this is what rock n roll is all about




I think I’ve mentioned once or twice that I draw certain characters to certain artists and genres. 90% of the time that I’m drawing Niffty I’m listening to Chuck Berry. I know the man lived to 90 so it’s really not a big shock, but still the guy wrote like half of Elvis’s songs, mentored the Beatles and the Rolling Stones and the Beach Boys just to name a few artist, essentially created rock n’ roll, shattered racial barriers and sexual expression (back when you couldn’t even shake your hips from side to side on television. And don’t even start me on this man’s dance moves) …ya know what just watch this! XD

Niffty, Crymini, Baxter, Charlie, Mimzy, Alastor, Husk, Angel, and Vaggie all belong to @vivziepop. Who I also wanna gush about how awesome they are, but I’ll save that for my next post XD

You’ll be missed Chuck Berry! XD

the importance of being idle, 11/12

A/N:  another delayed update, but this time not as long as the last which I’m pleased with! we’re very near the end now folks, just remember to clap your hands and believe and it’ll all work out in the end. ;) as always, thank you so much to all the comments and kudos I’ve received so far, it means the absolute world! so, enjoy!

Rating: M

Catch up on AO3

the importance of being idle
get-out-of-my-apartment-(no-really-get-out)-you’re-hot-but-I-got-shit-to-do rock ‘n roll AU. Captain Swan.

“Well that’s what they get for having a goddamn brawl in the middle of your house.”

Truthfully, Emma didn’t even see who threw the first punch, the entire altercation was a blur. All she knew was one moment Malcolm had been gloating about something, spewing some crass comment about her or Tina and the next moment he was flying backwards, crashing into some antique coffee table and sending it in pieces to the floor. Killian and Tina had both been standing over him, and in all honesty she was sure it could’ve been either of them — or perhaps in an unprecedented show of synchronicity from the oft-bickering pair, they’d hit him in unison.

The following ten minutes were manic; Blackbeard and Isaac had jumped forward to defend their fallen bandmate and even Robin had been pulled into the fray. Emma had tried to step in and stop things from escalating too badly, but she’d received a swift elbow straight to her nose which sent her reeling backwards. It was hardly clean fighting, it was clumsy and involved a lot of grabbing and fumbling, and by the time Jefferson and August came sprinting from the other room there was only Killian and Blackbeard left rolling around on the ground to be separated.

That was over an hour ago. Since then, the injured parties had been marched into a private room full of executives who’d been attending the party, only Jefferson exempted for reasons that appeared unclear to Emma, and the rest of the guests had been sent home.

“It’s seen worse,” the bassist said, mumbling more into the trash bag he’d brought from the kitchen than to her, “the house, I mean.”

“Still,” she said, before pinching the bridge of her nose and testing to see if it was throbbing any less. “I’m sorry.”

“You didn’t start it.”

“No, but I wasn’t much help finishing it.” She bent down to pick a couple of pieces of splintered wood. “This wasn’t worth anything, was it?”

Jefferson shrugged, offering a rueful smile. “Nothing I can’t come up with myself.”

Guilt and unease both roiled in Emma’s gut, warring for which could make her feel worse; nothing about that private meeting felt particularly promising, and the Jolly Rogers’ place on the tour was already a fluke. Starting, or even just participating, in a fight in Jefferson’s house was hardly the gracious thanks they should be giving their hosts, smarmy as they were. In a tour full of unpleasant surprises, this appeared to be just the latest in a long line.

An unpleasant surprise of his own, Neal had slinked off somewhere else the moment any sort of formal executive had entered the scene, likely slightly fearful one of them might recognise him or call his father, or worse. That didn’t stop the spike of irritation Emma felt towards him — it was his fault Blackbeard’s Revenge had known about Killian and Milah, undoubtedly something he’d let slip in an attempt to curry some favour with the band. Or perhaps he’d just wanted somebody to vent to about the apparent frustrations he’d been harbouring over the situation. Whichever it was, she was pissed and she at least felt like she had a right to be.

Emma carried her own garbage bag around the room, picking up discarded bottles and cans and dropping them in without ceremony. It was only as she was clearing the surface of a dresser that she came across a few scattered photo frames, apparently of the same girl at various ages. There was one of her perched on shoulders that were clearly Jefferson’s, his face lit up in a wide smile.

She turned her head to look at the other man beginning to sweep some glass. “She yours?”

Jefferson looked up, eyes seeking what she was pointing to before nodding mutely.

“My daughter, Grace.” He answered her question before she could even give voice to it. “She stays with her grandparents while I,” he waved a hand around absently, “tour.”

Emma hummed quietly to herself. “Don’t you miss her?”

The corner of his mouth quirked upwards sadly. “Endlessly.”

Keep reading

anonymous asked:

I know you just spoke about this previously but you know the letter that Stevie wrote to her father which all of a sudden spiralled into this big paragraph of how her life is going to be, well there's a certain term for this which is called the 'Act of manifestation'. I don't know if she even knew of this but she might have because as we all know Stevie isn't one to shy from the more spiritual or mystified aspects contained within life🔮🌙

I like to think she knows of this, yes. I never get tired of hearing her talk about how she would walk around with her one Velvet Underground outfit and her guitar and look at people thinking “do you know who I am? ‘Cause I am a rock n roll star.” I’m loosely quoting here but I know you know what I mean. 

And just moments ago after playing “Crying In The Night” in New Orleans she talked about believing in dreams again…  “If you have a dream, you have to believe in it. Especially now. You can. Just put your heart into it.”

I am a big believer of the power of manifestation, and it’s just lovely to think Stevie is aware of her own power in turning her dreams into reality. ♥

anonymous asked:

Hello dear! I just read this in your blog “I need your love so bad it hurts me.” and I wanted to know when john said it, because it's the first time that I read it and it's so beautiful find new things about them !

He says it in ‘Just Because’, the Rock n roll album.








KISS’s Destroyer is a concept album about rock ‘n’ roll gods looking for love in the underworld!

After many years of listening to KISS’s 1976 opus, Destroyer, I’m convinced it’s a concept album with a strong narrative running throughout. This isn’t surprising since it was produced by Bob Ezrin: The same man who produced Alice Cooper’s many concept albums, Pink Floyd’s The Wall, and KISS’s notorious 1981 album Music from “The Elder”.

I break it all down below…

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The Destroyer synopsis: A young female KISS fan (late teens) gets killed on her way to a KISS show and then gets transported to a fantasy underworld, Alice in Wonderland style, in which KISS woo her and sing to her about the rock ‘n’ roll lifestyle and hope she’ll love them.

The album begins with what sounds like someone working a kitchen job (we hear water running, plates and silverware being stacked). I’m guessing our heroine is a waitress and she’s helping the dishwasher clean up so she can get the fuck out of there and to this rock show tonight.

They’ve got the radio on and we hear the foreboding news story…

“In Detroit, the body of a Michigan youth was reported dead at the scene of a head-on collision on Grand Ave…”

This is foreshadowing, an omen, etc.

Our young waitress finishes work and we then hear the sound of her getting into her car and driving off. This working-class Michigan girl, not unlike the young man who was found dead that morning, switches on the radio and we hear an Ace Frehley guitar solo and “Rock And Roll All Nite”. She’s rocking out to some KISS as she makes her way to the show.

Then BAM!

“Detroit Rock City” begins.

Paul Stanley sings from the POV of the young woman driving, on a Saturday night, who can’t wait to let loose at the “midnight show”. She’s been drinking and getting high. She starts speeding down the highway, cranking up the KISS louder and louder. She’s pumped!

But then, oh oh…!!

“There’s a truck ahead, lights starin’ at my eyes. Oh my God, no time to turn. I got to laugh ‘cause I know I’m gonna die.”

We hear the FATAL CAR CRASH and we segue into “King of the Night Time World”.

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The STARCHILD appears and transports our dead Michigan girl from the living world to the underworld.

He sings about himself and how he can relate to her.

He declares “I’m the King of the Night Time World and you’re my headlight queen.”

The Night Time World is the underworld, a sort of rock ‘n’ roll purgatory, and our recently deceased Michigan girl is the “headlight queen” because it’s those headlights, from the head-on collision, that brought her to the Starchild (a.k.a. The King of the Night Time World).

He promises her she can live her “secret dream” with him in this realm.

But like any good fantasy world or fairytale, there’s a dark side…

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The DEMON appears!

He snatches the Headlight Queen away from the King and brings her down to his neck of the woods!

Like the Starchild, the Demon is also taken by the Headlight Queen. He thinks she’s “the Daughter of Aphrodite”. But in Demon (and very typically Gene Simmons) fashion, he uses a starkly different approach: He puts a spell on her and boasts about how awesome and powerful he is: He’s “the God of Thunder”; “Lord of the wastelands”; etc. Whereas the Starchild was all camaraderie and heart, the Demon is all ego and dominance. He commands the Headlight Queen to “kneel” as he plans to slowly rob her of her “virgin soul”.

Still under the Demon’s spell, she’s transported to a rock concert in this underworld. The Demon (again in typically Gene fashion) serenades the Headlight Queen about how much of a rock ‘n’ roll sex god he is (“Great Expectations”). Again, he talks about wanting her “soul”.

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It looks like she’s caving in and ready to give into the Demon…

But then the Starchild returns!

With “Flaming Youth”, the Starchild again makes a more heartfelt declaration to the Headlight Queen. His parents don’t understand him either. They’re alike. Together, they can be “flaming youth” and “set the world on fire”. The Demon is the cynic. The Starchild is the idealist.

But the Demon ain’t having this!

He’s going to teach the Headlight Queen “love in a different way”. He’s all kinkiness and “Sweet Pain”.

Understandably, the Headlight Queen is starting to get overwhelmed by these two rock ‘n’ roll gods fighting over her and she tries to break free from both of them, away from this rapey underworld.

Seeing that they’ve both struck out with the Headlight Queen, the Starchild and Demon join forces and “Shout It Out Loud”. Fittingly, it’s a more streamlined declaration, representing both of the Starchild and Demon’s sensibilities: They try to convince the Headlight Queen how good it’d feel to just let loose and party. As they keep chanting their mantra the Headlight Queen sneaks off. She’s still not ready to succumb to their rock ‘n’ roll paradise.

It’s in this retreat she goes backstage and discovers The CATMAN.

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No loud guitars.

No divine boasting.

This scrappy everyman drummer is singing a ballad about his girl, “Beth”, and how much he misses her. He opens up in a way the others hadn’t. The song plays on the Headlight Queen’s heartstrings. If The Catman is really a sensitive guy, maybe so are the other guys…

She finally relents and surrenders to rock ‘n’ roll paradise.

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We FLASH FORWARD and the Headlight Queen is now living in Paradise with the Starchild.

The Starchild sings about all the things the Headlight Queen likes about living this awesome lifestyle.

“Your backstage pass and black sunglasses make you look just like a queen.

But deep down, this rock ‘n’ roll god, is insecure.

He wonders if his queen really loves him.

“Do You Love Me?”

He sings it again and again.

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The Starchild, or is it finally Paul Stanley, drops his mask and is asking the groupies, his fans, the hangers-on… He’s asking if they really love him or is it just the whole KISS phenomenon.

The album ends with a callback to the beginning and we hear a ghost radio station playing a snippet of the audience and Paul’s stage banter from Alive! The KISS phenomenon is in full effect.

They’ve destroyed their competition and all the naysayers.

And they’ve destroyed many a “virgin soul”.

But will it ultimately make them happy?


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Fuck yeah!!!

Jimmy Page on Andy Warhol & The Velvet Underground in Creem Close Up: Metal Rock ‘N’ Roll magazine 1985:

Creem: Let’s talk about the 60’s. Remember coming down to the Scene Club?

Jimmy Page: That was incredible. Warhol did all these interior decorations with baker’s foil, what you cook turkey’s with…

Creem: Aluminum foil.

Jimmy Page: Yeah, silver paper everywhere, and the Velvet Underground were there. And they were brilliant. We used to go down there. I tell you, it was marvelous to witness them playing. They were fantastic. They were brilliant, every single one of them, from Maureen Tucker, Lou Reed, to John Cale. Every single one of them was brilliant. That really was sort of a band I could always relate to and always will relate to.



Some people have a hard time explaining rock ‘n’ roll. I don’t think anyone can really explain rock 'n’ roll. Maybe Pete Townshend, but that’s okay. Rock 'n’ roll is a lifestyle and a way of thinking… and it’s not about money and popularity. Although, some money would be nice. But it’s a voice that says, “Here I am… and fuck you if you can’t understand me.” And one of these people is gonna save the world. And that means that rock 'n’ roll can save the world… all of us together. And the chicks are great. But what it all comes down to is that thing. The indefinable thing when people catch something in your music.


some people have a hard time explaining rock ‘n’ roll. I don’t think anyone can really explain rock 'n’ roll. Maybe Pete Townshend, but that’s okay. Rock 'n’ roll is a lifestyle and a way of thinking… and it’s not about money and popularity. Although, some money would be nice. But it’s a voice that says, “Here I am… and fuck you if you can’t understand me.” And one of these people is gonna save the world. And that means that rock 'n’ roll can save the world… all of us together. And the chicks are great. But what it all comes down to is that thing. The indefinable thing when people catch something in your music.

Almost Famous (2000) Dir. Cameron Crowe

You put on the first Stooges album, and he sings about ‘No Fun’, and kind of being on his own, alone, feelings of alienation, isolation. I found Iggy to be a real inspiration to me, because I could relate to him, and isn’t that what it’s all about anyway? I mean it’s like an outlet for self expression. That’s what great rock 'n’ roll was always about.
—  Joey Ramone, on Iggy Pop

I had just graduated from high school, trying to figure out what the hell do with my life when, on October 27, 1975, this guy appeared on both covers of the leading weekly print news outlets. I decided I needed to find out what this was all about. Couple years later, I was working in rock n’ roll radio. 

Glory days. 

The important part in Cyberpunk is just that: It’s not the technology, it’s the feel. It’s getting that dark, gritty, rain-wet street feeling, but at the same time getting that rock’n roll, lost and desperate, dangerous quality. Cyberpunk is about that interface between people and technology. But not in that transhumanist way, where it’s all about the technology changing or improving them[selves]. It’s about how people use things. There’s a great Gibson saying that street finds its uses for things, and that’s what cyberpunk is about. Cyberpunk isn’t about saving humanity, it’s about saving yourself
—  Mike Pondsmith, Cyberpunk 2020

You know what would be perfect? If Jason’s recent comments about talking with Metallica guys as a friend and about business or possible future work would mean what we all want it to mean. Metallica could have two bass players. It would sound epic live, plus both Rob and Jason have amazing back vocals. Maiden has three guitarists and they’re doing just fine.

I still can’t believe Chuck Berry’s dead. 

He was 90 and wasn’t going to live forever – none of us will. But a world without him still seems so cruelly diminished.

Chuck Berry invented rock ‘n’ roll, of course, and might have perfected it in doing so – that first riff of “Johny B. Goode” has arguably never been equaled by anything his successors (”all Chuck’s children,” as Bob Seger put it) came up with. But the thing that’s easy to miss is what an amazingly fluid writer he was.

In nearly every song there’s a line that’s funny, apt, piercing or tells a story with cool efficiency. As I wrote yesterday, Bruce Springsteen nailed Berry’s skill as a writer with his observation about “Nadine” and its famous line: “I’ve never seen a coffee-colored Cadillac, but I know exactly what one looks like.”

Berry worked subtlely, with some references ringing out to black listeners. Most people get that “Brown-Eyed Handsome Man” could have been titled slightly differently, but in “Promised Land” the narrator talks about bypassing Rock Hill, where the Freedom Riders were beaten, and in “Back in the U.S.A.” there’s that seemingly extraneous word in “lookin’ hard for a drive-in” – in other words, one that would serve a black man. Three all-American anthems that nail equally all-American problems.  

Or there’s “You Never Can Tell” with its warm, funny depiction of newlyweds who are young, poor and happy (”they furnished off an apartment with a two-room Roebuck sale / the coolerator was crammed with TV dinners and ginger ale”). And of course “Memphis,” a perfect little short story that turns on the reveal in the last line.

You can learn a lot from a two-minute record – and even more if you really listen. Thanks Chuck.

For Women Who Don’t Fuck Around 

// Fly Niki Minaj ft. Rihanna // Stronger(What Doesn’t Kill You) Kelly Clarkson // Blank Space Taylor Swift // If I Were A Boy Beyonce // All About That Bass Meghan Trainor // Rock ‘n’ Roll Avril Lavigne // U + Ur Hand P!nk // Girl In A Country Song Maddie & Tae // Speechless(Live) Lady Gaga // Take A Hint(ft. Victoria Justice & Elizabeth Gillies) from Victorius // Domino Jessie J // King of Anything Sara Bareilles // D-City Rock ft. Debra Zeer // Roar Katy Perry // Bang Bang Jessie J, Ariana Grande & Niki Minaj // 

[listen here]

The Signs as The Killer songs

*songs from Hot Fuss, Sam’s Town, and Day & Age*

Aries: On Top/ Uncle Johnny/ Joy Ride 

Taurus: Everything Will Be Alright/ Exitlude/A Dustland Fairytale 

Gemini: Somebody Told Me/ Sam’s Town/ Neon Tiger 

Cancer: Jenny Was A Friend Of Mine/ Why Do I Keep Counting?/ A Crippling Blow 

Leo: Glamorous Indie Rock ‘n’ Roll/ Read My Mind/ Spaceman 

Virgo: Believe Me Natalie/ When You Were Young/ I Can’t Stay 

Libra: Smile Like You Mean It/ My List/ Forget About What I Said 

Scorpio: Mr. Brightside/ Bones/ Human 

Sagittarius: Midnight Show/ The River Is Wild/ Goodnight, Travel Well 

Capricorn: Andy You’re A Star/ Bling (Confessions of a King)/ Losing Touch 

Aquarius: All These Things That I’ve Done/ For Reasons Unknown/ This Is Your Life 

Pisces: Change Your Mind/ Enterlude/ The World We Live In


I was tagged by @there-is-purpose-after-all. Thank you, and sorry this took so long.

Shuffle your music + put your favourite lyrics.

1. Street Fighting Man - The Rolling Stones
Well, what can a poor boy do?
Except to sing for a rock ‘n’ roll band.
'Cause in sleepy London town.
There’s just no place for a street fighting man.

2. All I Could Do Was Cry - Etta James
Yeah and now the wedding’s over.
Rice, rice has been thrown over their heads.
For them life has just begun,
But mine is at an end.

3. Ziggy Stardust - David Bowie
So where were the spiders, while the fly tried to break our balls?
With just the beer light to guide us.
So we bitched about his fans and should we crush his sweet hands?

4. Neon River - Keane
She said the neon on the river will light my way.
And everything that we’ve been dreaming of making real one day

5. Memory Motel - The Rolling Stones
We spent a lonely night at the Memory Motel.
It’s on the ocean, I guess you know it well.
It took a starry night to steal my breath away.

6. See It So Clear - Tom Chaplin
But all these solid certainties,
They had sadness underneath.
And all these happy memories,
They have spaces in between.

7. We Had It All - The Rolling Stones
I know that we can never lives these times again.
So I’ll let these dreams take me back to where we’ve been.
Then I stay there with you just as long as I can.

8. Mannish Boy - Muddy Waters
Everything gonna be alright this mornin’
Now, when I was a young boy
At the age of five,
My mother said I was gonna be,
The greatest man alive.
But now I’m a man,
I’m age twenty-one.
I want you to believe me, honey,
We having lots of fun.

9.Goodnight Irene - Lead Belly
Some times I take a great notion,
To jump in the river and drown.
Irene goodnight, Irene goodnight.
Goodnight Irene, Goodnight Irene.
I’ll see you in my dreams.

I tag @georgeharrisonfangirl, and anyone else who’d like to do this.