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anime-fan-05 · 1 month ago

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May I please request headcanons for Nana O, Reira, Yasu, and Shin dating a female rapper and singer whose music is similar to Lauryn Hill and is heavily acclaimed with many awards won? Bonus if she's African-American too :)

Here's Lauryn Hill's most popular song for reference:

Honestly the whole album is spectacular!

Nana ~With an African-American female rapper and singer similar to Lauryn Hill~

Manga/anime: Nana

Warnings: mild spoilers about Shin's childhood (only where he grew up), Reira's origins and Yasu's past (only his previous relationships)

O. Nana

She doesn't care if you aren't Japanese; rather, she loves hearing you talk about your culture and she even gets help from you with English

I'm pretty sure she likes your music, since it's very close to the genre she sings, especially the part where you rap

She often comes to hear you at rehearsals, and she even does duets with you (she glares at anyone who dares to say your rehearsals are closed to the public or you two can't duet)

Sometimes, though, she's a little jealous of your success, and she feels she isn't up to your level, which is why every now and then you've to reassure her she's more than enough for you

She's always in the front row at your concerts, but, being the tsundere she's, she'll never admit it ("Did you see me in the front row? You must have been mistaken, imagine if I come to your concert hours early to take the front seat!" She always does so)

O. Shin'ichi (Shin)

He doesn't feel particularly Japanese, having grown up abroad, so it doesn't bother him you're African-American, but if someone makes fun of you for that, he'll defend you, even to the point of getting into fights

He really likes your music, and he often listens to it when he composes some songs

He's always at your concerts and your awards: he always makes sure he doesn't have any plans for that day

When you sing in your house, he stops everything he's doing to listen to you; he also often records you to then watch and listen to you when you've to stay away for your work

However, those moments don't happen very often, since he demands to come with you when you go on tour; once, during one of your tours, he even took the plane without telling you and, when you went to the hotel, you found him in the lobby

T. Yasushi (Yasu)

He really likes you're of a different ethnicity than him (after all, he was engaged to Reira, who's half American): he finds it very interesting and fun to share your different cultures with each other and he also wonders what your future children will be like

I think he likes your music; anyway, even if he didn't like it, he would still support you, coming to your concerts and helping you with rehearsals

About the latter, when you rehearse, he often accompanies you with the drums (sometimes, if you try at home, you may receive unpleasant visits from neighbors)

Instead, regarding your concerts, he has no problem revealing he wants to be in the front row or to come and visit you in the dressing room: for him there's nothing wrong with supporting his girlfriend

Every time you've to go on tour, he apparently accepts it with maturity, but in reality he's very sad not to see you, and above all hear you, for a while

S. Reira

Since she's half Japanese and half American, you probably give her a feeling of familiarity and being with you makes her feel like she's in America

Although your music isn't too much for her (I've always thought she likes very melodic songs, like her band's ones, and not too rhythmic or rock ones), she likes your voice and even the more melodic parts of your songs

In addition, she's your number one fan, although you two often compete in the rankings and to win awards

In fact, whenever she talks to her band, she has to include you in the conversation: she always appoints you, whether it's mentioning your tastes, your opinions or your victories and awards

She hates it when she or you have to go on tour, because it means being away for weeks; she calls you every night, and she also wants someone to video call her while you perform, so it's as if she were there

I truly apologize for not being very active during this period, but I took a quick break from Tumblr for a while due to school. However, now that the Christmas holidays are here, I'll post more regularly.

💮 Rules 💮 Masterlist 💮

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verdemoun · 4 months ago

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Wait even Micah makes an exception to call Bessie 👀 can we hear about them and their relationship?

I always kinda imagined Micah would have a hard time with timewarping, he very much was a man shaped by his father and by the era, his sole goal was to survive, and by proxy whatever enabled that. I imagine he'd have had a hard time readjusting not only to the drastic changes, but also not having to constantly think about his next move yk

Yeah no Micah had a bad time timewarping.

Firstly, he died! He died and there was no consequences. Died and popped up in modern era. What is survival worth if death is seemingly not finite?

Second, he wasn't allowed a gun! This is magical modern au America with something resembling gun control. Whatever meager test he had to do to get a gun, he failed it. While Micah's infatuation with guns was very much linked to his overwhelming belief in survival, he also liked the power of a gun.

Third, Micah was weird with Dutch. He followed Dutch. He reunited with Dutch after Dutch walked away from him in Beaver Hollow. Why? Because he desperately wants something resembling family, and Dutch was part of whatever that meant to Micah. And his father was a piece of shit sure but Dutch shot him? Dutch took away everything Micah believed in only to indirectly warp him to a world where everything was ugly and foreign and he had nothing. And Dutch wasn't turning up for a while.

Fourth, the gang didn't immediately decide to trust Micah again. Can you imagine the anger the 1899 gang felt towards Micah? They didn't want anything to do with Micah! They were more than happy to let him walk into the woods unarmed and let him become a hermit, or die again of natural causes. Micah was the first 'bad guy' to timewarp and they hadn't really considered how they were going to deal with that. Micah was a traitor. What had the gang always done to traitors?

Bessie was not immune to the general anger the gang felt towards Micah but she was a self-made woman from the 1880s. She had to learn all about how the world had changed sociologically on her own. She had to unpack so many of her own issues. She wasn't going to let anyone go through that on their own.

She also had the bonus of being a historian. While a womens' history professor, she'd used to access at the university to research the gang in an attempt to figure out timewarp. She's read all their rap sheets. She knows Micah was only a boy when he committed his first murder alongside his father. She's read the few historians who are interested in the psychology of the Old West wonder if Micah Bell III, notorious outlaw, ever had a choice - if he ever knew life could be more than survival.

And she's just soft. She's a tough bitch who can fend for herself but give her a troubled outlaw who's that bit helpless and confused and she can handle the misdirected anger. So she helped him get his shitty trailer home, and sat at the table while he looked around the shipping-container sized building squinting suspiciously at the concept a permanent structure that was meant to be his private camp now.

It was almost like going through a foster kid cliche but with an adult man helping Micah adjust. He learned to drive faster than anyone else in the gang because sitting in 'camp' constantly was counter-productive to survival, and got a map so he could learn the layout of the area. Not having a gun meant he always needed escape routes. He kicked the windows out of his trailer.

Bessie would never say it because Hosea would kill her, but Micah without a gun really reminded her of teen Arthur. Just angry and scared and assuming everyone was out to get him. And Bessie is soft but she is no pushover. Micah make a comment like he used to with Grimshaw? She'll slap him. That doesn't mean she won't drop off leftovers and sit and try to make small-talk.

And Micah still has issues. He craves connection. Being completely isolated is counter-productive to survival. Bessie sets boundaries but she's for the most part more patient than he deserves and does what she can to teach him about modern era survival.

She helps him get a job so he can buy his dumb truck and takes him grocery shopping, teaches him about tracking money because Micah gave most of his money to the gang too in VDL days. He's not used to paying for things because he's always stolen what he needs. She buys him clothes and has to turn up to wash them because he is useless but little acts of kindness actually mean a hell of a lot to Micah.

He's still a brash pig at best most days but she notices the 'come near her and i'll fucking kill you' glares he gives people on the street because he's that little bit protective of his perceived family. And how awkward he sounds the first time he calls to ask about what the hell his frozen meal means when it says fan-forced oven.

Micah's sole goal, purpose, reason for being is still survival, because really what else is there? He still doesn't have anything to live for more than living for living's sake. Not pissing off Bessie supports survival. And maybe the little 'good work!' comments and praise when he does the bare minimum like actually putting clothes in a laundry basket completely alter his brain chemistry because he's never received praise for something that wasn't directly linked to criminal or gang activity.

So yes Micah makes an effort to talk to Bessie and sometimes when he's feeling more lonely and isolated than usual he knows Bessie will always answer.

#rdr2 timewarp au #timewarp micah bell

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jerejerejere · 9 months ago

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I absolutely love Lintu's analysis off kot kot!

(Thanks for giving a platform for additional thoughts ♡ i ended up typing so much that i thought i should also put this in a separate post 😅 i'm just curious what you all think!!)

Idk why it hit different when listening to the whole song but i almost ascended with the first couple of seconds it was so good. Even though i've heard it before. Maybe i was distracted then, who knows.

I'm so glad he teasered both elements of the song before the release because i would have died on impact with the kot kot part. Other than that i have nothing to add to lintu's thoughts - perfect. It's wild and chaotic but still somehow balanced and it doesn't feel like trolling but really sincere even in it's goofyness. The lovely moodyness! Totally!

The song adapts really well with every listen. You feel like you don't want to like it (as much as you do) but here you are replaying it a fifth time, a fifteenth time. Like a taste combination you're not sure you like so you have to go in a second time. And before you know it, you're hooked.

(I still don't love the kot-kot part but that's because i somehow just don't like the word, it's so dry idk.)

I love both parts - the rapping and the singing equally although i will say that i don't vibe with the autotune (it's autotune, right?) that much. (I want to hear your real voice Jere :') even if it's not 100% there yet) I love his voice so much. The high-pitched ''missä'' was a special treat 😫

I love the distorted metallic beats under the rap parts a *lot* lot.

Lintu's analysis of the lyrics is so interesting, i haven't thought of it that way - that this is not a song about the now but a projection into what the future could possibly look like.

Also interesting that the voice on the phone was both Finnish and English 👀 (a hint to friends in other countries and the distance they have?)

I really wish the song was longer. I had the same with ruoska, where it felt like the song was over as soon as you got really into it - blip! Over. (but maybe i'm just slow?) I also wish the 2 elements themselves lasted longer - there's no way you can get into them and really *enjoy* them before they end. And then i was like ... waidaminute! This is intentional! Time confetti! He doesn't get to enjoy his fame and/or private time long enough so neither do we get to live in these elements for too long. It leaves you a little rattled and disoriented. As someone else said - it's like edging 😅 it is! Without resolve. Because that would have been my other point - the song feels like working up to a really good climax but then - bok bok.. 😅😭 That sly little gremlin 😫💚

Also every time i caught myself thinking - hm, that's very commercial 😅 the song kicked the legs out from under me right away 😂 So good for him.

Which brings me to my next hard agree with Lintu - i soooo hope it's a concept album! I don't need to love every song but boy do i love when he experiments. I end up liking those later on mostly. So it's a delayed reward treat idk how to describe it better.

Lastly.

None of this, absolutely none of this, implied sexy poledancing. He just did that. 🙏🏽��❤

So thank you Jere.

#allow me to be vain and rambly for a sec - sorry if you see this twice 😅#käärijä #please do tell me what you think :D i looove to hear your thoughts on this and in general 💚

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everythingyouwilllistento · 10 days ago

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MAC MILLER DISCOG RELISTEN FOR JANUARY 2025

yo, so im now dedicating part of this blog to sharing my thoughts and ratings for reviews so i can keep these thoughts on a place that isnt amazon or on a confusing site, might also copy this to something like substack.

ive also set this year for trying to consume tons of music as much as i can and that includes listening to 2 different artists' discographies (my own and a friend's recommendation) during a month. for my own choice this month ive wanted to listen to mac miller's discography again since "Balloonerism" is coming out this month and i want to go back and try to see if anything has changed context since his passing, if anything has held up besides that, and if my thoughts on mac have changed.

Best Day Ever (2011)

technically the first mac album listed on streaming services, since the "K.I.D.S." mixtape was reissued after this and his first album dropped later in the year after this tape and ILL,TY. the 1st and last act are def highlights with bangers and smoother production on "donald trump" & "ill be there" but good lord some of these beat choices on the mid section are so atrocious lmfao. it doesn't stop mac from being infectious and happy thankfully, the intro track and the mom ballad with phonte are insane tear jerkers now. if you're looking to actually start with mac miller, start with "K.I.D.S."

FAVS: Best Day Ever, Donald Trump, I'll Be There, BDE Bonus

WORST: Play Ya Cards (beat is terrible and this is def the weakest of mac's rhymes on the whole thing)

RATING: 67/110 (rating explanation)

K.I.D.S. (2011)

the most vibe-filled mixtape from the best white boy to ever do it. the spins is a 110/110 song. i don't even care if mac is rapping about drinking and taking a girl home to pipe after. beats are pretty tasteful and chill, mac is on his frat best for most of this, and its really apparent why he got signed so early.

FAVS: The Spins, Nikes On My Feet, Kool Aid & Frozen Pizza

WORST: Ride Around (BAD BARS DO NOT READ! and a very plain beat)

RATING: 78/110

I Love Life, Thank You (2011)

we love you mac, thank you. weirdly better than the debut album that came out after this, and personally, Bun B gets the pass from me on "All That". there's only 2 notable tracks on this but the tape as a whole is good.

FAVS: Love Lost, The Scoop on Heaven, I Love Life, Thank You, All That

WORST: Cold Feet (worst clams casino track I've ever heard and bad mac bars that have aged worst considering his death)

RATING: 77/110

Blue Slide Park (2011)

might be as weak as best day ever. only songs that are worth replaying are the ones that'll really stick to you. also not a lot of interesting flows or topics, its MAINLY about fucking and being so fly while stoned or drunk over some of the most intriguing beats, good and bad.

FAVS: Under the Weather, Blue Slide Park, Missed Calls, One Last Thing

WORST: Loitering (dawg what the hell)

RATING: 67/110

Macadelic (2012)

we are given hints before the greatness that is WMwtSO and you can hear it all over this tape with leftovers from the K.I.D.S. era. also any mac song with mikey rocks is so good, they go together like pb&j. the wayne feature is really bad even compared against juicy j's verse, i wont hear you out if you wanna argue about it because i think you're wrong. fight the feeling is incredible even with the moaning outro, and while there's some lame songs in here, it doesn't distract most of the mood and tone of the LP.

FAVS: Fight the Feeling, Thoughts From A Balcony, America

WORST: Ignorant

RATING: 78/110

Watching Movies With the Sound Off (2013)

haven't heard this since middle school and holds up incredibly well for most of its runtime (if you put aside the horribly aged slurs laced in some of these bars [i.e. Avian & Gees] and bad dark humor bars). faces took a bunch of leftover beats from this and more darker mac thoughts during that time but this reads better as an album overall. wacky as hell beats, goofy yet more monotoned and emotional rhymes, and heavenly moments make this an all-timer. "objects in the mirror" is the main stand-out among the whole record and its pain hits so much harder after his passing.

FAVS: Objects In the Mirror, Red Dot Music (alchemist beats are top tier), The Star Room (& the OG version too), I Am Who Am (Killin' Time)

WORST: Goosebumpz (diplo sucks and bad mac verses)

RATING: 89/110

Faces (2014)

turning 11 years old this year, and it still sounds so dreamy and trippy. mac had no clue what he was trying to say on most of this during his most darkest time and it shows: the most drug induced bars, bits of psychedelic harmonies, classic tracks, and he did it all without a drake feature.

FAVS: Diablo, Here We Go, Colors and Shapes

WORST: if i had to pick it probably be wedding or apparition

RATING: 99/110

GO:OD AM (2015)

"perfect circle / god speed" is incredibly tough to listen to now. beats are so lush and bouncy but there's some stink in here from early mac that thankfully doesn't stop the vibe of a rising sun after a shit day.

FAVS: Perfect Circle / God Speed, 100 Grandkids, Brand Name

WORST: When In Rome (just pretty standard for a mac song)

RATING: 88/110

The Divine Feminine (2016)

definitely a weaker entry since most of the lush and sexy production gets stale quick, but to say mac isn't in his best shape is like telling me lava isn't hot. "dang!" & "god is fair, sexy nasty" are crazy highlights

FAVS: Dang!, God Is Fair, Sexy Nasty

WORST: Planet God Damn

RATING: 75/110

Swimming (2018)

i don't think i can even listen to the next two albums without crying dude. it fucks me up severely that I'm now older than mac when he passed, and the hurt this and circles caused still hit all these years later. i hope mac has finally finished swimming to his rest and relief.

FAVS: What's The Use?, Self Care, 2009, Ladders, Come Back to Earth, Jet Fuel, Wings, Small Worlds, Hurt Feelings, So It Goes

WORST: Conversation Pt. 1

RATING: 105/110

Circles (2020)

it hurts. everything about this album hurts. we don't deserve to hear someone so cool, so close, so intimate after they're gone. every soft and smooth percussion, synth, and voice just make me tear up like no other album has. mac has been a huge influence in my life for music and for life. his depression and goofiness felt so close to mine but he feels like he's gotten past it with some trouble still lingering but not bothering. when this came out, it felt like something was completed, for better and worse. before it, i was depressed, lonely, and unsatisfied by way of living with family and no real career. the next year after listening to this album, i moved out and found the love of my life.

when people say this album saved their lives, i believe it. this album makes me sad and cry but in a way where i can see the future and hope there's something good for me waiting on the other side. this year, I'm planning on moving to another state again, but happily married and wanting to start hobbies and careers i enjoy instead of just sitting with a job because it pays well. 2024 was the year i started really writing down my thoughts and reviews on albums i like and enjoyed and this year will be the one i want to take it further and try to make a living out of. whether it be writing reviews for shit no one cares about, trying to make a career out of streaming for the umpteenth time, or find a job worth clocking in everyday for.

FAVS: Hand Me Downs, Circles, Good News, Everybody, Once a Day, Surf

RATING: 102/110

thank you mac miller.

here's to 2025, and to the extent of life as we know it. as a dream, as a physical quantity, and as music. i love you and have a great year.

#music #music recs #mac miller #music review #music reviewing #discography listening

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slugtranslation-hypmic · 1 year ago

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Slug, have you had a chance to listen to the new rhyme anima+ album yet? I’m interested to hear your thoughts on it, even though a fair amount of people think it’s not as good as the first season songs. Personally, I can forgive any and all sacrifices in quality just because the dotsuhon/mtc song might be the single greatest song ever created (and no, I’m not just saying that because they sing the line “Go shawty! Go shawty!”. Although I’m not, not saying that…). As always, dotsuhon never misses.

I finally finished watching it with a friend a couple weeks ago, and I liked most of the songs. Let me do a quick relisten and run down the list...

Also, the "Go shawty! Go shawty!" got to me too haha. Literally dropped everything I was doing to Google "shawty 意味 [definition]" in the hopes of getting some clarity on what they meant. (I was not successful. Presumably, this is another "wow, cool English word!" moment.)

Rise From Dead feels very anime-ish to me, so it's not something I would listen to on its own. But idk, it's fun and bouncy.

Bring it on is fine. BBs continue to be solid rappers. Doesn't do a ton for me in audio only.

Shinogi (Pay Respect) is a fun blend of genres that I normally like, but it's slower than I would like. Feels like the whole is worth less than its parts.

SANITY's instrumentals slap. Solid rhythm. Feels like it'd be good for a workout playlist but probably not something I'd listen to on its own.

New World's instrumentals are where it's at. I would listen to this one on its own. Dancing at my desk as I type this.

Dive in's rapping and instrumentals seem oddly disjointed with one another. (<- knows jack shit about music) Not sure if I'm a fan of this one.

An Idol has a really fun rhythm, and I like the singing. I feel like this will grow on me easily.

We go with the flow is bopping. Ichirou and Kuukou's VAs kill it as always. This would make very good workout music. Dancing at the desk again.

PUMP IT UP bring more of the dance music. And the infamous "Go, shawty! Go, shawty!" ??? out of 10. I think I could enjoy it if I pretend I don't speak English. There's a song I'm enjoying atm where the rapper keeps dropping the word "pussy" in places "pussy" should not be, and I can vibe w/ it so long as I assume I am a newborn babe and all language is indecipherable to me. Same deal here, I feel.

FIGHTER'S ROAD... Oh, this episode was an art form. I like Horsefumi's and Gentarou's sections. Without the absolutely batshit visuals, though, I don't think this is something I would voluntarily seek out.

BATTLE ANIMA+ 01 is blatantly a battle song, and I don't usually listen to them on their own. That being said, I like the rhythm and most of the rapping. The autotuned sections are cool.

BATTLE ANIMA+ 02 falls into the same camp as the previous one. A bit slower, so less up my alley, but I still like the rhythm and autotuned bits.

BATTLE ANIMA +03 sounds like RPG music. I can vibe with it. Would be good for workout playlists.

RELIEVE is...it sure is a song. That sounds like a bad thing, but it's just... I have no opinion about this whatsoever. This is music that exists. Zero idea if I like it or not.

Next Stage is FUN! It's long enough and repetitive enough that I wouldn't listen to it on its own, but it would be a much-loved addition to a workout playlist. I really, really like this one.

Yeah, I can see why some fans might be disappointed. Most of them don't strike me as stellar without their visuals, but it also takes me a while to warm up to (get Stockholm Syndromed into, maybe?) Hypmic songs in general. I'll probably be a big fan once I hear more of them.

#not a translation #asks #hypmic asks

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deadmomjokes · 1 year ago

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For anyone interested, following up on that preschool dance time incident, I have finally put together a playlist of my child's (current) favorite songs.

I have, over past few months of building this list and in the past few days of pruning it of old tracks she's not into anymore, asked her the name of each song, the artist, and what she thinks about it. These are her responses.

Time of your life by the band singer called Greeeeeeen Day SHHH NO DON'T TALK THAT'S MY SONG I WANNA HEAR IT!!! *sings along with shocking accuracy*

Middle by Jimmy in the World I think maybe it's about a roller coaster, and you have to be patient too. 'Cause see, it says "It just takes some time," so now you have to wait, and be patient.

PAIN by 'Magine Dragons I'm a freight train named PAIN! So this is my song. ^_^

Gimme that Fire OOOOOOEEEOOOO by.... um... i don't know this guy You know, you should not touch fire, it's HOT. Also, don't say gimme, you can say please, that's more polite.

Polaroid by 'Magine Dragons *too busy singing along to offer commentary*

Here Comes the Sun doo-doo-doo-doo by I don't know, that's a singer but probably I don't know their name I think that's about how it's okay, so don't worry. See? 'It's alright.' So it's alright!

It's the Hotdog Song! by It's Green Day too! This one is really called Polly Anna, but its picture is a hotdog on the music website on the computer, so it makes me think of hotdogs. I think this one is for being optimistic! *thumbs up* YEAH!

Record Player by Um.... It's the guys that sing it, and a girl sings it too What is a record player? Why did she dyed her hair green? 🤔 Oh, he says he's in the elevator, I like to go on elevators too. 😊

Be Careful by I don't know who sings that, I just like it because it says "be careful," and it's good to be careful. It's a dramatic song, so you have to do a dramatic dance. Like BALLET. *the most dramatic ballet dancing you've ever seen*

BONES by That's 'Magine Dragons, too. I think I like 'Magine Dragons a LOT. Magic isn't real, but this is a being determined song. *muscle arms*

I don't know what this one's called, but I think the band is Green Day, because it sounds like that. This one's got the big drums that are really loud, and that's why it's a rock song. I like rock songs, they're DETERMINED.

Am A Mess by A. J. R? He maybe needs a bath if he is messy... [see also] I like that funny whistle sound.

Astronaut in the Ocean (that's a rap song) by *shrug* That's really silly, because astronauts go to space, not the ocean. I think he needs a spaceship instead. Maybe he's lost and that's why he's in the ocean instead of space.

The Stick Song by Um... Mama? Who does sing this one? Stick is not a season-- the seasons are like winter and summer-- but it is a fun song. *proceeds to do a tappy kicky dance* [see also] You should probably not drink alcohol-- some people like to drink it, but it can make you real sick in your brain and your tummy-- so I think he needs juice instead. Maybe his friends will bring some for Christmas.

Shotgun by That guy also sings the other song we heard in the car, and he has a deep voice that is ~calm~ It must be hot where he's going, because he says 'hot sun' a lot. But what does "feelin like a someone" means...? 🤔

Daylight by The Guy Who Sings It It says 'running from the daylight,' but the daylight is just the sun, and you can't run away from the sun because it's all over, so maybe he just likes to stay inside until it is night. Yeah, that's what that means.

Paint the Town Red by Lady Rap Singer There is a part with a rap- a girl rap singer, because most rap singers are boys but she's a girl- and she says UGH like something is yucky. I like that part. But why does she say UGH?

SUNYOOF by ???? It is called SunROOF, but it sounds like he says sunYOOF, so I call it sunyoof. And we have a sunroof in our car, so I like this song in the car the most.

Cruel Summer by Taylor Swift I don't know how the summer is crool, but that's just what it says. [see also] WHAT? Blue is not a shape! *thinks* My body is shaped like arms and legs, not blue....

Liddle Bit of Sunshine by One-Re-Public, that's also who sings the song Counting Stars Mama, when it says SUNSHINE you gotta open the sunroof because it says 'throwing up the shade for a little bit of sunshine," so you gotta let in the sunshine, okay?

Young by Miley Cyrus *also too busy singing along with shocking clarity to make comments*

Antee Heeeero by Taylor Swift I don't know why she says she's a monster on a hill, because she's just a girl.

The one with the deedle-ee-deedle-ee-dee-dee guitar thing by *still busy playing air banjo* I think this one is about being patient, because he says he's gonna wait, and that takes a LONG time. And it has a good harmonies, that's the part where it's like a duet, only lots of guys sing so it goes "ooooooo" together, and then the guitar thingy goes like *kicking and flailing* like that!

I think she's got a future in writing music reviews, js

#music #adventures of bean #i love my kid so much guys #she's the coolest little person i know #and her worldview is just so refreshing and delightful #rock songs ARE determined you're right baby!!#and a well-played banjo DOES feel like *joyful kicking and flailing*#Spotify

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silence-of-autumn42 · 2 years ago

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So, Duviri has happened now, and wow there is some interesting stuff in there. I have three big questions, and three big reveals I want to discuss. Let's start with the reveals. Spoilers ahead, obviously.

First thing - we find out in the finale of the quest that Dominus Thrax is not the creator of Duviri, but rather our Drifter was, creating it based on a storybook to deal with our emotions after the calamity that was the Zariman. It seems like those with a connection to the Void have the capability to make stable spaces within it - it seems like Duviri is like a hyper advanced version of the internal realms created by the Void Angels.

Thing the second - as with the Angel realms, Duviri can be accessed through the outside. Teshin ended up in Duviri after falling into the Void portal during The New War, and Void Angels are trying to get in. The Zariman appears to be a bridge between, half in the Void and half in our reality. It's not clear if only the Drifter can pass through via the Zariman, though.

Thing three - the Man in the Wall seems to know about Duviri. Some of the npcs have dialogue about black eyed children appearing, and laughing whenever the Void was mentioned. An npc also discusses hearing the rap-tap-tap of the Man trying to get in. It appears that Wally controls the Void Angels, and so it seems like he's trying to push his way into any stable reality, be it Duviri or Origin.

Now for the questions. My first big question is how did we create this place? Is it a thing done with Void powers? If so, when did we get them? Based on what I can tell from the Angels of the Zariman quest, and Duviri, I don't think the Drifter has Void powers until New War, but rather the realm was created when our consciousness came into contact with a large amount of Void energy, manifesting the place the way the Holdfasts were manifested.

The second question I have is are there any connections between Duviri and the Requiem Words? There are some not insignificant similarities between the Requiem Glyphs and the symbols used in the Owl Enigmas in Duviri. Specifically, the Owl Glyphs look like simplified versions of the Requiem Glyphs. I theorise that the Owl glyphs are descended or adapted from the Requiem ones, possibly containing an aspect of their power, hence why the Owl and Archivist is interested in them.

My third question is pretty simple, but I think it needs asking. What's with all the animals in Duviri? Are they a part of the story? Or did we just manifest jackelopes and ceramic kavats? Because if it's the latter, big mood. I too want to surround myself in cats to avoid thinking about my emotional issues

I think this whole quest can be summed up as "don't go through puberty on a spaceship stuck in a nightmare Void realm, your mood swings will get *weird*

#warframe #warframe lore #warframe tenno #duviri spoilers #duviri paradox #warframe duviri #void #warframe drifter #drifter #man in the wall #void angels #zariman

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x--daughters-of-darkness--x · 1 year ago

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We’ve Got A File On You: Evanescence’s Amy Lee

I’m curious about the “Bring Me To Life” demo on this new anniversary edition of Fallen. Is this the exact version that you played for the label before they pushed for the rap part?

AMY LEE: Actually, no.

What’s the timeline on it? Where does it come from?

LEE: We did, like, at least nine demos of “Bring Me To Life.” Because they had decided this was the song that’s gonna be the first single, and we’re gonna put a whole bunch of focus on this breaking-in point. So, they just kept being like, “How about do the whole thing again, but add this?” And they were paying us. It was back in the day when people got artist development, which was actually really cool. So we kind of had to do what they said. [laughs] “OK! Whatever it takes!” We just did that demo a million times, and that one, as far as I can tell, is the last one or one of the last ones before the rap happened. They were already giving us notes at that point, but it didn’t go there. The Daredevil thing hadn’t come up, and we hadn’t had that whole new wave of, “OK, now let’s talk about this whole new idea.” So I felt like that was a good representation of us getting it all the way to another version that you’re not already pretty much hearing on the album.

You’ve been open about your fight with the label about adding a male co-vocalist, and how the guest spot that ended up on that song was the compromise. Is this version that we’re hearing now, this demo, kind of how you still think of the song in your head?

LEE: You know, actually, after all this time, playing the song a million times live, they’re never done growing. Especially when it’s a song like that. We’re always gonna play “Bring Me To Life” at a show. We want it to get better and better. We want it to be interesting. And also, you realize you have moments when the crowd does something. Make space for that. Let’s make extra space. We have a whole new part of it that’s a little bit longer, where we get everybody with their hands in the air. So when I think of the song, actually, I hear it the live way, because that’s the way I’ve heard it the most in my life. And the rap is in there, just, I do the rap, which is pretty fun. It’s not really a rap. It’s such a weird way to call it. Anyway.

A ton of people feel a very strong connection to Fallen. It’s also a snapshot of who you were at 21. Is that kind of strange, to have people feel so intimately connected to this very young version of you?

LEE: Yeah. You know, that was hard for a minute, because it was always really a stress of mine in the beginning to bring them along to the next thing. Because I love making music, and my personal quest as an artist is always about sharing more and more and more, and showing the whole picture of my heart and things that I’ve experienced, and drawing from real life. And there’s just so many colors to a human being, and to the things we experience. It would be impossible at any age to sum up your whole self in one song, or even in one album.

So that was actually my biggest reservation about the idea of having a guest vocalist on the first song, was that if this is our only chance – because that happens all the time, this is the thing that people are gonna hear and it’s all they ever hear of us, which is totally possible – I want our first thing to be the best possible representation. That’s why there’s so much pressure on a first entrance single. It’s like, I have to show you who I am as completely as possible, for a million reasons. One of them being, if you like it, you get the rest of the album and you’re not disappointed. Or if you hate it, it’s like, “Wait, that’s not fair! That’s not it! Please listen, I have more to say!” A lot of that fear was quelled very quickly, because “Going Under” did great, and of course “My Immortal” did great, and we have brought so many fans along. At this point, 20 years later, it’s insane. I am so grateful.

So yeah, that bothered me at first, and I’ve gone through a couple of little moments like that. But I don’t feel like that anymore. We have millions of amazing fans who love our latest album. And I feel really proud of everything that’s out there. And in context, I love Fallen. It’s not that I love it less…actually, I do! I love it less out of context. In context of the whole picture of us, and all of our growth, after all this time, I love it. But if that was our only thing that we had done, it would really bug me. So maybe that’s the reason I can’t stop coming back.

The Early Days Of Evanescence (1994-2000)

You started the band as a teenager. What was the music scene in Arkansas like in the mid-’90s? Did people know what to make of you guys?

LEE: It was different. We were different, even for that. I always saw that as a positive. The time period is part of that. [We were] super influenced by grunge and alternative. Heavier stuff, too. But what was the music scene like in Arkansas? It was what you would expect. Country was big. Hip-hop, pop, whatever was on the radio. Whatever you’re being fed by the top 40. So there’s that world, and then there was this total counterculture death metal scene. So, we obviously didn’t fit into either of those groups. But the death metal scene was a little bit closer. Those were the concerts I went to, in tiny, sweaty, back-of-the-pizza-restaurant clubs and stuff. I definitely learned to have an appreciation for this really heavy, rhythm-driven music, and cool riffs, and double bass pedals.

That’s not where I came from. That’s not my origins in music. I was really into classical. Dramatic classical, and then Soundgarden and Björk and cool, interesting alternative music. So when we did our thing, what was different about us was, first, that we weren’t a live band. It was just me and Ben [Moody]. Kids making music, in my parents’ garage and his parents’ garage and basement. Any basement or garage, or studio we could borrow after hours at my dad’s radio station, or anything like that. And we were recording artists. We were just finding what we could and making sounds. It was more like an electronic duo, and then pulling in band elements was always like, “Who will do a show with us?” And we’d gather up a drummer, and a bass player, and another guitar player, and promise them pizza and play a show. And we got signed [by the BMG-distributed Wind-Up Records] pretty quickly. We’d only played a few shows. It was like, “OK, we’ve got to put a band together, and make this real.” So we really grew up and became a band in front of the world.

It’s a very old-school, major label A&R story, I feel like. You get discovered, you get plucked, and you get brought out to LA. That kind of thing doesn’t really happen anymore in the way it did then. What was that moment like for the band, to kind of be thrown from playing the pizza place, to now, you’re in show business?

LEE: It was tumultuous. It was fighting. It was so much push and pull. It was gratitude, as well, but I felt from a pretty early point that I was constantly having to fight everyone around me to not sell out all of our vision.

So, we got signed, and it was awesome because we didn’t have to do a showcase. Everyone else wanted us to play a live show, and it was like, we’re not really like that. We still have to put this together. And this one label from New York was obsessed with it, and they’d had big success before, and we were like, “OK, we’re doing this.” Just a really rash decision at 19. And then instead of it being like what it sounds like when you say it, which is they flew us to LA, they put us in a cool place, and it’s cool and we’re making this album now. That is what we expected. We thought the album was done. But I have to be grateful now, because what we thought the album was is nowhere near as good as what Fallen ended up being, because they made us do crap that we didn’t want to do and write more music.

We had the freedom of not having to have jobs that would suck all of our energy. We could make our job impressing the label with something great. So, we just worked on writing new songs and demoing songs for a year and a half. And there were rocky moments in there, where we had to fight for our rights, and go home, and there were insults flying around everywhere when we didn’t do everything that they wanted. But all those fights were completely worth it, too. It was just the right combination of saying we’re gonna write more and do more, and also fighting back on the things that would’ve absolutely bastardized this whole thing and made us something that wouldn’t have existed this long.

Joining Korn For “Freak On A Leash” On MTV Unplugged (2006)

How well did you know Korn before they asked you to do that?

LEE: Oh, quite well. I loved Korn. Korn was one of the heavy bands that I loved, and I was so excited as a fan when they wanted to do something with me. We toured, I think, right after that. I think that was one of the last MTV Unpluggeds they did.

I think you’re right. I miss it!

LEE: I do too! It was beautiful. I made up my part the day before, I came in, we ran through it one time, and that’s it. I loved doing it, and then we went on tour together after that, which was cool. And then we did it again 15 years later.

Yeah, you stayed close.

LEE: Yeah. And then we finally did that song live! Because we never did it back in 2007 or whatever, when we first toured together. And this time, I was like, “Are you gonna have me up on that song, or what? Come on!”

The Cure were also a part of that show. Did you get to hang out with Robert Smith?

LEE: Yeah, we were all on the couch together, hanging out backstage. It was pretty amazing.

Singing “Sally’s Song” For Nightmare Revisited (2008)

I saw the Nightmare live show in LA a couple of years ago, and Billie Eilish sang that part.

LEE: Oh, amazing!

It’s cool how that song is kind of becoming a standard for alt-leaning pop singers.

LEE: Yeah! It’s funny you say the word “standard,” because there’s so few [new] Christmas standards. These songs that we’re always going to listen to, they’re all from the exact same era. And I do it too. But The Nightmare Before Christmas is one of those really rare things, where there are holiday songs on that – countercultural, of course – that are gonna live forever.

Yeah, and that belong to a younger generation. Was Nightmare big for you growing up?

LEE: Yes. It came out when I was 11 or 12, which was perfect. I mean, it was perfect. I think Edward Scissorhands was right before that, and I was obsessed with that. That’s one of my favorite scores. And then [Nightmare] came out, and I was really blown away, because I have a big love for stop-motion animation. My first record that I ever bought with my own money was the California Raisins. [laughs]

Wow!

LEE: I have always really loved what we used to call Claymation, but stop-motion animation stuff. And seeing my favorite director [Tim Burton] and my favorite score composer [Danny Elfman] do something that was that, I was a fan for life. Immediately obsessed with it.

How did you end up getting to do “Sally’s Song” for that record? Did you know Danny at that point?

LEE: No, but he was really nice to me. He invited me over to his house. It was a really surreal, cool experience. But [Disney] just asked me. I also did a random song that I don’t know a lot of people know from The Muppets [“Halfway Down The Stairs”] on their Muppets tribute album, but I think that was after that, because they were like, “Hey, that went well, let’s do another one.” But they asked me. I got the call, and I said, “Hell yeah! Please, can I do ‘Sally’s Song?'”

Nightmare – thanks in large part to Hot Topic, I think – is synonymous with a certain strain of alternative fashion. And for a while there, I think Evanescence was as well. I was in high school in the mid 2000s and there was definitely a lot of “the Amy Lee look” in the hallways. Did you ever see yourself as a style icon? Was that something you cared about?

LEE: I really have always been into fashion design. As a kid, it was hard for me to choose a definite career path, because I loved music. I felt like music was my passion, and I had to do music. But I also had a lot of passion about visual art and fashion design. And I have journals full of all of it. And making things, I’ve always made most of the art in our homes. I buy art, too, but I get an idea, and I’m like, “I want that on my wall. Here’s what needs to be here.”

I am so lucky, because what I’ve been able to do is combine all of those things into this job. I get to make my music, which is the center and the focus and the king. That’s the point, but then all around that, from production design ideas to album art ideas. I usually sketch them out before we do an album cover. I have a sketch of every one, where I had an idea, and I was like, “This is what we need to make. This is the title, this is the vibe, these are the colors.” And then with clothes, too, I’ve been making my stage wardrobe forever. Not all by myself, but I design it and I have somebody with a lot more patience than me do the math and help me take it all the way.

Her Children’s Album, Dream Too Much (2016)

Dream Too Much came out in 2016. Your son was born in 2014. I imagine there’s a correlation there.

LEE: Mm-hm, definitely! Making music isn’t always serious. You just sing your way through the day sometimes, and I realized that extra after having a baby, because you just end up filling the space with happy sounds. My husband and I both do it. You’re just singing through the activity, and then it’s like, “That’s kind of funny.” The song “Dream Too Much,” I was goofing around on the guitar, and Jack as, like, a two-year-old was saying those first couple of lines while he was playing. “There’s a monkey in the band!“ He was talking about Curious George, I think. And then, “The muffins are sleeping!“ I was like, “The muffins are sleeping? Awesome, we’re putting that in there.” [laughs]

It was fun to just have an opportunity to let things be goofy and fun, and when you have that subject there, you know exactly how to entertain them. There’s a person to focus on. It’s like, “I’m going to make this the thing that you love.” Including the stop-motion animation, and the instruments that are click-y. He used to love this Nesquik commercial with a STOMP vibe. Everything was pencils on glasses and chicka-chicka-choo-kah stuff. My producer and co-writer friend, Will Hunt – not Will Hunt the drummer [of Evanescence], very confusing – we did that album together, and he’s this super, like, science-y, fun, experimental music guy. We became friends over our love of Björk. He’s like, “Oh, this is great. I have all these weird tubular sticks and junk we can make sounds out of.” And it was just this really fun experience where I got to work with my whole family.

It sounds so naturalistic, or something. It doesn’t sound like the discipline of songwriting. You almost make it sound like you were just goofing around.

LEE: We were having so much fun! That’s what it always should be. I think that’s where good music comes from, is that you’re enjoying what you’re doing and that translates. But there are different paths and ways. It felt like we didn’t have to think so hard and make it complicated for an adult audience. It’s funny, because you make choices that are just natural, and you realize that maybe that’s not such a bad idea in general. There was definitely learning through that experience.

Metalocalypse: Army Of The Doomstar (2023)

I recognized your voice right away, even though you have like two lines.

LEE: I keep meaning to capture the clip and put it on social media somewhere! I want them to hear my voice screaming.

I was looking at your IMDb, and I was somewhat surprised that you haven’t done much voice acting or acting. Was that ever something you were interested in pursuing?

LEE: Always. I’m always asking for the right opportunities to do that stuff. I haven’t always had the best representation, and I think that maybe held me back in the past, when I would have really liked it. I just didn’t have the access that you’d think that I would. But I’m not in that situation now, so I’m always looking for something fun like that, whether it’s voice acting or making music of any kind for a film. It’s interesting the way the film industry and TV industry work. It’s so depressing how often things go so far and then get canned. There are so many things that get half-made and then dumped, and I’ve written music for a lot of those. [laughs] It’s not my fault! Or maybe it is. Maybe I should stay away.

Well, it’s odd, because movies have been woven into the Evanescence story. You mentioned the Daredevil thing, which ended up being so huge for you guys. Did you feel like you were interacting with Hollywood at that time, or did that feel like it was in a separate sphere?

LEE: There were moments. Hollywood doesn’t feel that separate from the music industry in LA. It’s all one big thing to me, in my mind. So going to those awards shows – or, we played the screening party for Daredevil, and all the actors and everybody were there – I definitely felt like we were intermingled in that world in a way that was very surreal. It’s weird. It’s like, “Whoa. Why are we here?”

That’s a great era, the early 2000s, for action movies randomly having a metal song over the end credits.

LEE: Right? [laughs] You’re welcome.

“Goofy Sings Evanescence’s Bring Me To Life” (2014)

I couldn’t live with myself if I didn’t ask you about the Goofy version of “Bring Me To Life.” I’m told that you’ve heard it.

LEE: I’ve heard it. I’ve heard a lot of things over the years.

When you heard it, what was your reaction to it?

LEE: Not to insult the artist…

Bring it.

LEE: Honestly, I was like “What the fuck is this? This is stupid.” It’s funny. I don’t have a huge response. So many people sent me that. Even more people sent me this recent, the music note thing. There’s this toy that’s a music note, and it’s floating and singing the song. It’s not singing, it’s like [imitates warbling noise]. It’s so bad. My favorite one of those, I will tell you because it haunts me to this day. Somebody worked at Chuck E. Cheese or Showbiz Pizza, and you know the animatronic characters of the band?

Yeah.

LEE: So, after hours, when nobody was there, I don’t know if they work this way or if this person programmed the show. I don’t know if they’re sensitive to sound, so they move their mouths and move around, or if the person programmed it, but they made a light show, and it was dark, and they’re playing the instruments, and they did like three of our songs. In the right state of mind, that’ll give you nightmares. It was horrifying and awesome. And I salute you, sir or ma’am, whoever you are. [laughs]

You’ve got music that’s kind of been absorbed into the broader pop cultural consciousness, and I guess that’s why these things happen. There’s also the Ariana Grande thing on Fallon, where she’s doing a vocal impression of you. Is that kind of stuff surreal? How do you even process that?

LEE: It’s not surreal anymore. When we were starting out, it was. But at this point, living with it for this long, the music kind of just takes on its own life, and you start to see it as separate from yourself. It’s hard to explain. It started out very surreal and strange, and impostor syndrome is very real, but I feel like at this point, I’m where I’m meant to be. It’s amazing and I’m proud. I am ready to accept my fate as goth superstar Amy Lee of the fuckin’ dark-ass band Evanescence.

#amy lee #evanescence #2023 interviews

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khiphop-discussions · 3 months ago

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RAP:Public Ep.3 Part 3 (FINAL part)

Alright, final hour of rap:public ep.3! (Starting @ ~1:03) Spoilers ahead as always

LINK to part 2

LINK to part 1

So we're starting back at the block breaker mission.

Not Khan coaching his member to be louder when his whole style is that he sounds like he's whispering lol (he's right, it's just funny/ironic)

They eliminate the member first before the challenge. The leaders choose 3 to do a death match/get eliminated. They have to choose before the round even happens. It sucks cause what if someome actually does amazing in the round but they still get put up because they weren't believed in prior to the mission?

Loopy confides in Khan about what the leaders were told but doesn't tell anyonr else on the team. Damn, he must feel like Khan is basically the second in command. He really trusts him!

Like kaogaii said earlier in the season, it's better to have less members towards the end so the money won't be split so many ways. But it's so early that there's no telling how many missions favor having a bigger team. Block break definitely favors having a bigger team BUT the infinite cyphere didn't. The set up of this show so far REALLY does it's best to take away any advantage a block or individual might have.

Block 8 (gamma lead) vs Block 6 (Kaogaii lead) goes first. Odomar hears Kaogaii and someone else (not sure) talking. Odomar asks to know what they are talking about so Kaogaii tells him to gain his trust. I feel like, no one can trust Kaogaii. He's already told us he has a child on the way and he is obviously navigating the game very strategically and cutthroat. Odomar still doesn't fully trust him which is smart.

My thing is...it seems like they haven't factored in Bizzy? I think they are too focused on superiority to other members of block 8 when really they should be planning on stratigizing around beating Bizzy.

Also, strategy-wise shouldn't they be trying to get rid of the hardest teams first?

Nevermind, it seems like Bizzy is struggling and Hippie Kunda is the one with lots of verses. They are underestimating her too, cause didn't SHE get the 8th most votes out of 60 rappers? Do they not remember that she beat 52 of them by their OWN votes?

Thank god for Bizzy cause he's asking questions straight up. Gamma wasn't gonna tell them I think. Drain K guesses that's it's elimination choices. Bizzy loses more faith in Gamma. I think it's really likely he'll be replaced since faith in him is lacking for 2 missions in a row. In Gamma's defense, like I said in part 2 of ep.3, they could have been more proactive in choosing the leader. They CLEARLY didn't really trust Gamma as a leader/capable rapper from the beginning. Why set him (and by extension, the whole team) up for failure if that's the case?

Ok now the 8 vs 6 mission starts. Gamma looks happy at the start. He seems faithful/confident.

She has to face Jo Gwangil. Ugh, I'd HATE that! It's clear they like him better than her.

Drain K says he's next to face Gwangil. Drain K actually does really well. I'd vote him over Gwangil this round. He's bold as hell and even gets in Gwangil Jo's face. His blunt style works for this type of battle. Beats Gwangil by 1 vote.

Wtf, Drain K is one of the best rappers on the show!! Odomar comes out and he's good but messes up. So naturally Drain will win. But even still, I think Drain would have taken it.

Block 6 already started with 1 less member and now Drain just beat TWO of some really strong members. Drain K is a really good performer. Joonie goes up. She's doing well. Her rap/performance is more interesting than his. But I think he's still the superior rapper. So joonie is beaten.

He's a great performer with lots of energy, confidence, and a loud, aggressive, authoritative type of voice BUT he's not very versatile yet. Kohway walks him backwards and then pushes him. Block 6 is resorting to entertainment tactics more so than being generally good and authentic. Like Drain K seems like he's truly like what he's portraying on stage but block 6 looks like they are panicked so they trying too hard. kohway has a nice rap and performance but I think it'd be better without the pushing.

Kohway won and apologized. Anyway, the guy from block 8(kipyo) is good too. Wait why did they underestimate this team? Maybe they just didn't remember his performance after everyone else? Maybe he did bad on round 1 but that was just him on a bad day? He won.

Next up Koala. Kipyo was better in my opiniom so I think he'll win. Kp won as expected but it was close. Currently block 8 has 6 members but block 2 only has two.

Geegooin will be hard to beat though. He's a performer and his style is so unique so it's memorable. KP goes in the audience. It comes off cool, charismatic, and not desparate. Everything he does is cool, calm, and collected. Very natural.

Idk who won. This seems close. Geegooin wins in the end.

I can tell Daniel Jikal is already nervous, intimidated. Geegooin's rap was probably the most powerful in the block breaker so far. Not looking good for Daniel since it seems he already lost the mental battle. I'd be scared as hell to go up after this Geegooin verse. I do NOT envy Daniel's position right now.

He ends up doing surprisingly well though. WHY are they dounting this team?!? Is Block 8 being doubted soley because of so many newcomers? I can't help but think people just DON'T remember their round 1! Granted, I don't either (some weren't shown in all fairness). I still think Geegooin will win but Daniel held his own better than I expected. Geegooin win.

Churry goes up and messes up but it's clear from the start he wouldn't win since he was already lacking in comparison to Geegooin. Gee got 100% of the votes.

Gamma is forced to go out. Gamma's rap is weak. His style lowkey just isn't fitted for this type of competition it seems. Gee gets 100% of votes again.

Block 6 is getting cocky AGAIN? Didn't you guys learn from that already? Leo goes out. Not bad but not enough to get Geegooin. At least gee doesn't get 100% of the votes. It comes down to Bizzy. I honestly don't have faith in him rn. Not cause of the other team but because of struggling during the practice.

It seems like Geegooin has him beat. This one just wasn't for Bizzy. Geegooin wins. And block 6 wins. But block 6 better not forget that Geegooin had to hard carry them and had Kaogaii went? He likely would have lost to one of the rappers on block 6.

It seems Leo, Daniel Jikal, or Churry will be eliminated. I think if it comes down to the death match between those 3, Leo will lose.

I'm proud of Block 6 though. They showed they aren't weak. I lowkey feel like the team with Owen is after seeing more of Block 8s members. I wonder if Block 8 would have beaten Block 4 had they not changed to Block 6 at the last minute out of spite.

Honestly, it sucks that Block 8 has Gamma as a leader because he lowkey did the worst this round. He should be the one leaving. They need to strip him of the leader title and give it to Bizzy or Drain K.

#khh #khiphop #korean hip hop #rap:public

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twig-tea · 2 years ago

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5 Songs Tag - QL Shows Edition

Created by @troubled-mind (see the original chart-like list and the first 5 QL Song Tag entry). The rules:

When you get this, list 5 songs from Asian QL shows that you actually listen to. 🎶They do not have to be custom-made for the series. 🎶Non-western tracks only. Let's support Asian music and languages! 🎶Feel free to tag anyone who may be interested in participating. 🎶Add #5qls tag to your post for others to find the new favourites!

Note: I'm going to play by the original rules that the show had to introduce you to the song, because otherwise I would not be able to narrow this down. Also, to everyone who already went so that I could narrow down my list, you're all doing God's work and have great taste (esp. to @lurkingshan, all five of her songs were on my shortlist; @bengiyo for his selections from About Youth, Like in the Movies, and Gameboys 2 (all five were excellent songs but those three were on my shortlist; and @absolutebl's top 10 OSTs listing songs from Wish You and To My Star which helped me let go of including them too!). I went with one song per country to help me choose, and it was a very fun agony. Here we go!

Silly Fools - วัดใจ [wad jai / measure your willingness (i.e. test your heart)] (Theory of Love; Thailand, YouTube)

youtube

I debated on the Thai song for so long but this is the song that started my obsession with Thai rock; Khai and Third rock out to this in the car as a moment of nostalgia for them and I sat up and took notice because it reminded me of 90s alt rock from my own youth; that scene is such a perfect encapsulation of what that felt like and it tied that feeling to this song for me. And the lyrics are also great as a hype song; they're all about how the singer isn't going to give up in the face of any obstacle or hate. Every time I hear it I think about sitting in the car yelling with my friends (even though we did that to Alanis Morisette and not Thai rock music, the feeling is universal). Even though I'd been watching Thai shows for a couple of years by that point, and had some OSTs on my playlist, this song inspired me to branch out into finding more Thai music and it's now been the genre I listen to the most for the past few years.

Đỗ Hoàng Dương, Cody - Không Yêu Cũng Chẳng Cô Đơn [Neither Love Nor Loneliness] (You Are Ma Boy, Vietnam, YouTube)

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These two are musicians first and actors second, which is probably why the OST is so good. Cody is part of Uni5, and Đỗ Hoàng Dương is a solo artist. Large reason why this is on here is because I like Cody's rap so much. The lyrics are translated in this video so I don't need to paraphrase, but essentially they're about how love in youth is a lot of feelings, so let's just be together and love one another.

Shania Ann Bajen - Once You're Mine (Filippines, Win Jaime's Heart, YouTube)

youtube

Taking advantage of the change in rules from the original post to post a song in English because it's my favourite by this artist. Shania Ann's voice is mesmerizing, when this song appeared in the show I went searching for it and was so happy when they finally posted it to Spotify. This is what she said about her song:

This song is my original composition. 💕 It's about our loved ones, whether it'd be family, friends, or significant other, that we lost in our journey but never failed in making us feel loved and accepted despite our imperfections 🥺 Hope you all like it!

周予天 / Alex Chou - 分手放手 [Fengshou fangshou / Hard to Let Go] (We Best Love: No. 1 for You, Taiwan, WeTV)

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The lyrics to this one are so painful in the context of the end of season 1 and the time-skip. They're translated in the video above, but essentially it's about breaking up and letting go when you don't actually want to. I really went back and forth with this one and Ray / 黃霆睿 - 我們 [Wo men / Us] from the Miracle book trailer, hilariously both for Lin Pei You vehicles, but finally decided that this song just hits harder (you didn't notice me sneaking a second rec in there nope).

センチミリメンタル / Centimillimental - 冬のはなし [Fuyu no Hanashi / Winter Story] (Given (anime), Japan, WeTV / CrunchyRoll)

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This is either a really obvious answer or a polarizing answer depending on how you felt about the Given adapatation, but IDC it's on my list because I love Centimillimental and can't listen to it without getting shivers. I saw this anime and burst into tears the first time I heard the bridge. I used the official version for each of these links so that creators get views, but I have to also shout out my favourite version of this song, with Centimillimental (the guy who wrote the whole soundtrack for the anime and the movie) and Shogo Yano (who voiced Mafuyu in the anime) performing together. If you haven't seen the show, the lyrics are about having a love one torn away from you and struggling to let yourself move on. I had a hard time between this and the main song from the movie (僕らだけの主題歌 [bokura dake no shudaika / Our Theme Song]) but this is the one that hits me hardest.

BONUS(es) (don't judge me):

樹林座 [Shulinzuo / Grove ] - 水火 [Shui Huo / Fire and Water] (The Sleuth of Ming Dynasty, China, YouTube)

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This song was as far as I can tell written for the series and it punches me in the gut every time. I don't know what it is about this song? It has me in a chokehold. It's basically about fighting for justice against an unjust world and how it's possible even if it seems to not be. It's also just a banger. Something about the irony of them using a very modern-sounding song for a historical drama tickles me (electronic rhythm sounds? electric guitar? For 15th century China? Love it). Put in the bonus round because the show is censored bromance.

Spencer Geronimo - Magkaibang Mundo [Different worlds] (Lakan, Filippines, YouTube)

youtube

Rest in Peace to the actor Kennedy Nakar who costarred in Lakan and who just died (on July 25, 2023) of Leukemia; He was 24. Kennedy and his partner Paul Cervantes were an out gay couple and starred in this series together, and were supposed to also star in Turbulence. This song is all about fighting for a love that people think is wrong, against the odds, and wondering how long you'll have to fight and wait to be together. In that context, it becomes even more heartbreaking. Since this song was in my favourites, I could not skip the chance to give their work some love.

Tagging @callipigio @pandasmagorica @formayhem @dribs-and-drabbles @redxblueihateloveyou no pressure but if y'all feel like it!

#5qls #tag game #theory of love #you are ma boy #win jaime's heart #we best love #given anime #the sleuth of ming dynasty #lakan

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deadcactuswalking · 4 months ago

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REVIEWING THE CHARTS: 21/09/2024 (The Weeknd, Tate McRae, Chappell Roan, Teddy Swims, Playboi Carti)

For a fourth week straight, Sabrina Carpenter is at #1 on the UK Singles Chart with “Taste”, and it seems like everyone on the pop music roster has returned this week. Welcome back to REVIEWING THE CHARTS!

content warning: language, brief discussion of Palestine, allegations, queerphobia

Rundown

As always, we start the episode with our notable dropouts, those being songs exiting the UK Top 75 - which is what I cover - after five weeks in the region or a peak in the top 40. This week, we bid farewell to: “Red Wine Supernova” by Chappell Roan (I’ll explain why towards the end), “Houdini” by Eminem, “Pink Skies” by Zach Bryan, “Like a Prayer” by Madonna, “i like the way you kiss me” by Artemas and “The Man Who Can’t be Moved” by The Script. It’s not that large a list of songs, but these are all pretty big hits during the past year, this is almost a clear-out week of some summer tracks.

As for what takes those songs’ places, well, we have plenty of new arrivals to fill that void but there are also some notable gains, and returns, for that regard, with “Fortnight” by Taylor Swift featuring Post Malone back briefly at #75 from when it dropped out to #76 last week (“Gata Only” has company, I see), and a much more interesting re-entry with Charli xcx bringing “Talk talk” back to #24. The song peaked at #47 on album release week, but with the Brat remix compilation announcement, Charli released alongside it a new, mediocre version of this track featuring Troye Sivan - who’s credited by the Official Charts Company, for once - and Dua Lipa - who’s not credited by anywhere. As for the gains, we see solid boosts forEDM to-be-hits “TOO COOL TO BE CARELESS” by PAWSA at #66, “Cry Baby” by Clean Bandit, Anne-Marie and David Guetta at #51 and bizarrely enough, the song I literally nearly forgot to review until the episode was finished last week has scooted up to the top 40 - “Embrace It” by Ndotz is at #36 because, sure, I get the appeal. Other than JADE’s “Angel of My Dreams” at #19, however, much of what we need to talk about in the top 40 is relegated to tracks debuting there this week.

As for our top five, “Die with a Smile” by Lady Gaga and Bruno Mars continues a rise at #5, but the rest should all be standard: Sabrina Carpenter has “Please Please Please” at #4 and “Espresso” at #3, Chappell Roan has “Good Luck, Babe!” at #2 and of course, Sabrina also has “Taste” at the very top. Now there are many… interesting debuts up and down the charts, mostly in the top 40, but we start with, well, maybe the least coherent.

New Entries

#72 - “KEEP UP” - Odetari

Produced by Odetari

Okay… so, this might require some explanation. Odetari is a rap-singer from Texas who has been carving out a place online, particularly TikTok, through his success in bringing some underground hyperpop-adjacent trends into a more mainstream place. Alongside other acts like 9lives and 6arelyhuman, who, trust me, have names just as alien to me as they are you, his work encompasses distorted club beats using a similar bitcrushed technique to “hexd” or “surge” music, rapping like a digicore artist over Jersey club, and generally, being high-pitched and annoying. Bizarrely, he’s been popping up mostly on the US dance charts for a year or so now, and has attracted an audience that probably belongs in some form to the “scene revival”, with his woozy, punched-up rave beats and Auto-Tuned vocal fitting right into that sound. “KEEP UP” has crossed over to a more general audience to give him a breakthrough outside of his demographic, so part of me was hoping he did something a bit different in this one. Uh, no.

This is far from a bad thing necessarily for as much as I feel like I’m some boomer trying to hear most of this guy’s material, there’s something about this track in particular I actually really enjoy, and I think it may just be up to the fact that it is so relentlessly catchy. The self-produced saw sounds straight out of the NES, sure, but it’s overwhelmed by the punchy hardcore kicks, which soon evolve into a drum pattern so distorted it becomes a bitcrushed mesh alongside Mr. Odetari’s hook which has already made itself home in my head. Genuinely, it’s an annoyingly catchy, stuttering hook that has such a good first half to the main melodic idea that it doesn’t matter that the second half of the phrase trails off into barely-words bullshit. It’s nothing new, it’s just addictive, and I think I understand the virality now, even if I get the feeling that I don’t fully “get it”. As for the lyrics, Odetari is genuinely not saying anything. There is no lyrical conceit or motif to the song, and I am absolutely confident in saying that I’m not missing anything in that regard, as the verses, similarly full of vocal manipulating and stuttering ad-libs crowding the mix, sound like loose freestyles he decorated with production to fit in with the one good idea he had: the undeniable chorus. I also enjoy how this is one of few songs to do the cheap, TikTok-variety slowed-down outro with tact and reason: the transition is solid and exciting, the synths take on a new, eerie tone with the pace shift, and the third verse - or I suppose, bridge - is the most focused on the song, being a whole lot of flexing but more cohesive than anything else he has going for him. So, yeah, oddly enough, I really enjoy this, though I don’t think I’m fully there into delving into the Odetari back catalogue. If you can call having barely two years worth of singles and EPs a back catalogue.

#59 - “Disco” - Surf Curse

Produced by Jarvis Taveniere

Surf Curse are, fittingly, a surf punk band from Nevada whose back catalogue has been bubbling under for years now: they seem to have very little success, even now signed to a major label, with their new output but every so often, their years-old songs will get a viral buzz and streaming traction, with some popping up on the charts. I actually covered them way back in 2021 when this happened for the first time with “Freaks”, a song that was originally released all the way back in 2013, but hey, it’s been three years since, I’m sure that people have caught onto their newer work and no, this “new” song is five years old and has already sold 95,000 copies overall. I liked “Freaks” for as much as the Nick Rattigan-fronted band could get me to like a lo-fi indie snippet that didn’t have much to it, so I was honestly hoping to get a refresher on these guys that involved actually fully-fledged songs. This is closer, even if it’s barely longer than “Freaks”, mostly because of a more professional mix, though still with some imperfect lo-fi elements that punch it up a tad, though the song is still barely there. The lyrics about seeing a girl at the disco and being in adoration about the way she dances are… unbefitting and ultimately not interestingly phrased, the stop-and-start rhythm in the chorus’ end is not that inspired, almost expected, and the main riff just reminds me of “Freaks” again, which the entire song resembles quite a lot, and maybe a bit of early Vampire Weekend. Some of the lyrics come off as somewhat obsessed or creepy, especially given the allegations that followed the year after this song’s release, but it doesn’t have the rougher, darker edges of “Freaks”, which I relistened to and still enjoy, to integrate that into its appeal. I have heard better in indie surf-rock, but I suppose I shouldn’t be surprised that the least interesting of it is what ends up charting. I guess it’s okay, but it’s definitely not original or even likeable.

#47 - “Tony Soprano 3” - Nines

Produced by RQ1of1 and JC3

UK rapper Nines is back with an album on the 27th, and what better way to announce a forthcoming project than with completing the trilogy of his “Tony Soprano” series of freestyle-liked tracks just meant to serve as Nines talking his shit to convince you to care about the project on the way. The last installment peaked at #10 but that doesn’t mean he hasn’t upped the quality with this latest edition and… well, the spoken part at the start seems to indicate this forthcoming record is his last, but other than that, there’s absolutely nothing of interest here. Nines is sloppy as always, with a vocal mix that is obsessed with stuttering and other effects that seem completely unnecessary for a song that should be about bars, of which Nines has very little, over this basic trap beat that admittedly has a nicer loop this time. There are sone nice references and I do respect ending the track by calling out social media for allegedly shadow-banning his account after he showed support for Palestine, but considering the rest of the track is about how he thinks he’s the GOAT and this is tacked on clumsily to the end, it instead appears somewhat self-serving, unfortunately. Overall, like I say about most of Nines’ tracks that end up charting, I don’t think it’s much of note at all, but this one is perfectly serviceable outside of odd production choices, which is more than Nines sometimes provides so that’s something, surely.

#32 - “ALL RED” - Playboi Carti

Produced by F1LTHY, Lukrative, Lucian, Ojivolta and Twisco

Atlanta legend and trap pioneer Future has just released his rawer, messier set of hype anthems, MIXTAPE PLUTO, which may have an impact next week but more importantly for us today, makes this lead single from Playboi Carti nearly entirely obsolete. Carti has been teasing singles for the entire year and a bit from an upcoming release, I AM MUSIC, but much of this has been on YouTube and other platforms instead of the major streaming services, whether that be for sample clearance, label nonsense, general “mystery” or because the guy hates his fans, probably a mix of all of the above. A lot of those newer songs and leaks have featured Mr. Carter experimenting with his voice in strange ways, but primarily using his newer, deeper voice he introduced on “FE!N” last year, to mostly boring results outside of “2024” (released in 2023), I like that one, though that features a mix. There is something really funny to me, therefore, that after a mish-mash of genuine experimentation and unwarranted hype and acclaim from fans and industry alike, that his proper lead single is just a Future impression on a F1LTHY beat. The beat’s obviously hard-hitting enough with his twisting synth loops and bass-heavy menace that comes naturally with F1LTHY territory though with six producers credited here, two of which being the very creative Ojivolta, I did expect more detail or at least some progression here beyond just plugging some new synth flares in and out. Carti is in typical lyrical territory, though I don’t think I understand the main conceit of the chorus that his neck tattoo is shutting anybody up, exactly, because if anything, the Satanic imagery is what gets people talking about the mysterious and violent “red” aesthetic Carti’s been working with since he discovered rage beats. He does end up sounding more distinct from Future on the one verse, but by that point it’s just a middling Whole Lotta Red leftover. I can’t call it bad because there is energy and intensity here to justify its existence, I just feel like it could have been much more.

#28 - “Bad Dreams” - Teddy Swims

Produced by Julian Bunetta, Matt Zara and John Ryan

Colour me surprised that Teddy Swims is sticking around. “Lose Control” seemed out of nowhere but is one of the biggest songs of the decade so far, despite sounding like pretty much nothing out, and “The Door” is the kind of follow-up that he probably needed to show an upbeat side, so I was interested in this newest single, not from his breakthrough album, that might just be the deal-maker - or deal-breaker - for if Mr. Swims can continue his hit-making career past that one good year, as this was released last Friday and didn’t have the slow burn of the others. Given the high debut, I have a feeling the Swimster does fill a void and will be here to stay, but as to how I feel about the song, I am somewhat disappointed in the producers going for a more typical, 2020s subdued indie-pop guitar lead and tone amidst the more classic soul groove, because whilst it mixes the guy better into his closest contemporaries on the charts - he’s closer to Sabrina Carpenter of all people than anything - it also takes some of the loveable bombast from his prior hits out of the occasion, with the malformed post-chorus, consisting of a weak “woo”, rising strings, and stray claps accompanying some brief phrases that feel more like vocal riffs than a fully-written conclusion to the chorus, wherein he longs for his partner not to leave him because without them, he gets “bad dreams” - probably more so referring to how distraught his mental health can be without relying on someone else. Obviously, he sounds great, though he has some room to belt here and shows some restraint, which could be odd for that kind of content that almost comes across as begging, so I feel like even his vocal performance is slightly underwhelming here… which sums up the song in general. It’s fine, it’ll be successful, but it also doesn’t seem like the most memorable third act to me.

#21 - “Pink Pony Club” - Chappell Roan

Produced by Dan Nigro

We switched out our Pokémon, so to speak, with “Red Wine Supernova” and thanks to the three-song rule, Chappell Roan’s fourth-biggest song currently has dropped out from the top 40 and been replaced with the third. OCC are ridiculous, but to be fair, this rule was built to prevent album bombs, not the - somewhat unforeseeable - case that an artist would have an entire album be full of sleeper hits that have been out for at least a year but seem to all have a domino effect on each other until she’s one of the year’s biggest new stars. Those following this year would know I’m still somewhat torn on Chappell’s hits thus far, not really fully convinced by them outside of “HOT TO GO!”, and honestly mostly for somewhat nitpicky reasons, songs just not connecting nearly as much as they should for me due to lyrical gripes or structural oddities that put me off from the entire package and I’m glad that we finally have one that’s a bit simpler to explain: I think it’s boring. With that said, I really enjoy the idea of the lyrical narrative here, functioning as the clearest example of her album’s story regarding the young queer girl in Middle America - Tennesee in this song’s case - longing for the fictional, openly gay nightclub “the Pink Pony Club”. Her attendance would disappoint her mother but might be worth it for the joy and self-realisation, and she eventually progresses into actually being at the club and promising that her hometown still means a lot to her.

Now, like all Chappell Roan hits, here comes the “but”: I don’t actually like the way the lyrics progress with little variety that changes tenses but doesn’t have a meaningful impact on the content despite her journey, there’s not much nuance to how Tennessee is depicted outside of just the generic hometown she loves but has to get out of. More detail to why either Tennessee or Santa Monica actually matter, or if there are any specific areas outside of the fictional club that stand out to her journey, justifying why Tennessee still matters and not just her mother’s love. It relies in part to a sociopolitical content that it barely discusses, and it extends its length with an incessantly catchy and incredibly well-performed chorus but one that fails to have more of a gut-punch impact like it could, alongside solos that more often than they should go for warping down instead of soaring like they should when working in an 80s synthpop and AOR framework. The staccato string and synth stabs in the pre-chorus are cool enough but the mix stays too minimal with its gated drums to really have that full feeling, to make the club actually seem like either a dream or alien to the Tennessee girl. It even fades out like a classic 80s song, which is just a cop-out nowadays, and whilst I do have these specific problems… the main thing they all contribute is taking my interest out of vocals and drums that I otherwise would really love, making a song that, to me, is kind of a bore. I know I’m not making any friends by being consistently critical of Chappell Roan on Tumblr of all places, but I’m sorry, she still doesn’t excite me the way she has many others.

#14 - “It’s ok I’m ok” - Tate McRae

Produced by ILYA

I won’t even try and resist the easy joke of Ms. McRae outright stating what could well be my opinion of the song and her artistry in the title of the track. Thankfully, I don’t really agree with that statement - last year’s Tate McRae album was far from OK, more just outright garbage, but this one could be better. As in, this song really could be better, it’s not enjoyable at all. I’m nicer to late 2000s and early 2010s crunk-influenced pop but the mix emphasises this thin high-frequency DJ Mustard synth before emphasising an even more annoying sound, a clambering drum loop that completely demolishes the mix outside of Tate McRae herself, who was clearly listening to Ciara because she’s whispering incoherently about relationships, except without her Petey Pablo. It’d be The Kid LAROI, by the way, which should show how far we’ve fallen as a society. This half-rap chorus is honestly kind of pathetic in its attempt to sound carelessly “cool”, mostly because of the layers of background vocal riffing that refute that, and I genuinely could not make out half of the second verse so I’m not sure if I should even be trying to dig into the kiss-off where McRae - lying to herself, presumably - allows her partner’s new girlfriend to just take him because she’s TOTALLY over it. It’s not a bad idea for a song, I could see these lyrics working, maybe in a peppier context, but this production’s too dire outside of a genuinely nice atmosphere in the echo-drenched, sprawling outro, which really just sums up and repeats the song’s main conceit in less time than the rest of this mediocrity. Once again with McRae, I think I’ll pass. Also, Ryan Tedder is a co-writer, do not think you are safe on this one, Mr. OneRepublic, I’m actually pinning most of the blame on you just because I know your track record.

#12 - “Dancing in the Flames” - The Weeknd

Produced by The Weeknd, Max Martin, Oscar Holter

The Weeknd is back… but he’s also seemingly going away for a long time. Abel Tesfaye is finishing his trilogy that started with 2020’s After Hours, continued with 2022’s Dawn FM and now concludes with 2024’s Hurry Up Tomorrow out later this year. At a concert in Brazil, the singer teased a multiple of songs, including a Playboi Carti collaboration that has gone pretty viral but naturally in the era of TikTok slow-burn marketing, and the fact that Carti doing a normal, respectful and successful rollout for an important release, like The Weeknd has a track record of doing, is unheard of, that one will hate until the album, and for now, we get the Max Martin lead single because… who else? The two never miss together in making something that will most likely be a hit but I understand how one could be tired of the 80s synthpop pastiche by now and whilst this is anecdotal, I do feel like there was significantly less hype, at least from what I’ve seen, about not necessarily the album, which is still exciting for everyone, but this song in particular, which is yet another one of those pastiches. It’s got the same gated drum effect though they feel a bit thin outside of the fills, it’s got the same cute synths but with a much wonkier lead this time around, and whilst Abel will always sound great on record, he also phones that chorus in a tad, and it sounds especially so in the droll verses, with his now signature “Hey!” added in seemingly as a reminder that yup, this is the “Blinding Lights” guy. I don’t know about this one, it just seems like a mediocre rendition of something he’s done before that also misunderstands part of his appeal, with poetic but unsubstantial lovelorn lyrics that hint towards being more about his relationship with the music-listening audience given the reference to his “final odyssey”. It does intrigue me to where that outro is leading on the album, with the pattering out of the song into a darker atmosphere that will give this overly light and fluffy song some more balance, but other than that, I don’t care about this one way or the other.

Conclusion

That seems to kind of just be the theme of the episode: a lot of generally okay songs but mostly filling in for what I’ve already heard before. We really have three unique songs then a set of reruns, like the network ran out of new shows midway through the primetime block. Embarrassingly enough, Odetari runs away with the only song I even like here, “KEEP UP”, as the Best of the Week, whilst Tate McRae takes Worst of the Week for “It’s ok I’m ok” - though it may not sound like it in my review, “Disco” by Surf Curse was awfully close as the Dishonourable Mention, what a lazy and off-putting song. As for what's on the horizon, I could hazard a guess that Future and maybe Katy Perry land a song each, but it's a long shot regarding everything else. For now, thank you for reading, rest in peace to Tito Jackson, and I'll see you next week!

#uk singles chart #pop music #song review #the weeknd #surf curse #odetari #chappell roan #tate mcrae #playboi carti #teddy swims #nines

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felixravinstills · 6 months ago

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volumnia for the ask game!!!

Ask Game

Thanks, anon! Always happy to talk about my favorite wire mother!

My first impression

Haha, Silly Mad Scientist Lady! I always thought she was kind of interesting, but I always need some sort of visual to help kickstart my obsessions and I wasn't really in the fandom after reading the book so I wasn't seeing any fanart (is there pre-movie Gaul fanart?)

My impression now

Viola Davis' portrayal really dominates my mind even though it's probably not exactly how Gaul was supposed to look at all. She is wire mother to me. I love her. I need her to look me in my eyes and scare me so bad I have a heart attack.

Favorite thing about that character

Just her whole vibe. She's the worst and I love her

Least favorite thing

That everything about her and Max (Pres. Ravinstill) is made up/a joint hallucination with El.

Favorite line/scene

When she's talking about being and obstetrician and sharing her world view with Coriolanus. That's her little creature <3 Or he's trying to make him that!

Favorite interaction that character has with another

See above

A character that I wish that character would interact with more

I-is President Ravinstill too much of a cop out at this point? Because he's a man who barely exists? Well, the other answer is Felix, so RIP.

Another character from another fandom that reminds me of that character

Renee Branvillier Parmedes from B! and Adora Crellin from Gillian Flynn's Sharp Objects. I don't know how well those comparisons hold up to close scrutiny, but they have the certain vibes... Also maybe Jenova from FFVII. Alien mother... just corrupting some guy raised in a lab.

A headcanon about that character

She's not really a part of the oldest and most influential families, and her home life was pretty standard before the usual Capitol intrigues probably killed her parents. But she was already strange and off-putting. I don't think she's born into who she becomes, but rather her worldview is the easiest explanation for why she is the way she is and she excepted it with no nuance. Her just adopting that worldview snowballs her into who she becomes. <- I'm explaining this badly.

A song that reminds of that character

Someone put me out of my misery. I don't know! Actually wait!

The Most Unwanted Song Ever by Dave Soldier and Komar and Melamid???? Because forced to listen to that song on loop while playing board games at 3am in a classroom during University was insane and maddening, and it was definitely a surreal Volumnia worthy experience. The operatic rap portion... The soprano juxtaposed with the children's choir jingles. I think about it often. (don't click this)

An unpopular opinion about that character

I never want to see a prequel about her origins. The mystery of it is part of the appeal. I love hearing what other fans think is going on, but I don't think Suzanne Collins should ever give us something concrete (idk if this is unpopular? very few people talk about her...)

Favorite picture

#this might be the last song pick i can do... this is also the most unhinged song pick fittingly enough... don't listen to that song...#i listened to it for at least two hours from like 2-4am.... cries #my villain origin story... im listening to it right now. do all your shopping at walmart #abyssal stuff #the ballad of songbirds and snakes #tbosas #volumnia gaul #ask response #anon ask #dr gaul #ask game

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bathoarchives · 1 year ago

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Behind The Beats: Hookage's Steady Rise To The Top

photo credits: BACKYARDSTORIES BOTSWANA

In the first edition of our interview series, we have hookage, a music producer/beatmaker born and raised in Francistown and Gaborone. He produces a wide variety of genres. The producer says his exposure to different genres( hip-hop, rap, neo-soul, rnb, deep house, etc.) and cultures nurtured his ability to produce different genres.

He has produced for a variety of artists and musicians locally and internationally, but notably, he’s produced for Kaysotheenigma's “Cherry Bomb,” which won 'Best Female Single' at the YAMAs, as well as three songs off her debut album “Fifth Heaven."

How did you come up with the name Hookage?

So i got the name from the anime series, Naruto but i added a twist to it. In the series, the original word is “hokage” and this is the title given to the leader of the specific village . So i added an extra “o” to honestly avoid copyright infringement issues but the meaning behind the name stands because i view my music and audience as my “village” and it’s my responsibility to take care of them.

How did you get into music production?

It started off as me playing music production games on my tablets as a child around the ages from 9 to 13 because i had always had this deep-rooted interest and passion for music but never really knew how to get into making my own stuff. So in grade 8/form 1, i met someone who taught me how to use Fl Studio and so i started making beats in 2017

We really like your ability to blend different genres into one track, who or what would you say has influenced your style of production?

Honestly, it’s an amalgamation of different producers and artists as i take different things from the individually. For example, i love the way Pharell Williams approaches his beats and certain chord progressions, where with The Alchemist, his ability to chop up samples the way he does or even just finding the samples he does is amazing then artists like Smino or JID, who manipulate their voices to sound a certain way whilst also using their voice as percussive instruments is also insane.

One of our favourite tracks by you is Need U, what's the story behind the track,who's on the vocals?

With that song, the whole thing is honestly a different song that didn’t have any drums on it but just vocals, keys and bass. i can’t even remember the original name of the song but i separated the song into those different layers and added drums of my own. I initially wanted to keep it for myself but i knew i had to at least post it

You've worked with numerous artists across different genres,out of all these collaborations which one would you say is your favourite?

I don’t think i can put a finger on my favorite because we all work together but if i had to choose right now, it would have to be spacerover and lucas chubbs

Which artist would you like to work with that you haven't yet?

There are so many artists i really want to work with atm but for now it would have to be K.alahari without a doubt

Before you performed your set for Backyard Stories, they revealed that you learned how to dj with vinyls from your dad, how was the whole process?

So it’s an interesting story because my dad and his brothers are all former Djs but had their own preferred genres hence why i have the variety of genres between house, hiphop, rnb etc. It was mainly my dad teaching me but the whole process of actually using vinyl was hard but i caught on quickly because i never used digital djing software so i had nothing to reference.

So Botswana was recently introduced to the music collective 'Ascension Pleas' and how it came about but, we'd like to hear from your perspective about how you met the others, your music production process and how being part of the group benefits you as hookage?

So as we explain prior, it really was just coincidence because we didn’t really even have a motive to be at UB apart from rehearsals for Pablo%8’s show that week and we then just decided to work on something. In terms of meeting them, i had already known banzai the longest as we already been working since 2021 but i met Lucas Chubbs and spacerover last year, same with briann bc but that we met at UB was the first time me and BC (briann BC) made music together. For the time being, i usually just give them old beats i didn’t have use for but recently we’ve been working hard with the new beats i’ve been making. I usually make a beat then send it to them to see if they feel it then the decision is made whether to use it or not. Me being apart of the group let’s their audiences become aware of who i am and possibly follow me in my journey and on the other hand, it let’s me share my love for music with like minded people who i can consider my friends and that deep love for music is something you can’t share with anyone

A lot of new generation artists and creative platforms have been emerging in Botswana, which one would you say has stood out the most?

I would firstly say you guys because i’ve seen you guys grow so rapidly but it’s because of your authenticity. Other artists that have really caught my eye are borus, chrysus, emo, mantra, magadi. there are so many more but they’re just a few to name

Favourite producer from Botswana?

it would have to be Simba the Indigo, one of the members of K.alahari

Out of all the songs you produced, which one stands out the most to you?

It would have to be some unreleased, song name titled “Honesty” which will feature on my debut album. It might be my best produced song at the moment

What's next for you, Hookage?

I’ve been quietly working on my debut album which is set to drop next year. This album is what I’ve been working on apart from working with other artists, just slowly piecing it together and it’s going to be a great start for me to establish not only as a music producer but an overall musician.

instagram: @hookagesamaa

stream hookage: campsite.bio

#hookage #artist interview #botswana #music producer

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mio-nika · 2 years ago

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I was rewatching a Lindsay Ellis videos about movie adaptations of musicals and why they usually don't work. Diegetic and Non-Diegetic narratives.

And it organically started this line of thought about Legion and how hard is to recommend it. So I wrote a giant post.

Like, yes. It's a very lose adaptation of marvel comic. The forgotten spin-off of X-Men universe about a powerful but insane mutant. But, let's just say, it took me three seasons to understand that it was a marvel property. I'm quite slow and only when I heard the last name Xavier I started thinking that I heard it somewhere else. It works great as a stand alone story where some characters just has this paranormal abilities and government are kinda not having it. So I don't think that marvel fans would be very interested in watching. Daredevil is not a good show, but at least Daredevil has Daredevil in it (sorry for fans of dardevil, I also like whump but let's be real here).

And for other people... It's extremely weird show? When I was talking about it with my friends and acquaintances I usually compared it to Voices, a 2014 thriller/black comedy film staring Ryan Reynolds who kills women and talks with his cat. But I also don't think that it's a good comparison? Voices is a black comedy and even if it takes some of the parts of living with schizophrenia realistic it downplays it for comedic purposes.

Fuck. I should have started from explaining that Legion is. As I already wrote, Legion is a TV series loosely based on the series of marvel comics by the same name.

It starts with David, our main protagonist, who is living in a mental hospital, because he's a menace of society, hears voices and let's just say. A little unstable. In the course of the first episode he finds himself a GF and finds that the reason why he hears voices is not because he's sick, but because he's a powerful mutant, a telepath, who hears other people and gets tangled in their minds. And he's a god's child and saviour that that will defend mutants from oppressive politics of humans.

So it's a story about telepaths. And showing epic battles between telepaths are kinda hard? I mean, they can throw big blocks of concrete, cars, control other people minds but it's all are happening outside of their minds. To show things inside their heads, you need to go deeper, you need to be creative. And weird. The magical and terrifying world of human psyche.

In the exact first episode we are granted with a complicated choreographic scene of all of the mental patients in the clinic... How else would we understand that the main character is in love with a girl of his dreams?

And it's only the starting point. The show blurres the boundaries between reality and unreality, where every event is both real and theatrical because in the mind of the main character. It is.

And this is the problem. For example. I have a friend. And they told me, that they don't like musicals because it's hard to them to take seriously the moment where everyone just starts singing all of the sudden. And like. Valid. So let's imagine that the people in the show, not only start singing for no reason, they start a complex dance-off to show their mind power? And you don't even know if they're really dancing, or they just. Doing something else, that for the audience looks like a dance? Anyway, yeah, the second season starts with a dramatic dance-off between three powerful mutants and you just. Sitting there. And I refuse to tell you about rap battle. There was a rap battle. I'm an old wizard who lives in the shoe...

Every episode of Legion starts with a retelling of a previous one. And where all the other shows says "previously" Legion says "ostensibly". Ostensibly in Legion. Who knows that is happening? Not me.

So let's get back to the Voices. Why I'm so torn up when I'm comparing Legion to Voices. Because, well. I think that Legion tells a story about mental illness and it impact much more seriously. Yes, it's a quirky show, with dance and songs, but... "может ли бог быть сошедшим с ума?"

Have you ever watched "They Look Like People"? It's an indie horror film from 2014 about a guy who hears voice of God telling him about incoming apocalypse and alien monsters who are taking people's bodies. I don't like horror movies where mental illnesses is a main story point. They are usually tacky and mean. "This person is ill, so he's scary and dangerous!" And all that. But at the same time, illness is dangerous. Not only for people around sick person, but to the person themselves. Main character in They Look Like People is not evil, he's sick and he needs help. He's suffering much more than the suffering that he inflicts. But where the main character in They Look Like People has a way out, the Legion does not. So what will you do? What you could ever do, if you have an insane god in your hands who are untreatable. And even if he was, he would refuse help because of the years of medical abuse. Both he and people around him have no way out. No happy ending.

So. It's hard to recommend Legion. But I would ask you to try. It's a salad of beautiful horror hiding in colourful clothes of the fairy tale.

Милый, имя тебе легион...

#sorry for long posts #infodumping is my fsv soothing mechanism #so i will be doing it a lot in a near future #gonna even tag it as it #self soothing mechanism #legion

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