Here’s another fic I’ll never finish inspired by the song Dream Sweet in Sea Major and a little bit of Kingdom of Monsters. MizuSakura (cause it has to be a harem with me.)
She hadn’t meant to swim so close, but man’s world was a lure in her throat she couldn’t pull free from. She was weak to it’s thrilling call, seductive and mysterious with lights and smells and sights. But, just like a lure, it proved to be her doom.
It was in the harbor she came back to consciousness, naked in the mess of open bodies, left cold from the night. The net she had been left to dry in was slashed in parts, but her new ankles stayed tangled in the twine, leaving her half in and half out. Moving felt like dying, ever shift of her new legs was against invisible knives, but Sakura moved to free herself from the knots before whatever came to feed on the fishermen came back for her.
Nothing simple had open the bodies like ripe oranges. They had been peeled open with long claws and savage jaws. It was their own fault for fishing horrors out of the deep. More than one tank had been smashed and drained back into the sea. There were two other nets that had been heavy with body when she had been first brought into the wherehouse over the docks, but they now hung empty.
The last tug around her ankle came undone and Sakura fell the three feet to land in a damp clump on the stained floorboards. She smelled of brine, but now there was blood in her long pink hair she could inhale the scent of. Maybe it was supposed to be disgusting, but it was a smell from the world of man’s world and she was a babe to it.
Sakura stood, cried silently, and walked to the nearest crate, away from the hole in the floor that led back to the waves. It was pain to move on legs, but she knew the transition back would be just as painful and ten times more emotionally draining. She finally had a chance on land, she wanted to take it.
There was a room off to the side decorated with fish plaques and posters. It was a sort of waiting room for workers. She saw the lewd books left behind and the ash tray for cigarettes. There were lockers too, just like the ones sunk in ships. She reached for one but it refused to pry open. Gripping again, she thought about the strength she needed and yanked hard. The metal came apart on a whine, tearing off its hinges. Inside there were work shoes, too big, trousers, also too big, and a pair of white teeshirts.
She ripped apart the other two lockers before finding something sparkling in the last one. She pulled it out and laid it over her naked chest. It was a sequined costume. She looked up and saw a woman wearing something similar, kicking high in the air and smiling wide. It was the only thing that would fit her, but that didn’t matter because it sparkled. Sakura pried it open and dragged it over her body, wincing when her legs moved into the holes made for them.
It took time, but after a while she stood again, swaying only slightly, and moved on. She saw her reflection in the glass of a window and smiled, stretching her mouth wide to match the woman in the poster’s expression. It wasn’t quite right and she couldn’t exactly pin down why.
‘I don’t know enough,’ she thought to herself, turning away from the glass and searching for a body. There were plenty left behind from the mess, but she didn’t know how useful their bits would be. The dying always had more to glean than the dead.
There was a man torn open close to the work room that Sakura sat down next to. She pulled his head onto her lap and sighed before bending over his dead expression and inhaling what was left of his evanescence. As she expected, it came out thin and weak, but at least there was something for her to swallow. She sucked the white ghost of his knowing down, seeing his sights, hearing his thoughts, feeling his past. She got fragments, but it was enough to learn from.
Sakura drank the knowing from two other men until she had to stop at one and wrinkle up her nose at what he discovered. She was wearing a whore’s costume-one that belonged to a girl the dead man apparently hired on the regular. It made her peel off the garment’s sparkling top and ripped away what was left of the costume. Sakura learned the meaning of burlesque and wine. She saw faces too, important faces.
There was too much to learn. The more she drank from the bodies the more questions she was filled with. She saw speakeasies and fire, she saw monsters and war. She saw a demon or god, standing above it all and laughing at the ants that ran and killed for his amusement. She saw ages. She saw time pass. She saw the gods pass on, his chaos growing in his absence.
Killjoy used to be called something else, but even before the cull of man and rise of monsters, it had always been a cesspool for sin. It had always been a place of adventure and fright.
“That’s what they were doing here,” Sakura said aloud, only to wince at the feel of blood in her throat. Ow. It hurt to speak, she had forgotten that.
The wars raged on between different factions. This particular faction hoped to capture something ancient and powerful to tip the scales in their favor. Whatever they had drudged up was too powerful to be tamed. Sakura counted eight dead bodies, including the one on her lap.
If Sakura stayed she would only get caught up in the chaos of Killjoy’s turf wars. It would be hard to avoid it, seeing as how the town fell to monsters decades ago.
“Damn, I can smell it from here.”
Sakura looked up sharply, hearing the voice that clearly wasn’t dead. There was someone still alive in the facility, or maybe they were just finally coming into the warehouse.
THIS BAND WANTS YOUR RESPECT #DepecheMode may sell millions of albums and play to capacity crowds in huge football stadiums, but these technopop idols still aren’t happy|article 1990|RollingStone|J.Giles
“I’VE been called a faggot about twenty times today,” says Depeche Mode keyboardist Alan Wilder, who’s slumped down in a seat at the Civic Center in Pensacola, Florida, where the British synth-pop outfit is about to begin another rehearsal. “Mostly from guys leaning out of trucks. This is a sort of backward place, isn’t it?”
“It’s the haircut,” says singer Dave Gahan, who’s wearing jeans and a sleeveless T-shirt that depicts a pair of women’s breasts. “In America, people think you’re homosexual just because you’ve got short hair.” Gahan pauses. “Except for the marines,” he says, referring, presumably, to the men stationed at Pensacola’s Naval Air Station. “The marines just give you this wink, as if to say, ‘Short hair. All right.’” Gahan sits down next to Wilder. “We’ll just have to hang out with the marines,” he says.
It’s Memorial Day weekend, and Depeche Mode has come to Pensacola to gear up for World Violation, the tour that accompanies the band’s recently released album, Violator. Although, historically, Depeche Mode’s strongest foothold has been Southern California – 75,000 fans flocked to the Rose Bowl for a 1988 concert – tickets to the group’s shows always go rather quickly everywhere. For the upcoming tour, 18,000-seat arenas in Dallas and Chicago sold out within a week. Stadiums in Orlando, Tampa and Miami have also sold out, despite the fact that the band has never played Florida before and gets virtually no radio airplay there. And 42,000 tickets to Depeche Mode’s New York-area show, at Giants Stadium, were sold in a single day.
What’s a little unusual about this particular road trip is that Depeche Mode’s albums are starting to sell as well.Violator is the group’s first record to sell a million copies in the States, and “Personal Jesus” – the band’s only hit here since 1985’s “People Are People” – was the first Depeche Mode single ever to go gold. “Enjoy The Silence”, the album’s second single, will be gold shortly.
Depeche Mode has made the Pensacola Civic Center its spring training ground for the same reason that Janet Jackson, among others, came here recently: The rent’s cheap. On the downside, unfortunately, there’s the fact that the only club the group has found in town has a mirrored ball and a DJ who struts around in a tux; the fact that the “security guard” at the Pensacola Hilton is a Depeche Mode fan who’s spent most of his time asking for free concert tickets and eight-by-tens of the band; and, of course, the fact that in an area of the Gulf Coast known as the Redneck Riviera, there are a lot of guys in trucks who think the members of Depeche Mode are “faggots”.
AFTER the band’s rehearsal, Dave Gahan, who’s married and has a two-year-old son, comes down to the Hilton’s lobby to talk about, among other things, the fact that Depeche Mode has always had an image problem. He brings with him a bodyguard named Ingo. In a way, this seems an unnecessary measure. Apart from Depeche Mode’s devout followers – 15,000 of whom nearly caused a riot at a Wherehouse record store in L.A. a few months back – very few people actually recognize the band members. And if they do, they tend to get the names wrong.
These days, Depeche Mode – which, in addition to Gahan and Wilder, includes keyboardist Andy Fletcher and songwriter Martin Gore – gives relatively few interviews. The band has been known to turn away journalists who haven’t pledged allegiance, as well as to boycott radio stations that balk at the group’s all-synthesizer format and decline to play its records.
“There was this band that everybody loved to hate,” Gahan says of Depeche Mode. “And yet they were incredibly successful. Why? Why do you think you’re so successful? Why do you think you’re on this planet, basically? It got to the point in interviews where we’d just say, ‘Fuck you,’ and walk out.”
After this brief speech, which may or may not be a warning, Gahan begins talking freely about Depeche Mode’s ancient history. He even asks, then answers, what Martin Gore considers to be the most tired Depeche Mode-related questions: “Where’s your drummer Where are your guitars? Do you consider this real music?”
“We used to rehearse in a local church,” Gahan says of the original band, which formed outside London, in working-class Basildon, in 1980, and which included Erasure’s Vince Clarke. “The vicar there used to just let us have the place. You had to be nice and polite, and you weren’t allowed to play too loud.
"I think without knowing it,” he continues, “we started doing something completely different. We had taken these instruments because they were convenient. You could pick up a synthesizer, put it under your arm and go to a gig. You plugged directly into the PA. You didn’t need to go through an amp, so you didn’t need to have a van. We used to go to gigs on trains.”
The band, which had been getting steady work at a couple of nearby pubs, eventually made a demo tape. Instead of mailing cassettes to the various labels, Clarke and Gahan delivered the original quarter-inch tape personally. “Vince and I used to go ’round to record companies and demand that they play it,” Gahan says, laughing. “Most of them, of course, would tell us to fuck off. They’d say, ‘Leave the tape with us,’ and we’d say, ‘No, it’s our only one.’ Then we’d say goodbye and go off somewhere else.”
Gahan pauses and asks Ingo if he’d mind getting him an orange juice. While the bodyguard’s gone, a fan who’s been walking nervously back and forth across the lobby takes the opportunity to approach the singer. “Martin,” he says. “Can I have your autograph? Have you got a pen?”
“Sure,” Gahan tells him, smiling. “But my name’s Dave.”
A few moments later, Gahan, orange juice in hand, is trying to pinpoint what it was that first made Depeche Mode attractive to the record companies. “At the time,” he says, “everybody was using electronics in a very morbid, gloomy way. Suddenly, here was this pop band that was using the stuff – these young kids who had everybody dancing, instead of standing around in gray raincoats about to commit suicide.”
After considering offers from major labels like Phonogram – “money you could never have imagined and all sorts of crazy things, like clothes allowances” – Depeche Mode signed on with Daniel Miller at the independent label Mute. (The band, which is signed to Sire Records in the U.S., has never had a manager.) In 1981, the group released its debut album, Speak and Spell, which, with some help from the dance-floor hit “Just Can’t Get Enough”, made the Top Ten in England. Shortly thereafter, Vince Clarke – then Depeche Mode’s driving force and chief songwriter – left the band to form Yazoo and, later, Erasure. Clarke claimed he was sick of touring.
“That’s what he said, but I think that’s a lot of bullshit, to be quite honest,” Gahan says. “I think he’d just taken it as far as he could. We were very successful. We were in every pop magazine. We were on the TV shows. Everything was going right for Depeche Mode. Everybody wanted to know about Depeche Mode. I think Vince suddenly lost interest in it – and he started getting letters from fans asking what kind of socks he wore.
"Martin had written a couple of songs,” Gahan continues, “and we went into the studio and recorded ‘See You’, which was our biggest hit so far. So that was it. ’Bye, Vince.”
MARTIN Gore is sitting beside the hotel pool, reading a biography of Herman Hesse. He is shirtless, wearing long, black shorts and white knee socks. He looks much like he looks onstage these days: a blond, curly-haired answer to AC/DC’s Angus Young. “Looking back,” he is saying, “I think we should have been slightly more worried than we were. When your chief songwriter leaves the band, you should worry a bit. I suppose that’s one of the good things about being young. If we had panicked, we probably wouldn’t be here today.”
Like the other members of Depeche Mode, who are all in their late twenties, Gore is quite personable – funny, soft-spoken and without any real pretensions. Unlike the other members of the band, he plays some guitar during the live performances, has released a solo album of cover songs [Counterfeit E.P.] and, a few years back, used to go onstage in a skirt. “Martin said to me once, ‘I like to look into the mirror before I go out, and laugh and think, ‘Look what I’m getting away with tonight’,” Gahan says. “He’d wear leather trousers and then wear a skirt over the top. And then he sort of extended to just wearing a skirt. We used to sit backstage saying, ‘Martin, you can’tfucking wear that, man! You’ve got to take that off!’”
“I just thought it was quite funny,” Gore says dismissively. “I didn’t think it was going to cause such a fuss.”
Under Gore’s direction, Depeche Mode’s music became – to quote the title of an album that many of the group’s fans hold dearest – a “black celebration”. His songs, a few of which have made American radio programmers blush, have been both profane (“Blasphemous Rumours”) and kinky (“Strangelove”, “Master & Servant”). The band’s first Top Ten hit in the States, oddly enough, was the kind-spirited “People Are People”, a single fromSome Great Reward.
“It was around that time that things started changing for us in America”, Gore says, at poolside. “On the tour for that album, we were totally shocked by the way fans were turning up in droves at the concerts. Suddenly, we were playing to 10,000 people. Although the concerts were selling really well, though, we still found it a struggle to actually sell records.”
Bruce Kirkland, the group’s U.S. representative, says, “New Order, the Cure, Depeche Mode – I equate these bands with the metal bands of the Seventies. They almost never had hit singles, but they were selling out stadiums. The classic joke about Iron Maiden was that they sold more T-shirts than records.”
It’s Memorial Day – the day of the Depeche Mode concert – and at the Civic Center’s merchandising stand a single fan has just spent $686. Back at the Hilton, which is across the street, Dave Gahan is talking about the band’s followers. “I’d get kids coming from all over the world,” he says of the days when his home address was common knowledge. “Germany, France, America – they’d just hang out at the end of my drive. It got to the point where I’d be chasing them down the road with my dog because they’d be singing our songs outside my house at two in the morning.”
“One of them – his name’s Sean – actually hired a private detective to follow me from the studio and discover where I lived,” Gahan continues. “I lost my rag and really shouted at him. I told him, basically to fuck off. Later I sent the guy a letter saying, ‘I apologize, but you must respect my privacy. I want to have some time with my wife and son.’ He sent back a letter saying, ‘I’m sorry I bothered you, and I won’t ever do it again.’ Then, right at the end of the letter, he said, ‘By the way, would it be possible for me to come ’round next weekend?’ I just thought, ‘Well, that’s it. It’s time to move.’”
JUST before Depeche Mode’s show, some fans who have been puttering around the hotel lobby all day are asked if they would contribute to this article by writing down a few words about the band. Each agrees, takes a sheet of paper and writes quietly and without pause for close to thirty minutes. Among the subjects covered are Dave Gahan’s sideburns; Dave Gahan’s hips; the fact that “Depeche” puts on a “spectacular” live show; the fact that the band members aren’t pompous rock stars but “v. down to earth”.
One teenage boy says he has “every B side, every weirdo import, everything”. One girl says she has “loved Depeche Mode since they first came out” – unlikely, unless she was hooked on Speak and Spell at the age of seven – and returns a fairly representative essay, which reads in part: “Tonight I jumped out in front of Martin Gore and got a picture. I swear I almost fainted. He seems so complex. I would love to sit down and just discuss with Martin Gore what I interpret in his music… I feel that once I meet Martin Gore there is nothing I can’t accomplish. His touch will burn, throw me and feel me up with energy. (Razal, 16, Fort Walton Beach, Florida)”
FOR a band that is, as Andy Fletcher puts it, “supposed to be cold and robotic and love studios”, Depeche Mode puts on a good, old-fashioned arena show. Gahan, who wears a black studded-leather jacket and matching pants, has a pretty complete repertoire of moves: the jumping jack, the spinning top, the bump-and-grind and a sort of standing duckwalk. Several songs are accompanied by photographer Anton Corbijn’s videos, including a hilarious segment in which Martin Gore dresses as a character Corbijn refers to as “the bondage angel”. All the songs benefit from an over-the-top light show that looks a little like the last scene from Close Encounters.
The World Violation Tour includes a fairly straightforward selection of Depeche Mode songs: “Shake the Disease”, “Never Let Me Down Again”, “Stripped” and “Everything Counts”, which was a U.K. hit in 1983 and was reissued last year to coincide with D.A. Pennebaker’s Depeche Mode film documentary, 101. Martin Gore, who is quite short and who is usually seen only as a shock of blond hair peeking up over a stack of keyboards, comes front and center at one point in the show to sing two solo acoustic-guitar numbers: “I Want You Now” and “World Full of Nothing”. The band’s final encore is a guitar-driven cover of “Route 66”.
Needless to say, the crowd at the Pensacola Civic Center is in a state of pandemonium for most of the two hours that “Depeche” is onstage. Many of the songs that go over best, however, are from Violator: “Clean”, “Personal Jesus” and “Policy of Truth”, the album’s third single, which begins with a vaguely funky “Heard It Through the Grapevine”-style sequence.
In general, Violator seems to have permanently opened doors for the band in America. “Martin once said, ‘Perhaps if we called ourselves a rock band from day 1, we would have had a lot more credibility from day 1,’” says Gahan after the show. “But we’ve stuck to calling ourselves a pop band, and we’ve earned that credibility by gaining success until people couldn’t ignore us anymore.”
Bruce Kirkland calls the band’s recent boom “a classic U2 scenario”, referring to the fact that, with The Joshua Tree, U2’s record sales finally reflected the group’s considerable live following. “It’s Depeche Mode’s time,” Kirkland says, “and the industry is finally catching up.” Most important, no doubt, is the fact that Depeche Mode songs have at last found a home on Top Forty radio.
“Here in the States, we’ve been working on it for years and years,” Gore says. “I think in a way we’ve been at the forefront of new music, sort of chipping away at the standard rock-format radio stations. And I think with this record, we’ve finally managed to bulldoze our way through.”
It’s been a pleasant turn of events for Depeche Mode, because there is still no place lonelier, or more vast, than the synth-pop graveyard. “It was the Human League, in particular, who went full circle,” Gore says. “They had a note on their album that I thought was just ridiculous. You know, ‘No sequencers used on this record.’ A lot of people get swayed by the ‘real’ music thing. They think you can’t make soul music by using computers and synthesizers and samplers, which we think is totally wrong. We think the soul in the music comes from the song. The instrumentation doesn’t matter at all.”
“The beauty of using electronics is that music can now be made in your bedroom”, Andy Fletcher adds. “You don’t need to get four people together in some warehouse to practice. You don’t have to have four excellent musicians fighting amongst themselves. You can do it in your bedroom, and it’s all down to ideas.” Fletcher pauses. “Obviously, it’s sad to see the demise of the traditional rock group,” he says. “But there’s always going to be a place for it in cabaret.”
IT’S one o’clock in the morning, and Razal – the young essayist who said she could accomplish anything if she could just meet Martin Gore – has been introduced to her idol. The pair have been talking quietly in the hotel bar for two hours.
Out in the lobby, a fan who’s been hanging around for days is crying. He offered the band a photograph – a picture of himself and his girlfriend, which had been taken at their high-school prom – and the band didn’t seem to want it. Dave Gahan goes out to talk to him, finds the situation hopeless and heads up to his room.
Before Gahan can get to the elevator, however, someone – obviously not a true Depeche fan – jumps in front of him and says, “Martin, can I have your autograph?”
Gahan rolls his eyes, momentarily fed up with living the strange life of an anonymous pop star. “To begin with, my name’s Dave,” he says, “and I don’t have a pen.”
“I only write about what I go through, or things I’ve learned along the way.”
MC Lyte was one of the first female rappers to point out the sexism and misogyny that often runs rampant in hip-hop, often taking the subject head on lyrically in her songs and helping open the door for such future artists as Queen Latifah and Missy Elliott. Rapper MC Lyte forged the way for other female MCs to find their way in the often-sexist, male-dominated world of hip hop. Lyte became the first female rap artist to achieve gold certification for her single “Ruffneck.” In six albums, she produced four Number One rap singles.
Lyte was born Lana Moorer, in Queens and raised in the East Flatbush section of Brooklyn, New York.She began rapping when she was 12, learning from her brothers Milk and Gizmo of the rap group Audio Two. Her father, Nat Robinson, started the First Priority record label in 1987, and her brothers appeared on her first three albums. Her first single, “I Cram to Understand U (Sam),” became an instant cult classic. The song is about a woman who has to compete for her man’s attentions, but her competition isn’t another woman, it’s crack cocaine. The single, released when Lyte was still a teen, set a standard for adult, hard-core rap that has rarely been equaled since.
Her first album, Lyte as a Rock, was released on First Priority in 1988 and produced by her brothers. The album contained samples from Ray Charles, Helen Reddy, and the Four Seasons. It’s notable for its narrative songs, like “10% Dis” and “Paper Thin,”that tell fleshed-out stories featuring doomed but interesting characters. Despite the assertive, in-your-face persona Lyte shows in her music and onstage, the artist is known for her soft-spoken demeanor behind the scenes. Lyte’s follow up to Lyte as a Rock, Eyes on This, was released a year after her debut, when she was just 19. The album “maintained her reputation as an insult-hurling tough talker who rapped to hard, simple beats,” People critic Michael Small wrote. It featured production by Grand Puba and the hit single “Cha Cha Cha,” which reached number one on the rap charts. Lyte took a courageous stand against violence in the haunting song “Cappuccino.”
She became an anti-violence spokesperson, namely for the Stop the Violence campaign, which took her into schools to speak to kids. She also appeared in public service announcements for the Rock the Vote campaign, which featured her song “I’m Not Having It.” She appeared in PSAs for Musicians for Life and supported various AIDS charities. Lyte became the first rapper to perform at Carnegie Hall at a 1990 AIDS benefit.Lyte hired R&B producers Wolf and Epic, of Bel Biv Devoe fame, to produce her third release, Act Like You Know,which came out in 1991. The result was a smoother, more soulful turn for the artist. Despite the commercial success of the singles “When In Love,” “Poor Georgie,” and “Eyes Are the Soul,” Lyte’s fans despaired that their aggressive, street-smart diva had softened her style.
On her fourth release, 1993’s Ain’t No Other, Lyte returned to her harder-edged rhymes, much to the relief of her fans. “Back to basics,” she said in a Billboard interview at the time, “that’s what’s happening to rap music now. I worked with some young, hungry… rappers. Being around them gave me a whole different feel.” KRS-ONE from Boogie Down Productions contributed a few lines at the album’s start to introduce it, and Lyte laid out an aggressive affront to disrespecting rapper Roxanne Shanté on “Steady F. King.” Lyte intentionally avoided moral or message songs on this album, she later said, to avoid sounding too much like she was preaching.
Though Lyte enjoys listening to message-driven rap, she told Billboard, ” evidently core hip-hop fans don’t want to hear that. They want to party, so I gave them fat beats and fat lyrics about me.” The single “Ruffneck” was produced by Wreckx ‘N’Effect, and was nominated for a Grammy award for Best Rap Single, and earned the first-ever gold certification for record sales by a female rap artist. She spent the summer of 1994 on a sold-out tour, opening forJanet Jackson. She also made an appearance on Jackson’s song “You Want This.” She teamed up with fellow female rappers Yo Yo and Queen Latifah to create the hit remix of singer Brandy’s “I Wanna Be Down.”Lyte’s fifth album, Bad as I Wanna B,found her on a new record label, Elektra/Asylum. It also found her with a heightened sense of responsibility for the music she made, and the impact it had on her fans. It once was considered “cool” to curse on rap records, to “prove you were the baddest,” Lyte admitted in an Essence interview, according to a 1996 People review. “Now I feel responsible for what comes out of my mouth.”
That said, she practically began the album with an expletive, but toned it down as the album played out. She earned her second gold record for “Keep On Keepin’ On,” which appeared on Bad As I Wanna B. She teamed up with the female R&B group X-Scape on the song, which won a Soul Train Award and was featured on the Sunset Park soundtrack. That album also contained Lyte’s hit single “Cold Rock A Party,” which featured Lyte teamed up for a duet with hip-hop diva Missy Elliot. Elliot was featured again on Lyte’s 1998 release, Seven & Seven, on three tracks, “In My Business,” “Too Fly,” and “Want What I Got.” Artists Giovanni and L.L Cool J. who produced the track “Play Girls Play,” also lent a hand. She hired producers the Neptunes to handle and co-write “Closer,” “I Can’t Make a Mistake,” and “It’s All Yours,” which also featured vocals by singer Gina Thompson.
“Some of my best work has been when I’m vibing with others.”Beyond recording records and releasing increasingly popular singles, many female MCs began to diversify in the late 1990s. Some started record companies, some went into acting. Lyte went to Los Angeles to pursue an acting career. She has appeared in such television sitcoms as Moesha and In the House, and on the drama New York Undercover, and plays a recurring role as Lana on the show For Your Love. She also appeared in the independent film A Luv Tale. “I know I can do both,” Lyte said of acting and hip hop in her bio located online at MCLyte.com. “but hip hop is my first love.”
After the success of the “Cold Rock A Party,”Lyte began doing voice-overs. Hers was the voice behind a national advertising campaign for Wherehouse Music. She was the voice little girls heard after Christmas of 2000 from the African-American “Chat Doll,” named Tia, manufactured by Mattel. She founded her own management company, Duke Da Moon Productions, which handled the groups Isisand Born In Hell, a Brooklyn rap unit. She also signed a three-year deal with Sirius Satellite Radio. who hired her to host a musical show that airs three time daily. She also hosted a talk show for Sirius, interviewing black celebrities and entertainers such as Whoopi Goldberg, Vivica Fox, and Tisha Campbell.Looking back on a career that started when she was just a teenager, Lyte is able to find pride and a valuable lesson in her experiences. “I’m proud of how long I’ve been in the business,” she said in the Artist Direct interview. “Ofcourse when I started I never imagined some of the things you have to go through. But anything you do in life is about meeting the challenges.What I tell any young people who want to get into this business is you have to be prepared to never give up.” Rhino Records released a collection of MC Lyte’s work in 2001 called The Very Best of MC Lyte.
MC Lyte has spoken at colleges and universities, for organizations around the globe, and with notable people like Iyanla Vanzant, Russell Simmons, and Soledad O'Brien bringing a message of empowerment from her book Unstoppable: Igniting the Power Within to Achieve Your Greatest Potential. She also partnered with the Thurgood Marshall College Fund on the iLEAD international tour in South Africa to empower the continent’s youth and up and coming leaders. MC Lyte served as the President of the Los Angeles Chapter of the Recording Academy (the Grammy
organization) from 2011 to 2013. She is the first African American to
serve in this role and she is also the CEO of Sunni Gyrl, Inc., an
entertainment and production firm, and the founder of Hip Hop Sisters
Foundation, which has presented two $100,000 scholarships to college students each year since its inception,and she is an honorary member of Sigma Gamma Rho sorority.
In October 2006, MC Lyte was one of the honored artists on VH1’s annual award show Hip Hop Honors.[ She was joined by fellow female MC’s Da Brat, Remy Ma, and Lil’ Kim as they performed some of her tracks, such as “Cha Cha Cha,” “Lyte as a Rock,” “Paper-Thin,” and “Ruffneck.” In 2013, MC Lyte received the Lifetime Achievement Award at the 2013 Hip Hop Inaugural Ball, and she also received the BET “I Am Hip Hop” Icon Lifetime Achievement Award, making her the first female solo hip hop artist to receive the honor from the network.
3. Me posing like a dork with Fletcher and Wyatt (The Garden)
4. Cobalt Cranes
5. Lovely Bad Things bass drum head
6. Lovely Bad Things ft. Blurry Tim
7. Lovely Bad Things (Happy Birthday Cameron!) lol
8. Summer Twins in all of their cute glory hehe.
9. The Garden summed up in 1 picture
10. All the goodies I got ft. Mr. Elevator & The Brain Hotel 7 in., Cherry Glazerr “Haxel Princess” cassette, Christian Death “Only Theatre of Pain” cassette, my now favorite Burger Records pin (which I traded a Bart Simpson pin for), Lovely Bad Things pin, and I snagged their setlist as well c:
I think I’m gonna start bringing my mom’s Canon camera to shows now. Last night was amazing and I just wanna document everything.
bianca says you're writing a novel how did i miss this please elaborate on said novel
i am!!! if you go to my “novel blogging” tag it will show anything i’ve answered about it so far and also things that relate to the characters
if you go to the very first post it’s a short synopsis of it
also i’m cool with discussing some vague stuff about it so feel free to ask a bit but i don’t want to give away too much because i don’t want someone to take the idea + i want the story not to be spoiled before it’s published
queer girls with superpowers are being manipulated by an influential group of men to believe they’re worthless and have only value if they are doing the bidding of these men, until our protagonist joins and decides to fuck shit up #uprising
Here’s the 2nd photo to be added unto this almost dead blog. I suppose the first rewarding thing i could do is be appreciative and give thanks for a few things.
here’s a snapshot taken on my way to work. work is all i ever do now. that and sleep. the cost of living and possibly some other minor silly choices have led me here, to this spot. standing on a train platform somewhere north of the Los Angeles river, past the mountains of Griffith, somewhere closer to a strange city called Burbank. just recently i saw old footage shot on 16mm (could have been 35mm) depicting the town of Burbank in its mid stages. i read it was filmed by a government recorder of some type, possibly somewhere in the early 30’s-40’s. i’ll tell you… there weren’t many things. mostly acres of lands, few houses. much much industrial wherehousing. the industrial machinery of a wherehouse still sitting here, well, lets just say… i know where its been. a long travel across from the Atlantic to the Pacific.
now to add in appreciation of all things, but this time of people, I was given the pleasure of spending an evening with two wonderful individuals before the year had ended. Two people whom i know appreciate such same things about this silly funny place called California.
both very charming and talented folks pixandum and carmenalt and I spent a lovely evening at what is a local cafe to Sam and I, chatting it up around cups of coffee, taking in Carmen’s take as well as us all sharing stories of a first hand Los Angeles experience, i couldn’t ask for more. Sam and Carmen, you’re both magnificent people.
Kiss with a Fist--a Birthday Fic for you! by this-too-too-sullied-flesh
I’m in awe of your talent. Your art of young Emma and the shadow really gets to me, like, a lot. So I tried to write something keeping that picture in mind. Have a good one, and happy birthday!
Kiss with a Fist
“You know something?” Emma said, her happy voice a bit slurred as she flopped down on the bed, her legs dangling off the mattress. Her arms were spread out wide as she spoke to the ceiling.
“What’s that, love?” Killian murmured softly, trying hard to hide the smile on his face. He knelt at her feet and tapped her calf with his hook two times. She raised her leg and he held it at the ankle, steadying it on his knee with his left arm. He pinched the zipper and lowered it, careful not to catch the fabric of the jeans tucked into the boot. He repeated the process with the other boot as she answered, her words still slurred, her voice a bit dreamy.
“That was the first real birthday party I’ve ever had.”