#a certified bop is on its way

[celestie0]

hi friends i hope it’s ok that i grouped these together :”)

1. thanks love i appreciate u! yeah its a labor of love, making these stories. i think that’s why i get so protective over them. and subsequently disheartened when i receive asks like that. much love <3

2. so happy to know you’re looking forward to it! and yes, tbh ive already spoiled more than i wouldve liked thru asks but hopefully i can tell the story thru chapters now going forward

3. yess :”) thats why i included it!! both gojo n reader have just recently left life altering relationships w ppl that know them very well, yet they choose each other in the end. i find that so romantic which is why i chose those plot points

4. oh my yea tbh i wouldnt go that far but yea i understand the frustration. if anything its just tiresome n drains me. i wish i could be fueled by spite but that’s not rewarding to me hahah

5. ikr? also its weird to me bc ive gotten less backlash over kickoff gojo being a certified bop than i have w ihm gojo having an ex wife lol. i suppose it’s flattering that ppl are jealous over my gojos, but idk a part of me doesnt really see it that way. and again it could just be a maturity difference. when i was younger, sure, i wouldnt have liked a guy that had been in many relationship before me. but at my age, its very unlikely any guy i talk to wouldnt have been in a serious relationship before me, let alone a 34 y/o man. but anywho, thanks my love

6. thanks love, and yes. it’s so upsetting for ppl to pick and choose what they like about my fics and then share that w me. idk i could be overthinking it but the way that reads to me is — “so close! u were so close to building my perfect story! now lemme tell u exactly what i don’t like about it n what i will entirely dismiss” like god dayum this isnt build-a-fic lol why u have to tell me you’re upset over a creative decision i made? keep it to yourself. yes i live for drama n angst but also realism too. anyways thx darling <3

[hinamie]

hi hina rank all the jjk ops and eds!

ON IT BOSS

VIVID VICE : ABSOLUTE PEAK. ALWAYS IN MY HEART. MASTERPIECE. Also the only jjk song that continues to b in my liked songs rotation (I get tired of ops/eds real quick most of the time so for one to stick around as long as this has is no small accomplishment). It’s just . Exactly the kind of music I like what can I say :'>

Ao no sumika: this was a TOUGH race but I think I like it just *that* much more than kaikai kitan . it's something about the melody it sounds like summer it gives me *luna vibes somehow??? And tatsuya has the voice of an angel so

Kaikai kitan : if I rank eve any lower I will be beat with rocks but real talk it’s just SO good ,, also nothing will ever top watching this op for the first time and hearing eve to accompany it what an honestly perfect intro to the series as a whole

akari: the guitar in this gives me chills its so beautiful I love it SO much. As an ending theme it’s S tier. if we were just ranking the endings itd b first . Mwah 

Lost in paradise: a certified Bop but I don’t like it enough to listen all the way through ,,, It’s kind of one note n I get bored after the first verse 

SPECIALZ: overhyped imo is that a hot take? maybe im in the minority here but i just . ehhhhh. i skip

More than words: POINTS FR THE END VISUALS SO MANY POINTS IF WE WERE RANKING BASED ON THAT ITD WIN but th song is meh imo gomen

Give it back: points for making me want to commit die conceptually but apart from hurting me it's just not my thing musically :(

[habeascorpseus]

when i was in 7th grade, i had my first boyfriend. corny shit, i know. in many cases i dont think middle school relationships are enough to be classified as dating- but to this day, i do firmly believe our clumsy attempts at recreating the behavior of couples barely older than us did count. there was an emotional connection there. we had met in 6th grade and bonded over fnaf and minecraft 3 animations and all those other things that people still found found entertaining in 2014.

another notable thing in 7th grade that happened was that i had discovered i was transgender. well, i say "discovered", but it was honestly a long time coming. between my obsession with being seen as a "tomboy," my favorite song on the Kidz Bop 16 CD being Beyonce's "If I Were A Boy" (but sung in a way to make it so much less about cheating that it really became more of a call to action to imagine life as a man) to the point where i manually would loop it on my cd player for hours, and my growing love for mlm shipping— i had been a certified egg since i was in 4th grade. but despite being raised around and parented with about a dozen lesbian and gay couples since birth, i didnt know whether or not my parents were transphobic or not. so, after looking through a list of trans identities, i decided to just come out as genderfluid to my parents as sort of a compromise to the intimidating rigidity of being a trans boy. and even though it wasn't entirely fitting to what i'd ultimately figure out about myself, i grew pretty attached to it.

back to the middle school boyfriend.

at the end of 7th grade— like, a week before summer vacation— i publically came out as genderfluid. while my ex, who i will from now on refer to as Lou, had initially taken it well, albeit with some confusion, over the summer, a much different series of feelings began unfolding. unfortunately, as middle school boys are wont to do whenever one of them begins to act even slightly against the norm, his friends began asking him if he was gay. "if michael¹ is a boy sometimes, does that make you straight, or bisexual?" are some of the things i later heard them ask. and since i, phoneless till the age of 16, was unable to talk to him throughout this relentless picking apart of his own identity, by the time we got back to school, things were... different.

¹ Michael is the name i went by irl for 3 years from 7th-9th grade.

for one, there were the jokes. he was a big leafy fan (and i really did try even back then to steer him away from that but its hard when youre a cringe nerd middle schooler) and back then "attack helicopter" jokes were kind of all the rage, so he began jokingly identifying as a toaster. then he made a toaster mask out of a cardboard box, spray paint, and duct tape that he brought to school and began putting on whenever i walked by him in the hallway. and then, and possibly worst of all- a simple html website shared between his friends called "what gender is Michael today?" which lead to a random generator of options like, "boy", "girl", "toaster", and "attack helicopter." all of which is kind of a lot to deal with when youre a middle schooler with a pretty rough time of it already, and suddenly your main bully is the guy youve effectively been in a relationship with for 6 months.

and now you may be asking: hey habeas, why this sudden autobiographical deep dive into the most traumatic period of your life? what spawned this? how is this story relevant to literally anything going on? well, that's where the next part of the story comes in.

that year, our sex ed teacher was a 5ft transgender man named Mudd. Mudd had a buzzcut, and a higher pitched voice, and small hands, but beyond all of that, there was nothing visibly different about him than any other boy or man in the school. in fact, the boys thought he was cool as hell. they were fascinated by the idea of transformation of the self into an unrecognizable body. they never misgendered him, even after learning his status as a trans man. in fact, they were comfortable enough around him to be transphobic towards me. and Mudd, like a good trans mentor, told them to cut that shit out, and told me that regardless of how complicated and occasionally contradictory my identity was, it was still me, and i needed to stand up for who i was as a person.

a week later, Lou called me a tranny, and in response, i punched him in the nose and promptly stopped talking to him.

so again, why is this relevant? well, I'm not sure how terminally online (or specifically, on twitter) some of you are, but recently there's been a bit of a tiff in a certain fandom about bi lesbianism. specifically, how it, as an identity, is harmful to both the bisexual and lesbian communities. which, one: nooooo....??? bisexuality and lesbianism arent separate so much fraternal twins, and I've already talked too much to include further definitions to prove it. but my argument is really less about its validity as an identity and more about the principle of there being limits to acceptance, even within our community.

like with my experience, people were fine when they were faced with binary identities. a trans man like mudd is cool, or a trans girl like Jazz Jennings (we watched a lot of I Am Jazz in homeroom) could be seen as normal, and more so, inspiring. but when i came in with an identity people found to be contradictory or "too confusing," it resulted in backlash. the entire definition of being "queer" is to be abnormal to what general society finds acceptable, and even then, some things are "too weird" to be tolerated. even amongst "weird" people. which i find to be a pretty troubling trend amongst queer leftist young people who's only real experience with an "lgbt community" has been online. here, we prioritize and find catharsis in labels and categories to the point where the "queer community" has become instead split between identities- the gays, the lesbians, the bis, the transes, the aros and aces and the whatnot. in the real world, it doesnt matter what flavor of queer you are, nobody's going to stop and ask before they call you a groomer and then legislate your freedom away. which is why we, as an online queer community, have to get rid of the notion that some identities are "too contradictory" or "dont exist" enough to be worth giving support and love.

im saying all this here... because, well, one: nobody wants to read a 40+ tweet thread about my personal brush with irl homophobia and how that radicalized me against community separation in general, and two: i am deeply afraid of 14 year olds on twitter with too much time on their hands. but also im saying this because it was infuriating yesterday to watch my entire twitter feed suddenly turn into a puritanical campaign against the very concept of someones identity and have the ability to say nothing. it disgusted me how quickly we turn against our own simply because the way they are is confusing to our tiny fucking peanut brains. and i know none of those people who went on that tirade will read this, but i felt like it needed to be said anyways.

don't let society's impulse to ostracize the confusing and strange win out over human decency. don't do conservatives' strategy to divide and conquer us for them. a person's identity not being comprehensible to you is not inherently an attack on who you, yourself, are. you are your identity and you should stand up for it, and you should stand up for others' identities too. punch your bullies in the nose.

long live the confusing, the contradictory, and most importantly, the queer.

[snakes-and-fluff]

Whenever I try to make a Milgram song ranking I agonize over my placements for way too long, so instead I'm making a list of which prisoner's song I prefer for each one (main trial songs only... for now) ((this is ranking them primarily on the songs themselves, not taking MVs into account))

Haruka: It's a very, very close call and it's flip-flopped for a while but my final decision is Weakness. All-Knowing and All-Agony is also very good though.

Yuno: Umbilical. I don't even like Umbilical but Tear Drop is just so boring to me that it wins more or less by default.

Fuuta: Backdraft. Though Bring It On has grown on me a lot more recently, it can't beat the certified banger that is Backdraft.

Muu: It's Not My Fault. To be honest I'm not super attached to either, but I do prefer it to After Pain by a significant margin (even though After Pain was the first Milgram song I saw).

Shidou: So, funny story: Throw Down remains the only Milgram song I fully zoned out of on my first watch. As such Triage would take it by default, but even on its own it stands up pretty well.

Mahiru: I Love You, mostly because I'm still so surprised by her rap but she really sells it well! I do like TIHTBILWY, but I find it gets a little repetitive.

Kazui: I know a lot of people put half really low down on rankings for being too slow but I really love it - one of my favs of Trial 1! With all that being said, Cat still takes it here, being the pure bop that it is.

Amane - Magic. I don't like The Purge March opening with spoken verse (while I do understand and respect the decision, I don't like how it sounds as a full song with that) and while I do like its ending it's just not that good to listen to for me.

Mikoto: MeMe. Other spots on rankings may differ but I consistently consider MeMe to be my #1 pick for T1 songs. In comparison, Double has too many abrupt starts and stops for me to listen to it nicely as a song by itself.

Kotoko: Deep Cover. This one was pretty hard; Harrow is really good but the thing that puts Deep Cover just a little ahead of it for me is single-handedly that ending where she puts so more much emotion into the singing.

[junk-culture]

went to a pride themed version of the life drawing classes i usually go to and the cool older gay guy who runs them put on a playlist of 90s gay club hits while we were drawing which naturally included pet shop boys so u know i was bopping to its a sin and west end girls and overall it was a certified jolly time AND i walked part of the way home with a fellow artist i.e. Made Successful Conversation With A Stranger so all in all this was a Pleasant Social Gathering that i will ride the high of for weeks to be honest

[minijenn]

Jen Tortures Herself With Every Dreamworks Animated Movie Ever: Madagascar

So I haven't seen this movie in years, even tho I used to watch it all the time as a kid. And let me tell ya'll.. it's even funnier than I remembered it being! Like seriously, I think they strained any opportunities for humor out of Shark Tale and put it all into this movie, because I honestly think it might even rival Shrek 2 as Dreamworks' best comedy (so far at least).

So what's the story? Marty the zebra, Alex the lion, Gloria the hippo, and Melman the giraffe life at the Central Park Zoo, until Marty has himself a Midlife Crisis and through a series of comedic disasters (involving a certain group of iconic Penguins), lands the squad in the wilds of Madagascar. Chaos ensues and its some of the funniest chaos Dreamworks has had to offer (again so far).

The characters are all great here. There isn't a single one of them I didn't like. Marty is a goofball, who genuinely has some really solid moments of friendship with Alex, who definately has the most Dramatic Conflict in the movie thanks to his carnivorous instincts coming out. Melman and Gloria are also pretty great (I swear, Melman's whole hypocondriact thing got some of the biggest laughs from me), and so are the Penguins (they don't get a lot of screen time, but they shine when they do) and King Julian, who is probably the funniest character in the damn movie, and that's saying something given this cast.

The animation leans into the comedy so well, with a lot of rapid movements and insanely well-timed slapstick. The highly stylized character designs lend themselves well to that too, even if I think there were a few frames where they looked... a little uncanny as a result. The soundtrack is also really solid! A lot less pop songs this time around, but the few that are there fit really well into the story (I Like to Move It Move It is a certified Bop by the way, fucking fight me).

The story itself works really well. It's simple, tightly focused on developing its characters, and that's really what I like to see! It really hones in on the friendship between Marty and Alex especially, and the dynamic they have is a really fun one to watch play out. There were a few moments of actually compelling drama too, especially heading into the third act.

Something interesting about this movie is that I think its the first Dreamworks movie to not really have any actuall villain? I mean sure, there's the fossa, but they're not really characters, more just an obstacle that needs to be taken care of in the final climax above all else. Instead, the plot is driven by conflict between the main characters, something that I think is really fresh for a Dreamworks movie. It's also, aside from Prince of Egypt, the second Dreamworks movie to not be driven by a "because woman" plot, so that also shakes their usual formula up really nicely.

As a whole, Madacasgar is great! I'm very surprised its not more ingrained into meme culture, because it has the kind of humor that I think really appeals to everyone. Check it out if you haven't, cause its a very solid start to the second of Dreamworks many, many ongoing series.

Overall Rating: 8/10

Verdict: Eat Ass Everyday

Previous Review (Shark Tale)

Next Review (Wallace & Gromit: The Curse of the Were-Rabbit)

[basedkikuenjoyer]

Next up? The Jewel of Sorbet. Bonney, Bonney...Bonney BONNEY!! Seems like you were just one more helping hand. Ooh, BTW if you haven't taken the plunge on Beyonce's country album check it out for a much more menacing, warning take on Jolene. Certified bop. Egghead though, today's subject is Jewelry Bonney.

Bonney was an intriguing one because you were one of the last Supernova to get your spotlight but it's huge. I looked at you right when you came out of the bubble and mentioned the idea your powers make for a great inheritor of that quiet thread Kiku stretches into a parenthetical around Wano's main plot. The one that really (well, next to Sanji) connects it back to Whole Cake.

The fact we've expanded on that so much with Kuma and Ginny and the impact of making you 12? Damn girl, you are so on point it is unreal. At the same time though, we've talked about this the whole way through as well. You took a while in this arc to really get going, notably getting the Kuma connection exploration while the mystery of last night is going on. You didn't really jump up and take on a huge role against the Gorosei, honestly getting swept aside by the arrival of the Giants. Which makes it feel a lot more like you were yet another one of Egghead's aspects it built up hard before casually moving on from. Kinda like doing several smaller Yamatos.

I'm just assuming the Giants will do that until proven otherwise. At this point it's another observation I've noticed more and more is gaining traction on its own; is there someone who can thread the needle on all of these? If these scattered threads start making sense on their own, time will be rewoven. You know my thoughts on who could cast that kind of shadow. For now though? Of course Bonney's here and can always surprise us again...but between your trajectory and getting really invested in Nika more than Luffy I'm putting you in Yamato's red herring bucket.

[catty-words]

notes on a haven (2024) listen

a/n one: i was reading the fidlar wikipedia page recently (as one does) and this pitchfork quote really struck a chord with me - "[the band doesn't] make music you'll grow old with...but that's not really the point."

reading that, my mind immediately leapt to marianas trench.

i started listening to mt's music in 2021, when i was deeply unhappy, in need of escape, and barely cognizant of either of those things. their music brought me much joy for the way it was endlessly fun and danceable and facilitated the imagining of scenarios for my favorite fictional characters. but lately - before haven (2024) had been officially announced - i'd been thinking that i wouldn't grow old with them.

i came into this album asking it to prove me wrong and it didn't and that broke my heart a little bit. my listening experience is forever colored by that first impression.

a/n two: i presuppose that the fundamental tension in all of marianas trench's discography is between sickness and love, where the sickness is both literal & the drive to perform selfhood and the love is both a person & the audience consuming that selfhood. you can disagree, but then explain why my masterpiece theatre (2009) breakdown did numbers?

"a normal life"

- marianas trench openers have a history of setting the tone and soundscape of their album with impeccable flare, but that's just not true of "a normal life". it's giving generic film score. it's giving netflix YA property script quality. it's giving self-consciousness about how hard it is to sing the word 'normal' prettily.

- i can't say it doesn't accomplish its goals entirely, though, i find a lot of thematic richness in the chorus.

the voices in the night evoke mental illness but also suggests the inability to stop writing lyrics, to stop chasing the performance. for five years, our protagonist has been living inside normality (or at least without performance), but something innate to him can't settle there.

- the final verse and outro, too -

- drive home an idea of compulsion. the need to create means lack of stability.

"lightning and thunder"

- a second's faster than we thought gets to me. i haven't come to any meaningful conclusion as to why, i'm just kermit-nodding.gif about it.

- i am a sucker for the way the energetic rhythm of the pre-chorus contrasts with how effing dark the lyrics are.

what we got is a compensation. the performance (one last show) is costing him his heart.

- the chorus suggests that coming back to this performance (after a couple years of [feeling] estranged) is fate, is a force of nature. but honestly? given how much of this album sounds bored with itself, sounds like it was forced out at every step of the creative process, i simply cannot take the premise of the song seriously. and it's even a highlight on the album for me! woof!

"i'm not getting better"

- a bop. thank god. this album suffers from a lack of certified bops.

- why is the opening instrumentation serving "blank space" by taylor swift, though.

- see??

every piece of the album so far has highlighted the way performing - the creative voice in our protagonist's head, being on stage for one last show, the dance he needs to leave - is unhealthy. to get better, our protagonist has to walk away from all this.

and my overwhelming reaction to this through line is. SO GO. the music certainly isn't making a compelling case as to why we need you to hang around.

- anyway, this song is also critical in establishing that the grand love in the protagonist's life is still A Person. i know, i know by the sound you make / you've been around, 'cause your heartbeat keeps me awake / i know, i know i should stay away and all that.

"down to you"

- this has been my main grower track. it's gotten stuck in my head the most, its the place where the campbell inspiration does the most work (reading the song as the narrative speaking to its protagonist makes all about you, with or without you a very chewy refrain), and i had to admit to myself that it belongs on a ship playlist that is near and dear to my heart.

- HOWEVER. because it's also explicitly about the protagonist's love object - a broken heart and stay with me tonight and you're all i want - it sucks ass. this demonstrates exactly zero progress toward self-actualization or seeing porcelain as anything more than a fix-all for our protagonist's life. GET A JOB. STAY AWAY FROM HER.

"now or never"

NO

a reaction that works both in the context of the love being a literal person and the love being the audience. do not give yourself up to keep serving either of us, that's not what we're asking you to do.

"into the storm"

- on the other hand, i find this a really powerful commentary on the protagonist's relationship with his love:

he chose to immortalize versions of both of them forever in his art, and they can't escape those versions because they're always on the radio. that's as bitter as it is romantic. that's haunting, a la phantoms (2019).

i also really like the way the of mine ambiguously applies to either the broken record or the radio. the cadence of the delivery sells the former, though, and i am gnawing gnawing gnawing.

"ancient history"

- okay, but.

we just did this in the last track? and it was much less on the nose??

- i will admit to being emotional over the toronto name drop, though. maybe it's because the have a piece of american dream lyric looms large in my brain, but i often feel like mt avoids being so explicitly canadian. i like that we've been given a setting to imagine a wistful re-encounter with love, and that setting is toronto.

"stand and fight"

- a track where the campbell inspiration feels like it's doing the least! what are we fighting? why do we need this generic pep talk? this would be cheesy regardless, but it would actually mean something if we'd built a concrete enemy to stand against!!

"turn and run"

- i have similar issues with this track as with "stand and fight" but i will admit that the dramatic turn in the instrumentals does hit for me.

- though the more fantastical setting (the edge of where the world drops) comes out of nowhere, i can't say i hate it. i kind of wish this energy had been present throughout the album. i wish this album had a more concrete identity and understanding of itself.

"worlds collide"

- i hadn't yet clicked with this track, but okay. i guess with a title like "worlds collide" it Would be about reconciling those voices in the dark (i.e. the sickness, the need to live in the spotlight) keeping our protagonist from his normal life (i.e. settling down with his love). i can get down with the intent to weave together the established threads.

the repetition of several key lyrics from this album really brings home that intent, too.

- and i obviously love that they chose masterpiece theatre (2009) lyrics specifically to include in the repetition section.

it corroborates my read that haven (2024) is taking up the mantle of performance costing the protagonist something essential at the same time that it is something essential to their selfhood.

- BUT. i find the music and the production uninspired. it's simply not a song with a strong identity of it's own, which honestly kind of fucks thematically speaking since the protagonist is struggling mightily to marry the contradictory forces of nature on his life, but i don't want to have to engage with this primarily as text for it to fuck. i want it to be good music first, and it's still mainly serving me generic film score.

"nights like these"

- bored.

"remember me by"

- a bop! thank god! this album suffers from a lack of certified bops!!

- since this album is supposed to have a narrative - even if that narrative is a meta-narrative about the shape all myths take - this necessarily feels like regression. we're back to talking about how the protagonist and his love first met? why?

- whatever. like i said: a bop!

- you've got me burning like a dive bar cigarette really does it for me in terms of similes. there's skeeze! there's an unhealthy element! there's a 'hot and quick' implication that really works! i fuck with this so hard!!

- also, the i'll give you something to remember me by sitting in the shadow of "into the storm"!!! he gave her an inescapable musical legacy! FUCK!!

"haven"

- unlike the album opener, "haven" does live up to the mt legacy of closing tracks Going Hard. i feel like it picks up the fantastical, gritty edge from "turn and run", which sets the closer in a distinctly storybook land. it also folds in the rain/water/force of nature motif that has otherwise not done much for me through the rest of the album's run and makes me care.

- ooh ooh OOH this part

just landed with impact for the first time. in the beginning, the protagonist was kept from belonging by the voices, and here, the pairing of but i try to belong here and i'm trying to be gone here suggests that the voices are a kind of coping mechanism insomuch as he isn't present on purpose in order to belong. EATING THAT SHIT UP.

- still don't think this song has any right to evoke "ever after" though, the narrative album that upstages haven (2024) in every way. like, why are you reminding me that you've done this better already? embarrassing for you.

- and then, of course, i still hate the way the resolution claims that this life of constant tension with performance fits our protagonist better than anything else. it's cheap and happens so quickly as to be disingenuous and - ONCE AGAIN - the quality of the music is not making a case that this is something at which the protagonist ought to keep salving away. a break (more permanent than a five-year lapse between albums) might be a relief for everyone.

- not to mention, the literary nerd in me is driven up a wall by this because when the hero returns, he's not supposed to fall easily back into his so-called normal life. he's supposed to be too changed by his experience to reintegrate. and i guess you could make the case that haven's protagonist started out ill-fit to his normal life, so slotting into it neatly in the end is still indicative of the you can't go back story beat.

but you know what? no!! the bitter-sweetness is what makes that part of the monomyth resonate with me. journeys - be they literal or emotional - leave lasting impacts. you're never the same person at the end in a way that's painful but Correct. this twee sentiment wrapping up the album sells that out in favor of maintaining the status quo.

self-actualization when, king?

[randomvarious]

Today's compilation:

Now That's What I Call Music! 7 2001 R&B / Hip Hop / Dance-Pop / Pop / Teen Pop / Alternative Rock / Pop-Rock

Hey, gang, it's time for another look back at some of those early 2000s, with this spoonful of top 40 and radio nostalgia, provided by the most pervasive compilation series that the US has and will probably ever know, the one and only Now That's What I Call Music!

So, let's first set the mood right with an ad for this particular release, shall we? And, by the way, when you order it by credit card or check/debit, you'll also receive a Now sunglass case absolutely free! Wow!! 😲😎🆒

So, this seventh installment of Now actually appears to represent a pretty significant change for this whole series, because, for the first time, with this highly popular enterprise that had been pretty much aimed exclusively at kids, the executive decision was finally made to *really* let hip hop in. See, prior to this album, the first six volumes of Now had only ever included a total of *three* rap tunes on them: Jay-Z's "Hard Knock Life," Mystikal's "Shake It Fast," and The Rugrats Movie theme, "Take Me There," by Blackstreet and Mýa, featuring Blinky Blink and Mase (and if you wanna be charitable, there was also Limp Bizkit's "Nookie" too, I guess). So, with a pretty glaring omission of a very popular genre such as hip hop, those releases made for predominant blends of mostly teen pop, adult contemporary, and radio-friendly alterna-rock. And that no doubt still yielded a solid reproduction of hits from the conglomeration of labels that agreed to join forces and put out these CDs and cassettes in the first place, but they were also pretty clearly somewhat incomplete too.

But with this album, things were starting to shift around a bit, and rap was getting its due at the expense of less alterna-rock, and since the boy band wars were coming to a close, slightly less teen pop as well. So, on this seventh volume of Now, we finally see five songs that could be categorized as hip hop: Nelly's "Ride Wit Me;" Mystikal's "Danger (Been So Long);" R. Kelly's "Fiesta Remix," which featured Jay-Z and Boo & Gotti; Eve's "Let Me Blow Ya Mind;" and The Neptunes' remix of the Backstreet Boys' "The Call," which featured Clipse. Clearly, a very big and sudden change here.

But of course, there was still some teen pop, alterna-rock, and a whole lot of R&B to surround all this newly introduced rap music too. And no tune among them happened to go any harder than Destiny's Child's' "Survivor," a song that took the group's criticisms and jokes made about their own personnel turnover to task and ended up resulting in the most ferocious and intense single that they'd ever made; an absolute, certified, string-frenzied banger that you can cathartically wallop a punching bag to 🥊😤. Beyoncé's entry is just so electrifying on this one, and the chorus' constant background chants of "What?" à la DMX, are super infectious too.

And following that one, in order to calm things down a bit, was Janet Jackson's relaxed dance-pop smash, "All for You," which goes on a little bit of a disco tip of its own, thanks to its sampling of those rich keys from Change's "The Glow of Love," a 1980 song that, just two years prior, had also been famously sampled by UK dance duo Phats & Small for their own enormous global house hit, "Turn Around." And to bring all of this full circle here, guess what the name of Phats & Small's debut album was that included that "Turn Around" tune on it? Now Phats What I Small Music! 😮

Also, who could forget that socially conscious and gratuitously gritty portrayal of impoverished single motherhood, "What Would You Do," by New Jersey one-hit wonder City High, that also happened to be a total singalong bop and managed to climb all the way up to #8 on the Billboard Hot 100? And it had that iconic, completely unexpected beat change on its bridge to Dr. Dre's "The Next Episode" too? Huh?!? A pretty essential entry for one of those 'Only Y2K Kids Will Remember These Songs' kinda list, though, I think.

And yet, despite the fact that 2000 and 2001 had clearly produced a lot of quality mainstream hip hop and R&B tunes, the most played song on American radio in 2001 was still a rock track. And, absurdly, it was that inescapable piece of soft and tamed post-grunge, "Hanging by a Moment," by Christian contemporary band Lifehouse. Certainly a fun one to listen back to and reminisce on, but in hindsight, it also happens to sound like pretty damn generic garbage 😅. And the ridiculous Eddie Vedder/Scott Weiland/Scott Stapp vocal affect definitely didn't help things either. How did we all just sit there and, not only tolerate, but fully embrace that gimmick for so long?! It's so bad!

And last, but certainly not least, on this album is American Hi-Fi's "Flavor of the Weak," a super catchy tune that, along with SR-71's "Right Now," really seemed to presage that whole Warped Tour-branded deluge of safety scissors-power pop-mall punk that was on the way. That pair of similar singles would come out in the latter half of 2000 and hit big on Billboard's alternative chart, and then acts like New Found Glory, Simple Plan, Good Charlotte, Sum 41, and Avril Lavigne would all soon achieve fame over the next couple years. And as stupid as it was, you have to admit that the "too stoned; Nintendo" line was actually also kinda perfect!

So, a bit of a different excursion here with this seventh volume of Now. And maybe it was a little risky too, to change the formula in order to include a whole lot more hip hop on it, especially when plenty of parents were still very averse to allowing their kids to listen to the genre. But those fears were most likely assuaged when the numbers started rolling in: #1 on the Billboard 200 album chart, the series' highest opening week in sales at 621,000 copies sold, a triple-platinum seller, and their first installment to hit Billboard's Top R&B/Hip Hop Albums chart too, managing to peak at #3. Volume 7 was one of the series' biggest commercial successes to date, and it clearly proved that the hip hop was certainly capable of helping the series move some serious units 🤑.

Another terrific trip down memory lane here, courtesy of this extremely popular series 🥰.

Highlights:

Destiny's Child - "Survivor" Janet Jackson - "All for You" Samantha Mumba - "Baby, Come Over (This Is Our Night)" Jennifer Lopez - "Play" Backstreet Boys - "The Call (Neptunes Remix W/ rap)" 3LW - "Playas Gon' Play" Nelly feat. City Spud - "Ride Wit Me" Mystikal feat. Nivea - "Danger (Been So Long)" R. Kelly feat. Jay-Z, Boo, Gotti - "Fiesta Remix" Eve - "Let Me Blow Ya Mind" City High - "What Would You Do" Lifehouse - "Hanging by a Moment" American Hi-Fi - "Flavor of the Weak"

[verymuchablog42]

Would absolutely LOVE some music recs!!!! [<- is a fan of all genres/is not picky at all]

hi!! here's some stuff i've been listening to recently :)

i LOVE cake and think this song is such a great showcase of the way they effortlessly marry mariachi and rock

this song is pretty classic indie pop, i think half alive does such a great job of occupying this specific space between being pop and something a little grittier

this song is a certified BOP and was recommended to me by someone who has excellent music taste. the bass is so funky and it always makes me smile and want to dance

this group is kind of winona fighter adjacent, in the sense that they make really good angry girl punk music. this song has a KILLER guitar at its core and the energy is immaculate

i tried to give as much of a range as i could in just a few songs, lmk if you like these!! and come back for music recs whenever bc it was so hard to keep this short lmao

[bellpepper-hubris]

Rules: shuffle your 'on repeat' playlist and post the first ten tracks, then tag ten people.

tagged from @toadminte ! unfortunately, i don't have anyone to tag for this, since they've already done this I decided to forgo the whole "shuffle" thing to go with songs on my 'on repeat' playlist which i could give origins as to where i first heard them

1: Love Will Keep Us Together - Captain & Tennille I have that one gif of Sakura from Street Fighter doing her victory dance in my head as I listen to it. I discovered it looking through a video about musical references in Jojo's Bizarre Adventure: Stardust Cruisaders

2: おつかれSUMMER - HALCALI My current obsession, discovered it in an animation called "bye bye planet", by luca depardon

3: Cybele's Reverie - Stereolab Discovered through tumblr, it's nice to hear french music -or at least lyrics- from time to time, as most of my interests are in english

4: Smooth Operator - Sade Referenced in Jojo's Bizarre Adventure: Jojolands, some time ago i used a website called Rave, which makes mashups (with varying levels of quality (mostly bad)) and for some reason this and Gorillaz's Feel Good Inc surprisingly slaps.

5: Lesson One - Russ Conway I found this song through a spotify playlist generator which uses songs as prompts to give you similar songs, and this was one of the first one on it! The song I used was Gimme Dat Ding by The Pipkins, an old favorite.

6: Livin' in the Sunlight, Lovin' in the Moonlight - Tiny Tim There's this one video where this song is superposed with Xurkitree from Pokemon wiggling its arms. It's a perfect fit.

7: Marsz Turecki - Brathanki Using a site called WhoSampled, I was looking through songs sampling the Turkish March, searching for re-interpretations of classical music in soundscapes closer to my appeal, and found this gem.

8: Twist And Shout - The Beatles It took me way too long to realize the "punny name" part of Shout and Twist (characters from Bomberman Jetters, an anime I discovered thanks to an 8+ hour Bomberman video) was a musical one! I never got too interested in The Beatles, having heard few songs of theirs, so my first listen to this one was quite a shock.

9: Weapon Of Choice - Fatboy Slim, Olodum Discovered through a video about a game called "Cid The Dummy" by Rerez, where they found that the title theme sounded extremely similar to Weapon Of Choice, to the point of a possible plagiarism. I'd already heard the song but this is what cemented it as a certified bop.

10: Island of Dreams - The Seekers My friend toadminte, @'d at the top, urged me to listen to the album where this came from. Gotta say, this one's a real good listen. I'd already had Morningtown Ride as a recurring listen, and this one's going there as well!

[aviel-the-trans-bucket]

Ok on this walk down emo nostalgia lane we’re doing fucking Danger days : The True Lives Of The Fabulous Killjoys, and also The Mad Gear and Missile Kid EP! And these are my thoughts

So I haven’t listened to the full album through but similar to revenge I’ve heard a few songs. I haven’t listened to the EP yet tho. I’m excited because the killjoy vibes are immaculate. Let’s see if this butters my buns.

Look Alive, Sunshine: ok I’ve heard this before and while this is sick as hell we all know this is just the lead up to Na Na Na. Shit fucks hard, let’s kick it.

Na Na Na: A certified banger in every way and it fucks so god damn hard! Love the song to death, one of my all time favorites. Shit makes you feel like you can fight god! Everybody wants to change the world, but no one wants to die! And then the guitar goes apeshit!

Bulletproof Heart: Another I’ve heard before and one that’s just so so good. Gravity don’t meaaan too much to meeee! God I love this one so much, I actually haven’t listened to it much recently but god I’ve missed it. It’s like seeing an old friend again and going skating. Man this one fucks so severely!

SING: Ah yes, the one where they all die. Another I listen to all the time, potentially the source of my first tattoo if I get around to it. Moody vibes, the power of an unbreaking will. It radiates cold hard stamina to persist on, the vibes fucking bang. KEEP RUNNING!!

Planetary (GO!): Ah another I listen to a lot because I love the vibes. This is a song that fucks, it fucks yknow. It’s dancy af and I love it, a bop. The vibes slap, makes you want to move. Anti-capitalist dance anthem, I love it to death.

Jet-Star and the Kobra Kid/Traffic Report: so from here on we’re into shit I haven’t listened to before. And the gateway into said new music is Mikey dying again and he took ray with him 🫡.

Party Poison: ok let’s see what we’re dealing with. Ok this does kinda fuck. Oh shit this bangs. This fucking Bangs tho! God damn, i really like this one shit!

Save Yourself, I’ll Hold Them Back: oooooh tasty guitar! Oh shit this fucks too! Oh damn oh fuck yeeeesss! Shit bangs, and fucks! Oh Hot Damn that Guitar! This is doing shit to my brain, I love love love this!

S/C/A/R/E/C/R/O/W: oooo nice pulse to it. Oh this is moody and really pretty. I really like this, its feels like something else I’ve listened to before in terms of vibes but I have the memory of a fucking hamster. It’s really good tho, oh hello fucking tasty ass guitar bit! This didn’t wreck my shit but I did enjoy it quite a bit.

Summertime: good beat, got a good pulse going. God this album is so good. Man this feels wistful and I love that. Oh I love this 😭. Man this is so pretty I love this. Wistful feelings of love make my chest ache man, I’m so damn lonely.

DESTROYA: time for what I’m assuming is a tonal shift, I’ve heard shit about this one 👀. Oh there’s the bongos. Tasty ass guitar comes in. Oh this does kinda fuck, I love this vibe! Oh shit this actually bangs unbelievable hard! And it like fucks fucks! Hell yeah! Shit that one I definitely need to listen to more now that I’m prepared for it!

The Kids From Yesterday: synthey, and don’t fear the reaper needs more cowbell. Oh damn, this might be an in my feels song. A very melancholy vibe but it’s so good. This is like so my vibe and I love this but also ow. Yea ok that gave me some tears shit.

Goodnite, Dr. Death: ok let’s see what this one brings while I’m in my feelings. Yea that was the breather I needed ooof.

Vampire Money: ok I’ve hears mixed things about this song so no idea what to expect here we go. Oh shit it’s this song, that’s where that’s from! good beat, and it slams hell yea! Oh shit fuck yea this FUCKS! Oh shit this bangs I love this! This is a good fucking time! Guitar is loosing it hell yes!

We Don’t Need Another Song About California: oh shit banger guitar right out the gate. Oh this is a bop. Not an awful lot of thoughts, song good, guitar slaps as always. Not melting my face off but I enjoy it :3

Zero Percent: more synth Noice. Oh shit this bangs out the gate! Not a lot of thoughts, brain empty but this slaps. O k last song of dangerdays out of the way, time for the ep before my brain melts and runs out of my ears from both over and understimulation.

The Mad Gear and Missile Kid

F.T.W.W.W.: not sure what I should expect but here we go, I’ve cleansed my pallet by listening to the bloodborne soundtrack so I don’t get too bogged down on bangin guitar. Ok yea this does kinda slap. This does bang. Is good, but I’m pretty neutral on it.

Mastas of Ravenkroft: banging guitar as always, god this feels like my stream of consciousness. Punk rock equivalent of my unmediated adhd.

Black Dragon Fighting Society: ok last song of the night, I’m exhausted but this has been a tit blasting experience for sure. Let’s close her out lads. No bad, they’ve all had a good pulse to them. Good fucking guitar! A fun time but isn’t like wrecking my shit, but I like.

This has been a fucking insane ride, I regret not listening to the full album sooner because this one rocked my shit the whole way down and it may unironically be my favorite mcr album. I heard someone describe dangerdays as being like crack to their 13 year old brain and like I think I get it now, even at 21. Now I loved quite a lot of the songs so this might be the hardest top 5 ranking yet, but my top 5 of the album are…

1: look Alive, Sunshine/ Na Na Na (basic but she deserves it)

2: SING

3: Planetary (GO!)

4: DESTROYA

5: Vampire Money

That was a hog wild fucking time, I loved every second of it. I’m tired and satisfied and the next post will about conventional weapons. Only 2 more lads before I start on the solo stuff. As always send me asks if I missed any songs. I’ll see ya madlads, I need a nap.

[uh-velkommen]

Fall Out Boy So Much (for) Stardust

~First Impressions~ Review: First let's talk about what everyone else is saying and then I'll go track by track. "Love From The Other Side was misleading" "The album is very 80s inspired" "We're getting Folie A Deux 2.0" "Disappointing." While yes, LFTOS may be more in your face than the others, it was the "omg Guitars!" people who misled themselves. FOB is my top favorite band so I know better than to make inferences based on the first single. Yes it feels very 80s with the rhythmic drums, uppity messages, and what has to be direct references to other earlier artists but lucky for me, my favorite genre is that 80s influenced happy guitar music and one can't help but to compare this album to Patrick Stump's solo album Soul Punk. The evolution feels natural; Soul Punk - ambitious but underdeveloped, Mania - well produced but wrong audience, So Much (for) Stardust - right ideas right execution. I was hoping for a Folie 2.0 actually, it's my favorite album and I think we've evolved enough to appreciate another bass riddled, poetic, solemn-happy album. This is definitely not another Folie. If anything it's a Mania 2.0 but there's some moments in songs, some lines that remind me of Folie. That's the beauty with this band, you can really feel everyone's contribution to this album. Pete's lyrics unchanged from the early days, Patrick's soul made futuristic, and of course Andy and Joe's experienced-rock artistry. The songs are cohesive and the lyrics bounce well between gleeful and nostalgic however, I would like to hear more from the guys about the message they were wanting to get across this time around. Lastly, if I had to pick a single gripe with this album, it would be that its not what I needed the moment that I first listened. When listening to new albums, I look for two things "Does it make me dance and/or does it completely enthrall me?" At the exact same time, Babymetal dropped their new album The Other One and after a still listen to SMFS, I found myself bobbing along to Babymetal. This doesn't mean it's not a dance album. I just wasn't in the mood for an 80s jam. Now if you asked me to describe the album in one word or put me on the spot, I don't hate it and I don't love it YET. I enjoyed listening to it and my one word would be, "It's creative."

Track by track listed below.

When I was putting this together I used emojis to remember my train of thought. See if you can decipher them and if they're ones you would've used lol.

Love from the Other Side (I didn't even think to put an emoji here) What can I say, it's a good song. I've had more time to sit with this one. Learned the words, the bass line, and all of Patrick's vocal inflections. There's nothing new that can be said.

Heartbreak Feels So Good🎈🫂 When this song first came out I remember feeling my heart drop. I was freshly surrounded by the idea that this album would finally be a rock album and then I heard the opening which sounds a little too much like Let Me Love You by DJ Snake and Justin Bieber and I immediately thought, "Oh God, another Mania." But that mentality conflicts with the actual grit of the song (Also, I enjoy Mania). It feels like a heartbreak song. Like a "Remembering the good times, the bad times, and having a cry over what it used to be." Like a Jet Pack Blues or Favorite Record. It's catchy, it's good, and it's relatable.

Hold Me Like a Grudge👑😀 Again, the opening sounds too much like Another One Bites The Dust for it to be non-coincidental. The descriptive word I got for this is "fun." (Future me here, there's literally a line that goes, "You put the "fun" into dysfunction" This was not intentional). I like the way the lyrics are sung, like half of this album borders on being raps. It's got the same sentiment as early FOB with the, "You can hate me but my life is glitter" idea and it's a certified bop, solid song.

Fake Out🍬💋 It's sweet. Cute. Kisses. Lovey, lovely. I like it, I don't know what else to say.

Heaven, Iowa👩‍🎤 This song is a full blown power ballad. It's beautiful. It kinda tricks you starting off slow but the slow build is worth the pay off. I love the melancholic or maybe nostalgic instrumentals. You know, I was scared of this being another City In A Garden (I don't know, if I see a location in the title and think "Not another song about Chicago" Chicago isn't even in Iowa???) This is one of the standout tracks on this album.

So Good Right Now (co-writer: Robert Byrd) This might be the shortest song on here at two minutes and fifty-eight seconds and instead of an emoji, I'm leaving you with this information. Clearly influenced by the vocalizations of Little Bitty Pretty One and the try-hard feel-good vibes makes the fact that they credited multiple writers on this one laughable. Half of it is just repeating the "So good right now" and while a quick little break from the songs with messages is totally excusable it's definitely the weakest of the whole album.

The Pink Seashell❓️What is this. What does it mean, how does it relate to the album's story? After the whole "red-herring" promotional material, the Pink Seashell Beach homage here is hilarious. It reminds me of the lyric, "The time my dad caught me a horseshoe-crab and I asked if throwing it back into the sea would bring our luck back," (This Shipped (Gold) Standard).

I Am My Own Muse🎸SMASH ALL THE GUITARS WE GOT TO THROW THIS YEAR AWAY. I like this song. No really you can't go wrong with an orchestral instrumental. It's catchy, it's eerie, it's demanding. The violins ARE the moment. It's great.

Flu Game🐒 I also really like this song because it reminds me of Fall Out Boy's cover of I Wan'na Be Like You (I'm so obsessed with the live version) and that one part from One & Only by Timbaland. The swinging drum beat and the funky nanananana's. The cocky lyrics, the ATTITUDE, the harmonies. It feels so Patrick Stump. This is a song I wanna sing at the top of my lungs.

Baby Annihilation📝 So I heard ONE person say this before listening to this "song" and it kinda warped my perception. The spoken poetry at the end of 20 Dollar Nose bleed was brilliant. It worked with the tone of the album, it was unique and original for FOB, and what makes their lyrics so great is Pete's poetic inclination. However, 15 years later, a grown man reading a mediocre poem unaccompanied, unexpected, unwarranted, is not as edgy and impactful as it could have been. (Update I forgot about Get Busy Living and im starting to change my mind). I think what would have made this work is if they stuck to one spoken part, one intermission, either this or The Pink Seashell. OR space the two songs out more evenly. These should act as segues into a new part of the album's story. The second half of the album is just as strong as the first so these breaks feel unnecessary (Disclaimer: I could read and enjoy Pete's poetry for days on end but let's not kill the momentum here)

The Kintsugi Kid (Ten Years) 🔟🕙 This song feels like an ode to the mmrs and its a sweet somber one. It's also 100% an 80s movie-prom dance-song choice-moment and the dog barking at the end is adorable and reminds me of something (It's gotta be a movie reference but I can't place it (Also I'm pretty sure it's a human girl impersonating a dog, though I imagine it's the dog on the album cover)). However, this is where you learn that I hate slow songs on albums and this is the slowest one rhythmically. Sure if it comes on in a random playlist I am more likely to enjoy it but as of right now I have no strong opinions. I will say as we're nearing the end of the album, one might start to get weary. There are a lot of songs on this album so I find that slow songs have better luck near the middle point of the album.

What a Time to Be Alive🎥 This one totally feels like it should be playing during a montage or ending sequence in a teen-family movie. The song feels like a happy "what a time to be alive, everything is so sweet" but it's Fall Out Boy and it's pandemic themed so it for sure is a "what a time to be alive, this shit sucks."

So Much (for) Stardust 👍FAV FAV FAV The instrumental at the beginning reminds me of early 2000s RnB ballads. It feels like another "Nobody wants to hear you sing about tragedy," (Disloyal Order of Water Buffaloes). It's the, "yeah we're famous but look at what we lost on the way, what we had to sacrifice, was it worth it?" It's the Folie mentality and I eat it up every time. It works so well with this band when you know about all the struggles they dealt with in their personal lives. Pete's Bipolar Disorder and the various affairs and tabloids, Patrick's modesty, weight, solo career, hair line (dude?), Joe's mental health and his role in the band, and Andy's... I don't know, Andy is just there. It's no secret that the fame was hard on them so FOB, you guys are all wrong, I want to hear you sing about tragedy. Not to mention the choir that comes in at the end and Patrick's ability to riff and belt and just get jiggy with the rhythm is freakin' gorgeous. This song is the most perfect icing on this cake. It's a beautiful fade out and the repetition of the "You were the sunshine of my lifetime, what would you trade the pain for? I'm not sure," is pure excellency. What a wrap around. This song balances despair with hope. It's melancholic, it's upbeat, it's desperate yet it comes across like anyone could feel the same emotions. And let me also just say I'm so happy they featured a classic Pete Pun™ in the song (and album) title. I've read nearly all of dear Peter's livejournals and blog posts and he does this so often that it's endearing to see in 2023.

I wanna rate this album a strong 8.5/10 <3

[chappell-roans]

the taste 😘 here r mine. bolded is my number 1 rn and i added some notes (if ur gonna cheat I am too lol)

ts: so many bops for a debut

should've said no

our song (side note she looked so fucking good in this music video idk what hold those fake curls and DCOM prom dresses had on her because she was born to be a cunty straight haired victoria secret girl)

honourable mentions

picture to burn (I hate that 👏 stupid 👏old 👏pickup👏 truck 👏you never let me drive 💃)

teardrops on my guitar (its a classic we must pay respect)

the outside

fearless: again, such a bopathon

forever and always piano version (superior version im afraid)

the way I loved you

honourable mentions

tell me why (such a good song to describe toxic partners and how insidious and common emotional abuse is)

you're not sorry

speak now: a third bop has hit billboard sir

if this was a movie (great chorus although i just realized the lyric is not 'come back to me Eli' lol) (usually one of the below would take this place but im feeling it rn)

never grow up (crying 😭 and its most constantly my fave top pick and won't fall out of the running ever)

honourable mentions

dear john

better than revenge (its problematic and its the cuntiest song shes ever written, the duality of man)

haunted

long live (its so cute i love it)

red: excuse me? I need to report a boppery

all too well (is anyone surprised?)

the lucky one (all hail joni mitchell)

honourable mentions

the last time

come back… be here

girl at home

1989: jesus christ… that's Jason Bourne a bop

wildest dreams (she owes lana for this)

style

honourable mentions

blank space

I wish you would

reputation: don't have a pun L moment :(

Don't blame me

I did something bad

honourable mentions

Getaway Car

Dress

Lover: somehow palpatine the bops returned (thank god)

Cruel Summer (she's an icon she's a legend and she is the moment)

Miss Americana and the Heartbreak Prince (has currently dethroned cruel summer)

honourable mentions

Death by a Thousand Cuts

Cornelia Street :(

folklore: the bop n roll hall of fame

illicit affairs

my tears ricochet

honourable mention

seven

hoax

evermore: certified triple bop (most difficult to choose)

no body no crime (so good like omg netflix limited series when??)

champagne problems

honourable mentions

willow

gold rush

tis the damn season

midnights: no bops head empty (lmao not really I just don't really listen to it ¯\_(ツ)_/¯)

would've could've should've

the great war

honourable mention

you're on your own kid

midnight rain ( all you had to do was stay's sexier older sister)

ttpd: the tortured bop department: pitchfork (5.5/10)

the albatross

the bolter

honourable mentions

I can fix him, no really I can (in an alternate universe theres a lana version of this song that would eat us all up)

Florida! (florence is an angel on earth)

and scene

uhsdnjczdsf cannot tell you how much i enjoyed reading this you got some good laughs out of me, and you have good taste to boot! like i have nothing to add but pitchfork took me out also like. amazing. made my morning thank you anon

[manebioniclegali]

all of this recent LazyTown content is a beautiful sight to see on my dash in the Year of our Lord 2024 😌🙏 have you been watching the show lately, or were u just randomly reminded of its existence and decided to search the tag? :0 (either way, it's kinda making me want to look up some of the songs again cuz they're actual Certified Bops™ haha)

Neither, there was a lazytown blog I followed that recently became active again, so I just scrolled through some of their posts and reblogs that I had apparently missed 😅 I do miss seeing memes from it though, the Lazytown renaissance was pretty neat

[this1contradiction]

Hello! Happy June! It's Pride and I have another question (7/30)

Hello hello, today we are going to take a dive into the word "Gay".

The word gay dates back all the way to the 12th century, and comes from the Old French word "Gai" meaning "full of joy or mirth". This word might have evolved from the Old German word "Gahi" meaning "impulsive", however this is unconfirmed.

This was in use for centuries to mean any version of happy, carefree, mirthful, joyful or bright, and didn't have any sexual/sexuality link until roughly the 1600s.

At that point, the "carefree" gay started being used to call a person immoral or promiscuous, and the Oxford English Dictionary defined it at the time as "addicted to pleasure and dissipations. Often euphemistically: of loose and immoral life". So, a prostitute eventually became known as a "gay woman", and somewhat ironically now, a "gay man" was a womanizer or a man who had a lot of sex with woman (especially prostitutes). This also meant that a "Gay House" was a perfectly normal way of saying "Brothel", and this is also where the word "Gaiety" comes from ("lively celebration or festivities" <- it is a common word in theatre names nowadays).

Then in the 1890s, the term "Gey Cat" ("gey" was a Scottish version of "gay") was used to refer to a "younger man in the company of an older man" or a man who offered sexual services in return for food/protection. Because of the implications of "sexual submission2 in the first definition, this phrase is thought to be the origin of "gay" as "homosexual", rather than just as "sexual deviant".

In 1951, the Oxford English Dictionary for the first time defined "gay" as slang for "homosexual", but this usage was in less mainstream communities at least 30 years earlier, specifically in US prisons and homeless camps.

"Bringing Up Baby" in 1938 is probably the first movie to use "gay" in its modern context. Cary Grant wears a lady's feathery robe in one scene, and when asked why he ad-libbed "Because I just went gay". (<- however, it is unlikely that "mainstream audiences" understood this, and likely thought he meant the carefree definition)

So, with all these definitions, I want to ask you, what makes you feel ""gay""? (any definition you want! :))

Happy Pride 🌈 🎉

hmmm🤔 jamming out to some good bops always makes me feel pretty “gay” in the full of joy sense

(for example borderline by tove lo is one of said Certified Bops™️ #ad (#notreallyanad))