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Merissa (14102 KP) rated The Borderlands: The Complete Trilogy in Books

Jun 30, 2021 (Updated Jul 18, 2023)  
The Borderlands: The Complete Trilogy
The Borderlands: The Complete Trilogy
Aderyn Wood | 2020 | Science Fiction/Fantasy, Young Adult (YA)
8
8.0 (1 Ratings)
Book Rating
THE BORDERLANDS: THE COMPLETE TRILOGY is exactly what it says. An epic fantasy that starts off in modern-day Scotland, travels to another medieval world, and finds a cyber-punk Earth in 2136, before returning to a 'simpler' time.

Dale longs to run away, from her family, from her school bullies, from everything. She has befriended a homeless man, Gareth, and together, they do up a little sailboat and make plans. Things take a turn for the worse when Gareth is murdered and Dale escapes by herself, with no idea of what to do or where to go. Of course, that's only the beginning of the story...

Dale is a brilliant character, feisty and strong-willed, makes more than a couple of mistakes, does the wrong thing and admits, but ultimately wants to help. This trilogy really is a journey for her as she not only discovers what's going on but just she has to do with it too.

There is a great supporting cast that both helps and hinders her as the story progresses. The pacing is smooth, with action and adventure. There is a touch of romance, a hint of a triangle, but that's it. The focus really is on Dale and what she learns.

A fantasy that crosses genres, this was a trilogy I thoroughly enjoyed and have no hesitation in recommending.

** same worded review will appear elsewhere **

* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *

Merissa
Archaeolibrarian - I Dig Good Books!
Jun 30, 2021
  
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Gareth von Kallenbach (980 KP) rated Tonight You're Mine (2012) in Movies

Aug 7, 2019  
Tonight You're Mine (2012)
Tonight You're Mine (2012)
2012 | Comedy, Romance
8
8.0 (1 Ratings)
Movie Rating
Indie music sensation Adam (Luke Treadaway) is interrupted from shooting his band’s new music video by a childish fight with punk rock girl Morello (Natalia Tena). In a moment of binding conflict resolution the two characters are handcuffed together starting a concert-filled night of adventure and romance for the two musicians and their variety of hipster friends.

Like a sharply cut YouTube video, “Tonight You’re Mine” is quick-paced, jostled, and deeply impacted by the music in the background. The film is scattered with songs to represent all musical genres found at the giant Scottish music festival that serves as the film’s sole environment. Moreover, this continual musical metamorphosis helps to skirt the fatigued plot: of a boy who dislikes a girl until they fall in love.

But the film avoids the image of squeaky-clean new lovers by literally marching the leads through the muddy grounds of the festival. The expansive habitat invites the characters to be odd and open to rapidly changing experiences, sounds, and obstacles. The empowered characters take advantage of the freedoms offered by the concerts, filling the scenes with gritty honest language that pokes fun, sling insults, and express emotions directly. The result is a film that is as hip and likeable, just like Adam and Morello.

While you know better than to root for a perfect ending, “Tonight Your Mine” has the draw of an indie “High School Musical”; the love story is so far-fetched that you can’t help but hope it will all turn out in end.
The single night adventure film spun around, “Tonight You’re Mine” provides audiences with characters who are more engaging, slightly darker, and quickly established as too cool to care what their critics think. The result is a film that is honest and very likeable even when the plot is one you already know by heart.
  
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Ariel Pink recommended Faith by The Cure in Music (curated)

 
Faith by The Cure
Faith by The Cure
1981 | Rock
8.0 (1 Ratings)
Album Favorite

"The Cure were just coolest band. They somehow completely hit the nail on the head, and they’re still relevant. They still manage to not put a bad taste in your mouth. They were never pandering to their fans too much. The greyness, the starkness, the boringness of Faith, the minimal-ness, the pathetic emptiness, the bleakness is perfect. They’re perfectly smudged images Robert Smith creates and you can’t make anything out. This record came before they were properly The Cure; at this point they were still a pop band. They were like a pop group; a three-piece that were seen as not really having an image. They were a bit too dapper, and not really punk enough. And then the next record and the record after that were bad. He was basically in the process of killing off his band. Those were very unpopular decisions he was making when he slowed it down and made it very minimal for the second record, which seemed pointless to the critical mass. It was seen as a mistake. And his hair wasn't even grown out at this point. This is a time in Robert Smith’s life before he had decided to come out as a parody of his former self. He was a serious guy but he decided to come out as a mockery. It’s all a caricature of the serious brooding twenty-year-old that was making bad decisions and sinking his band into the ground. After this came ‘The Lovecats’, and that was the worst thing he could possibly do. So my point is what you’re seeing is the evolution of a person. When you look back at that early stuff there is nothing funny about it, it’s completely sincere."

Source
  
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Duff McKagan recommended Greatest Hits by Sly & The Family Stone in Music (curated)

 
Greatest Hits by Sly & The Family Stone
Greatest Hits by Sly & The Family Stone
1995 | Pop
8.0 (1 Ratings)
Album Favorite

"I’d just say Greatest Hits, if we’re making a list of albums to turn people on, a greatest hits will do fine. Some of that music I listened to when I was nine to thirteen did not stand the test of time, but Sly and the Family Stone is kind of ridiculous in how good it is. Songs, musicianship, just fucking weirdness, sound and ‘how the fuck’; again - as I was saying about 1999 – you’re just scratching your head, like, ""how did this happen?"" If you play in a band and you’re young and you haven’t listened to Sly and the Family Stone, then your band is gonna fucking suck [laughs]. Probably not a true statement, but to me it is. I grew up in the seventies so I’d hear these stories, like he didn’t turn up to his gig, he was four hours late to the gig... I mean they were huge but it was just willy nilly live. I would say the influences on my bass playing was a really wide thing, I didn’t really decide I was going to be a bass player until I was 19, 20. I was playing drums, I was playing guitar, I was playing bass and when I finally took that big step and said, ""okay, I’m going to be a bass player"" and I kind of melded a load of things together. The band Magazine, that bass sound with the chorus on the bass... it took me some years to work out that effect, 'cos I didn’t know much about effects in the eighties, but the sound you hear with Guns is really derived from listening to that first Magazine record, combined with first Sly and the Family Stone and Prince, with a real punk rock ethic underlining the whole thing."

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