the other side of bob dylan


Dylan O’Brien smut

warnings: masturbation, oral (male receiving), messy stuff !!

request: no

It was evening already, the were skies covered with darkness and streetlights illuminated the pavements seeing no sign of vehicles. You maneuvered your way to your driveway where you caught a glimpse of Dylan’s automobile.

Once you pulled over beyond the area, you clutched your bag of groceries and trudged your way to the front door fumbling your bag for the keys. “Dylan I’m home.” You addressed though obtaining no response.

Before questioning if Dylan was here you proceeded to your kitchen placing the groceries on the counter, arranging the varieties of snacks on it’s designated cupboard. After a long day, you decided to take a nice lukewarm bath to get rid of any tension in your body. 

You headed upstairs, thinking about how you would accomplish a relaxing night though halting halfway as you heard faint moans coming from the other side of your room. Immediately you thought Dylan might be cheating on you with another girl, but a faint moan of your name was subsequent.

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10 Reasons that explain Keyakizaka46 breakthrough in 2016

Rookie no more. The 48group has witnessed the birth of SKE, NMB and HKT and now was the turn for Nogizaka to get their own. But to expand in such ludicrous speed over a stagnating fanbase, the chance to make fans weary and bored increased tenfold. It is hard to not become “another sister group of…” and appeal to a japanese audience, now hard to convince. And yet Keyakizaka46 took the idol world by storm, and even ended 2016 by appearing in Kouhaku in less than one year. What were those key moments that made the difference? Through this small write up i will attempt to highlight what made Keyakizaka a force to be reckoned with.

1) Bringing Music back to the foreground

Music is a matter of taste. But there will be a difference in production, like how much resources you invest in an A-side compared to a B-side. To release a powerful song as first single was a smart move: the goal was to make people react and break the orthodox type. The use of hispanic percussions, accoustic guitar which oppose the pop auto-tune of regular idol release helped Keyakizaka quickly build an unique flavor. Not only Silent Majority, but Sekai ni wa Ai Shikanai is a bold release using poetry and heavily feature piano to stand out.

Idol industry, especially 48group, has suffered from lack of consideration musically wise, as they weren’t taken seriously or even not considered as artists. However, AKB48 proved it wrong releasing great songs like Oogoe Diamond, Iwake Maybe, Everyday Kachuusa and River in a row ( it was called the kamikyoukutachi era). It was possible to praise idol music, and Keyakizaka managed to bring it back to the foreground. In a recent Foreign survey (600 answers), Silent Majority was chosen “Song of the year” by fans.

2) Meaningful lyrics that strikes people hearts

Lyrics of their songs, most of the time dark and rebellious, helped to shape Keyakizaka trait. It’s still Akimoto Yasushi who’s in charge of lyrics, but this time, thanks to Keyakizaka easy-to-perceive personality, he succeeded in making lyrics consistent with music videos. We can quote the excellent B-side Yamanotesen, Hirate Yurina solo, that pictures well the melancholy of a girl lost in thought, or Bob Dylan wo Kaesanai, another B-side but this time from Yuichanzu, makes a smart allegory between the struggle to forget someone and the reluctance of giving back a Bob Dylan CD.

Idol songs are most of the time fluffy and light hearted. Keyakizaka A-sides developed other theme like pain, hardship, and willpower. More frequently, and with more intensity. Because those themes are unusual, they garnered more attention, becoming the “rebellious” group. Lyrics help the listener match his own feelings with the song; and thus getting more involved in the group.

3) A group-oriented choregraphy designed by talented dance teacher

Probably TAKAHIRO-sensei is the most respected staff by Keyakizaka fans, as he hugely helped Keyakizaka build their identity as a group. In a regular group formation (16 members line up), there’s the center on the front, and the choregraphy revolves around the center. However, TAKAHIRO sensei tought it would’ve been more impactful to design Silent majority into highly paced / synchronized sequence involving everyone, reminding the military pattern. Through this dance, Keyakizaka gained a lot of amplitude that others sister group didn’t have. In Kataru Nara Mirai wo, choregraphy reached another level thanks to signature moves like the cross-formation. ( 4x4 teams switching places with the same timing).

TAKAHIRO-sensei himself is a very reliable person that members can look up to, especially because they are inexperienced and need someone to guide them. With great professionalism, he encouraged the girls to have faith in themselves and to not shy out from excellence. Something Keyaki fans will be eternally grateful for. Takahiro biggest strength is probably to efficiently forward the meaning of the song to the choregraphy itself.

4) A powerful Ace, like Maeda Atsuko at her time

It’s debatable if having an eternal center does make a difference, but no one will deny that AKB48 golden age was when Acchan was Ace. Hirate Yurina draws attention thanks to her gaze, intense energy and maturity even though she was only 14 centering Silent Majority. The reason why a group need an Ace is to draw attention to neophytes, non-idol song listeners. General audience are different from idol fans, and react to songs and members differently. They won’t remember a member very well if you rotate the girls in front all the time. They won’t remember if the girl in front doesn’t give them a “raw” first impression. An Ace is someone able to trigger an emotion on someone in a very short of time. The first impression is probably the most important too.

Hirate “Techi” Yurina also has this particularity to “embody” Keyakizaka songs to perfection. She performs the song like she’s possessed, making her dance unique. Her kind of Ace aura is also different from others, as she is more known for her serious stare than her cute smile like top members Acchan or Watanabe Mayu. To hold a mysterious, intense Aura hooks people and make them curious. Not even mentioning the high level of performance that makes fans stay.

5) A wide range of members with strong personalities

Aside from having an Ace able to release the full potential of a song, it’s definitively all the members of the group that create the core fanbase. In AKB48 there was Acchan, but also the Kami7, which fans could easily refer to as their personalities were recognizable. An interesting group is basically interesting members, who have skills and qualities that make them stand out.

Hirate Yurina is the wondergirl, Nagahama Neru is the cute/girls next door, Sugai sama is the princess type, Moriya Akane is the majime type, Shida manaka and Watanabe Risa are the kakkoi (cool type), Uemura rina/harada are the loli type, Imaizumi and Kobayashi Yuis are singer, Oda nana and Ozeki are moodmakers, Suzumoto Miyu and Saito Fuyuka is the best dancer, koike minami and Yonetani are the cute type… In fact, the range of personalities in Keyakizaka ensure that fans can find the type he has the most affinity with. We all know that an idol fan relationship is a lot about feelings, and to see the girls growing their character is the reason why fans are liking the members even more.

6) Reaching brand new fanbase : female and youth

Something that could also apply to their sisters of Nogizaka (by being cool and elegant): to have build a rebellious, cool and strong character hugely helped in reaching a new fanbase. While AKB48 is targeting middle age man through gravure and cute song, Keyakizaka (or more like Sakamichi series) was able to increase their range where female fans yearn for members like Watanabe Risa and Shida manaka (who are good at danso/modeling) and young fans who are more into cool songs like Silent Majority.

This is a trend i’ve observed on Social networks like Twitter. Most of Keyaki fan accounts are the same age as the girls themselves, around 97′ and 00′. To have been able to appeal to this fanbase allow Keyakizaka to avoid this harmful stagnation that is suffering AKB48 (not in sales, but in handshake slots sold). You could also say that, by not splitting handshake events like 48group sister group, Keyakizaka has higher chance to sell their slots, but in the long term, to add multiple fanbase is the reason why they sales are high.

7) Promote music skills and ensure song diversity

Keyakizaka46 has found their identity and signature through the word “rebellion” with songs that follows a pattern (Silent Majority, Otona wa shinjite kurenai, Fukyouwaon) but lyricist and songwriter also vouch for diversity, like Futari saison being a meaningful ballad.It’s even more significant with B-side venture “Shibuyagawa” and “Tuning” from the duo Yuichanzu. Thanks to those retro-pop-folk refreshing songs from the showa Era, Imaizumi & Kobayashi Yuis succeeded in balancing with the rough and dark set of  Keyaki songs.

Something that strikes me is how one sided resources to make music are in the idol industry. Most of the time, it’s a huge use of synth and machines. It doesn’t do justice to the idol genre who emancipated through genre like Metal and Rock too. In the case of Yuichanzu, A-capella performances and acoustic guitars is hugely praised by fans who root for a comeback to basics. Imaizumi has yet to be center, but display great vocals that would be a waste to not capitalize on. Same with yuipon. Not also mentioning Keyakizaka obvious ability to make standard idol songs like “Aozora ga chigau” or “Matta atte kudasai” (Nagahama neru solo)

8) Proper promotion and financial back up from management

This must be an obvious statement, but it isn’t always applied (Hello SKE). Keyakizaka had the chance to have 1 regular TV show (Keyakitte Kakenai), 2 season of national TV show (Keyabingo), One drama (Who killed Tokuyama) numerous appearance in music show including Kouhaku Utagassen (because Silent Majority buzzed), recently Variety show (Nagahama Neru participating in Quizz show), radio broadcast ( Yurakuchou radio program, All night nippon radio program), exclusive modeling contract ( Watanabe Risa with Non-no magazine), countless photoshoot from top members ( Moriya Akane, Sugai yuuka, Shida manaka, hirate Yurina)

A group success is the meeting point between huge amount of tools and resources with girls holding huge potential. It’s also a lot about timing : Since management want to keep Keyakizaka active and in the forefront so people don’t lose sight of them, they release their single in a very solid pace. NGT debuted at the same time as Keyakizaka, but one group released only 1 single while Keyakizaka is on it’s fourth release.

9) A style and identity they can call their own

Nogizaka are cool and elegant. HKT are young and cute. SKE are energetic and positive. NMB are fun and native. Keyakizaka, in result of the music, the lyrics and dance, has found their own characterstic : Raw and untamed. Not only their high level of performance give them the aura of “professional performer” but also is coherent of the message they want to forward : “We give our all because we want to break of our chains” (freeedoooooom)

People recognize you when there’s something to recall. This is probably why underground idol struggle to go beyond their local market because they don’t have a style that make them different. I won’t say Keyakizaka is doing something original (because cool idol songs exist with Beginner, Uza, etc…) but that’s the adequacy between everything (dance, music, lyrics) that bring what’s unique in Keyakizaka and that other group can’t replicate. 

It was a turning point to have their identity quickly defined because Keyakizaka had started during Nogizaka’s great momemtum. To acknowledge kinship with Nogizaka and claiming their own at the same style was Keyakizaka key to success.

10) A potential that keeps fans enthusiastic

Keyakizaka benefit from the “rookie” factor : they are fresh and bring new blood to the idol scene. The momemtum is still high and Keyakizaka has still goals to reach, like bigger concert venue, increasing individuals outdoor work like their sempai Shiraishi mai or Nishino nanase or even starting other drama. The truth is, 48g has seen their endorsement contract fading one by one ( in Acchan era, AKB members endorsed 10+ product, now they barely make 2-3), which translate a loss of interest of idols from general audience. The challenge ahead of Keyakizaka, or even all idol group, is bigger than ever.

Keyakizaka has the potential to reach this level of visibility in japanese entertainment scene once again. But they need to keep their excellent level of performance and develop a network between production companies ( Ogi pro, Ohta pro, Watanabe pro…) to make each individuals viable in various field. In order to become national idols, you need to go beyond idols : become models, talento, actress and singer.

In conclusion, Keyakizaka has found success in fields AKB management failed to invest once again. But it’s up to the girls to turn their work opportunities into concrete realities. And as any project, it needs time to get return on investment. What’s interesting to point out, is that even though Keyakizaka is a rookie group, most of the girls are past 17 and are likely to seriously continue their path as idols ( in AKB group the girls are young without career opportunities, so they graduate after high school). This is a relief for all fans who want Keyakizaka to surpass the other sister groups. 


On this day in music history: March 22, 1965 - “Bringing It All Back Home”, the fifth album by Bob Dylan is released. Produced by Tom Wilson, it is recorded at Columbia Recording Studios in New York City from January 13-15, 1965. Recorded just four months after the release of his previous album “Another Side Of Bob Dylan”, the prolific musician shifts musical direction yet again. Moving away from the acoustic based protest songs that have established him as a leader of the folk music movement, Dylan cuts half of the new album with a band using electric guitars and bass for the first time. The very act of a folk musician using electric instruments is considered a highly controversial act, with many of his peers having a bias against rock & roll. Dylan’s lyrics also begin to change dramatically, becoming more personal and adopting an abstract “stream of consciousness” prose in many of them. This is most evident on the albums classic single “Subterranean Homesick Blues” (#39 Pop), drawing inspiration from disparate sources including beat poet Jack Kerouac, folk musicians Woody Guthrie and Pete Seeger, and rock & roll pioneer Chuck Berry. The song becomes Bob Dylan’s first chart single in the US, and one of his best known compositions. The album contains a number of other classics including “Maggie’s Farm”, which Dylan performs to a hostile crowd at the Newport Folk Festival, jeering him for feeling that he has betrayed his core folk music audience by going electric. “Gates Of Eden”, “It’s All Over Now, Baby Blue” and “It’s Alright Ma (I’m Only Bleeding)” also become among Dylan’s best known, widely covered songs. Also on the second side of the album is his recording of “Mr. Tambourine Man”, originally cut during the “Another Side” sessions, but the first version is left unreleased. Bob re-records it again on the final day of recording for “Bringing It All Back Home on January 15, 1965. Only five days later, The Byrds record their electric version of "Mr. Tambourine Man” in Los Angeles with producer Terry Melcher. Their version hits number one on the pop singles chart late June of 1965. Once released, “Bringing It All Back Home” becomes Bob Dylan’s most successful release to date, topping the UK album chart and his first top ten album in the US. First released on CD in the late 80’s, it is remastered and reissued in 2003, as a hybrid SACD, featuring the original stereo mix, and a newly remixed 5.1 surround mix. Reissue label Sundazed Records reissues the original mono mix as a 180 gram vinyl LP in 2001, making it available for the first time since going out of print in the late 60’s. Mobile Fidelity Sound Lab also reissues the title as a double vinyl set, mastered at 45 RPM in 2012, followed by a hybrid SACD featuring only the stereo mix in 2013. “Bringing It All Back Home” peaks at number six on the Billboard Top 200, and is certified Platinum in the US by the RIAA.

break my heart, break your heart.  [songs for johnny joestar after the great steel ball run race]


1. chasing twisters - delta rae | 2. the great escape - woodkid | 3. the other side of mt. heart attack - liars | 4. further on up the road - johnny cash  | 5. don’t use my heart as a stepping stone - johnny horton  | 6. wild horses - the rolling stones  | 7. he was a friend of mine - bob dylan | 8. bring ‘em home - bruce springsteen

Tagged by @eleanor-rigbysdreams to name my 9 favorite albums then tag 9 other people to do the same

thank you, my favorites are:

1) The Man Who Sold The Word - David Bowie

2) Exile On Main Street - The Rolling Stones

3) Blood On The Tracks - Bob Dylan

4) Houses Of The Holy - Led Zeppelin

5) The Dark Side Of The Moon - Pink Floyd

6) Let It Be - The Beatles

7) The River - Bruce Springsteen

8) Desperado - The Eagles

9) Who’s Next - The Who

I think that’s it

so I’ll tag @brandnewsoul @ask-the-void-users @careofcell44 @gagaisqueen @therebelorgana @grumplepuff @remindmeofthebabe @peachystarr @sgt-trashgoddess

Girlfriend & Muse

Françoise Madeleine Hardy [17.01.44]

French singer and actress Françoise Hardy became famous in the 1960s as the leading girl of the yé-yé music scene. Besides her lovely voice, her good looks and fashion style made her famous all over the world. She was pursued by the likes of Bob Dylan and Mick Jagger. At the time, she was in a relationship with photographer Jean-Marie Périer. In 1967, she started dating fellow French singer Jacques Dutronc. They had a son, Thomas Dutronc (born 1973), before getting married in 1981. Although the couple is still legally married, they live in separated houses. They have worked together, and Dutronc sang a duet with her, Puisque vous partez en voyage, for her album Clair-obscur (2000). Hardy is mentioned in a poem by Bob Dylan, Some other kinds of songs, which he wrote on the cover of his album Another Side of Bob Dylan (1964).

Her regular visits to London came at the height of the swinging 60s and she rubbed shoulders with some of its biggest stars, including the Beatles, the Animals and the Rolling Stones.From the moment I went to England, I had more confidence. In France, the image I had was of a shy girl – a poor lonely girl and not too good-looking. When I went to England I had another image. I felt the journalists were much more interested in my looks than in my songs.” [x]

I was like a shy fan, you know. I met him on the street and he smiled at me and I thought I would never recover. He was like an angel – a dark angel. He doesn’t know this, but he was the first one who gave me a little more confidence in myself because in an interview for a French magazine for young girls he said that I was his ideal woman.” -about meeting Jagger

Then suddenly, someone came to me and said that Dylan would not return to the stage unless I went to his dressing room to say hello. So I did. It was awkward. I didn’t speak English very well and he couldn’t speak much French. I was shocked by how he looked. He looked very sick. I have a tendency to see things in black, so I said to myself, ‘He’s not going to live very long!’” -about meeting Dylan

She was the ultimate pin-up of most hip, Chelsea, beat bedroom walls, and I know for a fact, many of the groups who were notorious and slowly becoming successful, such as the Rolling Stones, Brian Jones and Mick Jagger, the Beatles, John Lennon, Paul McCartney, and many other groups all were desperately interested in having Françoise Hardy become their girlfriend in some way.” -Malcolm McLaren

I was for a very long time passionately in love with her, as I’m sure she’s guessed. Every male in the world, and a number of females also were, and we all still are.” -David Bowie

Bob Dylan with his first wife Sara
Woodstock 1968

One of my favorite rock romances. From the wiki:
Jacques Levy has recalled how Dylan and Sara were estranged when he recorded ‘Sara’ in July 1975. Sara happened to visit the studio that evening and Dylan “sang to his wife as she watched from the other side of the glass…It was extraordinary. You could have heard a pin drop. She was absolutely stunned by it,” said Levy.

Listen here: “Sara”

My (Happy) Stilinski Family Head Canons

I just have a lot of Stilinski Family Feels right now and wanted to share some of my happy (not really based on fact at all) head canons :)

  • Stiles’ parents met when Rooky Deputy!Papa Stilinski ended up arresting Claudia when she did something dumb on a bet (streaking through the park? Releasing turkeys in Beacon Hills City Hall?). Claudia wasn’t able to flirt her way out of getting a fine, but she did score his phone number.
  • Papa Stilinski took night classes to learn Polish to impress Claudia.
  • Stiles’ first word was Deputy (though he really said something like depty) and Papa Stilinski actually cried when he realized Stiles was calling for him.
  • Papa Stilinski knew he wanted to marry Claudia on their fourth date when she out-hit him at the batting cages.
  • Claudia, despite being born in the US, had a fairly thick Polish accent from her parents. When she was excited or upset it got so thick no one could understand her.
  • Claudia’s came from a long line of rebels and world changers. Her grandparents were in the Polish Resistance in WWII and her parents, when they came to America, were dedicated Civil Rights activists.
  • Claudia’s father actually liked the Sheriff and was happy when Papa Stilinski came to talk to him about marrying Claudia, however he still threatened to kill him in extremely imaginative ways on principle.
  • Stiles walked early and proceeded to give both his fits from then on with his little “adventures.”
  • Heather’s mother was Claudia’s best friend and maid of honor at the wedding.
  • When Papa Stilinski found out Claudia was pregnant he got so excited he literally called everyone he knew to tell them (including his fellow deputies, the sheriff at the time, the DA for Beacon Hills County, everyone). When she got the first ultra sound, he very nearly drove everyone at the Sheriff’s station crazy by shoving the black and white picture of a mostly-just-a-shapeless-blob Stiles in their faces.
  • If Stiles had been a girl he would have been named after Papa Stilinski’s mother.
  • Claudia and Papa Stilinski used to get into prank wars all the time, when Stiles was old enough he joined in (usually on his mother’s side).
  • The first really bad fight Claudia and Papa Stilinski got into was over moving in with each other. Not whether they should, but which person should move in with the other. Both wanted to stay in their original place and the other to move in with them. In the end they got a new apartment together.
  • Their second bad fight was over the correct lyrics in the song “Subterranean Homesick Blues” by Bob Dylan. The song was banned from the house for three years as a result.
  • Stiles got his sharpshooting skills from his father (despite what people think, he’s actually a deft hand with a firearm), his temper and right hook are all his mother’s doing, however.
  • Neither Papa Stilinski or Claudia could cook when they first got together. They only learned when they had Stiles and figured that Chinese take out and microwavable meals probably wouldn’t cut it.
  • On Stiles first day at school he ended up punching Jackson for being mean to him, Papa Stilinski ended up having to explain why that sort of thing wasn’t allowed because Claudia kept giving him high fives.
  • Papa Stilinski always called Claudia “Claudie”
  • Claudia always called Papa Stilinski “moje szczęście” which is Polish for “My Happiness”
Mad Men Week - 10 Momentos Musicais

Mad Men ficou famoso pelos mais diversos fatores, mas um dos principais e mais subvalorizados em termos de perceção pública é o uso cirúrgico de música, quer de época, quer original de modo a criar efeitos no espectador. Uma destas virtudes é o uso irónico de canções nos créditos finais de cada episódio, que muitas vezes contrastam com os momentos psicológicos de cada personagem em cada dado momento. Não são raras as situações em que músicas bem alegres fecham episódios transversalmente negros para um ou mais personagens. Mais do que isto, no entanto, a música é inserida como uma espécie de wormhole emocional que nos liga imediatamente à época representada e à psique dos eventos. Matt Weiner, David Carbonara e os seus supervisores musicais são exímios no uso da música, sendo uma obsessão muito particular para muitos dos fãs da série, acrescentando uma camada extra de significado e simbologia ao cardápio já por si extenso de toda a série. Aqui ficam dez dos meus momentos musicais preferidos. E fica a pergunta, qual será a derradeira canção que encerrará Mad Men?

10- Zou Bisou Bisou (Season 5 Episode 01/02 “A Little Kiss”)

Um dos momentos mais icónicos de toda a série. A festa de anos de Don Draper planeada em segredo pela sua recém esposa, Megan Draper, é um virar de página importante na narrativa. Para trás fica a família ideal, a esposa loira ex-modelo, os três filhos, a casa nos subúrbios - a fantasia de uma era perdida em si mesma. Aqui está representada a contemporaneidade, a vida urbana de Manhattan, uma vida nova, mais ritmada, mais sensual e mais perigosa. Estrangeira e estranha para Don, tal como a letra da música.

9-  You Only Live Twice - Nancy Sinatra (Season 5 Episode 13 “The Phantom”) 

O rematar daquela que é unanimemente considerada a melhor temporada de Mad Men. Uma onde se sentia no ar o nervoso de um acontecimento traumático estaria para acontecer, algo que se veio a confirmar no episódio anterior com a morte de Lane. “The Phantom” vive do sonho, de um nevoeiro simbólico que se instala no estado psicológico das personagens, como se nada do que estivesse acontecer, acontecesse na verdade. Um estado de letargia e entorpecimento simbolicamente representado pela dor de dentes de Don e pelas suas visões do seu irmão falecido. A canção de Nancy Sinatra conclui o episódio numa sequência memorável em que Don se intromete para arranjar um trabalho publicitário para Megan, apenas para a deixar sozinha no set e se dirigir a um bar onde é abordado por um mulher que lhe coloca a derradeira questão “Are you alone?”

8- Both Sides Now - Judy Collins (Season 6 Episode 13 “In Care Of”)

A conclusão da divisiva (para ser bonzinho) sexta temporada, um arco narrativo que deixou muita gente perplexa, interrogando-se do porquê da sua inclusão numa fase tão tardia da narrativa. os malfadados fashbacks de Don Draper no bordel onde cresceu. Mas se o caminho foi tormentoso, o pay-off foi brilhante. Don, depois de se ter revelado no pitch da Hershey (mais sobre este momento num artigo brevemente), deixa cair a máscara que lhe faltava, perante os seus filhos, especialmente Sally que lhe vinha pedindo a verdade constantemente. É um momento terno, poderoso e tão simples pontuado pela melancólica canção de Judy Collins.

7- Is That All There Is? - Peggy Lee (Season 7 Episode 8 “Severance”)

O princípio do fim, da última metade temporada, recomeça com um plano da face de Don, autoritário, a dar instruções a uma mulher, jovem, bela, sensual, como se estivessem em privado. Ela poderia ser mais umas das conquistas à lá Draper. O plano vai abrindo, primeiro para as poses da rapariga, depois para o resto da sala de castings. A música entra num plano perdido por entre as curvas desta mulher e a letra insurge-se como uma faca afiada: “Is that all there is?” os planos vão intercalando a face de Don e a prestação da modelo, ele impávido, quase nem se mexe, segue-a apenas com os olhos, ela deleita-se espreitando-o pelo espelho e ritmo compassado, lento, arrastado marca o ritmo da cena. Não é por acaso que ela repete nos créditos finais. A canção de Peggy Lee é típica de Mad Men. O mote perfeito para os últimos episódios, resumo temático de toda a série até este ponto. Será isto o suficiente?

6- Don’t Think Twice, It’s Alright – Bob Dylan (Season 1 Episode 13 “The Wheel”)

A primeira temporada de Mad Men é praticamente perfeita, um microcosmos de todas as encarnações que a série viria a ter nos anos seguintes e o exemplo máximo seja talvez o seu episódio final. À época, sem saber que a série teria continuação, Matt Weiner não deixou nada por usar. “The Wheel” representa o momento alto e baixo de Don Draper, o seu pitch de panteão para a Kodak e o desapontamento da sua família. Este episódio representa um homem na procura de algo mais, algo que perdure, que o complete. E é no final do pitch, onde as suas duas faces se intercecionam, que percebe o significado. Apressa-se para chegar e por momentos pensa que chega a tempo e é recebido com ternura pela filha, apenas para se deparar com um cenário vazio, uma casa deserta, a sua família já distante. O plano final é aterrador, marcado pela melodia e poesia de Dylan, de cima vemos Don isolado sentado nas escadas confrontado com o seu erro. Divinal.

5- Tomorrow Never Knows – The Beatles (Season 5 Episode 8 “Lady Lazarus”)

Durante cinco temporadas toda a gente se perguntava quando é que uma música dos Beatles iria parar a Mad Men. Muitos pensavam que isso nunca iria acontecer (o budget para música era limitado e as canções dos Beatles não são propriamente saldos), mas havia uma razão bem central para a sua inexistência. Não era o tipo de música dos círculos onde estas personagens navegavam. Aliás, o desdém pelos caras larocas britânicos que causavam histerias por onde passavam era bem evidente. Don & companhia são de uma outra era que não contemplava os refrões universais dos quatro de Liverpool. Por isso, qual a melhor maneira de os introduzir do que Megan (símbolo de nova geração a par de Sally) aconselhar Don um álbum. Qual a surpresa que a música escolhida é a experimental Tomorrow Never Knows que representa precisamente um futuro onde a mancha cinzenta que é Don Draper não tem lugar. É uma sequência magnífica que percorre ainda um Pete de coração partido e Megan em aulas de representação até ser interrompida bruscamente por Don que levanta a agulha do vinil. Chamar-lhe subversivo é pouco.

4- The Best Things in Life Are Free (Season 7 Episode 7 “Waterloo”)

Bert Cooper sempre foi mais um símbolo que uma personagem. A sua presença era permanente mesmo quando não estava presente fisicamente. O seu estatuto, dentro e fora da narrativa, atribuía a qualquer cena um gravitasde outra forma não teria. Daí que a sua morte seja de especial significância para todas as personagens de Mad Men e coloca em curso um em fio narrativo que ainda agora se faz sentir. Mais do que isso, coloca tudo em perspetiva para Don. O seu falecimento é o fim de uma era do qual Don Draper e Roger Sterling são os únicos representantes. Bert sempre foi um conselheiro para Don, o equilíbrio que fazia a empresa funcionar, a voz da razão, daí que seja arrasador que Don tenha esta visão: “The Best things in life are free” diz-lhe Bert num delicado soft shoe em memória do passado glorioso do ator Robert Morse na Broadway. Ouve-o com atenção Don!

3- My Way – Frank Sinatra (Season 7 Episode 6 “The Strategy”)

Quando Mad Men chegar ao seu inevitável fim, o que vamos levar da série será provavelmente uma das melhores relações mentor/prodígio amizade platónica da história da televisão. É fácil afirmar que Mad Men é a história da ascensão de Peggy Olson e da queda de Don Draper. É bem mais do que isso, como é óbvio, mas esta é a relação fulcral, a razão pela qual existe série, o coração de onde bombeia toda a sua vitalidade. Falamos de “The Suitcase” ou “The Other Woman” e tantos outros. “The Strategy” é um desses episódios de panteão, absolutamente mágico, focado uma vez mais na relação Don/Peggy. Não vale a pena estar a dissertar sobre esta cena. Ela fala por si. Vejam-na. Revejam-na. E percebam o porquê do “My Way” do Sinatra se encontrar neste posição. 

2- You Really Got Me – The Kinks (Season 5 Episode 11 “The Other Woman”)

Não é por acaso que esta lista termina com três músicas referentes a episódios predominantes para Don e Peggy. Aqui, depois de uma temporada com algum atrito entre os dois, sobretudo com o sentimento de falta de reconhecimento do mérito do trabalho de Peggy, esta decide ir à procura de melhores oportunidades. Ela acaba por se render à oferta do arquirival de Don Draper, Ted Chough. Ironicamente, ou não, quando ela decide contar a decisão de sair a empresa recebe a notícia que conseguiu ficar com o negócio da Jaguar. No meio de toda a euforia, das garrafas de champanhe a abrirem-se, dos gritos de felicidade que ecoam pelos corredores, Don insiste em saber qual o assunto que Peggy lhe queria trazer. Um aumento? Um lugar na equipa da Jaguar? Impossível, estes gajos dos carros nunca aceitariam. Peggy, num discurso eloquente, emocional, devastador de corações, agradece tudo o que Don fez por si e que a levou àquele momento. E nós espectadores logo vamos buscar as nossas recordações desses momentos. Don reage primeiro chocado e desapontado, zangado até, depois resignado. Peggy chora como nunca a tínhamos visto chorar, Don também, os dois respeitam-se demasiado para partirem de costas voltadas. Don beija-lhe a mão e deseja-lhe boa sorte, “Don’t be a stranger!”. Peggy deixa o escritório percorre os corredores vazios em direção ao elevador. Este chega, dá o sinal de abertura de portas e Peggy sorri, mais confiante do que nunca, a caminho de uma nova vida ao som dos Kinks. Este é um poderoso momento de afirmação. O pay-off do investimento de cinco temporadas.

1- Bleecker Street – Simon & Garfunkel (Season 4 Episode 7 “The Suitcase”)

Não podia ser de outra forma. Aquele que é unanimemente reconhecido como o melhor episódio de Mad Men é também aquele que tem a melhor música. “The Suitcase” é um ensaio sobre Peggy e Don, um combate cerrado entre as duas personagens principais, uma monumental carta de amor ao meio e ao processo criativo, um verdadeiro carrossel de emoções. Quantas linhas de diálogo e momentos épicos não saíram deste episódio? “That’s what the money is for!!”, “Maybe there’s a way out of this room we don’t know about”, “Sterling’s Gold”, etc, etc. Todo o episódio é duro, à flôr da pele, divertido como não há igual (Duck Philips) e simplesmente devastador. Depois de uma noite de combate, com a madrugada chega a bonança. O fantasma de Anna Draper, a chamada que se tentava evitar, a confirmação do pior. Stephanie dá as notícias, Don tenta aguentar, mas desaba ao ver a face de Peggy desperta a olhar para si. A única pessoa que o conheceu verdadeiramente morreu. Peggy conforta-o dizendo que não é verdade. Entretanto, ela recolhe ao seu escritório e adormece até ser acordada pelos seus colegas idiotas. Ainda de cabelo desconcertado entra no escritório de Don onde este se apresenta como novo. Discutem trabalho e quando chegam a consenso este aperta-lhe a mão reconhecendo os acontecimentos da noite passada e da intimidade que partilharam. Peggy dirige para a porta quando a leve melodia de Bleeker Street de Simon & Garfunkel se começa a ouvir. Peggy pergunta: “Open or Closed?” e ele responde sem hesitar: “Open”. A melancolicamente bela canção preenche os créditos, e por consequência o episódio, de esperança e harmonia. Estas duas pessoas foram feitas para estarem juntas e quando isso acontece tudo está bem com o mundo. Peggy e Don. Don e Peggy. Não é preciso dizer mais nada.

‘For instance if Dylan hadn’t said some of the things he did, nobody else was going to say them. Can you imagine what a world it would be if we didn’t have a Bob Dylan? It would be awful. There’s that side of it But then there’s the other side, when you start mistaking your own importance. I think I’ve been in both of those {positions} at various times. You suddenly  think you’re more groovy than you are and then usually something happens to slap you down a bit. so it all has to be tempered with discretion’ - George Harrison, excerpted from 'Bob Dylan: Intimate Insights from Friends and Fellow Musicians’ by Kathleen Mackay

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To Ramona - Bob Dylan

I have an intense attachment to this song, if only because I’ve often felt like Ramona. The first time I heard this song, it was like he was talking directly to me, shaking me awake for the first time. Every girl that has ever struggled to fit in has felt like the Ramona in this song. Every girl that’s ever felt like she had to change herself, “better” herself, is this Ramona.

Sometimes all it takes is a well written song to remind us that we are fine just the way we are. 

It grieves my heart, love
To see you tryin’ to be a part of
A world that just don’t exist
It’s all just a dream, babe
A vacuum, a scheme, babe
That sucks you into feelin’ like this

I can see that your head
Has been twisted and fed
By worthless foam from the mouth
You’ve been fooled into thinking
That the finishin’ end is at hand
Yet there’s no one to beat you
No one t’ defeat you
’Cept the thoughts of yourself feeling bad

I could go on and on about every single track on Another Side of Bob Dylan, but this day is coming to an end, so all I can do is tell you to listen to it. Get a copy on vinyl, turn it up loud, read the lyrics, and listen to it. Just sit there and hear it the way it was meant to be heard, away from your smartphone and your tv and your computer and all the other shit we multitask and distract ourselves with now when we listen to music. If you give the album what it requires, it gives back in spades. 

That’s the thing about Dylan, he demands you pay attention. 

Everyone was preoccupied
with every misstep I took,
so I decided not to move.

Everyone seemed worried— saying
that my motor wasn’t working,
so I ran up hills and down valleys
to prove I could come out the other side.

Everyone saw me as an empty vessel
that was waiting to be filled with knowledge and great advice…
but they were all too late.

After a lonely lifetime of listening
to my fickle heart and Bob Dylan,
I know that I will live and die
with the path I choose, because from
a warmer, to the nursery, to the grave,
I’ve realized that we are all alone inside our heads.

—  You’re worried, but I know I’ll be alright - j.b.
George Harrison agreed that musicians, with insights drawn from their own experiences, can help those who listen to their music. But he also cautioned, ‘You have to be very careful, I suppose. In one way, we all have a duty to help each other, to help ourselves and then help each other in whatever way, whether it’s just to get through the day. I think it’s important to share experiences. For instance, if Dylan hadn’t said some of the things he did, nobody else was going to say them. Can you imagine what a world it would be if didn’t have a Bob Dylan? It would be awful. There’s that side of it. But then there’s the other side, where you can start mistaking your own importance. I think I’ve been in both of those [positions] at various times. You suddenly think you’re more groovy than you are and then usually something happens to slap you down a bit, so it has to be tempered with discretion.’
—  It’s Not Only Rock ‘n’ Roll - Iconic Musicians Reveal The Source Of Their Creativity by Dr. Jenny Boyd & Holly George-Warren