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corviiids · 9 days ago

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sparknotes for my souyo fic 'going on and on and on'

happy year of the souyo in 2025. it's souyo year everyone! (as always don't read the post if you haven't read the fic it won't make sense)

i feel like this is even less of a sparknotes and more of a stream of consciousness than usual but whatever. it's word vomit about interalised homophobia now

first of all the timeline, which fucked with me initially because p4 came out in 2008 and in my head i was like oh, it's set in 2008. it's NOT. it's set in 2011-2. anyway, i did some hurried bad math about it. basically yu and yosuke are a year or so post-college and are roughly 23-24 years old in this fic. nanako is 14-15. the title comes from signs of love because after i outlined the fic i checked out the lyrics to the song and was like hey. i think i just wrote that.

He said, "I'm the one who's got to leave", I said "Nobody's really got to leave 'cause I don't hear enough explanation All I need is admiration" Big frustration, bro, he goes "Life is short, we gave a shot But didn't work, honey, 'cause we had A whole lot going on and on and on"

so this idea of a post-canon souyo has been plaguing me for about a month, then i got sick and at the peak of the sick i rewatched p4a in its entirety so that was that. i think yosuke with internalised homophobia is rightfully a cornerstone of p4 fandom but lately ive been yearning for a quieter and slightly more insidious form, beyond the old standby of 'yosuke overcomes his visible bigotry, one of them confesses, and the relationship starts'. i was like, what if yosuke IS over his bigotry insofar as it applies to other people, and yu's already confessed, and that's still not enough for the relationship to start because yosuke hasn't overcome the mental block it's created for himself without his knowledge? it's harder to overcome that, because yosuke's not aware that he has any qualms left about liking guys, so he doesn't even notice he's in denial. but yu notices, and it hurts him. and go from there.

i really like yosuke a lot. i think he's the most nuanced take on the best friend character out of 3/4/5 even though i obviously have a lot of love for ryuji as well as junpei - it's not necessarily that yosuke is a better or more complex character, but that he plays more with the trope. it's sort of novel because as well as being the fun and fresh bestie (with baggage!) he is also kind of the brains of the outfit and incredibly shrewd, which is rare for the best friend trope. also, all the best friend types are insensitive at times by way of being happy-go-lucky and sort of indelicate, but yosuke also says fucked up insensitive shit in a more blase and less clumsy way, at least as compared to characters who are openly crass - it reads less as rudeness from being unthinking and more as the consequence of an undercurrent of unconscious social biases, which again is more subtle and insidious. pair that with the fact that he's a legitimately reliable, kind, and clever guy, and that makes him a really fun character to write because he never says the obvious thing. pair HIM with yu, arguably the most good-natured and patient of the three protags, and you get a super fun dynamic with the potential for a lot of heartbreak. i know im not saying anything everyone doesnt already know because souyo has been around since the stone age, but listen. souyo is one of those things that's so obviously good and popular it becomes underrated again. it's like shakespeare. yeah souyo is like shakespeare i stand by that. justice and goodness demands that every now and then you sit down and re-realise how good souyo really is.

anyway! that led me to think about, like... if yu confessed before yosuke was ready, yosuke wouldn't shun him but definitely would make it extremely obvious that this was something he wasn't ready to confront. and those socially learned biases would come out in a way that yosuke means totally innocently and even kindly, but which would nevertheless hurt as much or even more as if yosuke had openly shunned yu. the events in my head are that yu confesses to yosuke a couple of years into living together and yosuke promptly compartmentalises that shit and refuses to reflect on it any further and represses anything relevant to thinking more deeply about it. yu, my best friend, is into me. [that's something i can't think about too much.] when i waved him off, he accepted it, so it can't be that serious. [yu is the type of person to shutter his own feelings away instead of bringing them up if he thinks he won't be well-received or might upset someone else, because he's an independent person who cares about others and fears being alone, which means i can't trust him to tell me honestly if he's upset.] i'm safe to assume this is behind us and move on. [i won't think about this again unless it's brought up again. i know yu won't bring it up again.]

"... Back in second year uni—yeah, he told me he was, I dunno, interested, or whatever. I told him I'd never thought about him like that. He said that was okay. And I guess I just—I mean, I never thought about it again.” Rise considers this. “That’s kinda a weird thing to never think about again,” she says. “Your best friend confesses his love to you and you’re just like, OKAY! Really?” When she says it like that, it is kind of weird.

the comment attached to this section in the working doc: "yosuke: am i really a chill guy or is it repression"

in the fic yu mentions he kissed yosuke at least once while drunk. yu being drunk means yosuke has a perfectly good excuse to dismiss that event as a one-off and ignore it too. this is brought up in like one sentence in the fic and neither character addresses it directly or goes back to it to discuss it, and that was very important to me. i think in a lot of pining fic the focus is on the knowledge of whether or not feelings are requited. once it's clear that both parties have feelings for each other, or even that one party has feelings for the other, the major roadblock is cleared and they're able to pursue a relationship, which is why in a lot of 'getting together' fics the climactic event is, understandably, the confession! in reality things can be a lot more complicated than that :( yosuke doesn't know how he feels about yu, but is aware he feels strongly. but yu confessing and even kissing him or doing other things that make his feelings undeniable isn't enough to overcome the difficulty that yosuke is facing internally - it's not enough to make him sit down and go, yu has feelings for me, so should i think about how i feel about him?

on that note, another thing i really wanted to avoid is the idea that yu just moves out because yosuke doesn't reciprocate:

"... And if you really never felt that way about me… if we were only ever going to be friends, I would’ve been fine with that. But if you refuse to face yourself, it’s different. It hurt too much. ..." -- "... You don't want to be ready. You don’t want to confront this about yourself, the idea that you might feel that way about a guy. You want to keep living this way forever, just having fun and hiding away. And I just—I can't do it anymore, okay, Yosuke? I can't keep helping you hide. I can't keep sleeping in the next room, making you breakfast, helping you pretend away the fact that I—” He stops and sighs. “If I'm wrong, and you never felt the same, then I'm wrong. I can live with that. I just need to know you're not running away. I can't keep being your accomplice in that.”

yu's pain doesn't come from his feelings being unrequited, it's that yosuke doesn't respect himself or yu enough to be honest with himself. if yosuke had done his reflection and come to the genuine conclusion that he either doesn't like guys or does but doesn't feel that way about yu, then yu would have accepted that. in another universe i would've written a fic about genuine unrequited love where yosuke just does not feel that way about yu and yu is okay with it because he loves yosuke as his best friend and partner and would be completely fine living with him as his roommate and standing by him as his friend, content to spend time together. the only reason i can't write this fic is just because i personally think yosuke DOES reciprocate... lol. anyway as naoto brings up:

“No… Well, not really,” says Yosuke. “I mean, I guess it does, but it's not him, exactly. I just don't know how to react to this. It's a lot of pressure, you know? Him saying he's serious about me, and that he can't live with me unless I feel the same, or whatever. It's kind of too much. I know Yu likes guys, but I never even thought about that sort of thing, so it's… kind of a blindside.” Naoto seems to pick his next words carefully. “I don't believe it was ever Yu’s intention to present you with an ultimatum,” he says. “I can't imagine he would want to make your friendship contingent on reciprocating his feelings. It's none of my business, but I would encourage you to reevaluate his meaning.”

this maybe feels like a fine distinction, but it's really important for me to make!! yu's never going to hold his friendship hostage because yosuke doesn't reciprocate. this fic has almost nothing to do with how yosuke feels about yu and everything to do with how honest yosuke is with himself, and how THAT affects yu. yu is aware that every moment he spends with yosuke in this state is more time that he's enabling yosuke not to be honest with his own feelings, which forces yu not only to live in a hurtful lie but to be actively complicit in doing so. this is p4 after all! the entire theme is facing yourself and the strength of heart required to face oneself being made manifest. yu endures it for like five years and then eventually realises he can't do it anymore, either from a values perspective or from a self-care perspective. this distinction matters so much to me because of course it's a ship fic and romance tends to be at the heart of ship fic, but yosuke's romantic feelings for yu really aren't at the heart of this conflict at all. i don't want the message to be that yosuke has fixed himself via being gay for his partner. rather, his love for yu in whatever form, and the idea that yu represents the truth for him, forced yosuke to accept the truth about himself and finally enables him and yu to live in an honest way.

ok let's like briefly talk about the other ships and characters. sorry to yukiko who got almost no screentime it just happened that way.

this fic kinda has... every ship?? in it?? which was sort of intentional. i was really trying to push hard with that 'small town' thing of everyone knowing everyone, because this was what yosuke ended up using as his shield against what he was actually avoiding. he thinks it's just that inaba's world is too small and that he doesn't want to be like his friends just dating within their circles, but as yu points out, it's really not a problem to date within your friend group if that's what's working for you. i wanted yosuke to have this easy excuse to start with before eventually realising his problem isn't inaba and the solution isn't tokyo - the problem is inaba when yu isn't there, because it lost its appeal once yu left, and the solution is only tokyo when yu is with him, because tokyo loses its shine when yu leaves there too. the point is that yosuke is looking in completely the wrong direction for what's actually making him happy. his problem wasn't inaba at all, and there's nothing wrong with dating your best friend. ok i said i was gonna talk about other characters but it's yosuke again. let's talk about other characters. my point was that it's kind of a 'and they all lived happily ever after' stereotype to pair all the main characters off, but that was a Literary Decision. ok it was a Choice. i Meant to do that. probably

chie and yukiko to me are just an obvious pair. i actually initially thought about dating yukiko when i did my first p4 run but after doing her dungeon i abandoned that idea entirely because her and chie go through an entire romance arc in about four seconds flat. i dont need to sell anyone on those two. ive always had a real soft spot for kanji and naoto, but i also really like naoto and rise together, so i thought, this would be a fun way to complicate things even further for yosuke by instead of just pairing them off having them all be involved with each other in this web of casual relationships. i didn't tag any of the other ships because to be frank it's just not really about them since yosuke's mostly just focused on himself, so there's not a lot of detail in the fic about what's going on there, so here's like... a chart... btw seven months pass from the beginning of the fic until the end. at the three month mark chie and kanji go to visit yosuke. ok we go

at the start of the fic kanji and naoto are in an on-again-off-again situationship. when kanji visits yosuke at the three-month mark they're still in this state. sometime between this and the point where yosuke visits inaba, kanji and naoto settle and solidify, so by the end of the fic they are in a serious committed relationship.

naoto is bigender because all detective princes are bigender. yosuke didn't ask her pronouns but they're he/she interchangeably. she can be referred to as kanji (and rise)'s boyfriend or girlfriend but usually prefers partner. the others sometimes fumble around with this so sometimes (most often with chie and yosuke) he will just be referred to as kanji and rise's... (confusion) naoto???

rise and naoto get involved while kanji and naoto are still figuring their shit out and aren't exclusive. they are strictly casual and are not looking to be in a long-term relationship.

kanji and naoto are technically open but neither of them is seeing anyone else except for naoto seeing rise. kanji is okay with this but as naoto says in the fic he is still getting used to it. naoto and rise are prepared to end their involvement if at any point kanji decides he's not okay with it anymore. kanji is a little insecure because he isn't sure how much naoto really likes him, but once he realises how serious naoto actually is about him, he will settle down and i think he'll be fine.

rise is not interested in a long-term committed relationship right now at all. she is exceptionally chill about the interconnected relationships and is jealous of nobody. after yu and yosuke get together she and yu will shake hands and go back to being normal friends.

she gets involved with yu after yu moves back to inaba. they refer to each other as boyfriend and girlfriend but it's not that serious. yu is earnestly trying to move on from yosuke (hasn't yet) but is not attempting to do so with rise, they are just having fun. (rise calls herself yu's rebound but this is a joke)

chie and yukiko are each other's girlfriends but might come out of their holiday as fiancees. unclear

teddie is single

so that's the soap opera part of all this

i was personally really fond of the naoto and rise scenes in this, i just liked writing them a lot. naoto really suffers from being the last character added to the party and so just doesn't get the same amount of time to develop her relationship with the group or with any individual party members, which is such a shame, because she is SUCH a fun character. she and yosuke are really interesting because i would argue that (maybe outside of yu) they're the smartest characters in the party and until naoto joins the group it's yosuke filling the niche of the detective, so it's sort of a shame that they never really get to bond. this section also has one of my favourite lines in the fic which i keep expecting someone to call me out on

Whoa. Naoto’s getting more than him? Pint-sized, gender-ambiguous, awkward turtle Naoto Shirogane?

remember when everyone was saying awkward turtle? i just wanted to be true to this being a game from 2008.

anyway, there are two bits of advice to come out of the naoto and rise sections that i thought were most important to yosuke's development in this fic:

Naoto leans forward. “Yosuke,” he says gently. “I know we don't know each other particularly well, but for my part, I’ve always considered you a good friend. Would you accept a bit of well-intentioned advice?” He waits for Yosuke to jerk his head. “It's not a failure of self to admit that you want something. Just remember that, okay?”

and

Yosuke furrows his brow. “You realise it sucks, right?” he asks her. “It sucks people keep talking to me like they know me better than I know me.” Rise shrugs. “Isn’t that what friends are?” she says. “S’not like not knowing yourself makes you a dummy. That’s life. We haven’t got the TV anymore, so you gotta have friends you can count on to… to switch on the Yosuke show and spot your Shadow self when you can’t see it. Persona!”

the latter to me is about the mortifying ordeal of being known or whatever. it's about being vulnerable to others in a way you yourself aren't aware of and accepting that that isn't a bad thing all the time. i kinda want to offer yosuke some grace here as well - as irritatingly oblivious as he is, it IS kind of disconcerting and upsetting to be constantly told things about yourself like everyone thinks they know better, and it can be really uncomfortable to have a relationship with a friend reframed by finding out they feel a way about you that you weren't aware of. the stuff he has to overcome in this fic is more complex than just 'accept he likes guys' - there's a lot of introspection and acceptance required in looking inward and finding out you don't know yourself as well as you thought you did, especially if there's external pressure.

"hey rook, why didn't anybody kiss in this fic?" i personally really enjoy making you read twelve thousand words of pre-relationship and not rewarding you at all. that's the reason.

when i was first outlining the fic, i got to the confrontation that yu and yosuke have at samegawa and thought, okay, this is the part of yosuke's social link where yosuke (atlus?) fumbles his shit hard, because that entire rank reads as leading towards a love confession until yosuke is like "YOU HAVE TO PUNCH ME IN THE FACE."

so in my head i was like, this fic COULD be a fix-it for that. it could be. a different man would end the fic there and have yosuke realise his shit after yu chews him out, and it resolves by yosuke going "this time im going to ask him to kiss me instead of punch me" and then it resolves with a kiss and they live happily ever after. obviously i couldn't do that. it had to be a lot messier than that because of who i am as a person. so i dragged the outline on for another 1.5k or something after that point and the fic itself runs for another 6k.

LIKE THIS POST!!!!!!!!!!!!!!!!!! I THOUGHT I WOULDN'T HAVE THAT MUCH TO SAY AND THEN IT JUST GOES ON AND ON AND ON!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

#THIS POST IS 3.4K #rookfic #long post #my god dont read this i just had to exorcise this. im in the p4 mines

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changingplumbob · 7 months ago

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🎶✨When you get this, you have to put 5 songs you actually listen to, publish, then tag others 🎶✨

Tagged by @eljeebee. Hmm, I'll see what songs/albums I've listened to recently. I'll try not put any TSwift because I'm sure you all know I listen to that...

So I've been looking at listening to newer albums by artists I listened to when they had original hits. I love the sound of Of Monsters And Men. They just have incredibly clever lyrics and good sound. Wolves Without Teeth is my favourite from its album.

Okay so I originally heard Set It Off from the album Punk Goes Christmas, where they got punk or similar themed bands to sing christmas carols, I love it. Anyway I investigated their albums and while I like many of the fast paced songs I have a soft spot for when they slow it down and strip it back like they do on Miss Mysterious.

Okay so spotify recommended that I listen to an album by First Aid Kit after I listened to I Found A Way, I think it's on my Life is Strange songs playlist? Can't remember. Anyway I like a lot on that album and I do love when King Of The World comes on.

This one was recommended to me from spotify years ago and I just love it. 6'2 is basically a song saying, hey god if you're taking requests I'd like my man to be x y z, but you know I'm good to wait if you're not bringing him to me just this second. As a romantic who is normally single (because who can focus on dating when you don't even have the energy to have a job) it keeps me hopeful and optimistic.

Originally heard this one on the Fall Out Boy mixtape Welcome To The New Administration, it was snippets of there music and others music and basically I loved Lake Effect Kid but it didn't end up on Folie a Deux. Fast forward a decade and they gave it it's own EP and I could finally listen to the full version and I am still obsessed.

So yeah that is five songs I do listen to. I'm feeling tag shy today (sorry) but like always I tag anyone that follows me who wants to give it a go because I am the tag octopus, just a shy tag octopus today.

#tag tag or dag dag #thank you Lana #Spotify

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mrspark7777777 · 10 months ago

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looks like no pronouns in this little clip they just posted of who behind the scenes

https://x.com/kmgoogiemini/status/1818588397335638039?s=46&t=1vpxCz-hcEUUJGzw7h18UQ

Hello my lovely 😊

If you look at all the 'yous' they've been written over something that was erased.

I see jkkrs (like OP) saying the lyrics were originally "you" but that don't make sense to me.

So here's my theory:

Why on earth would our bisexual king (with a preference for men JK) change the lyrics to she? Right? So I 🙋🏽‍♀️ personally think that Jimin got the lyrics as 'she' and then he rubbed that off and wrote 'you' and 'your' but was advised? It would prolly be safer if he just went with 'she'

Guys, listen.

BTS care more about what KArmys think more than IArmys. There. I said it.

Idk if you guys remember but this is how JHope's festa logo looked like at first.

But then Karmys and some Iarmys like this one

(who i honestly think we're just following Karmy's suit) complained because the morons could not see that it was a clever way to write Jhope. The J and the H have been fused together. Its right there clear as day. But still, they complained and BH changed it to

And alot of us were absolutely fuming at this

BH did not have to listen to these complaints. Like at all. If they took a second to think about how involved members are in their work, they would have realised Jhope approved this. And they would have been able to identify the J inside the H.

Anyway, anon, what I'm I saying? I'm saying that a the end of the day, international Armys, as antis as some of us are, we would be more accepting of members being part of the LGBTQ+ You know what I mean?

But as long as SK remains as homophobic as it is, we will never be the priority. So when Jikook use "she" in their songs its more about Karmy than us. I mean look at their reaction to the Like Crazy choreo. Iarmy, we didn't care. We loved it. But they thought it was scandalous 🙄🙄

/sigh/

All this is to explain why Jimin would be advised? Against using "you/yours" which is why he took the direction he did with the MV. Having JK's eyes in it and what not 😂 amongst other things.

But yeah, the fact that the "you/yours' on the board look messy, says alot.

#ask mrs park #jimin and jungkook #park jimin #who jimin #jimin who #bts #jimin muse

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leave-alighton · 1 month ago

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Time for a segment I should find a better name for: Songs That I No Longer Feel Like Pretending Aren't Good Just Because of Public Opinion.

Get your eye rolling out of the way now because I'm talking about Wait For It from the Hamilton soundtrack.

Yeah, yeah. Hamilton. You don't like musicals, Why is it about the founding fathers?, Lin Manuel Miranda is overrated, Um Actually it's Historically Inaccurate Because- shut the fuck up. Get out of here with your shallow, uninspired, freezerburnt takes. I guess in order to get to the meat of this song, I have to spell out the point of Hamilton. Spoiler alert, it's not about the founding fathers. On the surface, yes, it presents a paraphrased version of the independence of the United States of America. But if you go a modicum deeper, think a pinch more critically, it's about destiny, love, conviction, and all the complications that come with. The founding fathers are simply a vehicle for LMM's vision. Once you allow yourself to accept that the characters share the names of historical figures, you might be able to enjoy the art and talent that has come out of this show.

Take, for example, Wait For It. Sung originally by Leslie Odom Jr., who plays Aaron Burr, it's the 13th song on the soundtrack and one of my top favourites in the show. We'll start off easy and take a look at the lyrics, since they're basically LMM's personal play-doh. The first chorus:

Love doesn't discriminate Between the sinners and the saints It takes and it takes and it takes And we keep loving anyway. We laugh and we cry and we break And we make our mistakes. And if there's a reason I'm by her side When so many have tried Then I'm willing to wait for it.

And the second:

Death doesn't discriminate Between the sinners and the saints It takes and it takes and it takes And we keep living anyway. We rise and we fall and we break And we make our mistakes. And if there's a reason I'm still alive When everyone who loves me has died I'm willing to wait for it.

I mean come on. Stripping away the context, looking at just this, it's perfect. It's poetry, the side-to-side comparison of love and death and the similarities and differences. The faith and optimism he has (which is made all the more moving when you know how serious and cautious the character is), the emotion in "it takes and it takes and it takes" that I know everyone feels in their heart, not to mention the clever act of changing the chorus to draw more attention to the main theme of the song itself (because i can admit that LMMs songs are famously, Very Wordy)- already I am absolutely taken.

I can absolutely go on about the remaining lyrics, and how LMM is able to deliver important points of the story without just, telling the audience what's happening to a generic melody. He drives home ideas that progress the story- even occasionally sprinkling in points where he does straight up tell the audience what's happening, but using it as a literary device or accent to break up what are dynamic, almost Rhapsody-like pieces of music.

Like most of the pieces in the show, this song has a unique, identifiable, consistent rhythm and chord progression. Just listen to the first couple seconds- that's the Wait for it rhythm. Most of the rest of the soundtrack has their own 'trademark' as well- each song set apart from the other. You'll be back, Helpless, and Non-Stop are all incredibly unique pieces, and are only a few of 46 in the whole soundtrack. Wait for it, while unique, also falls back on its roots as a, well, broadway musical song by utilizing backing vocals- which overlap and harmonize beautifully when they need to emphasize and drive home a theme or just swell with the music in order to give that cresendo a bit of oomph.

In the end, it's still a Musical. As much as I don't understand it, not everyone likes musicals (who hurt you?). It's still part of the genre, as unique as it is. And, occasionally it can be hard for someone to separate the stigmatized context from what truly is, a fucking banger.

#Spotify #music #musicals #lyric #lyric posting #hamilton #wait for it #lin manuel miranda

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droughtofapathy · 6 months ago

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"Welcome to the Theatre": Diary of a Broadway Baby

Death Becomes Her

As a self-proclaimed pretentious highbrow theatre snob, I'm here to tell you that this show is a really fun time. The two leading ladies were born for this high-glam kind of camp and chew the scenery so much it's a wonder there's anything left by curtain. The have the audience eating out of the palms of their hands and cradled against their massive bosoms. The show's technical aspects are a sight to behold. The way they pull off the illusions and stage effects need to be documented and shared with the rest of us. With a $31M capitalization, it shows on that stage, and especially with the extraordinary costume design. The physical gags are a balanced blend of impressive and hysterically slapstick. It is non-stop entertainment, and I'm just so happy that the design commands attention. Bring back maximalism. The book is also a hoot, and serves the (ridiculous and rather stupid) plot well with some fun and filthy lines that most of the cast delivers to perfection. This is a show that doesn't try to be anything more than what it is: zany, screwball, campy fun.

The weakest part is the score. It's immemorable, to say the least, and while it's serviceable to the show's purpose, it doesn't have the same maniacal zing to match the book and the performances. The songs move the story along, but without much momentum within each one. One of the strongest (Madeline's Act One tour-de-force "I Do It for the Gaze") is largely as impressive as it is because of its madcap staging and almost half a dozen costume quick changes. These include some divine send-ups. Unfortunately, the rest of the score fails to capture that same energy again. Act one is decidedly stronger, and while the beginning of act two and its special effects showcase is a marvel to watch, the story sort of meanders after that. The ending seems atonal to the rest of the show's bonkers mood.

With her classical training very evident, Megan Hilty does the most with the score as it is. Most of the lyrics follow a basic AB rhyme scheme devoid of any clever wordplay that would have elevated this fun show into the stratosphere. We're never getting another Sondheim. I need to start lowering the bar. Not that the lyrics matter much anyway. The show's mixing is far more successful than its previous tenant and even in the rear mezzanine the vocals aren't fully drowned out by the orchestra. But, whether it's an issue of diction or balancing, some of the lines end up garbled. I love Jennifer Simard. I think she's bringing a level of genius to Helen in a role that otherwise does get overshadowed by the Madeline track. She has the kind of go-for-broke unhinged comedy chops seen in just a select few these days, right up there with Katie Finneran and Andrea Martin. But in her big belty lines, she does tend to blend the lyrics. It's nowhere near Patti LuPone "Buenos Aires" levels, but I'd like to see more diction.

Otherwise, it's Michelle Williams as Viola who doesn't rise to the occasion. While everyone else seems to be throwing themselves fully into the batshit tone of the piece, she's stiff and doesn't match the absurd evilness you need for the part. A small part of the problem is that many of her costumes are difficult to navigate in. Her opening outfit is untraversable. But her few dialogue bits she's been allowed to keep are rough. She's not an actress. And her singing is hit-or-miss throughout. Sometimes it sounds great, but often it's flat and off-key. This is a part that needs a veteran character actress to lean into the feral fun of it all. It would have been great for Vanessa Williams ten or fifteen years ago. Should the show keep on keeping on for a little while, I hope they get a more appropriate replacement. I won't hold my breath.

All this to say, it's a great time. We need a break and this is a hell of an escape. They've been playing to packed houses throughout previews, and it opens tonight. Grosses are around a million weekly, and they need to maintain it to stay afloat, and rocket up to really start to see profits trickle in. It's expensive to look this good.

Verdict: Why I Love the Theatre

A Note on Ratings

#welcome to the theatre: diary of a broadway baby #broadway #musical theatre #death becomes her

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volivolition · 3 months ago

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It's been on the playlist for... a couple days, maybe, I think, but have you listened to Howard by Cake Bake Betty yet by chance? We'd love to hear what you think of that song too, if you don't mind <2 <3

It's one of those songs that's just. got us in a vice grip lately. Can't explain why, honestly! We don't often listen to Cake Bake Betty (perhaps we should—they've only released 2 albums, won't be hard to do a discography listen through) but lately I suppose we've been in. A Mood™ for more darker sounding music.

(Fids also wants to ask your opinion on Masochist by Ren, on... [REDACTED]'s behalf. Fucker doesn't want to be acknowledged anywhere public, much less talk to anyone. Anyway, we think it's a fun song! Very fond of how it's sung, scratches our brain a lot. The lyrics are also very fun (if not,, violent lmao) to us. Ren's a damn good musician actually we're gonna have to listen to more of his stuff I guess lmao)

-Ford

hi Ford!!! :] <33 <22!! waves at you politely!!

!! ooh yes, i did, i did listen to this one! :D this was your status(es) for a bit, i remember checking the playlist after i read it hjglkj i don't mind at all omg <33 <22 Howard sounds so fucking haunting?? the way the piano keeps dipping back into the minor chords, and the subtle vocalizations in the background, it has such an eerie vibe ooooh, decrepit piano hall with the ghost of a widow waltzing alone across stage :o the singer has a specific like... atmospheric way of pronunciation for the lyrics, how the words seem to glide? very pretty, i can see why it'd have a vice grip on y'all hjglkj :3

Masochist! oh nods nods i understand, no worries!! hgkj it is very violent, but i still think its neat :0 i like the references and subversions on other popular rap song lyrics, that's really fun!! the snarkier verses and then the deeper voice for the chorus, oooh you're so right, the flow of the whole thing and how all the lyrical wordplay is done, it's so fucking cool, its so clever hjglkj <33 <22

hjlgkj love the wildly different vibes here /genuine!! y'all introduce such diversity to my music taste, gotta love enrichmence -w- <33 <22 ooh i hope y'all find more cool stuff if y'all ever do listen through either of their discographies!! :D thank you thank you~!!

#:0 ooh nods nods yeah!! i noticed a lot of the more recent songs have darker or sadder vibes <33 <22 #if this is a reflection of the mood as of late i lov y'all and i hope things get better <33 <22 #if its not (or even so hjgkj) then im just glad you're enjoying some dark tunes :3 #volta transmissions #suggestion recommendation #esprit: Euclydia #[does a silly twirl] :D

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lavalamps-and-ladydoors · 3 months ago

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Hello! This is an ask game so we can tag phan!! shuffle your favorite playlist and post the first five songs that come up + if you think they can be related to DnP or not. Copy/paste this ask to your favorite mutuals!!

Suitcase Full of Sparks- Gregory Alan Isakov

This is one of my current favorite songs and it's VERY dnp coded. It's about a man traveling through the world trying to find someone he loves. Sound familiar?

"Took a train to Cataloo

Opened up my guitar case and all the songs were blue

I haunted all the alleys

Lord, I drifted down the valleys

Honey, I'm just trying to find my way to you"

Also! there's so many good little metaphors in this song, my favorite being,

"Learned the language of the Mockingbird

She took and twisted all my words"

The Chain- Ingrid Michealson

I first heard this song at my summer camp. They would sing us to sleep every night. There was a mix of songs from Madonna to Peter, Paul and Mary. However this was one of my favorites. It's very melodic and I love Ingrid's voice. I think it can be related to 2009 era dnp, when they were going between Wokingham and Rawtenstall to visit each other. Not to get overly parasocial but I can understand the feeling of being cautious about falling for someone.

"I'll never say that I'll never love

But I don't say a lot of things

And you my love are gone

So glide away on soapy heels

And promise not to promise anymore

And if you come around again

Then I will take, the chain from off the door"

Slipping Through My Fingers- ABBA (Mamma Mia! Soundtrack)

Oh wow. Where to start with this? I love Mamma Mia! I've watched it hundreds of times, in High School I would watch it daily. I made a change .org petition when it got taken of Netflix. I'm banned from watching it in my parent's living room. The second my family hears the first line of I have a dreammm a song to singggg they have a physical reaction.

ANYWAY. Yes, even though this song is Donna singing about her daughter (Sophie) growing up. It's hitting her that Sophie is getting married and things are changing. I find it reminding me of hiatus/wad era dnp. Phil wanted to keep going with the gaming channel ect. but he knew Dan needed this, needed to heal, become his own person, and as Dan said, save his own life through performing the show everynight. This lyric hits hard.

"Slipping through my fingers all the time

I try to capture every minute

The feeling in it, slipping through my fingers all the time

Do I really see what's in her mind?

Each time I think I'm close to knowing

She keeps on growing, slipping through my fingers all the time"

Just. UGH. That's love. To hold and let go and hold again. I love them.

Homecoming Serf- Sidney Gish

I must say I will start out one of her songs for the lyrics but they're so catchy and I love the conversational nature, so sometimes I just listen to the beat. Her songs are so clever, one of my favorite lyrics from a Sidney song is "he's tripping balls he's tripping testes".

Hell yeah.

"I think that I'll rebel now

Not like my age is too late

I'm still half straight but I can easily

Act gayer than fck h8

And I'll tell kids to smoke cigs and weed

Despite the surgeon's warning"

I think this can be applied to dnp, especially with the idea that you have to a perfect role model, a perfect creator, but there's really no way to win. If you're too pg its cringe, if you curse too much its weird, too gay, too straight, not gay enough, not straight enough, too emo, too annoying, not annoying enough... even from an outsider's pov the constant barrage of feedback and opinions even when positive is exhausting. Obviously this song is ironic but it makes a great point and does remind me of tit! also I'm glad we have better boundaries now!

Mission to Mars- Rainbow Kitten Surprise

I'm a big RKS fan so I wasn't surprised one of their songs came up. This song is about what it's like to form a band and be in the world of entertainment. It's so dnp coded it's crazy.

"They say that viewership for launch is up by 50 this week

We changed the format completely, cut the filler for meat

It's just blood on your TV making killings for free

The ticket lines are past the sign down at the end of the street

Meet and greet, VIPs go a million a piece

We delayed the show for entry and so expired on the lease

Now we're gonna re-release it, T.B.D

Change the title to Fuck You"

Even beyond the obvious connections to 'Why I Quit YouTube', dinok, and the hiatus, I think it speaks so much to monetizing creativity/something you love in general. Dan and Phil both started youtube when they were 18, well before you could make money from videos. They were in the first group of people to make a career from making these videos and they've done so much. Thinking back to the 'yes' era it hits hard. From books, massive stage shows, bbc radio jobs, award show presenting, regualr uploads, livestreams ect ect. They did so much (still do) and they've talked about getting caught up in regular uploads, pressure, and burnout. I'm glad things have changed and there's more self care (that we can see).

In conclusion,

I doth yap! and either I'm feeling especially parasocial today or I do indeed have a dan and phil coded music taste

#phan #ask game

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itrustmydiscoverweekly · 11 months ago

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This week I listened to "I Don't Want You To Worry Anymore" by Mothé

⭐⭐⭐⭐(4 out of 5 stars)

another 4/5 stars! I've been liking some more pop stuff this past month and I think that is probably why my Apple Music is pushing more of it to me. I was drawn to listen to Mothé after hearing they'd be touring with Bears in Trees.

I liked this album a lot, lots of dreamlike sounds, very vibey with good bass and drums, and lots of variety.

I will be honest, I don't have a ton of insight this week, I was real busy and didn't get a ton of time with this album (hence the mid-Tuesday update, I wanted more time) but I know what I vibed with so I have some ideas. This album has banger after banger and I really enjoyed the time I did have with it.

Anyways, opinion time! (as always, not opinion order, just album order)

"Debt Collector" shares a name with a favorite song of mine by Jhariah but is way different and basically completely unrelated aside from the name but I digress. I like the guitar as the start, no idea what that sound is or what to call it but it is fun and wobbly. Cool drums on this track for sure. The chorus is catchy and then the screaming bridge is fun. I love how this song just gets louder as time goes on. Very fun and I think it suits its placement in the album order very well.

"Wrong Places" did not stand out to me the first few listens but definitely grew on me. I like the lyrics, they have a cool message. I like the switch between loud and quiet and I like the drums on this one a lot. I like the instrumental a lot, the bass is cool.

"Summer's Almost Gone" doesn't really hit as intended in the middle of June but it is very catchy and I love the melody of the verse with the guitar. The drums are basic but work really well as is the case with a lot of indie pop at the moment. I like this song and it captures the dreaminess of this album really well while still being more what I'd go for. The last chorus is done really well with the way it is just barely slowed from the rest of the song. This song is cool and definitely earns its place in my top 3.

Honorable mentions!! 🥳🥳🥳

"Isaac" I like the mouth percussion at the start and I'm always a whore for religious themes.

"Breathe the Air On the Moon" I love the vocals on this track a lot, I think she is very clever with the wording and just how the words sound rhythmically, especially in the first verse. This song sounds nostalgic. I like how it transitions through the 2nd verse and adds the little drum beat.

"Everyone is Everything" Sometimes my cavetown fan comes out and this song has noises and I am a big fan. Again, beautiful vocals.

I like this album a lot! She's definitely an artist I'm gonna be aware of from now on.

...if only BiT and Mothé were coming to my city :(

#album of the week #music #albums #indie music #Mothé #i don't want you to worry anymore

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kimtaegis · 2 years ago

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hi i’m sorry i realize i am one of many anons to talk to you today, but i just wanted to say i really love and appreciate seeing these discussions! i’m so happy that this is a space where i can feel we can voice our opinions and not get shot in the head like on twt

anyways, i also am not a fan of 3d, but i was kinda seeing that coming. jack harlow gives me the ick and i didn’t really like the lyrical content. i mean seven was seven, and bts has done songs before where they alluded to love and sex, but seven and 3d feel so … shallow? at least seven is catchy, but idk. idk how to feel about this route jungkook is taking, of course i will always love him but i am really glad that i feel safe to say here that i want to take a step back from this part of the journey.

i think it’s fair that jungkook may want to show a more mature side of him, considering his journey and how much he’s grown in the industry, but going from my time and begin to this just feels … disingenuous, i guess? and i hope if/when he releases his album it’s not just full english songs about sex

thanks so much for telling me!! 🤍 it’s always reassuring and just generally nice to get such feedback. because tbh I often worry that YOU all find this super annoying (I mean. some definitely do, I always lose a couple of followers lol) but hearing that makes the bad conscience disappear <3

I must say, both Seven and 3D were instantly stuck in my head, they’re definitely earworms which is an art in itself and probably what they tried to achieve the most. still doesn’t make the songs good, though. the lyrics do nothing for me personally, neither did all the shirtless promo ahdhfj I don’t know I’m just not the target audience I guess! but there’re still sooo many who like this kind of sexy easy vibe and that’s totally valid. just as much as jungkook wanting to go more mature, I agree with you on that. it’s great to see he’s comfortable enough to talk about sex and the like, really! just, subjectively, it’s been too on the nose / done in a too superficial way for me 🤷🏼‍♀️ I’m sure there’re more clever yet still cheeky ways to go about it. and yes, just as you said, the prior solo work to chapter 2 jk pipeline is very confusing. it’s just so so so different and unexpected, but that could have its own charm for him as an artist too, right? to go 180 and surprise everyone

#anon #annie’s mail #long post

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applesfallingfromblondehair · 2 years ago

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Ahhhh thank you for answering my Ask! I am so looking forward to being able to read the completed work from start to finish, although I really don't want it to end at all.

I was starting to feel for George after the big reveal, the big confession, the opening up etc but you've turned that on its head again for me this time. I know it's not as simple as just being the lyrics to that song contradicting what George has said to Matty, I know George is struggling with all those big feelings as well but I loved the use of the song as a clever tool to fuck it all up again. And yes, I don't think he's as innocent as his reaction would have us believe. Conniving, much?

The song was always going to be used because the timing was too perfect for me to pass up on it 😎 that's why I kept asking if people were keeping up with the dates hehe

Anyway re: George's innocence or lack thereof, I can't confirm nor deny. I will however let him say his piece soon enough.

Stay tuned!

#answered #writing #chapter 20

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allthemusic · 16 days ago

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Week ending: 20th February

Two steps forward, one step back. After the excitement of the Beatles last week, this week was bound to feel a bit old-school. Still, it's definitely got its charms. Subtlety's not one of them. But subtlety's overrated anyway, you know?

Loop De Loop - Frankie Vaughan (5)

It's been a little while since we've heard from Frankie, isn't it? I'm pleased to report, he's just as camp and showy as he ever was. In fact, I'd venture to say that he's gained in campness since his last top 10 hit, back in 1961. And that was Tower of Strength, not exactly a model of taste and restraint. But it's been turned up to eleven here, with lyrics that are goofy and a performance that even goofier.

It's a cover of an American original, by an R&B singer called Johnny Thunder, though the chorus is lifted pretty much wholesale from a nursery rhyme, generally called some variant of "Here We Go Looby Loo". Which I didn't think I recognised, but the more I've listened, the more I'm beginning to think I do actually recognise it? It's definitely a rhyme that exists in the UK - apparently it was used in an episode of Andy Pandy of all things - so it's conceivably a song I could have heard growing up. And that would go a way to explain how familiar the song does feel, to me. That, or the repetition and simplicity of it just got it stuck in my head in record time. Not ruling that out as an option, either.

The lyrics, such as they are, seem to be parodying dance fads? Unless the loop de loop actually was a dance that existed? I can't find any record of it, which leads me to believe that it's just meant as a placeholder, something that sounds plausibly like it could be a dance fad. Which is actually a bit more clever than I gave the song credit for. It's like a piss-take of all the "Let's do the Twist" songs going around. We're havin' a party, Frankie sings, everybody's havin' a great great time / All the gang's here and they're dancing / And I'm loopin' with that baby of mine. And then, essential in any dance fad song, a catchy but nonsense chorus - here we go loop de loop / here we go loop de lie / here we go loop de loop / On a Satuday night - followed by some vague instructions - to loop de loop with me / stand right there 'till I count to three - and lots of yeah yeahs.

And all of this is tied up in a performance, like I mentioned, that's beyond naff. Frankie's hamming it up with lots of really cheesy ad libs, wailing and whining, and the backing singers are shrill and kind of annoying, but in a catchy, call-and-response way that's very doo-wop. They then split up by gender, as the girls put on a silly and irritatingly nasal voice and Frankie appeals to all the fellas now to come and join them loop de looping. It's extra, it's daft, and super camp.

All Alone Am I - Brenda Lee (7)

And then, from the goofy highs of Frankie Vaughan we shift so something slower, more sentimental, more earnestly heartfelt, a ballad from none other than Brenda Lee. I've really enjoyed Brenda's contributions to this blog, so far, so I'm pretty excited for this one, as the strings tumble over each other, and the drums, unobtrusive but ever present, set us up a steady waltz time.

All alone am I, ever since your goodbye, Brenda sings, her voice deep and shockingly mature, for her age, all alone with just the beat of my heart / People all around, but I don't hear a sound / Just the lonely beating of my heart. Brenda, you see, is heartbroken, abandoned by her lover and feeling lonely, despite being surrounded by people. It's a strange paradox, how she's got other people around her, but doesn't feel like they're enough to replace the love she lost. No use in kissing other lips / For I'd be thinking just of your caress. You feel for her, she sounds properly broken up. And it's Brenda, so she doesn't overegg it, either. She knows how much emotion you need to sell something, and doesn't ever go excessive with it.

It's all very melodramatic, of course, and only gets more so, when the spoken word bit comes in, in the middle, with lines all about how no other voice can say the words / My heart must hear to ever sing again. Talk about catastrophising! It kind of makes sense, though, seeing as how this song was originally written - in Greek, none the less - for a romance film, Never on Sunday. It's been a while since we had a film song to deep dive into, so I was quite excited to look into this one. It kind of sounds hilarious, but I'm not sure if it's intentional. It's about an Athenian prostitute, Ilya, who's very happy with her work, and has no desire to change. Enter Homer, an American Classics student, who wishes to reform her. She, meanwhile, thinks he needs to loosen up. Homer thinks this is dumb and tries to "save" her by making her read and engage with a bunch of Classical Greek literature, only to lose her to a guy who's like "uh, she's a person, try treating her as such". Which feels like a real basic message, but clearly one Homer needs to hear. Honestly, he sounds insufferable, I think I'd be hate-watching this one. It had a soundtrack with a lot of Greek folk influences and bouzoukis involved. And while they're gone here, you still get all the slightly ridiculous melodrama of the film, still.

And you also get a harpsichord! I've been keeping track of that, recently, since it's an instrument that I know will become much more important and prominent later on in the decade. Here, I think it's maybe meant to replace the bouzouki? It's got a strange, slightly out-of-tune feel to it, folksy but in a generically unplaceable way. Should have kept the bouzoiuki!

Sukiyai - Kenny Ball (10)

Finally, we hop on a non-stop flight from Greece all the way to Japan, with Sukiyaki, a song whose backstory and popularity are fascinating to me. A Japanese song, originally by Kyu Sakamoto, it's actual Japanese title is something more like "Ue o Muite Arukō". It was retitled as "Sukiyaki" when this version came out, though, sukiyaki being the name of a Japanese beef dish that was well known at the time - but that has absolutely nothing to do with the song's lyrics! Kenny and his band were simply concerned that English-speaking audiences might not remember the original title. Which is depression, but also probably correct. Still, picking a random food item feels lazy, right?

Either way, we'll get more into the actual lyrics in a few months' time when the original finally makes the UK and US charts, though. We'll also talk about how a Japanese song even ends up in the charts in the first place, two full years after it was first recorded in Sakamoto's native Japan. These are all interesting stories, and will absolutely come up in time. But for this version, they're not actually all that relevant, seeing as how, again, this is the Kenny Ball-ified instrumental jazz version. As such, we've got no lyrics, and the tune itself, while still pretty recognisable, has been given all sorts of embellishments and ornamentations.

Knowing the original - not super well, but I do know it - I'm not entirely sure this is an improvement. It's at best a neutral addition, and at worst, it kind of overpowers the song. The best bit, in my book, is the opening, when there's this stripped-back trumpet line, a drum beat, and not much else. This, more than the Dixieland stylings you get later on, best captures, for me, the warm, cheery simplicity of the original, how carefree and straightforward it sounds.

That said, the more I listen, the more I'm coming round on the whole thing. It might just be because of how different it sounds, and how interesting I find its origins. Either way, I'm excited to hear the original in a few weeks time, and to dig into how, exactly, this all happened - how some dude from Somerset ended up picking up, popularising and somehow permanently - and kind of carelessly - retitling this random Japanese song from two whole years ago, but also, how the song came to be in the first place. We've a way to go before then. But I'm excited already.

This was a pleasingly varied set of tunes. And yes, they were all a bit more old-school than the Beatles. Frankie, in particular, felt like a blast from the past, Brenda's a big female balladeer in the mold of Helen Shapiro and Connie Francis before her. And we've been hearing from Kenny sporadically for years, too. And yet, none of these are bad things. Of all the pre-Beatles trends, camp dance fad songs, melodramatic teen girl ballads and eclectic trad jazz instrumentals are all pretty good, you know?

Favourite song of the bunch: Sukiyaki

#uk charts #1963 #frankie vaughan #brenda lee #kenny ball

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thedeependofalittleocean · 10 months ago

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My Top 10 Albums of the Year (So Far)

We're over halfway through the year, and an insane amount of good music has come out so far. For the last year or so, I've started each day by listening to a new album, so I'd like to think I've listened to a good chunk of new things. Of course, no one asked me, but if you haven't heard of any of these artists, maybe this post will put them on your radar (although a number are from artists you've absolutely heard of).

Also, huge disclaimer, this list is absolutely not exhaustive and is greatly skewed by my personal taste in music. I mostly listen to pop/alternative/rock music, so that's what will be most represented on the list! Anyway, in no particular order, here are my favorite 10 albums of the year so far.

We're kicking it off with a stellar debut album from the London-based band, The Last Dinner Party. I remember hearing the first single from this album, and the band's debut single, Nothing Matters, and being absolutely swept away. I was shocked to find this song came from such a young band, and praying the following album would live up to the song. This sparkling baroque pop album does that and more. It's absolutely as grand and beautiful as promised.

I Got Heaven is raw, messy, and bursting with energy. Philadelphia rock band Mannequin Pussy doesn't waste a single second of this album's short run time. It's a burst of adrenaline and speaks to some of the most visceral emotions I've been feeling this year. Not to mention, I Got Heaven and Loud Bark are two of the strongest album openers of the year.

Okay, I'm sure you've heard of Beyoncé, and you've probably even listened to this album. Really, there's nothing I could say about this amazing piece of work that hasn't been said. If, for some reason, you've been hesitant to give Cowboy Carter a try, let me assure you, it's absolutely worth your time. With every album, Beyoncé continues to prove she's in her prime, and she has a lot more to say.

Rachel Chinouriri wasn't on my radar before the beginning of this year, but I'll be a fan for a long time to come after this debut album. If you love devastating songs that you can't help but dance along to, What A Devastating Turn of Events is for you. This Brit-pop album has incredible hooks, clever lyricism, and great variety. Rachel Chinouriri is a star, and she'll be opening for Sabrina Carpenter next year. I have no doubt she'll be blowing up, so jump on board now.

I have to admit, this is where my biases really stand out, but I truly believe Twenty One Pilots hit it out of the park with this one. I wasn't a fan of their last album, Scaled and Icy, but I was pleasantly surprised by the singles from this era. Clancy truly feels like a culmination of a lot of the band's work so far. The album has several standout moments that took my breath away. Not to mention, Midwest Indigo is one of my favorite songs of this year.

Big Ideas is Remi Wolf's second album, where she sharpens her songwriting abilities while still treading new ground. I loved Wolf's debut album, but Big Ideas feels so much more refined, while still keeping Wolf's humor and eclectic style intact. This album has only been out for a week, but it proves that Wolf is one of the brightest and most unique stars in pop.

What can I say, Clairo never disappoints! Charm is such a wonderful breath of fresh air this year. Its soft but catchy melodies and jazz-pop instrumentals are incredibly soothing. Of course, Clairo's lyricism is strong and intimate, pulling her listeners in closer than ever before.

If you see a "Top Albums of the Year" list that doesn't include BRAT, you should probably stop reading. Okay, maybe that's dramatic, but it's hard to talk about music this year without talking about the phenomenon that is BRAT. Charli is so raw and honest on this album while crafting some of the most delicious beats I've ever heard. You'll dance, you'll laugh, and if you have a heart you'll cry during So I.

HIT ME HARD AND SOFT is another album that simply doesn't waste any time. It's Eilish's most polished album to date. Like other albums on this list, it's raw lyricism stands out. I'm not sure what it is about this year, but it feels like pop stars are really interested in being the most honest version of themselves in their art. I love to hear the vulnerability on this album, and the songs are incredibly well crafted.

Last, but certainly not least, Only God Was Above Us was one of my most anticipated albums of the year, and it paid off, to say the least. It's been said before, but this really is the most Vampire Weekend the band has ever felt. It's full to the brim with references to the band's works, but it's also fresh and new. The band is looking backward while still walking forward, and that's not an easy feat. Even if you've never liked Vampire Weekend before, you should give this album a shot.

#Vampire Weekend #Charli XCX #billie eilish #Clairo #Remi Wolf #twenty one pilots #rachel chinouriri #Beyonce #mannequin pussy #the last dinner party #Just my thoughts idkkk #I don't do this stuff often #Spotify

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thedaveandkimmershow · 2 years ago

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In other news...

There was just a ton of motion in the last few months. Not only in our lives but throughout Linzy's career that includes rehearsals and performances with The Little Lies and Midnight High. Serious bands. Big crowds. Enthusiastic crowds. Great sound, harmonies, layers, solos. Classic on-stage moments. And fantastic stage effects.

Now.

Way way way way way waaaaaaaaaay in the background of all that motion (and even a little more motion) is a brand Linzy's trying to launch.

Dream Patrol.

It's her outlet for cinematic pop that features layers of vocals and leans harder into emotion. Some songs move. Some songs seriously move. And some songs dive deep into the human soul.

The difference between the Linzy Collins acoustic brand and Dream Patrol is an interesting one, still being defined. One way of thinking about the difference is that the acoustic version of a song might sound sad, might be a lament. That same song under the Dream Patrol banner might be expressed as ethereal.

And dark.

The songs that move and seriously move are propelled forward by catchy melodies, clever lyric work, and multi-layered vocals. There's a production quality and complexity in Dream Patrol that's easily identifiable from Linzy's acoustic brand that aims to do something different for her audience, something more straight to the heart, if you will.

Now, Dream Patrol isn't a band, it's a brand wrapped around Linzy herself. Which raises an interesting question.

What is a live Dream Patrol performance?

What's the experience?

What does it look like?

Yeah. Still working on that.

Some of the thoughts swirling around obviously lean hard on tech. Not just sound tech but visual tech. Lights, sure. But also imagery. Plus, everyone's gotta smart phone in their pocket. They're walking around with a screen and a speaker. Meaning in a club you might have two to four hundred such screens and speakers.

How can those be harnessed into the service of a live show?

Definitely makes me wonder.

Anyway.

It's an interesting challenge to take the stage as a solo performer. In this case more of a conductor. The idea, though, is to avoid a DJ experience while definitely not trying to recreate a band experience with one person.

Can't be done anyway.

So.

What does that leave?

Seriously.

What does that leave?

Well...

You'd be surprised.

And you're gonna be surprised is all I can say right now.

In the meantime, it's exciting to consider what's manifesting in the background of all this motion. What's taking shape, what's taking place, while we're all looking the other way.

Dream Patrol, by the way, already dropped its first EP: Made For TV.

It streams everywhere and you can certainly find the songs here.

Unfortunately, the EP got a little lost in all the motion rushing through Linzy's life.

What's interesting, though, super interesting, is that the difference between the songs on the EP and the songs taking shape for the album, well... the difference is light years. And I like the songs on the EP.

There's also a special Halloween release to give the coming week's parties a serious shot of club energy and holiday spirit. Which you can find here. I'm absolutely in love with the song. I was begging Linzy to release it this month. A friend of hers is actually working on a remix that I'm also stoked to hear.

It's all good, all good, so far. If only a bit overshadowed by the motion of other bands in her life.

But what's coming at us from the future?

Yeah.

It's a whole other deal.

Cinematic pop that features layers of vocals and emotion. Some songs move. Some songs seriously move. And some songs dive deep into the human soul.

The songs that move and seriously move are propelled forward by catchy melodies, clever lyric work, and multi-layered vocals.

The songs that dive deep will take your breath away.

Just a heads up from me to you that there's so much more going on behind the scenes in Linzy's Hundred Acre wood. A lot of balls in the air.

And under the heading The Best Is Yet To Come?

Yeah.

That would be Dream Patrol.

☺️☺️☺️

#dream patrol #linzy collins #cinematic pop #music #live performance #lyric work #set design #lighting #emotion #engaging #designing an experience #entertainment

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