#There is a whole saga in the notes about musical instruments

[asmuchasidliketo]

[the-lazyyy-artist]

Now that the live stream has concluded 45 minutes ago, and The Wisdom Saga is now live on Spotify, I spent some of my time to listen to the songs again (without headphones, I know I might've missed a few hints on the instruments and arrangements.)

So for now, here's my notes for this Saga (musically and story wise):

Legendary

The youthful touch of this song is just what this saga needs. MICO as Telemachus was a wonderful choice. His voice bounces within the song, and he sounds similar to Jorge's so it's like... He is his dad's son.

Story wise? It laid down a clear picture of what's happened 7 years later. His need to be stronger to protect his mother safe, especially that Ody's away.

It sounds like it's wishful thinking in a song.

Little Wolf

Oh my god, my anger in this song. I was scowling the whole time. Jorge is so good at painting a picture in the song. The taunting in the song, the way they challenge Telemachus.

I love how this songs sounds like a video game soundtrack, like Tekken (and the way the animatic looked like Tekken). Athena's entrance? Amazing. Telemachus being a geeky kid? AMAZING! He's such a kid, I love it!

I love Athena so much!!!

We'll Be Fine

Teagen's voice? Angelic! I thought her very best song was My Goodbye, but she really topped it with this one. I loved how she and Telemachus' sang Odysseus' melody in Warrior of The Mind. It's a wonderful touch that shows they're both longing for the same person.

The way MICO sounds so youthful??? He sounds so geeky and a teenager who's so excited about something. It's adorable!

Ody and Telemachus really see Athena as a friend. It's so touching.

Love In Paradise

This is the song I'VE BEEN SO EXCITED FOR (along with God Games). One thing I love: the flashbacks. Jorge really did a great job with the placement and tied every saga perfectly. I literally had chills when she finally saw what happened in Thunder Bringer.

Calypso. Calypso, my darling. Her voice is just so pure, so summery. She gave me summer vibes, seriously. It's kinda reminds me of TWICE's Alcohol Free, for real. Oh my god.

We've heard clips of this song before, and now that they recorded this song again, they sound so mature and clear. Oh god, I love this song so much!

Odysseus really be losing his mind. He was really losing it. Athena is the only one who can save her, and the way he screamed Athena's name. Oh my god, it broke me so hard!!

God Games

Luke Holt's voice... That's it. He sounds so big and scary. I love how his voice digs deep, the growls, it's even better than Thunder Bringer.

I was so excited about Apollo's voice. I did imagine him to sound a little cute, kinda like Yuuji in the English dub lol! So adorable! The little harp melody!! Uggh!!

HEPHAESTUS!!! okay, okay, the way he sang "Trust is not given not forged" was in the tune of Scylla and Mutiny ("I will not let you get into my way"), and it's UGGHH because that's the part where TRUST was tested. Oh my god JORGE!!!!

Aphrodite and Ares, my little sweethearts! Ngl, the animatic between Aphro and Athena was... Ughhhh!! I love Ares, I'VE ALWAYS LOVED ARES! Their voices fit them so well!! Athena fighting back to Ares for badmouthing Telemachus??? Holy shit.

Hera is so groovy!!!! So so groovy!!! I can imagine her throne room as a little dance floor!! And Zeus!!! Oh my god, Luke Holt!!! LUKE HOLT!!! PLEASE!!! STOP I'M OBSESSED!!!!

And Athena, oh my god. I wanna hug her. Her voice when she sang "let him go, please." Oh God, it's hurting me so bad. The animatic really didn't help because I was bawling!!!!

In conclusion, Jorge you smart and amazing person! You are creating a masterpiece!!!! This will be so big on stage, I can't wait till that happens!!!!

[keefessketchbook]

WISDOM SAGA THOUGHTS 🎉🎉🎉🎉

Guys, this saga had me in shambles. I had to wait til the morning of the 30th to listen so listening to it before breakfast WRECKED me.

Legendary 🐕

The instrumentals go so hard like it's so chill

In the first verse, Telemachus reminds me so much of Polites. like bring the world so light? open arms who?

the pre chorus has some of my favorite lyrics jay has ever written. like 'Cause I'm stuck with your stories/But no clue who you are/And no idea if you're dead or just too far/Somebody tell me, come and give me a sign/If I fight those monsters, is it you I'll find?

ALSO THIS SONG HAVING THE MELODY FROM FULL SPEED AHEAD THE "polites gear up, you and i'll go ahead" PART

the chorus i love because it references all the monsters Ody has had to fight

The second verse is so like real. like Telemachus is just singing his heart out about his problems

The suitors sound so much like the sailors, which hurts my heart. like these are the voices of the men that were friends with ody. now they are tryin to get his wife

Telemachus' last line is sending me like "If I fight this monster/Is it you I'll find?" like bro you find his old bestie, badass senorita

Little wolf 🐺

So this song sounds really good musically. I can see the evil sutiors from the "dark" and "evil" sounds jay uses

The chorus/ what the suitors are chanting is really cool

Athena coming to his rescue has my whole heart like its so cute

Telemachus is just a little baby like he's my little boy

love Love LOVE how athena turned the suitors chant into her own like she's in his corner rooting for him

Also Teagan's riff is so prettyyyyy

We'll be fine 👍

This is my favorite song in this saga. I just wish it was longerrr

Like Athena literally describing Ody and comparing him to Telemachus is just so sweet

Also the lyrics call back to my goodbye because ody said "What's a title that a goddess could lend/ If I'll never sleep at night?" and in this song Athena says "Maybe, if I helped you reach your goal/Life could be that bright/I could sleep at night"

Telemachus is just so gentle with Athena, I think that is what she needs because i guess she thought Telemachus would hate her because of what she did to his dad but Telemachus just has so much Polites energy like bro is precious

THIS LINE SPECIFICALLY "I don't think he'll mind/If not his friend, then mine" 😭😭😭😭😭

Both of their voices blend so well together like its so cute

"You're a good kid" AHHHHHHHHHH

Love in Paradise 🏝

Athena calling him old friend has my heart

The callbacks to the other songs is just amazing. they blend so well together, i kinda want to make it my ringtone

Calypso's beat is so good like its so beachy and calm

the "did you know you talk in your sleep?" line reminds me of the scene from PJO from the 4th book when Percy wakes up on Calypso's island

the silence after "she's my wife" is soooo funny to me

Calypso's verse is so good like the notes and beat are so pretty

the goddess can't die line beat is soo good like her laugh is so pretty

THE TIME JUMP !!!!!!

Ody calling back to the underworld lyrics is amazing to me

THE STAY IN MY OPEN ARMS LINE HAS ME DEAD LIKE DON'T DISRESPECT MY POLITES POOKIE

I literally was thinking last night, 'if i hear polites in the wisdom saga, i will be losing my shit' can confirm, have lost my shit

Polites, Eury, and Ody's mom's voices all blend together so well like OMG it hurts

and Ody calling out for Athena is so cute like for once he's admitting he needs help

So, this saga is officially my favorite. I'll post god games soon. That one has a lot more to unpack. I love this community sm. Kinda sad that we didn't get to hear any Penelope tho.

Stay weird, guys

[skylarkva]

Day After Thoughts on the Vengeance Saga

I was super hyped for the Vengeance Saga, as I am with every saga release, but after sitting with it and digesting a bit, I think Epic act 2 overall is having a pacing issue. (This is going to be super long)

Like here's the thing: the Thunder Saga? Perfection, absolutely nailed it. And then we get into the wisdom Saga, which — although I thoroughly enjoyed it— had something about it that felt off. Now with the vengeance saga I'm realizing that act 2 just doesn't feel long enough.

I loved God Games, but it felt like Athena won the gods over too easily. Hearing the snippets got me hyped, and then in context of the song, I realized those snippets being the whole verse for each god felt too quick. Most of the wisdom saga is paced alright, at least for me, but that last song has been hyped up since the planning stages, and it's a really important moment! A little more back and forth with the gods would have shown just how much getting Ody free meant to Athena.

Now I'm not just saying this because Wangui's vocals are heavenly— we desperately needed more Calypso. It makes me sad because I know Jorge had another song with Odysseus and Calypso that he cut, and I think it would have added so much had it stayed in to the final album. Ody has been trapped with her for seven years, and we see him hit his limit in Love in Paradise, but for the audience that limit is hit immediately. We aren't given enough time to really see Odysseus get desperate, Calypso not understand his needs and wants, and her trying and failing to win over a faithful married man. Because the thing is, now we get to Not Sorry for Loving You, and Calypso is absolutely broken over losing Odysseus. Why? Did she fall in love with him at first sight, or did they talk and she fell deeper in love with him the longer he was there, all while he tried to push her away? That "let me speak" moment stands out to me because of this too. Without the context of seeing those seven years, I'd assumed all Odysseus did was let Calypso speak, because what else can he do with a goddess? So is that the case and she's just being controlling here, or did she truly feel like Odysseus hadn't listened to her during their time together. Idk. It doesn't feel earned and it does a disservice to her character. Plus more Wangui wouldn't hurt. Oh the Calypso saga we could've had...

Then we get Dangerous which, I don't have many notes that song hurt me and then was funky. I love Hermes, moving on.

Charybdis felt underwhelming to me, I feel like it ended too soon. Which could very well be the point, I had just gotten hyped off of the snippets and felt the final battle wasn't as impactful as I'd been expecting it to be. The ending destroyed me though, Jorge did an amazing job there, knew exactly how to stomp on my heart.

Get in the Water was the other song besides Scylla that I had been waiting the entire musical to get to, and I think it was executed almost perfectly, I really have no notes there either.

Six Hundred Strike....oh Six Hundred Strike. It was epic, it was chilling....but the first half just does not fit into the rest of the show musically. I'm mostly talking about once the six hundred men chant starts up. I love Aeolus' theme being used as an instrument, like I actually adore it so much, but those dang drums... For me it shoots straight past "this is a boss fight so this is a video game reference" into "this is Poseidon's boss theme for the Epic fighting game". That part of the song is the first time I've really said to myself "I can't see this on stage". Especially considering where Get in the Water ends musically, this just feels really jarring to me. I actually don't have any problem with Odysseus stabbing Poseidon. This isn't a mortal vs a god anymore, this is a monster vs a god, and a monster that god created at that. I think to make it feel less overpowered though, it could've been fixed with Poseidon saying "alright, fine" instead of "alright, please" to get Ody to stop. Then it would've been less that he was begging and more that he was annoyed and just wanted to be rid of him and never deal with him again. Same with his line delivery of "after everything you've done, how will you sleep at night?". I almost would've liked to hear him laughing there, like in disbelief, or in a mocking tone, only for Odysseus to shut him up with "next to my wife". The wing bag jetpack is also too funny for me to take seriously so I'm gonna ignore that for my own personal head canon.

I love epic and I hope the Ithaca Saga sticks the landing. I'm just dumping my thoughts after last night lmao

[theexhaustedqueer]

My Very Coherent Thoughts About The Remastered Troy and Cyclops Sagas

(this is a long one)

Firstly, I’d like to say that no matter what these are the versions I’m going to be listening to now, period. Jay and the crew deserve to reap the rewards of their hard work, no question about it. But I do have a LOT of thoughts, some of them might even makes sense. So here they are.

Horse and The Infant feels the most changed to me. Some of it I like, some of it feels weird. It’s definitely going to be an adjustment listening to this version. But just because something is different doesn’t mean it’s bad

Jorge’s vocal performance is a lot gruffer, his voice is lower. It’s interesting, I think it definitely conveys more of that ‘soldier whose been at war for a decade’ energy but it also doesn’t sound as pretty.

The soldiers sound crisper and louder than they did before, which is great, but at least to me it kind of also makes it sound like there are less of them?

I liked the rap in the original better. Idk why, if it’s the vocal delivery, the instrumentation, or what. But this is the one part of the remaster that I can categorically say I like less now. To be clear, it’s still very good. This is just my opinion.

there’s something almost synthetic about the backing vocals in Horse and The Infant. I don’t know enough about audio mixing or music to know what to call it, but both the soldiers and Zeus’s backing vocals sound synthetic. It’s less weird with the gods at least, but my brain cannot stop telling me that human soldiers should not sound like that

LOVE Jorge’s new “Augh!” It sounds so real, especially paired with sword slicing sound effect

Luke Holt sounds SO good, as always. Love how crisp and clean his voice sounds in this version

The “I don’t think you’re ready” gets cut off early and it feels really weird to me

I LOVE the new overlapping singing between Zeus and Odysseus. The change is so subtle but so effective, love how much clearer it is what Zeus is saying

“This is the will of the Gods!” has the intensity behind it that I feel it always should have had. Same goes for “All you can choose is whose.”

I have less thoughts on Just a Man

the vocal performance is just as gorgeous as it was the first time, same goes for the instrumentation. It’s basically no different and that’s how it should be

I will say, when Odysseus starts singing the whole “when does a comet become a meteor,” etc, the instrumentation no longer includes a choir/vocal element. This makes sense given the lore of EPIC, ie, only Gods can summon their own backing vocals, but it takes a little bit away from the intensity of the moment (only at first though)

In a similar vein, it is now obvious that the backing vocals are the soldiers singing and really does a lot to clarify that moment to us as the audience. Unlike in Horse and the Infant as well, the soldiers’ vocals sound fantastic to me here

Time for Full Speed Ahead

the synthetic sound of the soldiers’ vocals is back in the lines “make it back alive to our homeland” and “it’s what lies in between”. Again, it sounds weird to me. Humans don’t sound like that when they sing together

LOVE Armando’s new vocals in this. So crisp. So clean. So clear.

Open Arms

Love that the Winions are easier to understand now.

yeah that basically it, Open Arms is just as fantastic this time around, no notes

Warrior of the Mind time!

Again, it’s almost completely unchanged, so I have very little to say

Jorge’s “hahahaha” is so cute, and I really do like it better than the first one

The emphasis on ‘Enlighten me’ is so funny knowing that it’s apparently something a lot of people misheard

The backing vocals when Ody is hyping up Athena are louder and more obvious this time which is also very funny (selfish and prideful and vain)

Cyclops Saga!!!

Listen, I thought the soundscaping of this saga was unreal the first time around. And this blew that out of the water a thousand times over

the sheep sounds, the arrow flying and hitting it’s target

The crackling of the torches!!!

when the Cyclops appears you can hear it’s heavy breathing, and you can hear it get heavier as he notices his dead friend!!!!! Incredible

On the topic of the Cyclops, the new vocals?!?! Hello?!?! Somehow just as distorted and terrifying while now being clearer and easier to understand?! AH! So impressive

The sound of the entire cavern shaking when Polyphemus stands up! You can hear the rocks crumbling and the dust!!! It’s so good!

the revamped Cyclops roars are SO good

Polites’ body hitting the ground sounds TOO real

I really REALLY like the new ‘Captain’ as Polites dies.

The club smashing the men sounds just as wet and bone crunchy as it did before, which is exactly what I wanted

Polyphemus falling to the ground has so much more weight behind it now. You really feel it just from the sound it makes.

Eurylochus’ voice fading in sounds so good

I love how the combination of the change of instrumentation and sudden lack of sound effects except for the clock ticking and distortion when Athena pulls Ody into quick thought really makes it feel like a different dimension

Ody’s “No.” is SO GOOD

Athena sounds PANICKED when she says “DON’T” in this version. I like this direction of her character being more concerned for Odysseus and not just angry, I feel like it gives her more depth and lends credence to her actions later in the story

Jorge’s shout of “Odysseus!” sounds so angry and almost deranged

Athena’s little growl on ‘waste’ is so good I love it

Athena sounds like the she’s genuinely hurt after Ody tells her she’s alone. It actually really hits

the “Just a Man” in My Goodbye is so punchy and that’s all. Overall I really love most of the changes and everything else is just something that’ll take some adjusting to. I’m so glad Jorge and every talented individual who worked on these gets to finally reap the rewards of their master pieces.

[vivaballerina]

I’M SUMMARIZING EPIC TO CONVINCE MY FRIEND TO JOIN THE FANDOM:

Pt 1. The Troy Saga

1. The Horse and the Infant- Ok so this is the opening song. It's basically the last battle of the Trojan War- after the Greeks snuck into Troy with the big ahh wooden horse. The instrumental of this song is the first time we hear the Danger motif- basically a 13 or 8 note (I think) bit that plays whenever Odysseus is facing danger. It's put in A LOT of places really sneakily- in vocals and instruments. The second part of the song is the first time we see a god- Zeus. He comes down and tells Odysseus that he needs to kill the infant son of Prince Hector, Astyanax. (The name isn't actually mentioned in the musical.) Zeus basically tells Ody that if he doesn't kill the baby now- he'll grow up to kill Ody no matter what he tries to do. This part is sung with a melody that's also heard quite a bit throughout the show.

2. Just a Man-

Ody crisis #1. He's left alone with Astyanax- and has to decide what to do. (Also I forgot to mention-it's immediately made clear that what he cares about most are his son and wife- Telemachus and Penelope.) So his monologue is literally debating what makes a man a monster.

"When does a man become a monster?"

At the end of the song he makes his decision on his need to get back to Penelope- asks for forgiveness- and yeets the baby off the tower. This song is VERY reoccurring throughout the show.

3. Full Speed Ahead-

Alr so now we're back on track, it's a lot more lighthearted, and Ody and his men are starting their journey back to Ithaca. This song's lyrics are also VERY REOCCURRING- and it feels like each time it's a little bit darker. This is where we're introduced to the:

"600 MEN" 🗣️🔥

And ofc

"Full speed ahead!"

We're also introduced to the two main crew members- Polites and Eurylochus. Polites is our sunshine character, and Odysseus's bestieeee. Eurylochus is the serious one- who usually speaks for the crew. (Also it isn't mentioned but Eury is Ody's brother-in-law.)

In this song there's some back and forth between characters- then Eurylochus brings up that uh-

"Hey! We don't have food, but we do have 600 starving soldiers." And they're lead to the Lotus Eaters' island by Polites in search of snacks.

4. Open Arms- You're gonna wanna remember this one. Appears every saga for ✨reasons✨.

Ody and Polites go off alone into the lotus eaters's island, (they don't know it's the lotus easters's island- it's just the first island they found.) Ody is paranoid af- and as I mentioned before- Polites is a sunshine character. (Gee, | hope nothing bad happens to him. Subtle foreshadowing.) So Polites launches into this whole thing, trying to get Odysseus to relax.

"This life is amazing, when you greet it with open arms!"

Then- they meet the lotus eaters. (In the musical they are also Winions which I'll get back to later.) The lotus eaters are more than happy to give Ody and Polites some food- butttt Odysseus and his braincell realized that "Oh wait- this fruit makes you delulu." And Polites is like-

"I gotchu bro. Hey lotus eaters- where can I tind other food?" And the lotus eaters are like,

"There's a big scary cave over there that you can try." And Polites and Ody are like-

"Ok- greet it with open arms I guess."

5. Warrior of the Mind-

(Fun fact: the danger motif can be heard in the intro to this song- cuz Ody thinks “His divine sugar momma is gonna throttle him.”)

SO. Here is the first time we see Athena ✨ and it's established that she's Odysseus's mentor/patron god. And the goddess of wisdom and war isn't too happy about Ody's new open arms. So she takes him into "Quick-Thought" which needs a bit of lore explanation.

In the actual Odyssey- Athena and Odysseus are described as to be able to have mental conversations in the span of a second. So- in Epic- Athena has the same power. You can tell when she's using it by a ticking sound that happens in the music, like a metronome.

(There's a lot more to it but imma keep it shorter.)

So Athena takes Ody into quick thought, and gives him a flashback to how they met, and how she became his mentor. (You probably know this part.)

"Show yourself- I know you're watching me- show yourself. I can see you...

"How can you see through my spell?"

"I was lying- and you fell for my bluff! Hahæhæ"

So they have that whole thing-then he's taken back to the present where Athena reminds him that he's a Warrior of the Mind- and tells him not to disappoint her.

And that’s the end of the first saga ✨

There’s so much I want to add to all these but I have to quit yapping… I really want to give all the Easter eggs, parallels, and headcannons that make Epic so 🤌🏼- but we need to focus on the main points ig. Then we can get to the good parts.

[tsams-au-confessions]

Y’all can think light Yagami and the death note musical for this one (specifically the second song and act one, “where is the justice?”)

Tsams - the musical

I only just came up with this now, so there are so many things that I don’t know much for, but I have some motifs for some of the characters

Just a quick clarification for sound design, taking a bit of inspiration from epic the musical for all the Astrals having synth, but a little original thing here is that the animatronics get the techno sounding music

Specific instrument time:

The zodiacs have instruments that correlate to their signs (air signs get the woodwinds, earth, signs, get percussions, water, signs, get string, fire signs get brass)

All Astrals are also accompanied by the glockenspiel 

Earth: wind chimes

Lunar: Vibraphone

Motifs:

Ruin: in his first act, his riffs will be somewhat discord, though in a pleasant way, during his second act (pretending to be cured) it’ll be more sweet and melodic, almost friendly sounding, during his third act, monotone, no note changes like the other two unless he’s trying to emphasize something

Bloodmoon (OG): they never have a solo. Almost all the time it’s duets, taking over other songs, joining them midway through, or just screwing with them during the song. (this last one is directed at eclipse.)

Bloodmoon (copy): this one is actually the only one that doesn’t sing. At all.

Small plot points that would be in this musical

Ruin does reveal shortly after being in prison that blood moon two is not a revival of blood moon, but simply a flawed copy

Multiple people having to come to terms with the fact of many people have died.

General plot beats of the main show, spread down to multiple sagas (which would be spread across a few musicals)

Bloodcopy eventually learning, they are not the original, nor can they ever be free, and having to come to terms with it.

A slow realization from Sun about what might be happening to nexus during that whole situation (Solar assisting in the investigation once he comes back)

Copy clipse taking the copy twins & traveling dimensions, trying to see if there’s one they would fit in (as well as a short manhunt for them because this was not discussed with anyone.)

I want just purpose that this entire thing was just come up with on the fly a few minutes ago, had a good amount of these things. I just came up with on the fly here.

-🌙☀️

I have no idea what that is, but it sounds super cool!

[marantis]

Bit late, but I think I've finally gathered my thoughts on the Vengeance Saga, so I'm putting them out here.

Not Sorry for Loving You: My least favourite of the Saga, it's a perfectly well written Song and honestly the lyrics are great, really get Calypso across to me (they are also creating all the brain worms for Qijiu. What you thought I could go talk about epic without mentioning Scum Villain? I don't think my brain is wired to do that at this point) Musically though, it's not my jam, not a fan of like this slow gentle power ballady love song type.

Dangerous: Favourite. I- the synth just really does it for me, somehow. The quiet at the start after 'Cause I only had one goal in mind' where the crew would go, is very good in a painful way. Then the middle part is just an aboslute bop, like I can't hold still while it's playing. Favourite is probably the 'when stranger's lurk around the isle(s?), when danger greets you with a smile' that double rhyme is so just so good. And my two cents on the, 'we went through so much to get this' I think Hermes isn't neccessarily directly referring to how difficult it was to catch the storm or get the wind bag. I think what he's reffering to is God Games, and how much effort, and pain it was for Athena to convince Zeus to even allow it

Charybdis: Is the song that I like more and more, the more I listen to it. The start really is just such a wonderful spin on typical Boss Music, I love how the notes stay the same throughout the whole song, but the instrumentation and the way they're sung changes giving the end such a warm, hopeful, wistful sound, like another emotional gut punch here.

Get in the Water: The one I've been most excited for and it is damn good, I love the piano at the start, oof it's just so dramatic. Now here, I have an opinion. At this point, I'm kinda getting the vibes that the fandom is thinking Ody is like full on monster, but honestly I don't think he's completely abandoned the open arms part that Polites tought him. Ody stil tries to convince Poseidon in Get in the Water to let it go, to go home. He still tries reasoning first, before escalating later on. Also am I the only one who thinks Poseidon sounds almost regretful when he says 'I can't' when Ody asks if they can't just go home? Like it makes my brain go absolutely bonkers, cause it implies he wants to but literally can't? Why? with how he sounds it can't just be because of his reputation, me thinks. But that's all conjecture.

Six Hundred Strike: I love the flute/Aelous/Windbag motive in this, and the chanting is so good. After the silence in Dangerous it's good to have them back. Also the scream sining all those raw emotion from both of them is soo good. Also the delivery on 'Exactly' shivers down my spine, it almost doesn't sound like Jay. Also I do think there's something going on after Ody (almost? I don't think it was almost honestly) dies, like the red eyes? Glowing eyes is a god thing, I'm suspicious lads, something is going on here, I just don't know what Also the title and line confused me so much on like the first few listen, cause gramatically it's weird right? it should be strikes, no? But I think I've got it at this point? What's missing isn't an s but a , (I think, that's at least how I'm making sense of it) cause it's a command, six hundred referring of course to the dead crew.

So that's all for now. The Saga is so good, y'all

[whencartoonsruletheworld]

The Thrilling Saga of Connie paying real life money for the Worst Sonic TV Show

Let’s begin with the simple fact that me and my sister, @birdsareblooming​ “Cori”, have both been hyperfixating on Sonic the Hedgehog since last March. During this hyperfixation, I was on Sonic Wiki to copy-paste song lyrics onto my stolen mp3s, and I called my sister in and pointed at the template at the bottom. 

“What is this Sonic Underground thing?” I asked. “It has one shit billion songs.” 

So we clicked on the page to read about it, and each sentence we read was a punch in the gut and this quickly became the funniest thing we’d ever read. Highlights include:

It looks like this:

“Sonic[...] is known to be a prince” 

Sonic has two siblings who actually have good characterization but their names are literally just Sonia and Manic. Like. Sonic split into two names. jesus christ 

Also Sonic and his siblings all share a voice actor. honestly Jaleel White does his best with it but 

“The three siblings possess enchanted medallions that transform not only into musical instruments, but also into weapons.”

“Some fans consider Sonia to be a clone of Amy Rose, minus the attraction Amy feels for Sonic.” YEAH I SURE HOPE IT DOES

“Manic is the most often captured of the siblings” himbo king 

Knuckles shows up, and for the first, like, two sentences his description is very similar to the game, and then you get immediately pulverized by “He has a pet Dinosaur called Chomps.”

Literally so many sentences on Sonic Wiki are lowkey salty about this show. The page features lines such as “Sonic Underground bears little relation to the often complex Sonic universe (including previous animated series, as well as Sonic comics and games), and shares only three established characters” and “many of the characters in the Freedom Fighter group that were in Sonic the Hedgehog are completely left out (including Tails).”

“The show met with mostly negative reviews.”

*checks air dates* It only lasted two goddamn months

So after seeing this we thought it was the funniest thing and we showed our older sister, @patema-introverted​ “North.” To our surprise, our at the time “knew nothing about this sonic bullshit” sister recognized the show. Turns out she’d seen trailers for it as a child and that was her sole exposure to Sonic canon. 

We were in quarantine at the time, so we ended up finding it on YouTube and binge-watching it all together as a sibling bonding activity. It was just as hilarious as we thought it would be- some stuff was legitimately good, like the sibling dialogue for instance, but good lord were the character designs ugly, the plot all over the place, and pretty much every song, um, not great. Also there was one episode that we skipped because it got, um, I think “stereotypical” is the nicest word I can use here. 

But the point is, we had a jolly good time watching it, and afterwards we binged all the other Sonic shows and bonded as a family. 

After quarantine, North and I go back to college. My roommate gets groceries at Walmart, while I get them elsewhere, so while she and North collect food I wander the DVD aisle to look at the cool movies and also dumpster-dive in the bargain bin for Cats (2019). I am also short as fuck, so the top shelf of movies I cannot see, I can only read the labels. 

So one day I was browsing the DVDs, and glancing over at the labels for the top shelf. I read over the final one before the shelves end. 

And then I stop, do a double take, and have a heart attack, because there is a label that reads “SONIC UNDERGROUND $3.74″

I immediately climb the shelf but there aren’t any DVDs atop the shelf. However, the label is still there. I excitedly tell my sister and roommates, freak out with them a bit, and then give myself a mission statement:

I will buy the $4 Sonic Underground DVD from Walmart

I did not want it as a gift, I did not want to find it online. I wanted to walk into a store, pick up the Worst Sonic Show on DVD, walk it straight to the checkout, and in front of the cashier and God, pay for it with my own money. I did not care if it was the whole series or two episodes; I needed to do this for my own serotonin.

We would go to Walmart about once a week. Every time, I would go to the DVD aisle, and go right to the end of the shelves. I would stare at the label SONIC UNDERGROUND $3.74 and empty space above it and wonder who the fuck was buying this other than me. I would occasionally ask employees if they had any copies in storage. I would build a shrine to Manic in my room. Okay, no I didn’t, but only because my RA would have murdered me. 

Christmas break comes, and we have to go home. We have a nice Christmas, and Cori and I infodump at each other about how we would make Sonic Underground a good show (note: we’re both galaxy braining) and also play Bendy and the Ink Machine. Fun times. 

When we finally get back to College, it’s late January- long story short we have a very long winter break. My roommate who gets food at Walmart got food without us the first week cause she showed up first, so we take her out to Walmart the first time in the year of our lord 2021 on January 29. 

I wander the Valentine’s aisle, immediately grabbing a sequin puppy. I go to the DVDs and see Animaniacs Season One, also grab that. 

And then.

There it is.

The Holy Grail. 

Above the label SONIC UNDERGROUND $3.74, is one DVD left. 

Already I am losing my mind. It’s roughly seven hours of episodes- I couldn’t find an episode list, but I think that’s half the show, for $4! And the cover is amazing. 

That’s a png of Sonic from Adventures of Sonic the Hedgehog (1993) with a medallion badly photoshopped over it. The medallion is too small. 

Manic is shoved into the corner. He doesn’t have his medallion at all. 

Sonia isn’t even pictured on the front cover, probably because they realized she was the worst designed of the bunch. I’m not ragging on her though, because she’s still one of the better designed characters of the show. Those background characters make me cry 

So you bet your ass I finally paid my hard-earned $4 for this shit. Upon getting home, I discovered that there was even wilder shit with this DVD than I thought. 

For starters: the bonus features listed are as follows:

Original Concept Art - did not expect that these character designs were the final draft

Storyboard-to-screen - did not expect they bothered to storyboard this 

Music Video Jukebox - that’s cute, they thought we liked the music 

Interviews with original screenwriter & executive producer - I fully expect the only questions to be “why.” 

On the left of this list are screenshots from the show, where people can finally see Sonia, who we Know™ is a girl because she is pink and has hair and also an actual body shape instead of just circles like her brothers. 

But wait... what’s that in the lefthand corner? 

That looks like some kind of robot. But it’s not a robot from Sonic Underground! That didn’t appear once. Why is it here? 

The mystery continues upon opening the DVD case: inside are advertisements for other collections, including other Sonic DVDs: two volumes of Adventures of Sonic the Hedgehog (1993) and the final episodes of Sonic the Hedgehog “SatAM” (1993)

First of all, the first volume of AOSTH has the exact same PNG of Sonic as the Underground Volume 1. Not even trying to hide it. But second... the second volume of AOSTH also has this robot on its cover. 

And THIS ROBOT IS ALSO DECORATING THE THIRD DISC IN THE SET?

So you may be asking, who is this robot? Is it from AOSTH or Underground?

IT’S FROM FUCKING SATAM. The one show that doesn’t have it decorating the DVD covers.

Also, not only is it from SatAM, it only appears in one fucking episode. Not a major character! AND IT HAS A DIFFERENT DESIGN ON THE PROMO ART, WITH HAIR AND FANGS.

Why is it showing up everywhere? What is going on? 

I have not yet had the opportunity to watch this glorious piece of animation, but I am so glad at the confusion I have felt upon receiving it. 

But before I go, I must share with you the best part of this DVD purchase. And it was flipping to the back, scanning the details, and discovering the exact runtime of the episode collection. 

Guys, gals, and enby pals, friends and enemies, Nintendo and Sega, the first Volume of Sonic Underground has a runtime of...

420 MINUTES.

Maybe I’m wrong and this IS the best Sonic show. 

[arlakos]

Miraculous Rant

Actually, you know what, while im still mad from the previous post I made, lets go off on a rant. No punches pulled. Lets do this.

The lovesquare is the most terrible ship in this fandom. One girl is a hyper obsessed stalker who tracks her crush with her planner for 3 whole seasons, while the boy couldn’t learn to take a hint and stop flirting for 3 whole seasons until he decided to move on with another girl. Ironically that makes them perfect for eachother, but its in a creepy kind of way, not a loving kind of way.

Adrigami and Lukanette in the S3 Finale were wasted events and never should have occured because they were immediately axed in the first few episodes of the next season. I feel sorry for those that were hoping their ships could be real for at least a short actual while, and it makes me want to curse the writers for their story-boner for the status quo of teases

Despite what I said earlier, none of the girls are good for Adrien. Marinette’s stalkery and a borderline yandere, Kagami’s somewhat controlling and too similar to Adrien help him grow as a person, Chloe is a queen bee beyotch and honestly too much like a sibling to Adrien, and Lila is garbage. Fuck it, have Luka date Adrien and they can play some sweet music together (not like that you pervs, I meant they both play instruments).

Nino needs more love. Not only that, but there needs to be more Adrien/Nino bro moments. If Marinette and Alya can have moments together, why not the bros?

Chloe’s character is a mess, and is neither redeemable, nor notably evil. Her role as a villain in season 1 is very hamfisted, such as in the episodes Mr Pigeon and Kung Food. Not only that, Chloe also lacks any of the qualities that makes a good “bully villain” or rival to Marinette, and her sympathetic moments (which are Written by Sebastien) are mostly overshadowed by the fact that Astruc wants her to be a bully, so it just makes her bipolar and confusing when her character is tugged between two writers.

Chloe should not have joined Hawkmoth in Miracle Queen, see my other post as to why I think so. TLDR, its kinda ooc  for her to go full on 2d villain like Hawkmoth especially after Miraculer, plus Lila was being build up to be the main antagonist of S3

Chloe got kicked from the Team in Miraculer because people know her identity? Fine. Kagami gets to be Ryuko again despite being known to Hawkmoth in Ikari Gozen? Not cool. Ladybug shouldn’t be a hypocrite and be willing to break her own rules just because “Kagami is my friend and Chloe’s not”. Same goes for her breaking the rule with secrect identities with Alya, only for her to go on and on about the rules to Chat when he pries.

Zoe is a bland character who’s only notable trait that she likes Marinette, which automatically makes her worthy of a miraculous after two episodes and no actual development.

Astruc is a petty frick who makes episodes that give the finger to fans of the show that have a different opinion than him. Queen Banana, Miracle Queen, and Reverser are good examples of this (Reverser did Nathaniel dirty).

Master Fu is a shit guardian. Read my post for more.

FRICK THE FEAST EPISODE. Not only did is ruin Fu as character, it ruined all the good theories as to why the order fell, and wasted the idea of a new villain being introduced or even taking over as the main antagonist! Speaking of Feast, despite the sentimonster destroying an order when he wasn’t even big, he still go beat by 2 kids even when he was supersized!

Marinette is not a good Guardian. Her ability to choose heroes does not make her capable, and just because “tradition is stupid” doesnt mean that Marinette shouldn’t be tested like others before her!

Despite the Kwami’s being ancient magical buildings, they seem to act like kids a lot, and that annoys me when in S1 they are supposed to apparently be mentors to their wielders, like how Tikki was before she was mentally de-aged.

Lila is trash and should be removed from the show. The only reasons her lies work is because the writers dumb down every other character in the show and ignore the fact the people have smartphones with google.

The “Miraculous” Ladybug spell should require both Ladybug and Chat Noir to cast, because not only does the power have nothing to do with creation, but it also “destroys” anything created by the akuma, which thematically makes no sense. Also it would place more emphasis on the two heroes being equals and “two halfs of the same coin”

On that note, Ladybug has too many powers. Not only is she the only one who can purify akumas, and can cast a spell that can fix Paris time and time again like its no one’s buisness, but she also now gets a new suit and the ability to nullify Hawkmoth’s akumas. Like COME ON! Give Chat some powers too.

Mayura’s feather’s shouldnt be able to be purified by Ladybug since they have no dark energy, and (thematically speaking) Chat should be given an ability that allows him to “vanquish” the energy in Mayura[’s feathers similar to how Ladybug can purify Hawkmoth’s akumas. At least it would develop a rivalry between Chat and Mayura, and would make Chat necassary against Shadowmoth rather than being replacable with any other hero.

The are too many temporary heroes. They should have just stuck with the 3 heroes from s2 and leave it at that. Sure, new heroes were cool, but the overuse has made the whole hero thing feel less special. It made sense for the first 3 to have them, but now it’s just like Oprah where everyone gets a miraculous. Except Gabe.

Chat Blanc was a stupid reason as to why secret identities cant be revealed, also Chat could have told LB who Hawkmoth once he returned back to normal was and the show would be over.

Hawkmoth should not be Gabriel. Frick the lore about Gabriel’s wife dying and him going evil to get her back, it makes the story feel too much like a star wars/Darth vader reference and leaves Gabriel acting bipolar, flipping from wanting to save his wife and doing this out of necessity to being a power hungry madman wanting to take over the world ( which is said in his canon music video). Having Hawkmoth be his own character means he can be an actual maniac who wants world domination and not just have villanous plot that rely on obtaining magical jewellery (perhaps doing other evil things/taking a more active role), while Gabriel being his own character means he can be a father that has become estranged from his son due to the lose of his S,O, and thus can have a plot about him reuniting with his son (I liked the end seen in Simon says, ok?)

On that same note, I think Mayura shouldn’t have been Nathalie. Considering Hawkmoth’s plans were repetitive as heck for most of the show, when I heard about the Mayura leaks back in Season 2 (when she was called “le Paon”) I was theorising that Mayura would actually being Hawkmoth’s boss, the villain the was responsible for giving him his Miraculous and the one who destroyed the Order of the Miraculous, and would take over as the main villain in season 3 due to Hawkmoth’s failures. However, that turned out not to be the case.

Not only that, but Mayuras power is a copy paste power with some modifications to make it complement Hawkmoth’s power, by basically giving his akuma’s magic pokemon.

Speaking of Hawkmoth’s power, for a miraculous that is supposed to be used for good, how can his power mind control people and make them become evil? More importantly, for a miraculous that is supposedly weaker than the main heroes of the show, having it be able to multiply and posses people to create an army is kinda strong.

Fuck the Maribat ship that the salt fandom came up with. Its trash, it was made to bash most of the Miraculous cast sans Marinette, and anyone thinks it is good are either those same salters or are the same people who think that Rey-lo and the Twilight Saga are masterpieces of romance.

Whew! I needed that vent. Hope you enjoyed it as as much as I did, and Tune in next time on the next episode of:  Arlakos loses his Mind and Rants for 2 pages of writing!

[betty-bourgeoisie]

51 , 35 , and 28 for the ask meme please !!

28) What are their thoughts on pet names? Do they have any?

Lamo, I'm so aro it took me like a good five minutes to realize this question wasn't about actual names for actual pets but anyways -

I think Alfred uses a lot of pet names. His go-to pet names for Emil are "sugar" or "sugar cube" but he also uses "honey" and "baby" a lot. If they're in a historical setting I'm also a big fan of Alfred calling Emil "doll" or "dollface". Sometimes if he's joking around/ being sarcastic he'll use "dear" "darling" or "dearest".

Emil doesn't use as many and the ones he does use are almost always in Icelandic. I honestly really like the idea of Emil using "Dúlla min" for Alfred - which I know is usually an endearment used between women who are good friends, but I always view AmeIce as being a relationship that's kind of between romantic and platonic and I headcanon both of them as being pretty genderfuck so it works for me.

35) Who's more artistic?

They're both artistic in different ways!

I think Alfred is very musical - he's the kind of person who's constantly singing show tunes regardless of the setting, and he has a collection of obscure instruments, all of which he can at least kind of play. He probably doesn't do too much composing himself, but he can tell you a lot about music theory and how it applies to different songs.

Emil's art usually takes the form of poetry, creative writing, or oral storytelling. Historically this probably meant working on things like eddas and sagas, beating his siblings in flying matches and spending a lot of time around monks, but I think in the modern-day he probably just does a lot of slam poetry competitions and writes fanfic.

51) What’s a non-verbal way they say I love you?

Alfred is a big gift giver! This man is out here buying a new book that he thinks Emil would like every week and writing little love notes on the cover page. He's taking notes on his phone every time Emil even suggests he might like something. It's all about the quality of gifts with him - Alfred is the type of person who will spend hours in a store looking for exactly the right present for someone he loves.

Emil shows love through quality time and acts of service. This can sometimes come across to outsiders like he's not as invested in their relationship because it's not always as visible or obvious as Alfred's gifts, but if Al ever needs anything Emil is right there. Alfred is dreading a boring political function? He's blocking out his schedule so he can come along and keep him company. Alfred's not feeling well? He's taking the whole week off to go look after him. If Emil doesn't have time for his loved ones he will make time for them - it's very important to him that the people he cares about think of him as someone they can ask for help.

[storybook-lili]

I’ve been re-reading Gail Carson Levine’s book Fairest for an assignment, which is set in the fictional kingdom of Ayortha, where music and singing is an important and key part of the kingdom’s culture. As such, it’s inspired me to make a post about my OC’s skills and experiences with music and singing.

Note: To better express Tara’s bigender identity, I will now be switching Tara’s pronouns every so often between she/her and he/him. I may make a post later on how I’m going to do this, but this is for anyone who are confused as to why Tara is now suddenly being referred here with masculine pronouns.

Etain Amell: She can’t sing. At all. Don’t ask her to sing, we beg you. If you value your hearing, you would avoid listening to her sing at all costs. Why use magic to defeat the darkpawn, when she could just wipe them all out with her singing? We don’t need Solas to destroy Thedas, Etain could do that just by singing. Please don’t ask her sing. P l e a s e.

She has absolutely no talent or knowledge in music, but to be fair, why would she? She’s lived in a Circle her almost her whole life, her time dedicated to her magical studies. Who has time to study something so trivial like music? She also tends to hate being in or near noisy areas, so she’s not a big fan of loud music. She does like listening to Leliana playing the lute once in a while, of course.

Tara Hawke: Everyone is always surprised when they first hear Tara’s singing, which is a beautiful, smoky alto. He’s able to express the emotions of a song very well, especially when the song is bitter or melancholic.

Leandra gave him some training when she realized he had a gift for singing, but otherwise he’s never been professionally trained in music. He can kind of read music sheets, but mostly just sings based on memory. Aside from singing, he can’t play any other musical instruments.

Kallen Lavellan: While she doesn’t have a grand or illustrious voice, Kallen’s singing is no less pleasant or comforting to listen to. Her singing voice is soft and silvery, and she’s able to sing fairly high if she puts enough effort into it. She prefers to sing in a group over solo, since she finds singing much more fun when in good company.

Her close friend, Iyo, had a far better singing voice, as well write her own music. Because Kallen always forgot the lyrics of a song, Iyo developed a unique style of singing for Kallen where the singer only had to sing the vowels of a song. It works well for Kallen, since she preferred singing with long vowels over consonants.

She can also play the ocarina, having been given her late-grandmother’s old one when she was little. She’ll sometimes separate herself from her clan or party and just play by a river, pond, or the sea. She’s probably a better ocarina player than singer.

Alaia Shepard: Her singing is only slightly better than her dancing, but that’s not much of a compliment. It’s not terrible, but it’s not great either. She’s never expressed interest in singing or music, so she possesses no musical talents or knowledge whatsoever.

Chloe Ryder: She has a perfectly nice singing voice, having a typical indie-girl style of singing. Singers like Amanda Palmer and Alanis Morissette had a big influence in the kind of music Chloe likes to listen to and play.

She’s self-taught in the guitar, and brought her acoustic guitar with her to the Andromeda Galaxy. She’s by not means a perfect guitarist, but she still enjoys playing and prefers playing her guitar over singing.

Also, have this funny comic of Chloe performing for Vetra I did a few years ago, lol.

Saga Peg’asi: ‘Beautiful’ doesn’t even come close to describing Saga’s singing. She has an alluring, almost ethereal singing voice that captures anyone within earshot. At the palace, Nerissa would refer to her as the ‘sirena of the stars’, while the crew of the Andromeda Six sometimes refer to her as the ‘space siren’. She likes to sing sea shanties when it's her turn to clean the ship, although sometimes she has to be scolded by Calderon to get back on track.

Along with singing, Saga is trained to play other musical instruments, but her favourite instruments are the harp, lyre, and kutiyapi. She had an especially beautiful harp back the palace that she loved to play, which she misses dearly. While she can’t have a harp on the Andromeda Six, she was able to obtain a small lyre that she’ll play in her room.

While Saga disliked most of her tutoring, she always looked forward to her music lessons. At the palace, she spent more time in the music room than anywhere else and would either sing and play instruments there, or sing on the balcony of her bedroom to herself. Sadly, no one but Nerissa showed interest or pride over Saga’s musical talents, but Saga was content with just performing for Nerissa. Nerissa would often request Saga to sing her favourite, “The Cost of the Crown”.

Music not only brought her joy, but she could express her feelings more clearly in her singing than any other way. It’s tied so tightly to her identity, that she feels she wouldn’t be herself without it. When she lost her memory after being rescued by the A6 crew, her songs were the first memories to resurface, and she would sing them to herself while exploring the ship.

Dana De Sardet: Her singing is fine, but it’s not one of her finest traits. Her singing can be best described as “technically competent”, but lacks real emotion or style. She was taught some basic music lessons when she was a child, but she’s always been more interested in science and medicine than art and music.

While she has no real love for singing or playing music herself, she enjoys listening to Constantin play or sing. Whether he’s actually musically talented is a matter of opinion, but she likes how enthusiastic and immersed he gets when performing, and always stops what she’s doing when he does.

[voodoochili]

My 75 Favorite Albums of 2020

Every year produces excellent music and 2020 was no exception. The exceptional thing about this year, though, is the loss of livelihood so many musicians suffered as a result of the pandemic. To better celebrate all I’ve listened to and loved this year, I’ve expanded my albums list from 50 to 75 albums and included a highlight track from each in the Spotify playlist below. If you like what you hear, why not throw the artist a few dollars on Bandcamp?

Check the Spotify playlist HERE.

Without further ado, my favorite albums of 2020. Happy New Year, and happy listening!

10. Playboi Carti - Whole Lotta Red: Carti’s long-awaited opus has only been out for a week, which is probably not a long enough time to give an album as sprawling and surprising as this one a full critical evaluation. But I do know when I’m hearing something that’s unlike anything I’ve ever heard: this album rearranges hip-hop at the molecular level. 

Whole Lotta Red is overstuffed with invention, the glitchy, expansive production giving Carti ample opportunity to glom onto the contours of the beat and experiment with his voice. That voice is the album’s main attraction: it squeaks, it squeals, it roars, it spits, it shudders, and organizes itself into irresistibly ignorant mantras (my current favorite is “Lamborghini parked outside, it’s purple like lean”). 

Across its 24 tracks (which feels like too many, sure, but only the 5-minute long Kid Cudi-infected droner “Metamorphosis” overstays its welcome), Carti plays with listener expectations, annihilating rap songwriting conventions (why do you need verse-chorus structure if every line is a hook) as he defiantly proclaims his desire to be unlike anybody else. Though it bears some resemblance in sound and subject matter to Future’s Monster (and much of the production owes a debt to the work of Lil Uzi Vert’s favored Working Of Dying collective), Whole Lotta Red firmly establishes Carti as a totemic figure connecting mainstream and underground sounds.

9. BbyMutha - Muthaland: BbyMutha is a natural born spitter, armed with a drawly stutter-stepping flow that routinely annihilates unconventional instrumentals. She glows with supreme confidence and comfort in her own skin, especially when she’s dripping with disdain with those who’d dare refuse her the respect she deserves. A 25-track opus that earns every minute of its runtime, Muthaland is an engrossing immersion into Mutha’s world, balancing a fascination with the occult (“Sorry I don’t fuck with n****s who don’t fuck with Satan”) with grounding interjections from close friends and her four children. Boasting rockstar fantasies like “Heavy Metal,” bad girl anthems like “Nice Guy,” and dancefloor-ready jams like “Cocaine Catwalk,” Muthaland is a tour-de-force by one of rap’s singular voices, and if she’s really finished with music as she’s claimed (rappers never really retire, but Mutha has indicated she wants to focus full time on her Apothecary), the game will greatly miss her incisive punchlines and crudely empowering perspective.

8. Westerman - Your Hero Is Not Dead: In 2020, Mid-’80s sophistipop grew into one of my favorite comfort foods. Westerman’s Your Hero Is Not Dead struck me directly in the sophistipop sweet spot, evoking the attention-to-detail and synth-heavy craftsmanship of that era and pairing it with harmonic complexity and a piercing emotionalism that recalls his idol Neil Young. On songs like “Blue Comanche” and “The Line,” Westerman constructs tales as twisty as his melodies, economically exploring how people relate to each other at the beginning and end of romantic relationships. Westerman complements his tasteful palette of synth sounds with intricate and lyrical guitar playing, most notably on the sighing, gorgeous instrumental “Float Over,” which softly segues into the title track to end the album on a gently-rising high note.

7. WizKid - Made In Lagos: The focal point of the sub-Saharan Afrobeats renaissance, Lagos is having one of the most exciting musical moments of any city since Kingston in the early ‘70s. WizKid is one of the scene’s biggest stars, with an ability to combine the sonic tapestry of his hometown with Caribbean-influenced beats and vocal styles. Made In Lagos is a masterwork of sound design, bringing creamy bass, chicken-scratch speckles of guitar, tasteful interjections of saxophone and brass, and an intoxicating mix of acoustic and electronic percussion, all offered in service to an immaculate vibe that matches the album cover’s shiny, monochromatic color scheme. Made with lockdown in mind, the album eschews uptempo dancefloor workouts in favor of stress-relief and romance. WizKid plays the perfect host, tamping down his melodic flights of fancy and embracing a song-serving smoothness. He’s a warm and inviting presence throughout, laying out the red carpet for a cross-continental cast of collaborators like H.E.R., Skepta, Burna Boy, and Damian Marley. The result is a truly global pop masterpiece, capable of brightening even the dourest day of a miserable year.

6. Ka - Descendants of Cain: Firefighter by day and rapper/producer by night, Ka is a master of allusion. He organizes his thoughts into themed collections of metaphor, illustrating the bleak realities of street life with gnomic symbolism. On Descendants Of Cain, Ka’s strongest work to date, the enigmatic rapper expresses himself through a litany of biblical references, drawing parallels between ancient parables (he goes far deeper than the Cain/’caine double entendre that rappers have been using for decades) and the stark code of morality with which he lives his life. The 48-year-old hermit produced the project himself, creating an immersive sonic realm, crafting expansive, noir-ish backing tracks populated by late-night saxophones, sparkling pianos, and the occasional shot of sweeping strings. Once again, Ka’s music comes almost entirely without drums (certainly without “beats” in the traditional hip-hop sense–every once in a while, he adds an open hi-hat or a subdued shaker), the artist preferring to let his music swirl around his half-whispered words of wisdom. The album ends on a tearful, sentimental note with “I Love (Mimi, Moms, Kev),” in which the artist ditches the biblical lyrical conceit and expresses his love for his wife, his mom, and his best friend atop light percussion and a warm soul sample.

5. SAULT - Untitled (Rise): Rise is the second part of a diptych that SAULT recorded in response to the movement that exploded in the wake of George Floyd’s death. Black Is, the first part, is a great album (you’ll find it in the lower reaches of my 2020 list), but the mysterious UK collective fulfilled their immense potential with Rise, a propulsive, powerful, and danceable album that doubles as a thought-provoking examination of the nature of freedom and liberation. The album tackles weighty topics–police violence, fake-woke “allies,” protest, cultural appropriation–but handles them with an inspiring effervescence and a propulsion meant to usher right-thinking people into the streets. The music itself is an intoxicating marvel, combining elements from every trendy musical movement from the early ‘80s (post-disco, post-punk, house, hip-hop, whatever the hell ESG was) into a percussive and surprisingly cohesive cocktail. The album immediately makes its greatness known with its first four songs, one of the strongest opening runs of any album in recent memory: the swaggering, funky, keep-your-head-up anthem “Strong,” which features a drum solo from SAULT architect Inflo, the soaring, club-ready vamp “Fearless,” concept-establishing, string-heavy interlude “Rise,” and especially “I Just Want to Dance,” the best song ESG never wrote. 

4. Fiona Apple - Fetch The Bolt Cutters: Fetch The Bolt Cutters arrived with the kind of universal acclaim that can make some people suspicious. The Pitchfork review got a lot of attention, not just for its perfect score but for its bold statement that “no music has ever sounded quite like it.” 

That statement might’ve been slightly hyperbolic. Fetch The Bolt Cutters has the kind of propulsive left-hand piano figures, chest-thumping percussion, and impassioned vocal performances that we haven’t heard since...the last Fiona Apple album. But the album deserves its experimental reputation. These songs mess around with song structure and melody in ways that resemble avant-garde singers like Meredith Monk, use overlapping vocals that occasionally evoke the works of post-modern composers like Luciano Berio, and echoing modernist composers like Edgard Varese in the way she wrings pathos out of rhythmic elements.

Though Fetch might be a slight step down from The Idler Wheel, it’s an invigorating listen, packed with the soul-baring confessionals that only Fiona is capable of executing. Combining literary wordplay with plainspoken directness, Fiona forces the listener to confront her trauma and contemplate her diagnoses of patriarchal ills. The songs are uniformly excellent–especially opener “I Want You To Love Me,” the most “traditional” song on the record, and “Shameika,” a burrowing childhood rumination with a happy ending–but Fetch The Bolt Cutters stands out to me as a collection of amazing moments: when the jig-like “For Her” fades into an unforgettably painful cadence (“Good mornin’, good mornin’/You raped me in the same bed your daughter was born in”), Fiona’s ground-shaking vocal intensity at the end of “Newspaper,” her dogs howling over the outro of “Fetch The Bolt Cutters,” the winking repetition of the title phrase on “Ladies.” Her albums display more than enough ambition to forgive the long gestation periods, but hopefully we won’t have to wait another 8 years for Fiona to bare her soul once again.

3. Drakeo The Ruler - Thank You For Using GTL: Embroiled in a Kafkaesque legal saga that shines a light on the worst aspects of our horrendous justice system, Drakeo The Ruler spent more than three years wrongly incarcerated for a crime he not only did not commit, but for which he was acquitted (for more info on Drakeo’s ordeal, read Jeff Weiss). He’s now mercifully a free man, mostly due to the work of his lawyer, but at least partially because of publicity generated by Thank You For Using GTL. Recorded over the phone from prison during the height of the pandemic, it’s a miracle that an album created under such sub-optimal conditions sounds as excellent as it does, but credit producer JoogSzn–who not only supplied the creeping, head-nodding backing tracks but recorded Drakeo’s phoned-in vocals–and engineer MixedByNavin for the project’s astonishing fidelity. Drakeo and Joog spent hours on the phone to record the album, in the process paying thousands of dollars to GTL, the predatory telecom company of choice for the L.A. corrections system, whose mechanical interjections serve as a constant reminder of the injustice that made the album necessary. Of course, a good story is a good story, but that alone doesn’t get an album on 2020’s most prestigious Best Albums list (mine). It’s a classic rap album, perhaps the best ever released by an incarcerated rapper, and a thumb directly in the nose of the D.A. and the LAPD. The album is a lyrical marvel, packed with winding wordplay and outlandish flexes, as Mr. Mosley takes aim at 6ix9ine, cackles at sorry-ass Instagram haters, and sneers at American-made cars (“To be honest, a Hellcat isn’t a foreign”). Each song has a carefully considered concept, the rapper’s punchlines building upon one another to make an airtight case for his status as L.A.’s top dog. He contrasts his own whip-crashing lifestyle with flashy wannabes on “GTA VI” and “Backflip or Sumn,” mourns a favorite department store on “RIP Barneys,” and proves he still doesn’t rap beef on “Maestro’s Tension.” The album’s masterstroke comes with “Fictional,” the final track, in which Drakeo exposes the prosecution’s use of his lyrics as evidence in criminal proceedings as the farce it is: “It might sound real, but it’s fictional/I love that my imagination gets to you.” Drakeo’s story was a rare bright spot in 2020, and a rare one with a happy ending. Just last week, the rapper released Because Y’All Asked, a studio-recorded version of Thank You For Using GTL, giving the album’s songs the clarity they deserve. But I think I’ll mostly return to the original, which will live on as an excellent album and a vital document of post-George Floyd America.

2. Pa Salieu - Send Them to Coventry: Hailing from the middle of nowhere–or, more accurately city in the English Midlands only known in the states for its middling Premier League team–Gambian-British artist Pa Salieu served up the most distinctive, visceral, and daring rap debut of the year. His style fuses elements of grime, drill, afro-trap, dancehall, and the darker edges of U.S. hip-hop into a percussive slurry, injected with the urgency of his struggle to survive. The magic of the album comes from the way Pa’s fluid flows interact with the shimmering and foreboding production (Felix Joseph and Aod lead the cast of the project’s sound architects), which is perfectly suited for cold city nights. He slips effortlessly into the pocket, toe-tagging the beats with a combination of aggression and trance-like meditation and uttering casually powerful pronouncements (“I'd make a killa riddim offa any riddim/The grind can never stop 'til I'm wrapped in linen”) that make you believe he’s Britain’s next great rapper. Pa keeps the vibe consistent throughout, but the moments that stand out are the moments when he locks into an unbreakable groove over no-frills production, like on singles “Block Boy,” “Betty,” and “B***K.” The artist’s wry sense of humor and brash confidence keeps the album from feeling bleak, but Send Them To Coventry wisely ends on “Energy,” a warm and bright ode to keeping your creative spark safe from the prying forces of fame and fortune.

1. Kassa Overall - I Think I’m Good: “I think I’m good”–a phrase that’s ran through my head throughout this shitstorm of a year. Sure, I postponed a wedding, cancelled trips, and saw my friends and family much less often than I would like, but I count myself among the lucky ones. Still breathing, still sane. Though it was recorded and released before the pandemic started, Kassa Overall’s I Think I’m Good became a lodestar of sorts for me. It’s a brilliantly introspective and deeply personal album about existing in enclosed spaces–whether a jail cell, an NYC subway car, or the inescapable prison of your own body.

Kassa Overall made his name as a jazz drummer, touring with icons like Geri Allen, but his solo music incorporates elements of hip-hop, classical, and trap to create a wholly original milieu. The album features contributions from over 30 accomplished voices, ranging from luminary Vijay Iyer, to Kassa’s saxophonist brother Carlos Overall, to virtuosic pianist Sullivan Fortner, to venerated activist Angela Davis. But all the disparate elements come together in service of Kassa’s deeply personal and engrossing vision.

Taking partial inspiration from Kassa’s struggle with manic depression, the music fluctuates between meditative calm and unbearable tension, mimicking the patter of an unquiet mind. Album opener “Visible Walls,” is a mesmerizing prayer for salvation soundtracked by fluttering harps, piercing woodwinds, and heartbeat percussion. “Find Me” buries a plea for help within a cacophony of sampled voices and rattling piano notes. Fortner’s piano guides us through the hauntingly devastating “Halfway House” and the Chopin-indebted “Darkness In Mind,” each highlighting a different stage of grief (despair and acceptance, respectively). The arc of I Think I’m Good concludes with the hopeful “Got Me A Plan” and “Was She Happy (For Geri Allen),” a Vijay Iyer-assisted tribute to his late friend and mentor. 

It’s ironic that an album that so deeply explores the feeling of isolation vibrates with such a collaborative spirit. I Think I’m Good feels like an answered prayer–a community coming together to check on a beloved friend who’s gone through a tough time: “You good, man?” “I think so.”

Here’s the rest of my list.

11. Yves Tumor - Heaven To A Tortured Mind 12. Shackleton & Waclaw Zimpel - Primal Forms 13. Bob Dylan - Rough & Rowdy Ways 14. Duval Timothy - Help 15. Lil Uzi Vert - Eternal Atake 16. Moodymann - Taken Away 17. Secret Drum Band - Chuva 18. J Hus - Big Conspiracy 19. Headie One & Fred Again - GANG 20. Tiwa Savage - Celia 21. Andras - Joyful 22. Bill Callahan - Gold Record 23. King Von - Welcome To O’Block 24. Flo Milli - Ho, Why Is You Here? 25. Chubby & The Gang - Speed Kills 26. Madeline Kenney - Sucker’s Lunch 27. Empty Country - Empty Country 28. Smino - She Already Decided 29. Destroyer - Have We Met 30. Yves Jarvis - Sundry Rock Song Stock 31. Ela Minus - Acts Of Rebellion 32. Creeper - Sex, Death & The Infinite Void 33. Alabaster DePlume - To Cy & Lee: Instrumentals, Vol. 1 34. Good Sad Happy Bad - Shades 35. The 1975 - Notes On a Conditional Form 36. Kate NV - Room For The Moon 37. $ilkmoney - Attack of the Future Shocked, Flesh Covered, Meatbags of the 85 38. Eddie Chacon - Pleasure, Joy and Happiness 39. Kenny Segal & Serengeti - Ajai 40. Bad Bunny - YHLQMDLG 41. Kahlil Blu - DOG 42. Califone - Echo Mine 43. Boldy James - The Price of Tea in China/Manger On McNichols/The Versace Tape 44. Bufiman - Albumsi 45. Moses Boyd - Dark Matter 46. Thanya Iyer - KIND 47. Jyoti - Mama You Can Bet! 48. Obongjayar - Which Way Is Forward? 49. Rio Da Yung OG - City On My Back 50. Young Jesus - Welcome To Conceptual Beach 51. Owen Pallett - Island 52. Oceanator - Things I Never Said 53. Shootergang Kony - Red Paint Reverend 54. Shabason, Krgovich & Harris - Philadelphia 55. Six Organs of Admittance - Companion Rises 56. Lido Pimienta - Miss Colombia 57. Kelly Lee Owens - Inner Song 58. Polo G - The GOAT 59. Actress - Karma & Desire 60. Phoebe Bridgers - Punisher 61. Porridge Radio - Every Bad 62. Yg Teck - Eyes Won’t Close 63. Mozzy - Beyond Bulletproof 64. Ratboys - Printer’s Devil 65. R.A.P. Ferreira - Purple Moonlight Pages 66. Ulver - Flowers of Evil 67. Rina Sawayama - SAWAYAMA 68. SAULT - Untitled (Black Is) 69. Ezra Feinberg - Recumbent Speech 70. Davido - A Better Time 71. Hailu Mergia - Yene Mircha 72. HAIM - Women In Music Pt. III 73. Half Waif - The Caretaker 74. Key Glock - Yellow Tape 75. KeiyAa - Forever Your Girl

[blackkudos]

Johnny Guitar Watson

John Watson Jr. (February 3, 1935 – May 17, 1996), known professionally as Johnny "Guitar" Watson, was an American blues, soul, and funk musician and singer-songwriter. A flamboyant showman and electric guitarist in the style of T-Bone Walker, Watson recorded throughout the 1950s and 1960s with some success. His creative reinvention in the 1970s with funk overtones, saw Watson have hits with "Ain't That a Bitch" and "Superman Lover". His successful recording career spanned forty years, with his highest chart appearance being the 1977 song "A Real Mother For Ya".

Early life

Watson was born in Houston, Texas. His father John Sr. was a pianist, and taught his son the instrument. But young Watson was immediately attracted to the sound of the guitar, in particular the electric guitar as played by T-Bone Walker and Clarence "Gatemouth" Brown.

His grandfather, a preacher, was also musical. "My grandfather used to sing while he'd play guitar in church, man," Watson reflected many years later. When Johnny was 11, his grandfather offered to give him a guitar if, and only if, the boy didn't play any of the "devil's music". His parents separated in 1950, when he was 15. His mother moved to Los Angeles, and took Watson with her.

Early career

In his new city, Watson won several local talent shows. This led to his employment, while still a teenager, with jump blues-style bands such as Chuck Higgins's Mellotones and Amos Milburn. He worked as a vocalist, pianist, and guitarist. He quickly made a name for himself in the African-American juke joints of the West Coast, where he first recorded for Federal Records in 1952. He was billed as Young John Watson until 1954. That year, he saw the Joan Crawford film Johnny Guitar, and a new stage name was born.

In 1953, Shorty Rogers had Watson as part of his Orchestra perform for the famed ninth Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin, Sr. on June 7. Also featured that day were Roy Brown and his Orchestra, Don Tosti and His Mexican Jazzmen, Earl Bostic, Nat "King" Cole, and Louis Armstrong and his All Stars with Velma Middleton.

Watson affected a swaggering, yet humorous personality, indulging a taste for flashy clothes and wild showmanship on stage. His "attacking" style of playing, without a plectrum, resulted in him often needing to change the strings on his guitar once or twice a show, because he "stressified on them" so much, as he put it.Watson's ferocious "Space Guitar" single of 1954 pioneered guitar feedback and reverb. Watson would later influence a subsequent generation of guitarists. His song "Gangster of Love" was first released on Keen Records in 1957. It did not appear in the charts at the time, but was later re-recorded and became a hit in 1978, becoming Watson's "most famous song".

He toured and recorded with his friend Larry Williams, as well as Little Richard, Don and Dewey, The Olympics, Johnny Otis and, in the mid-1970s with David Axelrod. In 1975 he was a guest performer on two tracks (flambe vocals on the out-choruses of "San Ber'dino" and "Andy") on the Frank Zappa album One Size Fits All. He also played with Herb Alpert and George Duke. But as the popularity of blues declined and the era of soul music dawned in the 1960s, Watson transformed himself from southern blues singer with pompadour into urban soul singer in a pimp hat. His new style was emphatic – wearing the gold teeth, broad-brimmed hats, flashy suits, fashionable outsized sunglasses and ostentatious jewelry.

He modified his music accordingly. His albums Ain't That a Bitch (included funk blues singles "Superman Lover") and Real Mother For Ya(1977) fused funk and blues. Watson had album Love Jones in 1980. Reviewing Watson's 1977 LP A Real Mother for Ya, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981): "Watson has been perfecting his own brand of easy-listening funk for years, and this time he's finally gone into the studio with his guitar Freddie and his drummer Emry and a bunch of electric keyboards and come up with a whole album of good stuff. The riff-based tracks go on too long but go down easy and the lyrics have an edge. Granted, Watson can't match George Benson's chops, but this is dance music, chops would just get in the way. And I prefer his Lou-Rawls-without-pipes to Benson's Stevie-Wonder-ditto."

Later career

The shooting death of his friend Larry Williams in 1980 and other personal setbacks led to Watson briefly withdrawing from the spotlight in the 1980s. "I got caught up with the wrong people doing the wrong things", he was quoted as saying by The New York Times.

The release of his album Bow Wow in 1994 brought Watson more visibility and chart success than he had ever known. The album received a Grammy Award nomination.

In a 1994 interview with David Ritz for liner notes to The Funk Anthology, Watson was asked if his 1980 song "Telephone Bill" anticipated rap music. "Anticipated?" Watson replied. "I damn well invented it!... And I wasn't the only one. Talking rhyming lyrics to a groove is something you'd hear in the clubs everywhere from Macon to Memphis. Man, talking has always been the name of the game. When I sing, I'm talking in melody. When I play, I'm talking with my guitar. I may be talking trash, baby, but I'm talking".

In 1995, he was given a Pioneer Award from the Rhythm and Blues Foundation in a presentation and performance ceremony at the Hollywood Palladium. In February 1995, Watson was interviewed by Tomcat Mahoney for his Brooklyn, New York-based blues radio show The Other Half. Watson discussed at length his influences and those he had influenced, referencing Guitar Slim, Jimi Hendrix, Frank Zappa and Stevie Ray Vaughan. He made a special guest appearance on Bo Diddley's 1996 album A Man Amongst Men, playing vocoder on the track "I Can't Stand It" and singing on the track "Bo Diddley Is Crazy".

His music was sampled by Redman (who based his "Sooperman Luva" saga on Watson's "Superman Lover" song), Ice Cube, Eazy-E, Snoop Dogg, Dr. Dre, Jay-Z, and Mary J. Blige. Snoop Dogg and Dr. Dre borrowed P-Funk's adaptation of Watson's catchphrase "Bow wow wow yippi-yo yippi-yay" for Snoop's hit Who Am I? (What's My Name?). Johnny also played the guitar on the G-Funk remix of Dr. Dre's Grammy award winning single Let Me Ride in 1993.

"Johnny was always aware of what was going on around him", recalled Susan Maier Watson (later to become the musician's wife) in an interview printed in the liner notes to the album The Very Best of Johnny 'Guitar' Watson. "He was proud that he could change with the times and not get stuck in the past".

Death and material loss

Watson died of a heart attack on May 17, 1996, collapsing on stage while on tour in Yokohama, Japan. His remains were brought home for interment at Forest Lawn Memorial Park Cemetery in Glendale, California and buried in the Great Mausoleum, Sanctuary of Enduring Honor, Holly Terrace entrance.

On June 25, 2019, The New York Times Magazine listed Johnny "Guitar" Watson among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Influence

Watson, a recognized master of the Fender Stratocaster guitar, has been compared to Jimi Hendrix and allegedly became irritated when asked about this comparison, supposedly stating: "I used to play the guitar standing on my hands. I had a 150-foot cord and I could get on top of the auditorium – those things Jimi Hendrix was doing, I started that shit."

Frank Zappa stated that "Watson's 1956 song 'Three Hours Past Midnight' inspired me to become a guitarist". Watson contributed to Zappa's albums One Size Fits All (1975), Them or Us (1984), Thing-Fish (1984) and Frank Zappa Meets the Mothers of Prevention (1985). Zappa also named "Three Hours Past Midnight" his favorite record in a 1979 interview.

Steve Miller not only did a cover of "Gangster of Love" on his 1968 album Sailor (substituting "Is your name "Stevie 'Guitar' Miller?" for the same line with Watson's name), he made a reference to it in his 1969 song "Space Cowboy" ("And you know that I'm a gangster of love") as well as in his 1973 hit song "The Joker" ("Some call me the gangster of love"). Miller had also borrowed the sobriquet for his own "The Gangster Is Back", on his 1971 album Rock Love.

Jimmie Vaughan, brother of Stevie Ray Vaughan, is quoted as saying: "When my brother Stevie and I were growing up in Dallas, we idolized very few guitarists. We were highly selective and highly critical. Johnny 'Guitar' Watson was at the top of the list, along with Freddie, Albert and B.B. King. Watson influenced Jimi Hendrix, Sly Stone, Etta James, and Stevie Ray Vaughan.

Bobby Womack said: "Music-wise, he (Watson) was the most dangerous gunslinger out there, even when others made a lot of noise in the charts ～　I'm thinking of Sly Stone or George Clinton".

Etta James stated, in an interview at the 2006 Rochester International Jazz Festival: "Johnny 'Guitar' Watson... Just one of my favorite singers of all time. I first met him when we were both on the road with Johnny Otis in the '50s, when I was a teenager. We traveled the country in a car together so I would hear him sing every night. His singing style was the one I took on when I was 17 – people used to call me the female Johnny 'Guitar' Watson and him the male Etta James... He knew what the blues was all about...".

James is also quoted as saying: "I got everything from Johnny... He was my main model... My whole ballad style comes from my imitating Johnny's style... He was the baddest and the best... Johnny Guitar Watson was not just a guitarist: the man was a master musician. He could call out charts; he could write a beautiful melody or a nasty groove at the drop of a hat; he could lay on the harmonies and he could come up with a whole sound." Pearl Jam recorded a song entitled "Johnny Guitar", about Watson, for their 2009 album Backspacer.

Watson's 1976 song "Superman Lover" features on the soundtrack of the video game Grand Theft Auto V.

[a-damson-in-distress]

The Protégé 5

Pairing: MadaSaku

Plot: In search of a new cellist for his prestigious orchestra, an infamously feared maestro stumbles upon a young rising star.

The Protégé 1 | The Protégé 2 |  The Protégé 3 |  The Protégé 4

Note: I don't even know what to say at this point, I mean I'm such an unreliable fanfic writer that you guys have probably forgotten this here thing even exists but ANYWHORE the saga continues. As with every chapter so far, here's the song recommendation for the Beijing concert, the one with the jazz theme and Mei's vocals: Hooverphonic - 2 Wicky (Live at Koningin Elisabethzaal 2012) as well as Hooverphonic - Mad About You (also the live version). 

I suggest you listen to the entire concert and all the songs, because the band is just great, though not all of their songs have that slow, seductive James-Bond-like sound I was imagining for that particular concert. Some of them are more happy-go-lucky pop songs, so Madara wouldn't have picked them for the concert. But just imagine that the entire programme would have consisted of songs like 2 Wicky and Mad About You. I chose the songs based on the singer mentioned in this chapter, because I think that's the type of music that would best fit an alluring and seductive woman like Mei Terumi.

Anyway, have fun reading and please let me know what you think! I'm dying to get some feedback, because things are finally kicking off in this chapter and it was so much fun to write and I'm really looking forward to your opinion.

                                                        ---------- 

Sakura Haruno stunned Tokyo with her first solo performance in Maestro Uchiha’s ensemble with the grace and elegance of a musician far more experienced than what can usually be expected of a twenty-year old. Demonstrating her mastery of the cello with Camille Saint-Saëns’ Cello Concerto number 1 in A minor, the young Ms Haruno proved once again that she was worthy of her nickname. Imperatrix Furiosa is what the press are calling her, though the talented cellist seems to be only channelling that alter ego on stage. At the afterparty, Ms Haruno was less a furious empress and more a down-to-earth, if not timid, girl-next-door type, prompting criticism by some that Maestro Uchiha signed her on at too young an age and that the shy cellist may have bitten off more than she can chew with her world-famous globetrotting new conductor (Madara Uchiha pictured here with Sakura Haruno during the afterparty at the Sky Lounge Stellar Garden Bar).

Sakura’s eyes travelled from the article to the photo right next to it, depicting her maestro and herself. While Mr Uchiha was his usual suave self in a black-lined burgundy-coloured velvet suit jacket and his signature barely-there-but-still-somehow-visible smirk, Sakura stuck out like a sore thumb. Not only because of her hair colour and her height – she was sure Mr Uchiha would dwarf her even if she wore Ino’s tallest high heels. It was this whole timid and immature little girl vibe she was giving off with her floral collar dress, her pastel pink ballet flats and her shy and unsure smile.

Having read the review of their Tokyo concert, Sakura was now worried whether or not the critics were right. Was she really too young to join such a prestigious orchestra? Was she too immature and inexperienced to have so much pressure and responsibility thrust upon her as a principal cellist? Despite feeling comfortable and self-assured during a concert, there were moments where she did feel somewhat out of place amidst her older and more experienced colleagues. Like during that afterparty two days ago, where everyone showed up all dressed up and fancy and confidently rubbing elbows with Tokyo’s music high society, while Sakura felt like a farm girl who wouldn’t have been able to tell the difference between a Virgin Mary and a Bloody Mary if it bit her in the ass.

Gnawing on her bottom lip, the young cellist let her gaze wander through the airplane interior. They were currently on a flight to Seoul for their first international concert. Her worried gaze landed on her conductor sitting two rows in front of her to her right, currently busy with adding notes to the sheet music on his tablet.

How she wished she could confide in him now.

Sakura recalled the feeling of euphoria when he had called her his protégé in the dressing room while fixing her bow tie. She never felt so incredibly confident while playing a concert on stage as she did during those 30 minutes following his compliment. Sakura almost couldn’t believe that her maestro had said that to her in the first place, so she decided to ask him about it during the afterparty.

Sakura remembered how nervous she had been the entire evening. The pink-haired cellist thought about a hundred different ways how she could ask Mr Uchiha about his declaration without coming off as the attention-seeking and completely love-sick puppy that she really was. It took her more than an hour to build up the courage to approach him when he was alone at the bar.

“Um… I-I’m sorry, Mr Uchiha? Do you have a second?”

When her conductor turned around, he actually had to look down to meet her gaze. Her maestro really was ridiculously tall. He turned his body to face her, left hand casually in his pocket, right arm leaning on the bar with a drink in hand.

“Yes, Ms Haruno?”

“Um…,” she ran both hands down her dress to smooth out the non-existent wrinkles, “I-I wanted to ask you… something.”

When she dared to lift her gaze to look at him, she was met with a raised eyebrow and an expectant grin.

“Go on, Ms Haruno. I’m not going to bite,” her maestro added with a widening smirk.

Hoping the blush colouring her cheeks at his remark would cool down soon, the pink-haired cellist gathered her courage, cleared her throat and spoke, “Sir, it’s about what you said to me in the dressing room, when you- when you fixed my bow tie? Um, you see I was really nervous, and I wasn’t really thinking straight, I mean I’m never really thinking straight around you,” heat crept up her face again and her eyes widened as she realised what she had just said, “I mean- I didn’t mean… it’s just, you make me… a little nervous, is all. And anyway, I probably wasn’t even hearing right, but for some reason my muddled brain seems to think that I heard you say… that…,” at this point her courage started fading away. Sakura started playing with the hem of her dress while thinking of a way to continue without sounding desperate for his approval.

“Heard me say what, Ms Haruno?”

Her eyes snapped up to meet his intense gaze staring at her expectantly.

“I think I heard you say that- that I was your…,” she leaned a bit closer to him and whispered, “protégé.”

And now that the word was finally out in the open, Sakura couldn’t stop herself.

“And I just wanted to ask you if that really was what you said. Because even though every fibre of my being wants it to be true, there’s still a part of me who just wouldn’t believe that you- the Maestro Uchiha would have said that to me of all people. I mean you’ve never publicly acknowledged anyone as your protégé before, and I- I’m so young. You see, I just didn’t want to get my hopes up in case it was just a misunderstanding and I didn’t hear it right. So please just be honest with me. You can tell me if I was wrong, it’ll crush me for a day or two, but I can take it.”

She stared up at him with a look of what she hoped would even remotely resemble determination, though that look started to falter when she was met with her conductor’s amused grin.

“I heard wrong, didn’t I? Ok, well… Sorry for wasting your time, Sir.”

Sakura was just about to turn around, when she felt his warm hands circle around her biceps, holding her in place. She saw his mouth open to say something just as they were interrupted by a photographer asking for a picture of the two of them. After posing for a few seconds and waiting for the photographer to leave, her maestro turned around and finally spoke, “Ms Haruno, that day you were in my office, what did I tell you about the difference between you and all my other musicians?”

“That I was the only one who didn’t have to audition?”

“Correct. I didn’t want the other musicians, I simply needed them to fill my ensemble. But you – you, I wanted. There were hundreds of suitable musicians for every other role in my orchestra, and they all had to audition, but there was only one suitable musician for your particular position. You, Ms Haruno, were the exception from the start.”

“So… does that mean that you really did say what I think you said?”

“Would you like it to be true?”

“More than anything in the world.”

“Good,” Mr Uchiha said before taking a sip of his drink.

And then he said something that made Sakura’s insides tingle with excitement even two days later.

In that case, you’re mine now.

                                                           ----------

“We’re done for today. You’ve all got the rest of the evening off. Do not overdo it, though, I expect all of you to be in top shape for our next rehearsal tomorrow at 10 a.m.”

Madara watched his musicians hastily pack their things and stow away their instruments. He was aware that they were eager to get back to the hotel and relax for a few hours; after all, they landed in Seoul only this morning and already had to endure a four-hour rehearsal. They deserved a break.

Madara, however, wasn’t done yet. And neither was his protégé.

“Ms Haruno.”

He would never tire of the way she immediately sprung to attention whenever he called her name and how she would fix her huge doe-like eyes on him, like a puppy in training expectantly waiting for its master’s orders and determined to use every opportunity to impress him.

“Yes, Maestro?”

“I hope you haven’t got any plans for this evening.”

Madara didn’t want it to come out so suggestive but seeing that adorable blush spread across the young cellist’s cheeks was worth it.

“Um… No, Sir, I- I don’t, actually. W-Why are you asking?”

“I want you to go through your parts again, on your own.”

“Why, Sir? Was I not good enough? I’ll do better, I promise,” she said with a pleading look on her face.

Her dedication to her craft was inspiring. And her constant need to please him was an incredible turn-on.

“Let’s start with Bergersen’s Sun,” Madara ordered while watching the last of his ensemble leave the stage. When he heard a nervous sigh escape her lips, his gaze was immediately drawn back to her teeth chewing on her bottom lip. Madara allowed himself to be transfixed by the sight for a few seconds, fully aware that this indulgence would just lead to more wet dreams. Like the one he had last night about her kneeling in front of him and nervously chewing on her bottom lip as he gives her a step-by-step instruction on how to suck his cock.

“Am I doing it right?” she asks after having released him from her mouth with a loud plop. She stares up at him with her big, innocent eyes, desperately needing his approval and his praise.

“Just like that, keep going little one,” he orders while tugging a strand of hair behind her ear and watching her lips close around him again.

“That’s a good girl.”

Madara was torn from his short daydream when he realised the young cellist had stopped playing. His gaze focused on Sakura’s face and he felt his cock immediately stiffen when he saw the expression she was wearing. It was the same as in his dream, right when she asked him if she was doing it right – all innocent and hopeful eyes, silently begging him to praise her.

“Am I doing it right, Maestro?”

Gods damn it, of course she had to go ahead and say the same words, too.

Despite the inappropriate nature of his current train of thought, the reminder of his last wet dream gave the conductor an idea. The Sakura in his dreams would always light up like a Christmas tree and her eyes would sparkle with adoration whenever Madara called her a good girl. And now it was time for the conductor to test how close real-life Sakura was to her dream persona.

He came to a halt directly in front of her and looked into her wide, expectant eyes.

“Good girl.”

The megawatt smile she gave him as a response was enough to prove his theory. Madara would be damned if he didn’t use every opportunity to praise her like that from now on. Much like she seemed to crave his approval and appreciation, Madara, too, found himself enjoying the looks of pure and unadulterated worship and reverence he was met with whenever he deemed her worthy of his attention.

“That was well done, Ms Haruno. Now why couldn’t you deliver the same performance during rehearsal? I had the feeling you were distracted by something.”

He watched her shoulders slump and her face fall as she leaned back into her seat. “I know, Sir. But it’s nothing, really, just… just something silly. I won’t happen again, I promise.”

Madara would murder that something silly if the mere mention of it was enough to dim her smile.

“What’s going on?”

“You don’t need to worry about it, really. I’m sure you have much more important things to do than listen to me whine about my trivial issues.” Sakura tried her best to give him a reassuring smile but judging by the way she was nervously playing with the strings of her cello, that particular issue seemed to really eat away at her.

“Ms Haruno, part of being your mentor also involves making sure you feel confident and good about yourself on a personal level as well, not just on a professional one. If something is bothering you and you don’t deal with it properly, it might turn into a bigger issue someday, which could in turn affect your performance. Now, out with it.”

Sakura looked at him hesitantly, before sighing and opening her mouth, “It’s this review of our first concert that was published in The Japan Times. They said you made a mistake with me, that you signed me on too early and that I’m too young for you and too inexperienced and too shy and that I’m basically just not good enough for you.”

Madara had read the article himself, and he had already thought that his protégé would be bothered by the criticism. He grabbed one of the many chairs on stage and took a seat right in front of his principal cellist. “Is that why you’ve been distracted today? You think you’re not good enough?”

“It’s not just that. Or actually it’s not that at all, because I know I’m a damn good cellist, and I don’t think I’m lacking anything in the talent department. What bothered me most is that they kept mentioning my age and how young and inexperienced I am. They made me look like some naïve little farm girl who doesn’t know what she’s doing with all those big shot musicians who are just going to eat her up and spit her out.”

“Ms Haruno, I’ve been in this business for two decades now, and I was responsible for enough auditions to be able to tell which musician has got what it takes. Trust me when I tell you I would not have picked you if I didn’t have absolute faith in your ability to keep up with the rest of my orchestra. In fact, part of the reason I chose you was precisely because you were so young, so don’t ever let anybody make you feel like that is a disadvantage, because it’s not.”

Madara could see that his words had a calming effect on her. His reassurance resulted in a timid smile tugging at her lips as she tentatively asked, “Do you really mean that? That you picked me because I’m so young? Because you’ve never worked with anyone my age before. You’re not just saying that to make me feel better, are you?”

“The last thing anybody would accuse me of is sugarcoating my opinion and buttering someone up. Trust me, I never lie to my musicians, least of all to my protégé.”

“But why? Why was my age so decisive when you thought about signing me on?”

Well, I didn’t know it back then, but as it turns out I have a thing for little girls with a Daddy complex and a desperate need to please.

Naturally, Madara couldn’t give that particular explanation, so he went for the next best thing, “For the same reason an artist would never paint on an already used canvas. You’re easier to mould now. You’re my blank canvas.”

And he was going to paint her in all of his colours. Especially in all sorts of red hues, like the ones adorning her cheeks at the moment.

“You want to mould me?”

Among many other, much much naughtier things.

“I am your mentor, after all, and that’s what’s expected of me. We mould our protégés into their best possible selves.”

He gave her a tiny reassuring smile and stood up from his chair.

“Now let’s continue. Richter’s Infra 5. I want the mezzo-staccato more pronounced this time.”

                                                        ----------

Her maestro’s encouraging words should have been enough to dispel any worries she had about her age and the question of whether or not she was too young and inexperienced to be part of his orchestra. And yet, here she was, five days after their concert in Seoul, sitting on stage in the Beijing Concert Hall, feeling all kinds of inadequate and wishing she had half the cup size of their singer.

Mei Terumi. Half Chinese, half Japanese opera diva par excellence and a proud E cup. She had the voice of an angel, the curves of Aphrodite, and all the grace, elegance and finesse of a mature woman who – contrary to Sakura – can not only walk in high heels, but actually stand around in them and sing her heart out for four hours straight without breaking a sweat or ruining her perfect hairdo. She was Maestro Uchiha’s special guest for their Beijing concert tomorrow; they were the musical accompaniment while Ms Terumi would beguile the audience with seductive jazz songs.

While Sakura loved the pieces her maestro chose for the concert, she was glad that particular programme wasn’t planned for every performance and that the opera singer wouldn’t accompany them for the entire tour. Because their conductor chose different pieces for every other city they would perform in, the jazz theme with Mei Terumi’s vocals was only planned this once for Beijing.

And judging by that weird feeling of inadequateness Sakura got every time she even so much as looked at the singer, one performance with her is more than enough to dampen her spirits.

“Do you think the two of them are doing it?”

Her head whipped to her right where she was met with the sight of their principal percussionist twirling his drumsticks. They were currently on a short break during their rehearsal, so Naruto came to join them in the string section.

“What do you mean ‘doing it’?” Sakura asked while trying to avoid getting the pointy end of his drumsticks stuck in her eye.

“You know, it.” The blonde musician suggestively wiggled with his eyebrows, but his expectant look was met with only more confusion, and Sakura shrugged her shoulders.

“Give it up, Naruto. Forehead is way too innocent to even think about such things. Isn’t that right,” Ino asked with a teasing grin, leaning closer to Sakura before whispering, “little Miss virgin?”

Sakura didn’t even have time to cover her blushing face when she heard Naruto snicker right next to her. “Oh my God, you are so adorable. You seriously didn’t know that doing it means having sex? You are such a pure, innocent little flower, and I shall shield you from being corrupted by this evil, sex-obsessed witch.”

“This evil, sex-obsessed witch will visit your hotel room tonight and shove her clarinet up your ass if you don’t shut your cakehole soon. But seriously though, the two of them are totally doing it. I mean look at her, who wouldn’t wanna do her? Plus, she’s totally Mr Uchiha’s type, you know mature, sophisticated, can probably tell the difference between Scotch and Bourbon. Hell, I’d do her, and she is so far out of my league she might as well live on Proxima Centauri.”

Sakura followed Ino’s gaze and let her eyes rest on the singer standing next to their conductor, currently busy with discussing a particularly complex piece. There was nothing overtly flirtatious about her behaviour, not now and not during the previous handful of rehearsals they had over the past two days. Both her and Mr Uchiha were always extremely professional, never getting too close or touching each other inappropriately. Though Sakura had to agree with Ino: Mei Terumi was so incredibly attractive that it probably wouldn’t even take that much flirting to wrap any guy around her finger. But weirdly enough Sakura wasn’t bothered so much by the idea of her conductor and the singer being intimate with each other. Sure, Maestro Uchiha was a god to her and she revered him as such, but never in her wildest dreams would she dare to think of herself as an object of his romantic or sexual desires. She was used to competing with others for his professional attention, but the thought of competing with women like Mei Terumi for his romantic attention had never crossed her mind, because Sakura believed him to be very much out of her league. And since intimacy wasn’t something she aimed for or even associated with her relationship with Mr Uchiha, her feeling of unease didn’t stem from romantic jealousy.

Mei Terumi was more of a reminder of Sakura’s lack of experience. The singer was basically oozing confidence and maturity with her flirtatious smiles, the way she held herself around big shot conductors like Madara Uchiha, and the way she knew exactly what to wear to accentuate her killer curves. In comparison to her, the young cellist felt all kinds of inadequate with her frilly little dresses and the fact that she didn’t even know that doing it meant having sex.

Mei Terumi and everything she embodied made Sakura feel too young, too inexperienced, as if she could never be up to par with the grown-ups if she kept sticking to her little girl persona.  And she desperately wanted to prove to her maestro that there was more to her than floral dresses and Hello Kitty stuffed toys.

Having made up her mind, the young cellist turned to her blonde friend.

“Ino, do you think I could borrow one of your dresses tomorrow?”

                                                         ----------

Madara nearly spat out his drink when he saw the outfit his principal cellist chose for the afterparty.

He was always the last to arrive at such events, and as soon he entered the lounge his eyes automatically scanned the crowd for a mop of pink hair. Sure enough, he found her, but unlike most times when he set his eyes on her, he didn’t like what he was seeing.  

She was dressed in a little black neckholder dress that hugged her petite figure and exposed just the right amount of cleavage to be alluring without coming across as slutty. Madara watched her nervously run her fingers through her long silky hair which was pulled into a tight high ponytail, and when her lips closed around the straw in her drink he noticed they were painted a provocative burgundy. His eyes travelled down the shape of her slender legs and landed on the dark red stilettos she was very obviously wearing for the first time, judging by the way she kept awkwardly twirling her foot on the heel of her shoe.

There was absolutely nothing slutty or inappropriate about her outfit. In fact, this was the way most of his female musicians dressed for events like these, and usually he couldn’t care less.

But little Ms Haruno once again proved to be the exception to each and every one of his rules.

Because even though he wouldn’t bat an eye whenever he saw Yamanaka, Sabakuno or Hyuuga in such outfits, because they were all older, seeing his protégé pretend to be someone she’s not dressed up in something so wildly unlike her made his hand tingle with the need to spank some sense into her.

As if she could sense his glare, the pink-haired cellist turned her head and let her eyes rest on him. For a second, Madara could have sworn she looked like a child who got caught with her hands in the cookie jar. He raised his hand and beckoned her to him. Like the good little girl that she was, she immediately left everything and everyone behind and made her way to him.

“Mr Uchiha, I’m glad you could – “

“What are you wearing?”

Madara watched as her hands immediately flew to the hem of her dress in an attempt to pull it down and cover a bit more skin she was suddenly and very obviously self-conscious about.

“You don’t like it?” she asked nervously as she looked up at him with huge, doubtful eyes.

“I think you already knew that I wouldn’t like it when you asked Ms Sabakuno to lend it to you. Or was it Ms Yamanaka?”

“But Sir, my outfit doesn’t violate the dress code, I even asked Deidara. Plus, Ino said she wore that dress a hundred times and nobody ever said it was inappropriate.”

“Do you feel comfortable in it, Ms Haruno?”

She lowered her gaze in defeat and instead absent-mindedly let it rest on his tie as she shook her head.

“Then why are you wearing it?”

Madara watched his young protégé shrug her shoulders and turn her head as a blush crept up her face. With a tiny, shy voice she added, “I just wanted to show everybody that I’m not just some young inexperienced rookie. That I can hang with the big kids, you know?”

“Wearing clothes you’re clearly uncomfortable in isn’t going to help with that. If you want to show them that you’re someone worthy of respect, you need to do it with merit and not by pretending to be someone you’re not. Now I’m going to take you back to your hotel room and you’re going to change, is that clear?”

Madara’s hand found the small of her back as he guided her to the lounge’s exit.

“Sir, is that really necessary? I mean sure, the shoes hurt, but I was only going to stay for another hour or so anyway. I can make that without changing.”

When they exited the building, the brisk night air made the young cellist shiver, so Madara wordlessly took off his jacket and draped it over her shoulders before hailing a taxi. As he opened the door for her and helped her get in, he fixed her with another glare and said, “The hotel is only a five minute ride away from here, so that should be enough time for you to think about why I’m disappointed in you. We’ll talk about this when we’re in your room, so I’ll expect an answer from you, young lady.”

He closed the door and got into the taxi on the other side. It was a tense five minutes, though probably more so for the pink-haired musician than for Madara. He could practically hear the wheels turning inside her head as he silently let her mull over his accusation. But he believed that giving her the time and opportunity to self-reflect was going to prove a valuable lesson for her. Not least because Madara knew she was always desperate to fix the mistakes he pointed out.

After arriving at their hotel, the conductor helped Sakura out of the car and told her to go ahead so he could pay the driver. Leaning closer to the man’s front seat window, he heard him say, “You have a lovely daughter, Sir. With a firm daddy such as yourself, I’m sure she’ll turn out just fine, so don’t be too harsh on her. I’m a father too, you know, and I’m very proud of my little princess.”

Great. The universe was clearly torturing him. Madara knew he had to keep his lewd fantasies regarding his pretty little protégé in check, and yet some greater force deemed it necessary to dangle them in front of him every chance it got.

But he couldn’t give in.

He really shouldn’t.

“What were you and the driver talking about?” Madara heard a shy voice next to him ask.

As they entered the hotel’s lobby, the maestro steeled his resolve to not overstep any lines while they were alone in her room. He reminded himself this was purely for the image of the orchestra. He was just going to make sure that his protégé wouldn’t embarrass herself and his ensemble by wearing clothes unfit for such a young woman. Right, there was nothing more to it.

Nothing inappropriate was going to happen.

Getting into the lift, he pressed the button that would lead them to her room as she asked again, “Sir, what did the driver have to say?”

“You’re a nosey little one, aren’t you? If you really must know, he didn’t say anything that would concern you.”

Madara turned his head to face her and was met with the same look of absolute reverence and adoration she always had reserved only for him. In that moment, he knew he just lost the most decisive battle of his life.

And he couldn’t care less.

With a devilish grin tugging on the corner of his lips, he leaned a bit closer to her and whispered, “At least it doesn’t concern you … yet.”

“What is that supposed to mean?”

His grin widened at the sight of her adorably confused face before he exited the lift and headed for her room. The driver did say something that concerned Sakura, but Madara meant what he said – it didn’t concern her yet. Because she sure as hell was his little princess and he sure as hell would be the firm daddy doling out spankings left right and centre – she just didn’t know it yet. Now that he threw caution to the wind and decided to give into his desires, Madara couldn’t wait to implement some changes in their relationship: The maestro would slowly and subtly introduce her to some of the things he had been craving to do to her since the day he met the little cellist, and if she responded to them willingly Madara would make her his for good. Though judging by the way she was already staring up at him with hearts in her eyes and a look that said please love me, daddy, Madara was sure she would jump at the chance of being nurtured and disciplined by him in more ways than a professional one.

Closing the door to her hotel room, Madara had to force down his devious grin and instead pretend to be angry. He turned around and fixed her with a glare. “Go into the bathroom, remove all of that make-up and change into something more comfortable.”

“Yes, Sir,” she mumbled with a pout before turning on her heel and disappearing into the bathroom.

When she got out, Madara had to stifle a groan at the sight of her new outfit: She was wearing pastel pink flannel pyjama bottoms with unicorns on them and a snug white shirt with a picture of her instrument and the words Cello: Everyone Else Is Accompaniment below it. She couldn’t possibly be any cuter if she tried.

Madara motioned her to sit on the bed while he crossed his arms in front of his chest and positioned himself in front of her in his most authentic imitation of an angry dad posture.

“Now, Ms Haruno, can you tell me why I’m disappointed in you?”

Tucking her chin into her chest, Sakura mumbled something incoherent in that tiny unsure voice she always used whenever she thought she did something wrong.

“Speak up, little one, I can’t hear you.”

“Because I pretended to be someone I’m not?”

“And why do you think that upset me?”

She started chewing on her bottom lip which drove Madara absolutely mad for 5 hellishly long seconds before answering, “Because you told me once already that I shouldn’t worry about my age or how experienced I seem to others, and that you picked me because I’m so young, and that I should be proud of it and not try to hide it, but I did that anyway and now you’re mad at me.” The pinkette was now nervously tugging on the ends the blanket she was sitting on while looking up at him with a pleading look in her eyes, silently begging him to forgive her.

Madara knew he was being cold when he didn’t answer immediately, instead fixing his glare on her for a few more seconds and allowing himself to enjoy her display of absolute submissiveness.

“Please, Sir, I can’t stand the thought of you being disappointed in me. Please, just tell me what I can do to make it up to you. I’ll follow all of your rules. I’ll be good, Sir, I promise.”

Gods have mercy on him, she was the perfect little girl. All submissive, obedient, and desperate to please him. And the best thing was, she wasn’t even faking her little persona. She didn’t just wear frilly dresses or unicorn pyjama bottoms to impress someone, she didn’t just braid her hair into pigtails because she wanted to look younger, she didn’t just pretend to constantly crave his guidance and approval because she thought that’s what turned him on – she just really was genuinely little.

And also in desperate need of some punishment.

“It seems like you’re no longer able to decide which clothes are appropriate for your age. In order to prevent you from embarrassing yourself and our entire orchestra, I will decide what you wear to formal events. We start right now, I’ll find something more suitable for tonight’s party. You’re going to change and we’re going to go back, so you can prove to whomever you want to prove that neither your age nor your clothes define how good and how experienced a musician you are.”

Madara opened her closet where she had hung a couple of dresses, skirts, and blouses and started going through her clothes when he heard her protest behind him.

“But Sir, is that really necessary? It was a one-time thing, I promise it won’t happen again.”

He handed her a simple white blouse and a floral skirt he had often seen her wear and sternly added, “I’m giving you the opportunity to comply with my rules willingly. If you keep misbehaving and disobeying me, I can always just spank some sense into you.”

Judging by her scared wide eyes and the deep blush spreading across her cheeks, that threat was enough to get her moving. With a nervous little Yes, Sir, Sakura disappeared into the bathroom to change into her new outfit. When she got out, he beckoned her to get closer to where he was leaning against a desk.

“Now isn’t that more comfortable?”

Madara watched his pretty little protégé twirl in front of a mirror before she nodded her head in confirmation. “This is actually one of my favourite skirts. Though I rarely wear it to formal events.”

“Why is that?”

“Well … it’s silly, but … I rarely wear skirts and dresses without thigh high socks, because I just think it looks so cute.”

Oh, he noticed.

“And even though I admittedly don’t have the fanciest fashion sense, even I know you don’t wear thigh high socks to an after party. So I usually just choose an outfit where I wouldn’t have worn socks anyway. Even though I’ve got the prettiest and cutest socks ever that just go perfectly with this skirt.”

Madara noticed the way her eyes started to sparkle as soon as she got out of the bathroom. She obviously felt much more comfortable now, and she even seemed to enjoy playing dress-up for him. So he decided he would indulge her.

“Well if you really think that outfit is incomplete without your socks, why don’t you put them on and show me?”

“Really?” Her eyes lit up like a Christmas tree, and she immediately dashed to her suitcase where she rummaged around in search of her socks. Taking a seat on the bed, she quickly rolled them over each leg, stepped in front of the mirror to Madara’s left and twirled around all happy and cute. Then she turned towards him and extended her left leg to show him her socks. “See, they’ve got cute little kitty faces on the upper part here, and they’ve even got cat ears sticking out of the hem, and I use them to pull up the socks.”

“That’s adorable, little one.”

She blushed and shyly bit her bottom lip before whispering a tiny Thank you, Sir.

“There’s only one problem. You got changed so quickly that you look all dishevelled now. Your blouse isn’t neatly tucked into your skirt and your socks aren’t pulled up to the same height. I can’t let you go to a fancy afterparty like this, now, can I? Come here, princess,” he spread his legs and gently pulled her closer to him, so she was now standing between them, “let me fix this for you.”

While Madara was busy fixing her outfit – smoothing out wrinkles, tucking in her blouse, neatly rolling up her sleeves, and taking his sweet time doing it – Sakura was busy trying to stand still and not sway back and forth from the constant pushing and pulling. “Little one, you’ll need to stop fidgeting if you want me to fix your outfit. Hold on to me, so you can keep still.”

Gingerly, his little protégé placed her tiny little hands on his shoulders and used them to push back against his pulling and prodding.

“Sir, is this an outfit you would deem appropriate for me to wear to formal events?”

“Absolutely. Why?”

“Good. Because in that case, I don’t think I have a problem with you choosing my outfits from now on. I’m glad you seem to know what I like.”

Madara was met with a shy sincere smile from the pink-haired girl standing between his legs, and he was once again reminded of the fact of how adorably innocent she was, because no other woman – or even girl for that matter – would say I’m glad you seem to know what I like without being aware of the sexual innuendo of such a statement. But Sakura was so incredibly pure and chaste that Madara would bet his left testicle that she could suck on a popsicle in a room full of men and still be surprised that every single one of them was sporting a giant hard-on.

He took in her appearance and noted that the only thing still in need of fixing were her socks, which he purposefully saved for last. Now was the time to see if she would stop him from really overstepping the mark. Though, granted, fixing one of his musician’s outfit in such an intimate manner was already inappropriate, Madara still would have found a way to somehow talk his way out of it and make it seem like a halfway reasonable thing to do for an image-conscious conductor. But putting his hands underneath her skirt and pretending to pull up her socks under the thinly veiled guise of fixing her outfit – that was a completely different kettle of fish altogether.

“Are you going to do my socks, too, Sir?”

When Madara looked into her face, he immediately had an answer to his question of whether or not she would allow him to go this far. Because there was no insecurity or hesitance in her eyes, there wasn’t even the tell-tale blush or the flirtatious smile of someone who understood the intimacy of a man about to put his hands on a woman’s bare upper thigh. She looked at him expectantly as if it were the most natural thing in the world for a conductor to pull up the thigh high socks of his musician beneath her skirt.  

And so that was exactly what he did.

“Of course, little one. We want your two little kitties to be at eye level with each other, don’t we?”

That remark got him the cutest little giggle as Madara hooked his fingers into the hem of her left sock and slowly pulled it up her slender thigh.  

“Sir, you can’t forget to put the faces in the middle. It will look weird if the two kitties don’t face the same direction.”

“You’re right, princess. We don’t want somebody thinking your two kittens aren’t getting along with each other, now, do we?”

He could hear another giggle as he enveloped her left thigh with both his hands and rotated the sock so that the kitten face was in the middle. He allowed his thumb to slowly brush the back of her thigh before he willed both his hands to let go of her. Madara gave the two cat ears another tug and turned his attention to her right leg.

Again, he hooked his fingers into the hem of her sock and very slowly pulled it up, until it was the same height as the left one. Then he put his hand on the back of her knee and let it wander upwards to smooth out any wrinkles until his hand almost touched her ass. Using both hands again, he enveloped her upper thigh and gave the sock a few twists until the kitten face was in the middle. While his right hand was busy fixing the cat ears, Madara’s left hand was stroking up and down her inner thigh and came dangerously close to her panty line. He allowed himself to enjoy the feel of her soft flesh beneath his fingers for a few more seconds before lowering his hands to the slightly more respectable area of her knee caps.

“All done now.”

A shaky breath escaped her lips before she shot him a grateful smile. “Thank you, Sir. But I can’t see anything. The skirt is too long, it’s covering the kitties.”

“Pull it up, then.”

“Oh… right, of course.” Sakura shot him a bashful look, bit her lip, and then grabbed the hem of her skirt to pull it up a bit.

“See how pretty your legs look?” Madara asked while stroking the back of her thighs beneath her skirt.

“Mhm. I love these socks, they make me feel so pretty. I’m glad you made me change, Sir, I feel so much more comfortable now.”

“I’m glad you didn’t make a fuss. See how easy everything can be when you’re a good girl who listens and does as she’s told.”

“Um, Sir … about that.” Madara watched the young cellist start nervously playing with the end of his tie. While she was lost in thought, he took the opportunity to slowly move his hands upwards until his fingers were barely brushing the underside of her cheeks.

“Were you, um … were you really going to – I mean, if I had put up a fight, would you really have … you know?”

When she raised her head to peek up at him, Madara was met with the usual combination of a bashful look, a tell-tale blush and her signature circuit-frying lip bite. But she wasn’t the only one capable of rattling the other, he thought. After all, his hands were still very much beneath her skirt all but groping her ass.

“Would I have done … what, Sakura?” he prompted teasingly while giving the back of her thighs a firm squeeze.

She closed her eyes for a second and sighed quietly, before looking at him again.

“You know, Sir. Would you … Would you have,” she leaned in closer and whispered, “sp-spanked me?”

“Of course, I would have.”

Her blush turned an even deeper shade of red, and Madara could hear her breath quickening. If he didn’t know any better, he’d say she was intrigued by the thought of his hands leaving bright red imprints on her ass.

“Don’t worry, little one, I’m not going to spank you now for what you did tonight, because we didn’t set any rules for that and you didn’t know that punishment was even involved. But you do know now, so I suggest you try your best to be a really good little girl from now on.”

She eagerly nodded her head and added a nervous little Yes, Sir before she went back to playing with the end of his tie.

“But um, when you,” Madara watched her tongue dart out to wet her lips, “spank me … what does that feel like? Does it hurt?”

“Now why would you want to know that? As long as you don’t do anything wrong, you have nothing to worry about on that front.”

“I just don’t think that I can sleep tonight knowing that there’s a possibility of me getting punished and I don’t even know what that form of punishment looks or feels like.”

Oh, she was intrigued alright. Madara couldn’t shake the feeling that he just broke a dam. For both of them.

“Well, I wouldn’t want my protégé to lose sleep over anything.”

He grabbed the back side of her skirt, pulled it up above her ass and gave her right cheek a sound smack.

And Gods have mercy on him, in that exact moment he heard the most delicious moan he ever elicited from a woman. If Madara hadn’t already thought that this innocent young cellist was the perfect little girl for him to nurture and to discipline, hearing her moan after being spanked for the first time would have given him the last proof he needed to know that she craved his dominance as much as he craved her submissiveness.

“This is what a spanking feels like. A very, very nice spanking, mind you. It’s going to hurt a lot more when I’m angry with you.”

“Yes, Sir. Thank you, Sir.” She nodded her head in understanding while rubbing soothing circles on her backside.

Madara was enjoying this way too much, so he had to bring this to an end soon before he completely lost control of his senses. If he were to see her bite her lip one more time, Madara swore his dick would explode.

“Now that we’ve cleared up a few things, I suggest you return to the party. There are a lot of people there eager to meet you. And remember,” he grabbed her chin between his fingers and leaned closer, “be a good little girl for me.”

Madara watched her blush deepen as she stared into his eyes with a dreamy look and moaned a tiny little Yes, Sir.

After she had gathered her things and grabbed her purse, they both left her hotel room. Sakura headed towards the lift when she noticed Madara wasn’t following.

“Aren’t you coming, too?”

“You go ahead, I’ll join you in a bit. I just need to take care of something first.”

My rock hard dick.

The conductor watched his protégé step into the lift and wave goodbye. “Ok then, see you in a bit, Mr Uchiha. And um … thanks.” Sakura shot him a bashful smile before the doors closed.

Madara released a sigh of relief before focusing his gaze on his hard-on.

“You’re going to both hate me and love me for what I did tonight.”

[metalandmagi]

Fall 2019 Anime Worth Watching

Wondering what anime to watch now that the jam packed summer season is over? Never fear, we’re into the fall, and there’s even more great shows this season! It’s my last rec list of the year so we’re in the home stretch now!

Full disclaimer, this season is packed with great shows, but a lot of these are not available on Crunchyroll...so here’s a link to a list of where you can watch everything legally on streaming! And I’ll but an (*) by everything that IS on Crunchyroll.

And here’s my recs for every season this year:

Summer 2019

Spring 2019

Winter 2019

And here’s my master list for 2020

New shows!

Chuubyou Gekihatsu-Boy (Outburst Dreamer Boy): A comedy in which a normal girl just wants a peaceful high school life, but finds herself surrounded by a group of ridiculous, overly dramatic boys who are all part of the “hero club” who try to make her school life better by helping her make friends. This is all well and good, but all the boys are delusional in one way or another. For example, one thinks he and his friends are basically Power Rangers, and another is obsessed with fabricating dramatic fake anime backstories for himself. It’s Ouran High School Host Club without the hosting. It’s absolutely hilarious, but it’s really flying under the radar because it’s not on Crunchyroll.

Kabukichou Sherlock: A surprisingly comedic modern version of Sherlock Holmes that takes place in the seedier portions of Japan in which a bunch of the city’s quirky detectives try and hunt down Jack the Ripper. I was not expecting this to be nearly as good as it was. The characters are great, Mrs. Hudson is a transvestite cabaret singer, the soundtrack is bomb, it’s an original anime by Production I.G. AND SHERLOCK EXPLAINS HIS DETECTIVE PROCESS THROUGH MYSTERY SOLVING RAKUGO!!!! 

Babylon: NO, NOT FATE BABYLONIA! This is a mystery/thriller involving a case of illegal clinical research for a pharmaceutical company that leads down a rabbit hole full of murder, suicide, and political intrigue. IT’S LIKE DEATH NOTE AND MONSTER HAD A BABY AND IT’S FREAKING AMAZING! I haven’t been this interested in a mystery/crime anime since Erased. The first episode will definitely leave you...hanging…. The only problem is it’s not on Crunchyroll, so I have a feeling most people won’t know about it because it’s on freaking Amazon Prime!

Hoshiai no Sora (Stars Align): A coming of age sports anime in which a boys soft tennis team sucks so bad that the school will disband them if they don’t win a tournament. And the team captain is so desperate for serious members, he literally pays his childhood friend who recently moved back into town to play on the team. And said childhood friend has an incredibly interesting backstory and struggling family life that ropes you in right away. How is soft tennis different from regular tennis? No clue, but this show is awesome! You can tell by the first episode it is going to be a great coming of age story, with more mature themes of abuse and class difference.

And it’s not the only sports anime with Sora in the title...

*Ahiru no Sora (Sora the Duck): Another sports anime, in which a short, spikey haired boy wants to play basketball (yeah yeah very original) but discovers that his high school basketball team is full of punks! It’s basically what would happen if Izuku Midoriya wanted to be a basketball player. The first few minutes are basically every sports anime you’ve ever seen, BUT it really lives up to its potential by the end of the first episode. It has a likable protagonist, good animation, and the female characters all wear realistic clothes to play basketball in! If you’re a piece of sports anime trash like me, this is definitely the show for you!

No Gun Life: In a detective noir world where everyone has basically become a cyborg, a guy with a gun for a head works to uncover the plans of an evil organization.  That’s it, that’s the whole thing. It’s made by Madhouse AND IT’S A CYBORG WITH A GUN FOR A HEAD! What else do you need?!

Beastars: IT’S JUST ANIME ZOOTOPIA! I’m not even kidding. It’s a school based mystery involving anthropomorphic animals who are faced with the murder of one of their classmates and the disruption of the peaceful coexistence of all types of animals in the school. It involves the whole predator vs prey dynamic and how appearances are deceiving, all with a jarringly serious tone considering everyone’s an animal. The only thing that doesn’t sit right with me is the use of 3D animation...which I notoriously despise no matter how great the show is. But even I am willing to put aside my hatred to keep watching this anime. The characters are interesting, it’s shot really creatively, and I love how ridiculously seriously it takes itself. Apparently it’s going to be on Netflix at some point.

*Shin Chuuka Ichiban (True Cooking Master Boy): It’s Food Wars’ less porny sibling that takes place in 19th century China, where a young boy named Mao is a master chef who travels around spreading his love for cooking! This is a reboot/continuation of an anime based on a manga from the 90s so there’s a really fun retro art style that’s nice to see updated. Apparently it picks up in the middle of the original story, but I haven’t felt like it’s necessary to see the source material to enjoy it or understand it. Also the soundtrack is bomb! It’s a great shounen to watch if you want more cross-cultural cooking anime that’s not straight up porn in your life, and it will definitely make you hungry!

Next seasons and Continuations!

 And don’t forget the summer leftovers, and some shows are getting continuations!

*Chihayafuru season 3: This is an incredibly fantastic underrated sports/club anime about a girl named Chihaya who struggles to find members for her karuta club after her best friend who made her fall in love with the game moves away. Never heard of “karuta”? It’s a physically and mentally challenging traditional Japanese game involving 100 poems written on cards that the players must memorize and locate before their opponent….it makes more sense when you see it I promise. This show is goddamn amazing, with incredibly realistic characters, an amazing game that most people don’t know about, gorgeous animation. It’s hilarious, it’s dramatic, it’s sad, and it’s uplifting all at once. 

This doesn’t premier until October 23, (so you’ve got time to binge the first 2 seasons!) but this is by far my most anticipated show of the season and quite possibly the entire year! I’VE BEEN WAITING SO MANY YEARS FOR ANOTHER SEASON, AND I’M SO PSYCHED!

Kono Oto Tomare (Stop this Sound) season 2: Speaking of club related anime, in case you missed the first season earlier this year, this is an anime about a boy who tries to recruit members for his high school koto club after all his senpais graduate. What’s a koto club you ask? It’s a large Japanese string instrument that no one cares about or plays anymore of course! Their club is endearingly terrible, with literally only one competent person on the team, but they’re aiming for nationals anyway, because...of course they are. This show seems pretty textbook at first, but it really grows on you the further you get. There are great character dynamics, it’s fun, it’s sweet, and there’s cool music that people don’t hear a lot of! If you like sports or club focused anime, give this one a chance!

*Dr. Stone: An action adventure in which all of humanity is mysteriously turned to stone one day. When a genius high school boy named Senku and his….not so genius friend Taiju awaken 3,700 years in the future, the two must rebuild civilization and turn the world back to normal with the power of science! I know pretty much everyone is watching this already, but I just want to reiterate how amazing it is. It is mysterious, educational, hilarious, and it really makes you think about civilization as we know it today. It was one of the best (if not the best) new show of the summer, and I’m so glad it’s getting a full run!

Vinland Saga: THE VIKING ANIME IS GETTING A FULL RUN!!!!!!!! In case you missed this gem in the summer, it’s a historical drama about a young boy named Thorfinn and his journey to avenge his father’s death and become a great warrior. And it’s all while traveling with his enemies through Northern Europe. It’s a fantastic dark, realistic story in a historical setting that filled the void left by Dororo. Plus it’s animated by Wit, so it looks beautiful. The music is great, the characters are intriguing, the story is interesting, AND IT HAS AN AMAZING ANTAGONIST! It has hype written all over it, so I’m pumped for the rest of the season! Unfortunately, you can only find it legally on Amazon Prime, so that’s why no one’s watching it.

*Fire Force: The (unfortunately timed) action/drama where fire fighters with super powers must protect Tokyo from people who are spontaneously combusting and uncover the evil rooted within their own organization. It’s made by the same person who created Soul Eater, and it definitely shows. The animation is high flying and out of this world. It’s worth watching for the action alone. But be warned, the plot and characters are it’s biggest weakness. It will jump between gratuitous fanservice and hijinks and then rocket into moral dilemmas and disturbing situations with no warning. BUT I still like watching it for the action, and in these later episodes the plot has steered itself back on track a lot more, and I’m way more interested in where the story is going now. I’m hoping that means the second half will give us a better sense of the characters. It also has a top tier muscular waifu! 

*My Hero Academia season 4: I’m sure everyone’s already going to be watching MHA, but I guess I’d have my anime fan badge revoked if I didn’t at least mention this one. I may not read the manga, but I know this arc is going to be a good one! I firmly believe this will be a modern classic, so if you haven’t checked it out yet, it’s really worth watching.

And that’s it for this season. I’ll probably do a list at the end of the year of my top shows of 2019, but otherwise, see you in the winter of 2020!