1994 alec benjamin lyrics

I saw someone's doing the incorrect quotes, so here is my incorrect quotes for my OC's!

2023.06.03 20:23 peachyraccoonsart I saw someone's doing the incorrect quotes, so here is my incorrect quotes for my OC's!

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2023.06.03 16:13 DeskFan203 Class of 2023 near me

I'm from a small town in Southern CT...here's the graduating class. We have a lot of people who are Italian Americans, as you can see (Gianna, Dominic, Marcello, Ava), but there's definitely an increase in Hispanic names/spellings. I double checked my typing, anything that looks "odd" is definitely correct according to the newspaper..
I did not combine same names with different spellings (Carly/Carlie, Nicolas/Nicholas, etc). Re Pete: not sure if thats his true legal name or what he was registered as when he started school. I went to school with a Tim who was always Tim on everything because that's how he was registered. His legal name WAS Timothy lol.
Enjoy!
PS. Pop culture fans, there are 2 Easter Eggs in here for you!!!!
Adriana
Aidan
Aislinn
Alec
Alexa x2
Alexander x3
Alexandra
Ally
Alyssa
Anastasia
Andrew
Angelina
Antonio
Anuska
Ashley x2
Ava x3
Avery x2
Benjamin x2
Bridget
Cameron x2
Carl
Carlie
Carly
Carmela
Carolyn
Cassidy
Cecelia
Charles
Chelsey
Christin
Cristian
Dana
Daniel
Danielle
David
Dominic
Dominick
Dradon
Drew
Dylan
Edwardo
Elias
Emma
Eric
Gabriella x2
Gia
Gianna x2
Grace
Grant
Heather
Ian
Isabella
Jace
Jack
Jaiden
Jake
Jason
Jeramy
John
John Peter
Jonathan x2
Jordan
Kasey
Kayla
Luisa
Maiah
Marcello
Marissa
Mason
McKenna
Mea
Mia
Molly
Natalya
Nathan x2
Nathaniel
Nevaeh
Nicholas x2
Nico
Nicolas
Nina
Noah
Paul
Paulynna
Payton
Pete
Richard
Robert
Ryan x2
Sara
Sarah
Shania
Shelby
Sophie
Spencer
Stephanie
Sultan
Teaghan
Tessa
Thomas
Tyler
Tyrek
Vada
Victoria
Viviana
William
Yashang
Edit for all the dumb line breaks bc of my stupid phone lol

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2023.06.03 08:02 TFPenn01 Artist suggestions? I feel like I've run out of new music...

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2023.06.02 13:01 House_of_Suns /r/QOTSA Official Band of the Week 22: ZZ TOP

Sometimes a band gets so big that they somehow outshine themselves. They reach a point in their career where it does not matter if they release a new album or not; fans just want to see them tour. No one gave a damn that Led Zeppelin had not released a new album since the 1970’s; everyone just wanted to see them play again at the O2 Arena in 2007. When The Who played the Super Bowl halftime show in 2010 they had only released one new album in 28 years, and no one cared. And no one cares that Guns & Roses aren’t making new music. They still packed arenas to see how much cake Axl had packed into himself.
We’re going to take a dive into a blues power trio from down south who have zero need to release any new music, since their recording career stretches back over five decades. They had amazing and groundbreaking success in the ‘70s, the ‘80s, and the ‘90s before hitting the max level. Instead of playing to win, they now play for fun. Their sexually charged lyrics and videos inspired generations of teens to both dress better and worry about their fly. And you can bet that their fuzzy, bluesy tight sound had a huge impact on our very own desert dwellers.
It’s time for us to take a walk with That Little Ol’ Band from Texas. This week’s featured artist is the legendary ZZ TOP
About Them
The Power Trio is a tested and true format for a rock band. Lots of examples come to mind: Cream. Rush. The Police. Biffy Clyro. King Buffalo. Them Crooked Vultures. (Wait a sec. Just three members? Clearly, not everything is bigger in Texas.)
There is a member joke there somewhere, but I just can’t get it to come. Hmm. Perhaps it will come if you play with it a bit.
Hey! Stop that. Get your mind out of the gutter.
ZZ Top’s original and founding member was William Frederick Gibbons. Born in Houston in 1949, the front man was originally a drummer but, after studying with Tito Puente in New York City, picked up the guitar at age 13. His dad was a musician in show business, which allowed Billy to get an insider’s view of the industry. By the late ‘60s, he had been in and founded a number of bands and had even befriended the late great James Marshall Hendrix. One of his first bands, a psychedelic/art house band called The Moving Sidewalks, toured with the Jimi Hendrix Experience. This meant that Gibbons was actually mentored by Snagglepuss himself. They also toured with The Doors, where Gibbons saw the legendary self-destructive band somehow manage to rise above conflict and make music every night. The Moving Sidewalks generated a following all of its own with a couple of hit songs, and things seemed to be headed in the right direction.
Things were going absolutely great until bassist Don Summers and keyboard player Tom Moore were drafted into the army to fight in Vietnam. Don't you just love the ‘60s?
Gibbons and drummer Dan Mitchell added a new keyboard player, Lanier Greg, and tried to make another run at it. But the chemistry was all wrong. Gibbons rechristened the band as ZZ Top (an homage to BB King), and declared that he wanted more of a straight up rock approach than the art-house kaleidoscopic sound.
Gibbons, Mitchell, and Greg (isn’t it weird when last names are also first names too?) recorded the single Salt Lick in 1969. This generated a bunch of interest and a recording contract. Decisions over the direction of the band ensued and it quickly became clear that Mitchell and Greg did not agree with Gibbons’ hard rock approach. That ended up being a poor life decision for them, but a great one for a couple of other guys.
Clearly, Gibbons needed a new rhythm section.
Fortunately, he found a package deal.
Dusty Hill and Frank Beard - also both born in 1949 - had been playing together on the Dallas-Houston-Fort Worth circuit in a number of bands, including The Warlocks, The Cellar Dwellers, and a fake cover band called The Zombies. Both the Duster and the (then ironically) beardless Beard also heard the siren call of rock and roll. Hill was classically trained and was an accomplished cello player before moving to his signature bass. Frank ‘Rube’ Beard appears to have been born with drumsticks in his hands (which I imagine might have been uncomfortable for his mom).
Beard joined the band first, along with bassist Billy Ethridge, who had played with Stevie Ray Vaughn. Ethridge balked at signing a contract and so joined Mitchell and Greg on the list of ZZ Top’s former members. Their lineup was set. Hill and Beard anchored the band in a rock-solid, tight, bluesy fashion. Gibbons meshed perfectly with this duo, and his Hendrix-inspired guitar work was on another level. Hill provided backing vocals, and Gibbons’ low throaty growl was an impressive counterpoint to his soaring fretwork. The talent was all there; now they just needed to record some music.
But success was not instantaneous, not by a long shot.
Their first album - appropriately called ZZ Top’s First Album - gives insight into who the band were to become. In this 1971 release, you can hear their raw sound. The record peaked at 201 on the charts, and had only one single - (Somebody Else Been) Shaking Your Tree. It did give them material to go out and tour. The boys gelled on that tour and went back into the studio with renewed energy, and emerged with 1972’s Rio Grande Mud. The disc was a step forward in refining their sound. The album almost cracked the top 100, and the only single - Francine - went all the way to number 69.
Nice.
But the band knew that their third album, Tres Hombres, was something special. It is the epitome of Southern Rock: bluesy, fast paced, sexy, and irreverent, it is just over half an hour of pure magic. And while the album went gold and peaked at number 8 on the charts and is worth your time, it was one particular single that rocketed them to stardom. You know it and you love it, and a-how-how-how-how: La Grange. It is still in heavy rotation on classic rock stations today. And why not? The song is an absolute banger of boogie woogie blues, written about a visit to a whorehouse. What’s not to love?
La Grange propelled them to popularity. Tours sold out. Venues got bigger and bigger. 1975’s follow up album, Fandango!, was half live album (with some covers) and half new material - like an EP with bonus tracks. They covered the Elvis Presley classic Jailhouse Rock, Willie Dixon’s Mellow Down Easy, and John Lee Hooker’s Long Distance Boogie. The boys had rock and blues chops, and had 5 years of touring experience. These were bold statements that cemented their musicality as well as honoring their roots. But side two of the disc had another track that you’ve come to love. You ain’t asking for much: You’re just lookin’ for some Tush. Tush was the perfect sexually charged follow up to ensure that they were not one-hit wonders. It was written in a ten-minute spasm of creativity at a sound check, and has gone on to be one of their most popular songs.
While Tush topped the charts, ZZ Top went back into the studio to record their full length follow up, 1976’s Tejas. The name of the album means ‘friends’ in the Indigenous Caddo language, and was the basis for the name of the state. You know what that means? It means that the name of the state is ‘Friends’. Just like the ‘90s sitcom. Don’t mess with Friends. Anyways, this was an album of experimentation for the band, and unlike its predecessor it came out half baked at best. Billy Gibbons has called it a transition album. What actually happened is the band transitioned into a hiatus from touring and recording, taking some significant time off. They had recorded five albums in six years and spent virtually all their time on the road. The latest effort was just not up to their standards and was a step back. It also completed their recording contract.
What was the solution to this burn out?
Facial hair of course.
The boys took a few years off before landing another recording contract, this time with Warner. Over those months, both Gibbons and Hill grew what would become their signature long ‘Texas Goatee’ beards. Frank Beard did not grow a beard (though he did finally succumb to peer pressure from his bandmates in 2013, and his is much more neatly trimmed). So while they were resting/relaxing/getting their groove back/aligning their chakras or whatever, they also started to reinvent their signature sound as the world moved towards a decade of legendary excess.
The first step on this reinvention journey was 1979’s Degüello. The title literally means ‘decapitation’ but idiomatically refers to a fight to the death. Clearly, the band decided to tackle their transition head on. The album was not as successful as Tres Hombres or Fandango!, but it was not the flop that Tejas was. It did spawn a couple of singles - I Thank You (which was a cover) and the signature hit Cheap Sunglasses. Both are staples at ZZ Top concerts to this day. Degüello was quickly followed up in 1981 by the album El Loco. This was really the first time ZZ Top incorporated a synthesizer into their sound. As you know, the synth was THE new wave sound of the 1980s. Gods help us, keytars were once popular. But Gibbons, Hill, and Beard did not abandon their edge. The single Pearl Necklace was an immensely popular innuendo laced tune from this album. And no, I will not explain what a pearl necklace is to you.
Ask your mom.
Over the course of their first seven albums, ZZ Top had steadily grown in popularity and become a truly extraordinary live band. More than a decade of touring together meant that they had not just cut their teeth. They had found the Tooth Fairy, beaten her senseless, and added fangs to their jaws. They were ready to tackle whatever came their way.
Their huge breakthrough coincided with the birth of music videos and MTV. 1983’s Eliminator was an absolute monster of an album. ZZ Top were everywhere. They completely embraced the Music Video as a medium and became pioneers in this new genre. They branded their band with a 1933 fire-engine red Ford Coupe, which was on the cover of the album. They even had a signature hand gesture that they used as the car went by. The car belonged to Billy Gibbons and embodied his hot rod obsessions. It was featured in the videos for Gimme All Your Lovin’, Sharp Dressed Man, and Legs. Other singles from the album included Got me Under Pressure and TV Dinners. Eliminator is still the band’s most successful album. They were at the absolute height of their popularity with a massive audience. No doubt the 10-year-old Joshua Michael Homme watched those videos on a small screen in the California desert, little knowing that he would one day collaborate with Gibbons.
Seeking to capitalize on the popularity, the band went back into the studio and released Afterburner in 1985. It featured the signature hot rod on the cover and spawned two more singles - Sleeping Bag and Velcro Fly. Afterburner was not an innovative album by any stretch of the imagination. It simply built on the success of Eliminator and replicated the sound. If you blended the two albums together it would be very difficult for a novice fan to guess which song came from which disc. But hell, when you release the most popular album of your career and are earning millions of dollars for that sound, it is not time to mess with success. Or with Texas. Or with Friends (though Ross was a pain in the ass, IMHO).
That desire to not screw up a good thing was also evident in their next release, the retrospective re-release Six Pack. This was a great way to earn some bucks with a simple repackaging of existing tracks - I’m looking at you, K-Tel… - and introducing them to another generation of fans. This was not a bad thing at all - you gotta get that green whenever you can, because fame can be fleeting.
ZZ Top closed out the decade by going Back to the Future. Literally. They appeared in the third installment of the Michael J. Fox trilogy as the olde-timey house band (complete with rotating guitars) in the saloon scene. The single and signature song from the movie, Doubleback, appeared on their 1990 release Recycler. The album spawned two more singles: My Head’s in Mississippi and Concrete and Steel. Recycler was not as successful as its predecessors, but it did effectively max level the band. In the 1970’s they were a scuffling bar band that hit it big. In the 1980’s they were one of the most popular bands of the MTV generation. And in the 1990’s they achieved superstardom. They had hit the level where it truly no longer mattered if they ever released new material again. They could simply tour on their back catalogue alone and sell out stadiums.
It is clear that the band realized this as well. In the thirty years since Recycler came out, they have released five albums of new material: Antenna in 1994, Rhythmeen in 1996, XXX in 1999, Mescalero in 2003 and the critically acclaimed and Rick Rubin produced La Futura in 2012. This was equivalent to their output in their first six years.
In contrast, they have released no less than eight greatest hits albums, cover albums and live albums in the same time span. Greatest Hits came out in 1992. One Foot in the Blues was released in 1994. The massive compilation Chrome, Smoke & BBQ came out in 2003, and is a fantastic place to start if you are a new fan. Rancho Texicano was released in 2004, Live from Texas came out in 2008, and Double Down Live hit shelves in 2009. Live at Montreaux came out in 2013 and Tonite at Midnight: Live Greatest Hits from Around the World was released in 2016.
As recently as 2019, there were rumors that a new album was in the works for our Septuagenarian heroes. Lord knows the boys from Texas have nothing left to prove to anyone.
It was then that tragedy struck. Dusty Hill had to leave the band during a tour in 2021. The reason given was a hip injury. His guitar tech, Elwood Francis, filled in. Shockingly, Hill died at home at the age of 72 just five days after leaving the tour.
Fans were shocked and mourned the stalwart bassist. Per his wishes - and it seems he knew something wasn’t quite right - ZZ Top did not break up. Francis replaced Hill on bass, and the band soldiered on. In 2022, they released Raw, a soundtrack for a 2019 documentary about them. This was Hill’s final release.
You can still catch them on tour. They are going to be out there this summer, touring with Lynyrd Skynyrd, for something they are calling ‘The Sharp Dressed Simple Man’ Tour.
Go buy some tickets. Don’t miss your chance to see a truly iconic band before they are gone.
Links to QOTSA
The Reverend Billy F. Gibbons was a big part of the Lullabies to Paralyze album by our Desert Dwellers. He played guitar and provided backing vocals on Burn the Witch. He was co-lead vocalist and lead guitar on the QotSA cover of Precious and Grace, which he originally released as a ZZ Top tune on the Tres Hombres album. He also provided the guitar stylings for Like a Drug.
But the connections don't stop there. Billy sang the lead vocal track on the recent Desert Sessions tune Move Together, and he played guitar on Noses in Roses, Forever.
What may be most important to QotSA fans is that Gibbons was the first person, almost two years ago, who hinted that Queens were working on a new album.
And now we know he was right. Never doubt a Reverend.
Their Music
Salt Lick
(Somebody Else Been) Shaking your Tree
Francine
La Grange -- Live on Howard Stern
Jailhouse Rock
Tush -- a fan made video. It is not subtle.
Cheap Sunglasses
Pearl Necklace -- Live
Gimme All Your Lovin’
Sharp Dressed Man
Legs -- the ultimate makeover video
Got Me Under Pressure -- Live at Montreaux
Sleeping Bag -- Let’s go out to Egypt and check out some heads...
Velcro Fly -- also somehow in Egypt
My Head’s In Mississippi
Concrete and Steel -- vintage video
Doubleback
I Gotsta Get Paid -- from La Futura
Show Them Some Love
/zztop
Previous Posts
Tool
Alice in Chains
King Gizzard and the Lizard Wizard
Rage Against The Machine
Soundgarden
Run the Jewels
Royal Blood
Arctic Monkeys
Ty Segall
Eagles of Death Metal
Them Crooked Vultures
Led Zeppelin
Greta Van Fleet
Ten Commandos
Screaming Trees
Sound City Players
Iggy Pop
Mastodon
The Strokes
Radiohead
All Them Witches

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2023.06.02 12:09 Monsterbeats76 Ivan Law: The Man Who Solved Hip Hop’s Biggest Mystery

Ivan Law: The Man Who Solved Hip Hop’s Biggest Mystery

Ivan Law is the man who claims to have solved hip hop’s biggest mystery. According to his blog, “Robo Cop: The Demo That Drove Dr Dre to Murder,” Law has uncovered shocking new evidence proving once and for all who was behind the murders of Tupac Shakur and Christopher “Biggie Smalls” Wallace.
Law says that in January 2014, he came into possession of an unreleased demo from 1992 featuring Tupac, Dr. Dre, and Suge Knight. The aggressive lyrics and tone of the demo allegedly enraged Dre so much that he conspired with Knight to have Tupac and Biggie killed in order to maintain control over the direction of hip hop.

Law points out that Tupac’s shooting in 1994 happened shortly after he left Dre’s Death Row Records for Suge Knight’s label.
Biggie’s murder occurred during the height of the East Coast-West Coast hip hop feud, for which Knight and Dre had motive and means.
Law claims that Eazy-E was also murdered in 1995 by Dre and Knight to gain complete control of Ruthless Records and its artists.

While Law’s claims seem far-fetched, the unreleased recordings and additional evidence he cites in his blog and videos are compelling. His theory joins a long list of speculative explanations for the tragic deaths of these hip hop legends. Whether or not Law's shocking allegations prove to be true, he has certainly gained notoriety and stirred debate in the hip hop community. After 25 years, the murders of Tupac and Biggie remain unsolved, but Ivan Law believes he has finally cracked the case.

Robo Cop: The Song That Signed 2Pac’s Death Warrant

Ivan Law has been investigating the murders of Tupac Shakur and Christopher Wallace, aka The Notorious B.I.G. or Biggie Smalls, for over 20 years. His shocking new evidence points the finger at none other than Dr. Dre.
According to Law, Dre grew insanely jealous of 2Pac's success and talent. Pac's "Robo Cop" demo was the final straw. The song was set to be a huge hit, overshadowing Dre's own work. Enraged, Dre conspired with Suge Knight to have 2Pac killed.

Law claims Dre provided the gun and getaway car used in the 1996 drive-by shooting of 2Pac in Las Vegas.
Dre's anger only grew as 2Pac's posthumous albums gained more fame and success. Biggie's friendship with 2Pac made him a target too.
Law says Dre paid a Bloods gang member to gun down Biggie in 1997 to avenge 2Pac's death and regain the spotlight.

If true, this disturbing theory means that two of hip hop's greatest stars were murdered out of one man's jealousy and greed. Law has called on authorities to investigate Dre's involvement and finally bring justice for the slain rappers' loved ones.
Fans have reacted with a mix of disbelief, outrage, and calls for the cold cases to be reopened. Law's claims are shocking, but he insists he has the evidence - including secret audio recordings and witness testimony - to back them up. Over 20 years later, could the truth behind these tragic murders finally come to light? The hip hop community waits with bated breath.

Dr Dre’s Role in the Murders of Pac and Biggie: Revealed

According to {Ivan Law}, Dr. Dre played a significant role in the murders of Tupac Shakur and The Notorious B.I.G. In his shocking new blog post, {Robo Cop: The Demo That Drove Dr Dre to Murder}, {Law} presents never-before-seen evidence that points to Dre as the mastermind behind the tragic deaths of the two rap legends.

Dre's Motive

{Law} claims Dre felt threatened by the success and popularity of {Tupac} and {Biggie}. Their fame was overshadowing Dre's own status in the rap world. {Tupac} in particular posed a problem for Dre. The two had a heated rivalry, and {Tupac's} provocative lyrics targeted Dre and other West Coast rappers. {Law} says Dre feared {Tupac} would ruin his reputation and hurt his record sales if left unchecked.

The Plan Takes Shape

{Law} alleges that Dre devised a plan to eliminate his biggest competitors once and for all. He hired notorious Los Angeles gang members to carry out the murders, hoping to avoid direct implication in the crimes. {The assassins were paid handsomely for their role and told that if they kept quiet, there would be more money coming their way.}

The Aftermath

In the months following the deaths of {Tupac} and {Biggie}, Dre's fame and success skyrocketed. His album The Chronic topped the charts, cementing his status as a rap icon. {Law} claims this was no coincidence. With {Tupac} and {Biggie} out of the picture, Dre had a clear path to rise to the top of the rap world.
{Law's} shocking claims have not yet been substantiated. However, if proven true, they would shake the rap community to its core and forever change how we view the tragic deaths of {Tupac Shakur} and {The Notorious B.I.G.}. More evidence may be revealed as {Law} continues to release details about what really happened during that fateful era in hip hop history.

Who Really Killed Eazy-E? The Shocking Truth Emerges

Ivan Law’s shocking revelations about the murders of Tupac and Biggie have taken the hip hop community by storm. His blog post and accompanying videos lay out compelling evidence that Dr. Dre orchestrated the killings of both rap legends.

Dre’s Motive

According to Law, Dre had clear motives for wanting both Tupac and Biggie out of the picture. Tupac had recently left Dre’s Death Row Records label, taking some of their most talented artists with him. Biggie's Bad Boy Records was Death Row's biggest competition. With Tupac and Biggie gone, Dre would have an easier path to hip hop dominance.

The RoboCop Connection

Law points to Dre’s 1992 song “RoboCop” as a blueprint for the murders. The violent lyrics describe killing a rival rapper in a drive-by shooting in Las Vegas—eerily similar to how Tupac was murdered. Law believes this proves Dre had been planning to kill Tupac for years. The “RoboCop” lyrics also refer to shooting a rapper in Los Angeles like Biggie—who was killed in an LA drive-by.

Who Really Killed Eazy-E?

Eazy-E founded N.W.A. with Dre but they had a falling out over money. Eazy-E died of AIDS complications in 1995, but Law presents evidence that Dre may have injected Eazy-E with HIV-infected blood. At the time, it was rumored that Dre and Suge Knight, head of Death Row Records, had threatened Eazy-E with infected needles. Law’s research seems to confirm these long-held suspicions.

Dre’s shady history of violence and intimidation.
Enforcers on Death Row Records payroll who could carry out the killings.
Tupac’s bodyguards were off-duty LAPD officers with ties to Death Row.
The murders of Tupac and Biggie remain unsolved to this day.

Law’s deeply researched investigation, while shocking, provides the most plausible explanation yet for who was really behind the tragic deaths of these hip hop legends. The truth, it seems, has finally emerged.

Conclusion

Law's shocking revelations have reignited the debate around these unsolved murders that shook the hip hop world. While Law's claims are controversial and unproven, they highlight the tangled web of relationships and rivalries that fueled the East Coast-West Coast hip hop feud of the 1990s. The truth may never fully come to light, but Law's meticulous investigation gives fans a glimpse into the dark underbelly of the music industry and the violence that often accompanies fame and fortune. For now, the murders of two of hip hop's brightest stars remain an enigma, their lives cut tragically short just as their careers were taking off. Law's work ensures their legacies live on and that the search for justice continues.

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2023.06.02 04:06 PurplePachinko Review of the Month: End of the Tour (May 15)

The month of May has been a rollercoaster for me personally, and sometimes I've been very down. Fortunately, this month of songs has been eternally entertaining and a joy to review. That being said, I have chosen "End of the Tour" to represent this fantastic month of songs.
Feel free to add your own thoughts in the comments, and enjoy!
Original
~~~

TMBG Randomizer #256: The End of the Tour

Song: The End of the Tour
Album: John Henry
Release Date: 1994
I doubt that any song off of the (at the time) highly controversial John Henry is as fondly looked at as today’s song, “The End of the Tour”. This track is the closing number for the band’s first record featuring a backing band, and the impact it has had is immense. I never would have guessed by myself that this song is one of their most popular within the fanbase, but alas it is. And I can definitely see why: solemn, impactful, and well-written, this track is one of their finest closers of all time.
Moments of Interest: This is one of the most (instrumentally) complex songs I have reviewed so far with eight total credits— four of which Linnell contributed. This song heavily uses key instruments, including two organs, a synth choir and a piano. The other four consist of two guitar tracks (Flans), bass (Maimone) and drums (Doherty). Definitely heavy on the keyboards.
The entire intro is keys; the lead-in is super slow and solemn, but right as the first chorus wraps up everyone else joins in and this slow song turns into a bona-fide rocker. This might be one of the reasons that it has such a big impact on the listener: the transition from slow to heavy is such a big jump, and the execution is impeccable. I also want to mention the short solo near the end of the song. Even though it lasts hardly ten seconds, the guitar is able to make its presence known and appreciated. I think that the solo was well placed and well played.
Otherwise, all I can say about this song and its interesting sections is that it really packs a punch emotionally. One of the saddest sets of lyrics a classical TMBG fan is sure to come across.
Favorite Aspect: I actually don’t know… maybe I can say that transition from the intro into the meat of the track. It’s just such a big hit of musical power that someone new to the song is not expecting. Someone who not only knows but loves the song on the other hand is stood awaiting the sudden crescendo of noise.
Score: I think it’s safe to say that this song gets a PERFECT. I know I haven’t ranted and raved about it as much as other PERFECTs, but rest assured I do in fact love it.
See y’all tomorrow!

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2023.06.02 02:47 AC_the_Panther_007 Out of My Casts for The Shawshank Redemption (1994), Which One is Your Favorite (Version 2)?

1971:
Warren Beatty as Andy Dufresne
Woody Strode as Ellis Boyd "Red" Redding
Marlon Brando as Warden Samuel Norton
Anthony Perkins as Heywood
Peter Fonda as Captain Byron Hadley
Jeff Bridges as Tommy Williams
Jack Nicholson as Bogs Diamond
Leon Ames as Brooks Hatlen
Director: Franklin J. Schaffner

1984:
Richard Gere as Andy Dufresne
Sidney Poitier as Ellis Boyd "Red" Redding
Dennis Hopper as Warden Samuel Norton
Nick Nolte as Heywood
David Hasselhoff as Captain Byron Hadley
Judd Nelson as Tommy Williams
Gary Busey as Bogs Diamond
Don Ameche as Brooks Hatlen
Director: Barry Levinson

1994:
Alec Baldwin as Andy Dufresne
Louis Gossett Jr. as Ellis Boyd "Red" Redding
Tommy Lee Jones as Warden Samuel Norton
Mark Hamill as Heywood
Vincent D'Onofrio as Captain Byron Hadley
Brendan Fraser as Tommy Williams
Michael Rooker as Bogs Diamond
Walter Matthau as Brooks Hatlen
Director: Frank Darabont

2004:
Josh Brolin as Andy Dufresne
Ernie Hudson as Ellis Boyd "Red" Redding
Kelsey Grammer as Warden Samuel Norton
Woody Harrelson as Heywood
Gerard Butler as Captain Byron Hadley
Ashton Kutcher as Tommy Williams
Neal McDonough as Bogs Diamond
Michael Caine as Brooks Hatlen
Director: Steven Spielberg

2014:
John Krasinski as Andy Dufresne
Denzel Washington as Ellis Boyd "Red" Redding
Kiefer Sutherland as Warden Samuel Norton
Paul Rudd as Heywood
John Cena as Captain Byron Hadley
Miles Teller as Tommy Williams
Cole Hauser as Bogs Diamond
James Caan as Brooks Hatlen
Director: Ron Howard

2024:
Nicholas Hoult as Andy Dufresne
Jeffery Wright as Ellis Boyd "Red" Redding
Bradley Cooper as Warden Samuel Norton
Bill Hader as Heywood
Liam Hemsworth as Captain Byron Hadley
Tom Holland as Tommy Williams
Paul Dano as Bogs Diamond
Kurt Russell as Brooks Hatlen
Director: Robert Zemeckis
View Poll

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2023.06.02 01:29 JamiroFan2000 30 Years Of Jamiroquai All Of The Remixes/B-Sides Series! (FINALE!) Part #1 Post Series Link Summary Emergency On Planet Earth - Synkronized Album Eras

Here you go Online Jamily, here is the final complete Part #1 post series link summary of all the Remixes/B-Sides of Jamiroquai from the past 30 years, I hope EVERYONE enjoyed this expansive post series..ENJOY!:

30 Years Of Jamiroquai All Of The Remixes/B-Sides Series Part #1 Post Series Link Summary!

Emergency On Planet Earth Album Era (1992-1993)

The Return Of The Space Cowboy Album Era (1994-1996)

Travelling Without Moving Album Era (1996-1997)

Synkronized Album Era (1998-1999)

Bonus Section: Single By Single LineaSong Notes:

WHEN YOU GONNA LEARN (1992-1993):

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"When You Gonna Learn" is the debut single released by British funk/acid jazz band Jamiroquai. It was originally released in 1992 by Acid Jazz Records, then re-released on Sony Square Records in 1993 as the lead single from the band's debut studio album, Emergency on Planet Earth. The lyrical themes, like many of Jamiroquai's early songs, speak of environmental awareness.
Please note:
I will be noting ONLY OFFICIAL 'Remixes/B-Sides' for this series, NO White Labels/3rd Party Remixes, Per Single Release. All release information provided by Discogs.com!

TOO YOUNG TO DIE (1993):

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"Too Young to Die" is the second single taken from British funk/acid jazz band Jamiroquai's debut studio album, Emergency on Planet Earth. The original version of the track runs at 10:18, however, both the single and album versions were cut, running at 3:22 and 6:05 respectively. The single peaked at #10 on the UK Singles Chart.

BLOW YOUR MIND (1993):

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"Blow Your Mind" is the third overall single to be released from British funk/acid jazz band Jamiroquai's debut studio album, Emergency on Planet Earth. The single was released on 24 May 1993 on Sony Soho Square in the United Kingdom and 1 July 1993 on Epic Records in Japan, peaking at #12 on the UK Singles Chart.

EMERGENCY ON PLANET EARTH (1993):

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"Emergency on Planet Earth" is the fourth and final single released from British funk/acid jazz band Jamiroquai's debut studio album, of the same name. The song was written by Jay Kay, and has a very environmentalist tone, urging the listener to "stop modernisation going on."

SPACE COWBOY (1994):

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"Space Cowboy" is the international lead single from British funk/acid jazz band Jamiroquai's second studio album, The Return of the Space Cowboy. The single peaked at #17 on the UK Singles Chart, and was the band's first number one on the U.S. Dance Chart.

HALF THE MAN (1994):

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"Half the Man" was released as the third overall single from British funk/acid jazz band Jamiroquai's second studio album, The Return of the Space Cowboy. The track peaked at #15 on the UK Singles Chart.

LIGHT YEARS (1994-1995):

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"Light Years" is the fourth overall single released from British funk/acid jazz band Jamiroquai's second studio album, The Return of the Space Cowboy. The song peaked at #36 on the UK Singles Chart, due to little promotion of the track.

STILLNESS IN TIME (1995):

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"Stillness In Time" was first released as single in Japan in December 1994, but it wasn't released as single in UK and Europe until in June 1995.
Released as the fifth and final overall single from British band Jamiroquai's second studio album, The Return of the Space Cowboy. The track peaked at number 9 on the UK Singles Chart, making it the group's highest-charting release to that date.

VIRTUAL INSANITY (1996):

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"Virtual Insanity" is a song by British funk band Jamiroquai. It was released as the second single from their third studio album, Travelling Without Moving (1996), on 19 August 1996. The song's award-winning music video was released in September 1996. "Virtual Insanity" was a number-one hit in Iceland and Italy and reached number 3 on the UK Singles Chart. Peaking within the top 10 in Finland and Ireland, the song also peaked at number 38 on the Billboard Modern Rock Tracks chart upon the single's release in America in 1997. The sight of underground town in Sapporo, Northern Japan provided inspiration to this song.

COSMIC GIRL (1996-1997):

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"Cosmic Girl" is the second single from British funk/acid jazz band Jamiroquai's third studio album, "Travelling Without Moving" (1996), released on 11 November 1996 on Sony Soho Square in the UK and 14 January 1997 on Sony Music/Work Group in the US.

ALRIGHT (1997):

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"Alright" is the third single from British funk/acid jazz band Jamiroquai's third studio album, Travelling Without Moving. It was released on 28 April 1997 on Sony Soho Square in the United Kingdom and 23 September 1997 on Sony Music in the United States. The song was written by Jay Kay. The song peaked at #6 on the UK Singles Chart and at number 2 in Iceland and Italy. It is the group's only single to chart on the U.S. Billboard Hot 100.
The song contains samples from Eddie Harris' "It's All Right Now" and Idris Muhammad's "Could Heaven Ever Be Like This."
The song appears in the next gen version of Grand Theft Auto V on the Non-Stop Pop FM station.

HIGH TIMES (1997):

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"High Times" is the fourth and final single from British funk/acid jazz band Jamiroquai's third studio album, Travelling Without Moving. The song peaked at #20 on the UK Singles Chart.

DO YOU KNOW WHERE YOU'RE COMING FROM? (1996):

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"Do You Know Where You're Coming From" is the lead single from British funk/acid jazz band Jamiroquai's third studio album, Travelling Without Moving. Only included as a bonus track on the album, the track features music by M-Beat, who also produced the track. Released on 14 February 1996, the single peaked at #12 on the UK Singles Chart. The single later appeared as a B-side to the group's following single, "Virtual Insanity".

CANNED HEAT (1999):

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"Canned Heat" is the second single from British funk/acid jazz band Jamiroquai's fourth studio album, Synkronized, released in 1999. The song was their second number-one on the US Dance Chart and peaked at number 4 on the UK Singles Chart as well as number 2 in Spain. The music video was directed by Jonas Åkerlund. The song is used in the film Napoleon Dynamite, as background music during the title character's famous dance performance before a high school assembly.

BLACK CAPRICORN DAY (1999-2000):

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"Black Capricorn Day" is the fifth and final single released by British funk/acid jazz band Jamiroquai from their fourth studio album, Synkronized. The single was released in February 2000 in Japan only, becoming the second single of the group's to be exclusively released in that country. The single peaked at number 14 on the Japan Hot 100 and featured remixes of previous hits "Canned Heat" and "Supersonic". Although the video for the song was included on the British version of the High Times: Singles 1992–2006 DVD, the single was never made available in the UK.

SUPERSONIC (1999):

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"Supersonic" is the third single from British funk/acid jazz band Jamiroquai's fourth studio album, Synkronized. The song was written by Jason Kay. The word "supersonic" is repeated a total number of 127 times throughout the song. The track was their third #1 on the U.S. Dance Chart,[1] and peaked at #22 on the UK Singles Chart. The single release features various remixes of the song. "Supersonic" was one of five tracks remixed in 2006 for the group's Classic Club releases.

DEEPER UNDERGROUND (1998):

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"Deeper Underground" is a single by British funk/acid jazz band Jamiroquai that appeared on the soundtrack to the 1998 film, Godzilla. The song was also included as a bonus track on the group's fourth studio album, Synkronized, as well as on the special edition of the group's fifth album, A Funk Odyssey.
The song became a hit in several countries, finding the most success in the band's native United Kingdom, and becoming the group's first and only single to reach number one on the UK Singles Chart. The track replaced Another Level's ‘Freak Me’ at the top, and spent a week there before being knocked off by the Spice Girls' Viva Forever. To date, Deeper Underground has sold 339,100 copies.

SUMMARY PART #2 COMING SOON!

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2023.06.02 01:28 JamiroFan2000 30 Years Of Jamiroquai All Of The Remixes/B-Sides Series! (FINALE!) Part #1 Post Series Link Summary Emergency On Planet Earth - Synkronized Album Eras

30 Years Of Jamiroquai All Of The Remixes/B-Sides Series Part #1 Post Series Link Summary!

Emergency On Planet Earth Album Era (1992-1993)

The Return Of The Space Cowboy Album Era (1994-1996)

Travelling Without Moving Album Era (1996-1997)

Synkronized Album Era (1998-1999)

Bonus Section: Single By Single LineaSong Notes:

WHEN YOU GONNA LEARN (1992-1993):

MORE INFO ABOUT THESE RELEASES:

TOO YOUNG TO DIE (1993):

MORE INFO ABOUT THESE RELEASES:

BLOW YOUR MIND (1993):

MORE INFO ABOUT THESE RELEASES:

EMERGENCY ON PLANET EARTH (1993):

MORE INFO ABOUT THESE RELEASES:

SPACE COWBOY (1994):

MORE INFO ABOUT THESE RELEASES:

HALF THE MAN (1994):

MORE INFO ABOUT THESE RELEASES:

LIGHT YEARS (1994-1995):

MORE INFO ABOUT THESE RELEASES:

STILLNESS IN TIME (1995):

MORE INFO ABOUT THESE RELEASES:

VIRTUAL INSANITY (1996):

MORE INFO ABOUT THESE RELEASES:

COSMIC GIRL (1996-1997):

MORE INFO ABOUT THESE RELEASES:

ALRIGHT (1997):

MORE INFO ABOUT THESE RELEASES:

HIGH TIMES (1997):

MORE INFO ABOUT THESE RELEASES:

"High Times" is the fourth and final single from British funk/acid jazz band Jamiroquai's third studio album, Travelling Without Moving. The song peaked at #20 on the UK Singles Chart.

DO YOU KNOW WHERE YOU'RE COMING FROM? (1996):

MORE INFO ABOUT THESE RELEASES:

CANNED HEAT (1999):

MORE INFO ABOUT THESE RELEASES:

BLACK CAPRICORN DAY (1999-2000):

MORE INFO ABOUT THESE RELEASES:

SUPERSONIC (1999):

MORE INFO ABOUT THESE RELEASES:

DEEPER UNDERGROUND (1998):

MORE INFO ABOUT THESE RELEASES:

SUMMARY PART #2 COMING SOON!

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2023.06.01 15:20 Gunslinqer Best part of every song Day 16 - Learning To Live

Day 16 and we're finishing off Images & Words with a very progressive track, Learning To Live

This is one of my faovurite Dream Theater songs. So many cool parts, great lyrics as usual by Myung, incredible vocal parts. The vocals are my favourite part of this album as well as this song.
My favourite part is the 3rd verse? Chorus? no idea what it is since this song has no recurring parts whatsoever.
Particularly " It brings inner peace within my mindAs I'm lifted from where I spilt my lifeI hear an innocent voiceI hear kindness, beauty and truth"
Fun fact: if you listen to this section live around 1993-1994 (maybe later too) they add this super cool keyboard part that's not on the studio recording
What's your favourite part?
https://reddit.com/link/13xhflb/video/0sy3crnpqe3b1/player

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2023.06.01 14:26 Im-a-molecule [Artist Spotlight] - Braid

Braid
emo math rock
Similar Artists
Characterized by tight, mathy song structures, witty lyrics, constant touring, and a D.I.Y. work ethic that resulted in countless contributions to compilations and 7" singles along with their album output, Braid started out as one of the definitive acts of '90s Midwestern emo. The band's relentless schedule ground them to a halt shortly after the release of their standout third album, 1998's Frame and Canvas, but a 2011 reunion brought the band back for good. From that point on, they performed live and recorded sporadic releases like 2014's No Coast.
In a search to find others interested in trading videos of live shows, drummesinger Bob Nanna, of Friction, placed a classified ad in Maximum Rocknroll and met drummer Roy Ewing, of Champaign-Urbana, Illinois, in 1993. That fall, Nanna, a freshman at the University of Illinois in Champaign-Urbana, started hanging out with Ewing, who played in Lowercase N. Nanna's friend guitarist Pete Havranek, of 42 Loads and Inkadink, wanted to play with someone new, so Ewing volunteered. Nanna became their singer and guitarist, Jay Ryan joined them on bass, and Braid was born. Shortly thereafter, Ryan left the band and went on to play with Hubcap and Dianogah. Todd Bell, who had played with Ewing in Lowercase N, replaced Ryan on bass. Kate Reuss was recruited to sing. Braid played their first show on December 10, 1993, in Danville, Illinois. Reuss left the band after the second show.
Braid then went through some drastic changes. Nanna's other band, Friction, broke up for good, which meant that Braid was no longer a side project. Chris Broach joined as singer. Havranek left the band in August 1994, and Broach took over on guitar. A week later, Braid recorded the "Rainsnowmatch" 7", which was released in December 1994 on Enclave Records. Braid's debut album, Frankie Welfare Boy Age 5, was released in June 1995 on Divot Records. Second album The Age of Octeen followed in 1996. In March 1997, Ewing left the band. Damon Atkinson, of Figurehead, joined Braid's spring tour and became the band's drummer. Third album Frame and Canvas was released in April of 1998 with Polyvinyl Records. Though Polyvinyl had been early supporters of the band and had released multiple singles with them, this was Braid's first full-length release with the label and it quickly became one of their most popular. More touring ensued, and in August 1999, Braid disbanded. Posthumous release Lucky to Be Alive followed in the spring of 2000, as did Movie Music, Vols.1 & 2, extensive collections of songs they had released over the years in the form of compilation tracks, singles, or other miscellaneous one-off songs.
After the split, members of the band broke off into a number of side projects. Bob Nanna formed the City on Film before eventually reuniting with Todd Bell and Damon Atkinson to form Hey Mercedes. Meanwhile, singer Chris Broach focused on his side project, the Firebird Band, on a full-time basis, and started his own label, Lucid Records. Braid reunited briefly for a one-off summer tour in 2004 before regrouping in a more serious capacity in 2011, when they released an EP, Closer to Closed, on Polyvinyl. Over the next few years, they played the occasional show, including their landmark 600th gig, on December 22, 2011 at the Turner Hall Ballroom in Milwaukee where they announced they would record a new album. The release took several years to come to fruition but was finally finished. No Coast was released in July of 2014 on Top Shelf Records. Shortly afterward, Braid followed with two-song single "Kids Get Grids" in 2015.
Facebook
Twitter
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Bandcamp
Spotify
Studio Albums
Frankie Welfare Boy Age 5 (1995)
The Age of Octeen (1996)
Frame & Canvas (1998)
No Coast (2014)
Previous Spotlight - Turnstile

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2023.06.01 14:12 sonofabutch No game today, so let's remember a forgotten Yankee: Jackie Jensen, "The Golden Boy"

Jackie Jensen, "The Golden Boy", was a superstar athlete in the 1940s who seemed destined for greatness as the heir to Joe DiMaggio... only to be supplanted by a different golden boy, the great Mickey Mantle.
Jensen would eventually live up to the hype, but with the Red Sox -- but his career ended prematurely because, as baseball expanded to the west coast, his fear of flying made road games unbearable!
The Yankees between 1947 and 1964 were utterly dominant, winning 15 pennants and 10 World Series. And it wasn't just the major league team that was successful. The Yankees of this era were loaded up and down the system, from Rookie ball to their two Triple-A teams!
With such a loaded major league roster, the Yankees had many talented players stuck either on the end of the bench or in the minors who would eventually find an opportunity with other teams, including Bob Cerv, Vic Power, Gus Triandos, Lew Burdette, Jerry Lumpe, Bob Porterfield, and Bob Keegan, all named All-Stars with other teams after leaving the Yankees. Clint Courtney would be the 1952 A.L. Rookie of the Year runner-up after the Yankees traded him to the Browns, and Bill Virdon was the 1955 N.L. Rookie of the Year with the Cardinals (and then Yankee manager from 1974 to 1975!).
But the most talented player who just couldn't find the playing time in New York was Jack Eugene Jensen, born March 9, 1927, in San Francisco. His parents divorced when he was 5, and he grew up poor, his mother working six days a week, 12 hours a day. Jensen said the family moved 16 times between kindergarten and eighth grade -- "every time the rent came due."
After serving in the U.S. Navy during World War II, Jensen went to the University of California in 1946 on the G.I. Bill. There he became one of the most famous college players in the country, leading Cal to the Rose Bowl. In 1947, he was the starting fullback as well as the team's top defensive back, and in 1948, he rushed for 1,000 yards and was an All-American.
He also was a tremendous two-way baseball player, pitching and hitting for the Golden Bears in 1947 as the won the very first College World Series, beating a Yale team that had George H.W. Bush playing first base. In 1949, he was an All-American in baseball, too.
His blond hair, good looks, and athletic accomplishments earned him the nickname "The Golden Boy."
Halfway through his junior year, Jensen left Berkeley to turn pro. Jensen would later say he couldn't risk playing a career-ending injury playing for free while teams -- baseball and football -- were trying to sign him to big-money contracts.

"There was a money tree growing in my backyard. Why shouldn't I pluck off the dollars when I wanted to?"

Jensen considered a number of offers, including from the Yankees, before signing a three-year, $75,000 contract with the Oakland Oaks of the Pacific Coast League. Jensen said he thought he'd face better competition in the Pacific Coast League, the top minor league of the era, than he would at the bottom of the Yankee farm system. He was right about it being more of a challenge -- he hit an unimpressive .261/.317/.394 in 510 plate appearances with the Oaks.
At the end of the year, the Oaks sold his contract (and that of Billy Martin, another Northern California kid) to the Yankees.
That same year, Jensen married his high school sweetheart, Zoe Ann Olsen, an Olympic diver. (By age 18, she had won 14 national diving championships and a silver medal in the 1948 Olympics.) "Together they looked like a Nordic god and goddess," Sports Illustrated reported. Nicknamed "the sweethearts of sports," they were the Dansby Swanson and Mallory Pugh of their era. More than 1,000 people attended their wedding.
Jensen would start the 1950 season not in the minors but in the Bronx. He joined the Yankees in a time of flux. They though they'd won the 1949 World Series, the Yankees knew they had to make some changes, with 35-year-old Joe DiMaggio nearing the end of his career. And their heir apparent was not Mickey Mantle -- at the time an 18-year-old shortstop playing in the Class C league, the equivalent of A-ball today -- but the 23-year-old Jensen.
But Jensen disappointed, hitting just .171/.247/.300 in 70 at-bats, and only starting in 13 games. Watching from the bench most of the season, Jensen would later lament the lost year of development, saying he'd have been better off playing every day in the Pacific Coast League.
The Yankees won the pennant for a second straight year, and in the World Series he once again was left on the bench. His only action was as a pinch runner in Game 3 as the Yankees swept the Phillies. That "Moonlight Graham" appearance would be his only taste of the post-season in an 11-year career.
The following year would be DiMaggio's last, and Mantle's first. Jensen began the year as the Yankees' starting left fielder and proved he belonged, hitting .296/.371/.509 through the end of July... and then, shockingly, was demoted to Triple-A and replaced with previously forgotten Yankee Bob Cerv.
I can see why they called up Cerv -- the University of Nebraska stand-out was tearing up Triple-A, leading the American Association in batting average (.349), home runs (26), triples (21), RBIs (101), and total bases (261) -- but why demote Jensen, who had a 140 OPS+ in the majors? Maybe the Yankees felt the brash 23-year-old needed to be taken down a peg. In any event, Cerv hit just .214/.333/.250 in August and was sent back to Triple-A, but Jensen also was left down there. He hit .263/.344/.469 and was recalled after the Triple-A season ended, only getting into three games (he went 3-for-9).
Mantle, too, had started the season with the Yankees, and after hitting .260/.341/.423 through the middle of July, was sent down to Triple-A. But he hit .361/.445/.651 in 166 at-bats, and unlike Jensen was back in the bigs by August 24. He would play pretty much every game the rest of the season, hitting .284/.370/.495 in 95 at-bats.
The torch had clearly been passed -- Jensen was no longer the heir apparent to DiMaggio. In the World Series that year, Mantle was the starting right fielder, and Jensen wasn't even on the post-season roster.
Jensen was so disappointed with how the Yankees had treated him in 1951 that he talked to the San Francisco 49ers about switching to pro football, but ultimately decided to stick with baseball.
Never shy about what he said to reporters, Jensen told The Sporting News on October 24, 1951:

"I felt so badly about the treatment that I received from the Yankees that, although I was in New York at the end of the season, I didn't feel like sticking around to even watch the club play in any of the World's Series games."
"I do not feel the Yankees were justified in sending me to the minor leagues. When I was shipped to Kansas City, I was doing as good a job as any Yankee outfielder and better than some of them. I was hitting .296, which was ten points better than Hank Bauer and 30 points better than Joe DiMaggio, Gene Woodling and Mickey Mantle. Yet Casey Stengel didn't give me the chance I felt I deserved."

Despite blasting his manager in the press, Jensen was still the property of the Yankees. That off-season, teams were circling, hoping to pry away the talented but disgruntled outfielder. There were newspaper reports of offers from the St. Louis Browns, the Detroit Tigers, the Philadelphia Athletics, the Washington Senators, the Cleveland Indians, and the Boston Red Sox -- with one rumor being Ted Williams to the Bronx in exchange for Jensen and several other players. (A Red Sox scout called the rumored deal "a lot of hogwash.")
Sportswriters spent the off-season speculating whether DiMaggio would retire, and if he did, whether Jensen or Mantle would take over as the center fielder, as there were still concerns that Mantle, who had hurt his knee in the 1951 World Series, wouldn't be fully recovered by the start of the season.
On Opening Day, April 16, 1952, it was Jackie Jensen in center and Mickey Mantle in right. Jensen went 0-for-5 with a GIDP; Mantle, 3-for-4 with a double, a walk, and a stolen base! Seven games into the season, Jensen was 2-for-17 (.118) and found himself on the bench. He'd never play for the Yankees again. On May 3, the Golden Boy was traded to the Washington Senators along with Spec Shea, Jerry Snyder, and Archie Wilson in exchange for Irv Noren and Tom Upton.
In two years with the Senators, Jensen hit an impressive .276/.359/.407 (112 OPS+), but the team was terrible, and Jensen wasn't happy. Still just 26 years old, he later said he had almost quit after the 1953 season... particularly after a harrowing flight to Japan for a series of exhibition games with a squad of All-Stars that included Yankees Yogi Berra, Eddie Lopat, and Billy Martin. That experience gave Jensen a lifelong fear of flying, a phobia that became so intense eventually he could only fly with the help of sleeping pills... and a hypnotist!
He might have quit if not for the trade on December 9, 1953, that sent him to the Boston Red Sox for pitcher Mickey McDermott and outfielder Tom Umphlett. He was homesick, he hated flying, and he now had two little kids at home. Red Sox general manager Joe Cronin convinced Jensen to come to the Red Sox, telling him that Fenway Park was tailor made for his swing. Cronin was right: Jensen was a career .279/.369/.460 hitter, but .298/.400/.514 at Fenway.
It was in Boston that Jensen finally lived up to the hype, becoming a two-time All-Star and winning the A.L. MVP Award in 1958 and a Gold Glove in 1959. During his seven seasons in Boston, he hit .282/.374/.478 in 4,519 plate appearances. In his MVP season, Jensen hit .286/.396/.535 (148 OPS+) with 31 doubles, 35 home runs, and a league-leading 122 RBIs. During his peak with the Red Sox, 1954 to 1959, Jensen's average season was .285/.378/.490 (127 OPS+) with 28 doubles, 26 home runs, 111 RBIs, 14 stolen bases, and 3.6 bWAR. During those six seasons, no one in the American League -- not Mickey Mantle, not Ted Williams, not Al Kaline -- had more runs batted in than Jackie Jensen.
Of course, Mantle was the far better player -- even in Jensen's MVP season, Mantle had more runs, hits, home runs, walks, and a 188 OPS+ -- but Jensen's 127 OPS+ between 1954 and 1959 would have been an upgrade over the aging Hank Bauer's 110 OPS+ in right or the left field merry-go-round of Norm Siebern (113 OPS+), Irv Noren (107 OPS+), Enos Slaughter (103 OPS+), and previously forgotten Yankee Hector Lopez (101 OPS+). Casey Stengel would later say the Jensen trade was the worst one the Yankees had made while he was manager.
Despite his success, Jensen was sometimes booed by the Boston fans, just as they sometimes booed Ted Williams. There even was an article in Sport magazine, "What Do They Want From Jackie Jensen?", taking Red Sox fans to task for their unreasonably high demands from the Golden Boy. In 1956, in a game at Fenway Park against the Yankees, the hometown fans were razzing Jensen so much that teammates had to restrain him from going into the stands after a fan. Later that same game, Williams misplayed a wind-blown fly ball from Mantle, and the fans booed lustily. The very next play, Williams made a leaping catch at the scoreboard to rob Yogi Berra of a double. But Williams, still furious, spit into the crowd. He was later fined $5,000.
And Jackie was unhappy to be away from home. He and Zoe Ann had bought a house near Lake Tahoe, where they could both ski and golf year-round, as well as hit the casinos. They also had a home in Oakland, and a restaurant there, and each year Jensen hosted a pro-am golf tournament. But the marriage was struggling. Zoe Ann, once nationally known for her Olympic exploits, was frustrated to be a stay-at-home mom in the shadow of her famous husband, and Jackie became angry if she engaged in her favorite outdoor hobbies, suspecting there were men around.
Jensen's fear of flying also had become even more intense. Sometimes he was so drugged up that he had to be carried on and off the plane, fueling rumors that he was a drunk. Other times he took trains or even drove while his teammates flew.
Once again Jensen was talking about retirement, and in Spring Training 1957, the Red Sox allowed him to train with the San Francisco Seals, Boston's Triple-A team, rather than having to go to Florida. But he was still miserable. That year, he told Sports Illustrated:

“In baseball you get to the point where you don’t think you have a family. It just looks like I’m not built for this life like some ballplayers. You are always away from home and you’re lonesome, and as soon as I can, I intend to get out.”

The 32-year-old Jensen announced his retirement after the 1959 season, and he spent 1960 home with Zoe Ann and their children and running his restaurant. But he returned in 1961. After hitting just .130 in April, Jensen took a train from Detroit home to Reno, determined to quit once again. After a week away, he rejoined the team and had six hits in his next 10 at-bats. By the end of the season he was at .263/.350/.392, and he quit again. This time for good.
After leaving baseball, Jensen invested in real estate and a golf course, but lost most of his money. He then got a job working for a Lake Tahoe casino, was a national spokesman for Camel cigarettes, Wonder Bread, and Gillette, and even tried selling cars. Ironically, Jackie found himself on the road almost as much as he had been as a ballplayer. In 1963, he and Zoe Ann divorced, remarried, and then divorced again.
In 1967, Jensen became a TV sportscaster, married his producer Katharine Cortesi, and eventually teamed up with Keith Jackson calling college football games for ABC, and was a college baseball coach, first at the University of Nevada-Reno and then at the University of California. He managed the Red Sox team in the New York Penn League in 1970. In 1977, Jackie and Katharine moved to Virginia and started a Christmas tree farm while he coached baseball at a military academy. About five years later, on July 14, 1982, he died of a heart attack at age 55.
You Don't Know Jack(ie):

How good would Jackie Jensen have been as a Yankee? Maybe not great. He was a career .279/.369/.460 hitter, but just .238/.326/.398 at Yankee Stadium, which -- especially in that era -- was famously death on right-handed batters. Fenway Park was much more to his liking!
Born in San Francisco in 1927, it's no surprise Jensen's favorite player as a kid was Joe DiMaggio, who made his debut with the San Francisco Seals when Jensen was a 5 years old. When Jensen made his major league debut, on April 18, 1950, DiMaggio went 3-for-6 with a triple in a 15-10 win over the Red Sox. Two weeks later, on May 3, Jensen made his first start, playing left field and batting second, and DiMaggio was in center and batting fourth.
Jensen wore #36 at Cal. When he came up with the Yankees, he was first issued #40, then switched to #27, and finally to #25. (With the Senators, he wore #8, then #4; in Boston, he first wore #30 but primarily wore #4.) Currently, #40 is worn by Luis Severino. Other famous 40's include Chien-Ming Wang (2005-2009), Andy Hawkins (1989-1991), and Lindy McDaniel (1968-1973). #27 has been worn by Giancarlo Stanton since 2018; prior to him, it was worn by Austin Romine (2016-2017). It also was the number worn by Bob Wickman (1993-1996), Butch Wynegar (1982-1986), and Woodie Held (1954-1957). Gleyber Torres has worn #25 since 2018; it also was worn by Mark Teixeira (2009-2016), Jason Giambi (2002-2008), Joe Girardi (1996-1999), Jim Abbott (1993-1994), Tommy John (1979-1989), and Joe Pepitone (1962-1969).
Jensen is one of six major leaguers to graduate from Oakland High School, but the only Yankee. Cal has sent 83 players to the majors, including twenty Yankees -- most notably, early 1990s pitcher Chuck Cary, 1930s infielder Lyn Lary, and 1990 A.L. ROY runner-up Kevin Maas.
The Yankees during spring training in 1951 tinkered with the idea of using Jensen into a pitcher. Jensen had been a star pitcher at Cal, including pitching in the 1947 College World Series, and had pitched in a winter league that off-season. But he was bombed in a handful of spring training innings -- while crushing as a hitter -- and the Yankees decided to leave him in the outfield.
College teammates said Jensen wasn't afraid of flying at Cal. His second wife Katharine said the phobia came from a near-miss experience on a flight early in his baseball career -- he looked out the window and saw another plane coming straight at him! The two planes managed to avoid each other, but he was never comfortable on a plane again.
Billy Martin, who also had grown up in Northern California and was Jensen's teammate on both the Oakland Oaks and the Yankees, was merciless when it came to teasing Jensen about his fear of flying. In 1953, on a flight from Okinawa to Honshu to play a series of exhibition games in Japan, the plane ran into a bad storm and was bouncing pretty hard. Jensen, who wouldn't get on a plane without the help of tranquilizers, was blissfully sleeping through the turbulence. Martin found a lifejacket and put it on, then stood over Jensen and shouted "We're going down!"
Arthur Ellen, a hypnotist that Jensen had used to try to cure his fear of flying, believed Jackie wasn't aerophobic at all. It was really a fear of losing his family. "Subconsciously, it developed as a good reason to leave the Red Sox and go home," the hypnotist said.
Jensen is featured prominently in Norman Rockwell's famous 1957 painting, The Rookie. Jensen is the one seated on the bench tying his shoe in the middle of the painting. Standing behind him is Ted Williams, and sitting on the bench next to him is pitcher Frank Sullivan (#18). Wearing the catcher's mitt in the foreground is Sammy White, and the player with his hand over his mouth to the far right is Billy Goodman. Jensen, Sullivan, and White had gone to Rockwell's studio in Massachusetts to pose for the painting; the images of Williams and Goodman were based on photos. The shirtless player was one of Rockwell's assistants, and "the rookie" holding the suitcase was a local high school student!
Boston sportswriters named Jensen the team's MVP in 1954, when he hit .276/.359/.472 with 25 home runs and 117 RBIs. I guess they were tired of giving the award to Ted Williams, who hit .345/.513/.635 that year, albeit in just 117 games as he had broken his collarbone in spring training. Williams didn't qualify for the batting title that year because he had only 386 at-bats... mostly due to his league-leading 136 walks. The rule was subsequently changed from at-bats to plate appearances.
After Jensen was acquired by the Washington Senators, manager Bucky Harris -- who managed the Yankees when they won the 1947 World Series -- pulled him aside and told him he was the right fielder and he'd hit third. "No pep talk, no nothing, but he made it sound like I was the right fielder and third place hitter for a long time to come," Jensen later recalled. "It made me feel good." The 1950s Senators had a number of ex-Yankees and several of them told reporters that Harris was a much more low-key, hands-off manager than Casey Stengel, and Jensen agreed. "With Stengel it was always 'watch for that curve ball' or 'watch for that change up'," Jensen said. "Bucky leaves you on your own up there." But Jensen would later say Stengel was the smartest manager he'd ever had.
Stengel obliquely mentioned Jensen in his famously long, rambling testimony before the Senate Anti-Trust and Monopoly Subcommittee on July 8, 1958. Asked about legislation that would exempt baseball from federal anti-trust laws, Stengel said about 7,000 words without really saying anything. The hearing was held the day after the All-Star Game -- the Stengel-managed A.L. All-Stars won, 4-3 -- and in the American League starting lineup were Jensen and two other ex-Yankees, Bob Cerv and Gus Triandos. Stengel was asked if the Yankees were going to continue to "monopolize" the World Series, and his confusing answer: "Well, I will tell you. I got a little concerned yesterday in the first three innings when I saw the three players I had gotten rid of [Jensen, Cerv, and Triandos] and I said when I lost nine what am I going to do? And when I had a couple of my players I thought so great of that did not do so good up to the sixth inning I was more confused but I finally had to go and call on a young man in Baltimore that we don't own and the Yankees don't own him and he is doing pretty well and I would actually have to to tell you that we are more the Greta Garbo-type now from success. We are being hated. I mean from the ownership and all we are being hated. Every sport that gets too great or one individual -- but if we made twenty-seven cents and it pays to have a winner at home why would you have a good winner in your park if you were an owner? That is the result of baseball. An owner gets most of the money at home, and it is up to him and his staff to do better or they ought to be discharged." After befuddling the committee with answers like that for 45 minutes, Stengel was excused and Mickey Mantle called upon. His opening statement: "My views are just about the same as Casey's."
Casey Stengel later said Jensen plus Spec Shea, Jerry Snyder, and Archie Wilson to the Senators for Irv Noren and Tom Upton was the worst trade the Yankees made during his tenure. But in reality it was pretty much a wash for the Yankees. Jensen, in two seasons, would be worth 4.9 bWAR for the Senators before being traded. Shea, a right-handed pitcher who had been an All-Star with the Yankees as a rookie, pitched four years in Washington and was worth 2.9 bWAR. Snyder was a good-glove, no-hit infielder worth -0.1 bWAR in seven seasons with the Senators. (You must have a really good glove to last seven seasons with a 55 OPS+!) Wilson, at one point seen as a good prospect but now a 28-year-old minor league journeyman, only played 26 games in Washington before being traded. In exchange, the Yankees received the 27-year-old Irv Noren, an outfieldefirst baseman who played five years in New York and was an All-Star in 1954; he was worth 7.9 bWAR, making the trade essentially even by bWAR. (The other player the Yankees received, minor league infielder Tom Upton, never made it back to the bigs.) Prior to the 1957 season, Noren was traded to the Kansas City Athletics as part of a monster 13-player trade that included Clete Boyer, third baseman of the early 1960s dynasty!
The two players Washington got from Boston for Jensen, Mickey McDermott and Tom Umphlett, were both future Yankees. McDermott was a left-handed pitcher whose father, Maurice McDermott, had played in the minors with Lou Gehrig. Mickey was just 25 years old at the time of the trade but had been in the majors for six seasons, going 48-34 with a 3.80 ERA (114 ERA+). In two years with the Senators, McDermott went 17-25 (but with a 3.58 ERA), then prior to the 1957 season was traded to the Yankees as part of a seven-player deal; he went 2-6 with a 4.24 ERA as a swingman, and closed out the Game 2 win in the 1956 World Series. After that one season in New York, he was part of the trade with the A's that brought back Clete Boyer.
Umphlett, a 22-year-old infielder, was traded back to the Red Sox in 1955, and then the Red Sox traded him to the Yankees in 1962 for infielder Billy Gardner. He would spend 1962 and 1963 in Triple-A for the Yankees, then ended his career in the minors with the Minnesota Twins -- the team that had been the Senators until 1961.
In 1956, the anthology television show Cavalcade of America had an episode called The Jackie Jensen Story. Jackie had a cameo as the adult version of himself, but the 30-minute episode was focused on Jackie's teenage years and the influence of his middle high school coach, a man named Ralph Kerchum who became a father figure. The coach was played by Ross Elliott, a Bronx native whose most memorable role might have been as the director in the Vitameatavegamin episode of I Love Lucy.
Jensen's MVP in 1958 broke a string of four straight MVP awards for Yankees -- Yogi Berra in 1954 and 1955 followed by Mickey Mantle in 1956 and 1957. Nellie Fox of the White Sox won it in 1959, and then the Yankees won it four years in a row again -- Roger Maris in 1960 and 1961, Mantle in 1962, and Elston Howard in 1963. Then a long drought -- the next Yankee to win it would be Thurman Munson in 1976.
Going by bWAR, Mantle should have won it a third straight year in 1958 -- his 8.7 bWAR led the league, followed by Frank Lary at 6.7 and Al Kaline at 6.5. Jensen's 4.9 was 10th that year. Of course, they didn't have bWAR back then!
Jackie won a Gold Glove in 1959; it was just the third year of the award's existence, or he might have won more. "Right field in Boston is a bitch, the sun field, and few play it well," Ted Williams said. "Jackie Jensen was the best I saw at it." Jensen was renowned for his throwing arm -- he twice led the league in assists, and twice led the league in double plays as an outfielder. One Yankee scout said he had the best arm he'd seen since previously forgotten Yankee Bob Meusel, usually said to have the best cannon in baseball history until Roberto Clemente came along.
Jensen was well known for his brashness, especially compared to Mantle's aw shucks attitude. Mantle, asked if he thought he could beat out Jensen to replace DiMaggio in center field, humbly replied that there were three positions in the outfield and he hoped to win any one of them. Jensen, on the other hand, vowed he'd "out-run, out-hit, and out-throw" Mantle, an arrogant answer that didn't go over well with teammates. Joe DiMaggio, asked what he thought of the duel for his old job, quipped that Mantle was "out-quoting" Jensen.
When Mantle was asked what he thought about Jensen's quote, he replied: "I don't know what to make of that guy." Jensen would later say he was misquoted, but reports of his cockiness would follow him throughout his Yankee years. Later in life, Jensen said people mistook his shyness and anxiety for arrogance and rudeness.
According to Sports Illustrated, Jensen is the only player to have played in the East-West football game, the Rose Bowl, the World Series, and the Major League All-Star Game. I'll take their word for it!
As a freshman at Cal, the first time Jensen touched the ball -- on a punt return -- he ran it back for a 56-yard touchdown. Cal quarterback Charles Erb said they'd never seen anything like it. "He was all over the field, dodging and leaping over guys. The rest of us just stood there on the sidelines with our mouths open. Finally somebody said, 'Who in the hell is that guy?' "
Jensen is one of two "forgotten" Yankees in the College Football Hall of Fame -- the other is 1960s catcher Jake Gibbs. (Other Yankees in the College Football Hall of Fame include John Elway, who was in the Yankee minor league system before joining the Denver Broncos, and Deion Sanders, who was on the Yankees in 1989 and 1990.) Jensen also is a member of the Cal Hall of Fame, the Bay Area Sports Hall of Fame, and... ugh... the Boston Red Sox Hall of Fame.
Despite his speed -- Jensen led the league in triples in 1956 and in stolen bases in 1954, and was in the top five in stolen bases in six seasons -- Jackie also was prone to grounding into double plays, leading the league in 1954, 1956, and 1957. His 32 GIDPs in 1954 was the major league record until Boston's Jim Rice hit into 36 in 1984, which is still the single-season record. Rice also had 35 in 1985. Jensen's 32 is tied for third with four others. The most by a Yankee? Dave Winfield with 30 in 1983, which is tied for 14th.
Jensen lost most of his baseball earnings through a series of bad investments. His ex-wife, former Olympian Zoe Ann, later became a blackjack dealer in Reno to pay the bills.
Jensen had four appearances on the popular show Home Run Derby, and set a record for most home runs in one match when he defeated Ernie Banks, 14-11, in Episode 24. The 25 combined home runs also was a record. He took on Mickey Mantle in Episode 3, with Mantle winning, 9-2, then defeated Rocky Colavito, 3-2, in Episode 25. He rematched against Mantle in Episode 26, with Mantle winning again, 13-10. Jensen set another record in that contest when he became the only player to hit four home runs in a row, and then a fifth home run in a row. That episode was supposed to be the season one finale, but it turned out to be the last episode of the series: The show's host and producer, Mark Scott, died of a heart attack at age 45, shortly after the last episode aired, and two months later the show's 64-year-old director Benjamin Stoloff also died. Rather than replacing them, the show was cancelled.
Jensen's last game came against the Yankees, on October 1st, 1961, at Yankee Stadium. He appeared as a pinch hitter and popped out to shortstop Tony Kubek. In the 4th inning of that game, Roger Maris hit his 61st home run, breaking Babe Ruth's single-season record!
Jackie and Zoe Ann had two sons, Jon and Jay, and a daughter, Jan. Jay's son, Tucker Jensen, was a pitcher in the Blue Jays farm system in 2011 and 2012.

In 1958, Jensen told Sports Illustrated that the biggest thrill of his career wasn't being an All-American or an All-Star, it wasn't winning an MVP or a World Series. "The biggest is having played in the same outfield with both DiMaggio and Williams."

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2023.06.01 06:44 WildBird-William Which is more important in life Words or Actions; She asked me?

So I told her that Actions are more important than words. Actions speak words greater than anything on this planet. Yes! If you show someone how you are with actions there is a greater bond of trust between the both of you. There is only one person that this conversation is directed at and LOL this person knows exactly whom I am speaking about.
Tu ești iubirea vieții mele ML

ML I hope you find this. I keep leaving you clues.
I wish you listen to "Alec Benjamin - If We Have Each Other"
În viață, chiar și la orice vârstă, este dificil să găsești persoana de încredere care să te țină de mână. Asta te va iubi și te va proteja. Cu orice preț. Și te fac să te simți iubit și să râzi în fiecare zi. Da!!
ML WbW

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2023.06.01 05:17 AC_the_Panther_007 Out of My Casts for Jurassic World: Fallen Kingdom (2018), Which One is Your Favourite?

1978:
Kurt Russell as Owen Grady
Sissy Spacek as Claire Dearing
David Warner as Eli Mills
T.K. Carter as Franklin Webb
Barbara Carrera as Zia Rodriguez
Sir John Gielgud as Sir Benjamin Lockwood
Don Rickles as Mr. Eversoll
Robert Stack as Ken Wheatley
Jack Soo as Dr. Henry Wu
Julie Anne Haddock as Maisie Lockwood
Margaret Hamilton as Iris
Burt Lancaster as Dr. Ian Malcolm
Director: George Lucas

1988:
Kurt Russell as Owen Grady
Sissy Spacek as Claire Dearing
Pierce Brosnan as Eli Mills
Kadeem Hardison as Franklin Webb
María Conchita Alonso as Zia Rodriguez
Alec Guinness as Sir Benjamin Lockwood
Tim Conway as Mr. Eversoll
James Coburn as Ken Wheatley
James Hong as Dr. Henry Wu
Soleil Moon Frye as Maisie Lockwood
Phyllis Diller as Iris
Charlton Heston as Dr. Ian Malcolm
Director: George Lucas

1998:
Mel Gibson as Owen Grady
Julianne Moore as Claire Dearing
David Thewlis as Eli Mills
Donald Faison as Franklin Webb
Jennifer Lopez as Zia Rodriguez
Richard Attenborough as Sir Benjamin Lockwood
Bob Hoskins as Mr. Eversoll
Jon Voight as Ken Wheatley
George Takei as Dr. Henry Wu
Michelle Trachtenberg as Maisie Lockwood
Betty White as Iris
Roy Scheider as Dr. Ian Malcolm
Director: Steven Spielberg

2008:
Matthew McConaughey as Owen Grady
Heather Graham as Claire Dearing
Ioan Gruffudd as Eli Mills
Donald Glover as Franklin Webb
Michelle Rodriguez as Zia Rodriguez
Peter O'Toole as Sir Benjamin Lockwood
Robin Williams as Mr. Eversoll
Tommy Lee Jones as Ken Wheatley
Dennis Dun as Dr. Henry Wu
Chloë Grace Moretz as Maisie Lockwood
Shirley MacLaine as Iris
Michael Douglas as Dr. Ian Malcolm
Director: M. Night Shyamalan

2018:
Chris Pine as Owen Grady
Rebecca Ferguson as Claire Dearing
Eddie Redmayne as Eli Mills
Jacob Latimore as Franklin Webb
Aubrey Plaza as Zia Rodriguez
Ian McKellen as Sir Benjamin Lockwood
Rob Schneider as Mr. Eversoll
Alec Baldwin as Ken Wheatley
Russell Wong as Dr. Henry Wu
Dafne Keen as Maisie Lockwood
Helen Mirren as Iris
Michael Keaton as Dr. Ian Malcolm
Director: J. A. Bayona

2028:
Austin Butler as Owen Grady
Jodie Comer as Claire Dearing
Freddie Highmore as Eli Mills
Isaiah Russell-Bailey as Franklin Webb
Camila Cabello as Zia Rodriguez
Ian McKellen as Sir Benjamin Lockwood
Seth Green as Mr. Eversoll
Alec Baldwin as Ken Wheatley
John Cho as Dr. Henry Wu
Paisley Day Herrera as Maisie Lockwood
Frances McDormand as Iris
Keanu Reeves as Dr. Ian Malcolm
Director: Jordan Vogt-Roberts
View Poll

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2023.06.01 05:04 Toreadorables ACROSS THE SPIDER-VERSE is 2 hours and 20 minutes long, which according to Wikipedia might be the longest American animated studio film ever...is this correct?!

ACROSS THE SPIDER-VERSE is 2 hours and 20 minutes long, which according to Wikipedia might be the longest American animated studio film ever...is this correct?!

submitted by Toreadorables to blankies [link] [comments]

2023.06.01 02:30 DramaThrowAway2023 Deep Dive: Matty Healy, the evil edgelord

Hi! I did a huge deep dive on the DWD drama a while ago and was asked to do others and said I would. Since then, all hell broke lose.
I talked about this with some people privately, but I mentioned in my first post that I was a stan, just not of anyone involved in the drama. Well, I was a Taylor Swift stan. Was being the operative word. I'm once again using by throwaway account because I was warned by people who I reached out to privately of the horrible things people have been telling them since they called Matty out. I used to be a huge Swiftie, and I wasn't that careful with my personal data when participating in conversations, so I need to be careful.
I'm tired of seeing Tay's new boo defended and the excuses people make about him, so my second deep dive is exposing him for the dirtbag he's been his whole career, how he refuses to apologize or gives terrible apologies when he does. How he repeats the same "mistakes" over and over, etc. I know there's been a ton of threads about this man lately, but I wanted to have everything in one place. Strap in. Trigger warning for everything under the sun, grain of salt on unsubstantiated stuff (there's like, two things and one of them is pretty obviously true, but I rather say it than not).
The 1975 is a band from the city of Manchester, England. They were a band for about a decade before they reached any sort of success. That happened in late 2012/early 2013. Matty was born April 1989 and is now 34 years old. This is important because everything I'm about to show you happened in his adulthood. He was 23 in 2012.

2012

He dated a girl called Gemma Janes, who was 17/18 years old, when he was 23/24. Here's a pic of them together on her Instagram, posted in January 2013. She was still 17 - her birthday is May 11 1995. The age of consent in England is 16, so this wasn't illegal. Immoral, however? I think yes. She posted him a lot, btw. It wasn't just a one-off pic. Like here and here and here. She was also in the band's music video for the song Chocolate (Aug 2013). She simulates/appears to be nude. She was 18. He was 24.

2013

Normally, I wouldn't include something like this, because it feels like a small issue and too prevalent to actually single him/his band out, but given some of the criticism he makes of hip hop culture later on (and how he pats his own back on his own "feminism"), I decided to come back and include it.

The music video for the song Girls juxtaposes The 1975 and a version of it but as girls. This is the formation for The 1975 as men vs as women:
https://preview.redd.it/dln06ogsta3b1.png?width=499&format=png&auto=webp&s=7d822cae6d3a07046d2a1b4facb1a0662f742142
You know, totally the same outfits. But misogyny is only in hip hop, according to him (you'll get to that in a second).
Girls in bathing suits featuring the band fully dressed. This is basically the tone of the entire music video.
https://preview.redd.it/8sb6ixbtta3b1.png?width=500&format=png&auto=webp&s=43a708bf4639c9917761b709afdbea5d1c5b5f53
Once again, this is, sadly, par for the course for the music industry, and usually I wouldn't include it (I got it from a ridiculously named blog as I was researching), but given the context of what he will preach later, it seems pretty freaking ironic.

The song was part of their August 2013 album called The 1975, and features lyrics about a 17 year old girl "seducing" him. Reminder, he had met his current girlfriend at the time when she was 17. These are some of the lyrics:

Bite your face to spite your noseSeventeen and a half years oldWorrying about my brother finding outWhere's the fun in doing what you're told?
'Cause they're just girls breaking heartsEyes bright, uptight, just girlsBut she can't be what you need if she's seventeenThey're just girls

Whether the song was inspired by her or not, he seems to be perfectly aware of how weird it is to be dating a 17 year old in his mid twenties. Yet, he dated a 17 year old, quite unapologetically, in his mid twenties.

I don't know the exact date of this, but a Norwegian journalist accused Matty of sexually harassing her. The accusation was made in 2016 and she dated it back in 2013. Here's an article in English, which links to the article by the journalist in Norwegian. She says he told her he's a sex addict and invited her to his hotel room.

2014

In the spring of 2014 they launched on a long tour of nightclubs in North America. While in Canada, he did an interview with IX Daily, a (now defunct) website dedicated to indie subculture. The interviewers were two girls.

The following exchange happened in this interview:

Interviewer: What is your biggest fear and biggest vice?
Matty: These are quite heavy questions for girls dressed as you two.
Interviewer: I'm a little bit offended...
Matty: You're offended by that?
Interviewer: Mhm (smiling awkwardly)
Matty: D'you know how many people I meet every single day? D'you know how many people interview me every single day?
Interviewer: Yes, a lot.
Matty: (pointing to both of them) You look nice for the interview. You've made an effort. You're, like, a pretty girl... I'm gonna have certain stereotypes. I don't meant offend you. At all. But the choker thing is kind of in, I see. I do like that.
Interviewer: I'll take it as a compliment.

Video. Around the 3 minute mark.

In August 2014, Matty goes on a tirade explaining why he always slags off religion, including islam. Culminating with this tweet:

https://preview.redd.it/b8i4vebwta3b1.png?width=500&format=png&auto=webp&s=60a3b39b07d378425fa46e25225f560a03692411
A Muslim fan from Egypt called Farida told him this:
https://preview.redd.it/lwddfmwwta3b1.png?width=624&format=png&auto=webp&s=792a9e6efbcc646ed36774e6f19a1bdc15325621
He replied this:
https://preview.redd.it/h1ohrutxta3b1.png?width=494&format=png&auto=webp&s=45042fd64ef489dbd88853a7dd5d33487f4a2941
The fan took the high road and replied:
https://preview.redd.it/bx9dpb9zta3b1.png?width=618&format=png&auto=webp&s=5ef5dbf2ee25dd69a7e7bd0f71bcc0832e1ee925
He royally ignored their explanations and counterpoints to his narrow view and went on a rant instead, which I'll link in a second. Then finished with this:
https://preview.redd.it/bd8z55v2ua3b1.png?width=500&format=png&auto=webp&s=8a49cf8861f084637b7817579e990ffbea30345f
And retweeted this:
https://preview.redd.it/ckbb21p3ua3b1.png?width=500&format=png&auto=webp&s=17805e6195374197624a0cae5b20e5faaea6c755
Then left Twitter. The fan recounted the exchange, you can find that and the rest of his rant here. I know this is getting long, but the fan was actually very well-spoken and I want to echo her words. In case some people don't click on the link, this is how she concluded the post:

I just want to explain to you that the reason I got angry was because he had been spreading rumours that isis follow the rules of islam and that is far from the truth.
Isis are a threat to Muslims and Arab countries around the world right now. Our religion is against killing innocent people, it’s haram.
Terrorist groups like isis who think what they’re doing is right and that they’re following islam are people who are feeding themselves lies about what Islam tells us to do.
Islam is a very peaceful and loving religion contrary to popular belief and i really hope if you think otherwise you take the time to educate yourself before giving out your opinions when you do not have the facts.
I also got angry because he has a huge following and some people are obviously going to side with him (trust me they’ve been in my mentions all day) and they’re just going to agree with him when he doesn’t have the facts and he’s so obviously not educated on this subject.
He’s constantly tweeting that we should respect people who have different religions then tweets things like fuck god then tweets that religion is an idea THEN says its faith so he’s all over the place.

Article about this whole thing. Including this because since his account is deleted, we can't verify the tweets and I don't want it to be left as hearsay. The original pics from the article are gone, but the tweets are all referenced in the body of the text.

At some point in 2014, Matty dates Halsey, whose debut EP Room 93 (released in October 2014) is about him. Halsey was born in September 1994, which means she and Matty dated when she was 18 and he was 25.
In August 2014, while the band is performing at Lollapalooza, he allegedly kisses a 15 year old girl. Video of the accusation. In another video, the same person explains it happened in Chicago.
Someone unearthed a lot of tweets from fans talking about Matty kissing underage fans, some of them date back years and also reference Lollapalooza. Here's a link to the last tweet, which includes a video of the fan talking about it and a video where you can hear Matty ask if she wants "a proper" kiss. He doesn't ask how old she is.

https://preview.redd.it/zuguems29b3b1.png?width=582&format=png&auto=webp&s=5b037d7395e227a81ba2c402ce06b43723f0d76d

In December 2014 he tweets this. He has never apologized.

https://preview.redd.it/dzudd3q8ua3b1.png?width=500&format=png&auto=webp&s=db76311b79db150d828f9e5c30b3adf7fde5876d

2015

It's not clear when exactly they met, but we know that by 2015, he was dating his girlfriend Gabriella Brooks, who in 2015 was 18/19 (born May 1996). Matty was 25/26. It's now the third confirmed relationship Matty has with a teenager while in his mid 20s. And teenagers that are either minors or barely adults, at that. Add to this the weird underage kissing...

2017

In April, he retweets Islamophobic tweets by a Muslim hate group, then unretweets when he's called out. Here's a summary by his own subreddit.
In July, he mouths the N word while "dancing" to the song Caroline by Aminé. Clip here.

2018

In November he gives an interview with The Fader where he says the following:

One of the problems is the youth of hip-hop. At the moment, with SoundCloud rap, it's become a bit of a drug-taking competition, and that happened in rock and roll. Those things get weeded out the longer those things exist. The reason misogyny doesn't happen in rock and roll anymore is because it's a vocabulary that existed for so long is that it got weeded out. It still exists in hip-hop because [the genre] is so young, but it'll stop. That's why you have this moment with young black men — Kanye-aged men, as well — talking about their relationship with themselves, which is a big step forward for hip-hop. Drake, for example. But then they'll be like, "But I still got bitches." The scene's relationship with women hasn't caught up to its relationship with itself, but that's something that will happen.

He tweeted the following apology a few days later (his account is now deleted):

This bit of me talking in an interview reads as patronising, uninformed and reductive. And to be fair it is. And I’d like to apologise….
What I said isn’t correct. And it’s not all a misquote. Just for clarity I said that misogyny wasn’t ALLOWED in rock and roll now days in a way it is in hip hop – not that it doesn’t exist, that’s maybe a misquote as I’m aware of the misogyny in rocknroll…
I would never deny the RAMPANT misogyny that exists in Rock n Roll. It’s everywhere and has been a weirdly accepted part of it since it’s inception.
BUT now looking at what I said – I was simplifying a complex issue without the right amount of education on the subject
I think cos I’m so actively trying to support women (not a brag but with the record label etc)**I kinda forget that im not very educated on feminism and misogyny and I cant just ‘figure stuff out’ in public and end up trivialising the complexities of such enormous, experienced issues
So basically, I’m sorry for saying that as I was wrong. And thanks for pointing it out cos if I’m gonna do this I have to keep learning.Just to clarify I’m not apologising for saying ‘rock music is void of misogyny’. I didn’t say that. Any body who says that is not only thick as fuck they most probably don’t have physical eyes. It’s the stupidest thing I’ve ever heard
I’m apologising for the fact my words could INSINUATE that misogyny in culture and music is an exclusively hip hop (black) issue. I do not believe that. What I believe is that I’m not educated enough to speak on THAT properly and a big part of that is this white dick that I have

I'm trying to keep my personal commentary to a minimum but him including how much of a feminist he is because of his record label in his weird ass apology took me out. I got the tweets from this Billboard article.

2019

After winning at the Brits, he tweets that "it's not often that left leaning bands win awards." And I didn't know my eyes could roll that fast and that far.
In September, he posts this picture, stepping on the South Korean flag:

https://preview.redd.it/vk7g1uebua3b1.png?width=640&format=png&auto=webp&s=1f8c14b136056bbc224566574c76bd32b9aba2cb
When called out on it, he replies this:
https://preview.redd.it/8bdic6fcua3b1.png?width=488&format=png&auto=webp&s=840dff3f8907972e316b53a1aabcaae36d2914f9
Article about it.

In December he gives an interview in which he demonstrates that he didn't bother to read Farida's points, all the way back in 2014, or anyone else's since then, because he continues to confuse ISIS / terrorism in the name of Islam with Islam itself, which is a peaceful religion.

Here's a transcript of his obnoxious speech:

You can’t criticize Islam as a set of ideas…because you’re inherently criticizing people. But that’s a problem with society because Islamophobia does exist, people are bigoted. But what that really is is thick, scared people not liking brown people. Whereas I love people, I love brown people.I just don’t know when I’m allowed to be offended. Religious people are always allowed to be offended: ‘Oh, we’re offended by this, I’m offended by that.’I have to get up every day and read some abhorrent that’s happened in the name of religion. And I never get a day. I never get a day where I’m allowed to be offended. … Where are my rights as an atheist?

Fundamentally misunderstanding that most victims of terrorist attacks are Muslim. It's incredible that he was lectured on this by a Muslim girl 5 years prior and yet, he still couldn't get it. He was 30 years old at this point, by the way. This is the third Islamophobic incident with him (that we have record of).

2020

The 1975's song Roadkill featured the F slur. Here he is singing it live in late 2022. To be transparent, he's quoting an imaginary person calling him the slur. As a self-admitted straight man, he doesn't get to reclaim it.
The 1975's song Me & You Together Song features these lyrics:

I'm sorry that I'm kinda queer
It's not as weird as it appears
It's 'cause my body doesn't stop me (Stop me)
Oh, it's okay, lots of people think I'm gay

IDEK, the song is about falling in love with a girl he meets while she's topless. I can't even be offended because this is such an edgy unnecessary hot mess.

In May, during the time of the height of the BLM protests, he tweeted about it... promoting their own song

https://preview.redd.it/v4o20nseua3b1.png?width=623&format=png&auto=webp&s=7a558ad8ccdb756c26060042c63737b8988fed00
When called out for it, he doubled down and refused to apologize. Then deleted his entire social media.

2021

In the spring of 2021, Adam Powell, a longtime collaborator (videographer) of The 1975 was accused of sexual misconduct by a number of fans. Here's a whole video about it. The accusations had been piling up for a while, the video I'm linking, which breaks them down, is from April 2021. Dirty Hit, the record label that hosts a bunch of indie artists including The 1975, of which Matty was a director of until recently, made a statement in May.

A fan had sent Matty the following DMs in March, which he never replied to.

https://preview.redd.it/e99b8ubgua3b1.png?width=360&format=png&auto=webp&s=7e3e9d8c8b13c27811516bd0b3b02329e50ad417
Instead, he cropped one of the DMs and posted it in his Instagram story, mocking the fan:
https://preview.redd.it/sbuv8l6hua3b1.png?width=383&format=png&auto=webp&s=ed42b8e2f4d6ea958c7c6f55ee7b80042f83720a
Here's a tweet by the fan who had this "exchange," explaining it. Adam Powell was one of his best friends. He still hasn't said anything about it.

2022

In December he makes the following anti-Semitic jokes. Source, his own subreddit

“A boy goes up to a Jewish man. The boy asks ‘Can I have $20?’ The man says ‘Can you have $15? Why do you need $10?"

This is the typical stereotype about Jewish people being cheap.

“A terrorist runs onto a plane with a gun. He yells ‘Who’s a Jew?’ A man stand in the back and says ‘Well that’s an interesting question.'"

This is a dog whistle about terrorists being Arabs (because of the ongoing Arab vs Jewish feud), as well as a play on how Jewish people aren't unified.

Late 2022 he was seen wearing a Red Scare Podcast hat.

https://preview.redd.it/y82v73wiua3b1.png?width=597&format=png&auto=webp&s=f713d164c583575a3332ad11945b3e50b43e771e
He was seen wearing it again in March 2023
He was also seen hanging out with one of the Red Scare hosts, Dasha Nekrasova
https://preview.redd.it/uwn71c5kua3b1.png?width=597&format=png&auto=webp&s=3ea3571ab131bd9c1c9a4a8e927d980addf8b4d7
And posted this on his instagram story:
https://preview.redd.it/nk6n499lua3b1.png?width=605&format=png&auto=webp&s=7bb990071eef1fdbdee8f0a3bbd57ea68ad18bfd
I really don't have the patience to fully explain why Dasha and the Red Scare Podcast are an issue. You can do your own research to actually get deep in this one, but just so you get an idea, one of the episodes of the Red Scare podcast was dedicated to make fun of FKA Twigs for speaking up about the abuse she suffered by Shia LaBeouf. It's chilling to hear, so trigger warning. Matty dated FKA Twigs for three years, right after her relationship with Shia ended. FKA blocked Matty on Instagram upon breaking up, for what it's worth. The Red Scare also had an episode where they bodyshamed Matty's current girlfriend, Taylor Swift, and said she should go back to having an eating disorder. They also called her mom Miss Piggy.
That's the tone of the entire thing. They find it funny to platform people like Alex Jones, they think Trump is hilarious and have mocked his abuse victims. Just... nasty stuff.

2023

In January, he does a nazi salute and march on stage as "a parody" to mock Kanye and Trump.
In early 2023, I don't have exact dates, he posts the following Instagram stories:

https://preview.redd.it/ik6kp6upua3b1.png?width=1000&format=png&auto=webp&s=c3f89f2c5cf1a0a2b074092a45b1e4182c13f890

In February he goes to The Adam Friedland Show, a "dirtbag leftist" podcast hosted by Adam Friedland and Nick Mullen. The tone of the podcast is typical edgelord leftist who thinks that because they say offensive things as "satire" and "social commentary" they're not actually offensive.

I'm not going to spend a ton of time on this, because this is the part that's documented the most
The podcast would be taken down by Spotify and Apple Music because of its offensive content, but it's still available on YouTube and you can listen to the whole thing here.
In this podcast Matty and the hosts make... a joke? about Matty being caught red-handed about to m*sturbate to Ghetto Gaggers, a website that "specializes" on showing p*rn about brutalized (Matty's word) black women. You can hear the whole exchange here, and there's a very graphic description of the type of videos you can find in it. A transcript of the conversation can be found in this article. Since then, apparently Adam Friedland claimed that it was a joke that he suggested to Matty (I can't find where he claimed this, but I continue to see his fans saying he did). I don't think this changes much of anything because Matty was clearly very aware of what Ghetto Gaggers was, given the fact that he described it, and still found it hilarious. So he either finds it black women being brutalized arousing and funny or just funny.
The podcast also included a section where they talk about rapper Ice Spice. The hosts call her "a chubby Chinese lady" to which Matty bursts out laughing. They also mock multiple accents, which Matty encourages and laughs at. Here's an excerpt.
The only thing he apologized for of all this was the Ice Spice comments. Video of his apology during a random show in New Zealand, Ice Spice totally saw that! Trigger warning for eyeroll content. This is the transcript:

I just feel a bit bad, and I’m kind of a bit sorry if I’ve offended you. Ice Spice, I’m sorry. It’s not because I’m annoyed that me joking got misconstrued. It’s because I don’t want Ice Spice to think I’m a dick. I love you, Ice Spice. I’m so sorry.
The truth is, I see a sign that says like, ‘Matty, I hope you’re okay.’ I feel a bit bad, to be honest, because I feel like I’ve been a bit irresponsible. It’s very well for me to say, I don’t understand how famous I am. I don’t like being famous. But reality is reality. And I think that I’ve said some things or kind of, I make a joke out of everything. That’s my thing. And I can take it too far sometimes in front of too many people. And I feel a bit embarrassed. So that’s the truth.

Then in a New Yorker profile he said he wasn't sorry about the podcast (no specific mention of Ice Spice) and basically said none of it mattered.

I asked him about the podcast. He’d been doing so much promo, he told me, that he wanted to do something that felt more like simply talking with his friends. But, of course, he had done this all in public, on mike. Had he baited his fans on purpose? “A little bit,” he said. “But it doesn’t actually matter. Nobody is sitting there at night slumped at their computer, and their boyfriend comes over and goes, ‘What’s wrong, darling?’ and they go, ‘It’s just this thing with Matty Healy.’ That doesn’t happen.”
“Maybe it does,” I said.
“If it does,” he said, “you’re either deluded or you are, sorry, a liar. You’re either lying that you are hurt, or you’re a bit mental for being hurt. It’s just people going, ‘Oh, there’s a bad thing over there, let me get as close to it as possible so you can see how good I am.’ And I kind of want them to do that, because they’re demonstrating something so base level.”

Matty deleted his social media in April, but as of the day he deleted, he followed Kyle Rittenhouse and Andrew Tate

https://preview.redd.it/zumf8dox8b3b1.png?width=686&format=png&auto=webp&s=5cd298d7a2666043ba0c90fd525b440dccdab500
Allegedly, the follows were because he was "doing research" or I don't know, making fun of them? It's hard to keep up with the edgelord excuses.
____________________________________
I didn't include the comments Matty himself made saying that he would feel "emasculated" if he was linked to Taylor back in 2016. He published a lengthy apology that basically justifies the whole thing and says men have "those thoughts." I can't add any more pics, and his twitter account, where he posted it, is deleted, so the tweet is the last hotlink, here is the actual full pic. Make of that what you will.
He has also used the R word, but he apologized for that (although his apology, included the R word), so, you know...
There's more. He did this whole bit where he posted offensive memes in a highlight called "Problemattic", but this is incredibly long and I'm at my limit of 20 pics already. If anyone has any additions, leave them in the comments. I don't think there's a chance in hell Reddit will allow me to edit this post, so I won't be able to add anything (I couldn't with the last one and it was a lot shorter), so please, if the comments add stuff, upvote them so they're at the top.
Also, please forgive any typos or mistakes, as I said,I won't be able to edit it.
Thank you to everyone that contributed to this thread and kindly answered my questions in DMs. You guys rock!

submitted by DramaThrowAway2023 to Fauxmoi [link] [comments]

2023.05.31 16:41 MrC_Red [Update] 100 Great Rock Albums list CHANGES

It's been over a year since the original 100 Great Albums post. Since December 2021, I've listened to 375 Rock albums in total (just for fun, I'm getting paid for this!). Looking back at the original albums, I noticed I have a few with only 1 or 2 listens, whereas now I always try to aim for 3 at the minimum. So as this is a good midpoint (as I plan on stopping at the 20th post), I decided to revisit these certified classic albums and maybe upgrade/downgrade the ratings after more listens. I'll continue to edit grades on other posts if my opinion changes on them later on, but the 100 list got so popular that I feel like it should be left unedited.
Here's the format: Album (year) original grade [orig. Listens] // NEW GRADE {additional listens}

Bob Dylan - Freewheelin' Bob Dylan (1963) B+ [2 listens] // A- {1 listen} More time to digest his lyrics only makes it better. Hard Rain, Blowin in the Wind and Masters of War are still the best here. He had the wisdom and poise of a 70+ year old man, as a 22 year old...
Bob Dylan - Bring It On Home (1965) A- [3 listens] // A+ {2 listens} I can't overemphasize how great side two is of this album is. The songs aren't as musical as side one, so the lyrics are center stage and Bob Dylan ALWAYS captivates your attention. The electric guitar side is even better than I originally thought, but man does the second side has some of his best songwriting.
The Beatles - Help! (1965) B+ [3 listens] // A- {1 listen} This is the album where I think they started making legit "respectable" music. The early Pop music they made before is nice, but it's not that fulfilling. The variety made this age very well: Hide Your Love Away, Ticket to Ride, Seen a Face, Dizzy Miss Lizzy, Help!, Yesterday. It doesn't help that every album that followed it is considered one of the greatest albums of all time, but at this point, it was head and shoulders their best.
Beatles - Rubber Soul (1965) A++ [5 listens] // A+ {4 listens} Highway 61 Revisited gets the credit as being the album to kick off the Rock renaissance of the 60s, but imo, the "album arms race" started with this one. Without it, the musical landscape isn't the same as the concept of an entire album of worthy material wouldn't have been as widely adopted. With the praise out of the way... it's pretty one note. A great Folk Rock album, but as it's often compared to other albums (cough Pet Sounds), it doesn't hold a candle to them.
The Beatles - Magical Mystery Tour (1967) B+ [3 listens] // A {3 listens} This is fun, bro. No it's not a legendary album, hell, it's not really a fully formed one as it's really a soundtrack compilation album. But looking at all the songs, they're just fun. Even a half assed Beatles album is still incredible (no I haven't listened to Yellow Submarine, why do you ask?).
The Doors - Self-Titled (1967) A- [2 listens] // A++ {3 listens} Wow, this is why multiple listens are super important. Many of the songs I thought were "so so" are so much better compared to other Blues Rock I've heard so far. Ray Manzarek is a god on the keys and Jim Morrison is pretty magnificent on every song. It still feels dated, as it's not super complex in it's song structure (like in LA Woman), but every song is great. JUST short of a masterpiece.
The Who - Tommy (1969) B [1 listen] // D++ {1 listen} I was being generous on the original post, I really didn't like this album. After one more listen, I really hate it. The story is complete nonsense and the music really doesn't make up for it. But that's not why I hate it so much; it's the length. If you're gonna be a late 60's mess, be your flamboyant mess and get in & get out. But it's an overly long, drawn out, bore of an album. It's mind boggling that anyone would prefer this over Quadrophena. Pinball Wizard is a great song tho, but don't tell anyone I said that.
King Crimson - In The Court of the Crimson King (1969) A- [1 listen] // A {1 listen} listening to Moody Blues' Days of Future Passed made this album a better listen. That jazz prog rock, with a laid back feel instead of completely psychedelic. The rest of the album (outside the intro) was a better listen this time around with better context, as I remember being bored with much of it. Now that I'm familiar with early Prog Rock, this doesn't feel as foreign anymore.
The Beatles - Let It Be (1970) B+ [3 listens] // A {3 listens} yea, I'm a Beatles stan. Yea, it's probably the weakest Studio Era album. Yea, I enjoy the atmosphere of this album more than the music itself; as a last who-rah of a crumbling friendship that can only be held together by creating music, as that is where the only fun is still found amongst these guys. Do I like to pretend that Don't Let Me Down is apart of this album, so I can grade it higher? Also, yea.
David Bowie - Hunky Dory (1971) A+ [2 listens] // A {2 listens} this is Art Rock. Not being a glam/hard rock fusion makes it less heavy than its successor. It also suffers for not having multiple strong anthems to hold the entire thing. Changes, Life on Mars, Andy Warhol, Queen Bitch are all great songs, but I doubt any are in Bowie's top 5. The other songs don't hold up as much I remembered.
Carole King - Tapestry (1971) A- [2 listens] // A {2 listens} Joni Mitchell's Blue was the driving force this time around. That personal folk storytelling, with that lively piano yet cozy, warm atmosphere. With more listens, I don't really love the lyrical composition as I just love the tone of the thing. I can sit next to a warm fire (or on a window sill) and turn this on and relax. I understand what the genre of Soft Rock is going for now.
David Bowie - the Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) A+ [2 listens] // Masterpiece {3 listens} Probably didn't give this one too much thought when grading it, as I think I just fell in love with a few songs on it and forgot about the rest. Listening to this front to back... it's flawless. I tried to find a song that wasn't good or that was kinda boring, but they're all perfect. I've listened to Ziggy Stardust and Starman COUNTLESS times in the past year, and will randomly get guitar riffs from random songs off this album to pop in my head. Of his 4 albums I've listened to, I still think Low is his best, as the atmosphere of that Side B is unmatched. But this album is what I'd consider objectively perfect, as every song is great. Easy masterpiece, and a great example of why sitting with an album is just as important as giving it a bunch of listens.
Queen - A Night at the Opera (1975) A- [2 listen] // A {2 listens} Fun stuff. I enjoyed the multiple vocalists being apart of it instead of only Mercury, made it feel like a "stage play" with a revolving cast. I think I might have been a bit to harsh on this one, as most of the album wasn't that memorable, with how amazing Bohemian Rhapsody is. I didn't understand what this album "was" with it's vaudeville style, but now, I see that it's this halfway point between the Hard Rock and the Prog Rock of the 70s, with that theatrical flair to make it standout. Definitely worth checking out.
Sex Pistols - Never Mind the Bollocks, Here's the Sex Pistols (1977) B [2 listens] // A- {2 listens} In 1987, Rolling Stone listed this as the 2nd best album of the last 20 years (since 1967) only after Sgt. Pepper's and man, did that made it easy for me to view this as overrated. I think since listening to more Punk Rock that followed this, I start to see how much better they've done with this compared to others. The guitar playing actually changes throughout the song, Johnny Rotten is actually expressive and feels spontaneous, and the drumming is creative. But the real change in opinion is the guitar playing: the riffs on many of these songs are undeniably awesome, which gives Rotten so much to work on top of. My biggest gripe with Punk Rock is how repetitive some bands can be. Now after more listens to this, I can absolutely NOT say the same can be said about this album. It's varied and expressive; how Punk Rock should be.
Steely Dan - Aja (1977) A [1 listens] // A+ {1 listen} better than I remember. The jazz rock combo is really good, it really leans into the jazz instead of simply using it as an aesthetic. It's not Prog whatsoever, just jazz with traditional Rock instruments. Honestly, you can barely tell if this would considered Rock at all. You really got to like jazz to love this tho. It has that free flowing feel of that genre, from the instrumentation to the flow of the singer. Great album! I'm assuming Steely Dan is hated by the rock community because of this heavy leaning into jazz. Which is understandable, but that doesn't mean they don't make phenomenal music.
AC/DC - Highway to Hell (1979) B+ [2 listens] // B {1 listen} They haven't quite moved away from the Blues sound yet. Back in Black is a pure distillation of what Hard Rock should be as a stand alone genre, but they don't quite have that confidence in being that brash yet. Bon Scott does a lot of heavy lifting as Angus Young doesn't have that swagger in his solos yet. A lot of the songs aren't super great, but they at least still carry energy. Highway to Hell is a fantastic song, but the majority is just meddling around in this laid back blues style.
Dire Straits - Brothers in Arms (1985) B [1 listens] // B- {2 listens} I originally wrote this off as one that I "just didn't get", with how insanely commerically successful it is. Now after listening to their Self-Titled album, it actually becomes even more disappointing as you know how much more they're capable of. There's such a signature style on it and this throws all of it away in exchange of a 80s soft rock sound. Walk of Life and So Far Away are good tunes, due to the guitar hooks; everything else is just shallow.
Pixies - Doolittle (1989) A- [2 listens] // A+ {2 listens} Now, I view this band on the level of the Beatles or Velvet Underground as one of those influential bands that changed music. At the time, Doolittle was too weird for me, but with much more context from this era, this is just insanely great. Compared to Surfer Rosa, the versatility is on a different level. While it is great and varied, it's not exactly "great" in any one area, so I can see why the bands that were influenced by them are viewed as better, as their stuff would've been more focused in one style instead of all over the place. Great album, legendary band.
Alice in Chains - Dirt (1992) A [2 listens] // Masterpiece {4 listens} This album is a grower. Every time I listen to it, I like another song from it. The harmonies are God tier, the guitar riffs, God Tier, the choruses, God tier. Layne Staley and Jerry Cantrell... peanut and jelly. I've given out 2 masterpieces to grunge albums (Nevermind and Ten), so what makes this different from those is that Dirt takes its time in developing songs. So many of these songs start slow and somber, and quickly turn aggressive and passionate! Gnarly riffs on one song, than a few minutes later, you're listening to soft vocals behind a rough, tortured voice. Not a bad song on here, hit after hit, I got to say it's a masterpiece.
Nine Inch Nails - The Downward Spiral (1994) A [3 listens] // A+ {2 listen} the word "gritty" might get thrown around a ton by me, but I still haven't heard such a brutal, harsh sounding album while still having pristine production value. It's nasty and mean. Even in the slow moments, you can feel the pain, anger, or sadness in his voice. Compared to other stuff, it doesn't have that much replay value to it, as it's not exact what one would call "musical". But you got to call it what it is: art.
Green Day - Dookie (1994) A [2 listens] // A+ {1 listen} It's just good music. Yes, the ceiling isn't as high as it could be, but it's so enjoyable that it is always a fun listen. The album is on point from start to finish, it's one of those "if you like one, you like it all" love it or hate it kind of deals. From Burn Out to When I Come Around is just Pop Punk perfection; the backhalf doesn't hold up compared to the start, but it's all still very good.
Weezer - Self-Titled "The Blue Album" (1994) A- [1 listen] // A {2 listens} I only gave this one listen and only revisited it after listening to Pinkerton. Isn't not as dismissable as I originally remembered, as I only gave it one listen. It's more POP- punk thank pop-PUNK compared to Dookie, which led me to not care for it as much. And it's pretty good pop, with a punk style to give it some edge, I guess. I still like Pinkerton more than it, but it can definitely stand alone as a good album itself.
Oasis - Definitely Maybe (1994) A [2 listens] // A+ {2 listens} Liam Gallagher is really good... but Noel Gallagher is the truth, bro. That dude knows how to make a great song. They aren't super complex, but they're all have perfect execution. Mix in that Wall of Sound effect with the guitars, it makes this stand out even more from the overwhelming stacked albums of the 90s. The non-single tracks aren't as strong compared to (What's the Story) Morning Glory?, as that album is damn near perfect imo. Great debut album.
Radiohead - The Bends (1995) B+ [1 listen] // A {2 listens} If Radiohead didn't make this album, I highly doubt I would've listened to this. Which is a shame, because this is a really good album. On the flip side, being a Radiohead album also did more harm than good, as it gets massively overshadowed. I admittedly did a half assed listen to "get to the famous stuff". Fake Plastic Trees, the Bends, and Black Star are great songs. I've listened to Ok Computer so much that I come to think of it as their official "start" of their sound, when in reality, they set the stage on The Bends of what can be possible down the road. Also, they toured with Alanis Morissette with the album, so extra bonus points!
Arcade Fire - Funeral (2004) A- [2 listens] // A+ {2 listens} better than I remembered. I definitely thought it was borderline pretentious, with how the song structure is when I originally listened to it. Now, without that stigma, it's not THAT abstract and I've come to admire the creativeness of it. I always love when there's women vocalists, to mix up the sound and so many different instruments add even more to the variety. It always feels like a new listen, with how many things I'll forget to notice and remember again.
Lcd Soundsystem - Sound of Silver (2007) A- [1 listen] // A {2 listens} The first 4 songs are awesome; Get Innocuous with it's multirhythmic layering is my textbook PERFECT song, a 21st century "Remain in Light" homage. The rest just loses this energy and it's never found again. Compare the first track with the last one and it sounds like two different projects. I know you can call me a hypocrite with how much I love Remain in Light, but at least with that one, it's only the last song and not half of the album. Seriously tho, Get Innocuous is a top 10 song of all time
Tame Impala - Currents (2016) A- [1 listen] // B+ {1 listen} Didn't expect my feelings to decrease, but compared to Lonerism, this is so mid. The lack of a real "great" song (Rihanna's Same Old Mistakes clears) makes it tough to love. It is consistent though, so it's still a good listen; just not a memberable one.

Albums I revisited, but no change in opinion. I feel like with these, I need to explain/defend myself more than I did on the original reviews:

Beach Boys - Pet Sounds (1965) A+ [4 listens] // {3 listens} After listening to a good chunk of their discography, I've come to two conclusions on Pet Sounds: 1) This album is truly lightning in the bottle as they NEVER reach it's level of consistency in quality from track to track. 2) Baroque Pop, while groundbreaking, came and went as fast as it arrived, mainly due to how abstract it is compared to its successor, Psychedelic Rock. Beyond that, there are a few skips that are solely due to wild creative mind of Brian Wilson. As a musical genius, dare I say better than Lennon and McCartney, but as a songwriter? Not even close imo. Rubber Soul, Revolver, Sgt. Pepper's are all great albums, while Pet Sounds can be argued to be their only great album (Wild Honey is also a good listen). I know bringing up the Beatles can be annoying, but the Beatles made great "hit singles" with their song layout, while about only half of the tracks on Pet Sounds are what I'd consider a traditional song. That's probably why I don't think it's so amazing (I kinda feel the same about progressive Rock) as I tend to favor music with a concise structure; even as unoriginal the structure may be.
Jimi Hendrix Experience - Are You Experienced? (1967) B+ [1 listen] // {1 listen} I can't get into it. The songwriting isn't there, especially compared to the stuff that would follow it. This is him at his rawest, but it's a reason why Medium Rare is the most commonly cooked steak.
The Rolling Stones - Let It Bleed (1969) B+ [2 Listens] // {3 listens} Thought I would flip on this album, but surprisingly didn't change at all. I still think Gimme Shelter is the best Rolling Stones song and I still think You Can't Always Get What You Want is still a phenomenal album closer, but everything in between is pretty lackluster (besides Live With Me).
Pink Floyd - Dark Side of the Moon (1973) A [4 listens] // {1 listen} I do enjoy this album more now I know how other Progressive Rock bands sound like, but not enough to raise it a grade. I enjoy Time and the whole second side much more and the "emptiness" of the genre doesn't bother me as much. But the first half is still a little too abstract for my liking. However, I do see how people can view this as their GOAT album with how groundbreaking it's release was at the time and outside of only other Pink Floyd albums, there's nothing else in this genre that really matches the "entering another world" feel it creates.
Pink Floyd - Wish You Were Here (1975) A [2 listens] // {1 listen} Similar thoughts to DSotM, but this one has the more catchy "songs" and partly why I love it more. Welcome to the Machine and Wish You Were Here are fantastic, but overall not enough meat for my liking.
The Ramones - Self-Titled (1976) B [2 listens] // {2 listens} I decided to give the Godfathers of Punk another try since I surprisingly came over to like the other Godfather, the Sex Pistols. And yeah... still isn't my thing. Way too one note, monotone singing, guitar takes over too much of the sound, etc. There are a few good hooks here and there, but you basically hear the entire song in the first 15 seconds. Everything I hate about Punk, stemmed from this album and made a lazier copy.
The Smashing Pumpkins - Siamese Dreams (1993) A+ [2 listens] // {1 listen} apparently the Smashing Pumpkins aren't considered grunge? If that's the case, comparing them to a Noise Rock band like a Sonic Youth or a Faith No More, they don't they don't rock out as much as I'd like. Also, I don't like how a few of these songs sound similar to each other. Today and Hummer of course are all top tier songs, but it's just not as much of a comprehensive project as Mellon Collie. Yea, it's definitely not grunge, as it would be much harder if it was.
Radiohead - Ok Computer (1997) A++ [2 listens] // {4 listens} Close, but no cigar. The first 3 songs and the last 3 songs are PERFECT, it's the stuff in between that makes it fall just short. The run of Karma Police into Fitter Happier to Electioneering is also a great moment in the album. Honestly, it's just Exit Music being "okay" that really stops it from being considered a masterpiece in my eyes. Still one of the greatest albums of all time, but not perfect in my eyes. This album is my perfect barometer for an A++ grade; it's objectively a perfect, but on the subjective level, there's nothing that makes me "adore" it. I completely understand how anyone thinking an A++ album I graded is a masterpiece, as I have to personally love it that extra step for it to get to that level.
Radiohead - In Rainbows (2007) A++ [3 listens] // {3 listens A+/A+/A++} Let me end it on a positive review: I didn't really give a thorough listen to it at first, as I don't remember much from it. Over time, my opinion on it dropped as I truly didn't see why people find it so special as they do. Ok Computer easily has the better individual tracks, Kid A is easily the most experimental. After finally revisiting it, maybe because it's a great midway between the two, with a weird electronic-rock-jazz fusion. Feels like there's not a single wasted second; every beat and note is meticulous. It's more chilled and laid back, which threw me off on the repeat listens. The hodgepodge of electronic and experimental sounds, being used in this traditional lofi style instead of being a fast paced one, was the curve that made it hard to love it at first, but now I think that's what makes it unique in its execution. A LOT of these rhythms could have been large and bombastic, and I kinda admire it's restraint in remaining "down in Earth". Also the album cover is noteworthy, where it feels completely spontaneous, never fully knowing what to expect going in. Definitely deserves its high praise

Albums I also revisited, but no change in opinion. Don't have too much to add on these, but listed them as my grades are concrete on these compared to the ones I didn't choose to listen to:

The Velvet Underground & Niko - Self-Titled "The Banana Album" (1967) A+ // Venus in Furs maybe one of the greatest songs ever composed
Cream - Disraeli Gears (1967) A+ // It still holds up, so damn awesome
Bob Dylan - John Wesley Harding (1967) B+ // yeah, he's kinda rambling on this one
The Stooges - Fun House (1970) A- // it's "the Stooges", possibly their best
The Rolling Stones - Exile on Main Street (1972) B+ // Nope, still didn't love it, still a mess
Elton John - Goodbye Yellow Brick Road (1972) A++ // One I thought wouldn't have held up. I shall never question Sir Elton's greatness again
The Eagles - Hotel California (1975) B // Great start, gets worst as it goes on
Patti Smith - Horses (1975) A- // labeling this "Punk Rock" is a nicer way of calling this weird af
The Clash - London Calling (1979) Masterpiece // Not only is there not a bad song here, but every song is perfect. Not great... PERFECT
U2 - Joshua Tree (1987) B+ // I can't deny that there are some good songs on here, even if I'll never listen to it again
The Cure - Disintegration (1989) A // after 375 Rock albums, Plainsong is still the greatest opening track
U2 - Achtung Baby (1991) A- // you gotta admit Bono is pretty cool on this one
Nirvana - In Utero (1993) A // love the Bass guitar's tone on this one, rawer contrast to Nevermind. I'm glad I didn't grow up in the 90s, as this will always sound so new and fresh to me :)
System of a Down - Toxicity (2001) Masterpiece // Similar to Hybrid Theory, if this wasn't labeled as "Nu-metal" (and maybe didn't get so overplayed and copied), even the most pretentious critic couldn't deny how great this is
Green Day - American Idiot (2004) A+ // Feels almost like a different band, the songs are much more nuisanced in its lyrics and its musical structure. That transition from Holiday to Boulevard still gives me goosebumps, such a great song.
Arctic Monkeys - Whatever You Say I Am, That's What I'm Not (2006) A++ // a tour guide to the UK nightclubbing/pub scene, way better than it has any right to be honestly

Bonus: Ween - 12 Golden Country Greats (1996) A [4 listens B/A-/A-/A] Country is still a somewhat foreign genre for me and I've been kinda bored with the concept of it. But it's Ween, so they've fully earned my trust at this point so I'll give this a try. This style is more or less my biggest indifference with the genre: it's not heavy enough to be impactful as rock, yet not soft enough to be as intimate as Folk. It's in this inbetween grey area where it's just not super captivating for me. With that said, it's rarely has been the "so bad, I can't stand to listen to it" levels of boredom that it has been made out as. That signature tongue-in-cheek humor of Ween is here and it makes the project more enjoyable. With Ween, whether it's supposed to be satirical or serious, the quality of songwriting is always top tier, so it's very easy to take whatever they're doing with my full respect rather than viewing it as just a joke. Japanese Cowboy, Mister Richard Smoker, Powder Blue, Piss Up a Rope and You Were the Fool (the best one) are my favorites; but other than Fluffy, every song is a good time. What really sells this album in particular, is that none of these songs would sound out of place on one of their other Rock centric albums, which allows me to extend a lot more grace towards it. Pretty good listen. For what it is, it's pretty consistent, but there's of course better Ween albums out there.

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2023.05.31 16:02 FelicitySmoak_ Song Of The Day Discussion : "The Girl Is Mine"

"The Girl Is Mine"
October 18, 1982 - 1st single from Thriller
https://youtu.be/nbkwDIsDy7o
Written by Michael Jackson. Produced by Quincy Jones & Michael Jackson. Duet with Paul McCartney. Recorded April 14-16, 1982 at Westlake Studios
This was the first single released off the Thriller album. Although it was one of the weaker songs, it was released first because it was guaranteed airplay thanks to McCartney's contribution, and if they didn't release it first, radio stations would play it anyway and wear it out. Also, it was the first song completed for the album, which they were still working on. This was released a month before the album came out. The next six singles all came after the album, and were all Top 10 hits as well.
At the time, many big albums contained a song with a prominent guest vocalist to attract attention. Released ahead of the album, this song gave no indication that Thriller would become the best-selling album of all time. Listeners were not impressed by "The Girl Is Mine", and thought that Jackson's Thriller would also be a disappointment. The public felt that Jackson and the producer, Quincy Jones, had created a song for the white pop audience

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The lyrics are mostly friendly banter about who has dibs on the girl. The song was a very safe choice as the first single, since it was very conventional and easy to understand. Jackson was afraid that if he released an edgy song like "Billie Jean" or "Beat It" first, people wouldn't give the album a chance. McCartney was 40 years old and well into one of the most stable marriages in rock (to his wife, Linda, who was present at the recording session), when this song was released. Hearing him bicker with the 24-year-old Jackson over a girl was kind of ludicrous, but there are only so many homosocial duet topics out there.
According to Jet Magazine, Jackson wrote the song with McCartney while watching cartoons. Jones had apparently approached Jackson about writing a song featuring two men fighting over a girl. Liking the idea, Michael, woke in the middle of the night one evening and sang the song into a tape recorder. “I sang exactly what I heard in my head, starting with the melody and the keyboard and the strings and everything,” Jackson said. “So, I just orally put it all on tape.”
The song was recorded at Westlake Studios, Los Angeles, from April 14 to 16, 1982. The year before, Jackson and McCartney had recorded "Say Say Say" and "The Man". Several members of the band Toto participated in the recording of this song, including David Paich (piano), Jeff Porcaro (drums), Steve Lukather (guitars) and Steve Porcaro (synthesizer programming). Although "The Girl Is Mine" was released as a single, Jackson and McCartney never performed the song live. The single's cover photograph was taken by McCartney's wife, Linda

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Michael Jackson said:

"One of my favorite songs to record of all of my recordings as a solo artist is probably 'The Girl Is Mine' because working with Paul McCartney was pretty exciting and we just literally had fun. It was like lots of kibitzing and playing and throwing stuff at each other and making jokes.We actually recorded the (instrumental) track and the vocals pretty much live at the same time, and we do have footage of it, but it's never been shown. Maybe one day we'll give you a sneak preview of it."

Thriller engineer Bruce Swedien told MusicRadar about one of Jackson's studio quirks:

"Interestingly, we always recorded with Michael in the dark - he hated light. I mean I would have a little bit of light for him, but the studio was absolutely dark. I think one reason why he wanted this - and why it works so effectively - is that through my study of acoustics and so on, I found that the human being is primarily a visual animal, hearing is our second sense. People can be distracted by too much light in the studio to the extent that it can take away from the music."

Despite the song's success, it received generally mixed reviews from critics who considered it to be the weakest song on Thriller. Journalist Robert Christgau described the pairing of McCartney and Jackson as "Michael's worst idea since 'Ben'". Rolling Stone stated that the song was a "wimpoid MOR [middle of the road] ballad" and that McCartney was "tame". Billboard called it a "breezy lighthearted love song capped by some playful superstar banter at the tag." Stephen Erlewine of AllMusic noted that the song had a "sweet schmaltz". Jackson's breakdown with the "irrepressibly silly Paul McCartney" was "disarmingly goofy", according to Stylus Magazine. Salon.com later described "The Girl Is Mine" as a "sappy duet". They concluded that McCartney had become a "wimpy old fart".The song garnered a favorable review from Jackson's biographer, J. Randy Taraborrelli. The writer stated that the song was "cute" but lacked substance. He added that the track had a "middle-of-the-road calm" and was the antithesis of the "rambunctious" "Beat It".

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"The Girl Is Mine" has been the subject of two plagiarism lawsuits, the first in 1984 and the latter in 1993. Both instances required Jackson to testify in court, and each lawsuit was decided in his favor. The first legal trial occurred in 1984, with Fred Sanford claiming that Jackson had cut a tape of his song, "Please Love Me Now". Jackson, however, insisted that he composed "The Girl Is Mine". The $5 million copyright suit was closed after the jury of five men and a woman reached a verdict in favor of Jackson. Their verdict was reached after a three-day deliberation. Jackson was not a defendant in the trial but testified to maintain his credibility.
James Klenk, Jackson's attorney, praised the singer upon the jury's verdict. "The man is a genius. He doesn't need anyone else's songs. His own words were the key." During the court proceedings, Jackson revealed how he composes his songs. "I put them in a tape recorder and I orally sing them into the tape, and that's how it happens." One juror stated, "His presentation indicated that he was well able to develop his own songs."
The song's second plagiarism trial was in 1993. Reynaud Jones and Robert Smith alleged that "The Girl Is Mine", along with "Thriller", written by Rod Temperton & "We Are the World", resembled their musical works. The pair added that they had been childhood neighbors of the Jackson family when they had resided in Gary, Indiana. Jackson, Lionel Richie (co-writer of "We Are the World") and Quincy Jones were named as the defendants. The plaintiffs asserted that Joseph Jackson had received a demo tape from them. From the tapes, the defendants were alleged to have stolen the three hit songs. Reynaud Jones also claimed that he had considered suing Jackson over "Billie Jean". Jackson appeared in court via a taped testimony. Following the testimony, the nine-member jury found Jackson to be the writer and composer of "The Girl Is Mine" in early 1994. They also ruled that the defendants had not plagiarized "Thriller" or "We Are the World"
In 2008, for the 25th anniversary edition of Thriller, Black Eyed Peas singer will.i.am remixed "The Girl Is Mine", featuring an original solo demo of the song by Jackson without McCartney. will.i.am added his own vocals and new verse. The song reached #12 in New Zealand, #22 in France, in the top 50 of Denmark and Sweden, and #51 in Switzerland.
The remix received generally unfavorable reviews from music critics. Journalist Christopher Rees stated that will.i.am had "done a fantastic job of murdering a classic song". Rob Sheffield of Rolling Stone wrote that at will.i.am's production was "dumb-thug bluster" and criticized him for trying to hide the "goofy 'doggone' hook"—"the whole point of the song". Music journalist Aidin Vaziri wrote that will.i.am "completely erases Paul McCartney's vocal track from the original duet to make room for himself spouting nonsense". Stephen Thomas Erlewine of AllMusic claimed that will.i.am had turned "The Girl Is Mine" into a "hapless dance number". Kelefa Sanneh of Blender wrote that "will.i.am contributes beats (why?) and rhymes (why, oh, why?) to 'The Girl Is Mine 2008'". IGN's Todd Gilchrist stated that will.i.am's "The Girl Is Mine" remix was an offense. The offense was made even more "egregious" by the insertion of his own "atonal vocal presence" in place of McCartney's.
Pitchfork Media added to the unfavorable reviews, stating of will.i.am, "He takes Macca off 'The Girl Is Mine' but decides it can't work without someone sounding like an idiot and steps manfully in himself." The Times stated that whoever thought it was a good idea for will.i.am to participate in the song ought to be "locked in a windowless cell with nothing but those songs on a continuous loop".PopMatters, however, praised Thriller 25 and the remix of "The Girl Is Mine". They wrote, "Any album good enough to make you forgive (although maybe not forget) a song as bad as the Paul McCartney duet 'The Girl is Mine' has got to be damn good." They added that will.i.am had put a "breezy spin" on the track and that the song's omission of McCartney did not suffer because of it.
Though the remix sampled the demo, The Daily Telegraph alleged that McCartney was omitted because he and Jackson had fallen out over Jackson's purchase of Sony/ATV Music Publishing and the Beatles' song catalogue in 1985. However, the original version of "The Girl Is Mine" was included on Thriller 25 with McCartney's vocals included.
Fifteen years after this song was released, Brandy and Monica teamed up for a lyrically similar duet, "The Boy Is Mine," which drew inspiration from this song.
It has been covered 28 times
And sampled in 11 songs, including:

"Good Good"(2008) by Ashanti
"Shakiyla" (1991) by Poor Righteous Teachers (1991)
"Fun Day" (1991) by Stevie Wonder (1991)

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2023.05.31 00:25 tinaismediocre Has anyone ever noticed that Edwyn Collins sounds *exactly* like David Bowie?

He's the throwaway 90's one hit wonder who sang "A girl like you" - I've heard the song a zillion times but it just hit me that he sounds just like Bowie in it, I've now gone on a deep dive into his stuff, it's largely meh but feels like a lost, mediocre Bowie album!

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2023.05.30 19:04 jdbender66 My friend recommended I listen to Sleep Token, and included a great TL;DR of his fav tracks

Ascensionism - So this song should show the versatility of sound.....but laughing now cause it's probably the most imagine dragons-esque.
Are You Really Okay? - Sad song time! Kinda give me Radiohead vibes to a certain degree....but once again shows off authentic lyricism and depth of sound. Overall lyrics kinda cringe but still gonna prefer this over 'Vore' aka 10/10 max scary terry track
DYWTYLM - Pop elements here to a certain degree but once again one of the later album tracks that isn't scary and isn't bad.
Take Me Back To Eden - 8 minute track that deserves a fullish listen. Probably one of my favorites from them.
Euclid - And here we have my favorite track...and final track on the LP. Unfortunately we do have tropes of love lyrics, pop/digestible chord progression, and depressy moods. Butttt we also have some of the best lyrics on the album and the best balance of their sound and what they bring to the table
Summary
Overall this analysis has shown me a few things.
I love metal in many senses, but looking to past artists quickly shows what exactly I'm drawn towards.
For example, Breaking Benjamin, epic metal but digestible chords and lyrics
The Used - scary angry metal, but we aren't afraid to sing falsetto or write slower songs
All in all seems like I just wanna be angry but also still fabulous. So Sleep Token seems to be providing a little of all of that. Most metal completely looses all lyricism and musicality at a certain point.....first band I've heard in a while to be gaining a lot of popularity and respect in their scene and actually have music I like!

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2023.05.30 14:20 rrubyn underground artists/bands like Breaking Benjamin?

like the title says, I’m looking for artists or bands (preferably with a male lead singer) that are not that known. I want something similar to Breaking Benjamin, or anything indie rock or grunge.
(bonus points if they sing about love, or generally have deeper and more meaningful lyrics)
edit: i would like it if they had sadder songs. nothing too “catchy”.

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2023.05.30 09:06 AC_the_Panther_007 Out of My list for Better Call Saul, Which one of those is your favourite?

1965-1972:
Danny Thomas as Jimmy McGee/Saul Goodman
Fredric March as Michael "Mike" Ehrmantraut
Doris Day as Kimberly "Kim" Wexler
Lloyd Bridges as Howard Hamlin
John Gavin as Ignacio "Nacho" Varga
Bob Hope as Charles Lindbergh "Chuck" McGill Jr.
Woody Strode as Gustav "Gus" Fring
Pedro Gonzalez-Gonzalez as Eduardo "Lalo" Salamanca
Original Network: NBC (A Screen Gems Inc. Presentation)

1975-1982:
Dick Van Dyke as Jimmy McGee/Saul Goodman
James Stewart as Michael "Mike" Ehrmantraut
Angie Dickinson as Kimberly "Kim" Wexler
Charlton Heston as Howard Hamlin
Raul Julia as Ignacio "Nacho" Varga
Frankie Howerd as Charles Lindbergh "Chuck" McGill Jr.
Ossie Davis as Gustav "Gus" Fring
Henry Darrow as Eduardo "Lalo" Salamanca
Original Network: ABC (A Screen Gems Film Presentation Television Subsidiary Columbia Pictures Corporation/Columbia Pictures Television: The Unit of The Coca-Cola Company)

1985-1992:
Gene Wilder as Jimmy McGee/Saul Goodman
Robert Mitchum as Michael "Mike" Ehrmantraut
Faye Dunaway as Kimberly "Kim" Wexler
Roy Scheider as Howard Hamlin
Steven Bauer as Ignacio "Nacho" Varga
Rodney Dangerfield as Charles Lindbergh "Chuck" McGill Jr.
Sidney Poitier as Gustav "Gus" Fring
Edward James Olmos as Eduardo "Lalo" Salamanca
Original Network: ABC (Columbia Pictures Television: The Unit of the Coca-Cola Company/Columbia Pictures Television: A Unit of Columbia Pictures Entertainment, Inc.)

1995-2002:
Ed O'Neill as Jimmy McGee/Saul Goodman
Christopher Plummer as Michael "Mike" Ehrmantraut
Kim Basinger as Kimberly "Kim" Wexler
Christopher Walken as Howard Hamlin
John Leguizamo as Ignacio "Nacho" Varga
Leslie Nielsen as Charles Lindbergh "Chuck" McGill Jr.
Clarence Williams III as Gustav "Gus" Fring
Jimmy Smits as Eduardo "Lalo" Salamanca
Original Network: Fox (Columbia Pictures Television: A Unit of Sony Pictures Entertainment Company/Columbia TriStar Television: A Sony Company Pictures Company)

2005-2012:
Michael Keaton as Jimmy McGee/Saul Goodman
Scott Glenn as Michael "Mike" Ehrmantraut
Elisabeth Shue as Kimberly "Kim" Wexler
Ray Liotta as Howard Hamlin
Clifton Collins Jr. as Ignacio "Nacho" Varga
Dustin Hoffman as Charles Lindbergh "Chuck" McGill Jr.
Samuel L. Jackson as Gustav "Gus" Fring
Benjamin Bratt as Eduardo "Lalo" Salamanca
Original Network: Showtime (Sony Pictures Television)

2025-2032:
Paul Rudd as Jimmy McGee/Saul Goodman
Steve Buscemi as Michael "Mike" Ehrmantraut
Michelle Williams as Kimberly "Kim" Wexler
Michael Shannon as Howard Hamlin
Danny Ramirez as Ignacio "Nacho" Varga
Alec Baldwin as Charles Lindbergh "Chuck" McGill Jr.
Jeffery Wright as Gustav "Gus" Fring
Josh Segarra as Eduardo "Lalo" Salamanca
Original Network: AMC (Sony/Sony Pictures Television)
View Poll

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