After I published the latest apoplectic.me post in August, Paul commented that
the new music in 2020 hasn’t caught my ear yet. Nothing like last years Jaime by Brittany Howard, which I loved. I also fear we are about to get some not very good quarantine inspired music coming our way.
I’ve been seeing folks doing calls for – and offering up – playlists to offer some kind of respite from The Lockdown that’s gone into effect here in the nations of Britain and Northern Ireland. So, what better time to belatedly offer up some of my favourite tracks from the happy days of 2019?
As it happens, the apoplectic.me post of my favourite choonsof 2018 began by noting that it was the death of David Bowie that had heralded planet Earth’s one-way trip to hell in a hand basket.
So, join me, won’t you, on a trip down memory lane to when things hadn’t yet gotten entirely out of hand? Or if you don’t like wurdz, just hit up the Spotify playlist.
It feels like the subject matter on the blog has been kinda heavy these past weeks, so how about a bit of fun?
Maybe you’ve seen the recent news article to the effect that the average intro time for a pop hit has dropped from more than 20 seconds to five seconds since the mid-1980s. I mean, I don’t know why the BBC are banging on about it now, when Mashable reported on the underlying research in April.
Last week’s post, The Man Don’t Give a ****, kicked off with a visit to the new James Bond movie, SPECTRE, before running off on a Brosnan-in-a-tank rampage through British foreign policy. But really, what I wanted to post was more in the vein of a classic, Moore-era romp.
This week, I’ve been in LA with Longsufferinggirlfriendoftheblogbeth for the Gallifrey One Doctor Who convention. It’s been a bunch of fun.
The thing is, there’s a ten-hour outward bound flight to take, old friends to catch up with, panels to attend, and a return flight that surrounds the scheduled time for this week’s blog. Makes pulling together a stroke blog post a little tricky.
One of the panels we attended was called Faith and Fantasy, and examined “where Doctor Who has embraced – and where it’s conflicted with – matters of faith.”