happening, or were you lost in the middle of it?
HARRISON: A combination of both, I think. Lost in the middle of it - not knowing a thing - and at the same time somehow knowing everything. Around the time of Rubber Soul and Revolver it was like I had a sudden flash, and it all seemed to be happening for some real purpose. The main thing for me was having the realization that there was definitely some reason for being here. And now the rest of my life as a person and a musician is about finding out what that reason is, and how to build upon it.
GW: Finally, any recent acid flashbacks you care to share?
HARRISON: [laughs] No, no, that doesn’t happen to me anymore. I’ve got my own cosmic lighting conductor now. Nature supports me.
#george harrison#john lennon#paul mccartney#ringo starr#the beatles#guitar world#eric clapton#bob dylan#ravi shankar#dhani harrison#carl perkins#scotty moore#the ronettes#the shirelles#rubber soul#revolver#sgt pepper#the white album#abbey road#let it be#all things must pass#1992#2001#hamburg days#live in japan#george and john#paul and george#george and ringo
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Swedish music in Swedish recs 2/2
Ted Gärdestad - Famous throughout the 70s and 80s he was only 15 when he started his career. He also worked a lot with the members of ABBA as they both worked for Polar music and Stikkan Andersson. Earlier this year a film about his life called “För kärlekens skull” was released and it was absolutely beautiful and sad.
- För kärlekens skull (For the sake of love)
- Jag ska fånga en ängel (I’m going to catch an angel)
- Oh, vilken härlig da’ (Oh, what a lovely day)
- Come give me love (it is in Swedish apart from the chorus. The backup girls are Agneta and Anne-Frid from ABBA)
- Himlen är oskyldigt blå (the sky is innocently blue) (There are English lyrics to this song and it then has the title “Blue virgin Isles” but the text isn’t as beautiful)
Timbuktu - His real name is Jason Diakité and has been active since the 1990s. However, his probably most iconic song which he won a grammy for (biggest Swedish music award) is “Alla vill till himmelen men ingen vill dö” which was released in 2005. This song brought him into the mainstream and he’s made more great music since.
- Alla vill till himmelen men ingen vill dö (Everyone wants to go to heaven but no one wants to die)
- Allt grönt (All green)
- Resten av ditt liv (The rest of your life)
- Inte stor nog (Not big enough)
- The botten is nådd (The bottom is reached)
Kent - The band has been active from 1990-2016 and was one of the biggest bands in Scandinavia. Although the band was for the most time considered rather alternative and “dark” they gained a massive following in their last years and with their final tour.
- Utan dina andetag (without your breathing)
- 999
- Gigi
- Socker (Sugar)
- Dom andra (the others)
Markoolio - Where does one begin with Markoolio? he is a Swedish/Finnish musician/actor/comedian. He is a big part of my generation’s childhood as he was part in kidsshows, comedy series and created awesome music at that time. His music is comedic in nature (something I didn’t understand as a child, I though he was legit) and he sort of playes this gangster rap persona who things don’t really work out for. You really should try to listen to it though and understand the lyrics, he is very funny.
- Jag orkar inte mer ( I cannot take it anymore)
- Rocka på! (Rock on!)
- Vilse i skogen (Lost in the forrest)
- Åka Pendeltåg (Going with commuter trains)
- Värsta schlagern (with Linda Bengtzing) (a parody on how to write schlager songs)
#markoolio#marko#marko lehtosalo#vilse i skogen#rocket league#jag orkar inte mer#åka pendeltåg#värsta schlagern#linda bengtzing#kent#999#socker#gigi#dom andra#utan dina andetag#timbuktu#jason diakite#alla vill till himmelen men ingen vill dö#allt grönt#ted gärdestad#för kärlekens skull#come give me love#abba#jag ska fånga en ängel#oh vilken härlig dag#himlen är oskyldigt blå
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#Yaaaoooo and ya don’t stop and ya don’t stop! Dre, you were definitely the Chief Rocka and always treated everyone like a King or Queen with that funny ass laugh/ grin- grunt of yours lmfaoooo!! One of things you’d always tell me; “ ok ok MikeBizzyB; Uptown’s fresh to death ( what he always called me) haha! It’s alright if you have to start over; win lose or draw make sure you do it all with your own style to it.” That’s was enough to put the battery in my back to win. Amongst so many more jewlz of Nile you would drop.. Damn Dre; this really hit us hard- my guy big bruv Unc but The Godfather who planted the seed for us in some way to grow from a branch from the tree of our royal fam! Love you Dre; thank you!! Rest in paradise - Shot fired by @JohnnyNunez • #Legend #Legendary #Crown #King #General #Uncle #BIGbrother #BronxBomber #Bronx #AndreHarrell #DrJekyll #DrJekyllAndMrHyde #UptownRocords the original #GrownAndSexy #ChampagneAndBubbles #UptownBounce #BadBoyEntertainment #HipHop #RnB #Art #Music #Fashion #Lifestyle #RegalFam #RoyalFlyness #Swaganomics #Swaganomatry the epitome of a true #Hustlerinstyle cc #princeoffashionmikeb https://www.instagram.com/p/B_-_J8Xgtbx/?igshid=rvojwaxnrq2d
#yaaaoooo#legend#legendary#crown#king#general#uncle#bigbrother#bronxbomber#bronx#andreharrell#drjekyll#drjekyllandmrhyde#uptownrocords#grownandsexy#champagneandbubbles#uptownbounce#badboyentertainment#hiphop#rnb#art#music#fashion#lifestyle#regalfam#royalflyness#swaganomics#swaganomatry#hustlerinstyle#princeoffashionmikeb
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Coolest pic ive ever took...
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I AM SHOCKED AND SURPRISED THAT I HAVE HEARD NOTHING ABOUT ANDRE BRAUGHER ON HERE
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For context by the way
My great grandparents were forced into nazi work camps and only escaped through sheer luck and a nazi soilder who had a change of heart.
The experience leading up to ww2 and escaping after have traumitized and ruined the lives of many of my family members who will never be able to get closure since half died without it.
They were just CHILDREN in the wrong place, at the wrong time, forced to do horrible things to survive.
So no.
I will never be on the side of the nations who think power is measured by how many innocents you can kill. What kind of dumb flex is that anyway?
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When bday dinner plans move from monday to tuesday
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Literally staring shaking crying at the screen waiting for "story of seasons: friends of mineral town" to go on game pass
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