#Hopeless Fountain Kingdom

[confessionofhalsey]

Halsey's albums x The Great Impersonator album versions

[vicxxmmii]

♪ the musical eras of HALSEY

[supermusicallee]

i'll perpetually believe that any man who says he loves me is hiding something up his sleeve....... sorry that i can't believe that anybody ever really starts to fall in love with me...... please god i wanna be loved..... how could somebody ever love me??... i think it's finally safe for me to fall.... you tell me i'm lucky you don't drop me there..... somebody will love me for the way i'm designed....... please god i'm finally loved

[thatsleftisthemanuscript]

Halsey

⋆𖦹✮ will always reassemble to fit perfectly in you for anybody that decides that I'm of use ⋆𖦹✮

It's 2014 in Brooklyn. Twenty-year-old Ashely dies, her hair bright blue, in room 93, and she writes the first song she'll release, "Ghost." At that moment, after the song goes live, she becomes Halsey, a product of her own poetry posted online and an idealized version of a girl who struggled to stay alive. Halsey would follow in the footsteps of the women before her who saw a chance to turn her pain into music that would allow Halsey to take center stage for the first time in her life.

[borntoruns]

Favorite Albums: Hopeless Fountain Kingdom Halsey • 2017

I am a child of a Money hungry, prideful country Grass is green and it's always sunny Hands so bloody, tastes like honey I'm finding it hard to leave...

[haventyouheardimsolucky]

Just seen this on Twitter, getting Badlands and HFK vibes, what colour do we think the next symbol is going to be? 👀

[halseyroom]

i always make the same mistakes

[thedreadpiratevaldez]

@lgbtqcreators creator challenge - album cover, #ffd6ff, #e7c6ff, #c8b6ff, #b8c0ff, #bbd0ff (x)

[dailyhalseys]

@dailyhalseys 1.5K CELEBRATION

THANK YOU from all of us here at DailyHalseys for this milestone! We wanted to do a celebration to thank you for your support. We are so thankful for each and every one of you!

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[sgftxtinajb]

[purplerainb0ws]

Halsey Twitter Rant

I have been a fan of Halsey since 2020. Naturally, my main space for fandom community has always been Twitter for the longest time. Joining the Halsey space on there was instantly welcoming, and it felt good that i had another fandom home.

But since last fall, with how some fans have perceived Halsey's usual vocal activism as being not for Palestine and being for a literal genocide, (leading to a good chunk of fans turning on her under the guise of publicly announcing they're "holding her accountable"), a lot of these same former Twitter fans have now decided to turn themselves into their versions of mini digital dictators, basically keeping tabs on anyone who still shows their public support of her.

Literally calling her and labelling her some of the most godawful things because (according to them), she didn't speak up in a timely matter. Not realizing she was looking after herself and her young child. Not realizing she was fighting for her own life. No, all that mattered was for her to say something for their brownie points chart, and for Halsey to feed into THEIR para-social delusions. all because, THESE SAME FANS believe they know everything about a person all from a notice, a follow or a meet and greet.

When in reality, they DON'T. So now, they're shooting themselves in the foot, because of it. They KNOW that a lot of them were being godawful and nasty, because they feel its easy to do so.

Time for THEM to be held accountable as well.

TL;DR : halsey twitter stans are hypocritical authoritarian bullies and need to log off.

[the-redhead-redemption]

Everything is blue 🩵

H at Koko London last night, playing the most incredible set and two new songs! I’m in awe.

[taitumevelynne]

badlands 🌿

[hibiscusbabyboy]

1970s High School

[s1i9d]

The trailer for Halsey’s fifth album, “The Great Impersonator”, is out and I am losing my mind over this. Hi if you don’t know me, I’m Sid. I like animation and TV, but I’ve been obsessed with Halsey since 2016.

Let’s talk about “The Great Impersonator” trailer real quick. Video below for anyone who hasn’t seen it yet. [Brace yourselves, this is gonna be a long one.]

So Halsey is an alternative musician who plays with two sides to their storytelling and concept albums: we have Halsey and Ashley.

Halsey is typically more fictitious and focusing on a specific aesthetic for a story like BADLANDS for grimdark dystopia, hopeless fountain kingdom for a twist of toxic relationships in the context of Romeo and Juliet, and If I Can’t Have Love, I Want Power being this story of the woman who is the Madonna and a mom in this medieval period.

Meanwhile, Ashley focuses more so on the person behind the music. It’s the more private side to the person who we don’t see quite often. We hear their stories but not them. Ashley’s main album is Manic, which is one of my favourite albums from them. (All the music is good, but Manic hits me different.)

So it’s interesting to see this new twist on who Ashley/Halsey is. Halsey is experimenting with different sounds here based on different decades as a means to explore who they are. It’s especially prevalent given that they suffered from some serious illnesses back in 2022, which made them question if this would be her last album.

Which… Yikes.

It’s very easy to see how this would lead to them asking big existential questions about who they are, their artistry, and generally spiralling. And because of these two sides to Halsey/Ashley, it brings them to seemingly question everything at once.

But let’s get into why The Great Impersonator is making me lose my mind.

So far from the album, we have four releases: The End, Lucky, Lonely is the Muse, and Ego.

THE END is the most tender and heartbreaking song so far, and it was THE FIRST thing we heard from Halsey after so long. It’s an acoustic guitar singing about Halsey’s difficulties with their health, repeatedly having issues with neurodivergence and bipolar disorder, lupus and just so many more medical issues they had to face. It really is an incredibly starting song given the context of The Great Impersonator being set off because Halsey doesn’t know when their last moment would be, and that’s represented by its lullaby-like melody. Even ending on a cliffhanger because there is no closure for this, and it’s unsatisfying as an ending.

LUCKY interpolated Brittney Spears’ Lucky and Monica’s Angel. It’s going for a very 2000’s feel and ties together Halsey’s fame, what they really feel, and their struggle with health again (which ties back to THE END). It’s from a place of simultaneously being proud of how hard they worked to get where they are the fact they even have a career in music in the first place, in addition to how isolating it is to be in this industry in the first place. Along with that, it’s a love letter to Brittney Spears for inspiring them, and even was an inspiration for Walls Could Talk, which is one of my favourite songs.

Now let’s have a quick chat about singles.

Halsey’s pre-album singles have never been the most optimal. The songs they release are always good to great, but the song that grabs the audience by the throat and snarls in front of them is usually released after the album has been released with audience response clear, or it takes quite a bit of time to grow on the audience.

It’s a top five song for me now, but I know I got so confused by Clementine when that released for Manic, because it was so different. It didn’t grab me immediately, but I grew to love the vulnerability and insecurities of an artist’s dreamworld. That being said, Halsey’s pre-album singles were never optimal.

While unclear how much control Halsey has over the choice for the singles, after If I Can’t Have Love, I Want Power, they switched record labels they were signed to. So while The End and Lucky are really good songs, they didn’t feel like “the song I will scream from my rooftops about.” So I expected as much.

Then Halsey fucking drops LONELY IS THE MUSE.

This is an incredibly scary and haunting Halsey song. Absolutely incredible. It’s like taking the melody of “People Disappear Here” in combination with the raw fury of “Experiment on Me” and tied together the themes of “Angel on Fire” with “Lucky”.

The song itself speaks about how Halsey has done so much to inspire so many artists and have them get awarded for their music (Chainsmokers’s Closer is the most obvious one.) but also speaking to the intense desire to be loved so badly that even asking people to use her and discard them when they’re done. “I will always reassemble to fit perfectly in view / for anybody that decides that I’m of use” and that intense anger at being seen as a stepping stool for others to achieve what they want at her expense.

This is the first pre-album single of Halsey’s that I’ve ever been like “Oh, they mean BUSINESS.” In combination with the other three, it’s such an incredible trio of songs that combines the tender, artistic, and furious sides of this artist.

My favourite Halsey songs are often where they unleash their inner rage goddess. [The Lighthouse, Nightmare, Forever... (is a long time)]

After this, I was incredibly excited for the album because of the diverse range of sounds in the alternative genre.

Then we got EGO.

Now while EGO hasn’t officially been released yet, Halsey performed it at KOKO in London. (As someone who was in London, I’m definitely not salty I didn’t go, but it’s fine.) so you could probably find a phone recording of it online

It has this incredible 90’s rock vibe to it. All about (again) the loneliness Halsey feels and the ego they have about their fame and life.

All of these are really amazing choices for singles, but the thing about The Great Impersonator that’s making me go wild is What’s Next?

Halsey’s website just shows the album title, the trailer, text, and an obscured date for 2024. (Fans think it’s for 15 November, but no confirmation yet.)

But Halsey has told us everything already.

If you look at EGO’s teaser art, it’s of two dice. Now this might not mean anything, but it does.

A while ago, Halsey quite launched a website called “For My Last Trick” (morbid, I know.) and on it, there’s four symbols: a question mark for The End, a cracked star for Lucky, and now a pair of dice for Ego. Each were blurred out until the next song was announced/released.

Alongside having some ties to the cover art of these symbols (the question mark needs its own section) also appear in The Great Impersonator trailer.

We got the cracked Star for Lucky, to represent Halsey exploring what their musical identity in the 2000s.

Then we got the dice for Ego, which has an accompanying visual with it. My assumption is that this is the music video for Ego whoever it releases.

We also got a whole other dark song snippet in this trailer for the 90’s decade. From what I could understand from the lyrics it sounded like: “Really good talk / Baby, come inside”

Now there’s one more blurred symbol, which represents a song that isn’t out yet. And I believe true trailer releases the symbol: a number 5 pool ball.

Seemingly, this is supposed to represent the 80’s version of Halsey and experimenting with music of that decade. “Everything is seventeen for the last eleven years.”

We don’t get a direct symbol for the 70’s, but interestingly enough the 70’s seems to have the question mark which we associate with The End. Is The End also a homage to the 70’s? We also get a partial look at what seems to be The End’s single art so I would assume so.

“Is it love or a panic attack? / is a heavy heart too much to-“

I think this is such as strong way to introduce this new era of Halsey, and I think so many of these singles were amazing choices. Honestly, listening to Halsey is like experiencing a full novel from your favourite author. Or a film from your favourite director.

There’s always a story here. I’m excited to see what’s next! I assume Ego and music video get its official release, then the 70’s song, followed by the Pool Ball symbol song. I’m so pumped for this journey I’m about to go on.

[heavensenthale]

all I know is a hopeless place that flows with the blood of my kin

Fandom: Hopeless Fountain Kingdom (Halsey album) Relationship: Luna Aureum/Solis Angelus 458 words

Summary

Everything crashes around Luna. The prophecy must be a lie: Love cannot be, no matter what.

READ ON AO3 or

A shot breaks the glass and Julius’ body goes limp next to her seat. There’s a loud, insistent ringing in her ears. Bullets rain around her. Julius is dead, dead, dead. Luna’s eyes scan the area looking for Tybalt.

Solis is here.

Solis is in a car sitting gunshot in one of their cars.

Solis set them up.

Most importantly: Solis set her up.

Her mother used to tell her the fish in the fountain were a bad omen and a reminder that, no matter what, love could never exist in the Kingdom. She never explained why it was a bad omen, just that it was and for many years, Luna believed it. Especially after falling for Rosa. Love could never be between the two of them and Luna eventually accepted it, moving on.

Does it endure? Her own voice repeats in her head, an echo of a bittersweet memory.

Everything crashes around Luna. 

The love never falters, said the seer.

Then Solis appeared, brighter than the sun, with a smile so pure it made worshippers out of heathens. Luna’s beliefs faltered on their axis.

The ringing in Luna’s ears only becomes stronger when she sees Tybalt on the ground.

Her mind goes back to a big bed, white sheets pooling around her waist, Solis’ lips briefly touching her shoulder before standing up to reach for a piece of paper. Luna pushes the door open, getting out of the car in a fluid movement she didn’t know she was capable of. Solis passes it to her: an address. Her hair sticks to her face where Julius’ blood stains her face. Solis’ tiny smile when they crossed paths earlier that day.

I’m afraid these souls may never align. Luna’s palms feel sticky with sweat, her cheek touches the cold metal of the car, her heart is beating faster than ever before. These souls may never align. Tybalt’s body is lying lifeless next to her motorbike. Never align. She sees an opening, runs to the bike and climbs on just as a gun fires, it whispers a warning somewhere near her left ear.

Out of the corner of her eye, Solis moves and gets out of the car barely a second after Luna passes him. He’s a blur behind the bloody mirror in seconds. Tears run down her face and a sob escapes her throat, unbidden.

These souls can never align. Wrong person, wrong time.

The prophecy must be a lie: Love cannot be, no matter what. If anything, this Kingdom is where love comes to die.

The seer said it didn’t have to be like this, there was another path, but Luna got the message loud and clear.

If Solis wanted war, all he had to do was ask.