#all time low rerecord That Girl when

[ashofalltime]

⚡️✨ATL FOREVER✨⚡️

[hooked-on-elvis]

"Long Legged Girl (With the Short Dress On)" (1966-1967)

Recorded on June 29, 1966 at MGM Soundstage, Hollywood · Released as Single on April, 1967 and on the Soundtrack album Double Trouble on June, 1967.

MUSICIANS Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker.

Elvis as Guy Lambert in Double Trouble (1967).

RECORDING SESSION Soundtrack Sessions for MGM’s Double Trouble June 28-29, 1966 (7PM–12AM; 1–3AM): Radio Recorders and MGM Studios Recording Stage, Hollywood. Ever since the frustrating exercise of making the music for his first two movies, Love Me Tender and Loving You, Elvis had insisted on doing his soundtrack recording in a regular studio setting, not on a large, impersonal sound stage where he felt he couldn’t perform at his best. Disgusted with yet another round of lackluster material provided by his own publishing companies, Elvis showed up late at Radio Recorders for the Double Trouble sessions; but this time the result was that MGM studio executives moved the next night’s sessions to their own sound stage, saving money for themselves and for the film’s eventual bottom line (in which Elvis and the Colonel too had a share). Elvis had long since learned from Colonel Tom to be mindful of his obligations, and he raised no explicit objections—but he could not have been pleased when he heard the sound of the recordings they were making. The soundstage had all the presence of a giant tin can. Poor miking and generally sloppy engineering produced a sound that might have worked for mono cinema playback, but scarcely for the work of a major recording artist. (...) The session concluded with the rerecording of a single with a title as long as the song was short — “Long Legged Girl (With A Short Dress On),” which ran, mercifully, for one minute, twenty-seven seconds. Excerpt: "Elvis Presley, A Life in Music: The Complete Recording Sessions" by Ernst Jorgensen. Foreword by Peter Guralnick (1998)

RELEASE On April 28, 1967 "Long Legged Girl (With the Short Dress On)" was released as A-Side Single (backed with "That’s Someone You Never Forget", which had originally appeared on 1962’s Pot Luck; ref. 47-9115) by Elvis Presley with the Jordanaires. A couple of months later, in June 1967, it came out on the Soundtrack album Double Trouble (ref. RD-7892).

LYRICS — "Long Legged Girl (With the Short Dress On)" Songwriters: John Leslie McFarland/Winfield Scott All right I've been thumbing rides, travelling light Walking streets 'til past midnight Tramping roads, trails, and lanes Scaling cliffs, fields, and plains Searching 'til the early dawn For that long-legged girl with the short dress on Riding trucks, bikes, and skis Sailing lakes and brooks and seas Driving wagons, cars, and jeeps Walking stilts in ten foot leaps Searching 'til the early dawn For that long-legged girl with the short dress on And everywhere I go, she's been and gone She's fine (she's fine) It's just too bad she's the travelling kind So fine (so fine) I just can't rest 'til I make her mine I've been from Maine to Tennessee Mexico and Waikiki Rain or shine, sleet or snow Searching high, then I'm searching low Everything depends upon For that long-legged girl with the short dress on She's fine (she's fine) It's just too bad she's the travelling kind So fine (so fine) I just can't rest 'til I make her mine Well, I've been from Maine to Tennessee Mexico and Waikiki Rain or shine, sleet or snow I'm searching high, well, I'm searching low 'Cause everything depends upon For that long-legged girl with the short dress on The long-legged girl with the short dress on

Elvis performing "Long Legged Girl (With The Short Dress On) in scene from Double Trouble (1967).

[penny-the-pissed-poltergeist]

Volume 1 episode 4 rewatch thoughts

.Haven't commented on the intro till now for whatever reason, not going to say "this will be day" isn't an earworm but you can really tell Casey was a teenager when she sang it in some parts. makes we want official rerecordings of this and some of the other older songs with how much better she's gotten (Unless there are already ones and I just forgor)

.Wait, why is Yang looking for Ruby, didn't she want to avoid being on same team as her at this time

.Remember when Yang got mad when her hair was cut? You might think this is going to lead to some rant about how Yang's character has gotten worse but I'm fine with her growing out of that.

.I've heard people say Blake like, sought out Yang but it seems at lot more coincidental to me. (maybe something later shows that and I forgot, IDK)

.Weiss going "I could have killed you" to the girl that literally tanked an explosion to the face yesterday show how overconfident she really was

.Not seeing Ruby and Weiss mount the Nevermore on screen is really stupid

.Pyrrha sounds as much like a robot as Penny does sometimes. that could be a fun AU now that I think about it

.I'm just gonna point out how theHbomberguy video complains about the aura speech while ignoring that fact Ren's fight with the King Taijitu isn't put over it, which is something I haven't seen a single anti-critic point out

."The manifestation of anonymity" is a legit sick as hell way to describe Grimm

.But Pyrrha, you can't go "they are the darkness, we are the light" and then also go "everyone has a bit of both" when referring to light and darkness later, pick one (god it feels like I'm talking about kingdom hearts)

.Have Ren's bullets done any damage to anything ever?

.Shout out to that "make you explode like a balloon" aura attack Ren does, why did all aura techniques have to disappear post volume 3

.Pyrrha giving a speech about how dying for the sake of good is the ultimate way to immortalize yourself puts some of what she does later into context...

.Also if like one strong person can just unlock aura... why doesn't everyone get theirs unlocked? even low aura is better then none and it could still help with dangerous non-combat jobs.

.If Jaune is supposed to be the "Sokka" (the writers have straight up said that what he's supposed to be), then why does he have "a lot of" aura? doesn't making him "the special" defeat the whole point of that character archetype

.Did no one check Jaune Aura level at any point before initiation, shouldn't they have noticed that at some point, or was Ozpin just ready to let him most likely fucking die?

.I just noticed that Ozpin's eyes are brown and not green, did I get fucking "black spot on pikachu's tail"ed RN?

.God I wish Ruby and Weiss bantered more, the last time we got that was like volume 6 I think? Let them have a (at this point WAY more friendly) rivalry again!

."I'm not perfect.. not yet anyway" just love that line

.How is Jaune this dumb, just how

."Some girl's in trouble" Get it? he's effeminate that's a thing we need to make fun of him for... ugh

[hyeetles]

ok before most of you knew me + when i was a cisgender pansexual 14-16 year old girl, i was an All Time Low bandom blog. and i just need to say. they rerecorded dear maria a few days ago and its literally fart/10. unlistenable. makes me so mad. i would go upstairs and literally crush and eat and destroy my so wrong its right vinyl with my teeth out of rage if it wouldnt wake up my peacefully sleeping boyfriend. none of their music has been even remotely listenable since 2013 so i shouldnt be surprised but. MAN!

[songstuckinmahead]

Ranking Taylor Swift's albums based on how many songs are in my playlists:

Number of songs that are in parentheses are additional songs that were not part of the original album rollout (soundtracks, remixes, vault tracks) and will be listed after the original album songs.

Okay, Let's go:

11th: Taylor Swift (self-titled Debut) - 0

It's common for an artist's first album/EP to simply be a collection of the songs they made so far and that's what this is. This isn't really an era but more just a beta test of Taylor.

But i do have a feeling that Debut tv will have the biggest amount of rerecordings as well as the biggest change in the vocals which scares me.

10th: Folklore - 1

The first of Taylor's depression decade starts with a typical COVID-19 lockdown depression yearning for a cottagecore escapism.

Following the dip of Lover and the lack of publicity due to quarantine restrictions and a surprise release made this album appear in low profile but between the times and the message of the songs it was better for it.

Songs: Cardigan.

8th (tie): The Tortured Poets Department - 2

Despite me being fully on the Eras Tour/the rerecordings/Midnights hype train, TTPDs double album and several variants started to feel a bit too much. It just felt being the 50 kg cherry on top of the thousand flavor, million calories oversaturation dessert.

This is an adult album written by an adult woman for adults. Rawdogging real life as it is with all the problems and each problem with it's own bullshit. And also a lot more swearing than before.

Songs: Fortnight, I Can Do It With A Broken Heart.

8th: (tie): Fearless - 2

The princess of the midwest waiting for her high school prince find out that she exists. That's Fearless, this album invented the cliche of removing the glasses of the shy nerdy girl to see and show the world how pretty she is.

Unlike Debut's truck country genre, being a princess in an all american high school fairytale seems to work better with her songwriting skills.

Songs: Love Story, You Belong With Me.

7th: Speak Now - 1(+2)

It makes sense for being known as the Enchanted era as this underrated album feels the least like a "Taylor Swift genre" and the most like other popular 00s grudge rock subgenres of the time, similar to Kelly Clarkson, Avril Lavigne, Paramore and Fall Out Boy (which the latter two appeared in the album).

Songs: Better Than Revenge, Electric Touch, I Can See You.

6th: Evermore - 2(+1)

Jack Antonoff once said that Taylor wrote Willow in 20 minutes it was quickly followed by the decision to make a second "COVID-19 lockdown depression yearning for a cottagecore escapism" album, and thus Evermore was born.

Honestly considering how much the two album share the theme, mv continuity, and release year. Folkmore should have been a single double album from the start.

When you read this treat the two Folkmore reviews as one in two parts.

Songs: Willow, Marjorie, Carolina.

Top 5:

5th: Midnights - 3(+1)

Now this is a type of depression i can relate to! culture counters culture and Midnight's more upbeat songs were perfectly made to counter Folkmore's cottagecore calmness. Beyonce released Act i Renaissance around the same time a bit after the COVID-19 pandemic because "the world needed to dance" and Taylor saw that regarding Midnights as well.

As much as i like the retro vibe of the album, I haven't really been able to define it (undefined vibe can be better than defined), especially with the Midnights era being the eras tour era.

Songs: Lavender Haze, Anti-Hero, Bejeweled, Karma (remix feat. Ice Spice).

4th: Red - 6(+1)

The most Taylor Swift album. Period. The perfect combination of the three archetypes of Taylor transitioning from the 00s country to the 10s pop while having both happy upbeat songs and sad poetic songs.

2011-2013 is a critically iconic time period and it wouldn't be the same without Red. I consider We Are Never Ever Getting Back Together as one of the holy trinity of iconic 21th century pop songs.

Between the rise of the breakup songwriter reputation(a justified reputation considering she has a 10 minute breakup song), screaming goats, and her influence reaching global levels, Red is the most important album of the Tay-lore.

Songs: State Of Grace, Red, 22, I Knew You Were Trouble, We Are Never Ever Getting Back Together, Everything Has Changed, Message In A Bottle.

Top 3:

3rd: Reputation - 8(+1)

The more famous you are, the more haters and scandals you'll have, and once you reach that global stardom there's no way to avoid that. And after what happened between Taylor and Kim and Kanye, the only way to stop it was to vanish.

The pre-reputation blackout was a "you had to be there" moment when she cleared all of her social media, the snake teasers, Game Of Thrones' season 7 finale, all leading up to the 2017 VMAs.

The Look What You Made Me Do MV and the other reputation MVs was the first time she personified and dress-coded her past hits and doing it by killing them all.

Another important part of Reputation lore is the counter to the big strong bass in Delicate, her showing her vulnerability to the public hate of the past few years, while showing mostly the heavy mental toll being famous does.

If it seems like it might be my favorite album of her then how it is only 3rd place? Well we just have to wait for the rep tv vault tracks (clowning here but i never stopped loving the idea of Ready For It remix feat. BLACKPINK).

Songs: Ready For It, Look What You Made Me Do, Gorgeous, End Game, I Did Something Bad, Delicate, So It Goes..., This Is Why We Can't Have Nice Things, I Don't Wanna Live Forever.

2nd: lover - 8(+2)

Culture counters culture and Lover was conceived to counter and balance Reputation. Replacing the grim rainy cold metal cities with a pastel sky full of candy clouds. All the frustration was unleased with the last big machine album leaving an empty slate for her loved ones and onwards to deal with real life political problems.

And an empty slate is exactly how the album starts with I Forgot That You Existed which feels like the after therapy of This Is Why We Can't Have Nice Things.

Lover is very simple, positive feelings like love, happiness and friendship as well as not to overthink your anger.

Songs: I Forgot That You Existed, Cruel Summer, Lover, I Think He Knows, Miss Americana & The Heartbreak Prince, Paper Rings, You Need To Come Down, ME!, To All The Girls You Loved Before, Lover (remix feat. Shawn Mendes).

1st place:

1989 - 7(+4)

This is it, global stardom has been reached and now she's a superstar, and as one she a bit outgrew the previous genre and city she had and was ready for a rebirth.

Taylor Swift was born in 1989 and was reborn with 1989.

Embracing pop and shedding her fake southern accent has only brought main pop girl hits while also criticizing the industry she just joined and worldwide people's reactions who were just exposed to her (Shake It Off criticized her genre transition, Blank Space criticized her breakup songwriter reputation, Bad Blood criticized the industry's "feuds").

However, even though i was there during the 1989 era, afterwards i kinda forgot the definition of the era and couldn't really remember. It just felt like the transition between Red and Reputation until i remembered it's true meaning when 1989 tv came out. It's just a main pop girl music, this was her Please Please Please (the song after the song that placed her at the top).

Of all the rerecordings across all albums Wildest Dreams had the biggest upgrade and Bad Blood remix had the biggest downgrade.

Songs: Welcome To New York, Shake It Off, Blank Space, Style, Bad Blood, Wildest Dreams, New Romantics, Bad Blood (remix feat. Kendrick Lamar), Slut!, Now That We Don't Talk, Is It Over Now?.

[plastic-summer]

my current album ranking, and why

i think some of this will be pretty controversial, so i've done my best to explain. what i'll also say is that i genuinely believe that every album of hers is truly brilliant in every way, but i simply prefer some over others and that comes down to personal feelings. yours may well be different.

10. evermore.

ouch. sorry. i can hear the pained screams from here. i really do apologise. here's the thing about me: i'm a big pop girlie. like, almost exclusively. i love pop music for its energy and passion and power. i know evermore has at least the latter two in its own way, but i can't mesh with it. i have tried, and i continue to try. basically, when folklore came out, i was a little feral for more taylor, but i knew it wasn't for me. that meant my reaction to evermore at first listen was "really? again?" i'm so sorry. i really am.

favourite song: closure.

least favourite song: it's time to go.

9. taylor swift (debut).

i think it's pretty common to have this one so low, and for me it's roughly the same reason as everyone else. one, i'm not a big country fan. i like it, but it's not really what i like, and that's the way of things. it's a very good country album, but i can't force myself to be a big country fan, even for taylor. second, she just became a better artist as her lyrics, production and voice matured and developed. this happens with virtually every artist and it's great to see. i don't have anything really critical to say about debut, just that it is not as good as a lot of the rest of her catalogue.

favourite song: a perfectly good heart.

least favourite song: cold as you (sorry).

8. fearless.

i did not like pretty much all of the fearless vault. i'm sorry. i just didn't. i could see exactly why they didn't get onto the original album, which doesn't happen anywhere near as much with the other vaults. just to get that out the way, because a vault shouldn't judge the album.

this was one of the very first cds i ever owned. i thought it was the coolest thing ever. her face on the cover is scribbled all over, because i was six when i got it. okay? forgive me. it gives the album a lot of nostaligia factor, and i do genuinely love it, but for some tracks i feel like nostaligia is all they have going for them. the rerecord really helped this, but ... yeah. it's just not as good as her other stuff.

favourite song: fifteen.

least favourite song: bye bye baby.

7. folklore.

put your pitchforks away. it's a good album, a great album if i'm honest. i understand the hype wholeheartedly. i don't think it's overrated. it's just not for me. i wanted to be a folklore girl, i really did, but it just didn't work out between us. the thing that makes it better than evermore at least for me is the fact that the songs are a lot more varied in production - not to say all the evermore songs sound the same, but i find the production of it to be a lot safer in several ways. i'm just not an indie girl and i've come to accept that.

favourite song: seven.

least favourite song: hoax.

6. speak now.

this is another one i've spent so much time with, mainly because i just LOVE the concepts and aesthetics of this album. it's just gorgeous. but it's not my favourite. i do really like it, much more than i used to in recent years, but again, i'm a pop girlie through and through. i don't have a lot to say really, it's pretty middle of the road for me. i think the best thing about it is how well and clearly emotions are shown in it, which is just so so brilliant, especially seeing as she was so young when she wrote it. some of her best work lyrically is in speak now for sure.

favourite song: speak now.

least favourite song: innocent.

5. red.

okay, i love red. i love red so much. this was the album that made me a swiftie. i don't know how many people agree with this, but when i think of red i don't think of autumn, i think of being younger and things being simpler, i think of late summer. my favourite taylor swift song (which has been so since the first time i heard it) is on this album. the lyricism (which, shockingly, exists in songs other than all too well!) and the emotion is to me at one of its peaks for taylor. the likes of we are never ever getting back together, 22, and i knew you were trouble will be fossilised, like them or not. it's just so quintessentially taylor in every way and deserves so much love beyond atwtmv.

favourite song: treacherous.

least favourite song: not picking one. no way.

4. lover.

this one moves sooo much for me and is actually my most played album of hers which is pretty crazy. i'll never relate to it probably, but it's just too underrated. it's gorgeous and it screams summer and dancing and being so mindlessly happy you can't think of anything else, but still holds close to it that painful relatability taylor songs are so special for. i just love it so much, i couldn't put it into words. go appreciate lover more! i'm also an unironic unapologetic me! stan. it's great, you're just boring.

favourite song: i think he knows.

least favourite song: it's nice to have a friend.

3. midnights.

i'm a firm believer in the idea that her "best" album is a different question to "your favourite" album because they're affected by different things. THIS is her best album. i don't care what you say. it has it all. narrative? gorgeous and cohesive yet tasteful. production? thematically on point, cohesive but never derivative. lyrics? every emotion, every experience, packed into 13 songs. wow wow wow. she did that, released it, and got on with her life. most artists could only dream of releasing midnights. and then the 3am edition??? even more of the same. we don't deserve it, i fear.

favourite song: question...?

least favourite song: glitch.

2. 1989.

as i listen to the rerecord more and more, this will definitely go up at some point. this is just sonically, lyrically, vocally, conceptually pop perfection. there is not one bad song on this album. there isn't even a song below an 8/10 on this album. it's just amazing and beautiful in every way. no notes.

favourite song: i wish you would.

1. reputation.

REPUTATION !!!! i can't say enough about the beauty that is reputation. i don't even know where to start. it's too good. it's the perfect revenge album, the perfect comebacl album and the perfect love album. i still live in 2017 with how this album gets me. perfection, everywhere.

favourite song: call it what you want but also all of them at once.

[spade-riddles]

Submission: Adjusting expectations

Okay, guys. Wading in here where it’s possible no-one wants me, but … here goes. 

We - Kaylors - are in a hard place right now. People feel hurt, they feel hopeless. They feel like they were led on by the likes of Spade. I’m not here to invalidate any of the feelings that come from seeing Karlie and Taylor play out this charade.  

But I think we (collectively, as a fandom) need to take a breath and ask if any of this is really as bad or unfixable as we think it is. Because, for me, the recent stunting is hard to stomach but not truly surprising. On some level this is how I expected Karlie and Taylor to handle both the birth of the baby and the launch of the rerecorded albums. As much I wanted to believe in the idea of spring breaking loose and bringing with it a fervent revolution … I could see the pieces still in play on the board and I doubted it was coming. 

I think the problem is that there was a split between the optimist and pragmatist sides of the fandom, over the last year or so. To be clear - I’m not judging the optimist side of the fandom. Not at all. Taylor has pulled wildcard moves before, and emotions run so high in all this, especially with a baby involved now, that I don’t blame people for wanting to believe the best. But it reached a stage where some of the things people were trying to talk themselves into were just wildly unrealistic. And when that happens, of course you’re going to get hurt. It’s inevitable. 

But let’s really look at this for a second. We should have known that neither Karlie nor Taylor was going to be shaving her beard in March. Ditching Jerk right after or just before the birth would have been too soon for Karlie. It’s not unusual for a celeb marriage to fizzle out within a year of the birth, but before the baby even arrives? That would be weird, and would draw attention just when it seems Kaylor don’t want it. They just had a baby. That’s an adjustment in itself, and Karlie is suffering enough social media hate on top of that. I wouldn’t blame her for just wanting to take a break and lie low during this difficult time. And unfortunately, for Karlie, that means maintaining the status quo of the situation she put herself in with Jerk. She may be doing the bare minimum to maintain it, but if she wants to avoid attention, she has to make it seem like everything between her and her “husband” is normal. And that she’s trying to make it work, which I believe will be important later. Good people try to make it work, even in bad relationships. 

Toe wasn’t going anywhere either. Taylor had relied on him so heavily during the promotion of Folklore, with the William Bowery narrative, that she was almost backed into a corner. She had to give some allusion to his air quotes “creative input” and their so-called happy relationship, or her failure to do so would have become the story and overshadowed her night. The headlines would have either been break-up speculation or complaints that she didn’t give him his due. We think the cutesy coverage after she named him in her acceptance speech was bad, but negative headlines have a far longer shelf life and can take on a life of their own. They would have been worse. Whatever we might think of Taylor’s actions, Folklore is one of her best albums and she deserved to have her night. 

So, on to the announcement of the birth. This is a tricky one, and again, I completely understand why people reacted so badly against it. It was everything we as a fandom said we didn’t want. It was Jerk using the baby for personal good PR. But I have to be honest here. I always thought we were kidding ourselves believing he would NEVER be seen with the baby or implied to be the father. I do believe Karlie is doing her damnedest to minimize the digital footprint of his involvement and keep her actual baby out of it. But he was always going to get to bask in the glow of playing daddy for a while. It’s the trade off Kaylor made when they used him to shore up their closet. 

This is also why I increasingly suspect the timing of the announcement got the green light from Kaylor too. If Jerk was always going to be assumed to be the father of Karlie’s baby, then there was always going to have to be a birth announcement that incorporated him somehow - unless the girls were ready to answer awkward questions, and it doesn’t seem like we’re there yet. So the best way to minimize the damage is to have his moment of glory overshadowed by a bigger win for Taylor. It worked pretty well actually. Even on Kaylor blogs the stunt was mostly buried by Taylor content.

I know a lot of fans feel gaslit by all the hints, but I do think there’s a possibility Taylor really didn’t grasp how hurt Kaylors would be. From her perspective, she “fed” fans three times over that night. She gave us a beautiful performance, a gorgeous red carpet moment, and a win to celebrate. I think it’s possible she really didn’t realize the double whammy of stunting that night would make it all feel worthless for many.

Taylor is in an awkward position. As a consequence of Kaylor retreating into the closet, the support base for them has shrunk. (When I use the words “Kaylor fandom”, I refer to this support base.) I would say Kaylor fandom consists of two parts. There is a silent portion, who observe events and comment anonymously, but don’t say anything “on main”. And then there are the small corps of true believers, who think Karlie and Taylor are still together and the baby is theirs. This latter group do most of the actual talking about Kaylor, but they tend to be pretty battle-hardened. They’ve been around for years, they never believe any of the stunts and their capacity to be hurt by them is, as a result, pretty limited. These Kaylors criticize sometimes, but they tend to fall back in line eventually and mostly adopt a “let’s wait and see how this all shakes out” approach. The problem is that I would say these “chilled” Kaylors are the minority. For their own sanity they curate their blog experience and often don’t post the more negative anons they get. Which is fine, but if you were looking at it from the outside, I could see how it might create an impression that the fandom as a whole can roll with the punches. And for a lot of the silent majority, that’s not the case. 

But again, I can see how Taylor might not necessarily know that. She went quiet after the Grammys, when I might have expected more celebratory posts from her. If I had to guess, I’d say she didn’t expect the backlash. I’m especially noticing a backlash against her for allowing Karlie to take so many hits while her own reputation has never been better. And I can’t defend her on that one, except to say I hope she has a plan. But I understand where people are coming from when they say the songs aren’t enough and actions speak louder than words. It’s tough to watch. 

Still, we’re in a position we should realistically have been able to see coming. We should have known Jerk wasn’t going to be out of the picture immediately after the birth. This is one of those things nobody likes, but maybe we all just have to be patient on. I don’t see Karlie busting out of the closet to admit her marriage was a fake, or testifying to the FBI. I think she’ll just let her marriage quietly fall apart, as many real marriages did during the pandemic. And for that to work, she needs to make it look like didn’t throw away a family unit lightly. Hence the “I tried” post, the social media break, and the suggestions of spending time with Jerk’s family. All of this can be spun later into a narrative of Karlie having tried to make it work, only to never really be accepted. The hate online affected her mental health and she gradually realized how unhappy she’d become and decided she needed to break free and find her old self again for her baby’s sake. This is the most likely narrative for Karlie’s freedom and it’s one that could work - but it’s going to take time to unfold. Personally, I’m giving it a year. If we don’t see a separation by then, and definitive moves to a reunited Kaylor, I’ll be bowing out. I’ll still know what I believe the truth to be, but I won’t see the need to devote my energy to defending it. ,

Meanwhile, the masters rerecords are about to be released, and Taylor has invested a lot in their success. Because of this, I can’t envision her coming out until at least the big three (Fearless, 1989, and Red) have dropped. She might drop hints, but I don’t expect anything earth-shattering. Even the order of the album releases seems to confirm this. She’s breaking out the big guns first. 

I’ve seen people speculate that because Rep can’t be rerecorded until 2022, Taylor will hold off on any coming out until then. And I’m not so sure of that. Yes, people listening to the album for clues would give Scott and Scooter money, but if we’re being honest, a fair amount of people are probably listening to those albums already, regardless of the drama. Those sleazeballs are profiting from Rep, full stop. But if Taylor profits more, from her bigger albums, she still wins. And she can still put out a Taylor’s version of Rep with vault tracks and collabs, to seduce people away from the Big Machine version in early 2022. Honestly, I think there’s a good chance Taylor would consider this is a worthwhile trade-off anyway, if it meant she got to live a more open life with Karlie - and most crucially, begin to repair Karlie’s reputation. As children get older and the world begins to leave the pandemic behind, it becomes harder to live behind closed doors. I guess we’ll find out how Taylor finds the reality of such a life, and what she considers worth sacrificing to step away from it. 

All this to say: I can’t predict the future more than anyone else, but I don’t think the situation we’re in now is irreparable, and if we’re being really objective, I don’t think it’s even surprising. I do think Taylor should give us something, if she wants to keep us around. No-one can live on a complete absence of hope, and as I’ve stated, letting the fandom dwindle to this extent has its own dangers. But I think we also need to keep our time frames realistic, even if it means rejecting lifelines like the Spade riddles. We shouldn’t expect Karlie to be free of Jerk for around a year, and we shouldn’t expect Taylor to do anything much beyond general music promo until at least the big three have dropped. Sucks to say it, I know. But at least this way we won’t be disappointed, and if Kaylor do pull a wild card and move towards freedom, we can be pleasantly surprised. 

Just my two cents. 

___________________

Well written and fair arguments on our reactions and expectations. I had typed up more, but I will let others post their comments before I chime in.

[aijamisespava]

I Remember It...All Too Well

Last week, I stayed up until midnight waiting for Taylor Swift's rerecording of her 4th album RED. And let me tell you, it was...an experience. I bought breakfast sandwiches at my school convenience store (I'm in college), got some coffee for a "breakfast at midnight" ordeal like she sings in the song "22." I painted my nails red hours before while listening to the songs she owns (basically any album not released by Big Machine, singles that came out during the Lover era, and her rerecording of Fearless earlier this year). And it ended with me staying up until 2am listening to refreshed versions of an album first released when I was 10 years old. I also dressed in red, with a hat, a scarf, and OF COURSE red lipstick! To top it all off, I watched the premiere of the All Too Well Short Film on Youtube on my dorm bed...holding a pillow my mom had made of my Red 2012 t-shirt that was my birthday gift just the week before.

Oh yeah, I might have wanted to start like this. As you can kinda tell, I am a Swiftie. I have been since her first album, and stayed for the whole time. I mean, look at my username here. 1989sspeakingnow is a reference to my two favorite albums of hers, 1989 and Speak Now. My Wattpad bio has my album ranking of all her albums, and yes. I have three things of red lipstick. And I bought the Taylor Latte at Starbucks last week as well. Okay, enough about me, let's get to the point of what this blog will be about.

One thing I had been doing since this past summer was ranking albums that I listen to often. It's so interesting because you're listening to them and finding your favorite song, but it's hard when you love the artist and all their songs are good (Like me ranking Taylor Swift's songs!). And I had been wondering what to do with my rankings because I don't want to just leave them for nobody to know, but I am a little nervous about people being like "bUt WhY iS tHiS sOnG sO lOw (or hIgH)?" So I figured I would put them here.

Normally, I would put a reason as to why (in my own opinion) a song ranked where it did, but with 29 songs to rank? I'm not going to do that. I'm going to give the ranking, and then I am going to pick a couple songs that I want to highlight at the end. This blog is going to be long enough. So buckle up! Here is my ranking for RED (Taylor's Version)! *note: I'm not putting (Taylor's Version) or (From The Vault) on these songs. They're Taylor's now, and I will prolly discuss my favorite vault songs later*

29. State Of Grace (Acoustic) 28. Run (feat. Ed Sheeran) 27. I Almost Do 26. Treacherous 25. Sad Beautiful Tragic 24. The Lucky One 23. The Moment I Knew 22. Girl At Home 21. Starlight 20. Holy Ground 19. Better Man 18. State Of Grace 17. Come Back...Be Here 16. Nothing New (feat. Phoebe Bridgers) 15. Forever Winter 14. 22 13. Stay Stay Stay 12. Babe 11. Everything Has Changed (feat. Ed Sheeran) 10. Red 9. I Bet You Think About Me (feat. Chris Stapleton) 8. Message In A Bottle 7. The Very First Night 6. We Are Never Ever Getting Back Together 5. Begin Again 4. The Last Time (feat. Gary Lightbody) 3. I Knew You Were Trouble 2. All Too Well 1. All Too Well (10 Minute Version)

Songs to Highlight: I have to start off with "Girl At Home". I LOVED the electro pop additions to it, and it made a song that was already a bop a bop even more. Mind you, I had already ranked the original songs from RED, and just added the vault tracks in when listening to them, so that's why "Girl At Home" ranks so low.

Next, I want to talk about "Message In A Bottle" and "The Very First Night." Those songs are actually closer to being tied! I loved their happy feel and was already jamming to them when I was barely a minute into listening to it.

"I Bet You Think About Me" was definitely one song I was not expecting to like so much. I had faded from the country scene not long after RED was released in 2012. Not to mention the high expectations I had for it after hearing Chris Stapleton perform at the CMA awards a couple nights before. But oh my goodness did I love it! The music video that came out on Monday was also hilarious and matched the tone of the song. *note: favorite line is "Oh my god, she's insane, she wrote a song about me"*

I had already really liked "The Last Time" when I heard it before. It ranked at number 3 in my original rankings before the rerecording. But OH MY GOD GARY LIGHTBODY! I had spent the whole song saying that Gary Lightbody's voice sounded amazing! It's one of the songs I have had on repeat this whole week! And the strings at the bridge to the end? LOVE IT!

I think the most anticipated song on RED was "All Too Well (10 Minute Version)" and I was also highly anticipating it. The original "All Too Well" was my favorite song of not just the album, but of Taylor's whole discography. After hearing the whole 10 minutes, I had said on my socials that "Only All Too Well could beat All Too Well." This version of All Too Well overtook the original by so much. Not to mention that it was already number 7 of my most listened to tracks of the month literally 3 days after the album was released. I think I have this on repeat too.

Well, that's my ranking of RED (Taylor's Version). All the songs are amazing and I'm so happy she owns them! I may be back on here later to get my Fearless (Taylor's Version), Lover, folklore, and evermore rankings up. So, see you later!

[twoidiotwriters1]

🍇 Bucky and reader listening to Fearless (Taylor's version)

We just realized we haven’t been tagging people in the blurbs we’re making, no wonder why no one’s reading them JDSJDSJ SORRY -Danny

 This was a great idea so we did two versions, lol. Mine’s under the cut -Val

(Danny’s version)

“So she dated Joe Jonas, but she broke up with her over the phone?”

“Yeah.”

“And this song is about that?”

“Yup.”

“My God, poor woman,” Bucky leans back on the couch, eyes fixed on the ceiling. “I hate men.”

“Don’t we all?” You tilt your head to face him. “And now she’s rerecording her albums because another man stole her work.”

Bucky shakes his head. “In my times we were gentlemen, I don’t know what happened to the kids nowadays, they’re a bunch of little assholes...”

“In your times there was no phone, grandpa,” You snort, “and men would constantly take the credit for women’s work. You just didn’t know it because women had no voice to speak against you.”

“What do you mean you had no voice? Carter was there!”

“Yeah, and she was still disrespected sometimes,” You raise a brow.

“Alright, alright, I’m not gonna start the ‘not all men’ argument, I’m not an idiot,” Bucky makes a vague motion with his hand. “Now shut up and let me listen to Taylor.”

“I thought you only liked 40′s music?” You tease.

“Taylor is timeless, baby.”

"How was your date?" Wanda asks as soon as she sees (Y/N) enter the room. Wanda, Clint, and Natasha are sitting on the couches in front of the television.

(Val’s version)

The girl sighs and sits in an individual armchair.

"Good, I guess."

"Oh-oh. That bad?" Clint asks turning off the tv.

"But you and Trevor have a lot in common and he's a gentleman!" Nat says with a frown. "I thought you would be a nice couple..."

(Y/N) growls sinking her body into the couch.

“Damn it, I thought he was the one. His eyes were beautiful,” adds Wanda.

"Yes, Yes. He’s beautiful, chivalrous,” She thinks for a few minutes and laughs a little. “He’s sensitive and so incredible...” She sings, “He says everything I need to hear, and it's like I couldn't ask for anything better...”

The others look at her confused by the change of mood and the melody.

“He opens up my door and I get into his car, and he says,‘You look beautiful tonight’ and I feel perfectly fine...”

"I don't get it," Clint whispers to the girls.

(Y/N) ignores them, she gets up from the couch and continues singing as she walks to her room. The volume of her voice increases in the chorus.

"But I miss screaming and fighting and kissing in the rain — And it's 2:00 a.m. and I'm cursing your name! So in love that you act insane! And that's the way I loved YOU!"

Bucky gets out of his room when he recognizes the voice. (Y/N) moves strangely while singing.

"Breakin 'down and coming undone! It's a roller coaster kinda rush —And I never knew I could feel that much — And that's the way I loved you! " The girl points at him and goes into her room, closing the door behind her.

Bucky frowns.

"Hey, Bucky" Wanda greets him, coming to his side. "You heard her?"

"Uh, yeah – what's going on?"

"I'm not sure. We just asked her how her date went and then she started singing."

Hearing the word date, Bucky stiffens but tries his best not to change his expression.

"You should talk to her," says the redhead.

***

"Why do you decide to attack me now?" Tony growls.

"Nobody is talking to you, Tony," says (Y/N).

"Yeah, we're just counting on how many women you were with before Pepper," says Wanda laughing.

"I feel attacked."

"Ok then, after the blonde from Vanity Fair," Wanda points out looking at Pepper.

"Uh, I think he tried to flirt with Natasha when she was undercover," All of them laugh.

“Couldn't you think of anything other than sex, Stark?"

"Oh sure. As if you don't want the same. I don't force anyone, girls,” He argues. “Also, I always made sure they had their clothes clean and sent someone to take them home. I’m not a monster."

Pepper and Wanda laugh out loud and the man looks at them confused.

"Oh, it's like that song, (Y/N)!" says Pepper.

"Mr. ‘Insincere apology so he doesn't look like the bad guy’ He goes about his day

Forgets he ever even heard my name... Well, I thought you might be different than the rest, I guess you're all the same!” The girl sings.

"Hey, whose song is that?"

"What? Reminds you of someone?" Wanda jokes.

"Hello Mr.‘ Perfectly fine’! How's your heart after breakin 'mine? Mr. ‘Always at the right place at the right time,’ baby — Hello Mr. 'Casually cruel' Mr. ‘Everything revolves around you’! I've been Miss 'Misery' since your goodbye...”

“And you're Mr. 'Perfectly fine'!” Now all three sing at the same time.

Tony snorts and walks away.

"I love when he reacts like this," says Pepper.

**

"Barnes!" Bucky moves the book out of his hands and looks at Tony.

"Now what?"

"What the heck is happening to the girls?"

"Why are you asking me?"

“Oh, I know that (Y/N) is behind all this and now the others are on her side, singing and laughing and attacking me. I don't like it,” He ends.

“And why don't you go to her and ask her to stop? I don't understand why you expect me to talk to her."

“Don't be silly now Barnes, we all know that she has you wrapped around her little finger. So fix this!"

"What? That’s not true!” Bucky defends himself feeling his cheeks burn.

"Fix.This.Now"

***

“There's something 'bout the way... The street looks when it's just rained —There's a glow off the pavement, You walk me to the car And you know I wanna ask you to dance right there, In the middle of the parking lot, Yeah... Oh yeah,” Bucky listens from the other side of the door. He knocks twice and the voice stops.

"Hey, Buck," says (Y/N) her hair is in a bun, she wears a white shirt and shorts. Her breathing is heavy, but she greets him with a huge smile.

"Hey, are you ok?"

"Yeah, I was just-" she points to her room.

"Singing," He smiles, "I noticed."

She blushes a little.

"Uh, what’s up?" She leans against the frame.

“Uh, nothing important, I just wanted to- uh. Talk to you.”

"Okay," she lets him pass and they both sit on her bed. “What do you want to talk about? Another nightmare?"

"No," he fidgets. "The others asked me to talk about something you've done."

She frowns but understands immediately. She rolls her eyes.

"It was Tony, right?"

“Also Clint and Natasha. At first, they didn't tell me anything, but since the time you made Steve flustered and nervous with a song, they asked me to."

She laughs out loud, he does too, it was quite funny to see his friend so red.

“I don't understand what's wrong with it. They’re only songs!"

“Maybe it's the fact that they’re very specific, I don't know. It doesn't bother me either,” He confesses.

"Really?"

They both look directly into each other's eyes.

"Of course not. You have a beautiful voice."

She blushes again.

"Uh, thanks," she laughs nervously. "Do you want to hear more?"

Bucky nods and she connects her phone to her speaker and the song ‘You Belong With me’ starts playing.

Bucky is silent, listening to the music and lets out a laugh when he recognizes that it is the same one that she had sung to Steve. (Y/N) couldn't be happier hearing Bucky laugh.

"Who sings?" He asks. The girl lowers the volume.

“Her name is Taylor Swift. This was one of her first albums, but she has been recording them again due to some problems she had,” She smiles.

"I like it — and it's incredible how you manage to use the songs for any situation,"

She stares at him for a few seconds. She has an idea, but she’s afraid that maybe Bucky doesn't understand it or that he might even make fun of her. But at the same time, she thinks about the lyrics of the song and knows that it is the right one.

"I can think of one for this moment, do you want to hear it?"

"Of course."

She selects the song but keeps the volume low so Bucky can hear her voice.

"It's the one I was listening to before you came in," She adds. She skips the parts as she watches Bucky focus on the lyrics.

"But you're just so cool... Run your hands through your hair,” She brushes Bucky' hair and he stares.

"Absentmindedly makin ' me want you — And I don't know how it gets better than this... You take my hand and drag me head first, Fearless — And I don't know why

But with you I'd dance in a storm, In my best dress —Fearless."

"Wait," Bucky interrupts.

"I feel safe with you, Buck," She says before he can say anything else. "I know there are more songs in which I could tell you how I feel about you, but listening to it... my mind always goes to you. I'm fearless around you. And that's something very useful, you know, because of our work—"

Bucky's lips against hers prevent her from continuing. The kiss is slow, neither realizes that there’s now another background song. Bucky pulls her into sitting on his lap, holds her by the waist, and when they part they’re short of breath. They both smile.

"Can you sing more for me, please?" Bucky whispers into her lips.

"Of course. I have a lot of material,” She jokes.

Requests are still open!

Marvel Taglist.

@poetryislife0715 @skittles-skittles @lauramacch @hufflepuffzutara @yourbonesareinmybody @silenthappyplace  @i-am-scared-and-useless-bisexual @just-here-to-escape-from-reality​

[thetldrplace]

Weekend Update

What a weekend.  

Saturday started off light. Ran over to visit with Mom, and while there my youngest sister and her husband came over. We all sat for a while and had a good conversation.

Came back home and spent some time laying out in the sun, trying to remedy the extreme whiteness of my legs. (I've heard whiteness is a real problem these days, so I'm doing my part to lessen mine!)

Then we alternated some tv time and running errands.

Around 4:30 got a text reminding us that we'd committed to going out to dinner with our friends V/W, and his father, who is in town. Then the fun started.

While waiting at BJ’s for our friends to show up I got a nasty text from my middle sister. I have had a particularly contentious relationship with her over the last years, and the last year and a half especially., But she has recently started to pick up Italian. She asked me about a few things earlier in the day, and apparently I didn't respond appropriately, so she got mad at me.... again.... for about the 10th time over the aforementioned span and sent the nasty text.

I had at this point pretty much decided that I really didn't want to hear from her and told her that in a text. Then I blocked her phone, for the third time in the same span. She must have figured out that she was blocked and fired off a nasty email accusing me of various crimes against humanity (the only humanity that matters is of course her). At that point, I knew the night was gonna be shot.  

I couldn't sleep since I knew this was going to consume my thoughts, so I got up and tried reading through the next poetry volume in my series of books. That didn’t work so I decided the only thing that would help me get some peace would be to write out my responses and see if I could settle in my mind what I would do.

So I spent from 10p to 2a processing through my thoughts by writing these responses. I've kind of come to the conclusion that the only way for me to "let something go and give it to the Lord" isn't trying to ignore the issue and give it to Him by not thinking about it. I can't NOT think about it. For the, it's to process through my thoughts about it and make peace with the issue.

So I analyze what she wrote, then write out how I would respond, if there's anything that I got wrong, if there are areas she is correct about something, etc. Then I write out what I was thinking when I said whatever it was that upset her.  

In this case, she sent me some screenshots of the explanation of some of the singular Italian definite articles, Il for masculine, la for feminine and l' for both when the word starts with a vowel. She texted "What is this????" Now she's a long time Spanish speaker, so masculine and feminine isn't an issue. I literally wrote: "Not sure what the issue with the definite articles is for you" and then restated the basic structure.

She responded that I was belittling her and accused me of having a Low EQ (emotional intelligence quotient), something she has regularly accused me of.  

I was baffled and showed my wife, who at first said- your wording DOES look kind of insulting. When I showed her the other stuff for context, she then thought it didn't look so bad.  

But I wrote back and said "I meant no disrespect, Sorry."

She responded with: Give me a break. That really infers 'don't know why you're so stupid and can't get it". Then she proceeds to tell me that she asked two 'highly educated' friends and they both agreed that it was sarcastic and belittling. And that I was "Low EQ if you can't see that."

So my apology was rejected and she accused me of lying about my intentions. At this point I told her that she had returned a direct insult despite my explanation, and that I wanted to be clear now- I don't want to hear anymore.  

Then I blocked her.

I guess she figured out that I blocked her because later I got an email telling me that I was self-righteous and arrogant and a hypocrite because I told her back in 2002 when she left her husband that she didn't have biblical grounds for a divorce, (which was true) and yet I'd had an affair (in 2018). And furthermore, "despite my long history of telling women what to do [I have NO idea what she is talking about here, and my wife said the same thing: What???], don't ever even think of telling ME what to do."

Now, to be honest, I'm ready to cut her completely out of my life. My wife blocked her years ago and doesn't want to hear from her, my youngest sister has told me that as soon as mom dies she will tell her to piss off and not contact her anymore. My middle sister has been in fights with my mom (at whose house she lives rent free), my aunt (who lives with my mom), me, my other sister and her husband, both her daughters and her son hasn't spoken to her in years, although he just recently started to again. In fact, she has had restraining orders on her son and youngest daughter. Basically, anyone she's around for a few weeks, she gets in a fight with.

When my dad passed away last year, she lost it. She was always a daddy's girl, and loved him dearly. And she's held a grudge against my mom for a reason I won't get into since forever. But she treated everyone in the family very poorly, especially my mom and I. Since it was during covid, we couldn't get anyone to do the service, so I basically led the funeral service. We had a tight schedule and I asked my sister to keep her remarks to about 5 minutes, just like everyone else. She went 15. And we had to cut out a part of the service because of it. No problem, didn’t say a word to her.  

My mom asked me to put together a small video of the service for her, so my sister, my aunt and I would have to rerecord our thoughts. I asked my sister at that time to edit hers down to 5 minutes. For this she accused me of being the "little dictator of funerals" and singling her out for mistreatment.

She snapped at my mom once telling her, "I just lost my DAD!"…. To my mom.... who had just lost her husband.... ALL of us lost him, and yet not all of us behaved nearly as badly as she did.  

The list goes on. I kept a record of the various spats and there were 7 different incidents where she took some innocuous thing I said and rewrote herself as the victim. Which a common theme in her life- everybody mistreats me. She goes on about being the middle child. She'll send me meme's that say: when is it middle child day? Oh yeah, no one cares about the middle child. As if there is an oldest child day.  

So.... given the history, I had finally decided I was going to have to cut off contact with her. I have avoided telling her, but if she is going to take any harmless statement as an insult, then ignore my explanations and accuse me of lying about it, then I don't know what else is left. I can't possibly have a relationship with her as long as things are like this. And she's progressively gotten worse over the years, so I don't see anything changing.  

Somewhat to my credit, despite some fairly harsh words that I wrote, things I've been wanting to say for years now, I didn't send anything. I remembered in writing it out, that God has forgiven me for much over the years, and while He would have been fully justified in throwing me out in to the street, He didn't. I want to show that same kind of grace, even when that person thinks I'm her enemy. I do recognize that she's being used as a tool of the enemy, and though she is willfully ignorant of the damage she's causing, I still want to hold out hope and act in way that if she ever were to come around, she'd be able to recall that I didn’t lash out at her in these darker moments.  

So, I go to church on Sunday morning and one of the songs, Hallelujah For the Cross, just caught me up and I completely forgot about all this stuff. So praise the Lord for that momentary respite.

Came home and watched Italy beat England in the Euro finals... in Wembley stadium in England! So good day there.

Then I got to watch the US beat Haiti in the afternoon, so more good....

Then I got to go play indoor soccer with some friends from church. (I'm exhausted and beat up and limping this morning, but it was still awesome.)

Then this morning I get more crappy emails from my sister. So now I'm kind of thinking about the situation again.  

I'm torn between wanting to lay into her and then tell her we're done, or just tell her we're done.

I know that she won't hear anything I say, and the only thing it will do is rile her up and cause her to send off a bunch of hate mail. Part of me thinks I at least owe her some explanation, but that's because my nature tells me that if we (by that I mean any parties involved with anything) can just sit together and be reasonable, then we can come to an agreement. But I've talked with my mom and sister and wife about this and everyone is telling me the same thing: Don't bother, it won't do any good.

She IS my sister, so I don't want to cut her off, at least in principle... but to be honest, I've crossed a mental bridge where I just don't really want to hear from her anymore. At all. But I haven't crossed the Rubicon yet with what I've said to her. I guess I could really use some prayer, and I need to be praying more about it myself.

And that's my weekend update. I know it's kind of a get this stuff of my chest post, but for me, that's what writing does.

[inazuma-eleven-translations]

Inazuma All Stars TPK Character Original Album ‘Maji de Kansha’ Interview with Terasaki Yuka, Kitahara Sayaka + Ohara Takashi

Full Scans can be found here: http://inazuma.pmsinfirm.org/?p=284

Aoki Tamashii (Blue Spirit)

Matsukaze Tenma - Terasaki Yuka

Shindou Takuto - Saiga Mitsuki

Terasaki: Shindou-senpai is so cool!

Ohara: He is, isn’t he?

Terasaki: Since the key was a little low for me, I really had to try hard to sing the song. But Saiga-san is able to sing really low - as expected of her! I really love the lyrics, like ‘Hard work won’t let down down, so raise your face and keep marching forward!’.

Ohara: It really leaves you feeling refreshed.

Terasaki: Oh! And I was so happy that Shindou sang Tenma’s catchphrase ‘Nan toka naru sa!’ (Everything will work out somehow). Even if he’s never said the actual words, I like to think he’s gotten on board with Tenma’s way of thinking!

Ohara: Past Shindou certainly wasn’t a ‘nan toka naru sa’ kind of guy - that’s for sure.

Terasaki: Yeah, but I’m glad if he can think that sometimes it’s alright to think that way.

Ohara: I also liked ‘(this blue spirit in my chest) emits light and joins us to the next generation’.

Terasaki: Right now all of us are still first years.

Kitahara: Yeah, we don’t have junior kouhais yet. Actually, not a lot of time has passed yet (laughs).

Sayonara Kako no Ore (Goodbye, My Former Self)

Tsurugi Kyousuke - Ohara Takashi

Kariya Masaki - Tai Yuuki

Ohara: How should I put it - everyone has things they don’t want to remember. There’s plenty of times when even I’m just taking a shower at night and I suddenly remember something that happened in the past, like ‘Wahh!’.

Terasaki: While you’re completely naked? (laughs)

Ohara: (laughs) Well, of course my past is nowhere near as tough as Tsurugi’s but I definitely get the feeling ‘I don’t want to remember this…’

Terasaki: Both Tsurugi and Kariya were naughty.

Ohara: But Tsurugi destroyed the old club room! ‘Sometimes nightmares from the past flash before my eyes out of nowhere’ - things like that could actually be true.

Terasaki: But was Tsurugi really worse than Kariya? I mean, didn’t he start to bully Kirino despite not having any idea what was going on around him? That was really awful!

Ohara: He did, yeah. Although you can’t imagine it now. (laughs) At the time, he had to try and find the right place for himself.

Kitahara: Kariya is a lonely person!

Terasaki: By the way, ‘warm sun’ and ‘gentle breeze’ seem to refer to Coach Endou and Tenma.

Ashita no Hero (Tomorrow’s Hero)

Gouenji Shuuya - Nojima Hirofumi

Shindou Takuto - Saiga Mitsuki

Terasaki: It’s refreshing to hear those two say things like ‘It won’t end at (just) admiration’ and ‘I’ll become somebody who people will think of in that way’. I wonder who Gouenji-san looks up to? How about Endou-san? As for Shindou-senpai… It’s gotta be Endou-san, right? As an example of a Captain.

Ohara: So in the end, does everyone gather around Endou-san? (laughs)

Kitahara: Their voices really merged together, didn’t they. They were so connected - to the extent that you couldn’t hear two separate voices.

Ohara: Yeah, they really mixed well together!

Namida no Art~Nijiiro no Hana (The Art of Tears and Rainbow-Coloured Flowers)

Kirino Ranmaru - Kobayashi Yuu

Fei Rune - Kimura Akiko

Terasaki: What a gentle song. It’s a little sensual?

Ohara: It’s a little bit alluring.

Kitahara: It’s mature. Feels like you’d want to listen to it carefully by yourself.

Terasaki: Because those two have such sweet voices.

Ohara: This is Fei’s first song. I felt moved. Like - Oh! Fei is singing!

Terasaki: We’re looking forward to Fei’s secrets being revealed next year. After everything is made clear, I want to listen to the song once more.

Koi no Shuukuriimu (Choux Cream of Love)

Sorano Aoi - Kitahara Sayaka

Seto Midori - Mina

Yamana Akane - Yurin

Kitahara: The 3 managers got to sing and have fun together!

Ohara: How cute!

Terasaki: I wanna eat a choux cream!

Kitahara: I’m hungry now~

Terasaki: Hiroshi-san makes cute songs! (laughs) You can feel the girls’ love.

Kitahara: Yeah. ‘There’s no sell-by-date’ was kinda playful, and when you hear it, it makes you squee. It really felt like a song for Midori-san and Akane-san to sing.

Todoke! Yuujou no Eeru (Soar! Yell of Friendship!)

Ohara: The defenders who support everyone - it’s their song.

Terasaki: It’s very like first-yearish to wonder ‘Can I really make friends?’. Shinsuke, unlike Tenma, introduced himself without showing any nerves, but I wonder if he was nervous on the inside.

Ohara: I wonder if Kariya also worries about that sort of thing.

Terasaki: He has no naming sense! (laughs) Everyone laughed at him - that was funny. And yet, Tenma always immediately turns to Kariya when they need to name something. His naming sense is an art.

Ohara: People said to him, like ‘What on earth is with that name?’

Kitahara: Aoi-chan said, ‘No way, no way!’ and burst into laughter.

Terasaki: But middle school kids do that sort of stuff to each other (laughs).

Honoo no Puraido (Flaming Pride)

Gouenji Shuuya - Nojima Hirofumi

Someoka Ryuugo - Kase Yasuyuki

Fubuki Shirou - Miyano Mamoru

Terasaki: This song seems really difficult to sing! The key goes up and down and up and down. But I knew those 3 would be able to sing it.

Ohara: It sounds kind of nostalgic.

Terasaki: It sounds like a Johnny’s (a Japanese talent agency for boy bands) song from the 90s. I want the 3 of them to dance together, like a boyband. While Someoka would be clumsy, like - am I doing this right? - I’d want him to try his very best to dance.

Kitahara: Gouenji would dance smoothly and cool!

Terasaki: Fubuki-san does a lot of whirling turns during his special moves - he definitely seems like he’d be good at ballet. He has to wear white tights! Then, Someoka-san is hip-hop and Gouenji-san is jazz. Reggae would be cool for Someoka-san too!

Suki da kara! (Because I like you)

Endou Mamoru - Takeuchi Junko

Kidou Yuuto - Yoshino Hiroyuki

Ohara: I personally really like this song.

Terasaki: Kidou, who’s normally cool, exclaims ‘because I like you!’. If you just look at the title, it looks like a song by a girl.

Kitahara: I like that contrast.

Ohara: Some parts are a conversation. I liked Kidou-san’s ‘I decided to help you out’.

Terasaki: It feels like, he figured his role and happily accepted it. He wanted to play soccer with Endou-san and went through the trouble of transferring to Raimon to do that. Thanks to the unrivalled POWER OF LOVE! The song is over-flowing with Kidou-san’s thoughts.

Ohara: It’s seriously cool!

Mabushii Mirai Yeah!!! (Dazzling Future)

Endou Mamoru - Takeuchi Junko

Matsukaze Tenma - Terasaki Yuuka

Terasaki: ‘More than now!’ is repeated many times - it’s a really upbeat song. Both of these two feel that if you do loads of practice you’ll want to become even better. While we recorded, the length of the part ‘Spread your wings, towards a future too dazzling to be true’ really moved me. Holding the note with Junko-san was perfect.

Ohara + Kitahara: Ooh!

Terasaki: And Endou said Tenma’s ‘Nan toka naru!’. I was really happy about that!

Ohara: Tenma’s ‘Nan toka naru’ is gradually spreading. (laughs)

Maji de Kansha! (Seriously, Thank You So Much)

Endou Mamoru - Takeuchi Junko

Someoka Ryuugo - Kase Yasuyuki

Matsukaze Tenma - Terasaki Yuuka

Tsurugi Kyousuke - Ohara Takashi

Shindou Takuto - Saiga Mitsuki

Terasaki: I always loved this song as the theme song for Endou’s story, it’s really exciting.

Kitahara: I cry when I listen to this song.

Ohara: I cried when we recorded it. Together with T-Pistonz + KMC-san, everyone smiled brightly when we all listened to the song together. The power of this song is amazing!

Kitahara: Shindou-senpai’s rap was really cool. So was Someoka’s.

Terasaki: So was Tsurugi’s. Like ‘To the sky, outer space!’ and ‘Return the LOVE 100 times!’.

Ohara: It was actually difficult to rap as Tsurugi. I had to rerecord it many times. During one of those times, I tried it in the style of a hissatsuwazza and the director said that was interesting. Aside from the rap, I also did ‘Riiyo!’ and ‘Hey!’ in the style of a hissatsuwazza. I also used the way KMC-san raps as an example.

Terasaki: This rap really brings out everyone’s energy! ‘Days when you’re covered in mud - one day you’ll definitely play a useful role! You can’t buy these wonderful friends with money!’ Lyrics like that are so, so cool!

Ohara: I want to sing this at an event with everyone.

Kitahara: Yeah, me too!

[wtfislove-blog1]

lie: track-by-track

ON WRITING THE ALBUM

“For me, the writing of this album was really like therapy. I was in a really shitty place for a really long time, you know. I had a lot of anxiety and I was depressed and I couldn’t let go of things, particularly things that had happened in the past. And I think a lot of that was to do with like, compressing it and ignoring it and thinking if I ignored it all, it’d go away. It got to a point where I actually had to go therapy — I had to stop and be like, no it’s time to get better, I need to go and get some help, you know? And the album came in around that time. I’d go to these sessions and I’d have to talk about and relive all these things that had happened, things I was confused about, things that I just couldn’t let go and get over. And one thing that had to try and do that was write it all down. So, I sat down and I wrote down everything that I remembered that had happened that had meant anything. The good stuff as well as the bad — there are so many things, especially since like, high school. I have so many really amazing friends and I have my sister and my family and I can still look back on relationships that have ended and say, that was a really, really good day. I think you can take a lot from the things that have happened to you like that. In the end, I just had all these moments and things that had happened that were really defining pivots in my life. Times that I felt overwhelmed with feelings. At first, I was going to burn it and have that be the “say goodbye to it all,” but then you’re just pretending it never happened. So I wrote from it and for me, the entire album is a collection. It’s a collection of things happened in my life that I can say I’ve sort of, come to terms with. It’s like I made peace with myself. A lot of things never got made into songs because they were too — It just didn’t make sense for them to be in there in that kind of way. But the things that could be are there. Getting to sing them and hear them now, it’s like a comfort. It’s like a, yeah, that happened but now I’ve accepted it — it can’t hurt me anymore. It’s a line in my life and after that I was like, I can forgive myself and I can move on. The album was never about stabbing at anyone else, it was about understand things for me. A lot of things I couldn’t actually say or explain. Things I didn’t even know myself until I sat down to write it all out.”

COLORS

“Colors was one of the first songs that I wrote. It was quite early on and I was reflecting on a relationship I had with a guy when I was in high school. We were both a lot younger and it was the kind of first love that makes everyone else on the planet is irrelevant. Like, you think you’re going to be together forever or whatever — never happens. Anyway, Colors was about looking back on the relationship. He was a very intricate person, he had a lot of layers. There were a lot of things that I never understood at that time, and he was messy. But you know, I still thought he was everything. “You’re ripped at every edge but you’re a masterpiece,” right? It started out good and exciting and colourful. So, at the end it was like, his colors were pouring out of him, maybe even his happiness and he was grey. Blue, like sad, you know? I think being with him — I became a different person. We both did. A lot of things happened. In the end, things were very different from how vibrant and how happy were at the start. But the song is like, “you fell out of love? You fell out of love with the person you made me?” It was bitter. I don’t feel that way about it any more. I think the more the album goes on, the more comfortable I became with it and the more I understood that, somebody can’t change you. You let yourself change. It wasn’t his fault.”

HEAVEN IN HIDING

“Heaven in Hiding is like, my self esteem restoration song. It’s basically just looking back at how I felt about myself at one point and how confident and sexy I felt one time. It’s a happy song. It’s about this party and getting it on with someone — the guy — but it’s not about the guy it’s about me. It’s like — I’m in control. But it’s all amazing and intense and we were both overwhelmed by each other. It’s all this confidence and sex and feeling like a force to be reckoned with and feeling irresistible — I felt really good after I wrote it. It sounds egocentric but I needed to balance it out. It really helped me to look at myself differently. Like you’re still that girl, you don’t have to feel so ugly and destructive because you’re in a bad place. Look at who you are.”

HOLD ME DOWN

“This was about me and my sister. I can’t talk for her and I don’t want to go too much into detail about the things that we’ve been through together because that’s ours. It’s nothing anybody needs to know about to appreciate or relate to the song. But the song itself is like — feeling tied down. There’s a lot of things in my life, they've made me feel trapped and isolated and insecure and unlovable. Hold Me Down was like, looking at those feelings that you have, but also the people in your life that will try and control you and make you unhappy. And being held down by those people. It’s recognising that that’s what it is — tt was just looking at all of the shit that’s there. It’s not meant to be a power song or something to be romanticised. I think Willa understands what it is. That’s why it’s there.”

WALLS COULD TALK

“This one’s about fighting. Like, the petty arguments and the dumb shit that I look back on now and I’m like, what? But obviously when you’re in it it feels really fired up — but we always came back to each other. Me and this guy were always very up and down, it was never a predictable relationship or anything. Plus, we’re both very stubborn and defensive. It’s just about that. It’s kind of toxic when you think about it, you know? But “we’ve been here since we were seventeen,” that’s like — we just always came back to each other. Maybe we even liked the fighting deep down. I don’t know.”

IS THERE SOMEWHERE

“Is There Somewhere is one of the happier songs. It doesn’t really sound like that but it is the closest thing that I’ll probably come to writing an actual love song. At the beginning of our relationship we really wanted to keep it a secret — out of fear maybe, I don’t know. It was never public. We used to meet up in secret and just sit in the dark and just talk. He used to just trace my palms and I’d go on about guys at work or a 1975 song that I liked. It was different to anything I had ever felt before, he was the first guy that really meant anything. But that was terrifying to me after everything I’d sort of been through before. I was like, sixteen. I promised myself I wouldn’t let him complete me but I think — this song is just about falling in love, despite how apprehensive and scared I was. You can’t stop that kind of thing, it happens whether you want it to or not.”

STRANGERS

“My sister, Willa, is on this track. I knew from the moment the second it became official that I’d have to sit down and actually record it that I wanted her to be a part of it. She’s literally the most important person in the world to me, there’s nobody that’s ever going to come above her. The song itself is complicated. I wanted us both to feel connected to it in some way or another. I didn’t want her to just sing on a track that wasn’t anything about her or to her. I think we’ve both struggled emotionally and it hasn’t been as easy with guys as it has been for perhaps other people. “With the same damn hunger, to be touched, to be loved, to feel anything at all.” We’re similar. We had that little bit in common at one time. I don’t know, she’s in a really wonderful relationship now. Best guy that I’ve ever met and it makes me really happy to see that she’s happy like that.”

GASOLINE

“Gasoline came around mid-way through my therapy. I was starting to accept the things that weren’t and were my fault and I had a much clearer head than I’d ever had. But when I was low, I was really, really low. I felt like I wasn’t in any kind of control of my own emotions or what was going on in my head and I was impulsive at times and this song is about that. It’s about feeling out of control and like you’re going insane. I felt like there was something wrong with me. Like I was empty and running on nothing. Or gasoline, to be more — to the song. It’s like, my heart is gold and I have good intentions but my hands are cold because I’m alone in it. It’s not really a nice song but writing helped me to get through those feelings. It’s probably the one that’s most personal to me as myself.”

TROUBLE

“I recorded this one myself. That’s how I wrote everything else at first, on my piano on my phone. I had the entire album written before I got signed, really, but some of them needed more adding to them and rerecording and editing and things. Quin Cokes is a genius like that. I liked this stripped back though because that’s exactly how the song is and what it’s meant to be about. It’s a raw one. I don’t want to speak badly of anything when I talk about this album, because like I said, it was meant for me and not to stab blame at anybody for anything that’s happened. Trouble, though, it’s complicated. It’s about somebody who messes with your head. Maybe not even on purpose. It’s questioning their intentions. Like, how far would you really go for me? In truth. It was acknowledging the toxicity, really.”

BAD AT LOVE

“Okay, so, if you look at my track record with guys and dating and relationships, it’s terrible. I’ve fucked up in pretty much every relationship I’ve been in, in some way or another. I don’t think it’s always just me — a lot of the time I’ll do something, though. It’s — it’s not good. I just think that people want to try and fix you. And every time you start dating someone new you convince yourself that they’re the one and that everything is going to be different this time and stuff like that. Most of the time it isn’t though. There have been times where I’ve been insecure or unstable or jealous and that’s really messed things up. Bad at Love is what it sounds like, it’s just about me being bad at love. Maybe it’s a disclaimer.”

COMING DOWN

“Coming Down is the other love song, I’d say. It’s just about how strongly I felt about that guy when things were good. He was everything. Like my religion. It’s very metaphorical, like that— he was a God, a martyr, a savior, a devil. That’s a lot of pressure for one guy, I don’t know what I was thinking idolising him like that. It wasn’t healthy. But it was the happiest I’d ever been with a guy, the most love I’d ever received and ever given. It’s remembering the nights we got on our own and how important it all felt. I genuinely think I thought I couldn’t live without him or something.”

100 LETTERS

“100 Letters is similar to Trouble. I remember being told — you don’t deserve the friends and the people that you have. It’s the sequel to Trouble, maybe. It’s the, I’m not going to let you fuck with my head anymore. I regret everything, I wish I’d never given you any part of me, ‘cause look what happened. I’m not going to be played with anymore, you can’t run back and say you love me when you want to mess with my head. The actual lyrics — I overheard some girl talking to her boyfriend what I was smoking about some Greek myths and one of them was King Midas. He’s the king who could turn everything to gold. But in the end it was a curse ‘cause he turned his daughter to gold, his food to gold, everything. It just made me laugh — made me think about that guy and all of the charm and money and shit that he had and how it all turned out to be a curse. It led to me writing Alone. The myth wrote the song, really.”

ALONE

“He wrote a song about me — trying to explain that he cared and he understood and that he listened to me. When I first heard it, I was so angry. I remember feeling so hurt and angry that he would put something down that would drag shit up. It felt like I was being exposed to the world. But the more I listened to it, the more I understood why. When you leave somebody behind and you know so much about them, you want them to know. So, Alone isn’t actually about me. I was trying to understand what it must be like being this guy, back. I wanted him to know that I knew him too. It isn’t always pretty, there’s a lot of things I think I called him out for. But I think he’s lonely. That’s why he did all the things that he did. And I understand that now — and I feel sorry for him. I don’t even know how true it is now — we’ve both grown up a lot since then. But at the time, I knew him better than I think he thought.”

YOUNG GOD

“Looking back on it, there were good times. Times I felt like I was on top of the fucking world. When we were together, I did feel totally untouchable. Young God is about being with someone that makes you feel like you’re the King and Queen of the whole universe. It’s the song that says, we’re going to be together forever. This is all I wanna do for the rest of my life. Sit here with you and ignore all the shit in the rest of my world. We’re just going to run on whatever feelings we have here. We were happy for a while. I think everyone feels like that in the beginning.”

LIE

“This was about the last night I had with this guy before we broke up. One of the times. I’d say it was one of the most painful times. He didn’t do anything bad, really — It’s about, when you know that it’s over but you still don’t want it to be. You just want it to be good again. And we, you know. That’s what the song’s about. It was the last time we did it, but it wasn’t the same because we knew it was over. But I just wanted him to lie to me for that moment and I wanted to believe that it wasn’t over. And then it was. He drove me home and I made a joke but he didn’t laugh. It was done and we didn’t talk again for a while.”

SORRY

“Sorry — I fucked up. There really isn’t any other way I can put it. It was the first relationship I’d been in since the guy that everything else is about and I really, really fucked it all up. I wasn’t really ready for another relationship, I don’t think. It had been months since the break up but I wasn’t really in the right mindset. I think I convinced myself that it wasn’t that serious too, so that I wouldn’t be afraid of it. I convinced myself that it wouldn’t last long and that he’d get sick of me or that I’d be too much of a handful and have too much baggage — he was too good for me and I always knew that. I fell in love with his Instagram within like the first few months of school, it was too good to be true, you know? I did like him. I liked him a lot. But I wasn’t ready. I wasn’t over the last relationship and because I’d suppressed all of these feelings that had happened before him, they all spilled back out. I — I realised one night that I still loved this guy and that I wasn’t really worthy of the time and love and care that this new guy was giving me. I realised that I couldn’t be with a person who wanted to fix me and love me knowing that I still loved him — So, I ran away. I went to New York for a little while and I called him and I told him that I couldn’t be with him anymore. He told me that he wanted to go with me, how crazy is that? That’s how good he was. He wanted to make it all work even after I did that to him. Maybe I should’ve let him. Sorry is just like — I wanted him to know that I did care. I still know your mother’s favourite song. It wasn’t that I didn’t like him or that I didn’t care and I wasn’t just rebounding and I’m sorry that I ruined everything it when you never did anything wrong. I’m sorry that I always mess things up. I didn’t know how much it meant to you until afterwards. I thought that it was too good to be true. I thought you’d get bored of me. I shouldn’t have messed you around like that, I should’ve told you the truth. And I was so busy telling myself that you would be the one to end it, that I fucked it all up myself. Now it just sounds like I’m making excuses but, I wish I hadn’t — he’s gonna be the hot PTA dad that everyone wishes they’d married and I really hope he finds somebody better than I ever was to him. It’s just everything I couldn’t say.”

[therecordscratch]

Album (EP) Review!

All Time Low - Put Up Or Shut Up

Released July 25, 2006

A bit of a throwback, this EP will go down in history as one of my all time favorites, pun intended. So let’s fucking go:

Track 1 : Coffeeshop Soundtrack - This song is timeless I’m telling you. The Punk rock drum beats from Rain Dawson drive this song all the way fucking home! An those classic choppy guitar chokes at the breakdown? Headband those out all day.  I can’t listen to this song without letting go and dancing. You can tell these boys have chemistry. The lyrics of this song too? When it all comes down / To a sunrise on the East Side / Will you be there to carry home / The remains of my wasted youth? Hits deep in my teenage soul let me tell you. The bridge to the ending of this song is what makes this EP one of my favorites. Just, try not to think about this song being written about frontman Alex Gaskarth’s love affair.

Track 2 : Break Out! Break Out! - I had only ever heard the acoustic version of this song before discovering this EP years back and damn I love it! Alex’s vocals have a familiar feel to them and make me feel like I can just let loose. You not listen to this song and not feel seventeen again: Put up or shut up, we're not wasting time again / The credits are rolling and we're getting lost again You can even hear Zack Merrick’s under appreciated bass skills in this track, a good one for sure.

Track 3 : The Girl’s a Straight-Up Hustler - A classic in my humble opinion, if any song takes me back to teenage angst it’s this one. The harmonies in the verse are unexpected and pretty. Then, chorus of this song let’s it all go and those drums kick in with a drop into the next verse with those guitars?! Ugh, sign me the fuck up for this song. I love the layer the lyrics at the bridge too, you know I’m a sucker for them. I can’t not mention the outro to this song, either! I love Alex’s voice with that gentle guitar, yes please.

Track 4 : Jasey Rae - Another song I had only heard the acoustic of since discovering this EP. It’s certainly different, and I’m not mad about it! Alex’s voice sounds younger this one and it adds another layer of youthful vibes to this pretty song. Jack Barakat’s guitar skills by the way? A punk rock guitar staple. Again, the outros on this EP are just killing it: I've never told a lie and that makes me a liar... Another thing that the acoustic song is missing is that sick guitar solo at the end of the first part of the outro? Wow, this song.

Track 5 : The Party Scene - The name of their first studio album, The Party Scene was a song I overlooked at first but listening to it again, I gave it the credit that was due and now it’s one of my favorites! The most All Time Low song I can think of from this era, rerecorded for this EP. Another song that sings about being seventeen as well, and damn I never got that til I passed seventeen and look back on those days, The guitars at the bridge here have a rad effect on them too and that solo? Jack can really shred, Alex too then he has his moments, I dig it! 

Track 6 : Running From Lions - Another rerecord from The Party Scene, this song has such a cool intro with the acoustic “melting” into those iconic All Time Low beats, strong bass and guitar riffing. Very different from its acoustic counterpart. I love the different vibes both versions give off and this one. More of those layer vocals too! The lyrics in this one have such a particular thing I can’t quite put my finger on it : Sell me out, I'm yesterday's old news / Phrases left on paper, black ink bleeding through The fade out too! Hitting all the bases.

Track 7 : Lullabies - Ending on of the strong notes and the fade in from  Running From Lions, probably my favorite from this EP. The bass with the soft guitar and vocals in the beginning make me feel a little less alone. Belt this track out just like Alex, man. A song about the death off Alex’s half brother, Tom, this song gets a heavier feeling when you listen to it. Take this song in and get lost singing it and letting go at the end of a well done EP.

Album (EP) Overview - This EP. A staple in the pop punk timeline, 2006 All Time Low brought out all the stops with this EP. Classic drumming from Rian, powerful vocals and deeper lyrics from Alex, sick bass from Zack and some iconic punk guitar work from Mr. Jack Barakat. This album takes me back to my teenage years and it’s so refreshing and f=fun to let go and feel that again. This especially since this EP was one of the ones that inspired me to pick up the guitar. Give this EP a listen and you’ll have a dance with your teenage self (or your current self if you’re in your teens now.) Make memories with this album.

Let me know what you think of this album! If you have an album (or EP) you’d like me to review, shoot me an ask! Until then, I’ll talk to you guys in the next one. :)

Source: Genius