1986 song


                                  There’s such a fooled heart
Beating so fast           in search of new dreams

A love that will last within your heart

                                   I’ll place the moon within your heart

Labyrinth songs aesthetic  #2: “As the world falls down” - David Bowie

How you turn my world
You precious thing
You starve and near exhaust me

Everything I’ve done
I’ve done for you
I move the stars for no one

You’ve run so long
You’ve run so far
Your eyes can be so cruel
Just as I can be so cruel
Oh I do believe in you
Yes I do

Live without your sunlight
Love without your heartbeat
I, I can’t live within you
I can’t live within you

I, I can’t live within you

- Within You (David Bowie, Labyrinth 1986)

In Trousers (1986 version) Song Analysis:

In Trousers:

  • the dream
  • everyone has some sort of secret

I Can’t Sleep:

  • Marvin is restless because he is struggling with whether or not to tell Trina he is gay

Time to Wake Up:

  • Trina waking Marvin up
  • generally being unhappy with their marriage

I Have a Family:

  • Marvin is repressing his gay because he has a family he doesn’t want to lose

How Marvin Eats His Breakfast:

  • Marvin is remembering his 14 year old self who was an asshole but was at least happy

Marvin’s Giddy Seizures (1):

  • 14 year old Marvin is happy and unaware that he is gay thus far
  • giddy seizures = unmeasurable happiness
  • he likes remembering this because his life sucks right now and he wants to go back to a simpler time

My High School Sweetheart:

  • Marvin remembers his high school girlfriend and how he never wanted to be intimate with her
  • the girlfriend is frustrated
  • Marvin remembers liking being in the play and his teacher Mrs. Goldberg

Set Those Sails:

  • Marvin remembers some of the lessons he learned from Mrs. Goldberg
  • or more so from the play (I’m assuming she directed)
  • the play had a big impact on his self discovery and he associates the messages from it with her

I Swear I Won’t Ever Again (1):

  • this is a lie
  • he realizes being gay is ruining his tight knit family
  • but he also knows he can’t help it
  • he tries to anyway with straight fantasies

High School Ladies at 5 o’clock:

  • Marvin remembers fantasies he had in high school about girls
  • this fantasy is where high school marvin realizes he may be gay
  • he realizes he does not want to screw the girls that society says he should like

I Swear I Won’t Ever Again (2)

  • ending the first fantasy
  • it didn’t go as planned (obviously)
  • but hey he is going to try again anyway

The Rape of Mrs. Goldberg:

  • he doesn’t like that he can’t like high school girl so he tries a different fantasy
  • high school Marvin tries to repress the gay thoughts by thinking of a different fantasy
  • he tries to get with Mrs. Goldberg in the form of taking her glasses (dreams are weird)
  • Marvin gets the things he wants ( a straight fantasy) but not the things he wants (to be gay)

I Swear I Won’t Ever Again (3):

  • ending of second fantasy
  • he’s still lying to himself
  • or trying to at least

Love Me For What I Am:

  • Trina recounts how she met Marvin and how their relationship progresses to marriage
  • they both want to be loved for who they are, and it really shows how neither of them are being fulfilled by this relationship

I Am Wearing a Hat:

  • the high school sweetheart and Mrs.Goldberg are unhappy with their lives and don’t feel in control enough to change them
  • they also feel bad for Trina who they know will end up like them
  • metaphor for how love/marriage should be as easy as wearing a hat
  • but they all were in bad relationships that left them unhappy
  • the hat is also symbolic of women who Marvin feels he has hurt/let down/abandoned
  • after he leaves Trina the sweetheart and Mrs. Goldberg give Trina a hat

Wedding Song:

  • Marvin and Trina get married

3 seconds:

  • Marvin equates marriage to the death of him
  • or he would rather die than marry a woman

Nausea Before the Game:

  • Marvin and Trina’s wedding night
  • thinking of sleeping with Trina makes him nauseous

How the Body Falls Apart:

  • Over time things change and love fades
  • as you grow older you realize how unhappy you really are

To Survive the Night:

  • Marvin trying to get through each night with his wife

I Feel Him Slipping Away:

  • Trina describing how she and Marvin have grown distant and how he is cheating on her

Whizzer Going Down:

  • Whizzer gives Marvin a blowjob/sex

Marvin’s Giddy Seizures (2):

  • Marvin is happy he got a blowjob/sex
  • being in this relationship is the first time he has felt truly happy since discovering he was gay

I’m Breaking Down:

  • Trina is not happy Marvin got a blowjob/sex

Packing Up:

  • Marvin is gone

Breakfast Over Sugar:

  • or maybe he’s not gone?
  • yes?
  • uh…
  • nope he is gone

How America Got Its Name:

  • Marvin is a known homosexual and is definitely leaving to be with Whizzer

Time to Wake Up (reprise):

  • Trina wakes up alone and sad

Another Sleepless Night/No Hard Feelings:

  • everything sucks except for the gays

Been So Long - Anita Baker (Rapture, 1986)


These screencaps (with the exception of the last) represent three sequential shots from the ‘Escher Room’ scene in Labyrinth. In order to form an argument on what’s happening in these shots, I will start with a hypothesis: the entire 'Escher Room’ scene is far more concerned with Jareth and his emotions than it is with Sarah rescuing Toby. For a start, the song dominates the first half of the scene and is completely concerned with Jareth’s dawning realisation that he wants Sarah but cannot have her. After the ledge-flipping antics early on, Jareth and Sarah are separate: the scene becomes a sequence of disorientating looks, and these screencaps exemplify that.

The set design is, of course, all about distorting perspective: up is down, down is up, and so on. Because the set doesn’t conform to your normal spatial boundaries, the way scene is shot doesn’t either. The first two screencaps above are a great example of cinematic trickery, even if the 'trick’ is only to fool the viewer for a moment: the shots are framed so as to make you think that Jareth is looking 'down’ at Sarah and she is looking back 'up’ at him. Only when the next shot - of Toby looking 'up’ - comes do you realise that Sarah is paying absolutely no attention to Jareth. For the rest of the scene, there is no interaction between them whatsoever: indeed, there’s a complete shift in focus from Jareth and Sarah to Toby and Sarah. When Sarah’s frantic race to Toby becomes the focus, the song starts to fade away, irrelevant and forgotten.

To stray into song interpretation territory, I will say it’s interesting to remark that the line “I can’t live within you” isn’t uttered until right at the end of the song. 'Within You’ starts as a series of threats, bombastic statements and endearments, but the last line is almost gasped as if Jareth can hardly bring himself to sing it. The delivery is faltering and stilted, and it’s sung from the shadows. He knows Sarah isn’t listening, so he no longer has any need to hide his vulnerability and his longing behind bombast. He’s exposed, and his vulnerability means he becomes the most intriguing element of the scene. He should be our villain, but our empathy lies squarely with him because the scene is at pains to exemplify that he has been rejected and is suffering. That, my friends, is what makes Jareth so interesting.

Agree? Disagree? Have further thoughts? Let me know!

I Love the Dark - Pennywise x Reader Masterlist

AN: Chapter titles have links to the chapters on my blog and the heart icons next to them have links to the songs used for the titles on youtube. I try to choose songs that came out in 1986 or earlier, every song used are songs I love :)

Chapter 1 - Killer in the Home 

Chapter 2 - Master and Servant

Chapter 3 - Loving the Alien ♥

Chapter 4 - She’s a Carnival

Chapter 5 - The Kids are Back 

Chapter 6 - Desire (Come and Get It) 

Chapter 7 - Beautiful Gardens 


On this day in music history: October 26, 1985 - “Saving All My Love For You” by Whitney Houston hits #1 on the Billboard Hot 100 for 1 week, also topping the R&B singles chart for 1 week on September 7, 1985, and topping the Adult Contemporary chart for 3 weeks on October 5, 1985. Written by Michael Masser and Gerry Goffin, it is the first pop and second R&B chart topper for the pop and R&B vocal icon from Newark, NJ. After Whitney Houston is signed to Arista Records in 1983, the nearly two year long task of recording her debut album begins in earnest. Among the producers selected to work on the project is songwriter Michael Masser, best known for penning classics including “The Greatest Love Of All” (also recorded by Houston for her debut), “Touch Me In The Morning” and “Theme From Mahogany (Do You Know Where You’re Going To?)” (both for Diana Ross). One of the songs chosen for Whitney is “Saving All My Love For You” co-written with lyricist Gerry Goffin (“The Locomotion”, “One Fine Day”, “(You Make Me Feel Like) A Natural Woman”), a song about a woman having an affair with a married man. The song is originally recorded in 1978 by Marilyn McCoo & Billy Davis, Jr. (also produced by Masser), whose version is only a minor hit. Masser retools the song for Houston and records it with her in 1984, with the then twenty one year old singer delivering an emotional and flawless performance. The track is given a torchy, understated arrangement by veteran arranger Gene Page (Barry White, The Jackson 5), and features a sax solo by jazz musician Tom Scott. Issued as the second single from Whitney Houston’s self-titled debut in July of 1985, it becomes an across the board smash like its predecessor “You Give Good Love”. Entering the Hot 100 at #53 on August 17, 1985, it climbs to the top of the chart ten weeks later. The single wins Whitney her first Grammy Award for Best Pop Vocal Performance, Female in 1986 (also performing the song live on the telecast), an honor made even sweeter when it is presented excitedly and emotionally by Houston’s cousin, vocal legend Dionne Warwick. Houston’s Grammy performance of the song also wins her an Emmy Award for  Outstanding Individual Performance in a Variety or Music Program also in 1986. “Saving All My Love For You” is certified Gold in the US by the RIAA.

Partisans of Vilna: Zog Nit Keyn'mol
Lyrics - Hirsh Glick (1922 Vilna, Lithuania – 1944 Estonia)
Partisans of Vilna: Zog Nit Keyn'mol

World War II Jewish Resistance Song (1986)

English Translation:

Never say that this is the end, the final road.
Wherever a drop of our blood fell, there our courage will
grow anew.
This song, written in blood, was sung by a people fighting
for life and freedom.
Our triumph will come and our resounding footsteps will
proclaim “We are here!”

From land of palm-trees to the far-off lands of snow.
We shall be coming with our torment and our woe;
And everywhere our blood has sunk into the earth
Shall our bravery, our vigor blossom forth.

We’ll have the morning sun to set our days aglow;
And all our yesterdays shall vanish with the foe.
But if the time is long before the sun appears,
Then let this song go like a signal through the years.

This song was written with our blood, and not with lead;
It’s not a song that summer birds sing overhead;
It was a people, amidst the toppling barricades,
That sang this song of ours with pistols and grenades.

So never say you now go on your last way,
Through darkened skies may now conceal the blue of day,
Because the hour for which we’ve hungered for is near,
Beneath our feet the earth shall tremble, “We are here!”


1986. Orgasmatron

is the seventh album b band Motörhead, Released in 9 August. It is the only full Motörhead album to feature Phil Campbell    and Würzel on guitar, and Pete Gill on the drums, although he also played on the four new tracks recorded for the 1984 No Remorse compilation album.

After leaving Bronze Records on bad terms, Motörhead kept touring without the benefit of a record deal, in spite of being cited as a key influence in the thrash movement that was becoming extremely popular with heavy metal fans in the mid-1980s. In Overkill: The Untold Story of Motörhead, Joel McIver quotes vocalist/bassist Lemmy Kilmister from that period: “Elektra passed. MCA passed. CBS passed. Epic passed. Chrysalis passed. Everyone passed. Hell, I wish we sold as many albums as we do T-shirts. In England, it’s pretty well over for us as far as selling a lot of albums is concerned”. After their ongoing lawsuit with their old label was settled in their favor, Motörhead and its management set up their own label GWR (Great Western Road) to get their music out.

Orgasmatron features some of Motörhead’s heaviest songs (“Orgasmatron” and “Deaf Forever”) and it is the album (along with No Remorse) that got Motörhead back on track after the critically acclaimed but commercially unsuccessful 1983 album Another Perfect Day. The album reached number 21 in the UK charts. The song “Orgasmatron” was re-recorded in 2000.

The album’s working title was Ridin’ with the Driver and later changed to Orgasmatron; it was too late for Joe Petagno to change the cover art and the train design was used.

So this record was the beginning of a new era for Motörhead, it demonstrates they could prevail with this promising line-up without getting stuck in the past, although their attitude, honesty and guts remained intact. Maybe this isn’t Lemmy and co.’s greatest work, either the most remembered by the fans from the Würzel years but fun is guaranteed undoubtedly with each of these cool songs.

1986 may have been the year of thrash, but once again Motörhead proved there just isn’t a substitute for the new religion, the electric church…rock ’n’ roll.

        Lemmy      Phil Campbell      Würzel      Pete Gill


On this day in music history: August 16, 1986 - “Papa Don’t Preach” by Madonna hits #1 on the Billboard Hot 100 for 2 weeks, also peaking at #4 on the Club Play chart. Written by Brian Elliot (w/ additional lyrics by Madonna), it is the fourth chart topping single for the pop music superstar. In the Fall of 1985, Madonna begins work on her third album “True Blue” with co-producers Patrick Leonard and Stephen Bray. Songwriter Brian Elliot is inspired to write “Papa Don’t Preach” while working on a record for a singer named Cristina Dent. His studio is located near North Hollywood High School which has a large picture window in front that also doubles as a two way mirror. One day, he overhears a group of female students hanging out in front of the studio, gossiping about a fellow classmate that has become pregnant by her boyfriend. From that, he quickly writes the song and records a demo. Elliot plays it for Michael Ostin (son of Warner Bros. Records chairman Mo Ostin), the head of A&R at Warner Bros. Ostin immediately likes the song, then asks Elliot if he can play it for Madonna. She also likes the song, identifying with its narrative about a young girl becoming pregnant (and wanting to have the child) and how it relates to her own Roman Catholic upbringing. Before recording it, Madonna asks Elliot if she can make a few revisions to the lyrics and he gives his consent. Released as the second single from “True Blue” on June 11, 1986, the song attracts controversy from conservative religious groups, feeling that the song condones pre-martial sex and teenage pregnancy. The controversy does not stop the record from becoming an instant smash. Entering the Hot 100 at #42 on June 26, 1986, it leaps to the top of the chart seven weeks later. The song is supported by a memorable music video directed by James Foley featuring Madonna with actor Danny Aiello (“Do The Right Thing”, “Moonstruck”) playing her father. PMRC co-founder Tipper Gore, having previously denounced Madonna publicly, praises her for bringing an important social issue to light. In a small bit of irony, the music video shows a brief moment of unintentional nudity when Madonna’s left breast pops out of her top while dancing (you’ll have to look closely for yourself, because I’m not telling you where it is :D ). “Papa Don’t Preach” is certified Gold in the US by the RIAA.