#anyway i love this lyric i think its so clever

[endoferasandallthings]

'Achilles Lamenting the Death of Patroclus' by Gavin Hamilton // 'Coming Of Age' by Maisie Peters

[dis-astre]

OK A BREAKDOWN OF LES MISERABLES IN FRANCE

- they changed a lot of the lyrics (including my fav/funniest lyrics unfortunately) which was pretty interesting ; honestly i think it's a great thing bc it was last re-written in 1991 and they made the songs more textual, more like real talking and i think way more accessible for a lot of people (bc in france we have this habit of writing pretty words, with a lot of images and lyrical phrases but it's not always helping to understand the plot yknow)

- the new lyrics for do you hear the people sing/à la volonté du peuple are SO GOOD ! originally it says :

à la volonté du peuple/et à la santé du progrès/rempli ton cœur d'un vin rebelle/et à demain ami fidèle

(to the will of the people/and cheers to progress/fill your heart with a rebel wine/and see you tomorrow, faithful friend)

and now it's:

à la volonté du peuple/qui crie les mots de sa colère/le chant de ceux qui ne veulent plus/être les damnés de la terre

à la volonté du peuple/dont on étouffe jamais la voix/et dont le chant renaît toujours/et dont le chant renait déjà

(to the will of the people/screaming the words of its anger/the song of those who don't want to be/the damned on earth anymore

to the will of the people/which you can never choke the voice/and whose song always revive/and whose song's revive already)

and idk i think it's pretty freaking cool; but i'll do a big breakdown of the new lyrics of do you hear the people sing bc it's the song they changed the most and i think it's way better for our times and more hopeful and giving the will to fight

- the stage: honestly real cool and clever! it's a smaller stage, way smaller than the west end one if my memories are not mistaken, and we obvisouly don't have the rotating stage; but they played a lot with moving structures and transparent curtains to make special effect like buildings, rain, etc... and it's way real cool !

- idk who the sound guy was but props to him cause the sound was SO GOOD like it sounded so clean and like listening to an album, truly perfect on this aspect

- the actors were GREAT, you could see they rlly took the roles and made them their own (i think enjolras' actor loves his role bc ive seen some of his tiktok and he looks like he loves it a lot so that's cool af)

- also i bough this

which is a conversation with boublil and schonberg retracing the story of the musical so yay

Anyway i'll do another big post to tell y'all act by act what was happening !

[changingplumbob]

🎶✨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.

[mrspark7777777]

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.

[droughtofapathy]

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

Death Becomes Her

November 20, 2024 | Broadway | Lunt-Fontanne Theatre | Matinee | Musical | 2H 30M

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

[leave-alighton]

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.

[volivolition]

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~!!

[lavalamps-and-ladydoors]

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

[itrustmydiscoverweekly]

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 :(

[kimtaegis]

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

[applesfallingfromblondehair]

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!

[allthemusic]

Week ending: 14th February

Awww, Valentine's Day, and for once, I can at least see one or two songs that do fit the vibe. The Everlys are outside crying, sure. But Elvis looks like he's got the memo, at least, with a properly classic love song for the ages. Also a song about hula dancing, which... sure, that feels at least vaguely Valentines-y, too.

Rock-a-Hula Baby - Elvis Presley (double A-side, peaked at Number 1)

With the birth of surf music, I feel like we have seen a bit of a wave (get it?!) of vaguely Hawaiian or Polynesian-themed music. We saw it, particularly, in tunes like Kon-Tiki, but there have been a whole host of songs using Hawaiian steel guitar in a very distinctive fashion, and this one is possibly the most blatant of all, with lyrics that are entirely about Elvis' little hula miss, his hula-lu from Honolu', and how much she loves hula dancing. That's it. That's the whole song, complete with wince-inducingly cheesy lines about how when she starts to sway, I've gotta say / She really moves the grass around. Which is pretty oblique but feels like it has to be a reference to her ass, right? It actually feels quite daring, for the era, but that doesn't stop it also feeling quite silly, and very throwaway - there's very little substance to this song, apart from "Elvis has a girl who really likes dancing".

I do like the touch of marrying Hawaiian and rock and roll music. Especially since rock and roll is a genre which, historically, has had a lot of emphasis on dancing and having fun, teens blowing off steam down at the hop. There's romance in rock and roll, but it's always secondary to the bopping, the hopping the shaking, rattling and rolling. The twisting, even. So to bring that together with lyrics that are about an entirely different type of dancing, traditional Hawaiian hula dancing, feels quite clever, in a way.

Interestingly, the sort of hula that Elvis and his listeners were probably envisisioning also seems to have been a bit of a 20th century invention, with vaudeville and Hollywood performers learning the dancing and taking it to the silver screen through the whole beginning of the 20th century - with a more traditional form of hula only really seeing a resurgence into the mainstream around the mid-1960s and 1970s, when a general renewal of interest in traditional Hawaiian arts and culture got started, spearheaded by musical artists such as Gabby Pahinui and Dennis Pavao. All of which I had no clue about - interesting to see if it makes any dent on the UK charts, in the same period, I guess?

Anyway, talking of the silver screen, I should mention that this song is from a film, Blue Hawaii, a romantic comedy starring Elvis. Like a lot of Elvis' films, the main character here does seem to be a pretty thinly veiled version of Elvis himself. In this case, it's Chad Gates, a young surf-obsessed man recently released from the army, who returns to his native Hawaii and, resisting pressure to take over his father's fruit company, starts working as a tour guide, and ends up in a love triangle with a tourist, Ellie, and his mixed-race girlfriend, Maile. It doesn't sound like the most complicated or substantial film ever, but I think I'd watch it, if only for the song that's coming up next...

Can't Help Falling in Love - Elvis Presley (double A-side, 1)

If ever a song outshone its B-side, surely it's this one. Where Rock-a-Hula Baby sounded flimsy and kind of throwaway, Can't Help Falling in Love is a stone-cold classic. It's the sort of song you can't help but kind of just know, even if you think you didn't. And while tonnes of people have covered it, in tonnes of styles, it's still Elvis' gentle, slightly warbling delivery that you almost certainly think of, when you think of the song.

It's based on a much older French folk song, Plaisir d'amour, all about the joys of falling in love. And while Elvis' version isn't a translation, by any means, it does manage to keep a lot of the romance of the original. I mean, take the opening lines. Wise men say / Only fools rush in / But I can't help / Falling in love with you. Elvis knows that rushing into love isn't the wisest decision. But he's so deep in it that he can't help but be pulled in, quicker and quicker, no means of escape. He wonders briefly if he's about to be led into sin. But it doesn't matter in the end, he can't do anything about it, either way.

And then a slight shift from the gentle arpeggios of it all, an intensification of the tune, as Elvis describes the inevitability of it all. There's a poetry to this bit, as he describes the course of his love like a river flows / Surely to the sea / Darling, so it goes / Some things are meant to be. In one fell swoop, he's described the power of his love, the steadiness of it, the constance, and how natural it is. A river's really the perfect metaphor for it. It's giving me a slight flashback to Unchained Melody, actually, with its lonely rivers flowing down the the sea.

And the poetry continues, in my favourite line in the whole thing, with Elvis inviting his love to take my hand / Take my whole life, too. The literal meaning - somebody literally taking Elvis' hand - jostles with a more metaphorical meaning - them taking possession of his whole life, in a nifty little switch. It's an example of zeugma, which I only know because it's my actual favourite rhetorical device - deployed carefully, it just makes for interesting lyrics. And Elvis - or his songwriters, at least - have the balance right, too, setting off these lyrics fireworks without much in the way of fanfare. The tune never really "goes big", both in terms of dynamics/instruments and in terms of even just the language it uses. Instead, it's satisfied to just be quietly brilliant, the sort of song that you don't appreciate until you really think about the lyrics. In all its simplicity, Elvis has hit on something that's genuinely just really beautiful.

Not bad, for a song that's basically there to pad out a Hawaiian romantic romp. Again, if ever there was a song that probably could have stood alone, it's this one, which I suspect would have become a hit even without the vehicle of a film. That said, I can hear some interestingly Hawaiian influences, now that I know it's from Blue Hawaii. You've got what sounds like ukelele in the background, for example, plus some little steel guitar touches, too. None of which would have registered as particularly "Hawaiian" if I hadn't listened to it next to the much more overtly Hawaiian Rock-a-Hula Baby. Which is weird, because when you know, it's actually pretty obvious. Just goes to show how appealing of a song it is, on its own merits, I guess!

Crying in the Rain - The Everly Brothers (6)

And then, here to bring the mood down, the Everlys, freshly broken hearted, but determined to grin and bear it like the champs they are. I'll never let you see, they sing, the way my broken heart is huring me / I've got my pride and I know how to hide / All my sorrow and pain / I'll do my crying in the rain. It's a solid conceit. The Everlys are hurt, have been hurt, but they don't want to let it show, so they go and walk in the rain, hoping that it will hide their tears. It's relatable, or it is for me, at least - I'm quite a stubborn individual, admittedly, but still. It feels relatable. It's a pride thing, at its heart, it's not about sparing their lover's feelings, or anything. The Everlys just don't want to admit that they're not over their ex. Especially not to their ex. Which is fair enough.

I also apprenciate the little glimpse of hope you get, in all this, in the line about how somehow when my crying's done / I'm gonna wear a smile and walk in the sun. They're aware that it might make them look silly, but the Everlys aren't completely hopeless, at least. Sorrow and pain are here for a season, sure, but the sun will come out again. Rain's a temporary thing - it sucks while it's here, but it does go away, whether that's because the Everlys' ex has relented, or because they've gotten over her. And until then, they'll cry in the rain. It's not the most healthy attitude, but you've gotta admite the spirit, you know?

All this is tied up in a production, and especially a bunch of drumming and guitar playing that, at least to my ears, sounds really forward-looking. You could absolutely have released this much later in the 1960s or even into the 1970s, there's something very modern about it, very soft rock. The more I've listened, the more I've come to really enjoy the little guitar licks, the tumbling drums, the hi-hats, just skimming along in the background. The picked guitar at the end is a lovely bow on it all. And of course, you've got the Everlys' beautiful harmonies, which almost don't need to be mentioned, any more. It's all just *chef's kiss* perfect, and I'm in no way surprised that the song's been covered by a whole bunch of people, in the years after its release. Honestly, if I had a band, I'd be covering this one.

I'll also note, just because I thought it was kind of interesting, that we're looking at a Carole King number, but for once, she's not working with Gerry Goffin. Apparently on a bit of a whim, them and a different songwriting duo, Howard Greenfield and Jack Keller, did the Brill Building version of a wife-swap, mix and matching to partner up for a day and work on some different songs. I can't find any record of what Gerry and Jack got up to, but if this was what Carole and Howard did, then that's an afternoon pretty well spent!

Sometimes I wonder what I'm doing with this project. And then you get a haul of songs like this, with two absolute bangers. And even Rock-a-Hula Baby, junky as it feels, actually gave me some useful context and background for Can't Help Falling in Love. I still don't think it needed to be released as a full A-side. But it at least pointed me towards the Hawaiian elements of CHFIL. Which I can't believe I missed. And then the Everlys, with an absolute blinder of a song. I'm genuinely really struggling to pick a favourite, here. They're both excellent, and would normally be an easy pick for favourite. I've gone back and forth for genuinely about 5 full minutes, typing in one, then the other. Both songs go straight into my liked songs list. But one of them gave me more genuine emotions, and at the end of the day, the title's for "favourite", not for "best".

Favourite song of the bunch: Can't Help Falling in Love

[thedeependofalittleocean]

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.

[thedaveandkimmershow]

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.

☺️☺️☺️

[c-40]

A-T-3 234 Red Guitars - Good Technology

The self-released debut single from Hull's Red Guitars. They were an anti-capitalist group so I suspect Good Technology is a riff on chapter 15 of Das Capital where Marx writes about technology. Technology is revealing, listen to the lyrics of Good Technology it's a cross section of where we're at as a species. Chapter 15 is long and dense here's a clever person writing much better than I ever could about it https://andymerrifield.org/2019/09/29/marx-on-technology/

What I will say though is Red Guitar's song isn't just called Technology (like an OMD song) it's called Good Technology. One of Marx's points was that the subject of technology is a bit foggy and it is often discussed uncritically. This is true today, conversation about ai (as if it's one monumental thing) is very poor, there seems to be the fear mongering grift or surrendering to its inevitability. Dan McQuillan is an interesting guy and seems to have a more level headed view of ai (although ideas of peoples assemblies to navigate technology is a lovely idea it's unrealistic, in the near future anyway) - here he is talking of the Tech Won't Save Us podcast https://podcasts.apple.com/gb/podcast/tech-wont-save-us/id1507621076?i=1000603411428

Criticism of taxi and food delivery apps is very poor, as is that of home rental apps. I find it interesting when Deliveroo and Uber Eats began operating in my area I raised my concerns, many middle-class graduate friends, and friends of friends, did it and argued it was 'good exercise' but they've all given up doing it now because like I argued it's badly paid, shit work, you're a bit like a servant delivering a fucking burger to some cunt... middle-class graduates aren't going to do that for too long no matter how much they love cycling. I live in the area immigrants are dumped when they get to the end of their application process. The people left doing food delivery are the immigrant people around here who are so desperate they have to do it to survive (not for exercise with benefits) to me it looks like food delivery apps are exploiting the immigrant underclass... I'm beginning to rant. People have use food delivery apps without thinking about it, they even boast about it, they are not thinking that's the point

Here's the latest on Red Guitars https://red-guitars.com/uk-tour-2023/

[dystopiansocietystraw]

the thing about the new fall out boy song is (coming from someone who actually likes the og) is that the lyrics are pretty bad. some come across better in the actual song but some are still very bad, even in the context of the music. they aren't chronological and are only loosely grouped by topic, which i feel is a bit easier at best and lazy at worst. it makes the theme of the inevitable march of time, or progress, weaker. this also ties into my other issue, identifying the events.

some topics are very vague and not exactly contained to singular events, for example "polar bears got no ice," isn't the best lyric to begin with but it also covers about twenty to thirty years of time, in which lots of major newsworthy events happend that contributed. not to be finicky as well, but polar bears still have at least a little ice. i wouldn't care about this at all if it had actually made headlines that the entire arctic had melted or if polar bears had actually gone extinct. there is also. "earthquakes." just earthquakes. which fucking earthquakes??? just all of them???? an increase in earthquakes?? well i googled it and, "in the past 40-50 years, our records show that we have exceeded the long-term average number of major earthquakes about a dozen times." ( according to this website: https://www.usgs.gov/faqs/why-are-we-having-so-many-earthquakes-has-naturally-occurring-earthquake-activity-been) so sort of? but also, this isn't a super modern issue, and it didn't begin in the songs time frame. the og did have some vague lyrics, such as just "homeless vets." however, in the context of the song, it's a couple lines after "russians in afghanistan," which helps to provide a timeframe, but also becomes a logical extension of the earlier line. i have other little nitpicks with the new lyrics, but i feel like those cover my general problems with different lines.

i'm not a huge fall out boy fan, don't get me wrong, but i do like some of their music. generally, i like it lyrically, so i don't think it's a lack of talent. there are also quite clever little lines in there that i definitely do like, don't get me wrong. what they did get right, however, is that this song fucking rocks. its very good. its a great modernisation of the original, and feels like a fall out boy song while still being fun and light hearted like the original. the singers voice (dont know his name, sorry, like i said im not a fan) sounds great even when hes having to fight the lyrics. would i say musically it's on par with bon jovis og? definitely. if i ignore the lyrics, i would love it.

i just really wish it had been workshopped a little more to smooth out the rough edges. i also wish it had waited a little longer. bon jovis covered fifty years of events (technicaly 51, but whatever). its a significant and meaningful number, a half a century. this one only covers 34. it just doesn't feel right to me. again, maybe this is too nitpicky, and you could definitely argue that more and more significant events have happened exponentially in that time, which i would definitely think is a valid argument. i would rebuttal that this could also just be an increase in seemingly important events due to the nature of the modern news cycle. i would think that only time would tell if some things are that big a deal. i think this is definitely a matter of opinion, though, and it's really up to you where you fall.

in conclusion, it the lyrics are probably as bad as people are saying, but the song definitely isn't that bad overall. if you feel this song accurately represents your experience of the last thirty years, that's great! maybe im just too young for this, and it wasn't made for me, and that's fine.

anyways i just wanted to share my thoughts, lol