#YES THIS IS BASED ON RED VELVETS NEW ALBUM

[cutie-lumi]

The Five Eccentrics

[2996-sana]

lost in japan

loosely based on lost in japan by shawn mendes :D

being a soloist in the industry is a bit like riding a rollercoaster of emotions. while it brings creative freedom and a chance to shape your own journey, it comes with its share of loneliness. unlike being in a group, where you share every step of the journey, as a soloist, you navigate the entire process – from making albums, promotions, gigs, to tours and interviews – all by yourself. sure, you have your crew and team, your chosen family, but seeing groups together makes you a bit envious. they get to share the highs and lows, the crazy moments, and the struggles. it's a camaraderie you sometimes wanted.

but being a soloist has its perks. you get to pour your soul into your music, writing and producing most of your songs. music isn't just a job; it's a deeply personal expression. every note and lyric carries a piece of your story, every emotion, and experience that left a mark on your heart.

and then there's the subject of love.

in the vast expanse of the industry, finding love can be a challenge. all eyes are on you, not just in korea but globally, and being an idol only adds to the scrutiny. but that hasn't stopped idols from dating, and who can blame them? when love comes knocking, it's hard to resist.

for you, love arrived unexpectedly in the form of a blind date, set up by mutual connections. specifically, yeri from red velvet, who passed down the idea to nayeon from twice. and believe it or not, love turned out to be a member of the renowned girl group twice.

love felt like magic, and at this moment, love happened to be right beside you on the couch in the recording studio.

"baby, i'm gonna miss you like crazy," sana pouted.

"i know, baby, but it's only gonna be a few weeks, right?" you ask, trying to offer comfort.

"three weeks, yeah, but i hate being away from you," she replies, eyes still a bit teary.

turning to your girlfriend, you put down your guitar and scoot closer to sana. "i understand, baby. if i didn't have schedules lined up for the next few weeks, i'd come with you guys," you say, your voice carrying a tinge of sadness.

sana sighed in defeat and planted a playful kiss on your cheek. "you should write a song about me while i'm away," she teased.

you rolled your eyes. "they're all about you, i don't know what you're on about."

sana giggled, fully aware that it was true. despite this knowledge, hearing every new song you wrote about her never got old and it never failed to make her swoon. your love story held a special place in both your hearts, and having it immortalized in your music felt special. especially since the general public remained oblivious to the fact that the songs were about her or your relationship. it was like a secret world that only the two of you shared, untouched, and safe from the prying eyes of the public.

as much as sana wanted to shout about your love from the rooftops, she found solace in the fact that you both hadn't given anybody the power to take what you had away. having your close circle and family know felt like enough for now.

"i adore you so much, baby. i feel incredibly lucky," sana confessed, locking eyes with you.

"i love you, baby. we're both really lucky," you replied. "are you excited to be home and visit family?"

sana's eyes lit up. "yes! mom and dad wanted to see you, though. but yeah, it's been a while, so i'm excited."

the joy on her face brought warmth to your heart. "i'm excited for you, baby. send me lots of pictures, okay? and don't worry, i'll give you a call when you're together with your parents."

that night, you had to take sana and the rest of twice to the airport. well, technically, you were in the same car they were dropped off in, but you couldn't get off due to the swarm of reporters and fansites. now, that would be a headline.

you gave sana one last kiss and waved goodbye to tzuyu, dahyun, mina, and jihyo, who were sharing the same car.

"be safe, you guys," you said.

"we'll miss you, unnie!" tzuyu exclaimed, and the rest of the girls echoed her sentiment.

"i'll miss you the most, though," sana said sadly.

you reached for her hand and gave it a soft kiss. "i'll see you real soon, baby."

"y/n, you better pay me extra to keep sana from talking everyone's ears off about missing you this whole trip," jihyo joked, earning laughs from the group.

"bank transfer?" you suggested playfully.

"yah!" sana feigned annoyance.

"alright, alright, you guys go. the rest of the girls are already outside."

as the car door closed, you sighed. a busy week awaited you with recording sessions, and on top of that, you didn't have a girlfriend to come home to for the next few weeks. *+:｡.｡　　｡.｡:+*

a week drifted by, and there you were, sprawled out on the cushy couch in a hotel in taiwan, peering through the grand glass windows that framed the city's glowing lights. the sun descended gracefully, painting the sky with warm hues. you wished sana was there with you. memories flooded in — of quiet evenings cocooned on the couch, watching anime after demanding days, and lively moments in the kitchen, dancing and singing together.

"it's cool. just two more weeks," you mumbled.

suddenly, a soft buzz broke the silence.

m.by__sana tagged you in a post

you tapped the notification, revealing snapshots from a dinner a week past, capturing the comically overcooked steak you had made.

당신은 여전히 최고입니다, 셰프님! ♡´ (you're still the best, chef! ♡´)

a gentle chuckle escaped you.

당신은 미친 듯이 나를 그리워하고 있을 것입니다, you playfully commented. (you must be missing me like crazy)

almost instantly, you got a reply.

당신은 모르고 있어요 (you have no idea)

you released a resigned sigh, well-acquainted with the sacrifices that came with being idols. both of you knew the drill — the inevitable stretches of separation that, despite understanding, never got easier.

you knew sana was currently holed up in her hotel with the other girls, having just gotten off a facetime call with her. it didn't make the distance any more bearable, and resisting the urge to fly over and be with her required more self-control than you cared to admit.

wait…

with a swift move, you grabbed your phone and opened up the voice memo app. "na na na na, do you got plans tonight, baby? something something, lost in your paradise. the only thing i’m thinking ‘bout is you and i, i can’t get you off my mind," you sang, a mix of determination and confusion in your voice as you attempted to untangle the tune in your head. recording the snippets, you couldn't help but hope that this spontaneous burst could turn into something.

as a musician and songwriter, you know that when inspiration hits - seize it and craft it into art. luckily for you, sana was the kind of girl who could fuel a billion songs, and the thought of writing about her never got old.

fueled by the sudden inspiration, you reached for your guitar.

*+:｡.｡　　｡.｡:+*

"sana, you okay?" mina inquired, concern etching her features as she observed sana lost in thought, brows furrowed.

"she's fine. just being dramatic because y/n hasn't replied," nayeon chuckled, finding the situation amusing.

"you don't get it; she never takes this long to reply, even when we're both busy," sana whined, her frustration evident.

"unnie, isn't she in the middle of preparing for a comeback?" chaeyoung suggested. "maybe she's stuck in a meeting or recording something."

despite chaeyoung's rationality, sana's irritation persisted. she wasn't worried; she was just plain mad that you weren't responding.

the day dragged on with your replies limited to one-word responses, fueling sana's growing annoyance.

"who does she think she is?" sana slammed the door of her and momo's hotel room. "she didn't even pick up when i called her at my parents' house, and she specifically told me to!"

momo racked her brain, knowing sana's penchant for needing attention. she silently cursed you for leaving her with a moody sana.

"sana, it's okay. she'll eventually reply. i'm sure she has her reasons," momo sighed, offering a reassuring smile.

sana, across the room, sprinted to momo, shoving her phone in her friend's face. "what is this, then?"

momo squinted at your instagram story, revealing a tiktok of you and jennie doing a dance. momo silently cursed you again.

"uhh, scheduled post? maybe it's a new challenge," momo suggested, attempting to ease the tension.

sana rolled her eyes and threw her phone on the bed. "i don't care anymore."

"we can go out tonight, satang!" momo encouraged. "you'll get your mind off y/n."

sana shook her head defiantly. "i'm not going out! i'm staying in."

"nope, you can't," momo declared, standing up and joining sana. "you promised, remember?"

sana groaned. "fine, whatever, but i won't like it." *+:｡.｡　　｡.｡:+*

sana and the group entered mina's cousin's newly opened restaurant, exclusively reserved for the night. despite the collective effort to lighten sana's mood, she remained unusually gloomy, a stark contrast to her typically bubbly self.

"sana, you look ugly when you’re frowning," jeongyeon teased, eliciting laughter from the group. sana responded by sticking her tongue out playfully. just as sana was about to retaliate, their food arrived, and the delightful aroma of the ramen momentarily diverted her attention. she was clearly hungry.

the dinner unfolded with vibrant conversations about their promotions, and even sana couldn't resist breaking into a smile and sharing a few laughs. after finishing her ramen, sana reached for a napkin on the table and discovered something tucked underneath — a small note?

do you have plans tonight?

suddenly, the lights dimmed, causing gasps from everyone. a soft strumming of a guitar filled the air.

"all it'd take is one flight,

we'd be in the same time zone."

sana could recognize that voice anywhere. her eyes shifted across the room, finding her girlfriend perched on a high stool with a guitar, singing just for her. sana could barely wrap her head around what was happening. she glanced at the girls, who were all smiling with their phones up.

as you sang, it dawned on sana what the song meant. her eyes widened as she listened.

“do you got plans tonight?

i'm a couple hundred miles from japan, and i

i was thinkin' i could fly to your hotel tonight

'cause i can't get you off my mind.”

you smiled and threw her a wink. sana couldn't help but cover her blushing face with her hands.

“do you got plans tonight, baby?

i was hopin' i could get lost in your paradise (paradise)

the only thing i'm thinkin' 'bout is you and i,

and i can't get you off my mind.”

sana should've probably known you were up to something. you wouldn't have left her hanging like that. but who would've thought you were crazy enough to leave in the middle of your schedules and fly to japan for her?

“let's get lost tonight,

let's get lost tonight,

baby, you and,

i can't seem to get you off my mind.”

the guitar strumming gradually faded, and the girls were howling and clapping. you walked toward sana with a single flower in your hand, wearing a big grin.

"hi," you said, still grinning.

sana got up, playfully shoving you before throwing her arms around you. "you are crazy!"

"crazy in love, apparently," dahyun giggled.

"are you complaining, though?" you laughed, ruffling her hair. then, you whispered in her ear, "if love doesn't make you do crazy things, then are you really doing it right?" *+:｡.｡　　｡.｡:+*

"lost in japan is trending," sana giggled from the couch.

you joined her, tossing a blanket over both of you. "you think they're putting two and two together?" you laughed.

sana laughed, sharing a message from a fan on the bubble app.

"that new song from y/n is definitely about you and i'm taking no arguments."

[meow-zephyr]

head canons on music artists that alhaitham probably likes to listen to

okay, so alhaitham always has his headphones on and has a music player, right? so here are some of the artists that he most likely listens to. modern time setting ofc lol.

i compiled the songs here in this playlist (will probably add more songs from time to time): what is he listening to?

general head canons:

- he definitely has spotify premium. doesn't tell kaveh about it because it will lead to bickering on why he just didn't get a family plan😞

- he's the type as well to past his time by looking at vinyls and see if there is anything he likes.

- he'll appreciate it if you give him a mixtape or a playlist, because then he can base from the songs that you pick on what you think of him xD

- alhaitham does listen to classical music (as what most people expect him to listen to) but he indulges himself in other genres.

- listens to podcasts as well especially on philosophical topics xD

• taylor swift.

yes, he enjoys listening to the queen herself and especially songs from folklore and evermore. he appreciates the lyricism taylor puts into her songs and it's the language nerd in him that gets fueled whenever he listens to her songs. his top songs are probably the last great american dynasty, august (pls he appreciates the story in the song), illicit affairs (because it connects to august wahaha), willow, champagne problems, ivy (hah dendro things), and evermore. he's not much of a lover album enthusiast but he likes death by a thousand cuts. he's bit of an midnights stan but won't openly admit it or in general, he won't open up about being a nerd for taylor (resisted geeking out about midnights when it came out).

songs from taylor's other albums that he likes:

- fearless (he enjoys the vibes of this song)

- untouchable

- sparks fly

- all too well (10 min vers because hell yeah)

- state of grace (YOU'RE MY ACHILLES HEEEEELLL)

- clean

- new year's day

- my tears ricochet

- marjorie (esp with the background of the song, this song has a place in alhaitham's heart)

- lavender haze (the acoustic version esp)

- maroon

- mastermind

- would've, could've, should've

• the 1975

he likes how they convey emotions in their songs in not a sappy way but more raw and mature. songs like sincerity is scary, mine, and i couldn't be more in love is definitely somewhere his top listens.

other songs by the 1975:

- human too

- chocolate

- she's american

• arctic monkeys

not so surprised but he likes the mood of what arctic monkeys gives. mardy bum, science fiction, black treacle is his go to pick. but he does enjoy listening to each of their albums, especially when he's just doing paperwork.

other songs he likes:

- knee socks

- there'd better be a mirrorball

- 505

• red velvet

yes, boi enjoys a bit of kpop probs because of kaveh blasting it almost on a daily basis. songs from the album 'the perfect red velvet' that has bad boy in it and some of 'the reve festival' finale that has psycho in it. he enjoys the vocals very much in their songs (most defo a wendy stan). likes most of the songs if it is the velvet concepts of the band (meaning they're more on darker themes). also another artist he wouldn't be open telling others that he likes xD

kaveh doesn't know he likes red velvet so he just keeps quiet about it.

songs from red velvet he likes as well:

- la rouge

- eyes locked, hands locked

- hello, sunset (guilty pleasure song for him)

- bye bye (because he's a wendy stan, that one part of wendy in this song blesses his ears)

- one of these nights (probs when he wants to feel something)

- feel my rhythm (yes, he enjoys the mix of classical music with kpop)

- good, bad, ugly (from the same album as feel my rhythm)

wild card songs he likes (basically songs you wouldn't expect he would like but he does):

- out of time by the weeknd

- west coast by lana del rey (another one of kaveh's artists that he got affected by. he can't deny that lana has amazing vocals and is reconsidering if he should try listening to more lana del rey)

- alcohol-free by TWICE (another guilty pleasure kpop song)

- solar power by lorde

- sometimes by ariana grande

- snooze by sza

- boogieman by childish gambino

he certainly spends a lot of time in spotify, that's all i can say. get him to listen to something his taste and he'll try giving it a listen.

[insomnias-wonderland]

My 2024 MAMA Thoughts

My 2024 MAMA Thoughts

Does anyone even care about MAMA at this point? Well, I’m a few years in to these kinds of posts and feel like I’m in too deep to stop this tradition now! Again, this is mostly to help me reflect on my artist and song preferences from the year, and also will be a little time-capsule of sorts to be nostalgic about in the future.

As before, the first artist/song is my vote based on the nominations released, then if relevant, I will also shout-out the artists/songs I wish were actually nominated for that category.

Best Male Group: Stray Kids (their stage presence is unreal, ATE album had some staying power for me); even though I didn’t vibe with a lot of boy groups this year, I wish ATEEZ was also nominated - the fact that they weren’t is so wild to me!

Best Female Group: TWICE (With YOU-th is such an amazing album! Plus I’m still 3rd gen biased all the way!); I wish Dreamcatcher was nominated, as always

Best Male Artist: Taemin (his Eternal album was so good);  not sure where the release date cutoff is for nominations, but I wish DPR IAN was nominated for his 10/2023 work alone

Best Female Artist: IU (I got to see her at her HEREH tour and it was amazing!!); Younha is never nominated for these, but I wish she was!

Best Dance Performance - Male Group: ENHYPEN - “Sweet Venom”; I wish Stray Kids’ “Chk Chk Boom” was nominated instead of “Lalalala”

Best Dance Performance - Female Group: aespa - “Supernova” (it’s iconic, simple as that)

Best Dance Performance - Male Solo: Jungkook - “Standing Next to You”

Best Dance Performance - Female Solo: Nayeon - “ABCD”

Best Vocal Performance - Solo: IU - “Love wins all” (more like IU wins all, she’s the best!)

Best Vocal Performance - Group: Red Velvet - “Cosmic” (really torn between RV and (G)I-DLE but it’s for vocals! Gotta be RV!); again, I wish the nomination was just 2 words: Dreamcatcher - “JUSTICE”. Simple as that.

Best Rap & HipHop Performance: DEAN - “Die 4 U” (he reappeared with a vengeance); I wish Epik High - “Antihero” was nominated

Best Collaboration: GroovyRoom, Huh Yunjin & Crush - “Yes or No” (I’m a sucker for GroovyRoom’s beats…); I wish Xdinary Heroes & Yoon Do Hyun - “iNSTEAD!” was nominated

Best Band Performance: LUCY - “The knight who can’t die and the silk cradle” (this category is sooo tough for me as I love N.Flying, HYUKOH, Day6, and LUCY, but objectively I have to say out of the songs actually nominated, LUCY’s is the strongest)

Best Choreography: LE SSERAFIM - “Crazy” (mores than TikTok trends, I liked it as another way of elevating Ballroom Vogue into more of the mainstream consciousness)

Best New Male Artist: NCT Wish (didn’t really feel strongly about any of the new boy group debuts this year but SM always has good production)

Best New Female Artist: QWER (I don’t really vibe with their particular style, but I love their presence in the industry!)

Personal Artist of the Year Candidates: Dreamcatcher, LUCY, Xdinary Heroes, Younha

Personal Song of the Year Candidates: Dreamcatcher - “JUSTICE”, LUCY - “The Knight Who Can’t Die and the Silk Cradle”, NMIXX - “DASH”, Xdinary Heroes - “Save me”

Personal Album of the Year Candidates: Day6 - “Fourever”, Dreamcatcher - “[VirtuouS]”, IU - “The Winning”, TWICE - “With YOU-th”, Xdinary Heroes - “Troubleshooting”, Younha - “Growth Theory”

[nanasarea]

Lee Jeno as your idol bf

Genre: fluff

Pairing: jeno x idol!reader

Prompt: Jeno and you being the cutest duo

Request: Can i request maybe Jeno as your idol boyfriend?

Word count: 1348

Haechan /  Yuta / Mark /  Jaemin / Chenle / Renjun / Jisung / Jaehyun

you were a new sm rookie

so you saw each other a lot

but you never actually interacted

he had his busy schedule

and you spent most of your time practicing

but you whenever you saw him

your heart went boom

we got that boom boom boom boom boom 

but his does too

he was the mc when you debuted

he stood next to you when he introduced your group

yeeun was on the other side

and he had to give you some flowers

yeeun gave your band mate some too

but that didn’t stop him from blushing 

the dreamies teased him so much

he replays the video on youtube

like 25 times

fast forward to promotions

you go on a variety show 

it’s an sm special

so a few members from nct, your group, red velvet, so on

and the mc asks you for your ideal types

jeno gets shy instantly

“are you shy because she’s here?” - renjun

*cue to Renjun’s funeral*

he just smiles 

while mentally punching Renjun

but it’s okay 

because he physically punches Haechan when he said

“bro, you’ve had this crush since she was a rookie, man up.”

at least you don’t know it’s you, right?

haha wrong

Haechan is there what do you expect

he accidentally says you name when he explains Jeno’s crush

RIP Renhyuck when they get back to the dorms

mainly hyuck tho

your members tease you for it too 

because they know you have the biggest crush on him

“Jeno, it’s okay, y/n has a crush on you t-”

you end up putting your hand over their mouth a little too late

you know how irene is like almost everyone under sm’s mom?

she ends up setting you up 

“ah, young love.” 

“irene-noona, you’re acting like you’re 50″ -jeno

“shush, child.” -irene

you stay after practice to work on your dance

just so happens that jeno also planned to practice then

so you end up showing off to each other

and flirting

very shy flirting 

because he gets flustered when either of you say anything

or do anything

he gets so red when you bring up the variety show

you end up just sitting on the floor

and talking the whole night

yes, the whole night

mark walks in to start practice

“I didn’t know anyone was going to be here this early.”

“early?”

“it’s 7am?”

cue looking at each other and getting flustered

thankfully mark came for 127 practice

yours don’t start until 3

and Jeno’s doesn’t start till 6

so you end up getting some coffee 

at this point, you’ve spent 12 hours together

but neither of you are ready to say goodbye

sure, you ran out of things to say

but was that going to stop either of you?

hahahahaha no

you end up going back to your dorms for lunch time

because both of your members were worried

and you hadn’t showered last night

and you had practice

so by this point, you needed one

but before going your separate ways

he gets your number

obviously

and you give it to him

obviously

you haven’t even been seeing each other for 3 weeks

but the fans know

the fans know everything

with like almost no proof

you go out and invite some friends to avoid a dating scandal?

they see right through it

even with hats, sunglasses and masks?

they recognize based on your height

so sm’s like “yes, they are dating, now shut the fuck up”

fans: we been knew tho

ok so remember when

chenle: jaemin mom, jeno dad

well

congrats, you’ve just adopted a whole group of chaotic crackhead

not that you mind

you love them

jisung even starts calling you his parent

casually

jaemin is like highkey annoyed

first you steal his boyfriend, now his son?

but it’s okay

because you also steal his heart

believe it or not, he’s your number 1# shipper

you were shocked but not surprised

bc like you two do be cute

going on vlive together like all the time

mainly voice only

bc “babe, i have no makeup on.”

“jeno, literally stfu, you look perfect”

“aww, babe.”

renjun throwing up in the bg

i’m not saying he would want to match 

but he would lowkey want to match

you’d end up asking jaemin to take like 879 pictures

jaemin lowkey loves it

but he still complains

you have to buy him coffee for his hard work

your ig account being filled with cute pics like

“ootd w/ babe”

you mention jsmr to him once

and he starts doing them again

even features you on one of them

he just stares at you the whole time

did you actually do a good job with the asmr?

do you think he cares?

you’re cute, 

he’s whipped,

you could scream into the mic and he’d be like

“omg, that was amazing”

whipped jeno whipped jeno whipped jeno whipped jeno whipped jeno

oh and 

did i mention whipped jeno?

your comeback teaser came out like 3 seconds ago?

he’s already watched it 5 times

screenshots every frame with you in it

fanboys

then proceeds to fanboy to you

“bABE YOU LOOK TOO GOOD, YOU’RE PAYING FOR MY MEDICAL BILL BC I JUST HAD A HEART ATTACK”

daily snaps from him when you both have schedules

sometimes even from hyuck teasing him

sends a photo of jeno on his phone

with a picture of you in a thought bubble over his head

“y/n, we love you, but we need to be on stage in 2 minutes and he’s still on his phone talking to you. stop.”

so he might have bought your album like 34 times

he didn’t get your photocard

and he was going to get your photocard

sure, he could have just bought the photocard somewhere on ebay

but no, he wanted to get it in the album

he finally does and sends you a snap 

posing with the card 

40 albums in the bg

“finally got yours, babe :) “

he’s too precious

you end up rapping his verse once on tv

he has the video saved on his phone

watches it before bed

and when he wakes up

“renjun, look at this one fancam, i can’t”

“damn”

“huang rENJUN, THAT IS MINE”

jealous jeno? 

jealous jeno

he respects you and knows you’re only his

but he still gets a tiny bit jealous when you interact with other idols

hears a new rookie group member say you’re his idol type

“nOPE, BUDDY, THAT’S MY LINE”

reassuring him that he’s your one and only

you come to his concert

you sit with his 127 and wayv members

you’re expecting a cute family friendly concert

until he starts making dream show

a strip show

doyoung’s just like

“so, my son is grounded now”

johnny just nudges you and smirks

you end up blushing 

like a lot

he has a secret fan account

and so do you but shhh he doesnt know 

ends up liking a tweet on his main account

by accident

and now everyone knows

you tease him

the dreamies tease him

doyoung scolds him

and then teases him

back to him being an mc

you just had a comeback

and he secretly holds your hand behind your backs

but it’s not secretly

because everyone sees

and it’s okay

bc it’s cute af

you end up doing an sm station together

you wrote the song together

about each other

so you spend a lot of time in the studio

messing around

you try and write some lyrics

but get distracted by him playing guitar

you just stare at him

and he gets so shy when he notices

the mv is filled with cute videos of you two

there’s this one scene where he does something very cheesy

and renhyuck end up recreating it

to tease you two

but you don’t care

you’re too whipped for each other 

to sum it up: your most frequent view is his eye smile and you’re not even mad, because you’re just as whipped for him as he is for you

hi, i love jeno 🥺

[sunflowereveryday]

NCT Hollywood

TL:DR: I’m neutral about this new potential sub-unit.

I’m pretty sure a lot of Kpop fans read the news about SM x MGM to create a survival programme to debut NCT Hollywood. I know some of you guys want to burn SM because of that. On the other hand, we’re in the age of globalisation. SM creating a US-based group was going to happen regardless. Honestly, you just have to view NCT like the Avengers, they all have their own stories but when the time is right, they will join forces. Although I’m just a casual listener, seeing NCT grow as a brand is rather interesting and it was really cool to see how NCT 2020 connected the dots between 127, Dream and WayV. Don’t you think it will be interesting to see how SM will market their Japanese unit and USA unit? 127 is literally a Seoul based group whereas, Dream is living in a dreamland and, WayV are time/space travelers.

NCT Hollywood, I think it’s probably connected to their Youtube post, when they were scouting for new trainees. This new show is still in discussion and I doubt it’s going to take place within this year. By the time NCT Hollywood debut, some of the current member’s contracts would probably have expired or some of members would have already enlisted. SM mentioned at start of 2020, SM will debut another boy group by end of 2020, don’t worry about Shotaro and Sungchan. Let’s be honest, NCT Hollywood doesn’t mean NCT or SM will spoon feed them success. They would still need to fight for their success. Similarly when WayV debuted, was WayV spoon fed their success from 127 and Dream? No. They still had to appear on shows, host concerts and fanmeetings to get to where they are at. Sure SM can improve their management with WayV but 1) COVID is still around and 2) I personally don’t think putting them on a Korean TV show would be suitable since they are not K-pop group and the general Korean public are most likely not interested in a Chinese group. Furthermore, the fact that a Korean drama got cancelled due to using Chinese props. Do you think the general public in Korea will be open minded enough to watch a TV show with a Chinese group guest on it? Also, let’s not forget that Kick Back sold 200k+ albums (and trended on various digital platforms) with almost zero promotions during COVID - Not many groups can achieve such sales before COVID.

As a fan from 2nd gen, I do want to highlight the hypocrisy I see within the K-pop fandom. Whenever SM announce a new group, there will always be disagreements and repeating the same narrative ‘SM doesn’t need a new group, they need to focus on xx’ When Red Velvet debuted, fans said SM needs to focus on f(x), when NCT debuted, fans said SM needs to focus on EXO and when Aepsa debuted, fans said SM better not forget Red Velvet. The same narrative is being repeated years after years. Now NCT Hollywood was announced, they haven’t even finalised the line up or finish any form of training, some of you act as if they’re going to drop a debut single next month. Some of you say that SM needs to focus on their current groups, however when WayV debuted, did anyone hate that idea? No, instead we just wanted to see Kun, Lucas and Ten leave SM’s trainee basement. When SM obviously hinted NCT Japan line, did anyone hate that idea? No, we just want to see Shotaro and Sungchan debut in a fix unit. So why is it with NCT Hollywood, you all want SM to only focus on NCT’s current sub-unit and stop their expansion now? WayV debuted 3 years after NCT 127 and Dream, NCT 127 just began touring and Dream went on radio and TV shows here and there, 127 and Dream’s popularity was starting to pick up around 2018-2019 however, we still wanted to see SM debut WayV. And with the current Japan line, I’m sure many of you are still anticipating this sub-unit. So I do think it’s unfair to gun down NCT Hollywood, a sub-unit that’s in works and have yet to debut.

I’m not trying to defend SM’s business decisions or tactics but wanting to suggest another perspective. Because at the end of day, we don’t work for SM, I don’t think it’s fair to always blame everything on SM’s management team. However, please do take this post with a grain of salt. I just staying neutral since 1) I don’t work for SM, 2) how SM runs their business is not something for me to be concerned about and 3) I don’t blame SM for wanting to explore to different markets. You can’t always stay within your comfort zone, from time to to time, you have to challenge yourself.

Lee Soo Man World Domination Fantasy & Politics

I know people are always laughing at Lee Soo Man’s world domination views. But I don’t get what’s there to laugh about. Yes USA is big but I doubt he wants to dominate the entire music industry in USA. He just wants to create a realm where he can generate profit from. If you want to earn more money, you have to source it from other countries. Whilst I understand SM is a small cooperation compared to other global companies but what’s wrong with a small company trying to make it big? I don’t think it’s wrong for Lee Soo Man for wanting to expand their market and push themselves into different regions and territories. As a business, you have to take risk in order to grow. If NCT Hollywood fails, then tough luck. Better luck next time.

In addition, I always wanted to point this out. Why do people always laugh at SM trying to break into the US market? If you see US’s market as an unbreakable and untouchable market, don’t you think this is somehow succumbing to the notion of ‘white supremacy?’ Western companies constantly profit from Asian countries but when Asian countries wants to enter the Western market, it’s automatically viewed as a ‘flop’ or ‘embarrassing.’ I don’t see anyone stopping Sephora from opening stores across China. I don’t see anyone laughing when Pixie Lott made her Japanese debut (Dancing on my own ft GD&TOP). And I don’t see anyone judging Little Mix for collaborating with a J-pop group (Flower). So why is it especially funny that SM wants to debut a USA group? Alternatively, if it’s not succumbing to ‘white supremacy’, don’t you think it’s reiterating idea of ‘white fragility’? To be honest, no one is Asia loses their mind when a Western brands enters the Asian market. - On the contrary, this could be due to the normalisation of Western countries self-inserting themselves into Asia, aka colonisation...- But when an Asian brand approaches the Western market, some of you guys tend to lose your mind and try to protect and reserve the Western market. Are you scared that SM will take over the USA music industry, leaving people jobless? Are you trying to reserve the USA market for white owned companies? Globalisation isn’t about opening McDonald and KFC stores around the world, learning English and making people conform to Western standards and lifestyle. It’s having the world connected despite the geographical distance.

I understand that K-pop fans who listen to K-pop is for its East-Asian aesthetics. On the other hand, there are many people out there who aren’t interested in East-Asian culture and don’t listen to K-pop. For example, when SM debuted WayV, it was to create Chinese pop music for the Chinese market since not everyone in China listens to K-pop. Same goes for NCT Hollywood, it’s SM’s strategy to create pop music for the mass USA market than target a niche audience. I personally do think pop culture in general can easily be adapted and localised. So don’t think of it as LSM destroying K-pop, it’s not like he’s disbanding all his groups for this one USA group. But hey, if everything goes well, this could be an opportunity for some of you to work for SM and fulfill that fantasy of working with Kpop idols. In all honesty, this could be a good social experiment of trying to bridge the cultural differences between the West and the East. 

The only thing that bugs me is the survival show, I personally don’t like watching shows where I see a group of aspiring youths completing for one position.

Not gonna lie, I do find the word ‘Hollywood’ extremely cringe worthy.

[bananaofswifts]

IT’S A SUNDAY AFTERNOON in Tribeca, and I’m in Taylor Swift’s loft, inside a former printing house that she has restored and fortified into a sanctuary of brick, velvet, and mahogany. The space is warm and cozy and vaguely literary—later, when we pass through her bedroom en route to her garden, 10 percent of my brain will believe her wardrobe might open up to Narnia. Barefoot in a wine-colored floral top and matching flowy pants, Swift is typing passwords into a laptop to show me the video for “You Need to Calm Down,” eight days before she unleashes it on the world. I have a sliver of an idea what to expect. A few weeks earlier, I spent a day at the video shoot, in a dusty field-slash-junkyard north of Los Angeles. Swift had made it a sort of Big Gay Candy Mountain trailer park, a Technicolor happy place. The cast and crew wore heart-shaped sunglasses—living, breathing lovey-eyes emoji—and a mailbox warned, LOVE LETTERS ONLY. Swift and a stream of costars filmed six scenes over about a dozen hours. The singer-songwriter Hayley Kiyoko, known to her fans as “Lesbian Jesus,” shot arrows at a bull’s-eye. The YouTube comedian-chef Hannah Hart danced alongside Dexter Mayfield, the plus-size male model and self-described “big boy in heels.” The Olympic figure skater Adam Rippon served up icy red snow cones. Swift and her close friend Todrick Hall, of Kinky Boots and RuPaul’s Drag Race, sipped tea with the cast of Queer Eye. The mood was joyous and laid-back. But by the end of the day, I wasn’t sure what the vignettes would add up to. There were shoot days and cameos I wouldn’t observe. For security reasons, the song was never played aloud. (The cast wore ear buds.) Even the hero shot, in which Swift and Hall sauntered arm in arm through the dreamscape at golden hour, was filmed in near-total silence. For weeks afterward, I tried to sleuth out a theory. I started casually. There was a “5” on the bull’s-eye, so I did a quick search to figure out what that number might mean. Immediately I was in over my head. Swift has a thing for symbols. I knew she had been embedding secret messages in liner notes and deploying metaphors as refrains since her self-titled debut in 2006—long before her megafame made her into a symbol of pop supremacy. But I hadn’t understood how coded and byzantine her body of work has become; I hadn’t learned, as Swift’s fans have, to see hidden meanings everywhere. For instance: In the 2017 video for “Look What You Made Me Do,” a headstone in a graveyard scene reads NILS SJOBERG, the pseudonym Swift used as her writing credit on Rihanna’s hit “This Is What You Came For,” a Swedish-sounding nod to that country’s pop wizards. After an excessive amount of ad hoc scholarship—a friend joked that I could have learned Mandarin in the time I spent trying to unpack Swift’s oeuvre—I was no closer to a theory. Pop music has become so layered and meta, but the Taylor Swift Universe stands apart. Apprehending it is like grasping quantum physics. My first indication of what her new album, Lover, would be about came just after midnight on June 1, the beginning of Pride Month, when Swift introduced a petition in support of the federal Equality Act. This legislation would amend the Civil Rights Act to outlaw discrimination based on gender identity and sexual orientation. (It has passed the House, but prospects in Mitch McConnell’s Senate are unclear.) Swift also posted a letter to Senator Lamar Alexander, Republican of Tennessee, asking him to vote yes. The request, on her personal letterhead (born in 1989. LOVES CATS.), denounced President Trump for not supporting the Equality Act. “I personally reject the president’s stance,” Swift wrote. Back in the kitchen, Swift hits play. “The first verse is about trolls and cancel culture,” she says. “The second verse is about homophobes and the people picketing outside our concerts. The third verse is about successful women being pitted against each other.” The video is, for erudite Swifties, a rich text. I had followed enough clues to correctly guess some of the other cameos—Ellen DeGeneres, RuPaul, Katy Perry. I felt the satisfaction of a gamer who successfully levels up—achievement unlocked! The video’s final frame sends viewers to Swift’s change.org petition in support of the Equality Act, which has acquired more than 400,000 signatures—including those of Cory Booker, Elizabeth Warren, Beto O’Rourke, and Kirsten Gillibrand—or four times the number required to elicit an official response from the White House. “Maybe a year or two ago, Todrick and I are in the car, and he asked me, What would you do if your son was gay?” We are upstairs in Swift’s secret garden, comfortably ensconced in a human-scale basket that is sort of shaped like a cocoon. Swift has brought up an ornate charcuterie board and is happily slathering triple-cream Brie onto sea-salt crackers. “The fact that he had to ask me … shocked me and made me realize that I had not made my position clear enough or loud enough,” she says. “If my son was gay, he’d be gay. I don’t understand the question.” I have pressed Swift on this topic, and her answers have been direct, not performative or scripted. I do sense that she enjoys talking to me about as much as she’d enjoy a root canal—but she’s unfailingly polite, and when we turn to music, her face will light up and she will add little melodic phrases to her speech, clearly her preferred language. “If he was thinking that, I can’t imagine what my fans in the LGBTQ community might be thinking,” she goes on. “It was kind of devastating to realize that I hadn’t been publicly clear about that.” I understand why she was surprised; she has been sending pro-LGBTQ signals since at least 2011. Many have been subtle, but none insignificant—especially for a young country star coming out of Nashville. In the video for her single “Mean” (from 2010’s Speak Now), we see a boy in a school locker room wearing a lavender sweater and bow tie, surrounded by football players. In “Welcome to New York,” the first track on 1989, she sings, “And you can want who you want. Boys and boys and girls and girls.” Two years later, she donated to a fund for the newly created Stonewall National Monument and presented Ruby Rose with a GLAAD Media Award. Every night of last year’s Reputation tour, she dedicated the song “Dress” to Loie Fuller, the openly gay pioneer of modern dance and theatrical lighting who captured the imagination of fin-de-siècle Paris. Swift, who has been criticized for keeping her politics to herself, first took an explicit stance a month before the 2018 midterms. On Instagram, she endorsed Democrats for the Tennessee Legislature and called out the Republican running for Senate, Marsha Blackburn. “She believes businesses have a right to refuse service to gay couples,” Swift wrote. “She also believes they should not have the right to marry. These are not MY Tennessee values.” Swift says the post was partly to help young fans understand that if they wanted to vote, they had to register. To tell them, as she puts it, “Hey, just so you know, you can’t just roll up.” Some 65,000 new voters registered in the first 24 hours after her post, according to Vote.org. Trump came to Blackburn’s defense the following day. “She’s a tremendous woman,” he told reporters. “I’m sure Taylor Swift doesn’t know anything about her. Let’s say I like Taylor’s music about 25 percent less now, OK?” In April, spurred by a raft of anti-LGBTQ bills in Tennessee, Swift donated $113,000 to the Tennessee Equality Project, which advocates for LGBTQ rights. “Horrendous,” she says of the legislation. “They don’t call it ‘Slate of Hate’ for nothing.” Swift especially liked that the Tennessee Equality Project had organized a petition of faith leaders in opposition. “I loved how smart it was to come at it from a religious perspective.” Meanwhile, the “Calm Down” video provoked a Colorado pastor to call Swift “a sinner in desperate need of a savior” and warn that “God will cut her down.” It also revived heated debate within LGBTQ communities about the politics of allyship and corporatization of Pride. Some critics argued Swift’s pro-LGBTQ imagery and lyrics were overdue and out of the blue—a reaction the new Swift scholar in me found bewildering. Had they not been paying attention? Nor did it strike me as out of character for Swift to leverage her power for a cause. She pulled her catalog from Spotify in 2014 over questions of artist compensation. She stared down Apple in 2015, when the company said it would not pay artists during the launch of its music service. (Apple reversed itself immediately.) As a condition of her record deal with Universal Music Group last year, the company promised that it would distribute proceeds from any sale of its Spotify shares to all of its artists. And this summer, Swift furiously called out Scott Borchetta, founder of Big Machine Label Group, for selling her master recordings to the music manager Scooter Braun. (When I ask Swift if she tried to get her masters from Big Machine, her whole body slumps with a palpable heaviness. “It was either investing in my past or my and other artists’ future, and I chose the future,” she says of the deal she struck with Universal.) Swift’s blunt testimony during her 2017 sexual-assault case against a radio DJ—months before the #MeToo reckoning blew open—felt deeply political to me and, I imagine, many other women. Swift accused the DJ, David Mueller, of groping her under her skirt at a photo session in 2013. Her camp reported the incident to his employer, who fired him. Mueller denied the allegation, sued Swift for $3 million, and his case was thrown out. Swift countersued for a symbolic $1 and won. In a Colorado courtroom, Swift described the incident: “He stayed latched onto my bare ass cheek” as photos were being snapped. Asked why photos of the front of her skirt didn’t show this, she said, “Because my ass is located at the back of my body.” Asked if she felt bad about the DJ’s losing his job, she said, “I’m not going to let you or your client make me feel in any way that this is my fault. Here we are years later, and I’m being blamed for the unfortunate events of his life that are the product of his decisions—not mine.” When Time included Swift on the cover of its “Silence Breakers” issue that year, the magazine asked how she felt during the testimony. “I was angry,” she said. “In that moment, I decided to forgo any courtroom formalities and just answer the questions the way it happened…I’m told it was the most amount of times the word ass has ever been said in Colorado Federal Court.” Mueller has since paid Swift the dollar—with a Sacagawea coin. “He was trolling me, implying that I was self-righteous and hell-bent on angry, vengeful feminism. That’s what I’m inferring from him giving me a Sacagawea coin,” Swift says. “Hey, maybe he was trying to do it in honor of a powerful Native American woman. I didn’t ask.” Where is the coin now? “My lawyer has it.” I ask her, why get louder about LGBTQ rights now? “Rights are being stripped from basically everyone who isn’t a straight white cisgender male,” she says. “I didn’t realize until recently that I could advocate for a community that I’m not a part of. It’s hard to know how to do that without being so fearful of making a mistake that you just freeze. Because my mistakes are very loud. When I make a mistake, it echoes through the canyons of the world. It’s clickbait, and it’s a part of my life story, and it’s a part of my career arc.” I’d argue that no heterosexual woman can listen to “You Need to Calm Down” and hear only a gay anthem. “Calm down” is what controlling men tell women who are angry, contrary, or “hysterical,” or, let’s say, fearing for their physical safety. It is what Panic! at the Disco singer Brendon Urie says to Swift in the beginning of the “ME!” music video, prompting her to scream, “Je suis calme!” I cannot believe it is a coincidence that Swift, a numbers geek with an affinity for dates, dropped the single—whose slow, incessant bass is likely to be bumping in stadiums across the world in 2020 if she goes on tour—on June 14, a certain president’s birthday. It’s enlightening to read 13 years of Taylor Swift coverage—all the big reviews, all the big profiles—in one sitting. You notice things. How quickly Swift went from a “prodigy” (The New Yorker) and a “songwriting savant” (Rolling Stone) to a tabloid fixture, for instance. Or how suspect her ambition is made to seem once she acquires real power. Other plot points simply look different in the light of #MeToo. It is hard to imagine that Swift’s songs about her exes would be reviewed as sensationally today. I wonder if, in 2019, any man would dare grab the microphone out of a young woman’s hands at an awards show. I stared into space for a good long while when I was reminded that Pitchfork did not review Taylor Swift’s 1989 but did review Ryan Adams’s cover album of Taylor Swift’s 1989. I ask Swift if she had always been aware of sexism. “I think about this a lot,” she says. “When I was a teenager, I would hear people talk about sexism in the music industry, and I’d be like, I don’t see it. I don’t understand. Then I realized that was because I was a kid. Men in the industry saw me as a kid. I was a lanky, scrawny, overexcited young girl who reminded them more of their little niece or their daughter than a successful woman in business or a colleague. The second I became a woman, in people’s perception, was when I started seeing it. “It’s fine to infantilize a girl’s success and say, How cute that she’s having some hit songs,” she goes on. “How cute that she’s writing songs. But the second it becomes formidable? As soon as I started playing stadiums—when I started to look like a woman—that wasn’t as cool anymore. It was when I started to have songs from Red come out and cross over, like ‘I Knew You Were Trouble’ and ‘We Are Never Ever Getting Back Together.’ ” Those songs are also more assertive than the ones that came before, I say. “Yeah, the angle was different when I started saying, I knew you were trouble when you walked in. Basically, you emotionally manipulated me and I didn’t love it. That wasn’t fun for me.” I have to wonder if having her songwriting overlooked as her hits were picked apart and scrutinized wasn’t the biggest bummer of all. Swift: “I wanted to say to people, You realize writing songs is an art and a craft and not, like, an easy thing to do? Or to do well? People would act like it was a weapon I was using. Like a cheap dirty trick. Be careful, bro, she’ll write a song about you. Don’t stand near her. First of all, that’s not how it works. Second of all, find me a time when they say that about a male artist: Be careful, girl, he’ll use his experience with you to get—God forbid—inspiration to make art.” Without question the tenor of the Taylor Swift Narrative changed most dramatically in July 2016, when Kim Kardashian West called her a “snake” on Twitter, and released video clips of Swift and Kanye West discussing the lyrics to his song “Famous.” (No need to rehash the details here. Suffice it to say that Swift’s version of events hasn’t changed: She knew about some of the lyrics but not others; specifically, the words that bitch.) The posts sparked several hashtags, including #TaylorSwiftIsASnake and #TaylorSwiftIsCanceled, which quickly escalated into a months-long campaign to “cancel” Swift. To this day Swift doesn’t think people grasp the repercussions of that term. “A mass public shaming, with millions of people saying you are quote-unquote canceled, is a very isolating experience,” she says. “I don’t think there are that many people who can actually understand what it’s like to have millions of people hate you very loudly.” She adds: “When you say someone is canceled, it’s not a TV show. It’s a human being. You’re sending mass amounts of messaging to this person to either shut up, disappear, or it could also be perceived as, Kill yourself.” I get a sense of the whiplash Swift experienced when I notice that, a few months into this ordeal, while she was writing the songs that an interpolation of a ’90s camp classic, Right Said Fred’s “I’m Too Sexy.”) Nonetheless, most critics read it as a grenade lobbed in the general direction of Calabasas. One longtime Nashville critic, Brian Mansfield, had a more plausible take: She was writing sarcastically as the “Taylor Swift” portrayed in the media in a bid for privacy. “Yeah, this is the character you created for me, let me just hide behind it,” she says now of the persona she created. “I always used this metaphor when I was younger. I’d say that with every reinvention, I never wanted to tear down my house. ’Cause I built this house. This house being, metaphorically, my body of work, my songwriting, my music, my catalog, my library. I just wanted to redecorate. I think a lot of people, with Reputation, would have perceived that I had torn down the house. Actually, I just built a bunker around it.” In March, the snakes started to morph into butterflies, the vampire color palette into Easter pastels. When a superbloom of wildflowers lured a mesmerizing deluge of Painted Lady butterflies to Los Angeles, Swift marked it with an Instagram post. She attended the iHeartRadio Music Awards that night in a sequin romper and stilettos with shimmery wings attached. Swift announced the single “ME!” a month later, with a large butterfly mural in Nashville. In the music video for the (conspicuously) bubblegum song, a hissing pastel-pink snake explodes into a kaleidoscope of butterflies. One flutters by the window of an apartment, where Swift is arguing in French with Urie. A record player is playing in the background. “It’s an old-timey, 1940s-sounding instrumental version of ‘You Need to Calm Down,’ ’’ Swift says. Later, in the “Calm Down” video, Swift wears a (fake) back tattoo of a snake swarmed by butterflies. We are only two songs in, people. Lover, to be released on August 23, will have a total of 18 songs. “I was compiling ideas for a very long time,” Swift says. “When I started writing, I couldn’t stop.” (We can assume the British actor Joe Alwyn, with whom Swift has been in a relationship for nearly three years, provided some of the inspiration.) Swift thinks Lover might be her favorite album yet. “There are so many ways in which this album feels like a new beginning,” she says. “This album is really a love letter to love, in all of its maddening, passionate, exciting, enchanting, horrific, tragic, wonderful glory.” I have to ask Swift, given how genuinely at peace she seems, if part of her isn’t thankful, if not for the Great Cancellation of 2016, then for the person she now is—knowing who her friends are, knowing what’s what. “When you’re going through loss or embarrassment or shame, it’s a grieving process with so many micro emotions in a day. One of the reasons why I didn’t do interviews for Reputation was that I couldn’t figure out how I felt hour to hour. Sometimes I felt like: All these things taught me something that I never could have learned in a way that didn’t hurt as much. Five minutes later, I’d feel like: That was horrible. Why did that have to happen? What am I supposed to take from this other than mass amounts of humiliation? And then five minutes later I’d think: I think I might be happier than I’ve ever been.” She goes on: “It’s so strange trying to be self-aware when you’ve been cast as this always smiling, always happy ‘America’s sweetheart’ thing, and then having that taken away and realizing that it’s actually a great thing that it was taken away, because that’s extremely limiting.” Swift leans back in the cocoon and smiles: “We’re not going to go straight to gratitude with it. Ever. But we’re going to find positive aspects to it. We’re never going to write a thank-you note.” Though people will take the Perry-Swift burger-and-fries embrace in the “You Need to Calm Down” video as a press release that the two have mended fences, Swift says it’s actually a comment on how the media pits female pop stars against one another. After Perry sent Swift an (actual) olive branch last year, Swift asked her to be in the video: “She wrote back, This makes me so emotional. I’m so up for this. I want us to be that example. But let’s spend some time together. Because I want it to be real. So she came over and we talked for hours. “We decided the metaphor for what happens in the media,” Swift explains, “is they pick two people and it’s like they’re pouring gasoline all over the floor. All that needs to happen is one false move, one false word, one misunderstanding, and a match is lit and dropped. That’s what happened with us. It was: Who’s better? Katy or Taylor? Katy or Taylor? Katy or Taylor? Katy or Taylor? The tension is so high that it becomes impossible for you to not think that the other person has something against you.“ Meanwhile, the protesters in the video reference a real-life religious group that pickets outside Swift’s concerts, not the white working class in general, as some have assumed. “So many artists have them at their shows, and it’s such a confounding, confusing, infuriating thing to have outside of joyful concerts,” she tells me. “Obviously I don’t want to mention the actual entity, because they would get excited about that. Giving them press is not on my list of priorities.” At one point, Swift asks if I would like to hear two other songs off the new album. (Duh.) First she plays “Lover,” the title track, coproduced by Jack Antonoff. “This has one of my favorite bridges,” she says. “I love a bridge, and I was really able to go to Bridge City.” It’s a romantic, haunting, waltzy, singer-songwritery nugget: classic Swift. “My heart’s been borrowed and yours has been blue,” she sings. “All’s well that ends well to end up with you.” Next, Swift cues up a track that “plays with the idea of perception.” She has often wondered how she would be written and spoken about if she were a man, “so I wrote a song called ‘The Man.’ ” It’s a thought experiment of sorts: “If I had made all the same choices, all the same mistakes, all the same accomplishments, how would it read?” Seconds later, Swift’s earpods are pumping a synth-pop earworm into my head: “I’d be a fearless leader. I’d be an alpha type. When everyone believes ya: What’s that like?” Swift wrote the first two singles with Joel Little, best known as one of Lorde’s go-to producers. (“From a pop-songwriting point of view, she’s the pinnacle,” Little says of Swift.) The album is likely to include more marquee names. A portrait of the Dixie Chicks in the background of the “ME!” video almost certainly portends a collaboration. If fans are correctly reading a button affixed to her denim jacket in a recent magazine cover, we can expect one with Drake, too. Lover. “We met at one of her shows,” says McCartney, “and then we had a girls’ night and kind of jumped straight in. In London we’ll go on walks and talk about everything—life and love.” (Swift has no further fashion ambitions at the moment. “I really love my job right now,” she tells me. “My focus is on music.”) Oh, and that “5” on the bullseye? Track five is called “The Archer.” Yet something tells me the most illuminating clue for reading both Lover and Reputationmay be Loie Fuller, the dancer to whom Swift paid homage on tour. As Swift noted on a Jumbotron, Fuller “fought for artists to own their work.” Fuller also used swirling fabric and colored lights to metamorphose onstage, playing a “hide-and-seek illusionist game” with her audience, as one writer has put it. She became a muse to the Symbolists in Paris, where Jean Cocteau wrote that she created “the phantom of an era.” The effect, said the poet Stéphane Mallarmé, was a “dizziness of soul made visible by an artifice.” Fuller’s most famous piece was “Serpentine Dance.” Another was “Butterfly Dance.” Swift has had almost no downtime since late 2017, but what little she does have is divided among New York, Nashville, Los Angeles, and Rhode Island, where she keeps homes—plus London. In an essay earlier this year, she revealed that her mother, Andrea Swift, is fighting cancer for a second time. “There was a relapse that happened,” Swift says, declining to go into detail. “It’s something that my family is going through.” Later this year, she will star in a film adaptation of Andrew Lloyd Webber’s Cats as Bombalurina, the flirtatious red cat. “They made us the size of cats by making the furniture bigger,” she says. “You’d be standing there and you could barely reach the seat of a chair. It was phenomenal. It made you feel like a little kid.” But first, she will spend much of the summer holding “secret sessions”—a tradition wherein Swift invites hundreds of fans to her various homes to preview her new music. “They’ve never given me a reason to stop doing it,” she says. “Not a single one.” Speaking of: Inquiring fans will want to know if Swift dropped any more clues about how to decode Lover during this interview. For you I reviewed the audio again, and there were a few things that made my newly acquired Swifty sense tingle. At one point she compared superstardom in the digital age to life in a dollhouse, one where voyeurs “can ‘ship’ you with who they want to ‘ship’ you with, and they can ‘favorite’ friends that you have, and they can know where you are all the time.” The metaphor was precise and vivid and, well, a little too intricately rendered to be off the cuff. (Also, the “ME!” lyric: “Baby doll, when it comes to a lover. I promise that you’ll never find another like me.”) Then there was the balloon—a giant gold balloon in the shape of a numeral seven that happened to float by while we were on her roof, on this, the occasion of her seventh album. “Is it an L’?” I say. “No, because look, the string is hanging from the bottom,” she says. It might seem an obvious symbolic gesture, deployed for this interview, except for how impossible that seems. Swift let me control the timing of nearly everything. Moreover, the gold seven wasn’t floating up from the sidewalk below. It was already high in the sky, drifting slowly toward us from down the street. She would have had to control the wind, or at least to have studied it. Would Taylor Swift really go to such elaborate lengths for her fans? This much I know: Yes, she would.

[sometime-in-1995]

hi i saw ur post about sm and the graduation system and i’m kinda new to kpop and kpop companies, i was wondering if u could explain what the graduation system is?

Hi! Uhm Okay, please bare with me 'coz I don't know where to start or how to explain this properly but I'll try lol

Let's start with history, shall we?

So a graduation system is basically a group concept made by SM Entertainment a music label/entertainment company where SJ, SNSD, SHINEE, F(X), NCT, EXO, TVXQ, RED VELVET, BOA & others are housed. So as per my knowledge, the 'Graduation System' was first applied or given to Super Junior when they debuted in 2005 making their debut album titled as 'Super Junior '05'. Meaning, the 12-member original lineup back then will be reorganized (idk if that's the proper term) based on their performance making the members work hard or do their best if they want to be part of the next lineup for Super Junior '06. It's like competing with your own members. So basically, every year or every comeback, there's a different or a new set of members. On the following year (2006), they added another member which was Kyuhyun making SJ a 13-member group, the largest pop group in history so far at that time. There were backlash when Kyuhyun was added. Fans (ELF) were worried and threatened about the instability of the group and the uncertainty of the concept that they have. Fans were worried about the members' future after going through intense training for yearsss so basically they didn't like it. And then in 2007, SM introduced another new member featuring which was Henry in SJ's 'Don't Don' comeback. Backlash continued. SM didn't expect that SJ's first and original lineup would appeal to the public like that, afterall, SJ was known to be 'TVXQ's leftovers'... damn writing this hurts... After all the backlash that SM received, they never tried adding anymore members into SJ and cancelled the 'graduation system'. They made Henry and ZhouMi (both are Chinese) members of Super Junior - M (SJ's sub-unit based and marketed in China) instead. Yes, just a member of the sub-unit, not the main group. If you still don't know since you're new to KPop, SJ was the first group to ever venture into sub-units. Considering they have large number of members, SM saw this opportunity to utilize their artists. It's like value adding. The first sub-unit in KPop was Super Junior - K.R.Y, a ballad sub-unit composed of SJ's main vocalists: Kyuhyun, Ryeowook, & Yesung. So yeah, the graduation/rotational system failed with SJ. They remained as a 13-member group since then (15-members actually including sub-unit members Henry & ZhouMi) Basically, SJ was a lab rat for SM, an experimental group. They gave the graduation system to them and tested the sub-unit thing as trial and error.

Fast forward to 2012, SM debuted EXO with 12 members as a whole divided into 2 sub-units which were EXO - M (Mandarin; based in China) and EXO - K (Korea) with 6 members each. There were no graduation system in EXO although they are an improved version of the sub-unit concept given, tried and tested first by SJ. SM would like to think that they left the errors they encountered with SJ's sub-unit system and then apply the 'improved' version of it to EXO. Did it also fail? You tell me. I'm seriously hoping that history won't repeat itself on WayV. Once you get deeper into Kpop especially into SM groups, you'll see eventually the connection, trend, similarites and differences between SJ, EXO & NCT (SM's largest groups) and also their Chinese sub-units, Super Junior - M, EXO - M, and WayV respectively and realize how SM worked around this concept of graduation/rotational system and infinite members and infinite possibilities that they gave NCT.

Fast forward to 2016, NCT debuted with its first sub-unit NCT U which has this rotational concept. Apparently, in NCT's case, rotational system and graduation was made separate and different. Any member in NCT regardless of what fixed unit they belong to could debut and release a song & MV as a member of NCT U depending on whoever fits the song. It could be a duo, a solo, a trio, or indefinite number of members.

SM would like to think that they left the errors they encountered with SJ's graduation system and then apply the 'improved' version of it to NCT Dream. NCT Dream debuted in 2016 with the original lineup of 7 members composed of Mark, Renjun, Jeno, Haechan, Jaemin, Chenle, & Jisung. They were literally just 14 - 18 years old (Korean age) back then, teenagers. And the graduation system that SM gave them was that when they reach the age of adulthood which is 20y.o in Korea, they have to 'graduate' or leave the group and re-debut separately into another fixed unit which is based in another country's city ('coz SM was planning to conquer the world through music somehow lol). So after reaching the age of 20, these kids who literally grew up together as childhood friends are bound to be separated. Mark turned 20y.o in 2018 and graduated by the end of the same year. The members threw him a Kamsa (Thank You) Party which is like a send-off party around Christmas time of 2018. He was no longer part of NCT Dream's activity or comebacks after that nor seen together with the other NCT Dream's members unless it's a full group (NCT as whole) activity. So in 2019, 00liners Renjun, Jeno, Haechan, & Jaemin turned 20y.o and were expected to graduate from the sub-unit at the end of the year just like Mark. But SM announced concert tour schedules for NCT Dream on November of 2019. Til 2020 came and Chenle also turned 20y.o and SM never mentioned anything about the graduation. Not until today April 14, 2020 where they finally broke their silence and announced that NCT Dream's graduation system is abolished and will adopt NCT U's rotational system instead making NCT Dream a fixed unit. I know this might cause confusion later on especially for new NCTzens so I'm gonna clear it up here now. NCT U's rotational system includes everyone in NCT and give them opportunity to collaborate and release a song regardless of the sub-unit they belong to. While NCT Dream's rotational system is only exclusive to NCT Dream's 7 members: Mark, Renjun, Jeno, Haechan, Jaemin, Chenle, & Jisung.

SM isn't really good at taking back whatever they've started, they'll see to it that at some point, they'll still be able to push through their original plan. That's why I said on my previous post that they've 'compromised'. They didn't give in to our demands, they've 'compromised' thinking that this is the 'best' they could give us given the situation.

Other people say it's no big deal, they're still in the same group just not in the same sub-unit. Or they're just separated in sub-units, it doesn't mean they're no longer friends which is all true. But if it's just something that light of a thing to deal with, it wouldn't affect the members so much. SJ have mentioned in some ocassions before that the graduation/rotational system they had during debut was extremely hard on them because even if they didn't want to, the concept made them look at their members, their friends as rivals. It made them compete with each other. The managers kinda pressured them into thinking that way, the company made them feel that way. They were still budding into adulthood back then, around 18- 22y.o. They were struggling because their concept gave them so much uncertainty. Imagine joining the company at a young age aspiring to debut as an artist so you could put food on the table for your family (because most of SJ members came from poor families) so you went through years of intense training and then to debut in a group where your future isn't assured. While for NCT Dream, since they are childhood friends, some of them have said on ocassions before (specifically Jaemin & Jisung) that aside from their members, they don't have friends. Because they've dedicated their childhood in intense training. They didn't have the time to mingle with other kids in school because right after classes, they'd go straight to training so the only friends they know and have are their members. Think that all those years they were building that relationship together, while SM were planning to separate them from each other when they turn 20. SM even made Jeno, Haechan & Jaemin drop out of high school just a few months before their high school graduation to focus on NCT Dream's graduation. Think about how they were robbed of that opportunity. I specially/personally feel bad about knowing how Jeno enjoys school and excels in academics. Think about how hard they cried during their first ever concert The Dream Show thinking that it might be their first and last concert together because even themselves don't know what SM plans to do with them after graduation. That's what the 'graduation system' does to young group of people. Although the concept is not all bad, but it's not nice to play with other people's emotions like that. That's why no one wants it.

So yeah, that concludes my explanation. Sorry if it's kinda information overload. I think, while writing, it became more of a vent/rant more than explaining. 😅

If there's any of ya'll who comes across this post may correct me (politely, of course) if any of the info I've wrote were wrong. Thank you. I hope this helps to you dear and to any Kpop newbies out there 😊

[r3b3lgrrrrrrrl]

A LunaTic and her Gunn (Part 109 1Xs2) "Welcome To The Hotel Diablo"

@crystalbaby12 @5sosfam1dlover @backoftheroomandnotbelonging @rosefilledhearts-blog

Luna and Ashley may have a strangle on the #1 slot with Nightmare sitting tight for it's seventh week but Colson continues to control a vast majority of the Billboard Top 20 Pop Charts as Hotel Diablo debuts at #5. Not only with the two hits he has with Luna and Dom but also including a few of his own singles.

I Think I'm Okay has been holding strong at #2 for the last four weeks. Keeping the #1 position on the Alternative Charts for it's third also. Bad Things having it's own place at #3 on the Pop Charts for it's third week. Hollywood Whore is up three slots, grabbing the #5 spot this week while THAT Type replaces it at #8. El Diablo is sitting at #11 for it's own consecutive week while Bebe's climbing back up alongside THAT Type as Candy makes it's entrance at #19.

------------------------------------------------

Landing in Cleveland, everyone is pumped. Luna, Pete, Sam, Benny, Ashley and Dom excitedly passing Congratulations to The Boys over Hotel Diablo's immediate success. Everyone's coming in to town tonight. Meeting up for a full performance of the album at the Agora Ballroom for fans then another more intimate performance at Velvet Dog for the album's release party.

Dispersing from the hanger, Slim heads to his own Ohio home, Baze taking Sam along with him to his. Pete, Ashley, Rook, Dom and Benny dipping out to Colson's Cleveland House to meet up with Bullet while he immediately goes over to Emma's with Luna to see Casie.

------------------------------------------------

"Oooh, Sugar... I'm so fucking proud of yooou!! You have FIVE top 20 hits right now... We're gonna have to look some shit up, Buns, because I don't think anyone's ever done that before!" Luna gushes in the back of their Uber as she sprinkles his grinning face with kisses.

"No way. I'm not breaking any Beatles or Micheal Jackson records...." He pauses. "You really think it's possible?" Colson asks with hopeful look twinkling in his brilliant eyes.

"I do...." Luna reassures him as she pulls out her phone. "Here..." She says after a quick internet search. "You haven't broken anything yet... But you're close as fuck." She shows him her phone.

Only The Beatles out rank him with six Top 10 hits from February 29 to May 2, 1964. It's actually incredible and nothing he ever expected. For one of the first times Luna watches Colson go silent.

"I can't believe it fucking debuted at Five, Baby." He lowly admits with a slight hint of red to his sweet cheeks.

"Ohh, I can. You're whole soul is on that record." Luna replies with love.

"That's what I'm afraid of..." He says even lower.

"People always resonate with honesty, Bunny." She tells him, giving her opinion. "Why you think your fan base is so strong? Because you've always been honest." She pulls his cheek over to kiss it with her words.

"I love you." He turns to grin at her again while meeting her mouth.

Somehow, Luna always knows what to say to Colson. Whether he's at his most shittiest, pushing full confidence or the lowest of his lows, she never fails on telling him the truth in how she sees things. Colson doing the same for her. Neither being aware of deeply they truly take care of each other mentally.

------------------------------------------------

"PEANUT!!!" Colson shouts with a bellowing laugh as he scoops Casie up and spins her around.

Luna and Emma watch the two of them with their hearts oozing after they had greeted each other. Without thinking, Luna laces her hand inside Emma's and lays her head against her shoulder. Slightly catching her by surprise as she easily accepts Luna's affection.

"I love the way he loves her..." Luna sighs wistfully. "He's such a great dad."

"It's one of his best qualities." Emma agrees with a smile as she holds Luna's hand a little tighter. "Think you guys'll have kids?" She asks with a genuine interest.

"I... I don't know...." Luna trails off honestly as she lifts her head up, not bothering to mention Colson or Casie's wants from her.

"I think you'd make a great mother." Emma says, looking directly at Luna. "I see you with Case and how you make Colson a better man.... Not that that's any reason to have a baby... I'm just saying... Should it come, I think you'd be really good at it."

"Wow.... Thanks. That means a lot." Luna smiles thoughtfully.

Squeezing Emma's hand, she nestles back on top of her shoulder with Emma resting her head onto Luna's. Any jealousy or disparity from NY's lunch having already dropped away. Both thankful to have the other in Casie and Colson's life above all else.

Once Colson's finished with her, Casie greets an ecstatic Luna. The young woman dipping down to squeeze the little girl with love. Coaxing her inside with the promise of a new present to her parent's amusement.

"You didn't have to do that." Emma says after Luna gives Casie the new Nikon and tries to show her how to use it.

"Photography is my first love and she mentioned how she wants to learn, so how could I not?" Luna asks with a shrug and a bright smile. "Oh... And thanks for hooking me up with Bonnie. She's been beyond wonderful!" Going on to express her gratitude over Emma's connection and friend.

"Yeah, no problem. She had mentioned last week that you guys have been in contact. I'm glad to have helped... I can't wait to see how it turns out." Emma smiles warmly at Luna.

Colson's been watching all the important females in his life intently. Truly appreciating how easily Luna and Emma have gravitated towards each other while also attending to the youngest. It's easy to see the deep respect and enjoyment they hold for each other. Even in another life, they could easily be genuine friends also.

Grabbing Casie around the neck, he wrestles her around. Many shoutings of DAD escape as she tries to wiggle away to no avail.

"Wanna come to the show tonight?" He asks her as he slightly loosens his grip. "Don't play with me." He lightly shakes her when she hesitates with a sarcastic Uhhhhmmm.

"YEAH I wanna come!!" She grins up  at him. "Mom, can I?" She asks looking over.

"Yeah, Ma. Please." Colson pleads with her as he smirks.

"Ash gonna be there?" Emma asks to Colson's nod. "She'll bring her home after the show?"

"Lemme check." Colson reassures her as he let's go of Casie and digs into his pocket.

While Colson's on the phone, Luna chats with Emma about an array of things. Tonight's shows and the upcoming weddings along with Casie's findings and her adventures during the tour. Their conversation flowing easily while Luna continues helping the little girl figure out how to take pictures with her latest, prized possession. Her attentiveness not being lost upon the mother just like her dad.

"Ash said she can drop her off tonight before the album release party and then I'll just pick her up tomorrow before the Pop Up." Colson interupts them when heading back into the kitchen.

"And you'll keep her until when?" Emma asks.

Colson looks at Luna. "Uhhhh..." He hesitates.

"My girlfriend Deanna is flying in on Monday to try to finish up the wedding fittings... So Tuesday by the latest if that's okay?" She shrugs at Colson before looking at Emma.

With Casie's eyes pleading and her body hopping around her, it's hard for Emma to resist. Not that there's any reason to. Laughing, she says Yes to her daughter's excited hugs and kisses.

After Luna convinces Casie to leave her camera at home tonight, they hug and kiss Emma GoodBye. Arrival texts being promised as always before the trio wave GoodBye from inside the Uber.

------------------------------------------------

Back at The House, Colson's stoked to find Mod, Noah, Phem and Caroline. Along with a ton of packages and everyone else. Opening the boxes, he starts to shout for The Gang.

"Yo!! Pull up!!" He hollers. "I got one for you. And one for you. One for you and for you...." He says, handing the small boxes to Caroline, Phem, Mod and Noah before calling the others over that aren't within his long arm's reach.

A box goes to Slim, Pete, Baze, Casie, Rook, Dom, Benny, Bullet, Ashley and even Sam. He sets two boxes to the side for Ashleigh and Dub. Along with a handful of other's, amongst them are ones for Naomi, Trippie and Skies. Pulling Luna close, he hands her hers.

"Aight, bitches open 'EM!!" He shouts with a huge chuckle and grin.

Inside the box is a beautiful, thin, platinum and diamond encrusted Double X pendant on a slim rope chain.

"You're determined to have yourself all over me, hunh?" Luna asks with a snicker as she looks up at him.

"You fucking know it! Two rings, two tattoos, two necklaces. Two times, Kitten. Two times!" He grins wider at their inside joke while scooping her up to kiss her as Thank Yous explode all around them.

"GANG!! GANG!!" Slim shouts as he throws his arms up into an X.

Colson puts on Luna's necklace as Ashley helps Casie with hers. Everyone else assisting one another. Walking into the kitchen, Luna grabs a can of Sprite and an armful of beers. Passing them around, she opens Casie's soda before cracking her own beverage.

🎼Mothafuckas//KNOW//Who rides wit THIS Gang//By the way we be rockin'//Our Double X chains//They too soft//To know//HOW HARD UP WE CAME// Still swangen' around//Keepen' that//Bangen' A Rang thang//Got the baddest bitch//Locked wit tattoos and a rang//Checkin' into HOTEL DIABLO//You know shit's gon' be//FUCKIN' INSANE🎶

Colson shouts, bouncing around as they toast to Family and Hotel Diablo. His intimate circle hooting at his epic freestyle while Luna rolls her eyes and kisses his jawbone. In his soul he is still very much a Wild Boy.

------------------------------------------------

"Oh, Bunny..." Luna coos as her thighs tighten around Colson's waist.

They're upstairs in the shower getting ready for Colson's Big Night. He grips her ass as she clutches the back of his neck, thrusting him deeper inside of her. Both are panting in the steamy air as they suck on and fuck each other passionately. Pulling on the other's hair as their bodies throb and they pound themselves into one another.

"Fuck Kitten, you ready?" Colson gasps when he feels himself tingle from the upcoming explosion.

"Mmmhmmmm...." She moans as she bucks against him faster, giving them both permission to let go.

"Fuuuuuuuck....." They both sigh out in content as Colson continues to hold Luna and they rest their faces in each other's necks.

:::::::::::::::::::::::::::::::::::::::::::::::::::::

"I have something for you..." Luna says while they're both still naked from their ShowerFuck, offering up her black portfolio case after finding it amongst their luggage.

"What's this?" He asks with intrigue, remembering the last gift the leather casing had held for him.

"Fuck.... I gotta get that framed." He suddenly thinks. "It'd be perfect in The Brownstone...." His mind drifts as he begins to muse to himself.

"Open it..." She encourages him with a gleaming smile. "I've been working on it for a minute..." She says as her lips drop into a tiny secret.

Unzipping the case, Colson is presented with another canvas. This time displaying an oversized painted replica of their punked out bunny. The background is a deepish purple with edgy whisps of creams and light colored violets flowing through out it. Making the hints of color in the white cartoon animal pop out of it's heavy black outline. The feeling easily representing Hotel Diablo's black and purple atheistic.

Arranged around their matching tattoo, with some items being embedded into the canvas, are physical pieces from The Tour. Their key card from The Watergate, the crumpled receipt from their coffee order in Detroit, a ticket stub from the planetarium in Texas. Amongst them is also the peeled off lable from their bottle of SpringBack 1919 they had shared in the San Francisco speakeasy and her BackStage pass from the Pittsburgh show. All secured and decorated with a slight black outline to showcase each of them.

A little larger than his huge thumb are eight small, intimate pictures of the two of them sprinkled throughout. Some are selfies but other's aren't. Luna breaking her own rule and using other's photography in her art. Angled in the the bottom right corner, in a black and light purple twist, lays a mutilated copy of Luna's lips spelling out Bad Things. Dotted in an iridescent paint to make it sparkle in dark wonderment. Fully tying the whole piece together.

Luna's art is truly like no other's. Combining multi-medias and dimensions with her muse's soul lingering inside of it. Colson's eyes are wide the way they were the night she gave him his first gift.

"Ready?" She asks, popping the switch sitting underneath as he stares silently holding her work.

Their bunny's eyes light up in a low, blue glow from the tiny bulbs buried deep inside the canvas. Colson's heart stops. Reminding him exactly of the night they met.

"Holy fuck, it's beautiful." His heart explodes once it begins to beat again. "How the FUCK does she do this shit...." He thinks in admiration as he continues to look it over.

"Wow." Is all he can say as he stares at his gift.

Luna watches as Colson takes his time absorbing the new piece. Her soul gleaming as he excitedly points out all their little memories. Once he's fully taken it in and sets it down, Colson pulls her in with one strong arm by her waist. Giving her a meaningful kiss.

"You like?" Luna asks with soft eyes and a loving smile.

"I fucking LOVE." He easily declares.

"Cool." Luna smirks, replying just the same as before as she kisses him back and wraps her arms around his waist.

"Thank you." He tells her as he runs his long fingers along her wet skull until his large hands cradle her head.

Colson kisses Luna with a passionate gratitude. Dipping their naked bodies onto the bed, he slowly and sweetly makes love to her. Taking his time as he softly kisses her while overfilling her body with himself. Running her hands lightly along his body, Luna enjoys their tenderness.

"Oh SHIIIIT..." Luna lowly moans as he kindly gives them both exactly what they want.

Sighing contently, wrapped in each other Luna and Colson let their kisses linger on each other's lips. Genuine and truthful I Love Yous being passed between them as they enjoy their quiet, intimate moment together.

Finally gathering themselves, they proceed to burn and chatter together as usual while they get dressed. Colson still railing his preference of Adderall while Luna pops her own three percs. She's trying hard but the gaping hole that ripped her shoulder muscles in two REALLY fucking HURTS.

Colson's dressed in all black while Luna pulls on loose, ripped jeans and a white crop top. A red and black flannel loosely tied around her waist as her hair flows wildly with a touch of natural curl.

"Make sure you wear your ring tonight." Colson tells her as he pecks the top of her head.

"Always do..." Luna gives him a weird look as she tosses up both hands, wiggling her fingers to display each of her beloved rings.

"Fucking better." He taunts her, slapping and jiggling her ass cheek to her pleased giggles as they walk out of the bedroom.

------------------------------------------------

The Agora Ballroom is sold out and jam packed. Colson is putting on a special concert to debut Hotel Diablo in full to ONLY his hometown.

Everyone is there. Colson, Ashleigh and The Boys. Luna, Casie, Pete Ashley, Dom, Sam and Benny. Mod's there, so is Caroline and Noah. Trippie Redd, Naomi Wild and Lil Skies all coming through along with Phem to perform their features. Backstage easily overflowing with artists and friends as Dub and Johnny come trickling in with a few other long time Cleveland friends. Sporadic industry pals making their way around also.

"What's happenin', My Dude?" Colson happily greets his friend with a dap and huge hug.

"Nutten' man... Worken' on the album, taken' care of Baby Girl. You know how it be.... What's poppin' wit 'chu?" Dub asks nodding in Luna's direction.

"You talk to Slim, hunh?" Colson shakes his head with a grin.

"More than your bitch ass." He replies with a joking tone.

Colson can see Luna but with the crowded room it's hard to get her attention. "Thanks Tommy." He thinks, smiling to himself, knowing exactly how to grab her.

"Hold up." He tells Dub before cupping his mouth with is hands and hollering "BROOOOKLYYN!!"

"This man..." Luna's mind laughs as she looks for Colson. Catching his eye quickly, she smiles brightly at him. "FUCK, I love his stupid ass." Her brain continues to tease her as she makes her way towards him.

"What's up, Ya Nut?" She chuckles once she reaches him, standing on her tippy toes to kiss his lowered cheek.

"Kitten, this is one of my bestfriends Dub. Dub-O... My Bitch, Luna fucking Smith." Colson beams with pride as he introduces the two.

"It's so nice to finally meet you! The way Colson talks about you, I feel like I already kinda know you." Luna says warmly as Dub loosely accepts her hug.

"That's funny because he ain't told me shit about you." He answers her with a snide look at Colson.

"Oh. No pleasantries? Straight to the Gate? Aight. What's good?" Luna's tone changes immediately as she pops her chin out with her last words.

Colson starts to laugh when Dub's top lip snarls at her fierce response. Cocky in his own right, Dub doesn't hesitate to hit back.

"You tell me, seems you always got my boy caught up in some shit." He cuts.

"Excuse me?" Luna draws back with her eyebrows furrowed.

"What the fuck you talkin' about Dub-O?" Colson jumps in with a slight attitude, just as confused as Luna.

"The streets speak, Kells." Dub says turning to Colson. "Word is Eminem's gunnen' for you even harder after whatever YOUR bitch pulled in Detroit." He continues as he shoots a glare at Luna.

"Motherfucker, you're out 'chour mind." Luna laughs at him. "And your streets don't know SHI..."

Colson cuts her off before she can finish, questioning his friend "What the FUCK you talken' about, Dawg? Luna held shit down as always and fuck that little bitch ass pussy. Let him come see me. I'll fuck his punk ass up again." Colson spits out.

"Bunny, don't." Luna says as she slips her hand into Colson's, both knowing she's trying to hit that natural anxiety reducer. "Look, I don't know what you heard and honestly, I don't care because it ain't right." She says directly to Dub before looking up at Colson then back at him. "But you better believe..." Luna continues looking straight into Dub's eyes as she points at him with her free finger. "Imma give you a legit reason not to like me if you fuck up his night... Because bestfriends don't do that shit." Luna states coldly before grabbing Colson's chin, planting a solid kiss on the side of his jaw and stalking away.

"WHAT THE FUCK DUB-O?" Colson balks angrily.

"I had to see if she could hang." Dub smirks at Colson bewildered confusion. "Slim said she rides hard for you, I had to see how hard." He laughs lightly with a shrug.

"You're a fucking DickHead." Colson snickers once he realizes what his friends play was. "Yo, you better get correct with her, she ain't nothin' to be fuckin' wit." Colson begins to laugh as he shakes his head.

"I see... Something tells me she can take a joke though." Dub laughs louder with amusement along with his old friend as he Buddy Slaps on the back.

"Actually, her fucked up ass probably would appreciate your stupidity." Colson continues laughing as the two of them turn towards the BackStage madness.

Luna's grooving. She'd love for all of Colson's friends to like her but unlike him, she doesn't give a flying fuck if they do. Honestly, she could give a flying fuck if anyone likes her. The less people that like her, means the less people that she has to unwillingly talk to.

Oddly enough, she's a hypocritical social butterfly. Floating around as she hangs out with their friends and kindly introduces herself to Naomi, Trippie and Lil Skies. Meaningfully gushing and talking to each of them regarding their personal contribution to Hotel Diablo. Going as far to tease Trippie about his Plan B, yeah. She loves the whole album, how could she not express her adoration and appreciation towards their work on it.

"Kitten..." Colson calls for her.

"You're on in 20." Ashleigh says, trying to redirect him.

"Hold on." He says putting up his index finger. "BROOKLYN!!" He says a little louder catching her attention.

"Hmmm?" Luna asks once she reaches him.

"I FUCKING love-LOOOOVE YOU!! He declares as he wraps a long arm around her waist and plunks a heart felt kiss onto her lips.

"Love you, Bunny." Luna giggles in sheer content as she pulls him in for a tight lip lock. "Fuckin' kill 'em." She grins as she squeezes his ass and sends him OnStage.

------------------------------------------------

The Band had been teasing his unknowing fans all throughout June with Sex Drive as they waited for his set to begin. Those who had experienced it, make the connection immediately and are going wild. As Cara's voice floats over top of them, welcoming them to The Hotel Diablo, the venue erupts into an excited explosion.

Colson is electric and in rare form tonight. The success of his album finally sinking in has him running, dancing and jumping like an overexcited puppy.

Luna's SideStage with Casie, Ashley, Pete, Ashleigh, Sam, Dom and a few others kicking out the lyrics to El Diablo as they bounce to the contagious hit. Jumping and pumping their fists as they pass bottles of Jamison and rattle along with Colson.

🎶I KNOW//PEOPLE HATE ME//JUST BY MY APPEARANCE//YOU MOTHERFUCKERS//CAN'T BE SERIOUS//EH🎶

Luna and Ashleigh shout as they bop together and thrust their fists into the air. Dropping their curled hands as they continue spouting about throwing dice and keeping their circle tight. Spinning their fingers in the air as they groove and grin at each other laughing. Pete headlocks Luna making Ashley shove him as AJ opens up with Hollywood Whore. Stopping them all in their tracks as the sweet reminder of Chester radiates through their souls.

Riding the riff side by side, they recite the lyrics alongside Colson. Happily joining them is Mod, Noah, Caroline, Phem, Johnny and Dub. Whose intently watching Luna. There was only a half truth to his rudeness towards her. He don't trust THAT Bitch at all. He also hasn't spoken to Slim in a week either.

As the bass kicks in the group of them slam into each other. Luna holding Casie's hand and protecting her with her body as they continue to sing along and bash into one another. The crowd is insane. Shouting the chorus along with Colson as he raps about two faces trying to fit in to his world when there's no new space while wanting to get him to commit third degree murder. Undercover exposing those who tried to play him like a Hollywood Whore in the City of Danger. Watching Colson rip into his guitar makes Luna's nipples hard as her pussy begins to salivate for him. He's fucking hot. On and off stage.

Colson talks to his family about the relevance of the song as the main chords to Glass House lowly play behind him. He mentions how he misses too many of his friends. Chester, Nipsey, Mac... Too many to list. Luna can hear his voice break slightly as he asks the crowd to sing along with him and Naomi.

Luna doesn't sing. She can't. It's one of the many songs on this album that breaks her heart too much. Holding Casie against her, she wraps her arms around the little girl's shoulders as she tries to hold back her tears. The ballroom is shouting along with Naomi as she begs to be thrown into damn flames and to be buried with gold chains. Luna braces herself and Casie for the most gut wrenching part of the entire album.

🎶Lately//I've been sick of livin'//And nobody knows//How I'm really feelin'//I always hated to smile//But I keep//What is killing me//Hidden inside//I didn't sign up//To be the hero//But I don't want//To wind up a villain//I put my daughter to bed//Then attempted//To kill myself//In the kitchen//Yeah//I should've screamed//But//Nobody listenedSo I passed out//With the blood drippin'//In this glass house//Feelin' like a prison//Me and death//Keep tongue-kissin'//I just fell out//With my lil' bro//The life gettin' to us//The drink gettin' to us//The drugs gettin' to us//It's highway to hell//And everybody knew//What the fuck//Were we doin'?🎶

Colson runs the bars flawlessly. Luna can't help the tears that drop from her eyes as her breath shudders. The truth of his lyrics are too painfully as she holds Casie a little bit tighter. With her mind flashing back to Justin's blank eyes she can't help the range of emotions she feels while thinking of Casie dealing with Colson in the same situation. Luna closes her eyes as she holds the little girl close and wishes for the song to end.

It does. The context of the next song isn't any easier though as Burning Memories kicks in. Colson's words shattering Luna's heart into a million pieces. The recording is nothing compared to his live voice finally asking his mother how she could leave him for another. Luna can only slightly vibe with everyone else as they sing about him dying before he wakes. Lil Skies comes out to the crowd's cheers to ask for Love and Truth before Luna's soul flips with the liquor in her stomach as Colson sings along with his fans about their dark days coming in the summer. Feeling the rumble of their voices, Luna finds it both amazing and soul wrenching that the album only dropped this morning, yet almost the whole venue knows all of it's intimate words.

Ashleigh grabs Luna's loose hand as she watches the blood drain from her face and tears drop from her unknowing eyes. Her touch and Pete's voice asking about More Dracula as him and Colson laugh and recreate the skit OnStage pulls Luna back to her senses.

"You okay?" Ashleigh asks her friend with concern.

"Yeah... It's just harder to hear it live." Luna sighs.

"I know..." Ashleigh squeezes her hand.

The lead up beat to Floor 13 starts flowing through their blood and Luna is quickly out of her wicked head. Smiling at Ashley, they rapid fire the lyrics at each other along with Colson. Luna laughs when he mentions what will happen upon a physical run in and Casie's hands. Rocking her good shoulder into the tiny Baker, Luna grins at her. Shooting finger guns at each other as they let off with her daddy.

🎶I heard that//They call me//Yeeeah//Let 'em in//I got somethin'//For 'em//Yeeeeah//Please forgive my sins//Blood on my//Ralph Laureeen//I can't wash this shit//Wake up//Say//Good morninnnn//Like I forgot🎶

Laughing, Luna swings Casie around from behind after singing the chorus together. Whispering Hotel Diablo along with her ASMR into her ear with a giggle. Casie cheeses while squealing and squirming out of Luna's grasp. Grabbing Pete and Ashleigh's hands as her dad kicks into Roulette.

This is Luna's favorite song on the album. She happily dances, sings and raps along with Noah, Mod, Ashley and everyone else about that Mothafucken' Rida Music. Sliding her thumb along her latest gift, Luna keeps her body rolling as she drags the double X along it's shiny string. Her and Noah grinning at one another as they share another bottle of Jamison and ask the other how many times they're gonna play with death before their 30yrs old. Cause they're chosen.

Things lighten up as The Boys joke around about Baze being Truck Norris. They were so fucked up the night Slim drunkenly tried to compare him to Family Guy skit with Chuck Norris's beard that none of them would have even remembered if it wasn't recorded. It's Benny's laugh that highlights the inside joke placed track, bringing a much needed lightness to the heavy album.

Naomi comes back in as her voice haunts the crowd. Taunting them as she sings about death in her pocket and how she feels so alive. Luna and Casie are holding hands again as they recite the lyrics along with Colson as he reminisces about him and Slim trappen'. Before he can mention his worry about passing down his addictive genes Sam scoops Casie up from behind. With so many people SideStage, this is the first time Sam has been able to make her way over to her smaller friend.

"What up, Homie!!" Sam laughs as she kisses Casie on the side of the cheek.

"SAMMY!!" Casie shouts excitedly as she turns to hug the dark haired drummer.

"I missed YOU!" Sam exclaims as she sprinkles kisses all over Casie's face. "I got you something..." She says as she digs in her pocket.

Candy is floating through the back Luna's mind as she watches Sam present Casie with three small band pins. "Who is this person?" She laughs to herself. "I wonder if this is how it felt with me..." She thinks of how six months ago she wouldn't have touched a child with a 10ft pole but now couldn't imagine not loving Casie. "Life is so fucking weird..."

"Shit Loons, I'm so sorry!" Ashleigh interupts her thoughts. "You're on in like 10 and I know you're not dressed."

"5:3666 is up after this, then me?" Linda asks as she hears Colson's opening chords to I Think I'm Okay.

"Yeeeeah..." Ashleigh answers sheepishly.

"Fuck it, how do I look because I'm not missing this song." Luna grins as she displays herself to Colson's manager.

"Great as always." She sighs out a laugh of honest relief.

"Then let's FUCKING GOOO!!" Luna shouts, grabbing her hand.

Pulling Ashleigh along, she rallies Casie, Sam and Ashley. Easily pushing their way to front right stage. Holding hands, jumping and screaming along with Colson, Dom and their fans, the group of girls rage.

🎶Watch me//Take a good thing//And fuck it all up//In one night//Catch me//I'm the one on the run//Away from the headlights//No sleep//Up all week//Wasting time//With people I don't like//I think//That something's//FUCKING wrong with me🎶

Everyone goes ballistic as Dom sings his solo. The venue is throbbing as they continue to rip through the pop punk song. Dropping their guitars, both boys jump into the ocean of waiting hands as they continue to sing together.

Climbing back OnStage, they grab their guitars again. Finishing out the song with multiple layered, intense GoodNights. The voices singing along with them so powerful, Luna swears she can feel the stage shake.

"Give it up for my brother, YungBlud!!" Colson shouts to the crowd's roars.

Phem joins The Band OnStage. Her moody voice wrapping around Colson's equally dark lyrics perfectly. His EST Fam chanting word for word with him. There is not one person in that building who isn't a Machine Gun Kelly fan. As the song comes to an end the ASMR of Luna and Colson in the studio plays over the speakers, making the walls shake in anticipation.

Dub continues to watch Luna as she swigs the bottle once more before disappearing. Like most people, he's not quite sure what he thinks of her.

------------------------------------------------

"Meh... Ash and Case seem to like her and she definitely ain't a member of The Slut Squad...." Dub thinks to himself while observing Luna. "Maybe she ain't as bad as Slim made her out to be.... She definitely got an attitude." He chuckles to himself. "Kells needs that though. Fuck... I don't know... who am I to judge.... Especially if Case and Ash bang wit her... Guess we just gonna have to see..." Dub decides as he watches Luna head OnStage.

------------------------------------------------

They start off as they have the many times before. Luna opening up delicately at the piano before Colson leads her out and The Boys kick in heavy behind them. Slaying his guitar, he raps about giving one another life while suffocating in the other's kiss. Bouncing around the stage, buzzing and teasing one another while promising each other how they'll want them forever and take them where ever.

🎶I'm just a LunaTic//With her Gunn//When we're together//Bad Things happen//The way you touch me//Is better than ecstasy//When we're not together//I still feel you//Coursing through me🎶

Luna and Colson hit the second chorus again together as Rook slams into his kit and Colson continues to shred his guitar. He tosses it SideStage as he joins her for last few verses. Pulling her in close as their bodies rock together and rush for the other. Grabbing her hand The Band drops away as they harmonize the last lyrics together.

🎶I'm all in//There is no maybe🎶

As they finish, Colson twirls her out. Letting go of her hand, Luna stops. Drops her head back with her arms at different angles and pops one knee. The response to their performance is volcanic. The crowd erupting for an ENCORE as the lights begin to go down.

Colson can't hear them, just his one thought. "I am going to FUCK the shit outta her..." His mouth salivating as he scoops her up to invade her willing mouth.

"You're so fucking hot." He pants as he continues to kiss her. "I wanna run an encore for El Diablo. What do you think? We'll get everybody OnStage?"

"Fuck YEAH!" Luna agrees kissing him back. "You tell The Boys, I'll grab everyone else." She grins.

"I fucking LOVE YOU." Colson tells her with a light laugh as he kisses her once more before they seperate for their missions.

-------------------------------------------------

Word Limit 1 of 2

To be continued....

[sleander-red]

a guide to NCT (for my best friend) pt. 1 (the units)

i want my friend to understand nct but there's too many members to fit in one post so im splitting it up. here we'll talk about what nct is, the 4 units, and how they work.

What is NCT?

NCT is a multi-national boy group based in South Korea under the company SM Entertainment (home to big names like Girls' Generation, Red Velvet, and EXO). NCT stands for Neo Culture Technology, which refers to their concept.

They are built around the concept of having unlimited members, and they currently have 21. Yes, that's a lot, but they're surprisingly easy to remember.

The members are split into 4 sub-units: NCT U, NCT 127, NCT Dream, and WayV. Some members are only in one, while others are in three.

NCT U

the U stands for Universal

each comeback, the members change depending on who fits the concept the best

they release only singles, not albums

their most recent comeback was Coming Home, sung by Taeil, Doyoung, Jaehyun, and Haechan

other members are Taeyong, Ten, Kun, WinWin, Jungwoo, Lucas, and Mark

music style ranges from vibey to car ride music to sad songs to love songs

debuted on April 9, 2016 with The 7th Sense

NCT 127

127 refers to the longitude coordinate of Seoul

a fixed unit that will not change members

started with 7 members (Taeil, Taeyong, Yuta, Jaehyun, WinWin, Mark and Haechan)

then they added 2 (Johnny and Doyoung)

then they added 1 (Jungwoo)

however, WinWin is not currently active in NCT 127, so they promote as 9

the leader of the unit is Taeyong

their most recent comeback was Punch

music style is mostly hip hop

debuted on July 7, 2016 with Firetruck

NCT Dream

the Dream represents their hope to give a new dream to the teenage fans

they used to have a graduation system where the members would graduate and go into the rest of NCT when they turned 20

however, this was changed in 2020; now the group works more like NCT U

the members are Mark, Renjun, Jeno, Haechan, Jaemin, Chenle, and Jisung

their most recent comeback is Ridin'

they used to make cute and bubbly pop songs, but since then their style has matured and grown as the boys aged

debuted on August 24, 2016 with Chewing Gum

WayV

WayV stands for We are your Vision

they are the Chinese sub-unit of NCT

the reason they don't have NCT in the name is because China and South Korea don't have a good political standing and they try to distance themselves from the Korean units

they are under SM's Chinese label, Label V

Rainbow V refers to a project where the members choreograph their own routines

the members are Kun, Ten, WinWin, Lucas, Xiao Jun, Hendery, and Yangyang

Kun is the leader of this unit

their most recent comeback is Love Talk

the reason WinWin isn't active in NCT 127 is because he's active here

debuted on January 17, 2019 with Regular (a Chinese version of a Korean and English song by NCT 127)

NCT 2018

not a unit, but refers to the NCT lineup in 2018

so, everyone is in NCT 2018 except for Xiao Jun, Hendery, and Yangyang, as they were added to the group later than 2018 (added for WayV)

the only song with all of them is Black on Black

and that is all for the units :)

[wings-of-indigo]

So, Waitress is closing and Why I am Happy about that: An Exceedingly long essay Rant about Broadway

Look. Nobody's gonna read this, most likely, but it's 2 in the morning and my brain's been obsessing over Broadway (more than usual, anyway) since communing with my people at intensive this week. So, in the interest of getting some sleep before 8 hrs of dance and shitty high notes tomorrow, here goes.

I love classic, high-school-and-community standard musicals. I love new and experimental musicals. I love Disney film-to-stage musicals. I love institution musicals like Chorus Line, Cats, and Wicked; I even have a soft spot for Phantom. I am eagerly anticipating West Side Story next Christmas (seriously, I have a calander).

BUT.

As I said to one of my fellow dancers during post-class stretch (after noting his insane flexibilty and making yet another resolution to stretch more) I am Sick to GoDAMnEd DEATH of revivals, franchise adaptions, and restagings taking up the Broadway and greater theater markets.

I get why it's happening; I do. Musical theater, even shows that never make it out of Regional productions (Be More Chill, btw, I'm so proud of you bby :'-D ) are REALLY FREAKING EXPENSIVE, not just to stage, but also to develop. Broadway productions nowadays regularly go upwards of TENS OF MILLIONS OF DOLLARS in costs.

Those costs are more and more frequently being met through funding by large groups of wealthy investors, who can expect basically little to no return on that investment. Only a select few shows that make it to the Great White Way do well enough to turn a profit (let alone the kinds of numbers that Hamilton, DEH, and Wicked continue to make), and more and more shows are closing in defict or once they break even. (Coincidentally, this is probably why we're seeing more and more straight plays on Broadway, especially in limited engagements. They're quicker, cheaper, and still have the same level of prestige.)

It makes sense then to assume that a show linked to an already successful property has a better chance of reaching that break-even mark, or perhaps generating a small return, than a more original idea. It's a surer bet, and we've seen it a lot these past few seasons. Anastasia, Beetlejuice, Pretty Woman, Moulin Rouge, Mean Girls... we get it. We promise. Investors want some security in an extremely and notoriously insecure market before they're willing to lay out the dough.

I get it. Everybody gets it.

And, to be fair, some of those shows are and continue to be GOOD. Tony nominees and award winners, even. But here's the problem: it's boring.

And not because I know how Act 2 ends without getting spoilers on tumblr. Unless they're younger than ten, the population of Broadway-and-musicals fans generally has a good handle on where a show's relevant plotlines are going. It's really not the wanting to know the end that keeps your butt in your overpriced red velvet seat and your eyes on the stage. It's the score, the words, occasionally the choreography, and most importantly the magicians on, off, and backstage bringing those things to life in a new and interesting way.

The antithesis of this, then, is having to watch slavish recreation of iconic scenes, lines, and characters from iconic films, presented Onstage! (TM), now with Bonus Songs! for your reconsumption. (Yes, Pretty Woman, I'm looking at you.)

Hey, I love Pretty Woman the Movie, slightly dodgy messages about feminity aside. I love it as a movie, and I really don't need to watch the knock off version of it, even if it comes in a shiny Broadway package.

Anastasia, and Beetlejuice, on the other hand, work extrodinarily well as musicals because they are NOT carbon copies of the original, somehow miraculously transplanted onto the stage.

Ironically, musicals based on original ideas are actually some of the most successful and well reviewed recent productions. Hamilton, Dear Evan Hansen, Come From Away, and Hadestown this season are all original works, and well, look at them. (Fishy, huh? Coincidence, I think the fuck not.)

Recently I got to see The Prom on Broadway, the day after I saw Pretty Woman. The contrast between shows and my enjoyment of them was well defined. I couldn't look away from The Prom, despite many of the major story beats being as obvious as our Cheeto-in-Chief's spray tan. I and the entire rest of the theater were completely engaged by what was going on onstage, both comedically and dramatically. At Pretty Woman, I found myself checking the Playbill to see how many songs were left for me to make it through and anxiously comparing the size of my thighs to the dancers onstage to pass the time (ah, pre pro Body Issues, welcome back! We all thought you'd retired!)

Three guesses which show I'd choose to see again.

When I read that Waitress was closing, the first thing I did was panic and start marking pre January weekends where I would both be free and possibly have disposable income (I've never gotten to see the show, and frankly I would like too). My second reaction was, yes, to mourn the closure of a wonderful show, but it was mixed with hopeful anticipation. Waitress had a good long time in the sun, and just like a well lived life, eventually it must and should end. It's better, in my humble student opinion, to live with memories and cast albums (and regional productions) than the stodgy life of a show that's jealously clung to its Broadway berth through the tourist-and-date-night trade (*cough*Phantom*cough*). It's sort of like your 40 something mother taking selfies in booty shorts in an effort to prove she's still 'hip' and in her twenties. Cringe.

Ephemera is the nature of live performance, and probably part of its allure. And just like in the natural world, old things have to end so that new things can become. Waitress closing is a vital part of this cycle.

Broadway has a limited number of theaters. That's a hard and absolute fact. Maybe a quarter of them are effectively taken off the market for new shows by productions apparently cursed with immortality. Waitress has just opened up another spot both physically and creatively for a new project- hopefully something we haven't seen before- and I hope to God, Satan, and Sondheim that it doesn't get filled with another franchise spinoff, celebrity jukebox musical, or -Lin Miranda forbid - yet another revival.

Why the revival hate, though? Aren't revivals an major way to revisit the landmark and important musicals of the past and bring them to a new audience?

Well, yes. They are, especially when they're staged and presented with the emphasis on letting the music and words speak for themselves and giving the actors leeway to work with the material, without the typical levels of Broadway Extra (TM) and creative meddling from the producers. (The recent Lincoln Center staging of A Chorus Line is a good example of the stripped down style I'm talking about.) But even if they have their place, once again, revivals (while valuable and cool and all that) are Something We've Already Seen.

Let's take Newsies for example. A show with a huge fan base (mostly teen, mostly girls) who I frequently see wishing for a revival.

Now, I am a raging Newsies fan. Newsies is the show that got me started on attempting to make a profession out of dance and theater. I can sing both the OBC and Live albums back to front. I may or may not have had embarrassing crushes on certain cast and characters that I will take to my grave (I'll never tell and you'll never know, mwahhaha). So, do I love and worship ever iteration of this show? Yes. Do I wish I had been able to see either the Natl Tour or Broadway productions? Hell yes, with all my heart. Do I wish the Gatelli choreography was in any way accessible for me to learn? More than I want Broadway tickets to cost less than my soul, kidney, and hypothetical but unlikely first born combined.

But do I want a Broadway revival? Hell FUCKING No.

It's over, it's done, and it lives on in reinterpretation in regional and junior productions. Good. That, to be quite honest, is where it should belong.

It doesn't need to be rehashed on the biggest stages, and to be frank, neither do most of the ultra popular revivals that have been happening. (Yes, Ali Stoker is awesome and deserves the world, but Broadway does not need Oklahoma. If you need to see it that bad, go find a high school production somewhere. I recommend the midwest.) Broadway does not need 1776 (even though I am looking forward to it). Broadway does not need a Sweeney Todd revival (even though I want one like I want ice cream after suffering through jazz class in an un-air-conditioned studio on a 90 degree afternoon with no breeze. Seriously, I might be making sacrifices at my altar to this cause in the back of my closet).

Broadway needs musicals that are at least nominally original, and if not, come from something obscure enough (Kinky Boots, Waitress, Newsies) that they can make their own way. Barring that, investors, writers, and directors, please have the courage and decency to take established content in a new direction. Please, I'm begging you. I'd honestly-and-truly much rather sit through something that didn't try to shove the better version of itself down my throat even as it bored and annoyed me to tears. If I'm going to pay $80+ to sit through two hours of something terrible (and less engaging than my dancer body image issues) at least let me get my money's worth in unique horribleness.

[makistar2018]

Taylor Swift on Sexism, Scrutiny, and Standing Up for Herself

AUGUST 8, 2019 By ABBY AGUIRRE Photographed by INEZ AND VINOODH

Cover Look Taylor Swift wears a Louis Vuitton jumpsuit. Rings by Cartier and Bvlgari. To get this look, try: Dream Urban Cover in Classic Ivory, Fit Me Blush in Pink, Tattoostudio Sharpenable Gel Pencil Longwear Eyeliner Makeup in Deep Onyx, The Colossal Mascara, Brow Ultra Slim in Blonde, and Shine Compulsion by Color Sensational Lipstick in Undressed Pink. All by Maybelline New York. Hair, Christiaan; makeup, Fulvia Farolfi. Fashion Editor: Tonne Goodman

Photographed by Inez & Vinoodh, Vogue, September 2019

IT’S A SUNDAY AFTERNOON in Tribeca, and I’m in Taylor Swift’s loft, inside a former printing house that she has restored and fortified into a sanctuary of brick, velvet, and mahogany. The space is warm and cozy and vaguely literary—later, when we pass through her bedroom en route to her garden, 10 percent of my brain will believe her wardrobe might open up to Narnia. Barefoot in a wine-colored floral top and matching flowy pants, Swift is typing passwords into a laptop to show me the video for “You Need to Calm Down,” eight days before she unleashes it on the world.

I have a sliver of an idea what to expect. A few weeks earlier, I spent a day at the video shoot, in a dusty field-slash-junkyard north of Los Angeles. Swift had made it a sort of Big Gay Candy Mountain trailer park, a Technicolor happy place. The cast and crew wore heart-shaped sunglasses—living, breathing lovey-eyes emoji—and a mailbox warned, LOVE LETTERS ONLY.

Swift and a stream of costars filmed six scenes over about a dozen hours. The singer-songwriter Hayley Kiyoko, known to her fans as “Lesbian Jesus,” shot arrows at a bull’s-eye. The YouTube comedian-chef Hannah Hart danced alongside Dexter Mayfield, the plus-size male model and self-described “big boy in heels.” The Olympic figure skater Adam Rippon served up icy red snow cones. Swift and her close friend Todrick Hall, of Kinky Boots and RuPaul’s Drag Race, sipped tea with the cast of Queer Eye.

Speak Now “Rights are being stripped from basically everyone who isn’t a straight white cisgender male,” Swift says. Celine coat. Dior shoes. Fashion Editor: Tonne Goodman. Photographed by Inez & Vinoodh, Vogue, September 2019

The mood was joyous and laid-back. But by the end of the day, I wasn’t sure what the vignettes would add up to. There were shoot days and cameos I wouldn’t observe. For security reasons, the song was never played aloud. (The cast wore ear buds.) Even the hero shot, in which Swift and Hall sauntered arm in arm through the dreamscape at golden hour, was filmed in near-total silence.

For weeks afterward, I tried to sleuth out a theory. I started casually. There was a “5” on the bull’s-eye, so I did a quick search to figure out what that number might mean. Immediately I was in over my head.

Swift has a thing for symbols. I knew she had been embedding secret messages in liner notes and deploying metaphors as refrains since her self-titled debut in 2006—long before her megafame made her into a symbol of pop supremacy. But I hadn’t understood how coded and byzantine her body of work has become; I hadn’t learned, as Swift’s fans have, to see hidden meanings everywhere. For instance: In the 2017 video for “Look What You Made Me Do,” a headstone in a graveyard scene reads NILS SJOBERG, the pseudonym Swift used as her writing credit on Rihanna’s hit “This Is What You Came For,” a Swedish-sounding nod to that country’s pop wizards.

After an excessive amount of ad hoc scholarship—a friend joked that I could have learned Mandarin in the time I spent trying to unpack Swift’s oeuvre—I was no closer to a theory. Pop music has become so layered and meta, but the Taylor Swift Universe stands apart. Apprehending it is like grasping quantum physics.

My first indication of what her new album, Lover, would be about came just after midnight on June 1, the beginning of Pride Month, when Swift introduced a petition in support of the federal Equality Act. This legislation would amend the Civil Rights Act to outlaw discrimination based on gender identity and sexual orientation. (It has passed the House, but prospects in Mitch McConnell’s Senate are unclear.) Swift also posted a letter to Senator Lamar Alexander, Republican of Tennessee, asking him to vote yes. The request, on her personal letterhead (born in 1989. LOVES CATS.), denounced President Trump for not supporting the Equality Act. “I personally reject the president’s stance,” Swift wrote.

Back in the kitchen, Swift hits play. “The first verse is about trolls and cancel culture,” she says. “The second verse is about homophobes and the people picketing outside our concerts. The third verse is about successful women being pitted against each other.”

The video is, for erudite Swifties, a rich text. I had followed enough clues to correctly guess some of the other cameos—Ellen DeGeneres, RuPaul, Katy Perry. I felt the satisfaction of a gamer who successfully levels up—achievement unlocked!The video’s final frame sends viewers to Swift’s change.org petition in support of the Equality Act, which has acquired more than 400,000 signatures—including those of Cory Booker, Elizabeth Warren, Beto O’Rourke, and Kirsten Gillibrand—or four times the number required to elicit an official response from the White House.

“MAYBE A YEAR OR TWO AGO, Todrick and I are in the car, and he asked me, What would you do if your son was gay?”

We are upstairs in Swift’s secret garden, comfortably ensconced in a human-scale basket that is sort of shaped like a cocoon. Swift has brought up an ornate charcuterie board and is happily slathering triple-cream Brie onto sea-salt crackers. “The fact that he had to ask me . . . shocked me and made me realize that I had not made my position clear enough or loud enough,” she says. “If my son was gay, he’d be gay. I don’t understand the question.”

I have pressed Swift on this topic, and her answers have been direct, not performative or scripted. I do sense that she enjoys talking to me about as much as she’d enjoy a root canal—but she’s unfailingly polite, and when we turn to music, her face will light up and she will add little melodic phrases to her speech, clearly her preferred language.

Balancing Act Later this year, Swift will appear in the film adaptation of Cats—as the flirtatious Bombalurina. Givenchy dress. Bracelets by John Hardy, David Yurman, and Hoorsenbuhs. Photographed by Inez & Vinoodh, Vogue, September 2019

“If he was thinking that, I can’t imagine what my fans in the LGBTQ community might be thinking,” she goes on. “It was kind of devastating to realize that I hadn’t been publicly clear about that.”

I understand why she was surprised; she has been sending pro-LGBTQ signals since at least 2011. Many have been subtle, but none insignificant—especially for a young country star coming out of Nashville.

In the video for her single “Mean” (from 2010’s Speak Now), we see a boy in a school locker room wearing a lavender sweater and bow tie, surrounded by football players. In “Welcome to New York,” the first track on 1989, she sings, “And you can want who you want. Boys and boys and girls and girls.” Two years later, she donated to a fund for the newly created Stonewall National Monument and presented Ruby Rose with a GLAAD Media Award. Every night of last year’s Reputation tour, she dedicated the song “Dress” to Loie Fuller, the openly gay pioneer of modern dance and theatrical lighting who captured the imagination of fin-de-siècle Paris.

Swift, who has been criticized for keeping her politics to herself, first took an explicit stance a month before the 2018 midterms. On Instagram, she endorsed Democrats for the Tennessee Legislature and called out the Republican running for Senate, Marsha Blackburn. “She believes businesses have a right to refuse service to gay couples,” Swift wrote. “She also believes they should not have the right to marry. These are not MY Tennessee values.”

Swift says the post was partly to help young fans understand that if they wanted to vote, they had to register. To tell them, as she puts it, “Hey, just so you know, you can’t just roll up.” Some 65,000 new voters registered in the first 24 hours after her post, according to Vote.org.

Trump came to Blackburn’s defense the following day. “She’s a tremendous woman,” he told reporters. “I’m sure Taylor Swift doesn’t know anything about her. Let’s say I like Taylor’s music about 25 percent less now, OK?”

In April, spurred by a raft of anti-LGBTQ bills in Tennessee, Swift donated $113,000 to the Tennessee Equality Project, which advocates for LGBTQ rights. “Horrendous,” she says of the legislation. “They don’t call it ‘Slate of Hate’ for nothing.” Swift especially liked that the Tennessee Equality Project had organized a petition of faith leaders in opposition. “I loved how smart it was to come at it from a religious perspective.”

Meanwhile, the “Calm Down” video provoked a Colorado pastor to call Swift “a sinner in desperate need of a savior” and warn that “God will cut her down.” It also revived heated debate within LGBTQ communities about the politics of allyship and corporatization of Pride. Some critics argued Swift’s pro-LGBTQ imagery and lyrics were overdue and out of the blue—a reaction the new Swift scholar in me found bewildering. Had they not been paying attention?

Nor did it strike me as out of character for Swift to leverage her power for a cause. She pulled her catalog from Spotify in 2014 over questions of artist compensation. She stared down Apple in 2015, when the company said it would not pay artists during the launch of its music service. (Apple reversed itself immediately.) As a condition of her record deal with Universal Music Group last year, the company promised that it would distribute proceeds from any sale of its Spotify shares to all of its artists. And this summer, Swift furiously called out Scott Borchetta, founder of Big Machine Label Group, for selling her master recordings to the music manager Scooter Braun. (When I ask Swift if she tried to get her masters from Big Machine, her whole body slumps with a palpable heaviness. “It was either investing in my past or my and other artists’ future, and I chose the future,” she says of the deal she struck with Universal.)

Swift’s blunt testimony during her 2017 sexual-assault case against a radio DJ—months before the #MeToo reckoning blew open—felt deeply political to me and, I imagine, many other women. Swift accused the DJ, David Mueller, of groping her under her skirt at a photo session in 2013. Her camp reported the incident to his employer, who fired him. Mueller denied the allegation, sued Swift for $3 million, and his case was thrown out. Swift countersued for a symbolic $1 and won.

Watch Taylor Swift Take Over Go Ask Anna:

In a Colorado courtroom, Swift described the incident: “He stayed latched onto my bare ass cheek” as photos were being snapped. Asked why photos of the front of her skirt didn’t show this, she said, “Because my ass is located at the back of my body.” Asked if she felt bad about the DJ’s losing his job, she said, “I’m not going to let you or your client make me feel in any way that this is my fault. Here we are years later, and I’m being blamed for the unfortunate events of his life that are the product of his decisions—not mine.”

When Time included Swift on the cover of its “Silence Breakers” issue that year, the magazine asked how she felt during the testimony. “I was angry,” she said. “In that moment, I decided to forgo any courtroom formalities and just answer the questions the way it happened...I’m told it was the most amount of times the word ass has ever been said in Colorado Federal Court.”

Mueller has since paid Swift the dollar—with a Sacagawea coin. “He was trolling me, implying that I was self-righteous and hell-bent on angry, vengeful feminism. That’s what I’m inferring from him giving me a Sacagawea coin,” Swift says. “Hey, maybe he was trying to do it in honor of a powerful Native American woman. I didn’t ask.” Where is the coin now? “My lawyer has it.”

I ask her, why get louder about LGBTQ rights now? “Rights are being stripped from basically everyone who isn’t a straight white cisgender male,” she says. “I didn’t realize until recently that I could advocate for a community that I’m not a part of. It’s hard to know how to do that without being so fearful of making a mistake that you just freeze. Because my mistakes are very loud. When I make a mistake, it echoes through the canyons of the world. It’s clickbait, and it’s a part of my life story, and it’s a part of my career arc.”

I’d argue that no heterosexual woman can listen to “You Need to Calm Down” and hear only a gay anthem. “Calm down” is what controlling men tell women who are angry, contrary, or “hysterical,” or, let’s say, fearing for their physical safety. It is what Panic! at the Disco singer Brendon Urie says to Swift in the beginning of the “ME!” music video, prompting her to scream, “Je suis calme!”

I cannot believe it is a coincidence that Swift, a numbers geek with an affinity for dates, dropped the single—whose slow, incessant bass is likely to be bumping in stadiums across the world in 2020 if she goes on tour—on June 14, a certain president’s birthday.

IT'S ENLIGHTENING to read 13 years of Taylor Swift coverage—all the big reviews, all the big profiles—in one sitting. You notice things.

How quickly Swift went from a “prodigy” (The New Yorker) and a “songwriting savant” (Rolling Stone) to a tabloid fixture, for instance. Or how suspect her ambition is made to seem once she acquires real power.

Other plot points simply look different in the light of #MeToo. It is hard to imagine that Swift’s songs about her exes would be reviewed as sensationally today. I wonder if, in 2019, any man would dare grab the microphone out of a young woman’s hands at an awards show. I stared into space for a good long while when I was reminded that Pitchfork did not review Taylor Swift’s 1989 but did review Ryan Adams’s cover album of Taylor Swift’s 1989.

I ask Swift if she had always been aware of sexism. “I think about this a lot,” she says. “When I was a teenager, I would hear people talk about sexism in the music industry, and I’d be like, I don’t see it. I don’t understand. Then I realized that was because I was a kid. Men in the industry saw me as a kid. I was a lanky, scrawny, overexcited young girl who reminded them more of their little niece or their daughter than a successful woman in business or a colleague. The second I became a woman, in people’s perception, was when I started seeing it.

“It’s fine to infantilize a girl’s success and say, How cute that she’s having some hit songs,” she goes on. “How cute that she’s writing songs. But the second it becomes formidable? As soon as I started playing stadiums—when I started to look like a woman—that wasn’t as cool anymore. It was when I started to have songs from Red come out and cross over, like ‘I Knew You Were Trouble’ and ‘We Are Never Ever Getting Back Together.’ ”

Those songs are also more assertive than the ones that came before, I say. “Yeah, the angle was different when I started saying, I knew you were trouble when you walked in. Basically, you emotionally manipulated me and I didn’t love it. That wasn’t fun for me.”

I have to wonder if having her songwriting overlooked as her hits were picked apart and scrutinized wasn’t the biggest bummer of all. Swift: “I wanted to say to people, You realize writing songs is an art and a craft and not, like, an easy thing to do? Or to do well? People would act like it was a weapon I was using. Like a cheap dirty trick. Be careful, bro, she’ll write a song about you. Don’t stand near her. First of all, that’s not how it works. Second of all, find me a time when they say that about a male artist: Be careful, girl, he’ll use his experience with you to get—God forbid—inspiration to make art.”

Without question the tenor of the Taylor Swift Narrative changed most dramatically in July 2016, when Kim Kardashian West called her a “snake” on Twitter, and released video clips of Swift and Kanye West discussing the lyrics to his song “Famous.” (No need to rehash the details here. Suffice it to say that Swift’s version of events hasn’t changed: She knew about some of the lyrics but not others; specifically, the words that bitch.) The posts sparked several hashtags, including #TaylorSwiftIsASnake and #TaylorSwiftIsCanceled, which quickly escalated into a months-long campaign to “cancel” Swift.

To this day Swift doesn’t think people grasp the repercussions of that term. “A mass public shaming, with millions of people saying you are quote-unquote canceled, is a very isolating experience,” she says. “I don’t think there are that many people who can actually understand what it’s like to have millions of people hate you very loudly.” She adds: “When you say someone is canceled, it’s not a TV show. It’s a human being. You’re sending mass amounts of messaging to this person to either shut up, disappear, or it could also be perceived as, Kill yourself.”

An overhaul was in order. “I realized I needed to restructure my life because it felt completely out of control,” Swift says. “I knew immediately I needed to make music about it because I knew it was the only way I could survive it. It was the only way I could preserve my mental health and also tell the story of what it’s like to go through something so humiliating.”

State of Grace Dior bodysuit and skirt. Photographed by Inez & Vinoodh, Vogue, September 2019

I get a sense of the whiplash Swift experienced when I notice that, a few months into this ordeal, while she was writing the songs that would become her album Reputation—and fighting off Mueller’s lawsuit—a portion of the media and internet began demanding to know why she hadn’t un-canceled herself long enough to take a position in the presidential election.

On that: “Unfortunately in the 2016 election you had a political opponent who was weaponizing the idea of the celebrity endorsement. He was going around saying, I’m a man of the people. I’m for you. I care about you. I just knew I wasn’t going to help. Also, you know, the summer before that election, all people were saying was She’s calculated. She’s manipulative. She’s not what she seems. She’s a snake. She’s a liar. These are the same exact insults people were hurling at Hillary. Would I be an endorsement or would I be a liability? Look, snakes of a feather flock together. Look, the two lying women. The two nasty women. Literally millions of people were telling me to disappear. So I disappeared. In many senses.”

Swift previewed Reputation in August 2017 with “Look What You Made Me Do.” The single came with a lyric video whose central image was an ouroboros—a snake swallowing its own tail, an ancient symbol for continual renewal. Swift wiped her social-media feeds clean and began posting video snippets of a slithering snake. The song was pure bombast and high camp. (Lest there be any doubt, the chorus was an interpolation of a ’90s camp classic, Right Said Fred’s “I’m Too Sexy.”) Nonetheless, most critics read it as a grenade lobbed in the general direction of Calabasas.

One longtime Nashville critic, Brian Mansfield, had a more plausible take: She was writing sarcastically as the “Taylor Swift” portrayed in the media in a bid for privacy. “Yeah, this is the character you created for me, let me just hide behind it,” she says now of the persona she created. “I always used this metaphor when I was younger. I’d say that with every reinvention, I never wanted to tear down my house. ’Cause I built this house. This house being, metaphorically, my body of work, my songwriting, my music, my catalog, my library. I just wanted to redecorate. I think a lot of people, with Reputation, would have perceived that I had torn down the house. Actually, I just built a bunker around it.”

IN MARCH, the snakes started to morph into butterflies, the vampire color palette into Easter pastels. When a superbloom of wildflowers lured a mesmerizing deluge of Painted Lady butterflies to Los Angeles, Swift marked it with an Instagram post. She attended the iHeartRadio Music Awards that night in a sequin romper and stilettos with shimmery wings attached.

Swift announced the single “ME!” a month later, with a large butterfly mural in Nashville. In the music video for the (conspicuously) bubblegum song, a hissing pastel-pink snake explodes into a kaleidoscope of butterflies. One flutters by the window of an apartment, where Swift is arguing in French with Urie. A record player is playing in the background. “It’s an old-timey, 1940s-sounding instrumental version of ‘You Need to Calm Down,’ ’’ Swift says. Later, in the “Calm Down” video, Swift wears a (fake) back tattoo of a snake swarmed by butterflies.

We are only two songs in, people. Lover, to be released on August 23, will have a total of 18 songs. “I was compiling ideas for a very long time,” Swift says. “When I started writing, I couldn’t stop.” (We can assume the British actor Joe Alwyn, with whom Swift has been in a relationship for nearly three years, provided some of the inspiration.)

Swift thinks Lover might be her favorite album yet. “There are so many ways in which this album feels like a new beginning,” she says. “This album is really a love letter to love, in all of its maddening, passionate, exciting, enchanting, horrific, tragic, wonderful glory.”

In Focus Swift’s new 18-track album, Lover, will be released August 23. Hermès shirt. Chanel pants. Maximum Henry belt. Photographed by Inez & Vinoodh, Vogue, September 2019

I have to ask Swift, given how genuinely at peace she seems, if part of her isn’t thankful, if not for the Great Cancellation of 2016, then for the person she now is—knowing who her friends are, knowing what’s what. “When you’re going through loss or embarrassment or shame, it’s a grieving process with so many micro emotions in a day. One of the reasons why I didn’t do interviews for Reputationwas that I couldn’t figure out how I felt hour to hour. Sometimes I felt like: All these things taught me something that I never could have learned in a way that didn’t hurt as much. Five minutes later, I’d feel like: That was horrible. Why did that have to happen? What am I supposed to take from this other than mass amounts of humiliation? And then five minutes later I’d think: I think I might be happier than I’ve ever been.”

She goes on: “It’s so strange trying to be self-aware when you’ve been cast as this always smiling, always happy ‘America’s sweetheart’ thing, and then having that taken away and realizing that it’s actually a great thing that it was taken away, because that’s extremely limiting.” Swift leans back in the cocoon and smiles: “We’re not going to go straight to gratitude with it. Ever. But we’re going to find positive aspects to it. We’re never going to write a thank-you note.”

Though people will take the Perry-Swift burger-and-fries embrace in the “You Need to Calm Down” video as a press release that the two have mended fences, Swift says it’s actually a comment on how the media pits female pop stars against one another. After Perry sent Swift an (actual) olive branch last year, Swift asked her to be in the video: “She wrote back, This makes me so emotional. I’m so up for this. I want us to be that example. But let’s spend some time together. Because I want it to be real. So she came over and we talked for hours.

“We decided the metaphor for what happens in the media,” Swift explains, “is they pick two people and it’s like they’re pouring gasoline all over the floor. All that needs to happen is one false move, one false word, one misunderstanding, and a match is lit and dropped. That’s what happened with us. It was: Who’s better? Katy or Taylor? Katy or Taylor? Katy or Taylor? Katy or Taylor? The tension is so high that it becomes impossible for you to not think that the other person has something against you."

Meanwhile, the protesters in the video reference a real-life religious group that pickets outside Swift’s concerts, not the white working class in general, as some have assumed. “So many artists have them at their shows, and it’s such a confounding, confusing, infuriating thing to have outside of joyful concerts,” she tells me. “Obviously I don’t want to mention the actual entity, because they would get excited about that. Giving them press is not on my list of priorities.”

At one point, Swift asks if I would like to hear two other songs off the new album. (Duh.) First she plays “Lover,” the title track, coproduced by Jack Antonoff. “This has one of my favorite bridges,” she says. “I love a bridge, and I was really able to go to Bridge City.” It’s a romantic, haunting, waltzy, singer-songwritery nugget: classic Swift. “My heart’s been borrowed and yours has been blue,” she sings. “All’s well that ends well to end up with you.”

Next, Swift cues up a track that “plays with the idea of perception.” She has often wondered how she would be written and spoken about if she were a man, “so I wrote a song called ‘The Man.’ ” It’s a thought experiment of sorts: “If I had made all the same choices, all the same mistakes, all the same accomplishments, how would it read?” Seconds later, Swift’s earpods are pumping a synth-pop earworm into my head: “I’d be a fearless leader. I’d be an alpha type. When everyone believes ya: What’s that like?”

Swift wrote the first two singles with Joel Little, best known as one of Lorde’s go-to producers. (“From a pop-songwriting point of view, she’s the pinnacle,” Little says of Swift.) The album is likely to include more marquee names. A portrait of the Dixie Chicks in the background of the “ME!” video almost certainly portends a collaboration. If fans are correctly reading a button affixed to her denim jacket in a recent magazine cover, we can expect one with Drake, too.

Eyes On Her Designer Stella McCartney on her friendship with Swift: “In London we’ll go on walks and talk about everything—life and love.” Stella McCartney coat. In this story: hair, Christiaan; makeup, Fulvia Farolfi. Photographed by Inez & Vinoodh, Vogue, September 2019

She recently announced a fashion collection with Stella McCartney to coincide with Lover. “We met at one of her shows,” says McCartney, “and then we had a girls’ night and kind of jumped straight in. In London we’ll go on walks and talk about everything—life and love.” (Swift has no further fashion ambitions at the moment. “I really love my job right now,” she tells me. “My focus is on music.”) Oh, and that “5” on the bullseye? Track five is called “The Archer.”

Yet something tells me the most illuminating clue for reading both Lover and Reputation may be Loie Fuller, the dancer to whom Swift paid homage on tour. As Swift noted on a Jumbotron, Fuller “fought for artists to own their work.” Fuller also used swirling fabric and colored lights to metamorphose onstage, playing a “hide-and-seek illusionist game” with her audience, as one writer has put it. She became a muse to the Symbolists in Paris, where Jean Cocteau wrote that she created “the phantom of an era.” The effect, said the poet Stéphane Mallarmé, was a “dizziness of soul made visible by an artifice.” Fuller’s most famous piece was “Serpentine Dance.” Another was “Butterfly Dance.”

SWIFT HAS HAD almost no downtime since late 2017, but what little she does have is divided among New York, Nashville, Los Angeles, and Rhode Island, where she keeps homes—plus London. In an essay earlier this year, she revealed that her mother, Andrea Swift, is fighting cancer for a second time. “There was a relapse that happened,” Swift says, declining to go into detail. “It’s something that my family is going through.”

Later this year, she will star in a film adaptation of Andrew Lloyd Webber’s Catsas Bombalurina, the flirtatious red cat. “They made us the size of cats by making the furniture bigger,” she says. “You’d be standing there and you could barely reach the seat of a chair. It was phenomenal. It made you feel like a little kid.”

But first, she will spend much of the summer holding “secret sessions”—a tradition wherein Swift invites hundreds of fans to her various homes to preview her new music. “They’ve never given me a reason to stop doing it,” she says. “Not a single one.”

Speaking of: Inquiring fans will want to know if Swift dropped any more clues about how to decode Lover during this interview. For you I reviewed the audio again, and there were a few things that made my newly acquired Swifty sense tingle.

At one point she compared superstardom in the digital age to life in a dollhouse, one where voyeurs “can ‘ship’ you with who they want to ‘ship’ you with, and they can ‘favorite’ friends that you have, and they can know where you are all the time.” The metaphor was precise and vivid and, well, a little too intricately rendered to be off the cuff. (Also, the “ME!” lyric: “Baby doll, when it comes to a lover. I promise that you’ll never find another like me.”)

Then there was the balloon—a giant gold balloon in the shape of a numeral seven that happened to float by while we were on her roof, on this, the occasion of her seventh album. “Is it an L’?” I say. “No, because look, the string is hanging from the bottom,” she says.

It might seem an obvious symbolic gesture, deployed for this interview, except for how impossible that seems. Swift let me control the timing of nearly everything. Moreover, the gold seven wasn’t floating up from the sidewalk below. It was already high in the sky, drifting slowly toward us from down the street. She would have had to control the wind, or at least to have studied it. Would Taylor Swift really go to such elaborate lengths for her fans? This much I know: Yes, she would.

Taylor Swift Talks Googling Herself, Which Celebrity's Closet She'd Raid, and the Bravest Thing She's Ever Done:

Vogue

[hearyourheart]

Taylor Swift on Sexism, Scrutiny, and Standing Up for Herself

IT’S A SUNDAY AFTERNOON in Tribeca, and I’m in Taylor Swift’s loft, inside a former printing house that she has restored and fortified into a sanctuary of brick, velvet, and mahogany. The space is warm and cozy and vaguely literary—later, when we pass through her bedroom en route to her garden, 10 percent of my brain will believe her wardrobe might open up to Narnia. Barefoot in a wine-colored floral top and matching flowy pants, Swift is typing passwords into a laptop to show me the video for “You Need to Calm Down,” eight days before she unleashes it on the world.

I have a sliver of an idea what to expect. A few weeks earlier, I spent a day at the video shoot, in a dusty field-slash-junkyard north of Los Angeles. Swift had made it a sort of Big Gay Candy Mountain trailer park, a Technicolor happy place. The cast and crew wore heart-shaped sunglasses—living, breathing lovey-eyes emoji—and a mailbox warned, LOVE LETTERS ONLY.

Swift and a stream of costars filmed six scenes over about a dozen hours. The singer-songwriter Hayley Kiyoko, known to her fans as “Lesbian Jesus,” shot arrows at a bull’s-eye. The YouTube comedian-chef Hannah Hart danced alongside Dexter Mayfield, the plus-size male model and self-described “big boy in heels.” The Olympic figure skater Adam Rippon served up icy red snow cones. Swift and her close friend Todrick Hall, of Kinky Boots and RuPaul’s Drag Race, sipped tea with the cast of Queer Eye.

The mood was joyous and laid-back. But by the end of the day, I wasn’t sure what the vignettes would add up to. There were shoot days and cameos I wouldn’t observe. For security reasons, the song was never played aloud. (The cast wore ear buds.) Even the hero shot, in which Swift and Hall sauntered arm in arm through the dreamscape at golden hour, was filmed in near-total silence.

For weeks afterward, I tried to sleuth out a theory. I started casually. There was a “5” on the bull’s-eye, so I did a quick search to figure out what that number might mean. Immediately I was in over my head.

Swift has a thing for symbols. I knew she had been embedding secret messages in liner notes and deploying metaphors as refrains since her self-titled debut in 2006—long before her megafame made her into a symbol of pop supremacy. But I hadn’t understood how coded and byzantine her body of work has become; I hadn’t learned, as Swift’s fans have, to see hidden meanings everywhere. For instance: In the 2017 video for “Look What You Made Me Do,” a headstone in a graveyard scene reads NILS SJOBERG, the pseudonym Swift used as her writing credit on Rihanna’s hit “This Is What You Came For,” a Swedish-sounding nod to that country’s pop wizards.

After an excessive amount of ad hoc scholarship—a friend joked that I could have learned Mandarin in the time I spent trying to unpack Swift’s oeuvre—I was no closer to a theory. Pop music has become so layered and meta, but the Taylor Swift Universe stands apart. Apprehending it is like grasping quantum physics.

My first indication of what her new album, Lover, would be about came just after midnight on June 1, the beginning of Pride Month, when Swift introduced a petition in support of the federal Equality Act. This legislation would amend the Civil Rights Act to outlaw discrimination based on gender identity and sexual orientation. (It has passed the House, but prospects in Mitch McConnell’s Senate are unclear.) Swift also posted a letter to Senator Lamar Alexander, Republican of Tennessee, asking him to vote yes. The request, on her personal letterhead (born in 1989. LOVES CATS.), denounced President Trump for not supporting the Equality Act. “I personally reject the president’s stance,” Swift wrote.

Back in the kitchen, Swift hits play. “The first verse is about trolls and cancel culture,” she says. “The second verse is about homophobes and the people picketing outside our concerts. The third verse is about successful women being pitted against each other.”

The video is, for erudite Swifties, a rich text. I had followed enough clues to correctly guess some of the other cameos—Ellen DeGeneres, RuPaul, Katy Perry. I felt the satisfaction of a gamer who successfully levels up—achievement unlocked!The video’s final frame sends viewers to Swift’s change.org petition in support of the Equality Act, which has acquired more than 400,000 signatures—including those of Cory Booker, Elizabeth Warren, Beto O’Rourke, and Kirsten Gillibrand—or four times the number required to elicit an official response from the White House.

“Maybe a year or two ago, Todrick and I are in the car, and he asked me, What would you do if your son was gay?”

We are upstairs in Swift’s secret garden, comfortably ensconced in a human-scale basket that is sort of shaped like a cocoon. Swift has brought up an ornate charcuterie board and is happily slathering triple-cream Brie onto sea-salt crackers. “The fact that he had to ask me . . . shocked me and made me realize that I had not made my position clear enough or loud enough,” she says. “If my son was gay, he’d be gay. I don’t understand the question.”

I have pressed Swift on this topic, and her answers have been direct, not performative or scripted. I do sense that she enjoys talking to me about as much as she’d enjoy a root canal—but she’s unfailingly polite, and when we turn to music, her face will light up and she will add little melodic phrases to her speech, clearly her preferred language.

“If he was thinking that, I can’t imagine what my fans in the LGBTQ community might be thinking,” she goes on. “It was kind of devastating to realize that I hadn’t been publicly clear about that.”

I understand why she was surprised; she has been sending pro-LGBTQ signals since at least 2011. Many have been subtle, but none insignificant—especially for a young country star coming out of Nashville.

In the video for her single “Mean” (from 2010’s Speak Now), we see a boy in a school locker room wearing a lavender sweater and bow tie, surrounded by football players. In “Welcome to New York,” the first track on 1989, she sings, “And you can want who you want. Boys and boys and girls and girls.” Two years later, she donated to a fund for the newly created Stonewall National Monument and presented Ruby Rose with a GLAAD Media Award. Every night of last year’s Reputation tour, she dedicated the song “Dress” to Loie Fuller, the openly gay pioneer of modern dance and theatrical lighting who captured the imagination of fin-de-siècle Paris.

Swift, who has been criticized for keeping her politics to herself, first took an explicit stance a month before the 2018 midterms. On Instagram, she endorsed Democrats for the Tennessee Legislature and called out the Republican running for Senate, Marsha Blackburn. “She believes businesses have a right to refuse service to gay couples,” Swift wrote. “She also believes they should not have the right to marry. These are not MY Tennessee values.”

Swift says the post was partly to help young fans understand that if they wanted to vote, they had to register. To tell them, as she puts it, “Hey, just so you know, you can’t just roll up.” Some 65,000 new voters registered in the first 24 hours after her post, according to Vote.org.

Trump came to Blackburn’s defense the following day. “She’s a tremendous woman,” he told reporters. “I’m sure Taylor Swift doesn’t know anything about her. Let’s say I like Taylor’s music about 25 percent less now, OK?”

In April, spurred by a raft of anti-LGBTQ bills in Tennessee, Swift donated $113,000 to the Tennessee Equality Project, which advocates for LGBTQ rights. “Horrendous,” she says of the legislation. “They don’t call it ‘Slate of Hate’ for nothing.” Swift especially liked that the Tennessee Equality Project had organized a petition of faith leaders in opposition. “I loved how smart it was to come at it from a religious perspective.”

Meanwhile, the “Calm Down” video provoked a Colorado pastor to call Swift “a sinner in desperate need of a savior” and warn that “God will cut her down.” It also revived heated debate within LGBTQ communities about the politics of allyship and corporatization of Pride. Some critics argued Swift’s pro-LGBTQ imagery and lyrics were overdue and out of the blue—a reaction the new Swift scholar in me found bewildering. Had they not been paying attention?

Nor did it strike me as out of character for Swift to leverage her power for a cause. She pulled her catalog from Spotify in 2014 over questions of artist compensation. She stared down Apple in 2015, when the company said it would not pay artists during the launch of its music service. (Apple reversed itself immediately.) As a condition of her record deal with Universal Music Group last year, the company promised that it would distribute proceeds from any sale of its Spotify shares to all of its artists. And this summer, Swift furiously called out Scott Borchetta, founder of Big Machine Label Group, for selling her master recordings to the music manager Scooter Braun. (When I ask Swift if she tried to get her masters from Big Machine, her whole body slumps with a palpable heaviness. “It was either investing in my past or my and other artists’ future, and I chose the future,” she says of the deal she struck with Universal.)

Swift’s blunt testimony during her 2017 sexual-assault case against a radio DJ—months before the #MeToo reckoning blew open—felt deeply political to me and, I imagine, many other women. Swift accused the DJ, David Mueller, of groping her under her skirt at a photo session in 2013. Her camp reported the incident to his employer, who fired him. Mueller denied the allegation, sued Swift for $3 million, and his case was thrown out. Swift countersued for a symbolic $1 and won.

In a Colorado courtroom, Swift described the incident: “He stayed latched onto my bare ass cheek” as photos were being snapped. Asked why photos of the front of her skirt didn’t show this, she said, “Because my ass is located at the back of my body.” Asked if she felt bad about the DJ’s losing his job, she said, “I’m not going to let you or your client make me feel in any way that this is my fault. Here we are years later, and I’m being blamed for the unfortunate events of his life that are the product of his decisions—not mine.”

When Time included Swift on the cover of its “Silence Breakers” issue that year, the magazine asked how she felt during the testimony. “I was angry,” she said. “In that moment, I decided to forgo any courtroom formalities and just answer the questions the way it happened...I’m told it was the most amount of times the word ass has ever been said in Colorado Federal Court.”

Mueller has since paid Swift the dollar—with a Sacagawea coin. “He was trolling me, implying that I was self-righteous and hell-bent on angry, vengeful feminism. That’s what I’m inferring from him giving me a Sacagawea coin,” Swift says. “Hey, maybe he was trying to do it in honor of a powerful Native American woman. I didn’t ask.” Where is the coin now? “My lawyer has it.”

I ask her, why get louder about LGBTQ rights now? “Rights are being stripped from basically everyone who isn’t a straight white cisgender male,” she says. “I didn’t realize until recently that I could advocate for a community that I’m not a part of. It’s hard to know how to do that without being so fearful of making a mistake that you just freeze. Because my mistakes are very loud. When I make a mistake, it echoes through the canyons of the world. It’s clickbait, and it’s a part of my life story, and it’s a part of my career arc.”

I’d argue that no heterosexual woman can listen to “You Need to Calm Down” and hear only a gay anthem. “Calm down” is what controlling men tell women who are angry, contrary, or “hysterical,” or, let’s say, fearing for their physical safety. It is what Panic! at the Disco singer Brendon Urie says to Swift in the beginning of the “ME!” music video, prompting her to scream, “Je suis calme!”

I cannot believe it is a coincidence that Swift, a numbers geek with an affinity for dates, dropped the single—whose slow, incessant bass is likely to be bumping in stadiums across the world in 2020 if she goes on tour—on June 14, a certain president’s birthday.

It’s enlightening to read 13 years of Taylor Swift coverage—all the big reviews, all the big profiles—in one sitting. You notice things.

How quickly Swift went from a “prodigy” (The New Yorker) and a “songwriting savant” (Rolling Stone) to a tabloid fixture, for instance. Or how suspect her ambition is made to seem once she acquires real power.

Other plot points simply look different in the light of #MeToo. It is hard to imagine that Swift’s songs about her exes would be reviewed as sensationally today. I wonder if, in 2019, any man would dare grab the microphone out of a young woman’s hands at an awards show. I stared into space for a good long while when I was reminded that Pitchfork did not review Taylor Swift’s 1989 but did review Ryan Adams’s cover album of Taylor Swift’s 1989.

I ask Swift if she had always been aware of sexism. “I think about this a lot,” she says. “When I was a teenager, I would hear people talk about sexism in the music industry, and I’d be like, I don’t see it. I don’t understand. Then I realized that was because I was a kid. Men in the industry saw me as a kid. I was a lanky, scrawny, overexcited young girl who reminded them more of their little niece or their daughter than a successful woman in business or a colleague. The second I became a woman, in people’s perception, was when I started seeing it.

“It’s fine to infantilize a girl’s success and say, How cute that she’s having some hit songs,” she goes on. “How cute that she’s writing songs. But the second it becomes formidable? As soon as I started playing stadiums—when I started to look like a woman—that wasn’t as cool anymore. It was when I started to have songs from Red come out and cross over, like ‘I Knew You Were Trouble’ and ‘We Are Never Ever Getting Back Together.’ ”

Those songs are also more assertive than the ones that came before, I say. “Yeah, the angle was different when I started saying, I knew you were trouble when you walked in. Basically, you emotionally manipulated me and I didn’t love it. That wasn’t fun for me.”

I have to wonder if having her songwriting overlooked as her hits were picked apart and scrutinized wasn’t the biggest bummer of all. Swift: “I wanted to say to people, You realize writing songs is an art and a craft and not, like, an easy thing to do? Or to do well? People would act like it was a weapon I was using. Like a cheap dirty trick. Be careful, bro, she’ll write a song about you. Don’t stand near her. First of all, that’s not how it works. Second of all, find me a time when they say that about a male artist: Be careful, girl, he’ll use his experience with you to get—God forbid—inspiration to make art.”

Without question the tenor of the Taylor Swift Narrative changed most dramatically in July 2016, when Kim Kardashian West called her a “snake” on Twitter, and released video clips of Swift and Kanye West discussing the lyrics to his song “Famous.” (No need to rehash the details here. Suffice it to say that Swift’s version of events hasn’t changed: She knew about some of the lyrics but not others; specifically, the words that bitch.) The posts sparked several hashtags, including #TaylorSwiftIsASnake and #TaylorSwiftIsCanceled, which quickly escalated into a months-long campaign to “cancel” Swift.

To this day Swift doesn’t think people grasp the repercussions of that term. “A mass public shaming, with millions of people saying you are quote-unquote canceled, is a very isolating experience,” she says. “I don’t think there are that many people who can actually understand what it’s like to have millions of people hate you very loudly.” She adds: “When you say someone is canceled, it’s not a TV show. It’s a human being. You’re sending mass amounts of messaging to this person to either shut up, disappear, or it could also be perceived as, Kill yourself.”

An overhaul was in order. “I realized I needed to restructure my life because it felt completely out of control,” Swift says. “I knew immediately I needed to make music about it because I knew it was the only way I could survive it. It was the only way I could preserve my mental health and also tell the story of what it’s like to go through something so humiliating.”

I get a sense of the whiplash Swift experienced when I notice that, a few months into this ordeal, while she was writing the songs that an interpolation of a ’90s camp classic, Right Said Fred’s “I’m Too Sexy.”) Nonetheless, most critics read it as a grenade lobbed in the general direction of Calabasas.

One longtime Nashville critic, Brian Mansfield, had a more plausible take: She was writing sarcastically as the “Taylor Swift” portrayed in the media in a bid for privacy. “Yeah, this is the character you created for me, let me just hide behind it,” she says now of the persona she created. “I always used this metaphor when I was younger. I’d say that with every reinvention, I never wanted to tear down my house. ’Cause I built this house. This house being, metaphorically, my body of work, my songwriting, my music, my catalog, my library. I just wanted to redecorate. I think a lot of people, with Reputation, would have perceived that I had torn down the house. Actually, I just built a bunker around it.”

In March, the snakes started to morph into butterflies, the vampire color palette into Easter pastels. When a superbloom of wildflowers lured a mesmerizing deluge of Painted Lady butterflies to Los Angeles, Swift marked it with an Instagram post. She attended the iHeartRadio Music Awards that night in a sequin romper and stilettos with shimmery wings attached.

Swift announced the single “ME!” a month later, with a large butterfly mural in Nashville. In the music video for the (conspicuously) bubblegum song, a hissing pastel-pink snake explodes into a kaleidoscope of butterflies. One flutters by the window of an apartment, where Swift is arguing in French with Urie. A record player is playing in the background. “It’s an old-timey, 1940s-sounding instrumental version of ‘You Need to Calm Down,’ ’’ Swift says. Later, in the “Calm Down” video, Swift wears a (fake) back tattoo of a snake swarmed by butterflies.

We are only two songs in, people. Lover, to be released on August 23, will have a total of 18 songs. “I was compiling ideas for a very long time,” Swift says. “When I started writing, I couldn’t stop.” (We can assume the British actor Joe Alwyn, with whom Swift has been in a relationship for nearly three years, provided some of the inspiration.)

Swift thinks Lover might be her favorite album yet. “There are so many ways in which this album feels like a new beginning,” she says. “This album is really a love letter to love, in all of its maddening, passionate, exciting, enchanting, horrific, tragic, wonderful glory.”

Swift’s new 18-track album, Lover, will be released August 23.

I have to ask Swift, given how genuinely at peace she seems, if part of her isn’t thankful, if not for the Great Cancellation of 2016, then for the person she now is—knowing who her friends are, knowing what’s what. “When you’re going through loss or embarrassment or shame, it’s a grieving process with so many micro emotions in a day. One of the reasons why I didn’t do interviews for Reputationwas that I couldn’t figure out how I felt hour to hour. Sometimes I felt like: All these things taught me something that I never could have learned in a way that didn’t hurt as much. Five minutes later, I’d feel like: That was horrible. Why did that have to happen? What am I supposed to take from this other than mass amounts of humiliation? And then five minutes later I’d think: I think I might be happier than I’ve ever been.”

She goes on: “It’s so strange trying to be self-aware when you’ve been cast as this always smiling, always happy ‘America’s sweetheart’ thing, and then having that taken away and realizing that it’s actually a great thing that it was taken away, because that’s extremely limiting.” Swift leans back in the cocoon and smiles: “We’re not going to go straight to gratitude with it. Ever. But we’re going to find positive aspects to it. We’re never going to write a thank-you note.”

Though people will take the Perry-Swift burger-and-fries embrace in the “You Need to Calm Down” video as a press release that the two have mended fences, Swift says it’s actually a comment on how the media pits female pop stars against one another. After Perry sent Swift an (actual) olive branch last year, Swift asked her to be in the video: “She wrote back, This makes me so emotional. I’m so up for this. I want us to be that example. But let’s spend some time together. Because I want it to be real. So she came over and we talked for hours.

“We decided the metaphor for what happens in the media,” Swift explains, “is they pick two people and it’s like they’re pouring gasoline all over the floor. All that needs to happen is one false move, one false word, one misunderstanding, and a match is lit and dropped. That’s what happened with us. It was: Who’s better? Katy or Taylor? Katy or Taylor? Katy or Taylor? Katy or Taylor? The tension is so high that it becomes impossible for you to not think that the other person has something against you."

Meanwhile, the protesters in the video reference a real-life religious group that pickets outside Swift’s concerts, not the white working class in general, as some have assumed. “So many artists have them at their shows, and it’s such a confounding, confusing, infuriating thing to have outside of joyful concerts,” she tells me. “Obviously I don’t want to mention the actual entity, because they would get excited about that. Giving them press is not on my list of priorities.”

At one point, Swift asks if I would like to hear two other songs off the new album. (Duh.) First she plays “Lover,” the title track, coproduced by Jack Antonoff. “This has one of my favorite bridges,” she says. “I love a bridge, and I was really able to go to Bridge City.” It’s a romantic, haunting, waltzy, singer-songwritery nugget: classic Swift. “My heart’s been borrowed and yours has been blue,” she sings. “All’s well that ends well to end up with you.”

Next, Swift cues up a track that “plays with the idea of perception.” She has often wondered how she would be written and spoken about if she were a man, “so I wrote a song called ‘The Man.’ ” It’s a thought experiment of sorts: “If I had made all the same choices, all the same mistakes, all the same accomplishments, how would it read?” Seconds later, Swift’s earpods are pumping a synth-pop earworm into my head: “I’d be a fearless leader. I’d be an alpha type. When everyone believes ya: What’s that like?”

Swift wrote the first two singles with Joel Little, best known as one of Lorde’s go-to producers. (“From a pop-songwriting point of view, she’s the pinnacle,” Little says of Swift.) The album is likely to include more marquee names. A portrait of the Dixie Chicks in the background of the “ME!” video almost certainly portends a collaboration. If fans are correctly reading a button affixed to her denim jacket in a recent magazine cover, we can expect one with Drake, too.

She recently announced a fashion collection with Stella McCartney to coincide with Lover. “We met at one of her shows,” says McCartney, “and then we had a girls’ night and kind of jumped straight in. In London we’ll go on walks and talk about everything—life and love.” (Swift has no further fashion ambitions at the moment. “I really love my job right now,” she tells me. “My focus is on music.”) Oh, and that “5” on the bullseye? Track five is called “The Archer.”

Yet something tells me the most illuminating clue for reading both Lover and Reputation may be Loie Fuller, the dancer to whom Swift paid homage on tour. As Swift noted on a Jumbotron, Fuller “fought for artists to own their work.” Fuller also used swirling fabric and colored lights to metamorphose onstage, playing a “hide-and-seek illusionist game” with her audience, as one writer has put it. She became a muse to the Symbolists in Paris, where Jean Cocteau wrote that she created “the phantom of an era.” The effect, said the poet Stéphane Mallarmé, was a “dizziness of soul made visible by an artifice.” Fuller’s most famous piece was “Serpentine Dance.” Another was “Butterfly Dance.”

Swift has had almost no downtime since late 2017, but what little she does have is divided among New York, Nashville, Los Angeles, and Rhode Island, where she keeps homes—plus London. In an essay earlier this year, she revealed that her mother, Andrea Swift, is fighting cancer for a second time. “There was a relapse that happened,” Swift says, declining to go into detail. “It’s something that my family is going through.”

Later this year, she will star in a film adaptation of Andrew Lloyd Webber’s Catsas Bombalurina, the flirtatious red cat. “They made us the size of cats by making the furniture bigger,” she says. “You’d be standing there and you could barely reach the seat of a chair. It was phenomenal. It made you feel like a little kid.”

But first, she will spend much of the summer holding “secret sessions”—a tradition wherein Swift invites hundreds of fans to her various homes to preview her new music. “They’ve never given me a reason to stop doing it,” she says. “Not a single one.”

Speaking of: Inquiring fans will want to know if Swift dropped any more clues about how to decode Lover during this interview. For you I reviewed the audio again, and there were a few things that made my newly acquired Swifty sense tingle.

At one point she compared superstardom in the digital age to life in a dollhouse, one where voyeurs “can ‘ship’ you with who they want to ‘ship’ you with, and they can ‘favorite’ friends that you have, and they can know where you are all the time.” The metaphor was precise and vivid and, well, a little too intricately rendered to be off the cuff. (Also, the “ME!” lyric: “Baby doll, when it comes to a lover. I promise that you’ll never find another like me.”)

Then there was the balloon—a giant gold balloon in the shape of a numeral seven that happened to float by while we were on her roof, on this, the occasion of her seventh album. “Is it an L’?” I say. “No, because look, the string is hanging from the bottom,” she says.

It might seem an obvious symbolic gesture, deployed for this interview, except for how impossible that seems. Swift let me control the timing of nearly everything. Moreover, the gold seven wasn’t floating up from the sidewalk below. It was already high in the sky, drifting slowly toward us from down the street. She would have had to control the wind, or at least to have studied it. Would Taylor Swift really go to such elaborate lengths for her fans? This much I know: Yes, she would.

[dustedmagazine]

Listed: Tomás Nochteff (Mueran Humanos)

Mueran Humanos, an Argentinian duo now based in Berlin, mixes post-punk, industrial-inflected synth explorations, garage rock and psychedelia. Carmen Burguess and Tomás Nochteff share vocal duties and play a very basic line-up of instruments: bass, synths, drum machines and samplers. In his review for Dusted, Andrew Forell called their latest, Hospital Lullabies, “a thrilling concoction of electronic, industrial, bass-driven body music fueled by the transgressive spirit of a DAF or a Psychic TV.” Here, Tomás presents his list of visionary music.

A list of visionary music

What is a visionary? Visions can come in dreams, in journeys to other worlds, in hallucinations. They can be the product of will, of a derangement of the senses, or they can come uninvited to save you or to haunt you and destroy your mental balance, even your life. It can be heavenly, or hellish, but to be authentic visions they have to be otherworldly. And to be visions rather than just imagination, they must have an element of truth. Not literal truth, like “that wall is green,” but a different kind of truth, the one that´s expressed in symbols, in metaphors, in omens and obsessions. In “Heaven and Hell,” Aldous Huxley analyzed the visions of people under the influence of psychedelic drugs, the visions of mystics and the visions of schizophrenics. He found fundamental parallels and concluded that they must have been visiting the same places. These people are not merely hallucinating, but they are perceiving another reality, visiting a different world, or maybe they are perceiving the world as it really is. And he quotes Jung on this: “schizophrenics and mystics are on the same ocean, but schizophrenics are drowning and mystics are swimming.” A visionary could be a mix of all these archetypes. Like Philip K Dick: was he on drugs? Yes. Was he mad? Yes. Was he seeking enlightenment? Yes. Had his visions an element of truth? No doubt about it. Were his visions revelations? To some extent, yes.

On our last album, Hospital Lullabies, the songs deal with all these different experiences on the journey to another world and on the invasion from another world into everyday life, with its horror and its beauty, the agony and the ecstasy. And how one copes, or doesn´t, with it.

So to celebrate it, I made a list of music that I do consider visionary. There’s madmen, there’s mystics and there’s psychonauts, all possible combinations of the three archetypes and everything in between.

Pharoah Sanders—“The Creator has a Masterplan” (Impulse)

I don´t know much about cosmic jazz, or any jazz for that matter, but what I know is that this record is pure bliss. “Harvest Time,” on Pharoah is another masterpiece. Alice Coltrane and Don Cherry are also incredible. This is music of the spheres; it has the touch of God.

Rudimentary Peni—CacophonyI (Outer Himalayan Records)

One of the few perfect punk bands ever, for lots of reasons. The bass lines are extraordinary, for example. But they belong here because of schizophrenic member Nick Blinko: incredible artist & novelist, obsessed with Catholicism and the supernatural horror. A guy who stopped his medication to force himself into a psychotic crisis just to write an album. Hero. Martyr.

Nico— “Janitor of Lunacy” (Cherry Red Records)

For me, Nico was the best and more underrated of all Velvets (and we love Velvet Underground as much as anyone). Also, the production from John Cale on her records is probably his best work too, or at least among his best. I feel that she is not appreciated enough. Iggy said that meeting her changed him. I suspect that´s true for all her famous friends: Bowie, Lou Reed, John Cale, Leonard Cohen, etc. They were all larger-than-life characters. And we know there is an element of self-built mythology on all that, a bit of acting. There is nothing wrong with that; rock and roll at its best is a complete artform and we must appreciate this self-built mythology as part of their craft. But with Nico you don´t get that feeling. She seemed that she didn´t care about her image, she was born Nico and I suspect that in that sense she inspired them all to no end. She was the genuine article. One of our main loves in music. Essential with a capital E.

Coil—“I Don’t Want To Be The One”

Jhonn Balance wanted to be a magician, and he died trying. I think he succeed in building a shamanic body of work with the help of the great late Sleazy and a myriad of brilliant contributors. Coil´s music at its best it´s like a plasma between worlds, or a very, very good psychedelic drug. My most beloved electronic/industrial/post-industrial project ever and one of our main influences. This performance is superb.

Lungfish — Feral Hymns

I´m not interested in DC post hardcore per se, and I don´t have any tattoos. I shouldn´t care about Lungfish the way I do, but they knock me out every single time. Daniel Higgs is a seer. I don´t know what he is talking about, but at the same time, my gut knows exactly what he is talking about. He speaks in images, like Tarot, like the religious painters, like Rimbaud and San Juan de la Cruz. His delivery is supreme. Raw and fragile, yet powerful and precise. Over circular, repetitive, minimal structures of music that have a haunting, arresting effect. Hypnotic, magical, devotional music. Either you get it, or you don´t. I can´t explain it. That´s the beauty of it, I suppose. And the truly mark of the visionary artist.

Ghedalia Tazartes—“Une Éclipse Totale De Soleil Part 2”

Ghedalia for me represents the pure, untouched, sui generis artist. Applying the techniques of musique concrete to the ancient folk music of the Sephardic Jews with a raw energy that usually you can only find in punk, or blues. I see in him an archetype, the Fool card in the Tarot. The madman that opens the gates of heaven and hell, gives himself to these supreme energies and survives only because of his perfect innocence.

OM—“Sinai (live at Sonic City)”

Maybe the greatest rock band of the last 20 years. Here with Robert Aiki Aubrey Lowe to maximum effect.

Charlemagne Palestine—Live in Holland 1998

Like Ghedalia, Charlemagne Palestine is a Jewish artist that works in the avant garde field but subverts it with the tradition of his folk music instead of sticking to the cold, cerebral, rational program of academia. He has his own world. Watch this and you will understand what I am talking about.

Virgin Prunes—Excerpts from Sons Find Devils/“Walls of Jericho”

There is a VHS tape called Sons Find Devils, comprised of live shows and short experimental films (some of them made by Balance, from Coil). I had it as a teenager and watched it countless times. Sadly, it is not complete on YouTube or elsewhere but here are some small extracts. With their heretic mix of Irish Catholic imagery, Irish Paganism, Bataille, performance art and post punk, the Virgin Prunes made a unique and extraordinary body of work. A testament of its importance is that Gavin Friday was guest singer of two bands in this list: The Fall and Coil. And Mr. Scott Walker himself invited him to sing on a play. Maybe the historians ignore them, but Mark E. Smith, Scott Walker and Coil knew where it’s at, didn´t they? Their record If I die I die is a masterpiece. Produced by Colin Newman from Wire, no less, if you need more validation.

Boredoms—Vision Creation Newsun

I like some of the more comical, early work of Boredoms, but with Super AE and this one they got me. They got serious and spiritual, channeling Alice Coltrane, tribal drumming, kraut rock and noise into a glorious, euphoric sound. Maybe they are not visionaries, but their music can produce visions. I saw them around 2005 (on acid) with the three drummers line up, still in this phase. I remember thinking “this is what cavemen had in mind when they invented music.” I actually saw it, with my eyes closed. Early humans. In caves. Inventing music. God bless LSD.

Aphrodite´s Child — 666

The one record I bought for the cover only, it cost me 50 cents, best deal of my life. A concept album about the apocalypse. Easy contender for the best psychedelic rock album of all time. Pet Sounds? Get outta here. An absolute masterpiece.

Tim Buckley—Starsailor

Tim Buckley is a mystery. He died too young. How he went from his L.A. folk rock first album to the absolute unique sound of Starsailor and Lorca is impossible to understand and a miracle of music. All six records in between are masterpieces. He was possessed by genius and has the most beautiful voice. I don´t know much about him, but his music put me out there.

Sun Ra—Night Music 1989

Watch this. Space is The Place, indeed.

Pescado Rabioso—Artaud

This guy, Luis Alberto Spinetta, is considered by many to be the most important rock musician in my country. So being an arrogant teenage punk, or whatever, of course that alone was enough to reject him altogether without even thinking. But a couple of years ago I was blown away by a book of poems he published in 1978. Incredibly beautiful, unique and sophisticated poetry. I recently started, too late, to listen to his music. This is one of his most famous and revered records. It´s dedicated to, and inspired by Antonin Artaud, who tried and failed to reach the mystic enlightenment, generating a body of work in the process which is a testament to his spiritual ambition, his radical rejection of the material world and his pain. Spinetta understood this, he said the record was trying to find an answer to Artaud, a way out of it, a way out of the pain. It´s psychedelic music of the highest order. The lyrics are incredible but you can enjoy it even without understanding them.

Dead Can Dance—Dyonisios

I kept forgetting this band exists. This new album is great. I listened to it non-stop during last Winter/Spring. It´s the perfect time because the record is about Dyonisios, so as a soundtrack for the rebirth of Nature it´s perfect. Probably their best work in years. Sublime.

The Fall—“Garden” (Live at the Hacienda, Manchester, UK, 1984)

No list of visionary rock and roll would be complete without Mark E. Smith. Famously he said, “I used to be a psychic but I drank my way out of it.” Indeed, there was a time, between 1978-1990, when he was possessed by something, injecting realism with mysticism, mixing high and low planes, exposing the supernatural forces that hides in the cracks of everyday life. He never talks about hell neither heaven, but rather the way they mix and manifest here on Earth. You’ve got countless of bands using occult/mystic imagery, and you know it´s nice but it´s just a game. You’ve got thousands of bands referencing Burroughs and the cut-up technique, but no one can write as Burroughs did. MES did it. MES wasn´t playing. He was a realist of the augmented reality, he told it like it is, in his fragmented, hallucinatory, unpretentious, visionary prose poetry.

There is a lot in his lyrics that can be read in a mystic, occult way. He left a lot of clues for the ones that can read them. His texts are kaleidoscopic, and they reflect what´s in your mind, really. I think he will be recognized with time as the great experimental writer that he actually was rather than merely an angry Mancunian punk. He had more in common with someone like Iain Sinclair than with any other rock musician. One of my favorite web sites is The Annotated Fall, where fans analyze his lyrics in depth. Pay a visit if you can, I can´t recommended it enough. In many ways, he was too intelligent for rock and roll, and that´s why he was misunderstood, but he didn´t care, he believed in constant work, never explain, never apologize. The Fall took all the best things in rock and roll: Can, Velvet Underground, punk, Captain Beefheart, and pushed it to the next level. Our favorite rock group ever.

Huun Hur Tu — “Prayer”

I tried to stick to Western, modern music but I can´t help including this.

[sing-sang-jisungie]

50 questions tag!

I was tagged by @justasimplefangirl so uhhhhh let’s get it

1. What takes up most of your time

Probably rowing! I row 5 times a week for about 3 hours so I’m very busy

2. What makes your day better?

My friends!

3. What’s the best thing that’s happened to you today?

I ate some really good chips omg

4. What fictional place would you like to go to?

fricking uA HIGH FROM BNHA PLUS ULTRA

5. Are you good at giving advice.

I’m the squad psychologist so I hope so

6. Do you have any mental illness?

Yep! ADHD!

7. Have you ever experienced sleep paralysis

Yes and it’s rlly scary

8. What musician inspired you most?

Sara Bareilles!

9. Have you ever fallen in love?

I don’t think so! But damn my best friend is really great

10. What’s your dream date?

Take me to anywhere I can run around. I can’t stand sitting still for long omg

11. What do other people notice about you?

My really loud voice or my long af legs lmao

12. What is your most annoying habit?

I talk so much about dumb things and all my teachers say I’m distracted haha

13. Do you still talk to your first love

He lives in Grahamstown and is a racist so no

14. How many exes do you have?

Only 1

15. How many songs are on your playlist?

My everyday playlist? 326 songs and it’s 18 hours and 46 minutes long

16. What instruments can you play?

A lil bit of guitar, the kazoo and shitty flute whoop

17. Who do you have the most pictures of?

My cursed images and jaemin

18. Where’d you like to go before you die?

The Philippines and my cult :,)

19. What’s your zodiac!

Problematic scorpio

20. Do you relate to it?

Too much

21. What is happiness to you?

Just seeing my friends happy and living in the moment

22. Are you going through anything right now?

My sister moved to korea a few weeks back and I’m still a bit sad about it. It’s good to cry though

23. What’s the worst decision you’ve ever made?

Deciding to climb out my friends window. Yeah, I fell (don’t worry it wasn’t very high)

24. What’s your favorite store?

Shop.SM.com

25. What’s your opinion on abortion?

I think it’s a really important thing and that women should have a choice on whether they want to or not

26. Do you have a bucket list?

Nope!

27. Do you have a favorite album at the moment?

Not really. I’ve been playing the new red velvet Japanese album on heavy rotation lately, and the superhuman ep is really good

28. What do you want for your birthday?

I would like a new phone purely because my phone’s battery life is less than ideal and maybe a light stick

29. What are most people’s first impressions of you?

Idk, maybe intimidating? I’m a very lorge person so maybe

30. What age do you seem according to most people?

I’ve been told I look 18 and I’ve been allowed into a bar(not that I went in, I was just picking up my sister)

31. Where do you keep your phone while sleeping?

On my bedside table

32. What word do you say a lot

Shite, frack, darn, yeehaw

33. What’s the oldest age you would date?

Currently? 19/20

34. What’s the youngest age you would date?

14

35. What career do most people say suits you?

Performance based mostly. Like music and stand up

36. What’s your favorite genre of music?

Kpop, Jpop, Cpop, indie and alternative

37. If you could live in any country, where would you live?

Japan or Canada ¯\_(ツ)_/¯

38. What is your current favorite song

Sayonara by Red Velvet, Astro’s Starry Sky, Love song by Sara Bareilles and Odd Future by Amalee

39. How long have you had this blog for?

This blog is one year old in a few weeks I think? I can’t remember the start date

40. What are you excited for?

nct dream comeback, red velvet comeback, play rehearsals and the long row!

41. Are you a better talker or listener?

Talker!

42. What is the last productive thing you did

I rowed this morning

43. What do you want for Christmas?

Kpop merch and cosplay wigs

44. What classes do you get the best grades in?

Drama, I.T., English and Gym

45. On a scale of 1-10 how are you feeling?

A solid 8 today

46. What can you see yourself doing in 10 years?

Either rowing at a national level or theater ¯\_(ツ)_/¯

47. When did you have your first heartbreak?

When I found out my crush was gay lmaooo

48. At what age do you want to get married

25? Idk man

49. What career did you want to have as a kid?

I wanted to be a dancer, still lowkey do

50. What do you crave right now?

An iced vanilla latte owo

I’ll tag

@jising-jisang-jisung @ji-dropthatsingsangsung and really whoever wants to do this ¯\_(ツ)_/¯

[moondrunkdevil]

my top 18 kpop songs of 2018

Tag you're it! List your top 18 kpop songs of 2018 and tag 18 people (tagging is a problem for me jsjsj). Happy New Year!!!

it took me mONTHS (mainly because a lot happened in my personal life all at once and i had zero time to do anything or check and listen and pick songs, i'm sorry btw this is so late it's ridiculous sjdnd) but here it is haha thanks again to the lovely gorgeous angel that is @sphynxe for tagging me sz

SO

to make my life easier, i had two criteria for this: 2018 releases only (because i do listen to a lot of old school stuff despite their launch year, and i wasn't sure if the tag already meant only 2018 but anyways sjsjs), and i sorted this out based on the songs i feel like i listened to the most this year, rather than songs i solely liked

there is no particular order to these 17 following songs because i suck at choosing, however i do have a number 1

》 Shoot Me - DAY6

》 너나 해 (Egotistic) - MAMAMOO

》 AIR - WINNER

》 질렀어 (Now or Never) - SF9

》 BABY - The Rose

》 달리 (Dally) - Hyolyn

》 Destroyer - Monsta X

》 어쩌다 보니 (Somehow) - DAY6

》 My Luv - Zion.T

》 달라 (Different) - SF9

》 Her - Drug Restaurant

》 Is Who - Minseo

》 시간을 거꾸로 (Go Back In Time) - SF9

》 Kang Baek-ho - Jooheon

》 So Long, Baby - Kate Kim

》 Regular (English ver.) - NCT 127

》 SHADOW - SF9

now, before my number one, to the honorable mentions aka songs i liked but maybe did not listen as much for some reason, but still think deserve their recognition:

• 빛나리 (Shine) - PENTAGON; Bad Boy - Red Velvet; Cigar - HA:TFELT; 행복했던 날들이었다 (Days Gone By) - DAY6; Diving Into You - Motte; 위로가 돼요 (Pluhmm) - HA:TFELT; From Zero - Monsta X; 불면증 (Insomnia) - Stray Kids; 불면증 (Insomnia) - The Rose [so many insomnia songs r u guys ok]; Livin' It Up - Monsta X; Siren - Sunmi; M.I.A. - Stray Kids; 주지마 (Don't give it to me) - Loco & Hwasa; MAMMA MIA - SF9; Thirsty - NO:EL; Midnight Road - SF9; 바람 바람 바람 (Baram X 3) - Taeyeon; Monster (English ver.) - Henry; Shoot Out - Monsta X; My Pace - Stray Kids; She's In The Rain - The Rose; 멋지게 인사하는 법 (Hello Tutorial) - Zion.T feat. Seulgi; No Air - THE BOYZ; New Heroes - TEN

and, finally, my number one:

1. 和 (화 or Harmony, in English) by Cacophony

yes -- this is a whole album, for reasons of: you can't possibly ask me to pick only one song from this incredible masterpiece, and this album in its entirety saved my 2018. the purity of this, as delicate as a flower petal, is just so uugghhh and i overall love this artist and her work so much. i can't thank @worldthroughsabrigueseyes enough for accidentally finding this artist, coincidentally on the day she dEBUTED, and introducing her to me. show cacophony some love and fall in love with her art as i have.

tags: @worldthroughsabrigueseyes @stungbyjooheon @0pen-your-rice @felixdabs @chaoticvamp