lite rock

From Arrested Development to Liberated Soul: Dionne Farris

Dionne Farris’s debut solo album, Wild Seed-Wild Flower, is bound to become a classic for those of us who know that the slogan “It’s a black thang, you wouldn’t understand” has more to do with variety and complexity than with some secret, unified code dictated by melanin. This one’s for the cool in all of us who understand the mix: living in the ‘hood and summering in the Hamptons, rocking both the bob and the baldy, and growing up on steady diets of Aretha, the Eagles, the Police, and the Chi-Lites.

For those of you who still insist on viewing black music (and by extension, the black community) in tired, myopic terms, well, Dionne’s got something fo’ yo’ asses. Wild Seed-Wild Flower is an unprecedented melange of funkabilly (think Thelma & Louise black-girl style), blues, gospel, rock, Sweet Honey in the Rock-inspired a cappellas, a li'l lite FM, and a whole lotta soul. 

If her voice sounds familiar, it’s probably because we’re still experiencing flashbacks from the sweet aural caress Dionne blew on Arrested Development’s 1992 chart-busting single “Tennessee.” Her powerful, haunting vocals helped bring the group from underground sensation to worldwide multiplatinumdom, 

Dionne, engaged at the time to AD drummer Rasa Don, broke ties with the group just as its success was looming. More than a few friends told her she was crazy and that she should apologize and beg her way back, but Dionne felt she had to listen to her heart. She decided that her dream of a solo career was more important than being an “extended family member” of her fiance’s group—or even than being married. 

She second-guessed herself more than once. “Back then I thought that breaking up with Don was the worst thing in the world,” Dionne says with a chuckle and a knowing smile. “But when I look at it now, I have to thank him. I was about to jump into that whole marriage/baby thing without really knowing who I was." 

Now, with Wild Seed-Wild Flower, Dionne’s confidence is unshakable, though she’s a little annoyed by black radio’s tendency to dismiss music (like Me'Shell’s and Joi’s, for example) that can’t be easily classified. "It’s scary that black radio is so narrow,” she says. “I’m black. My mama’s black. So for anyone to tell me that I don’t do black music is bullshit. I do music for black people and anyone else who wants to listen.”

With the help of David Harris, her co-writer and producer, Dionne just wants to sing her songs. “Music is really music.” she says. “Why do people have to label it? Are they so afraid that we’ll ail just go free and there’ll be too much love in the world?”

Tre Bellissimi Eventi

Tre Bellissimi Eventi (Three Beautiful Events) Why three, you ask? Well, that is easy!

1) Angelina turns 43 2) Ana turns 23 and 3) Our amazing friendship and sisterly bond! That in itself is reason for celebration!


Must be following both Ana and Angelina

Choose 1 prompt and 1 place - then choose 1 preference OR 1 prop (something from either decade). See? 3 things ;) Kudos if you choose all four

Because of the sick, twisted and fabulous bitches that we are - This is basically ANYTHING GOES! Any pairing; reader insert, male reader insert or OC, ships - write anything your twisted, perverted, kinky heart desires, as long as it is Supernatural!

We will not be limiting this to one prompt or place per person; we will take as many as we can get! And we are doing this on the honor system kids, so please be respectful and if you sign up to write for this challenge, please follow through with it.

The deadline will be August 23rd (see another 3!) when Ana and Angelina will be together for MinnCon (with sooooo many other amazing bloggers and friends!). Due to the fact that this is also MinnCon weekend, we will not accept late fics.

Add yourself to the list HERE to sign up. You will also add the link to your fic once it is posted.

There MAY be an additional perk here (still to be determined).

Keep reading


My cassette collections (so far!)

Deee-Lite - World Clique

Janet Jackson - Control

Madonna - Madonna

Madonna - Bedtime Stories

Madonna - GHV2

Madonna - Immaculate Collection

Prince - The Hits 2

Prince & The Revolution - Purple Rain

Queen - Greatest Hits

Selena - Amor Prohibido

Various Artists - So So Def Bass All-Stars 

The Year The Mainstream Discovered Tame Impala

by Ryan Leas

Last year, Kevin Parker released Currents, his third album under the Tame Impala moniker. It was the moment where he moved beyond the dense psych-rock of Innerspeaker and Lonerism and embraced a shimmering, humid mix of dance and pop and rock. In our cover story about the making of the album, he described its lead single/mission statement, “Let It Happen,” as initiating “this kind of grand transition of someone.” That was an apt description in general for the version of Tame Impala that would develop after Currents came out. Aside from the stylistic departures, Currents also laid the groundwork for Parker capitalizing on the Lonerism festival jams “Elephant” and “Feels Like We Only Go Backwards” to attain a different level of clout than any of us would’ve reasonably expected earlier on in Tame Impala’s existence.

This year, the music world had such an overflow of excellent, invigorating work, major surprise releases, and tragic, surprising deaths that the significant releases of 2015 can already feel like ancient history. That wasn’t the case with Currents. Tame Impala was on the festival circuit playing these songs all year, now sitting at that second- or third-tier headliner status. Some of these songs had become part of the atmosphere — by the time I heard “Let It Happen” repeatedly blaring from the outdoor speaker of an Italian restaurant in Reykjavik this November, I was already used to encountering that, or “The Less I Know The Better,” or “New Person, Same Old Mistakes” in all manner of public spaces. They’d garnered some degree of ubiquity, even if Tame Impala still isn’t a household pop name. The buzz behindCurrents proved legitimate: There wasn’t a new Tame Impala album this year, and yet Parker and his music seemed ever-present. It was a year where the man who once could’ve remained an insular space-rocker from the distant edge of Australia fully entered the mainstream.

There was that Snapchat commercial featuring “The Less I Know The Better,” following on the heels of a 2015 Apple Watch commercial that had also used the song. That in of itself isn’t new for Tame Impala — “Elephant” found prominence partially due to its appearance in a spot for the Blackberry Z10. And this century is littered with examples of indie artists licensing a song to an Apple or car commercial; sometimes it’s one step in an upwards career trajectory, sometimes it’s just a random blip in an artist’s life. For Parker, it’s surprisingly proved to be the former, signaling the wider proliferation of Tame Impala.

It’s expected for Wayne Coyne to love Tame Impala. Less so for, say, John Mayer to Instagram the cover of Currents and write, “Best record of the past two or three years. Proven many times over in my mind.” (He then compared it to “Radiohead 1996″ and, amusingly, “Coldplay 2003,” before concluding with “Phoenix 2008.”) Mayer wasn’t the only pop star enamored with Tame Impala. Rihanna recorded a very, very faithful cover of Currents closer “New Person, Same Old Mistakes” for Anti — the biggest stylistic departure was renaming it “Same Ol’ Mistakes” — and just as it served as a crucial conclusion to the emotional journey of Currents, it too became an important linchpin in Rihanna’s most personal album. (Meanwhile, Tame Impala’s original also appeared in a teaser for Atlanta, one of the best and most popular new TV shows of the year.)

Elsewhere, you had the Brit-rock doofiness of Last Shadow Puppets’ special Tame Impala song at the 2016 iteration of Poland’s Open’er Festival. Alex Turner — a rock artist with the stature of a pop star compared to many of his contemporaries working in the idiom — sang aseemingly improvised paean to the upcoming headliners, offering up gems like “There’s a storm brewing/ In the form of Tame Impala” before proclaiming, “Kevin Parker controls the weather system.” (Not an unfair statement about much of Tame Impala’s music, if we’re being honest.)

Shout-outs and licensing are one thing, but the bigger deal, and the bigger left-turn, is how Parker has started to have a direct interaction with the pop world. Rihanna covering a band that sounds like the evolution of a ’70s stoner-rock dream is a start, an opening salvo. Then you have Yasiin Bey (FKA Mos Def) previewing a Tame Impala collaboration for one of his final pre-retirement albums. Then you have an honest-to-God collaboration between Parker and Lady Gaga on “Perfect Illusion,” the lead single from her new album Joanne. The video features Parker in the maelstrom dance sequences, drumming as Gaga pulls back his head by the hair.

There was some precedent for this, but it seemed like an outlier at the time. On Mark Ronson’s 2015 album Uptown Special — the one with “Uptown Funk!,” which also seems like ancient history after 2016 — the British producer enlisted Parker for three tracks. Two of them, “Summer Breaking” and “Leaving Los Feliz,” were plays on late ’70s lite-funk and yacht-rock that fit into the album’s overall hybridized retro aesthetic. The best of them was “Daffodils,” a psych-funk track possessing an irresistible, unhurried swagger. Like “Let It Happen,” this is another piece of Parker’s 2015 output that still lingers. At least in my experience, it’s one of those songs you just seem to hear in random places, without any given logic — that subtle ubiquity a song can have without having been a major hit like, say, “Uptown Funk!” Released earlier in 2015, Uptown Special offered a prelude to the disco-fied Tame Impala we were about to meet on Currents. It’s also what eventually lead to “Perfect Illusion”; Ronson’s the guy who got Parker involved with Gaga.

Parker’s new endeavors are part of a general movement we’ve seen in recent times, with indie-rockers alighting from their niche to try their hand at a bigger canvas. There were little grey areas, like Ariel Rechtshaid straddling the pop and alternative worlds with his 2013 trilogy of albums by HAIM, Sky Ferreira, and Vampire Weekend. Fast-forward a bit, and that’s blossomed into Rostam departing Vampire Weekend to pursue pop music full-time, and Ezra Koenig, James Blake, Jack White, the Yeah Yeah Yeahs, Father John Misty, and Animal Collective all, somehow, being tied to Lemonade. The latter might’ve been a bit of an extreme reaction — more “Let’s avoid another ‘Blurred Lines’ lawsuit” than “Look at all the inspiration we took from the indie world” — but it still marks a moment where indie artists’ names are mingling with the biggest stars on the planet. Like Parker, after all, Josh Tillman is actually contributing songwriting to these albums – he helped with “Hold Up” on Lemonade, and “Sinner’s Prayer” and “Come To Mama” on Joanne, right there alongside “Perfect Illusion.”

What’s notable about this is that, once upon a time, rock stars and singer-songwriters could’ve been major pop forces on their own. Once upon a time, they would’ve been the more critically respected artists, and their choosing to work with a pop artist could’ve legitimated the latter. Now, it’s something like the other way around. An artist like Tame Impala, for as unlikely a rise as they’ve had on their own, are still not going to totally crack the mainstream on their own. But here’s another path: Make your spaced-out synth-drenched coke-rock comedown album, then work with some pop stars, and a career of some notoriety comes into focus.

It’s specifically notable with Parker, because Tame Impala seemed destined to be the band always playing the late-night tents at Bonnaroo. They might’ve been beloved, they might’ve had a cult following. They might’ve been very successful for their sphere, and they might’ve kept churning out woozy ear-candy like Lonerism. And that would’ve been great! But there’s something potentially more interesting on the horizon for Parker now. In a recent interview, he talked of Tame Impala taking a bit of a hiatus. “What comes next is very much a blank canvas,” he said, “but a blank canvas in a good way — I’ve got all the paint!” He’s also spoken about further collaborations he wouldn’t name. Even after Uptown Special and Currents, this is a surprise: the idea of a Tame Impala recognized by pop stars, and Parker as an in-demand co-writer. Who knows whether that’s the path Parker will follow, or what might come of it. But given the creative bounty he’s already reaped from the unexpected detours in his career, the idea of a future version of Parker known for guesting on rap songs or taking a pop single further out into the unknown is just as exciting as hearing him let loose a mind-warping solo as the sun sets over a festival crowd.

signs as relatable dentist things
  • Aries: One hand on the mirror, one hand on the scraper, itch on your nose.
  • Taurus: Accidentally dropping a tool in a patient's mouth.
  • Gemini: Making the patient wait while you figure out how to work the foot pedal controls for the chair.
  • Cancer: Getting distracted by the cool lite rock playing in your room.
  • Leo: When you secretly sharpen the plastic piece that your patient will have to bite on for their x-Ray.
  • Virgo: Falling into a deep depression about your ex-wife during a routine cleaning, and starting to cry in your patient's mouth.
  • Libra: Giving the kid the token for the capsule toy machine in the lobby.
  • Scorpio: The pure panic and terror in the patient's eyes when your electric saw approaches their vulnerable mouth.
  • Sagittarius: The sweet cathartic release of tearing a tooth out of a live human skull
  • Capricorn: Scraping small sigils into your metal tools so that they curse the patient with the feeling that their tongue is uncomfortably large for their mouth.
  • Aquarius: When you finally fuck up big time and carelessly cut a patient's throat during a procedure, get sued for malpractice, lose all your money, assets, your kids, and all your friends, and live out a lonely depressing life.
  • Pisces: When your patient hasn't flossed since he was last in your chair.

Seals and Crofts, Summer Breeze

For some reason I always get Seals and Crofts mixed up with Shields and Yarnell. Not the same. But did you know Seals younger brother was the England Dan in England Dan and John Ford Coley? Betcha didn’t.

One of my favorite activities is to annoy Mr Woolie. This is not an easy thing to do as he’s an engineer and very calm and even-keeled. Although I do appreciate this quality in him it is a strange thing for someone like me. I spend a considerable amount of time thinking of new ways to get his goat. The latest is to force him to listen to Lite Rock in the car with me while I sing along, “Arthur he does as he pleases, all of his life his master’s toys…..” It makes him squirm.

Even better whenever I drive his truck I leave the radio on the Lite Rock station and crank it way up. I’m not able to witness what happens when he drives it the next time but I can see him furiously stabbing the buttons to change the channel. OH, this makes me think, I should change all the presets to the Lite Rock station! Even better I don’t think he knows how to change said presets, that’s actually my forte.

The best was a few years ago when we had to get a new roof. Neither of us like to make decisions (what a great pair). He kept asking my advice on what color shingles we should order. I can assure you not a single fuck was given about said shingles. Now, if he wanted to finally redo the bathroom and/or kitchen? I’d have definite opinions. He’d bring home samples and talk about dimensional something, I’d nod my head politely. But after weeks of dithering I was tired and it was apparent I didn’t care. I even told him so. Yet still he went on without making a choice.

Finally he ordered something. I was all, “Yeah, fine, whatever. I don’t care.” When they finished he told me to come out and take a look.

“I really don’t like that color at all. Looks terrible.”

I thought he’d burst a blood vessel.

Then I laughed and went back to not caring about the roof. At all.

It’s only right that you should play it the way that you feel it
But listen carefully to the sound of your loneliness
Like a heartbeat, drives you mad
In the stillness of remembering
What you had, and what you lost
what you had, and what you lost

Thunder only happens when it’s raining
Players only love you when they’re playing…

—  Fleetwood Mac - Dreams

tfw you’re already having a Damn I Miss Lexa Day™ so you turn on the radio to take your mind off it and 99.3 Lite Rock FM hits you with the 🎶 its been a long day without you my friend 🎶 reblog if u too would love to become closely acquainted with the sun