pete townshend writing songs at age 20: haha yeah fuck old people, this is my generation, i love being a teenager, i hope i die before i get old, rock and roll 4ever pete townshend writing songs at age 21: oh god i’m so old. this is the life of a washed up rock star. my hairline is receding, drugs have ruined me. my wife hates me and my career is over
Where Ryan and Gavin are a package deal before the FAHC
a marauding rumour, notorious from coast to coast, the Vagabond and
the Golden Boy; names that taste like blood. They drift from place to
place in patterns no one else can predict, taking jobs that catch
their fancy, leaving ruined bodies in their wake.
Vagabond is the mercenary, oversized and unforgiving, a masterclass
in brutal power. There are people who kill and then there are
killers, and the Vagabond has never once implied that he didn’t enjoy
his job. His disguise has become an icon, instantly recognised by any
in the know, a shorthand imagine for grisly ends. The mere presence
of the Vagabond sends a shot of dread into even the most experienced
of adversaries, primal fear born from a flawless record, from his
relentless drive and unmatched talent, from the way death bares its
teeth behind his eyes. Only one has laughed in the face of the
mercenary and lived to tell the tale, fondly and at great length.
Golden Boy is the talker, the charmer, the irrepressible deal maker.
He is blinding smiles and quick fingers, pretty knives and prettier
lies. Getting into his good graces is a boon of untold fortune, but
falling from them is a curse few survive. The Golden Boy’s shine
covers a dark streak, an edge of something deeply wicked and always
amused coated in false sweetness, in bubbling laughter and fickle
affections, in deceptively clean hands. Smarter than he’ll ever let
on the Golden Boy is always presented exactly how he means to be,
exactly how he needs to be, and no one sees even a flicker of emotion
he doesn’t intend. It’s easy to see his name in the visible affinity
for precious metals but it’s more than just that; the boy is walking
fortune, a well of good luck and perfect timing that never seems to
run dry - like everything he touches turns to gold.
an unusual partnership, their differences almost perfectly
symmetrical; the shadow and the sun, the apparition and the vision,
the reaper and the siren song. Cold apathy and vicious elation; a
mask to hide emotion and emotions used as a mask. Alone they’d each
be dangerous, together they are an unstoppable force.
that people haven’t tried. Not when they’ve made so many enemies,
when the bounty on their heads could buy small countries and they
serve no one but themselves. And each other. Their only perceivable
failing, that inexplicable devotion, adoration between monsters. It’s
not hard to spot, the ineffable way they’re linked together, a fond
affection beyond any business-only partnership. It’s visible in the
handles of Ryan’s knives, elaborately gilded in gold despite the
utilitarian matte black of all his guns. In the medallion Gavin never
takes off, differentiated from his other jewellery by the intricate
engraving of a distinctive skull. In the way they look at each other,
the way they talk to each other, the way they’ve both given up the
protection of hardened self-interest in favour of vicious loyalty.
Emotions so wildly out of place and yet even this is not the weak
link it should be; the two are rarely separated and never out of
contact, responding to threats against each other with a far greater
degree of horrifying retribution than is ever afforded to a threat
against them both.
many have tried and failed to understand their dynamic, attempting to
pick it apart and unravel hidden weakness. Countless numbers who
think the solution is to kill one, or the other; who’ve somehow
gotten it into their heads that either the Vagabond or the Golden Boy
is more valuable and the other is merely dead weight, easily
are those who claim the Golden Boy is the Vagabond’s pet; pretty and
pampered and merely tolerated by the assassin, more temporary appeal
than true partner. Those are the one’s who’ve seen Ryan huff long
suffering sighs as Gavin grows restless, seen him adopt the tone of a
frustrated parent speaking to an unruly child as he demands patience,
wraps commands in condescending endearments only to crumble into
indulgent acquiescence in the face of exaggerated insult. Who’ve seen
Gavin spin traps out of words then fade into the background while
Ryan does the heavy work, turning his nose up at blood and lamenting
are those who claim the Vagabond is the Golden Boy’s dog; boorish and
fierce and above all obedient. Those are the ones who’ve seen Gavin
command Ryan with a flick of his fingers, slink around the edges as
his bidding was done and offer crooning praise when a bloody head is
dropped at his feet. Who’ve seen the sharp violence of Gavin’s mind,
the way he pushes for slower and crueler and more entertaining; seen
how the Vagabond watches him with adoration in his eyes; a rabid
animal tame only in the presence of a master with equally sharp
is one of the few to see them as they truely are. To understand that
neither rumour was true, that both were, that power flowed equally
between the pair and neither could for one moment be thought useless
without the other. To see that their connection was less weakness
than it was violent strength, and realise that being forcibly
separated would only make them infinitely more volatile. Ramsey
noticed it all, and he wanted. He schemed. He sent out feelers, hints
and suggestions and little incentives. An invitation in blood and
gold and wicked chaos. In the only language they speak.
the Vagabond and the Golden Boy sweep into town Los Santos goes
still, holds its breath, prays to be forgotten. They’re not exactly
trying to be subtle, stories pop up all over the city, a nightmare of
violent shadows and polished gold but they don’t seek him out, so
Geoff waits. Patient despite the way his hair stands on end, the way
the back of his neck itches and he’s deafened by the relentless ticking of his own watch.
less surprising than it should be when they appear in the penthouse
unannounced; they were invited after all, in a manor of speaking, and
Geoff, ever the good host, narrowly prevents his growing crew from launching
into a firefight he’s not entirely confident they’d win. The Vagabond
looms, cold and unrelenting, demanding answers with tangible menace.
The Golden Boy lounges, smirk as lazy as his eyes are sharp, all
obnoxious comments and negligible threat. It’s a test. Geoff Passes.
Query Response: “The Innate Fear of Death”, recorded by Jonathan Crane, MD-PhD.
[Attachment] therealityhelix said: Doctor Crane, in your first post, you asserted that there are only two innate fears: loud noises, and falling. Does fear of death not come into this? It seems to be a fear shared by most animals, and certainly by humankind.
You know that when an episode preview begins with a closeup of Nanami looking bewildered and Anthy asking Utena about farm animal accessories, you’re in for something truly special.
Nightblogging shitposter Anthy confirmed
Utena doesn’t know what a cowbell is but is pretty sure that they’re not a thing people really use much anymore. After all, “(Don’t Fear) The Reaper” was recorded in 1976 and that was over 20 years ago at this point!
If you see this and think it looks like Nanami is going to have a werewolf episode because she gets a cowbell…
… you’re entirely correct.
The single shot of Nanami’s sclera-less eyes as those of a cow really drives home how amazing and important this episode will be.
SO join me for the classic 1997 masterpiece “The Cowbell of Happiness”
I can guarantee no more than two (2) Christopher Walken jokes!
And like the others, Utena actually has no fuckin clue what a cowbell is, which is beautiful and a rather important plot point.
The way to develop self-confidence is to do the things you fear and get a record of successful experiences behind you. Destiny is not a matter of chance: it is a matter of choice. It is not something to be waited for: it is something to be achieved.
Janelle Monáe Is Building a Music Empire That Will Spark ‘a Revolution in Your Head’
Her Wondaland label spotlights and empowers emerging artists
By Tony Case
March 15, 2015, 8:01 PM EDT
Janelle Monáe wants the world to know that Wondaland Records, the singer-songwriter-producer’s new venture with Sony Music Entertainment’s Epic Records, is not merely a record label—it’s a movement.
Wondaland is “a joint dream in which a group of artists set out to swim towards a boat all together—and in some ways, I’m a lifeguard,” says Monáe, 29, the Kansas City native who grabbed our attention in 2010 with her critically hailed debut, The ArchAndroid, and who would go on to become a face of Procter & Gamble’s CoverGirl, alongside Katy Perry and Pink. She is also a juror for this year’s Clio Music Awards.
Atlanta-based Wondaland reps an utterly cool lineup of acts, including Jidenna, whose debut single “Classic Man” dropped last month.
Epic chairman and CEO Antonio “L.A.” Reid—a longtime force in the music industry who has helped build the careers of stars from Paula Abdul to Kanye West—calls Monáe a “visionary businesswoman” and the talent her label represents “awe-inspiring. I haven’t personally witnessed a collective that sounds and looks this special in quite a while.”
Adweek asked Monáe about the challenges of marketing new music and artists today:
Adweek: What inspired you to start the label now?
Monáe: In general, I was inspired to start Wondaland Records after seeing there was a big absence of female entrepreneurs in the music industry who understand how to develop and market innovative artists, artists who truly care about community and redefining the creative waters in the music industry. I’ve always been inspired to do more than just be an artist in the industry and treasured businesswomen such as Julie Greenwald and Sylvia Rhone, and admired artists such as Madonna and what she did with Maverick Records.
I want to be recognized for not only my innovation musically, but for innovations on the business end. That said, this specific record label is the result of a joint effort, a joint dream in which a group of artists set out to swim towards a boat all together. And in some ways, I’m a lifeguard, a master facilitator, making sure that everyone has their own water and space to swim in and that nobody is left behind. Wondaland Records is our boat, our beacon—it’s like home.
What do you see as the greatest challenges marketing music today, and how are labels and artists working through those?
The Internet has changed everything, as we all know. From free downloading to album leaks to streaming to social media, the entire ecosystem and business model of music has undergone massive disruption and change. That said, folks are consuming and sharing and following more music than ever and we just have to find new ways to monetize that experience. We at Wondaland have faith that new business models can be built around streaming, touring, online chatter and commerce etc because people genuinely love and need new music in their lives. So we’re pushing our artists to go back to the basics: say something innovative and universal with a wonderful melody, get your live performance caliber up to the status of your heroes and do it consistently, and you’ll have nothing to worry about.
We’re big believers in the 10,000-hour theory. Practice makes perfect. Get your 10,000 hours in onstage and in the studio, and success will follow. In terms of marketing that work, you have to be strategic as well. There’s so much music nowadays! But first, the artist needs to be aware of what she is and what she wants to accomplish, and then you market outward from that unique perspective with a unique voice because that gives the entire viral campaign passion and authenticity. And passion and authenticity works in every format and every era.
Janelle, you have developed a terrific artist’s persona. How do you stay true to your style and vision within the commercial landscape?
In the very beginning, I used Jim Collins’ book Built to Last to figure out my core values. And then I gave those core values to everyone I worked with: Atlantic Records, CoverGirl, etc., and as I embarked on new creative projects or business partnerships, I weighed my core values and the proposed opportunity and I decided accordingly. Style is important, having fun and being whimsical and free is important, but I’ve always believed I can accomplish anything I want while also inspiring young girls and pushing for change around the world.
There seems to be a unity of artistry and vision between you and the acts on Wondaland Records. How does that play out in terms of both marketing the music and building your new brand?
Wondaland Records is very family-oriented. We are all from the same tribe. While we embrace our individuality, we collectively believe in similar morals and values that focus on creative innovation and global change. Each of them believes that imagination can inspire nations and that music and art can be a force for change. So I’d say we all recognize our collective superpowers and we’ve bonded together to create an Avengers moment, a movement that we hope will lead to a revolution in your head, a new way of thinking and seeing. You see, new jammin’ frequencies bring people together in new ways to make new babies, which are born thinking new thoughts, which makes a new world possible. That’s the only way.
Today is the 7th of February. And in two days I will be having my surgery.
People have been asking me if I am scared or nervous. And honestly. I really aren’t.
Whether I should be I don’t know.
I want to get myself a vinyl but but I don’t know which one to get. I have a vinyl player, but the only vinyls we have a my dad’s old ones, and some of them are good. Yeah, there’s an ABBA one, there’s a Queen one. But there’s a lot of them that I don’t really like.
I want to get some My Chemical Romance vinyls along with some TwentyOnePilots ones.
But I don’t know what.
Unlimited Together we’re unlimited Together we’ll be the greatest team There’s ever been
Aaaghhh this was a large piece! Coloring time clocked in at 3hrs which isn’t too bad considering. Seth loves it up high where he can feel on top of the world so on one day when he’s feeling particularly down during a tour in New York, Dean being Dean managed to break into the restricted section of the Chryshler building to take him to one of the falconsheads at the very top. Roman, for the record fears heights but he’s cool, he’s chill, he’ll join you baby broth—hey, this is actually pretty cool.
Details could be lost in the original piece so have a cropped version focusing on the boys too.