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catb-fics · 4 years

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So I got a request to write about some pre-gig naughtiness with a young, horny Van! Enjoy! 😘 💋

Good Luck Charm (Van McCann)

Warnings: smut (of course!) / Word Count 2.6k

Friday nights had been the same for as long as you could remember. Well, for as long as you'd been with Van anyway.

His band had been plugging away for years on the pub and club circuit, relentless, determined, driven. Whether they were playing for a crowd of 50 or a crowd of 500, they always gave it their all. You loved nothing more than watching Van perform. The way he screwed his eyes shut tight, lost in the music, the emotion etched on his face. The way he thrashed around with his guitar, shaking his head, swinging his hips. He really was mesmerising to watch. And he was all yours.

Tonight was different though. The band had a new manager and they'd booked their first larger gig at a proper 2000 capacity venue.

"Can't fucking believe it babe, tickets have practically sold out. It's the biggest one yet!" Van's speaking fast, excitement in his voice, and he's got that glow about him that he always has when he's talking about the band. It's infectious.

"I always knew you could do it. One day you'll be playing arenas, just you wait," you say, picturing Van up there on a stage in front of tens of thousands of screaming fans. You can definitely see it happening. Their music is made for those big spaces.

"Fuck arenas!" Van laughs. "I'm aiming for stadiums!"

"Don't get ahead of yourself," you tell him, but it's pointless advice. He's always dreamt big.

He wraps his arms around your waist, drawing you in close. "I'm always gonna strive to be the biggest and the best love, you know me."

You smile up at him, taking him in. His mousy brown hair's so shaggy at the moment. You smile to yourself as you recall him bickering with his mum about getting it cut, she reckons he looks a mess with his scruffy hair and ripped jeans and jumpers with holes in. Van doesn't care about that though. And neither do you... you love his style. It's what makes him... him.

"I'd better watch out if you get too popular, you'll be running off with some posh model or something!" You tease, slipping your hands into the back pockets of his jeans, pulling him in even closer, your hips touching.

"Don't be daft!" He replies. "Why would I want some posh bird when I have you, eh?"

"You trying to say I'm not posh? I'm a lady you know!" You put on an affected posh voice, pretending to take offence, and Van starts chuckling.

"Don't care what you are love, as long as you're mine."

He leans down to kiss you and you respond, pushing your lips against his. It's a slow, lazy kiss, your tongues entwining and Van's hair tickling your face.

"Gods sake you pair! Get a room would ya!" It's Larry, and he's walking past carrying some of the band's kit, getting set up for the gig.

You pull away and Van smirks over at his best friend. "You're just jealous mate."

Larry shakes his head. "Tell ya what, why don't you put Y/N down for a second and you can help with setting up, eh?"

Van sighs dramatically. "Okay, okay..." Then he turns to you. "Don't go too far alright? I've got something for you before we go on tonight."

"Oh yeah? What's that then?"

"Mmm... well you're my good luck charm aren't ya? Need a quick good luck... erm fuck... before we go out there!"

"Van!" You exclaim, glancing round to check that Larry's no longer in ear-shot. "You're joking aren't you?"

He doesn't say anything, just fixes you with a look which melts your insides with a devilish grin.

* * * * *

It's 8.30pm and the band are due on at 9pm. You're outside having a smoke, chatting to Benji when you hear Van's voice calling your name.

"Y/N! There you are! Been looking for ya everywhere! We're on in half an hour, come on!"

He grasps your hand, pulling you along in his wake whilst you mumble an apology to Benji for dashing off and discard your cigarette butt on the ground, not even having time to extinguish it.

"Hey! What's the rush? Where are we going?" You call to Van, but he doesn't answer, just carries on striding purposefully forward until you come to a stop at a door around the back of the venue.

"Come on love, I've got a surprise for you!" He says mysteriously as he pushes open the door and ducks inside, tugging your hand so you'll follow along.

"But Van..." you protest. "The place is starting to fill up. I won't get a good spot if I don't go in now. You know I love to watch you from the front row."

Van's not listening, he pulls you down a dark corridor and stops in front of a door that bears a sign stating 'Catfish and the Bottlemen'. Silly as it might sound, just the sight of that simple laminated sign fills you with pride. It's not exactly a red carpet reception, but the band barely even get a proper welcome at some venues they've played at previously. He opens the door a few inches and peers inside, mumbling some kind of approval that the room is empty.

"Van, you're not listening to me!" You complain.

"Sorry love! Look... you don't need to worry about that anymore. You can watch from the side of the stage now we're playing these bigger venues."

You consider this for a moment, and the significance of this big step the band are taking suddenly hits you. "This is actually massive you know. Getting this gig. All these people here to see you. Aren't you nervous? I feel nervous for you!"

"A bit," he admits. "That feeling of stepping out on stage... it's like the biggest adrenaline rush. Can feel it now building up." He shakes out his limbs like he's limbering up for exercising and you giggle.

"They're gonna love you."

You're inside the room now and Van leans over and closes the door. You look around and straight away you realise you're in some kind of backstage dressing room. There's mirrors all along one wall where performers can titivate before they go on stage and empty rails where clothing can be hung. Of course for the guys they don't need fancy outfits or props. It's just them and the music.

Van takes your hand and pulls you further into the room, turning you so you can feel the edge of the counter top pressing against your bum. He steps forward until he's inches away, raising his hands and brushing your unruly hair back, tucking it behind your ears.

"I know a good way of getting rid of some nervous energy..." His lips pull up into a mischievous grin which you can't help but mirror.

You know exactly what's on his mind without him saying the words. But the importance of this gig should be at the forefront of his mind, not sneaking around with you like you're a pair of illicit lovers snatching a stolen moment together.

"You're on in twenty five minutes Van! You know what your manager will say if you turn up for stage late."

"Come on... no one relaxes me like you do Y/N... need ya don't I?" He's using that smooth tone that he gets when he's trying to seduce you and boy does it work.

He reaches behind you and sweeps the clutter away that's littering the counter top you're resting against.

"Van..." you protest but you feel your resistance ebbing away as his hands grip your waist and he lifts you effortlessly so you're perching on the surface, on a level with him now.

He licks his lips and then leans in to you, his mouth pressing against yours and you don't resist. He moves his body forward, which pushes your legs apart, his hands coming to rest on your bare thighs where your skirt has ridden up.

"Still wanna go?" He asks, a teasing look in his eye as he dips his head down, lips connecting with your neck.

He starts off planting a small kiss just below your ear, and then another close by, and another, and as he travels down your neck they become sloppier, open-mouthed kisses. His lips make wet, smacking sounds as he hums against your skin.

"Mmm honey... love the way you taste."

You feel a quiet moan emit involuntarily from the back of your throat as you tip your head back to give him better access.

"You're a bad influence Mccann," you murmur.

"The worst!" He agrees, and as if proving a point his hands start to travel up your inner thighs, sending shivers across your skin.

"Mmm... what do we have here..." he whispers, his fingertips meeting the edge of your underwear whilst he moves back to kiss your lips again.

You suck in a breath as his fingertips trail over your panties, locating your sweet spot and starting to caress it through the thin lace. Within minutes you're squirming where you sit, wanting more, pushing your hips forward, your breathing getting shallow.

He carries on as your kisses get deeper, needier, and your desire for him increases. You feel Van's lips curve into a smile as the little sighs you're making become more pronounced.

"What's up baby?" He teases.

"Mmm... I need you," you breathe, and your hips buck forward as if to show him how much.

He glances down, hooking his fingers under the inner edge of your underwear, moving the lace to one side. You gasp as he slides his index finger inside you.

"How's that feel?"

"Mmm..." is all you reply, savouring the feeling as he slowly starts to pump his finger inside you.

You catch his bottom lip in your teeth, your kisses getting rougher, and you find your hands going straight to the buckle of his belt. You can't help yourself. All of a sudden the fact that he's got 2000 people out there waiting for him seems unimportant.

He slides his finger out of you and upwards, coating you in your slickness, moving his fingertips against your clit in small circles. Your legs start trembling immediately and Van pulls away from your kiss to watch you. You feel like throwing your head back and closing your eyes to focus on the sensation but you know Van loves eye contact when he's pleasuring you.

"How about this, hmm?" He whispers, plunging two fingers inside you, moving them at a teasing pace, the pad of his thumb sliding against your sensitive bundle of nerves. All the while his eyes are fixed on you, your gazes locked, which just makes everything seem even more intense.

You're soaked now, you can feel it with every thrust of his fingers, wet and desperate and yearning for your release, the pressure steadily building in your core.

"Fuck Van..." you moan, feeling your face contort in ecstasy as he watches on in awe.

"That's it's baby... come for me..."

And you do. Your climax washes over you in waves, your legs quivering and your mouth falling agape whilst you clench around his fingers. And Van doesn't let up until the last of the shudders wrack your body, wringing every last drop out of your orgasm.

"Never gonna get tired of watching you come," he says, his voice low and husky.

You've completely forgotten about your task of undoing Van's jeans and he picks right up from where you left off, hurriedly tearing the buttons open eagerly.

"What if someone comes in?" You say, glancing towards the door, well aware that there's every possibility that one of the lads, or even worse, the band's manager could come bursting though the door looking for Van at any second.

Van's face cracks into a grin as he pushes his jeans down his hips slightly. "Fuck 'em!"

Then he's burrowing his hands up your skirt again, tugging at your panties which he pulls down your legs, casting them on to the floor.

You slide your hand into his underwear, and he groans softly as you close your fingers around his cock. "We'd better be quick!" You giggle, pulling his erection free.

"Y/N... after seeing you come like that I'm only gonna last a few minutes."

You give him a few purposeful tugs just to see the expression change on his face, loving the way his brow furrows a little and his mouth goes slack. Then he's pushing his hips forward, impatient, and you help him line himself up to push inside you.

You both groan in unison at the delicious sensation as Van enters you, and he's so eager he doesn't wait for you to adjust to the feeling. Straight away he's bucking his hips forward, grasping yours with needy fingers, pulling you as close as possible, thrusting himself into you as deep as he can.

The sex is rough and messy and loud. Your bodies collide, hips clashing, while the sounds of your desperate, ragged breathing and Van's guttural groans fill the air. You cling on to him whilst he buries his head in the crook of your neck, sucking and nipping at your skin.

"I'm gonna... ughhh..." He doesn't even finish his sentence, his body stiffening and then going slack as you feel him come inside you.

Before you've even had a chance to recover there's a loud noise in the corridor outside and you both almost jump out of your skin, pulling apart. Van adjusts his clothing and you jump down from the counter top.

Not a moment too soon, Larry bursts in with a panicked look on his face. "Van! What you playing at? We're all waiting! You're on in five minutes!"

You tug at the hem of your skirt, trying to hide the sticky wetness that's starting to travel down your inner thigh, pressing your legs together, and Van mumbles something about being better late than never whilst he surreptitiously fastens his belt buckle. You both exchange a shifty glance and Larry clocks it.

"Oh god... I know what you pair have been up to. Christ! Shagging in the make-up room! Can't you keep your hands off each other just for a minute?" He shakes his head, exasperated.

"Actually Larry... we weren't doing anything. I was just giving Van a... a pep talk... that's all." You aim for a superior kind of tone to hide your embarrassment, but Larry glances down and you follow his gaze, horrified to see him looking at your panties which were discarded on the floor.

"Fucks sake!" You cry, absolutely mortified, darting forward and snatching them up, balling them into your fist.

The lads fall about laughing hysterically whilst you push past them, shame-faced, making for the ladies.

You hurriedly clean yourself up and race to the side of the stage with only minutes to spare. Your heart starts racing with exhilaration like it does before every show.

Van has his guitar slung over his shoulder and he hurries over to you, seconds before he's due on stage.

"What are you doing? You're supposed to be getting out there. Look at all those people... fuck..."

From where you're standing you can see a sea of faces, all wearing expressions of excited suspense, the steady hum of anticipation building. The atmosphere is electric. But Van's only focussed on you. He leans in, planting a soft lingering kiss on your lips.

"Love you so fucking much, my little good luck charm."

THE END 💕

#can you spot the reference to a line from an unreleased song?#catfish and the bottlemen #van mccann #fanfic #vanfic #smut #van mccann x reader

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astroluvr · 2 years

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can you do a fic with famous y/n and jack getting spotted at a drake concert and they’re singing a song that they consider “their song” and he’s whispering in her hear cute things, and it’s posted on social media by fans or paparazzi? something super fluffy!

also for song reference maybe shut it down by drake? it’s my favorite song by him & the first song that came to mind when i thought of this ask ahaha, i love your page thank you!! :)

thank you sm, i hope u enioy!!

***

You’d been nursing the same cold glass since you arrived at the club. You and Jack got invited out and decided against spending another Saturday night in on the couch, despite the appeal of not worrying about anyone catching you two out. You’d been swaying around a high table with a few friends while Jack was leaned over you on the balcony. When you looked up again, expecting to find him laughing with someone up top, you instead saw him talking to a DJ. You assumed he’d given him a flash drive with an unreleased song on it, but you were pleasantly surprised when he came jogging down the steps in his black cargo pants and a tight white shirt.

You met him by the stairs by another empty table and looked back up at the DJ who had his eyes on the keyboard as another song neared the end. “Hey, baby. Did you give him one of your songs?”

“I gave him our song.” Jack said while kissing on your neck, smiling when the song ended.

“Not that one, Jack!” you exclaimed, pulling back and searching for eye contact.

“No, not that one.” he laughed, catching the reference to a song he made in the studio with you one day that you refused to allow him to release. The terror of having your family hearing the crude lyrics was enough to give you a heart attack. “Our song.”

“Wha-” the question you were about to ask was answered immediately interrupted by the opening beat of a Drake song. “Oh, my God.”

“These girls ain’t got nothing on you.” Jack began and you shook your head, trying to escape him before he started embarrassing you.

Jack, however, did not give you the mercy. He took the drink from your hand and finished it off in one swig, setting it down on the table and using both hands to hold your hips.

“It’s obvious you’re pretty,” he sang, kissing from your temple down to your neck and holding you close to his chest. “Heard that you’re a student working weekends in the city.”

It took you the rest of the verse to finally loosen up and move your hands from your side up to his upper back. You swayed along with Jack and pretended that you weren’t feeling like the only girl in the world. The two of you caught everyone’s attention, the song changing the entire vibe of the environment.

Instead of letting your heated cheeks take away from the moment, you listened to the low timbre of Jack’s voice singing the song to you. Drake’s voice accompanied him in the vocals, but he- as always, made it his own.

“You know you’re the baddest around, round, round. And they notice, they notice.” you giggled when he followed your gaze to the people watching. “These girls ain’t got nothing on you, they ain’t got nothing on you.”

He pulled back to sing the next few lines, but kept a hand on your hip as he rocked to the song. He knew you’d feel awkward if he wasn’t there to share in the moment. You smiled and danced along, rocking your hips slightly and playfully grabbing his hand when it slipped down to squeeze your butt.

“Damn, it’s like that?” he grunted, pulling you back into him to hear your laugh in response.

“I’m not that easy.” you muttered, dancing with him slowly and earning a skeptical look from your boyfriend.

“Debatable.” he argued and you quirked an eyebrow.

“Not as easy as you.” you countered and Jack bursted out in laughter. “Why do I feel like I found the one? What's in these shots that you ordered us? Damn, I mean you sure know how to paint a town. Ever since you came around, it's obvious.” you continued the song and Jack smiled down at you.

“You’re so fine, baby.” he bent to kiss your glossed lips and you smiled when he pulled back and revealed the shimmer on his plump lips. When he pursed them to taste the fruity drink you had, he grimaced at the sticky substance that was transferred. “Oh, my-”

“You looking good girl, go, go, go get 'em girl. Go, go, go hit 'em girl, go, go, go, go, go, go.” you teased, picking his hand up and walking to the front of his body before pulling it around your chest and dancing.

Jack got over it quickly and rested his chin on the top of your head, making sure your butt was cradled in his hips. He splayed his other hand over your stomach and held your hand over your chest. “We were made for each other, babe.”

“Mmhmm.” you hummed, squeezing his hand tight and smiling. “I couldn’t think of anyone better than you, J.”

He went quiet and shut his eyes for a moment, happily pretending that nobody was watching or recording when they realized just who was in front of them. “You still the baddest girl around, 'round, 'round. And they'd notice, they'd notice. You would shut it down.”

---

jharlowupdates

jharlowupdates Jack and his girlfriend, Y/N L/N- a Fenty ambassador and make-up artist, were spotted out clubbing last night!

jackharlover OMG I LOVE THEM 😫😫😫

y/nsflowers my parents.

user5367 my friend was there last night and they were dancing to shut it down by drake!!

y/nandjackcentral i want what they have.

***

@whoreforharlow

#jack harlow #fan fiction #jack harlow x reader #jack harlow blurb #jack harlow fanfiction #bf!jack

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taylizmasterpost · 4 years

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Reconciliation and Late-Stage Tayliz (September 2014 - Present)

Despite not seeing each other for a while, Taylor and Liz clearly still hold a soft spot in each other’s hearts.

During the Secret Sessions for 1989 in Nashville, fans took pictures in Taylor’s home, and you can clearly see she has photos from Charleston displayed:

When it came time to mend the fences between Taylor and Liz, Claire Callaway was the one who ended up doing it:

2 October 2014 - Claire tweets a TBT to the Charleston trip. Liz responds to it:

That seems to get the ball rolling, because when Taylor drops Out of the Woods as a single, this happens:

14 October 2014 - Taylor and Liz tweet about how much they miss each other:

Then, when Taylor walks the runaway with Karlie at the VSFS, this happens:

Taylor is with Karlie at the time, and obviously nothing romantic is happening on Liz’s end either, because...

20 December 2014 - Liz gets engaged to Bryan Brown and has dinner with friends:

16 February 2015 - Liz tweets that Taylor is badass

8 April 2016 - Liz makes this gay post on Facebook that I’d like to think is a response to Style, since the MV had come out a few months before:

And Liz seems to have found a group of gay friends...

Although, that could just be a typo.

15 July 2015 - Liz posts on Facebook that “Thanks to some really talented friends, I got to record something beautiful today. Can’t wait to share this one.” The picture she attaches definitely looks like Taylor:

Liz also tweets this:

We do NOT know where Taylor was that day. However, she performed in DC on the 1989 tour on the 14th and was papped in NYC on the 16th so it’s not impossible she was in Nashville working on something with Liz. Unfortunately, whatever they worked on has yet to surface (unless you subscribe to the theory that Liz is WB...)

3 August 2015 - Shawn Brooks releases a song called Matter of Time that was written sometime in 2014 by Liz.

Notable lyrics include:

She’s got me lovestruck, crazy Going out of my mind She’s got me lovestruck, crazy But sooner or later, she’s gonna be mine It’s just a matter of time

Don’t know what this means for Liz or TayLiz, since Liz has been with Bryan since early 2013 at the latest, but this is very gay and fun.

27 August 2015 - Thirst tweet:

31 August 2015 - Liz calls Taylor sexy in response to the Wildest Dreams MV:

15 October 2015 - Liz tweets about Better Than Revenge:

28 October 2015 - Liz quote tweets Taylor about OOTW acoustic:

11 November 2015 - Liz responds to Caitlin’s tweet tagging Taylor about nostalgia:

9 December 2015 - Liz congratulates Taylor on her Grammy noms:

13 December 2015 - Taylor’s birthday. Liz wishes her HBD:

29 January 2016 - Liz says her favorite song from 1989 is This Love:

15 February 2016 - Liz and Taylor both attend UMG’s Grammys afterparty at the Ace Hotel Theater :

26 February 2016 - Liz posts a TBT to Charleston:

16 April 2016 - Liz and Taylor both attend Coachella:

6 May 2016 - Liz tweets about This Love:

10 May 2016 - Liz possibly writes STFU and Hold Me (likely about Bryan, since he’s out on tour with the woman he’s going to leave Liz for, signaling to me that their relationship is on the fritz):

4 August 2016 - Liz posts a throwback to the Vogue photoshoot at the Bowery.

3 September 2016 - Liz and Bryan’s last interaction on Twitter:

(Bryan had been on tour with Jillian -- who he’d later marry -- and tweeting at her all summer, much more than he’d been tweeting with Liz). It’s important to note the way their relationship ended for when we start studying who Liz’s songs are about.

26 November 2016 - Liz tweets about Clean, possibly signaling her and Bryan have broken up by this point:

13 December 2016 - Liz wishes Taylor happy birthday with a post about Charleston (captions vary based on site). This also signals to me that her and Bryan are over, since she’s reminiscing on Taylor picking her up off the ground after her breakup with Jason:

11 July 2017 - Liz tells a fan that You Are In Love and All Too Well are her favorite songs from 1989 and Red (guess her favorite song is no longer This Love…):

11 August 2017 - Liz releases STFU and Hold Me:

youtube

This MV has a LOT of parallels to the IKYWT video. The lyrics talk about “staring with a bang” (”took off faster than a green light go”?), and reckless abandon (”this path is reckless”). MV parallels are as follows (thank you @mercuryonparklane for all the help finding this):

(notice the key necklace?)

So, either Liz is lowkey ripping off Taylor’s work or she’s trying to signal that she was the muse for IKYWT. However, considering Liz is deliberately trying to keep her image separate from Taylor, it doesn’t make any sense that she would try and rip her off. Of course, it could just be a big coincidence...

30 September 2017 - In an interview with The Young Folks, Liz says that STFU and Hold Me is about “getting to that point in a relationship where you’re sick of going around and around talking about the same issue with your partner and it’s time to wave the white flag,” Huett says. “We’ve all been there.”

Of the lyrics “I’m coming from a line of problems / I was born and I became a product” Liz says “I’m not exactly the most polished person. I’d rather be real than perfect and sometimes that means I say things that make people uncomfortable or act out in relationships and test limits, etc… I’m an honest mess but I believe I can and should be loved in light of that. :)”

I still think this song was written about the end of her relationship with Bryan, but it’s still interesting to see how Liz describes herself in relationships.

27 October 2017 - Liz releases H8U

youtube

This is another song that I think was written about Bryan. The lyrics reference taking another woman to a Tom Petty concert (Liz LOVES Tom Petty) and generally moving on quickly with another woman, which seems apt for the Bryan/Jillian situation going on.

HOWEVER, the lyrics also reference “our first date two years ago,” which doesn’t make any sense, since Liz and Bryan didn’t break up until 2016 and were together since early 2013. So it could maybe be lyrically about Taylor.

I do think the MV makes a deliberate Taylor reference, though, with the interrupting the wedding scene. Taylor famously had Liz dress as the Bridezilla on the Speak Now album art:

And, at the end of the H8U MV, Liz DOES kiss the blonde bride on the mouth after interrupting her wedding... which is... INTERESTING (especially since Liz is dressed in full RED the whole MV):

I don’t think it’s a stretch to presume Liz could’ve reversed their roles here. IDK.

9 November 2017 - Liz makes her “H8U, love these” playlist on Spotify, which features All Too Well.

1 November 2017 - Liz obsesses over Reputation:

15 November 2017 - Taylor posts an IG story with photos of her Liz and Caitlin in Australia in the background:

13 December 2017 - Liz wishes Taylor happy birthday:

20 December 2017 - In a now deleted tweet Liz obsesses over New Year’s Day

6 April 2018 - Liz releases Don’t LV U Anymore. Here are some interesting lyrics:

I don't steal your chapstick anymore / Don't wake up to your kiss anymore / And I don't have a washer and dryer full of guitar picks anymore / 'Cause you don't come over to my place anymore / Don't flirt with my roommate anymore / And I don't run to your friends / To get them on my side when we fight anymore / And I never say it / I keep it inside / But maybe I'm wasted / Or maybe it's time to get this off my chest, babe / ... / I don't love you anymore / But I don't love you any less / I don't play you my songs anymore / To see if they're good anymore / You don't tell me your secrets / 'Cause you don't know if I keep them to myself anymore / I don't go to church anymore / Don't know what to believe anymore / And I don't remember the beat of your heart / The smell of your car anymore / ... / Two years and counting / Still got all this weight on my chest / Two years and counting / And I can't remember what I can't forget

Based on the “two years and counting” line, as well as the line about a washer and dryer of guitar picks, I’m inclined to believe this is another song about Bryan.

However, it is a really similar sentiment to that Civil Wars song Liz posted back when her and Taylor first ended things, and the line about running to get friends on a side when fighting is very similar to the “you go talk to your friends, talk to my friends talk to me” in WANEGBT and the image in Battle/Let’s Go of all their friends standing around watching them fight. Could go either way.

9 April 2018 - Liz reposts a Facebook post announcing Dammit that implies it was written a while ago. But we already knew that.

19 May 2018 - Reputation in Pasadena. Liz attends. Surprise Song: All Too Well. Camila Cabello is the opening act.

27 May 2018 - Liz gives an interview at Bottlerock festival where she says that Wrecking Ball by Miley Cyrus is a song she used to get over someone (likely Bryan). She also says Havana was the song she last had stuck in her head -- probably because Camila performed it at Taylor’s show the previous week.

14 March 2019 - Liz makes a happy birthday post for Antoni (who’s dating her friend Trace):

27 April 2019 - Bryan and Jillian get married:

3 May 2019 - Liz releases Nothing Personal:

youtube

This feels like DIRECT BRYAN SHADE, since she released it right after his wedding. However, you definitely could also read it as being about being let go from The Agency.

Early May 2019 - Taylor shoots YNTCD. Her and Antoni bond over their love of The National (keep in mind Taylor would end up asking a member of the National to work on exile with her):

17 June 2019 - Liz likes Taylor’s post announcing YNTCD is out:

26 June 2019 - Liz posts on IG a video of unreleased song “One of These Days” with the caption “i’m emo” Lyrics:

One of these days I’ll rise above the blue / One of these days when I get sober too / I’ll be flying high you know / Gonna say I told you so / One of these days I’ll rise above the blue / The stars will align / My heart will come back to life / I won’t have to cry anymore / Someday soon, when I / When I get over you / One of these nights I’m gonna get some sleep / One of these nights you won’t be in my dreams / I will lay this love to rest / I will miss you in this bed / One of these nights I’m gonna get some sleep / The stars will align / My heart will come back to life / I won't have to cry anymore / Someday soon, someday / When I get over you

More evidence that Liz does, indeed, struggle with the things that Reddit post suggested.

14 August 2019 - Liz posts on IG a video of an unreleased song called “I Wanted It to Be You” with the caption “I really did” and a red rose emoji. Lyrics:

I’ll find someone else to take your place / In no time at all I’ll be okay / So you don’t have to say it babe / We don’t have to cry / ‘Cause I know you got shit to do / And baby so do I / I’ll find someone else to take your place, hey / I wanted it to be you I’m closing down the bar with / I wanted it to be you I’m fighting in the car with / Who I could push away / Come back and beg to stay / Ooh, I wanted it, I wanted it, I wanted it / I wanted it to be you

Likely for Bryan BUT maybe a red rose grew up out of frozen ground with no one around to tweet it (lol I’m joking the lakes is very likely not about Liz).

22 August 2019 - Taylor releases the Lover MV, featuring the “breakable heaven” board game:

In the bottom left corner, you can spot a blue 0527. May 27th is Liz’s birthday. What does this mean? I don’t know. I absolutely do not know, but whatever it is is driving me INSANE.

28 August 2019 - Liz posts on Twitter a screenshot of her listening to Cornelia Street:

16 October 2019 - Liz comments on a fan’s video of Taylor performing at the NPR Tiny Desk concert saying “she cute”:

19 November 2019 - Liz says on IG that her favorite songs from Lover are The Archer and Cornelia Street:

22 November 2019 - Liz releases That’s What You Get. This is the one late-stage Liz song that I FULLY BELIEVE is about TayLiz due to a few very specific lyric parallels:

“That’s what you get when you recklessly fall in love” >> “This path is reckless” from Treacherous

“That’s what you get for keeping your armor up” >> “You come around and the armor falls” from State of Grace >> “I would put my armor down if you said you’d rather love than fight” from Story of Us.

“And all your friends are lining up to hate me” >> “You go talk to your friends talk to my friends talk to me” from WANEGBT >> “First shot’s fired everybody’s gathered around” from Battle >> “I can't run to your friends anymore / To get them on my side when we fight anymore” from Don’t LV U Anymore.

It also, just from an outside perspective, doesn’t make any sense for Liz to write a breakup song about Bryan blaming herself when it seems very clear to me that they broke up because Bryan wanted to be with Jillian instead. That’s not her fault. So either this is about another breakup (I’d guess Taylor, based on the lyric parallels), or she’s just very very self-loathing and won’t let herself think it’s Bryan’s fault (which both H8U and Nothing Personal don’t suggest to me).

25 November 2016 - Liz posts a video on her IG story about Taylor at the VMAs.

6 December 2019 - Liz talks about That’s What You get with Earmilk and gives an interesting quote:

Huett explains, “This song is about facing myself after a brutal season of running from it... I made a self-destructive choice that hurt someone I really value. The angle of the chorus is really sort of a letter to me after that first long look in the mirror. It SUCKED. However, in owning my shit (and sharing this song) my hope is that listeners might apply the sad lesson without having to learn the hard way, or, if they’ve ever found themselves in the regretful position I was once in, I hope this song can at least make them feel less alone."

This is SO DIFFERENT fro mhow her relationship with Bryan ended, but matches up so well with Liz getting help and owning her shit after spiraling in 2012.

24 July 2020 - Folklore drops. Two of the songs are written by the mysterious William Bowery. One of those songs is Betty -- a popular nickname for Elizabeth. Liz tweets at Taylor about the 1 because all of Taylor’s exes wanna think that song is about them.

So, IN CONCLUSION: Liz got help and worked through her shit and they’re on good terms now. They were possibly working on something together in 2015, although that never saw the light of day as far as we know. Liz seems to maybe be referencing Taylor in her music and MVs, but there’s no way to know for sure. Better Than Revenge on the Speak Now Tour was an iconic moment of sapphic energy, and maybe, just maybe, when Taylor re-records her masters, Liz will sing backup for her again.

Thanks for reading!

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armorsleevedsinglehit · 3 years

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the huge shippuden music meta

no one asked for this but i’m gonna write it anyway. i’m going to focus primarily on the shippuden soundtrack here, but expect some references to the original series soundtrack as well. also before i begin i know approximately two (2) music so some of my terminology is probably going to be incorrect lol, it’s been a while since college. this is a general shippuden meta but it does focus on the uchiha clan, in particular sasuke and madara.

anyway, to start off, you can pretty easily divide the shippuden soundtrack into a few general categories:

traditional and/or acoustic

electric guitar tracks

some combination of these, plus orchestra hits aplenty

there are a few odd ducks here and there, but no worries, we’ll get to them. and then within these general categories we have a series of recurring character motifs (which can be a bit muddled, because certain themes are used for multiple characters. i assume that naruto (the show) isn’t necessarily scored the way a film would be, and so the directors just slapped whatever dramatic/sad/upbeat music they could find onto a scene, esp if it’s a filler ep, which definitely generates some confusion.) but characters and groups in shippuden DO sort of get their own motifs and themes, so here is my very basic list of those as well:

uzumaki clan and its descendants/allies: “emergence of talents/hyakkaryōran” has a very cool melody towards the end that comes back in “narukami/weeping god” and “shoryu/rising dragon”. we can basically call this the protagonist theme. naruto, sakura, kakashi, jiraiya, most of the konoha 11, and even minato get to claim this one. however, VERY interestingly, narukami is what plays when tobi (as madara) is telling sasuke about the glory days of the uchiha clan... possibly hinting at greater connections between the two clans???????????

akatsuki-related themes: i won’t link a ton of these because they’re super obvious. they’re often full of choir and organ (harkening back to orochimaru’s original series theme); they also tend to be slower. not always, though; look at crimson flames, a slapper if i ever heard one. prime example of akatsuki themes: girei, my FAVORITE bit of the shippuden soundtrack. UGH.

general shippuden themes: things like hurricane suite, heaven-shaking event, etc. most of the first ost goes in here. this category also contains the closest approximation to hashirama’s theme that i could find, experienced many battles and departure to the front lines, which both make me cry lol

there are other fun little motifs and bits and bobs that appear in this soundtrack that i won’t get into here for length (remind me to talk about the angelic herald of death sometime), but it’s a remarkably cohesive piece of work to the point where it gets repetitive sometimes; why are all the super interesting tracks unreleased!!!!??? anyway the purpose of this meta is to attempt to make sense of the way this soundtrack works. we’ll investigate sasuke primarily because i feel that he really ties the whole soundtrack together, and you can extrapolate a lot from the way his theme evolves.

sasuke’s theme (wandering/hyouhaku), yes the dramatic cowboy music theme, is this wonderfully atmospheric track that makes use of the kind of negative space between guitar strums to build up this aura, this Essence of Sasuke. this alone makes it stand apart from other mostly-acoustic pieces on the soundtrack, to me. the whole thing is just humming with this simmering frustration and melancholy and it really gives you a sense of sasuke as this tortured figure who has been severely wronged and experienced the world’s faults firsthand. notably, this version of sasuke’s theme lifts its opening notes (and structure, sorta) from sasuke’s original series theme, which i assume was on purpose. it shows that he’s grown jaded as he got older, i think.

anyway, as the inevitable battle between sasuke and itachi draws closer, we get our first variation on sasuke’s theme: black spot/kokuten. it has the same melody and structure as before, but features heavier guitars, more orchestration, and, in the final bars, notes that previously fell on 1 and 4 but now fall on 1 and 3, which bring a heightened sense of urgency to the whole thing. and more importantly, it ends without resolving itself? it leaves us hanging on this almost call-and-response bit with one wailing guitar after another, before winding the orchestration down and fizzling back down to the level of “wandering.” here we see a sasuke in progress, if you will, working towards a goal that some may find sinister, but he is determined if nothing else, and the instruments match his fervor. it’s roughly analogous to “crimson flames” in terms of intensity, but it’s very distinctly Sasuke.

there are several more variations of sasuke’s theme floating around, but the next one i want to talk about is this one called “sasuke’s ninja way,” apparently, never officially released but relentlessly employed by the anime directors. it takes a more subtle turn than “black spot,” but i don’t see it as a direct sequel to “wandering” for a few different reasons. i think it represents the dilemma sasuke found himself after finally killing itachi and learning the truth about him: the realization that this whole quest for power of his was never really about revenge on one specific person, but rather about reforming the shinobi world as a whole. it’s slower than “black spot,” yet darker, more ominous; it treads the same general path as “wandering” but with added electric guitar, and, notably, choir. recall that choir is often used for themes related to the akatsuki, which i think ties in neatly with sasuke’s motivations at this point. he, like nagato before him, wants to remake the world.

the final iteration of sasuke’s theme, “sasuke’s revolution/junkyousha,” brings it all together. the akatsuki is commonly represented through choir and organ, and this theme starts out with both of these cranked up to the max. this is (pardon the pun) sasuke’s rebirth, if you will. just combine the intensity of “girei,” the anger of “crimson flames,” and the determination of “emergence of talents” and you’re there. seriously: this culmination of sasuke’s character development basically pulls from every single facet of the soundtrack and produces this MASSIVELY rich piece full of anger and rage and hate and fury, while STILL managing to include the twangy guitar bits from “wandering” (which have gone back to 1 and 4!!). we also have someone going ham on a shamisen towards the end of the track, which calls to mind the shamisen solo from “emergence of talents” and other tracks. hinting at an eventual compromise with naruto, possibly?

anyway, i started out this meta trying to find a piece of the soundtrack that could serve as madara’s theme, but i wasn’t sure that one existed. i think the susano’o has a theme, and the uchiha clan has a theme, but....madara just doesn’t?? sure there are unreleased tracks like “legendary uchiha,” but i’d argue that doesn’t really go into his character as much as it just says “watch out for this fucking guy.”

but then i listened to hurricane suite one more time, and i was like HOLY SHIT THIS IS IT. for one thing, it’s long as fuck: this track is a whole journey. it really gives the impression of someone who has lived an impossibly long life and become jaded and cruel and hardened. i realize that the argument could be made that hurricane suite is sasuke’s theme, not madara’s, or that it’s a general shippuden theme and doesn’t represent one character in particular. and yes, i think both of these interpretations are correct. hurricane suite represents what sasuke could POTENTIALLY turn out to be, given his evolution from “wandering” to “black spot” to “sasuke’s ninja way” all the way to “sasuke’s revolution.” hurricane suite warns us that sasuke can (and very well may!) make the same mistakes madara did and end up destroying himself in the process. (the middle of “hurricane suite” GREATLY resembles “wandering.”) and recall that hurricane suite is used in the very first episode of shippuden: the episode where naruto encounters sasuke for the first time, AND- are you ready for this- when madara’s name is dropped for the first time in the series.

this is why i think that, along with it being a general shippuden theme, hurricane suite is also madara’s theme. shippuden as a whole is practically suffocating under the oppressive weight of madara’s presence, right from the very first episode. even before he’s introduced, he is VERY much there. so much of madara’s character is established before he even shows up. we hear so much about him from other characters (kurama, itachi, obito, hashirama), and as such our view of madara changes drastically over the course of the series. and guess what plays when itachi shows sasuke that genjutsu of madara stealing izuna’s eyes?

anyway, in my opinion and in my interpretation of the character, the music fits him perfectly. it starts out all low and choral with these slow ominous drums and deep strings, and this violin comes in that sounds like it’s weeping. we hear something like a heartbeat that grows darker over time, before the music comes to some sort of resolution, an inflection point, and the brass comes in heavy. NOW we’re dealing with the orchestra, three quarters of the way into the song, and we’ve got strings and drums set to a marching pace, more choral chanting, climbing strings and shamisen tumbling down the scales. it sounds like grief!!

and note that yes, this track is used in the very first episode of shippuden, during naruto and sasuke’s first encounter. but it is ALSO used during the scene in hashirama’s flashback when izuna is mortally wounded and madara makes the decision to abandon the clan on the battlefield to take care of him, despite his better judgment and hashirama’s offering of peace. the inflection point in the music represents a very real inflection point in madara’s life: the loss of his last brother. (it always comes back to that, doesn’t it.)

#meta #madara uchiha #sasuke uchiha #uchiha clan #almost 2000 words churned out in one evening. [stares at fic] [sighs]#long post

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natromanxoff · 4 years

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Queen live at Hyde Park in London, UK - September 18, 1976 (Part-1)

An interesting bit about the Hyde Park gig (thanks to Jane Palm-Gold): "The white boiler suit Fred wore coming onstage was especially chosen by him so that he could be seen from miles away (because white stands out at a distance) and even better (and this is great but you have to know this place really - a London landmark for many years) it was acquired at Lawrence Corner at Euston (!), a tatty second hand clothes /hire place where a lot of clothes /outfits were hired from for band promo shoots - for instance they had a lot of military stuff there."

(x)

After the success of A Night At The Opera (and not to mention how the weekly Sounds readers' poll elected the band #1 in the best album, best single, and best band categories), Queen wanted to pay the British fans back for back their loyalty and support over the last few years. Whilst in Japan earlier in the year, they came up with the idea to stage a massive free concert. With the help of record industry entrepreneur Richard Branson (creator of Virgin Records/megastores) they started making plans for the Hyde Park show, which turned into a mini tour along with the Edinburgh and Cardiff shows. It is estimated that between 150-200 thousand people turned up at Hyde Park, which is still a record for the venue to this day. This show cemented their position in the top bracket of rock bands. The stage used was the same stage that was constructed for the Rolling Stones concert at the Knebworth Fair a few weeks earlier.

Queen's first huge show at home brought certain areas of London to a grinding halt, and space on public transportation was at a premium. The concert took place on the anniversary of Jimi Hendrix's death. A banner hung from a tree that read "Hendrix Lives," and at one point in the show Brian May noticed it with much appreciation. The band are seen in the photos above arriving at the venue, where they were joined backstage by Pink Floyd's Roger Waters. Supercharge, Steve Hillage, Rufus, and Kiki Dee (along with a cardboard cut-out of Elton John, who couldn't make it to join her for Don't Go Breaking My Heart) played before Queen (Be-Bop Deluxe and John Miles were supposed to be on the bill as well, but were axed for some reason). A pro-shot video of Steve Hillage's performance exists as well as Queen's. There was a fight in the audience during Hillage's set, during which he played extended trippy versions of It's All Too Much by The Beatles and Hurdy Gurdy Man by Donovan. Also notable is Supercharge's singer Albie Donnelly parodying Freddie Mercury in a white leotard and a half mic stand. The first half of the A Day At The Races overture is aired publicly for the first time (the upcoming album had been partially recorded by this point). The usual Bohemian Rhapsody opening sequence then commences for the last time. The band make their entrance, and everybody near the stage stands up (the audience had been seated on the grass for the opening acts). This angers many fans who are further back (roughly 90% of the audience now cannot see the stage), so they start lobbing cans, bottles, or whatever else that can be thrown. After a few songs, Freddie asks everyone simply to calm down: "I have been requested by the constabulary for you not to throw little things around, tin cans or whatever. So make this a peaceful event, ok? Sit on your arses and listen." Brian, after his solo spot in Brighton Rock (he stutters a bit, revealing that he's still nervous): “From one piece of nonsense to another, I’ve said it before. This is something we wanted to do with the London Philharmonic but they didn’t show up, so we will do the ethnic version of a song called '39." He is seen in a dazzling new outfit tonight, which he'd wear every night through Japan 1979. It would become the outfit he'd change into during the opera section of Bohemian Rhapsody. "Clap along and stuff," he urges the audience, as he plays the intro of what he'd later describe as the first song about Einstein's general theory of relativity. After '39, Freddie audaciously performs the as-of-yet unreleased You Take My Breath Away alone on the piano, even hitting many of the falsetto notes that he'd excise in 1977 versions. He then gets cheeky and introduces The Prophet's Song as "a little shorter number from our album A Night At The Opera." Perhaps he still had You Take My Breath Away in his head, as he begins the a cappella section with what would become the first line of the A Day At The Races ballad instead of the usual "oh, people can you hear me?" bit. He also references Death On Two Legs, as he had done a few times earlier in the year. After Stone Cold Crazy, the band play Keep Yourself Alive and Liar, having dropped Doing All Right and Lazing On A Sunday Afternoon from the set. The combination of these three heavy numbers would prove to be very effective, and they would stick with it for their following North American tour. Liar is a great version, with many great Mercuryisms throughout. Before the last song, Brian coyly says, "This is In The Lap Of The Gods, or something like that." The band play a similar set to the ones they did in Edinburgh and Cardiff, except they drop Doing All Right, Lazing On A Sunday Afternoon and Tie Your Mother Down. They intended to perform their usual encore of Big Spender and Jailhouse Rock, but the show had run a half hour past its scheduled ending time (a curfew strictly enforced by the authorities). The police threatened to arrest the band if they went back on stage, and Freddie was later quoted saying how he would prefer not to be stuck in a jail cell in his leotard. And so, Bob Harris was left with the unenviable task of announcing to the crowd that the show was over. He later recalled how difficult and nerve-wracking it was to tell an audience of this size who had waited for about ten hours that there would be no encore. Now I'm Here was the first encore every night around this time, making this the one time between 1974 and 1986 where the song is not performed. The liner notes of Live Killers suggest that Now I'm Here was dropped from the set for a while, but that is patently untrue. People in one section of the audience chanted "Why are we waiting," all in good fun, knowing full well the show was over. The police soon turned off the main power feed to the park, forcing hundreds of thousands of people to make their way out in sheer darkness. Their reasoning was that it was the only way to "control" such a large number of people who had been rowdy throughout the day. In a 1977 interview with Capital Radio, Brian recalls the day: "It had a great sunny day for it, and everyone had a good time. There were still altercations on the day, and there was a big thing with the powers that be because they wouldn't let us go on and do the encore, about which we were very upset, having worked up for months and prepared for all that. They got very frightened because there were 150,000 people in Hyde Park in the dark, and they thought they were going to get out of hand. But in fact, there was no possible danger happening at all. Everyone was peaceful and having a good time."

This show is what epitomized their popularity in Britain, and when they felt they "had really made it," as Brian would later recall. On another occasion he said, "I think that Hyde Park was one of the most significant gigs in our career. There was a great affection because we'd kind of made it in a lot of countries by that time, but England was still, you know, we weren't really sure if we were really acceptable here. So it was a wonderful feeling to come back and see that crowd and get that response." Despite the fact that the audience had been there all day watching the various opening acts and waiting, the band delayed the show as long as possible just so it could get dark enough for their lighting and various other effects to make their full impact (as demanded by Freddie). Throughout the show, the band's nervousness and excitement for the occasion are evident. Most of the audience couldn't see a thing during Queen's set, since the stage was barely elevated. "The smell of the dry ice and the sound are the only sensory memories I have of this show," recalls Jane Palm-Gold. Here is an article from the day of the show,

and a review from a week later (both were submitted by Boris Arkhangelsky).

Tonight would be the final performances of Flick Of The Wrist, Son And Daughter, and the (almost) full The Prophet's Song. A snippet of The March Of The Black Queen would be performed only once more in 1978, but a different part of the song.

Here is a Virgin Records flyer.

The second pic is the famous overhead shot that appeared in the October 9, 1976 Melody Maker. Pic 5 was submitted by Janneman, and pics 6 and 7 were submitted by Lukáš Bosík.

Fan Stories

“Well, I was 13 years old and had got into Queen through Night At The Opera and THAT video. I'd never been to a gig before and it took a lot of convincing of a sceptical mother to let me go to Hyde Park on my own. After answering the inevitable "no, I won't talk to strange men mum" questions I was allowed to go. The morning came and I was up at 6am, got my packed lunch together (can you imagine going off to a gig now with your sandwiches and orange juice!) and headed off to Hyde Park. I remember getting there so early that I was right by the crash barriers at the front and determined to try and hold my spot all day. As the day progeressed however I ended upmoving backwards slowly as people pushed in. I can remember savouring the whole build up, the support bands, everything. As dusk started to fall, the stage went dark and the dry ice started up. I broke my mums don't talk to strangers bit and a very nice bloke put me up on his shoulders so I could see them come on. I just remember the crash of light and sound as they came on as if it was yesterday (and not 27 years ago!). The rest of the gig was amazing and that was it, I was hooked on Queen and rock music. I saw Queen on every tour they ever did in England (and a few in Europe) after that but nothing compares to that first gig for me.”

- Andy

Part-2

Part-3

#queen #queen band #roger taylor #freddie mercury #brian may #john deacon #queen concerts

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makistar2018 · 5 years

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All 125 Taylor Swift Songs, Ranked From Worst to Best

By NATE JONES April 30, 2019

In this business, there are two subjects that will boost your page views like nothing else: Game of Thrones and Taylor Swift. One of them is a massive, multi-million-dollar enterprise filled with violence and betrayal, and the other airs on HBO. I find it hard to explain why exactly, and I’m sure Swift would, too: Somehow, this one 27-year-old woman from Wyomissing, Pennsylvania, keeps finding herself at the center of our national conversations about race, gender, celebrity, victimhood, even the economics of the tech industry. And, outside the legions of fans who eat up everything she puts out, no take on her ever stays solid for long. She was a precocious teenager, and the ultimate embodiment of white privilege. She’s been feminism’s worst nightmare, and an advocate for victims of sexual assault. Some people say she’s a goddess of the alt-right. Other people say she’s Jewish.

And yet, unlike Madonna or Bowie, Swift got through the first 11 years of her career without any major reinventions. (For 1989, she embraced feminism and threw away the last vestiges of her Nashville sound, but those were basically just aesthetic changes.) If the word on her has shifted since her debut, it’s because we’ve changed, not her. Swift — or at least the version of Swift on her albums — has remained largely the same person since her debut: a thin-skinned, bighearted obsessive, with a penchant for huge romantic moments. People don’t slowly ease into a relationship in her songs; they show up at each other’s doors late at night and they kiss in the rain. An unworthy suitor won’t just say something thoughtless; he’ll skip a birthday party or leave a teenage girl crying alone in a hotel room. Listen to her songs and you’ll ache at the resemblance to the most dramatic moments in your own private history. Listen to too many and you might ache again at the nagging feeling that those stories of yours have all been a bit uneventful and drab by comparison. What sort of real life can stand up against fantasies like these?

So, uh, I don’t recommend you listen to this list top to bottom.

But I do recommend sampling as many of these songs as you see fit. Even with the widespread critical embrace of poptimism — a development I suspect has as much to do with the economics of online media as it does with the shifting winds of taste — there are still those who see Swift as just another industry widget, a Miley or Katy with the tuner set to “girl with a guitar.” If this list does anything, I hope it convinces you that, underneath all the thinkpieces, exes, and feuds, she is one of our era’s great singer-songwriters. She may not have the raw vocal power of some of her competitors, but what she lacks in Mariah-level range she makes up for in versatility and personality. (A carpetbagger from the Pennsylvania suburbs, she became an expert code-switcher early in her career and never looked back.) And when it comes to writing instantly memorable pop songs, her only peers are a few anonymous Swedish guys, none of whom perform their own stuff. I count at least ten stone-cold classics in her discography. Others might see more. No matter how high your defenses, I guarantee you’ll find at least one that breaks them down.

Some ground rules: We’re ranking every Taylor Swift song that’s ever been released with her name on it — which means we must sadly leave out the unreleased 9/11 song “Didn’t They” as well as Nils Sjöberg’s “This Is What You Came For” — excluding tracks where Swift is merely “featured” (no one’s reading this list for B.o.B.’s “Both of Us”) but including a few duets where she gets an “and” credit. Songwriting is an important part of Swift’s spellbook, so covers are treated more harshly than originals. Because Swift’s career began so young, we’re left in the awkward position of judging work done by a literal high-schooler, which can feel at times like punching down. I’ll try to make slight allowances for age, reserving the harshest criticism for the songs written when Swift was an adult millionaire.

125. “Look What You Made Me Do,” Reputation (2017): “There’s a mistake that I see artists make when they’re on their fourth or fifth record, and they think innovation is more important than solid songwriting,” Swift told New York back in 2013. “The most terrible letdown as a listener for me is when I’m listening to a song and I see what they were trying to do.” To Swift’s credit, it took her six records to get to this point. On a conceptual level, the mission here is clear: After the Kim-Kanye feud made her the thinking person’s least-favorite pop star, this comeback single would be her grand heel turn. But the villain costume sits uneasily on Swift’s shoulders, and even worse, the songwriting just isn’t there. The verses are vacuous, the insults have no teeth, and just when the whole thing seems to be leading up to a gigantic redemptive chorus, suddenly pop! The air goes out of it and we’re left with a taunting Right Said Fred reference — the musical equivalent of pulling a Looney Tunes gag on the listener. Other Swift songs have clunkier rhymes, or worse production values, but none of them have such a gaping hole at the center. (I do dig the gleeful “Cuz she’s dead!” though.)

124. “Umbrella,” iTunes Live From Soho (2008): Swift has recorded plenty of covers in her career, and none are less essential than this 90-second rendition of the Rihanna hit recorded at the peak of the song’s popularity. It’s pure college-campus coffeehouse.

123. “Christmas Must Mean Something More,” The Taylor Swift Holiday Collection (2007): One of two originals on Swift’s early-career Christmas album, “Something More” is a plea to put the Christ back in Christmas. Or as she puts it: “What if happiness came in a cardboard box? / Then I think there is something we all forgot.” In the future, Swift would get better at holding onto some empathy when she was casting a critical eye at the silly things people care about; here, the vibe is judgmental in a way that will be familiar to anyone who’s ever reread their teenage diary.

122. “Better Than Revenge,” Speak Now (2010): A nasty little song that has not aged well. Whether a straightforward imitation of Avril Lavigne’s style or an early attempt at “Blank Space”–style self-satirization, the barbs never go beyond bratty. (As in “Look What You Made Me Do,” the revenge turns out to be the song itself, which feels hollow.) Best known now for the line about “the things she does on the mattress,” which I suspect has been cited in blog posts more times than the song itself has been listened to lately.

121. “American Girl,” Non-album digital single (2009): Why would you cover this song and make it slower?

120. “I Want You Back,” Speak Now World Tour – Live (2011): Another 90-second cover of a pop song that does not particularly benefit from a stripped-down arrangement.

119. “Santa Baby,” The Taylor Swift Holiday Collection (2007): Before Ariana Grande’s “Santa Tell Me,” there was only one holiday song about falling in love with Santa, and for some reason, we spent decades making all our young female singers cover it. Swift’s version leans out of the awkwardness by leaning into the materialism; she puts most of her vocal emphasis on the nice presents she hopes Santa will bring her. (The relationship seems to be fairly quid pro quo: She’ll believe in him if he gives her good gifts — even at this early stage, Swift possessed a savvy business sense.) Otherwise, this is a by-the-numbers holiday cover, complete with sleigh bells in the mix.

118. “Sweet Escape,” Speak Now World Tour – Live; Target edition DVD (2011): Swift’s sedate cover of the 2006 Gwen Stefani hit — those “ooh-ooh”s are pitched way down from Akon’s falsetto in the original — invests the song with a bittersweet vibe, though like anyone who’s ever tried the song at karaoke, she stumbles on the rapid-fire triplets in the first verse.

117. “Silent Night,” The Taylor Swift Holiday Collection (2007): Swift’s cover of the Christmas classic veers significantly away from Franz Xaver Gruber’s original melody, and even gives it a Big Taylor Swift Finale. Points for ambition, but sometimes you just want to hear the old standards the way you remember them.

116. “The Last Time,” Red (2012): Red is Swift’s strongest album, but it suffers a bit from pacing issues: The back half is full of interminable ballads that you’ve got to slog through to get to the end. Worst of all is this duet with po-faced Ulsterman Gary Lightbody, which feels about ten minutes long.

115. “Invisible,” Taylor Swift: Special Edition (2006): A bonus track from the debut that plays like a proto–”You Belong With Me.” The “show you” / “know you” rhymes mark this as an early effort.

114. “…Ready for It?,” Reputation (2017): The second straight misfire off the Reputation rollout, this one sees Swift try her hand at rapping, with some ill-advised bars about Elizabeth Taylor and a flow she borrowed from Jay-Z. (Try to rap “Younger than my exes” without spilling into “rest in peace, Bob Marley.”) Bumped up a spot or two for the chorus, a big Swift hook that sounds just like her best work — in this case, because it bites heavily from “Wildest Dreams.”

113. “I Heart ?,” Beautiful Eyes EP (2008): Swift code-switches like a champ on this charmingly shallow country song, which comes from the Walmart-exclusive EP she released between her first two albums. Her vocals get pretty rough in the chorus, but at least we’re left with the delightful line, “Wake up and smell the breakup.”

112. “Bad Blood,” 1989 (2014): When Swift teamed up with Max Martin and Shellback, the marriage of their dark eldritch songcraft nearly broke the pop charts. But when they misfire, the results can be brutal. The lyric here indulges the worst habits of late-period Swift — an eagerness to play the victim, a slight lack of resemblance to anything approaching real life — attached to a schoolyard-chant melody that will never leave your head, even when you may want it to. The remix hollows out the production and replaces Swift’s verses with two from Kendrick Lamar; it’s less embarrassing than the original, which does not make it more memorable.

111. “White Christmas,” The Taylor Swift Holiday Collection (2007):The most bluegrass of Swift’s Christmas tunes, this gentle rendition sees Swift’s vocals cede center stage to the mandolin and fiddle.

110. “Crazier,” Hannah Montana: The Movie soundtrack (2009): When approached by the filmmakers about contributing a song to the Hannah Montana movie, Swift sent in this track, seemingly a holdover from the Fearless sessions. In an admirable bit of dedication, she also showed up to play it in the film’s climax. It’s kind of a snooze on its own, but compared to the other songs on the soundtrack, even Swift’s leftovers shine.

109. “I’d Lie,” Taylor Swift (2006): A bonus track only available to people who bought Swift’s debut at Best Buy. It’s as cute as a study-hall MASH game, and just as easily disposable.

108. “Highway Don’t Care,” Tim McGraw’s Two Lanes of Freedom(2013): After joining Big Machine, McGraw gave Swift an “and” credit here as a professional courtesy. Though her backing vocals are very pleasant, this is 100 percent a Tim McGraw song.

107. “Superman,” Speak Now: Deluxe Edition (2010): A bonus track that’s not gonna make anyone forget Five for Fighting any time soon.

106. “Change,” Fearless (2008): A bit of paint-by-numbers inspiration that apparently did its job of spurring the 2008 U.S. Olympic team to greatness. They won 36 gold medals!

105. “End Game,” Reputation (2017): Swift tries out her blaccent alongside Future and Ed Sheeran, on a track that sounds unmistakably like a Rihanna reject. The only silver lining? She’s better at rapping here than on “…Ready for It?”

104. “The Lucky One,” Red (2012): A plight-of-fame ballad from the back half of Red, with details that never rise above cliché and a melody that borrows from the one Swift cooked up for “Untouchable.”

103. “A Place in This World,” Taylor Swift (2006): Swift’s version of “Not a Girl, Not Yet a Woman,” this one feels like it missed its chance to be the theme tune for an ABC Family show.

102. “I Don’t Wanna Live Forever,” Fifty Shades Darker soundtrack (2017): In Fifty Shades Darker, this wan duet soundtracks a scene where Christian Grey and Anastasia Steele go for a sunny boat ride while wearing fabulous sweaters. On brand!

101. “Last Christmas,” The Taylor Swift Holiday Collection (2007): Swift does George Michael proud with this reverent cover of the Wham! classic.

100. “Breathless,” Hope for Haiti Now (2010): Swift covered this Better Than Ezra deep cut for the Hope for Haiti telethon. With only one take to get it right, she did not let the people of Haiti down.

99. “Bette Davis Eyes,” Speak Now World Tour – Live (2012): “There’s some unbelievable music that has come out of artists who are from L.A., did you know that?” Swift asks the audience at the beginning of this live track. The crowd, not being idiots, responds with an enthusiastic yes. This cover loses the two most famous parts of Kim Carnes’s original — the synths and Carnes’s throaty delivery — but the acoustic arrangement and Swift’s intimate vocals bring out the best qualities of the tune.

98. “Eyes Open,” The Hunger Games: Songs From District 12 and Beyond (2012): One of two songs Swift contributed to the first Hunger Games soundtrack. With guitars seemingly ripped straight out of 1998 alt-rock radio, this one’s most interesting now as a preview of Swift’s Red sound.

97. “Beautiful Eyes,” Beautiful Eyes EP (2008): The title track of Swift’s early-career EP finds the young songwriter getting a lot of mileage out of one single vowel sound: Besides the eyes of the title, we’ve got I, why, fly, cry, lullaby, even sometimes. A spirited vocal performance in the outro saves the song from feeling like homework.

96. “The Outside,” Taylor Swift (2006): If you thought you felt weird judging songs by a high-schooler, here’s one by an actual sixth-grader. “The Outside” was the second song Swift ever wrote, and though the lyrics edge into self-pity at times, this is still probably the best song written by a 12-year-old since Mozart’s “Symphony No. 7 in D Major.”

95. “SuperStar,” Fearless: Platinum Edition (2008): This bonus track is a relic of an unfamiliar time when Swift could conceivably be the less-famous person in a relationship.

94. “Starlight,” Red (2012): Never forget that one of the most critically acclaimed albums of 2012 contains a piece of Ethel Kennedy fanfiction. The real story of Bobby and Ethel has more rough spots than you’ll find in this resolutely rose-colored track, but that’s what happens when you spend a summer hanging in Hyannis Port.

93. “Sad Beautiful Tragic,” Red (2012): Another glacially paced song from the back half of Red that somehow pulls off rhyming “magic” with “tragic.”

92. “Innocent,” Speak Now (2010): The disparate reactions to Kanye West stage-crashing Swift at the 2009 VMAs speaks to the Rorschachian nature of Swift’s star image. Was Swift a teenage girl whose moment was ruined by an older man who couldn’t control himself? Or was she a white woman playing the victim to demonize an outspoken black man? Both are correct, which is why everyone’s spent so much time arguing about it. Unfortunately, Swift did herself no favors when she premiered “Innocent” at the next year’s VMAs, opening with footage of the incident, which couldn’t help but feel like she was milking it. (Fairly or not, the comparison to West’s own artistic response hardly earns any points in the song’s favor.) Stripped of all this context, “Innocent” is fine: Swift turns in a tender vocal performance, though the lyrics could stand to be less patronizing.

91. “Girl at Home,” Red: Deluxe Edition (2012): This Red bonus track offers a foreshadowing of Swift’s interest in sparkly ’80s-style production. A singsongy melody accompanies a largely forgettable lyric, except for one hilariously blunt line: “It would be a fine proposition … if I was a stupid girl.”

90. “A Perfectly Good Heart,” Taylor Swift: Special Edition (2006): A pleading breakup song with one killer turn of phrase and not much else.

89. “Mary’s Song (Oh My Oh My),” Taylor Swift (2006): This early track was inspired by Swift’s elderly neighbors. Like “Starlight,” it’s a young person’s vision of lifelong love, skipping straight from proposal to old age.

88. “Come in With the Rain,” Fearless: Platinum Edition (2008): An ode to a long-lost lover that follows the Swift template a tad too slavishly.

87. “Dancing With Our Hands Tied,” Reputation (2017): Reputation sags a bit in the middle, never more than on this forgettable ’80s-inspired track.

86. “Welcome to New York,” 1989 (2014): In retrospect, there could not have been a song more perfectly designed to tick off the authenticity police — didn’t Swift know that real New Yorkers stayed up till 3 a.m. doing drugs with Fabrizio Moretti in the bathroom of Mars Bar? I hope you’re sitting down when I tell you this, but it’s possible the initial response to a Taylor Swift song might have been a little reactionary. When it’s not taken as a mission statement, “Welcome to New York” is totally tolerable, a glimmering confetti throwaway with lovely synths.

85. “Tied Together With a Smile,” Taylor Swift (2006): When she was just a teenager with a development deal, Swift hooked up with veteran Nashville songwriter Liz Rose. The two would collaborate on much of Swift’s first two albums. “We wrote and figured out that it really worked. She figured out she could write Taylor Swift songs, and I wouldn’t get in the way,” Rose said later. “She’d say a line and I’d say, ‘What if we say it like this?’ It’s kind of like editing.” This early ballad about a friend with bulimia sees Swift and Rose experimenting with metaphor. Most of them work.

84. “King of My Heart,” Reputation (2017): Swift is fond of saying that “songs are what you think of on the drive home — you know, the Great Afterthought.” (She says it’s a Joni Mitchell quote, but I haven’t been able to find it.) Anyway, I think that’s why some of the love songs on Reputationdon’t quite land: Swift is writing about a relationship from inside of it, instead of with hindsight. It’s a different skill, which could explain why the boyfriend character here is less vividly sketched than some of her other ones.

83. “Come Back … Be Here,” Red: Deluxe Edition (2012): A vulnerable track about long-distance love, with simple sentiments overwhelmed by extravagant production.

82. “Breathe,” Fearless (2008): A Colbie Caillat collaboration that’s remarkable mostly for being a rare Swift song about a friend breakup. It’s like if “Bad Blood” contained actual human emotions.

81. “Stay Beautiful,” Taylor Swift (2006): Nathan Chapman was a Nashville session guitarist before he started working with Swift. He produced her early demos, and she fought for him to sit behind the controls on her debut; the two would work together on every Swift album until 1989, when his role was largely taken over by Max Martin and Shellback. Here, he brings a sprightly arrangement to Swift’s ode to an achingly good-looking man.

80. “Nashville,” Speak Now World Tour – Live; Target edition DVD (2011): Swift gives some shine to singer-songwriter David Mead with a cover of his 2004 ballad. (Listen to the screams during the chorus and try to guess where this one was recorded.) She treats it with a delicate respect, like she’s handling her grandmother’s china.

79. “So It Goes,” Reputation (2017): Unfortunately not a Nick Lowe cover, this one comes and goes without making much of an impact, but if you don’t love that whispered “1-2-3,” I don’t know what to tell you.

78. “You’re Not Sorry,” Fearless (2008): An unflinching kiss-off song that got a gothic remix for Swift’s appearance as an ill-fated teen on CSI. It shouldn’t work, but it does.

77. “Drops of Jupiter,” Speak Now World Tour – Live (2012): The best of the covers on the live album sees Swift commit to the Train hit like she’d written it herself. If you had forgotten that this song came out in 2001, she keeps the line about Tae Bo.

76. “The Other Side of the Door,” Fearless: Platinum Edition (2008): A bonus track saved from mediocrity by a gutsy outro that hints that Swift, like any good millennial, was a big fan of “Semi-Charmed Life.”

75. “Gorgeous,” Reputation (2017): In the misbegotten rollout for Reputation, “Gorgeous” righted the ship by not being completely terrible. Max Martin and Shellback pack the track with all sorts of amusing audio doodads, but the melody is a little too horizontal to stick, and the lyrics have a touch of first draft about them. (You’d be forgiven for preferring the actual first draft, which is slightly more open and real.)

74. “I Wish You Would,” 1989 (2014): Like “You Are in Love,” this one originated as a Jack Antonoff instrumental track, and the finished version retains his fingerprints. Perhaps too much — you get the sense it might work better as a Bleachers song.

73. “Cold As You,” Taylor Swift (2006): A dead-serious breakup song that proved the teenage Swift (with help from Rose, who’s got a co-writing credit) could produce barbs sharper than most adults: “You come away with a great little story / Of a mess of a dreamer with the nerve to adore you.” Jesus.

72. “Haunted,” Speak Now (2010): In which Swift tries her hand at Evanescence-style goth-rock. She almost pulls it off, but at this point in Swift’s career her voice wasn’t quite strong enough to give the unrestrained performance the song calls for.

71. “This Love,” 1989 (2014): Began life as a poem before evolving into an atmospheric 1989 deep cut. Like an imperfectly poached egg, it’s shapeless but still quite appetizing.

70. “Untouchable,” Fearless: Platinum Edition (2008): Technically a Luna Halo cover (don’t worry about it), though Swift discards everything but the bones of the original. Her subsequent renovation job is worthy of HGTV: It’s nearly impossible to believe this was ever not a Taylor Swift song.

69. “Wonderland,” 1989: Deluxe Edition (2014): A deranged bonus track that sees Swift doing the absolute most. This song has everything: Alice in Wonderland metaphors, Rihanna chants, a zigzag bridge that recalls “I Knew You Were Trouble,” screams. As she puts it, “It’s all fun and games ’til somebody loses their MIND!”

68. “Sweeter Than Fiction,” One Chance soundtrack (2013): Swift’s first collaboration with Jack Antonoff is appropriately ’80s-inspired, and so sugary that a well-placed key change in the chorus is the only thing that staves off a toothache.

67. “I’m Only Me When I’m With You,” Taylor Swift: Special Edition(2006): A rollicking pop-rock tune that recalls early Kelly Clarkson. As if to reassure nervous country fans, the fiddle goes absolutely nuts.

66. “Tell Me Why,” Fearless (2008): A bog-standard tale of an annoyingly clueless guy, but it’s paired with one of Swift and Rose’s most winning melodies.

65. “If This Was a Movie,” Speak Now: Deluxe Edition (2010): The mirror image of “White Horse,” which makes it feel oddly superfluous.

64. “How You Get the Girl,” 1989 (2014): The breeziest and least complicated of Swift’s guy-standing-on-a-doorstep songs, which contributed to the feeling that 1989 was something of an emotional regression. You probably shouldn’t take it as an instruction manual unless you’re Harry Styles.

63. “Don’t Blame Me,” Reputation (2017): A woozy if slightly anonymous love song that comes off as a sexier “Take Me to Church.” [A dozen Hozier fans storm out of the room.]

62. “The Way I Loved You,” Fearless (2008): Written in collaboration with Big and Rich’s John Rich, which may explain how stately and mid-tempo this one is. (There’s even a martial drumbeat.) Here, she’s faced with a choice between a too-perfect guy — he’s close to her mother and talks business with her father — and a tempestuous relationship full of “screaming and fighting and kissing in the rain,” and if you don’t know which one she prefers I suggest you listen to more Taylor Swift songs. Swift often plays guessing games about which parts of her songs are autobiographical, but this one is explicitly a fantasy.

61. “New Romantics,” 1989: Deluxe Edition (2014): Like “22,” an attempt at writing a big generational anthem. That it was left off the album proper suggests Swift didn’t think it quite got there, though it did its job of extending the singles cycle of 1989 a few more months. Despite what anyone says about “Welcome to New York,” the line here about waiting for “trains that just aren’t coming” indicates its writer has had at least one authentic New York experience.

60. “Sparks Fly,” Speak Now (2010): This one dates back to Swift’s high-school days, and was destined for obscurity until fans fell in love with the live version. After what seems like a lot of tinkering, it finally got a proper studio release on Swift’s third album. It’s like “True Love Waits,” but with more kissing in the rain.

59. “Me!,” Untitled Seventh Album (2019): Well, what did we expect? The run-up to “Me!” was preceded by a weeks-long guessing game about what precisely would be the nature of Swift’s April 26 announcement. Would she come out? Would she come out and reveal she had once dated Karlie Kloss? Cut to the fateful day, and the news was … Swift, who is a pop singer, was releasing a new pop song. After the Sturm und Drang of the Reputation era, “Me!” is a return to anodyne sweetness, a mission statement that says, “I’m through making mission statements.” The result is blandly inoffensive, emphasis on the bland.

58. “All You Had to Do Was Stay,” 1989 (2014): Just like the melody to “Yesterday” and the “Satisfaction” riff, the high-pitched “Stay!” here came to its writer in a dream. Inspiration works in mysterious ways.

57. “Delicate, Reputation (2017): With multitracked, breathy vocals, this is Swift at her most tentative. Would any other album’s Taylor be asking, “Is it cool that I said all that?”

56. “Stay Stay Stay,” Red (2012): Swift broke out her southern accent one last time for this attempt at homespun folk, which is marred by production that’s so clean it’s practically antiseptic. In an alternate universe where a less-ambitious Swift took a 9-to-5 job writing ad jingles, this one soundtracked a TV spot for the new AT&T family plan.

55. “Call It What You Want,” Reputation (2017): Many of the Reputationsingles aim at sexy; this airy slow jam about losing yourself in love after a scandal is the only one that gets there, though the saltiness in the verses (“all the liars are calling me one”) occasionally betrays the sentiment.

54. “Ours,” Speak Now: Deluxe Edition (2010): It’s not this song’s fault that the extended version of Speak Now has songs called both “Mine” and “Ours,” and while “Ours” is good … well, it’s no “Mine.” Still, even if this song never rises above cuteness, it is incredibly cute. I think Dad’ll get over the tattoos.

53. “The Best Day,” Fearless (2008): Swift’s parents moved the family to Tennessee so she could follow her musical dreams, and she paid them back with this tender tribute. Mom gets the verses while Dad is relegated to the middle eight — even in song, the Mother’s Day–Father’s Day disparity holds up.

52. “Everything Has Changed,” Red (2012): “We good to go?” For many American listeners, this was the first introduction to a redheaded crooner named Ed Sheeran. It’s a sweet duet and Sheeran’s got a roughness that goes well with Swift’s cleaner vocals, but the harmonies are a bit bland.

51. “Today Was a Fairytale,” Valentine’s Day soundtrack (2010): How much of a roll was Swift on during the Fearless era? This song didn’t make the album, and sat in the vault for a year until Swift signed on for a small role in a Garry Marshall rom-com and offered it up for the soundtrack. Despite the extravagant title, the date described here is charmingly low-key: The dude wears a T-shirt, and his grand gestures are showing up on time and being nice.

50. “Last Kiss,” Speak Now (2010): A good-bye waltz with an understated arrangement that suits the starkness of the lyrics.

49. “You Are in Love,” 1989: Deluxe Edition (2014): The best of Swift’s songs idealizing someone else’s love story (see “Starlight” and “Mary’s Song”), this bonus track sketches Jack Antonoff and Lena Dunham’s relationship in flashes of moments. The production and vocals are appropriately restrained — sometimes, simplicity works.

48. “The Story of Us,” Speak Now (2010): The deluxe edition of Speak Now features both U.S. and international versions of some of the singles, which gives you a sense of how fine-tuned Swift’s operation was by this point. My ears can’t quite hear the difference between the two versions of this exuberant breakup jam, but I suspect the U.S. mix contains some sort of ultrasonic frequencies designed to … sorry, I’ve already said too much.

47. “Clean,” 1989 (2014): Co-written with Imogen Heap, who contributes backup vocals. This is 1989’s big end-of-album-catharsis song, and the water imagery of the lyrics goes well with the drip-drip-drip production. I’d be curious to hear a version where Heap sings lead; the minimalist sound might be better suited for her voice, which has a little more texture.

46. “Getaway Car,” Reputation (2017): Another very Antonoff-y track, but I’m not mad at it. We start with a vocoder she must have stolen from Imogen Heap and end with one of Swift’s most rocking outros, and in between we even get a rare key change.

45. “I Almost Do,” Red (2012): The kind of plaintive breakup song Swift could write in her sleep at this point in her career, with standout guitar work and impressive vulnerability in both lyrics and performance.

44. “Long Live (We Will Be Remembered),” Speak Now (2010):Ostensibly written about Swift’s experiences touring with her band, but universal enough that it’s been taken as a graduation song by pretty much everyone else. Turns out, adolescent self-mythologizing is the same no matter where you are — no surprise that Swift could pull it off despite leaving school after sophomore year.

43. “The Moment I Knew,” Red: Deluxe Edition (2012): An epic account of being stood up that makes a terrible birthday party seem like something approximating the Fall of Troy. If you’re the type of person who stays up at night remembering every inconsiderate thing you’ve ever done, the level of excruciating detail here is like a needle to the heart.

42. “Jump Then Fall,” Fearless: Platinum Edition (2006): An effervescent banjo-driven love song. I get a silly kick out of the gag in the chorus, when Swift’s voice leaps to the top of her register every time she says “jump.”

41. “Never Grow Up,” Speak Now (2010): Swift’s songs where she’s romanticizing childhood come off better than the ones where she’s romanticizing old age. (Possibly because she’s been a child before.) This one is so well-observed and wistful about the idea of children aging that you’d swear she was secretly a 39-year-old mom.

40. “Should’ve Said No,” Taylor Swift (2006): Written in a rush of emotion near the end of recording for the debut, what this early single lacks in nuance it makes up for in backbone. I appreciate the way the end of each verse holds out hope for the cheating ex — “given ooonnne chaaance, it was a moment of weeaaknesssss” — before the chorus slams the door in the dumb lunk’s face.

39. “Back to December,” Speak Now (2010): At the time, this one was billed as a big step for Swift: the first song where she’s the bad guy! Now that the novelty has worn off “Back to December” doesn’t feel so groundbreaking, but it does show her evolving sensitivity. The key to a good apology has always been sincerity, and whatever faults Swift may have, a lack of sincerity has never been one of them.

38. “Holy Ground,” Red (2012): This chugging rocker nails the feeling of reconnecting with an ex and romanticizing the times you shared, and it livens up the back half of Red a bit. Probably ranked too high, but this is my list and I’ll do what I want.

37. “Enchanted,” Speak Now (2010): Originally the title track for Swift’s third album until her label told her, more or less, to cut it with the fairy-tale stuff. It’s a glittery ode to a meet-cute that probably didn’t need to be six minutes long, but at least the extended length gives us extra time to soak up the heavenly coda, with its multi-tracked “Please don’t be in love in with someone else.”

36. “I Know Places,” 1989 (2014): No attempts of universality here — this trip-hop song about trying to find a place to make out when you’re a massive celebrity is only relatable to a couple dozen people. No matter. As a slice of gothic pop-star paranoia, it gives a much-needed bit of edge to 1989. Bumped up a couple of spots for the line about vultures, which I can only assume is a shout-out.

35. “Treacherous,” Red (2012): Swift has rarely been so tactile as on this intimate ballad, seemingly constructed entirely out of sighs.

34. “Dress,” Reputation (2017): An appropriately slinky track that gives us an unexpected payoff for years of lyrics about party dresses: “I only bought this dress so you could take it off,” she says in the chorus. The way the whole song starts and stops is an obvious trick, but I like it.

33. “Speak Now,” Speak Now (2010): The rest of the band plays it so straight that it might take a second listen to realize that this song is, frankly, bonkers. First, Swift sneaks into a wedding to find a bridezilla, “wearing a gown shaped like a pastry,” snarling at the bridesmaids. Then it turns out she’s been uninvited — oops — so she decides to hide in the curtains. Finally, at a pivotal moment she stands up in front of everyone and protests the impending union. Luckily the guy is cool with it, so we get a happy ending! All this nonsense undercuts the admittedly charming chorus, but it’s hard not to smile at the unabashed silliness.

32. “22,” Red (2012): Another collaboration with Martin and Shellback, another absurdly catchy single. Still, there’s enough personality in the machine for this to still feel like a Taylor song, for better (“breakfast at midnight” being the epitome of adult freedom) and for worse (the obsession with “cool kids”). Mostly for better.

31. “Christmases When You Were Mine,” The Taylor Swift Holiday Collection (2007): The clear standout of Swift’s Christmas album, with an endearingly winsome riff and lyrics that paint a poignant picture of yuletide heartbreak. If you’ve ever been alone on Christmas, this is your song.

30. “White Horse,” Fearless (2008): You’d never call Swift a genre deconstructionist, but her best work digs deeper into romantic tropes than she gets credit for. In just her second album, she and Rose gave us this clear-eyed look at the emptiness of symbolic gestures, allegedly finished in a mere 45 minutes. Almost left off the album, but saved thanks to Shonda Rhimes.

29. “I Knew You Were Trouble,” Red (2012): The guiding principle on much of Red seems to have been to throw absolutely every idea a person could think of into a song and see what worked. Here, we go from Kelly Clarkson verses to a roller-coaster chorus to a dubstep breakdown that dates the song as surely as radiocarbon — then back again. It shouldn’t hang together, but the gutsy vocals and vivid lyrics keep the track from going off the rails.

28. “Teardrops on My Guitar,” Taylor Swift (2006): An evocative portrait of high-school heartbreak, equal parts mundane — no adult songwriter would have named the crush “Drew” — and melodramatic. It’s also the best example of Swift and Rose’s early songwriting cheat code, when they switch the words of the chorus around at the end of the song. “It just makes the listener feel like the writer and the artist care about the song,” Rose told Billboard. “That they’re like, “Okay, you’ve heard it, but wait a minute — ’cause I want you know that this really affected me, I’m gonna dig the knife in just a little bit deeper.’” (In a fitting twist, “Teardrops” ended up inspiring a moment that could have come straight out of a Taylor Swift song, when the real Drew showed up outside her house one night. “I hadn’t talked to him in two-and-a-half years,” she told the Washington Post. “He was like: ‘Hey, how’s it going?’ And I’m like: ‘Wow, you’re late? Good to see you?’”)

27. “Begin Again,” Red (2012): Swift’s sequencing genius strikes again: After the emotional roller coaster of Red, this gentle ballad plays like a cleansing shower. (It works so well she’d repeat the trick on 1989, slightly more obviously.) Of all Swift’s date songs, this one feels the most true to life; anyone who’s ever been on a good first date can recall the precise moment their nervousness melted into relief.

26. “New Year’s Day,” Reputation (2017): Like a prestige cable drama, Swift likes to use her final track as a kind of quiet summing-up of all that’s come before. Here, she saves the album’s most convincing love song for last: “I want your midnights / but I’ll be cleaning up bottles with you on New Year’s Day” is a great way to describe a healthy relationship. The lovely back-and-forth vocals in the outro help break the tie with “Begin Again.”

25. “Shake It Off,” 1989 (2014): Swift’s second No. 1 was greeted with widespread critical sighs: After the heights of Red, why was she serving up cotton-candy fluff about dancing your way past the haters? (Never mind that Red had its own sugary singles.) Now that we’ve all gotten some distance, the purpose of “Shake It Off” is clear: This is a wedding song, empty-headed fun designed to get both Grandma and Lil Jayden on the dance floor. Docked ten or so spots for the spoken-word bridge and cheerleader breakdown, which might be the worst 24 seconds of the entire album.

24. “Safe and Sound,” The Hunger Games: Songs From District 12 and Beyond (2012): Swift’s collaboration with folk duo the Civil Wars is her best soundtrack cut by a country mile. Freed from the constraints of her usual mode, her vocals paint in corners you didn’t think she could reach, especially when she tries out a high-pitched vibrato that blends beautifully with Joy Williams and John Paul White’s hushed harmonies. Swift has worked in a variety of emotional palettes in her career, but this is the only time she’s ever been spooky.

23. “Picture to Burn,” Taylor Swift (2006): Swift’s breakup songs rarely get more acidic than they do in this country hit. By the time she’s twanging a line about dating all her ex’s friends, things have gotten downright rowdy. The original lyrics — “Go and tell your friends that I’m obsessive and crazy / That’s fine, I’ll tell mine you’re gay” — show how far standards for acceptable speech in nice young people have shifted in the past decade.

22. “Fearless,” Fearless (2008): The title track from Swift’s second album has more of her favorite images — in one memorable twofer, she’s dancing in the rain while wearing her best dress — but she invests them with so much emotion that you’d swear she was using them for the first time. The exuberance of the lyrics is matched in the way she tumbles from line to line into the chorus.

21. “Tim McGraw,” Taylor Swift (2006): If you by chance ever happen to meet Taylor Swift, there is one thing you should know: Do not, under any circumstances, call her “calculating.” “Am I shooting from the hip?” she once asked GQ when confronted with the word. “Would any of this have happened if I was? … You can be accidentally successful for three or four years. Accidents happen. But careers take hard work.” However, since the title of her first single apparently came from label head Scott Borchetta — “I told Taylor, ‘They won’t immediately remember your name, they’ll say who’s this young girl with this song about Tim McGraw?’” — I think we’re allowed to break out the c-word: Calling it “Tim McGraw” was the first genius calculation in a career that would turn out to be full of them. Still, there would have been no getting anywhere with it if the song weren’t good. Even as a teenager, Swift was savvy enough to know that country fans love nothing more than listening to songs about listening to country music. And the very first line marks her as more of a skeptic than you might expect: “He said the way my blue eyes shined put those Georgia pines to shame that night / I said, ‘That’s a lie.’”

20. “Dear John,” Speak Now (2010): “I’ve never named names,” Swift once told GQ. “The fact that I’ve never confirmed who those songs are about makes me feel like there is still one card I’m holding.” That may technically be true, but she came pretty dang close with this seven-minute epic. (John Mayer said he felt “humiliated” by the song, after which Swift told Glamour it was “presumptuous” of him to think that the song his ex wrote, that used his first name, was about him.) She sings the hell out of it, but when it comes to songs where Swift systematically outlines all the ways in which an older male celebrity is an inadequate partner, I think I prefer “All Too Well,” which is less wallow-y. I’ve seen it speculated that the guitar noodling on this track is meant as a parody of Mayer’s own late-’00s output, which if true would be deliciously petty.

19. “Red,” Red (2012): Re-eh-eh-ed, re-eh-eh-ed. Red’s title track sees the album’s maximalist style in full effect — who in their right mind would put Auto-Tune and banjos on the same track? But somehow, the overstuffing works here; it’s the audio equivalent of the lyrics’ synesthesia.

18. “I Did Something Bad,” Reputation (2017): It’s too bad Rihanna already has an album called Unapologetic, because that would have been a perfect title for Reputation, or maybe just this jubilant “Blank Space” sequel. Why the hell she didn’t release this one instead of “Look What You Made Me Do,” I’ll never know — not only does “Something Bad” sell the lack of remorse much better, it bangs harder than any other song on pop radio this summer except “Bodak Yellow.” Is that a raga chant? Are those fucking gunshots? Docked a spot or two for “They’re burning all the witches even if you aren’t one,” which doth protest too much, but bumped up just as much for Swift’s first on-the-record “shit.”

17. “Forever & Always,” Fearless (2008): This blistering breakup song was the one that solidified Swift’s image as the pop star you dump at your own peril. (The boys in the debut were just Nashville randos; this one was about a Jonas Brother, back when that really meant something.) Obligatory fiddles aside, the original version is just about a perfect piece of pop-rock — dig how the guitars drop out at a pivotal moment — though the extended edition of Fearless also contains a piano version if you feel like having your guts ripped out. I have no idea what the lines about “rain in your bedroom” mean, but like the best lyrics, they make sense on an instinctual level. And to top it off, the track marks the introduction of Swift’s colloquial style — “Where is this GOoO-ING?” — that would serve her so well in the years to come.

16. “Mean,” Speak Now (2010): It takes some chutzpah to put a song complaining about mean people on the same album as “Better Than Revenge,” but lack of chutzpah has never been Swift’s problem. Get past that and you’ll find one of Swift’s most naturally appealing melodies and the joyful catharsis that comes with giving a bully what’s coming to them. (Some listeners have interpreted the “big enough so you can’t hit me” line to mean the song’s about abuse, but I’ve always read it as a figure of speech, as in “hit piece.”)

15. “Wildest Dreams,” 1989 (2014): Swift is in full control of her instrument here, with so much yearning in her voice that you’d swear every breath was about to be her last. For a singer often slammed as being sexless, those sighs in the chorus tell us everything we need to know. Bumped up a few spots for the invigorating double-time bridge, the best on 1989.

14. “This Is Why We Can’t Have Nice Things,” Reputation (2017): Put aside the title, which can’t help but remind me of the time Hillary Clinton tweeted “delete your account.” The same way “I Did Something Bad” is the best possible version of “Look What You Made Me Do,” this is a much better rewrite of “Bad Blood.” Swift brings back the school-yard voice in the chorus, but also so much more: She does exaggerated politeness in the bridge, she spins the “Runaway” toast, she says the words “Therein lies the issue” like she’s been listening to Hamilton. The high point comes when she contemplates forgiving a hater, then bursts into an incredulous guffaw. Reader, I laughed out loud.

13. “Style,” 1989 (2014): The much-ballyhooed ’80s sound on 1989 often turned out to just mean Swift was using more synths than usual, but she nailed the vibe on this slinky single, which could have soundtracked a particularly romantic episode of Miami Vice. Despite the dress-up games in the chorus, this is one of the rare Swift love songs to feel truly adult: Both she and the guy have been down this road too many times to bullshit anymore. That road imagery is haunted by the prospect of death lurking around every hairpin turn — what’s sex without a little danger?

12. “Hey Stephen,” Fearless (2008): Who knew so many words rhymed with Stephen? They all come so naturally here. Swift is in the zone as a writer, performer, and producer on this winning deep cut, which gives us some wonderful sideways rhymes (“look like an angel” goes with “kiss you in the rain, so”), a trusty Hammond organ in the background, and a bunch of endearing little ad-libs, to say nothing of the kicker: “All those other girls, well they’re beautiful / But would they write a song for you?” For once, the mid-song laugh is entirely appropriate.

11. “Out of the Woods,” 1989 (2014): Like Max Martin, Antonoff’s influence as a collaborator has not been wholly positive: His penchant for big anthemic sounds can drown out the subtlety of Swift, and he’s been at the controls for some of her biggest misfires. But boy, does his Jack Antonoff thing work here, bringing a whole forest of drums to support Swift’s rapid-fire string of memories. The song’s bridge was apparently inspired by a snowmobile accident Swift was in with Harry Styles, an incident that never made the tabloids despite what seemed like round-the-clock coverage of the couple — a subtler reminder of the limits of media narratives than anything on Reputation.

10. “Love Story,” Fearless (2008): Full disclosure: This was the first Taylor Swift song I ever heard. (It was a freezing day in early 2009; I was buying shoes; basically, the situation was the total antithesis of anything that’s ever happened in a Taylor Swift song.) I didn’t like it at first. Who’s this girl singing about Romeo and Juliet, and doesn’t she know they die in the end?What I would soon learn was: not here they don’t, as Swift employs a key change so powerful it literally rewrites Shakespeare. The jury’s still out on the question of if she’s ever read the play, but she definitely hasn’t read The Scarlet Letter.

9. “State of Grace,” Red (2012): Swift’s songs are always full of interesting little nuggets you don’t notice until your 11th listen or so — a lyrical twist, maybe, or an unconventional drum fill — but most of them are fundamentally meant to be heard on the radio, which demands a certain type of songwriting and a certain type of sound. What a surprise it was, then, that Red opened with this big, expansive rock track, which sent dozens of Joshua Tree fans searching for their nearest pair of headphones. Another surprise: that she never tried to sound like this again. Having proven she could nail it on her first try, Swift set out to find other giants to slay.

8. “Ronan,” non-album digital single (2012): A collage of lines pulled from the blog of Maya Thompson, whose 3-year-old son had died of cancer, this charity single sees Swift turn herself into an effective conduit for the other woman’s grief. (Thompson gets a co-writing credit.) One of the most empathetic songs in Swift’s catalogue, as well as her most reliable tearjerker.

7. “We Are Never Ever Getting Back Together,” Red (2012): Flash back to 2012. Carly Rae Jepsen had a No. 1 hit. Freaking Gotye had a No. 1 hit. LMFAO had two. And yet Swift, arguably the biggest pop star in the country, had never had a No. 1 hit. (“You Belong With Me” and “Today Was a Fairytale” had both peaked at No. 2.) And so she called up Swedish pop cyborg Max Martin, the man who makes hits as regularly as you and I forget our car keys. The first song they wrote together is still their masterpiece, though it feels wrong to say that “We Are Never Ever Getting Back Together” was written; better to say that it was designed, as Swift and Martin turn almost every single second of the song’s 3:12 run time into a hook. Think of that guitar loop, the snippets of millennial-speak in the margins (“cuz like”), those spiraling “ooh”s, the spoken-word bit that could have been overheard at any brunch in America, and towering over it all, that gigantic “we.” Like all hyper-efficient products it feels like a visitor from some cold algorithmic future: The sense of joy here is so perfectly engineered that you get the sense it did not come entirely from human hands.

6. “Our Song,” Taylor Swift (2006): Swift wrote this one for her ninth-grade talent show, and I have a lovely time imagining all the other competitors getting the disappointment of their lives once they realized what they were up against. (“But nice job with that Green Day cover, Andy.”) Even at this early stage Swift had a knack for matching her biggest melodic hooks to sentences that would make them soar; that “’cause it’s late and your mama don’t know” is absolutely ecstatic. She’s said she heard the entire production in her head while writing, and on the record Nathan Chapman brings out all the tricks in the Nashville handbook, and even some that aren’t, like the compressed hip-hop drums in the final refrain.

5. “Mine,” Speak Now (2010): As catchy as her Max Martin songs, but with more of a soul, “Mine” wins a narrow victory over “Our Song” on account of having a better bridge. This one’s another fantasy, and you can kind of tell, but who cares — Paul McCartney didn’t really fall in love with a meter maid, either. Swift packs in so many captivating turns of phrase here, and she does it so naturally: It’s hard to believe no one else got to “you are the best thing that’s ever been mine” before her, and the line about “a careless man’s careful daughter” is so perfect that you instantly know everything about the guy. Let’s give a special shout-out to Nathan Chapman again: His backup vocals are the secret weapon of Speak Now, and they’re at their very best here.

4. “Blank Space,” 1989 (2014): You know how almost every other song that’s even a little bit like “Blank Space” ranks very low on this list? Yeah, that’s how hard a trick Swift pulls off on this 1989 single, which manages to satirize her man-eater image while also demonstrating exactly what makes that image so appealing. The gag takes a perfectly tuned barometer for tone: “Look What You Made Me Do” collapsed under the weight of its own self-obsession; “Better Than Revenge” didn’t quite get the right amount of humor in. But Swift’s long history of code-switching works wonders for her here, as she gives each line just the right spin — enough irony for us to get the jokes, enough sincerity that we’ll all sing along anyway. Martin and Shellback bring their usual bells and whistles, but they leave enough empty space in the mix for the words to ring out. Who wouldn’t want to write their name?

3. “Fifteen,” Fearless (2008): For many young people, the real experience of romance is the thinking about it, not the actual doing it. (For an increasing number, the thinking about it is all they’re doing.) Swift gets this almost instinctively, and never more than on this early ballad about her freshman year of high school, which plays like a gentle memoir. Listen to how the emotional high point of the second verse is not something that happens, but her reaction to it: “He’s got a car and you feel like flyyying.” She knows that the real thing is awkward, occasionally unpleasant, and almost guaranteed to disappoint you — the first sentence she wrote for this one was “Abigail gave everything she had to a boy who changed his mind / We both cried,” a line that became exhibit B in the case of Taylor Swift v. Feminism — and she knows how fantasies can sustain you when nothing else will. “In your life you’ll do things greater than dating the boy on the football team / but I didn’t know it at 15,” she sings, even though she’s only 18 herself. That there are plenty of people who spent their teenage years making out, smoking cigarettes, and reading Anaïs Nin doesn’t negate the fact that, for a lot of us squares, even the prospect of holding someone else’s hand could get us through an entire semester. Virgins need love songs, too.

2. “All Too Well,” Red (2012): It’s no wonder that music writers love this one: This is Swift at her most literary, with a string of impeccably observed details that could have come out of a New Yorker short story. “All Too Well” was the first song Swift wrote for Red; she hadn’t worked with Liz Rose since Fearless, but she called up her old collaborator to help her make sense of her jumble of memories from a relationship recently exploded. “She had a story and she wanted to say something specific. She had a lot of information,” Rose told Rolling Stone later. “I just let her go.” The original version featured something like eight verses; together the two women edited it down to a more manageable three, while still retaining its propulsive momentum. The finished song is a kaleidoscopic swirl of images — baby pictures at his parents’ house, “nights where you made me your own,” a scarf left in a drawer — always coming back to the insistence that these things happened, and they mattered: “I was there, I remember it all too well.” The words are so strong that the band mostly plays support; they don’t need anything flashier than a 4/4 thump and a big crescendo for each chorus. There are few moments on Red better than the one where Swift jumps into her upper register to deliver the knockout blow in the bridge. Just like the scarf, you can’t get rid of this song.

1. “You Belong With Me,” Fearless (2008): Swift was hanging out with a male friend one day when he took a call from his girlfriend. “He was completely on the defensive saying, ‘No, baby … I had to get off the phone really quickly … I tried to call you right back … Of course I love you. More than anything! Baby, I’m so sorry,’” she recalled. “She was just yelling at him! I felt so bad for him at that moment.” Out of that feeling, a classic was born. Swift had written great songs drawn from life before, but here she gave us a story of high school at its most archetypal: A sensitive underdog facing off with some prissy hot chick, in a battle to see which one of them really got a cute boy’s jokes. (Swift would play both women in the video; she had enough self-awareness to know that most outcasts are not tall, willowy blonde girls.) Rose says the song “just flowed out of” Swift, and you can feel that rush of inspiration in the way the lines bleed into each other, but there’s some subtle songcraft at work, too: Besides the lyrical switcheroos about who wears what, we also only get half the chorus the first go-round, just to save one more wallop for later. The line about short skirts and T-shirts will likely be mentioned in Swift’s obituary one day, and I think it’s key to the song’s, and by extension Swift’s, appeal: In my high school, even the most popular kids wore T-shirts.

Vulture

#taylor swift #rankings #reputation #music

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danreblogsstuff · 7 years

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Tagged by @darklordtomarry

Rules: List the first lines of your last 20 stories (or however many you have altogether). See if there are any patterns. Then, tag your favourite authors.

So I tend to write really long opening paragraphs, so this might be more than a few lines. If it gets too long, I’ll put in a break.

So let’s split this into parts:

Fanfic:

Bird’s Eye View (Batman, Jason/Damian and Tim/Colin, among others)

It wasn't like Tim was unused to walking in on awkward conversations—and even more awkward...encounters thank you Dick—when he was in the manor. It was actually one of the main reasons he'd moved out, along with needing a place where his various vintage collectables could be displayed without the threat of cat attack or Damian sabotage—“You're not supposed to take them out of the box, Damian!” “-Tt- Nonsense, they look much better on display this way. You can even remove their limbs to simulate battle wounds"—and his desire to have the occasional night off—“Bruce, I'm kind of busy tonight, can't someone else look for Croc in the sewers? It's not like he's actually hurting anyone this time.” “You're not busy. You've been refreshing your Tumblr page for the past two hours, suit up.” “Wait you're monitoring my computer? Bruce!”

Box of Memories (Batman, Jason/Tim)

It wasn't often Tim got nostalgic. How could he, when there was so little in his past to reminisce fondly over? It still happened occasionally, though. When he heard a particular song playing as a car passed him by, one Jack Drake used to sing under his breath. During a slow night on patrol when the air was clear and he could see the stars, and he remembered a younger Nightwing pointing out constellations until he realized Tim already knew them all, and then started making up new and increasingly ridiculous ones on the spot. When he saw Damian in full Robin gear bound into the car, impatiently waiting for Batman to join him so they could go out and protect Gotham together, and wished he could have had that for just one more night before it was taken from him.

But the one thing that never failed, that always pulled him in to lose himself in memories, was the box.

I Wanna Kiss You Like They Do In The Movies (Batman, Damian/Colin)

“Mr Batman, can I marry Damian?”

Colin looked up at Damian's dad—who was so, so tall—and tried really hard not to start shaking. He needed to be brave. He'd spent the whole last week—all seven days—gathering up his courage for this. It didn't matter that he wasn't supposed to say the Batman word if Damian's dad wasn't wearing the pointy ears, and it didn't matter that Damian's dad was the most scariest thing ever—scarier than closed spaces and spiders and even the Scarecrow. All that mattered was the thing that had happened to Colin last week. The thing that was like being hit in the face, kinda like the way Bobby back at the orphanage used to hit Colin sometimes, before he got taken away by that policeman and sent to the Jew Vee group home for sneaking into the apartment building across the street and taking off his clothes in front of Mr Norton's wife. Colin hadn't even known Bobby was Jewish, or that there was a special group home for Jewish kids, but really that didn't matter because Colin had had an Aunt Tiffany about Damian and he needed to do something about it.

Damian Wayne and the Ridiculously Expensive Wand (Batman, Damian/Colin, Jason/Tim, Author/Harry Potter references)

There weren't many things that could surprise Tim Drake these days. Damian skulking around the manor? Definitely not one of them.

Damian skulking around the manor while wearing a black robe and pointing a stick at the curtains?

Maybe.

More under the cut

The Utterly Devastating and Not in Any Way Ill Conceived Revenge of Damian Wayne (Batman, Damian/Colin)

“Father, the utterly unnecessary school you send me to has insulted me for the last time. I demand you use your wealth and influence to destroy them.”

Damian stared at his father, sitting behind his desk as he always was at this time of day. Just as Damian had planned. Because, though he currently had the appearance of a mere twelve year old boy, he was, as Grayson said, intelligent beyond his years. Grayson had smiled as he said this, as if he actually thought he had been giving Damian a compliment. It had been all Damian could do to refrain from stabbing him. As if there was anything special about being more advanced than the pitiful, uneducated masses that inhabited this country. If anything, Damian was what they should have been, if they cared to put in any kind of actual effort towards improving themselves.

Ask Me No Questions. No, Really. Don’t Ask Me This Shit. (Batman, Damian/Colin, Jason/Tim)

If Jason Todd was the kind of person to bother with mottoes or life philosophy, his would probably be something along the lines of this:

Nothing good ever happens in Wayne fucking Manor.

Which was why he tried to stay the fuck away as often as possible.

Three Date Rule (Batman, Damian/Colin)

“Mr Wayne, can I please marry Damian now?”

Colin stood on the other side of Mr Wayne's desk, trying as hard as he could not to fidget, or blush, or do anything but maintain manly eye contact. It was hard, because, Batman suit or not, it was impossible to forget that Mr Wayne was the actual Batman. At least he was sitting down. Dami was totally right about the whole being at eye level thing. Mr Wayne wasn't... Okay, he was just as intimidating sitting down as he is standing up, but Colin had grown a bit since the last time he'd had one of these talks with Mr Wayne and, if Mr Wayne was sitting down and Colin was standing, Colin was actually just a tiny bit taller than Batman and it did a world of good for his self-confidence. (Dami had called it a “psychological advantage”, and Colin had kissed him for being adorable) Honestly, he had no idea how he ever managed to summon up enough courage to ask for Dami's hand when he was ten and Mr Wayne was standing in front of him. He'd been either the stupidest or the bravest kid in the world, back then.

Original Fiction:

Everything Will Turn Out All Right

"Hi, are you using the machine?", came a sweet voice from behind me.

I jumped, startled out of my deep concentration. I hadn't heard anybody coming up behind me, I was too engrossed (I'm what well meaning but sort of insulting adults like to call "smart for my age" which means I tend to get good grades easily and use words like "engrossed", you'll get used to it.) in the incredibly important decision of whether I was in the mood for lemon-lime or orange Gatorade from the machine in question, which in case you haven't already guessed is a vending machine.

Oh Radio, Tell Me Everything You Know

My story, like all good stories, is about a radio.

Wait, no, that's not right. I mean my story is about a radio, sort of, but all good stories aren't about radios. Let's try this again.

My story, like all good stories, is about love.

Original Published Novels:

Awakening Aidan

"Hello, my name is Aidan, and I'm a wizard." Aidan Collins smiled out over the group of fifteen or so people sitting in a circle around him, trying to project a calm he didn't really feel. It took every ounce of willpower he had to keep the agitation he was feeling from showing. Which was sort of embarrassing, because wizards his age should have been made of self-control.

Awakening Arthur

Aidan watched the wheels of the carriage bounce as they drove over the rough desert terrain. It was so strange, seeing them shudder so violently and yet barely feeling it. Suspension, the People called it. It was a way of putting some kind of springs on the wheels to absorb most of the impact of driving on anything that wasn't a road. They'd also added new tires, ridged to grip the ground and thicker to avoid damage. It had been fascinating, watching them work.

He also had to fight the sudden, unreasonable urge to yell at Eallair. It was completely unfair that someone who had never driven before was doing it so well, keeping straight even over the sandy 'road' and deftly avoiding sudden dips and large, half-buried rocks.

The Autobiography of the Dark Prince; As Written by Elias Sutterby

Strangely enough, many of the cultural practices of the Calvian Empire seemed to have survived the Great Collapse, with several being adopted by the fledgling kingdoms that rose to prominence after its fall. Even as far away as the White Kingdom of Ellington, there can be found several examples of Calvian culture that have survived to this day, including the Clockwise Tea Ceremony, the Anti-Clockwise Funeral, The Collision of the Great Beasts, and many fornicary practices as detailed in Kellan Collander's illuminating tome, Furniture Fellatio and Additional Assorted Abnormal Amorous Advances. It is a known fact in Ellington that one can actually see the most bizarre of said Advances being practiced in the dead of night in the Great Library by Scholar Elias Sutterby, whose deviant tastes—

With a small sigh of indeterminate emotion, Elias Sutterby paused in his reading. He blinked slowly, as if such an action would dissolve the offending words from the page in front of him, and when that didn't work he reached up and squeezed the bridge of his slightly pointed nose.

Awakening Camelot (Ohmigawg gaiz this one comes out May 19th this is UnReLeAsEd FoOtAgE, a SneeK PeeK, a preeeeeeveeeeU, it’s also just a really long description of a room which makes it probably the worst out of context cold open ever.)

Unlike every other office in the country, the office of the Prime Minister of the United States of America was very spacious. The decadently thick leather armchair, which rested behind the large, oak desk, was obscenely comfortable, with a matching, equally luxurious leather couch pressed up against the far wall. The small library to the right of the couch was filled floor to ceiling with any book a leader of men might need to occupy himself with, from dry magical treatises to the most bawdy of romances. And, if reading wasn't something a particular prime minister was interested in, across from the library was a fully stocked bar. There was even a small crystal ball which linked directly to the prime minister's personal kitchen, open twenty-four hours so not even a midnight craving need draw him from his office's confines. Since the building of the White House over two hundred years ago, every single new prime minister, without exception, had been stunned into an awed silence when confronted with such elegant and unusual accommodations for the first time.

And that’s that. The first few lines of everything I’ve ever written; including the stuff I’m embarrassed to admit to, lol. This was a lot of fun. Thank you for tagging me! If anyone wants to read any of these things, just message me for a link! Especially if you feel the urge to buy a book ;););) (<---Literally the first time I’ve ever marked myself in public. I feel ill)

#opening lines #fanfic #original fiction

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magneticmaguk · 7 years

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Funkmaster Flex Vs. DJ Clue is the DJ Battle the Culture Needs

Hot 97 or Power 105.1? Which seminal hip-hop/R&B New York radio station you pledge allegiance to is bound to provoke heated debates.

DJ Funkmaster Flex and DJ Clue—the de-facto voices of Hot 97 and Power 105.1 FM respectively—have recently turned up the heat on their long-standing feud over who is the number one DJ in New York, period. But this time, the fight is not just for radio supremacy. On March 8th, Bronx-bred super-producer Swizz Beatz stoked the flames for a DJ battle between Flex and Clue to settle their longstanding rivalry for once and for all.

Funkmaster Flex and DJ Clue have been rivals on the radio, on the mixtape circuit, and in nightclubs. They both are icons for DJ culture, which is why Hot 97 and Power 105.1 have elevated them as their primetime DJ talent. Their rivalry has escalated over the years, and the battle proposed by Swizz could finally be their tipping point. Whether or not Flex and Clue actually decide to go into combat, it is no doubt as important as previous face-offs between Nas vs. Jay Z, Kanye West vs. 50 Cent, or Kendrick vs. Drake. Flex and Clue have their own strengths and weaknesses as hip-hop DJs, and since there aren't any set terms for this type of DJ battle—opponents are judged on everything from their technical skills to their showmanship appeal—it's impossible to predict who would win. Still, it's a given that DJs are competitive, and a battle could raise the bar for the art of DJing.

On that night in March, while at a private dinner inside of what looks like a fancy car dealership, Swizz put Clue on the spot in an Instagram video, pressuring him to battle Flex and "earn that crown back." Also present were rapper Fabolous, A&R/photographer Lenny Santiago, and singer/producer Ryan Leslie, who stirred the pot by laughing at Swizz's comments. "Flex is gonna try to finish you," said Swizz. Cue Flex writing in the comments section: "He don't want none of me on that Fucking set BRUH!" Warning shots fired?

DJ Clue and Funkmaster Flex hosting the 2014 McDonald's Flavor Battle (Photo by Patrick Neree)

Since then, Flex and Swizz have repeatedly tried to bait Clue, both posting Instagram clips of Flex scratching the "earn that crown back" taunt over the instrumental to Biggie's "Who Shot Ya?", as if to suggest that he's scared. Yet Clue, the self-proclaimed "Michael Jordan of Mixtapes," maintained a zen master's poise; he assured fans on Instagram last month that he has exclusives that can outshine Flex's turntable skills. (Flex, Swizz, and Clue did not return THUMP's multiple requests for comment.)

A week before Swizz put Clue on the spot, Swizzy had engaged in a high-profile beat battle against Just Blaze at an undisclosed location in NYC, and arguably won by playing an unreleased Jay Z, Jadakiss, Nas, DMX collaboration in a "drop the mic" moment. Meanwhile, apparently Pharrell and Timbaland are talking about going at it in their own beat battle.

For his match with Clue, Flex has suggested playing exclusive for exclusive, DJ skills for DJ skills. Both artists have an impressive discography of songs, mixtapes, and studio albums spanning generations of hip-hop and R&B. Clue has a nice rep merging gritty rappers with beloved pop stars; he produced Mariah Carey's "We Belong Together" (Remix) featuring Jadakiss and Styles P. Flex has a slight edge with reggae and dancehall collaborations, so the idea of Flex playing dub plates roasting Clue are probable.

According to a recent post on a fan's Instagram, Clue has denounced back-spinning songs as irrelevant to this brewing battle. Yet, there is no denying that two turntables and a mixer are the tools of the trade, and rewinding a record manually or scratching samples lies at the core of hip-hop. Taking two songs and looping the instrumental break to hype up the party is the great invention by hip-hop's founding fathers Kool Herc, Grandmaster Flash, and Afrika Bambaataa, who built the foundation for club DJs.

When radio DJs go at it, they are empowered by the almighty microphone to strike down with furious anger from the mountaintops.

Finalists in the Disco Mix Club (DMC) World Championship are given six minutes to showcase their talent, no sound effects. Clue and Flex both use a bomb—a seven-second explosion sample that sounds like the ground is erupting from under you—as their signature drop. Flex introduced the atomic bomb first, and in the beginning, reserved as a signpost that he was going to break a major rap record live on Hot 97—Nas "Hate Me Now" or Fat Joe "My Lifestyle" for example. The impact of the bomb is now oversaturated from Flex using it as a point of emphasis during his on-air rants, and Clue co-opting it. Clue's current arsenal of drops ranges from a sample of his signature laugh to his catchphrase "Do Remember." When he shouts his alias "ClueManatti," it rings through like a rapid fire of syllables, long before "G-G-G-Unit" was on the tip of the rap world's tongue.

Then there is the question of showmanship—the scratching, beat-juggling technical DJ skills that defines the DJ's pedigree. When Flex scratches, his style is recognizable—he masterfully rubs the records, yet he doesn't lean heavily on the crossfader to cut smaller pieces of the song. He hits with power instead of precision. On the other hand, Clue's scratching and mixing are questionable, and he rarely does it.

Clue is from Queens, Flex is from The Bronx; their battle is like the DJ version of Coke vs. Pepsi, Mets vs. Yankees, or MC Shan vs. KRS-One. But Clue and Flex's feud actually most vividly recalls the one between Muhammad Ali and Joe Frazier, and the gloves have been off long before Swizz became the quasi-Don King. Ali and Frazier were friends before they became bitter rivals, just like how the DJs were on somewhat respectful terms in the 90s, when Clue hosted his own weekly show, "The Monday Night Mixtape" on Hot 97, where both he and Flex worked at the time. Clue even shouted out Flex, plus a handful of Hot 97 staff, on his "Winter War Mixtape" in '95. (Clue left Hot 97 in 2006.)

Five years ago, Funkmaster Flex aired out Clue, sending shots at the Power 105.1 DJ over who rules the NYC airwaves after Flex scooped him on the Nicki Minaj, Cam'Ron & 2 Chainz collab, "Beez In the Trap." "I see this guy talking tough last night… by the way, the Mets they win sometimes too; two weeks out of 52," said Flex live on the radio. He never calls out Clue by name, but it's obvious who he is referring to. A few days later, Clue tweeted and responded with a few scathing insults for Flex on air, calling him a hoe and a clown, and a "number 2 … worrying about what I'm doing." He also claimed Flex plays parties for free—a knock on a DJ who is synonymous with the dynasty of hip-hop nightlife in the 90s.

Besides Clue and Flex going at it, there is no lack of shots at Flex thrown from Charlamange Tha God, or Peter Rosenberg at The Breakfast Club—no one is safe, anybody gets it. But when radio DJs go at it, they are empowered by the almighty microphone to strike down with great vengeance and furious anger from the mountaintops.

A rivalry of a similar scale happened in the early 80s when the late-great Frankie Crocker, program director for WBLS—the first Black-owned New York radio station—was up against Barry Mayo, the general manager for WRKS 98.7 KISS FM. Crocker introduced hip-hop music onto the airwaves on a station known for black adult contemporary R&B music, and hired the late DJ Mr. Magic from WHBI to play on BLS. Not to be outdone, Mayo, hired DJ Red Alert and Chuck Chillout to challenge KISS FM. (Fun fact: Flex used to carry Chuck's records back in the day.)

So, can anyone be friends? Former Hot 97 host-turned-Power 105.1 host DJ Envy told Vlad TV in 2012 about the beef between the stations: "There is no talking to your enemy, no shaking hands with your enemy, or DJing a party with your enemy." Despite the entrenched animosity between Flex and Clue, it is competition at the end of the day, akin to a reality TV drama on your car stereo.

But after all the talk, where is the action? It's been over one month since Clue was called out by Swizz on Instagram, but a date still hasn't been set for this brewing showdown—or any of the other dream battles by Swizz. The main display of DJ talent we've seen Flex associated with is Turntable Tuesday—a weekly showcase on Hot 97 in which Flex invites guest DJs like Rob Swift, Scram Jones, and most recently, Just Blaze, to get busy on the 1s and 2s. During the show, Flex stands by on camera, smiling at the artful display of turntablism (real DJing).

As great as all the guests are, they are the undercard. Flex vs. Clue is the main event we're waiting for. A bridge between the two DJs could help end the rift between them, despite what DJ Envy said about how there is no crossing of lines between the station's personalities. But just like an actual bridge, it is a massive undertaking, and like most construction in New York, you can't hold your breath on a quick completion.

Correction: a previous version of this article incorrectly stated that Power 105.1 and Hot 97 are owned by the same parent company, Emmis Communications. Only Hot 97 is owned by Emmis Communications.

#music

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blackkudos · 7 years

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Al Jarreau

Alwin Lopez (Al) Jarreau (March 12, 1940 – February 12, 2017) was an American jazz singer. He won seven Grammy Awards and was nominated for over a dozen more. He is perhaps best known for his 1981 album Breakin' Away, for having sung the theme song of the late-1980s television series Moonlighting, and as a performer in the 1985 charity song "We Are the World".

Background

Jarreau was born in Milwaukee, Wisconsin, the fifth of six children. His website refers to Reservoir Avenue, the name of the street where he lived. His father was a Seventh-day Adventist Church minister and singer, and his mother was a church pianist. He and his family sang together in church concerts and in benefits, and he and his mother performed at PTA meetings.

He was student council president and Badger Boys State delegate for Lincoln High School. At Boys State, he was elected governor. He went on to attend Ripon College, where he also sang with a group called the Indigos. Jarreau graduated in 1962 with a Bachelor of Science degree in psychology. He went on to earn a master's degree in vocational rehabilitation from the University of Iowa, worked as a rehabilitation counselor in San Francisco, and moonlighted with a jazz trio headed by George Duke.

In 1967, he joined forces with acoustic guitarist Julio Martinez. The duo became the star attraction at a small Sausalito night club called Gatsby's. This success contributed to Jarreau's decision to make professional singing his life and full-time career.

Going full-time

In 1968, Jarreau made jazz his primary occupation. In 1969, Jarreau and Martinez headed south, where Jarreau appeared at such Los Angeles hot spots as Dino's, The Troubadour, and Bitter End West. Television exposure came from Johnny Carson, Mike Douglas, Merv Griffin, Dinah Shore, and David Frost. He expanded his nightclub appearances performing at The Improv between the acts of such rising-star comics as Bette Midler, Jimmie Walker, and John Belushi. During this period, he became involved with the United Church of Religious Science and the Church of Scientology, but he later dissociated from Scientology. Also, roughly at the same time, he began writing his own lyrics, finding that his Christian spirituality began to influence his work.

In 1975, Jarreau was working with pianist Tom Canning when he was spotted by Warner Bros. Records. On Valentine's Day 1976 he sang on the 13th episode of NBC's new Saturday Night Live hosted, that week by Peter Boyle. Soon thereafter he released his critically acclaimed debut album, We Got By, which catapulted him to international fame and garnered him an Echo Award (the German equivalent of the Grammy's in the United States). A second Echo Award would follow with the release of his second album, Glow.

In 1978, Al won his first U.S. Grammy Award for Best Jazz Vocal Performance for his album, Look To The Rainbow.

One of Jarreau's most commercially successful albums is Breakin' Away (1981), which includes the hit song "We're in This Love Together". He won the 1982 Grammy Award for Best Male Pop Vocal Performance for Breakin' Away. In 1984, his single "After All" reached 69 on the US Hot 100 chart and number 26 on the R&B chart. It was especially popular in the Philippines. His last big hit was the Grammy-nominated theme to the 1980s American television show Moonlighting, for which he wrote the lyrics. Among other things, he was well known for his extensive use of scat singing, and vocal percussion. He was also a featured vocalist on USA for Africa's "We Are the World" in which he sang the line, "...and so we all must lend a helping hand." Another charitable media event, HBO's Comic Relief, featured Al in a duet with Natalie Cole singing the song "Mr. President", written by Joe Sterling, Mike Loveless and Ray Reach.

Jarreau took an extended break from recording in the 1990s. As he explained in an interview with Jazz Review: "I was still touring, in fact, I toured more than I ever had in the past, so I kept in touch with my audience. I got my symphony program under way, which included my music and that of other people too, and I performed on the Broadway production of Grease. I was busier than ever! For the most part, I was doing what I have always done … perform live. I was shopping for a record deal and was letting people know that there is a new album coming. I was just waiting for the right label (Verve), but I toured more than ever."

In 2003, Jarreau and conductor Larry Baird collaborated on symphony shows around the United States, with Baird arranging additional orchestral material for Jarreau's shows.

Jarreau toured and performed with Joe Sample, Chick Corea, Kathleen Battle, Miles Davis, David Sanborn, Rick Braun, and George Benson. He also performed the role of the Teen Angel in a 1996 Broadway production of Grease. On March 6, 2001, he received a star on the Hollywood Walk of Fame, at 7083 Hollywood Boulevard on the corner of Hollywood Boulevard and La Brea Avenue.

In 2006, Jarreau appeared in a duet with American Idol finalist Paris Bennett during the Season 5 finale and on Celebrity Duets singing with actor Cheech Marin.

In 2010, Jarreau was a guest on the new Eumir Deodato album, with the song "Double Face" written by Nicolosi/Deodato/Al Jarreau. The song was produced by the Italian company Nicolosi Productions.

On February 16, 2012, he was invited to the famous Italian Festival di Sanremo to sing with the Italian group Matia Bazar.

On February 8, 2017, after being hospitalized for exhaustion, Jarreau cancelled his remaining 2017 tour dates and retired from touring.

Personal life

Jarreau was married twice. His first marriage, to Phyllis Hall, lasted from 1964 to 1968. His second wife was model Susan Elaine Player, whom he married in 1977. Jarreau and Player had one son together, Ryan.

It was reported on July 23, 2010, that Jarreau was critically ill at a hospital in France, while in the area to perform a concert at nearby Barcelonnette, and was being treated for respiratory problems and cardiac arrhythmias. He was taken to the intensive-care unit at Gap late on July 22, 2010. Jarreau was conscious, in a stable condition and in the cardiology unit of La Timone hospital in Marseille, the Marseille Hospital Authority said. He was expected to remain there for about a week for tests. In June 2012, Jarreau was diagnosed with pneumonia, which caused him to cancel several concerts in France. Jarreau made a full recovery and continued to tour extensively until February 2017.

In 2009 children's author Carmen Rubin published the story Ashti Meets Birdman Al, inspired by Jarreau's music. He wrote the foreword for the book and read from it across the world. Al and Carmen worked together to promote literacy and the importance of keeping music alive in children.

Death

After having been hospitalized for exhaustion in Los Angeles, Jarreau died on February 12, 2017, at the age of 76.

Discography

Albums

1975: We Got By (Reprise) US# 209

1976: Glow (Reprise) – US# 132, R&B No. 30, Jazz# 9

1978: All Fly Home (Warner Bros.) – US# 78, R&B# 27, Jazz# 2

1980: This Time (Warner Bros.) – US# 27, R&B# 6, Jazz# 1

1981: Breakin' Away (Warner Bros.) – US# 9, R&B# 1, Jazz# 1, UK# 60

1983: Jarreau (Warner Bros.) – US# 13, R&B# 4, Jazz# 1, UK# 39

1984: High Crime (Warner Bros.) – US# 49, R&B# 12, Jazz# 2, UK# 81

1986: L Is for Lover (Warner Bros.) – US# 81, R&B# 30, Jazz# 9, UK# 45

1988: Heart's Horizon (Reprise) – US# 75, R&B# 10, Jazz# 1

1992: Heaven and Earth (Warner Bros.) – US# 105, R&B# 30, Jazz# 2

2000: Tomorrow Today (Verve) – US# 137, R&B# 43, Jazz# 1

2002: All I Got (Verve) – US# 137, R&B# 43, Jazz# 3

2004: Accentuate the Positive (Verve) - Jazz# 6

2006: Givin' It Up (with George Benson) (Concord) – US# 58, R&B# 14, Jazz# 1

2008: Christmas (Rhino) - Jazz# 5

2014: My Old Friend: Celebrating George Duke (Concord)

Live albums

1977: Look to the Rainbow (Warner Bros.) – US# 49, R&B# 19, Jazz# 5

1984: In London (Warner Bros.) – US# 125, R&B# 55, Jazz# 10. Sometimes titled Live in London.

1994: Tenderness (Warner Bros.) US# 114, R&B# 25, Jazz# 2. Recorded live in a studio in front of an invited audience.

2012: Al Jarreau and The Metropole Orkest: LIVE (Concord)

2011: Al Jarreau And The George Duke Trio: Live At The Half/Note 1965, Volume 1 (BPM Records) Originally offered exclusively at georgeduke.com.

Compilations

1996: Best Of Al Jarreau (Warner Bros.) – Jazz No. 8

2008: Love Songs (Rhino)

2009: An Excellent Adventure: The Very Best Of Al Jarreau (Rhino) (This compilation holds one previously unreleased track: "Excellent Adventure")

Early material recorded before 1974

After Jarreau's breakthrough in 1975 an almost uncountable number of compilations of earlier recordings from 1965 to 1973 have emerged, including some or all of the following songs:

Songs by various composers

"My Favorite Things" (5:02, Hammerstein, Rodgers)

"Stockholm Sweetnin'" (5:50, Jones)

"A Sleepin' Bee" (5:52, Arlen, Capote)

"The Masquerade Is Over" (6:34, Magidson, Wrubel)

"Sophisticated Lady" (4:14, Ellington, Mills, Parish)

"Joey, Joey, Joey" (3:42, Loesser)

Singles

1976: "Rainbow in Your Eyes" – R&B No. 92

1977: "Take Five" – R&B No. 91

1978: "Thinkin' About It Too" – R&B No. 55

1980: "Distracted" – R&B No. 61

1980: "Gimme What You Got" – R&B No. 63

1980: "Never Givin' Up" – R&B No. 26

1981: "We're in This Love Together" – US No. 15, R&B No. 6, UK No. 55

1982: "Breakin' Away" – US No. 43, R&B No. 25

1982: "Teach Me Tonight" – US No. 70, R&B No. 51

1982: "Your Precious Love", duet with Randy Crawford – R&B No. 16

1982: "Roof Garden" - NL No. 2

1983: "Boogie Down" – US No. 77, R&B No. 9, UK No. 63, NL No. 14

1983: "Mornin'" – US No. 21, R&B No. 6, UK No. 28, NL No. 16

1983: "Trouble in Paradise" – US No. 63, R&B No. 66, UK No. 36

1984: "After All" – US No. 69, R&B No. 26

1985: "Raging Waters" – R&B No. 42

1986: "L Is for Lover" – R&B No. 42

1986: "Tell Me What I Gotta Do" – R&B No. 37

1986: "The Music of Goodbye" (from Out Of Africa), duet with Melissa Manchester – AC No. 16

1987: "Moonlighting (theme)" (from Moonlighting) – US No. 23, R&B No. 32, UK No. 8, AC#1

1988: "So Good" R&B No. 2

1989: "All of My Love" – R&B No. 69

1989: "All or Nothing at All" – R&B No. 59

1992: "Blue Angel" – R&B No. 74

1992: "It's Not Hard to Love You" – R&B No. 36

2001: "In My Music" (with Phife Dawg)

Soundtrack inclusions

1982: "Girls Know How", in the film Night Shift (Warner Bros)

1984: "Moonlighting (theme)" and "Since I Fell for You", in the television show Moonlighting (Universal)

1984: "Boogie Down", in the film Breakin' (Warner Bros)

1986: "The Music of Goodbye", duet with Melissa Manchester, in the film Out of Africa (MCA Records)

1989: "Never Explain Love", in the film Do the Right Thing (Motown)

1992: "Blue Skies", in the film Glengarry Glen Ross (New Line Cinema)

1984: "Million Dollar Baby", in the film City Heat (Warner Bros)

Guest appearances

1978: "Hot News Blues" from Secret Agent/Chick Corea (Polydor)

1979: "Little Sunflower" from The Love Connection/Freddie Hubbard (Columbia)

1983: "Bet Cha Say That to All the Girls" from Bet Cha Say That to All the Girls/Sister Sledge (Cotillion)

1985: "We Are the World" from We Are the World/USA for Africa (Columbia) US No. 1, R&B No. 1 UK No. 1

1986: "Since I Fell for You" from Double Vision/Bob James & David Sanborn (Warner Bros.)

1987: "Day by Day" from City Rhythms/Shakatak

1997: "How Can I Help You Say Goodbye" from Doky Brothers 2/Chris Minh Doky/Niels Lan Doky (Blue Note Records)

1997: "Girl from Ipanema" and "Waters of March" from A Twist of Jobim/Lee Ritenour (GRP)

2010: "Whisper Not" from New Time, New Tet/Benny Golson (Concord Jazz)

1974: "If I Ever Lose This Heaven" from Body Heat/Quincy Jones (A&M) (Jarreau provides background scat and vocal percussion.)

Wikipedia

#Al Jarreau

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bysdana · 7 years

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And here’s another fabulous review for the Korea drama Goblin or aka Guardian: The lonely and great god. It stars Kim Go Eun, Gong Yoo, Lee Dong Wook, Yoo In Na, Lee El and BTOB’s Yook Sung Jae. It broadcasted on Tvn with 16 episodes plus a special, it’s final episode received a rating of %18.68 nationwide audiences share making the second highest rated drama in Korean cable television behind Reply 1988.

For me it was actually one of the few dramas that I cried in (yes I don’t cry as much as people do when they watch kdramas haha). If that scence really evoked emotion for me personally then I’ll cry. I could talk on and on about this drama too because it hit the ball park for OSTs, memorable scenes, lines, fashion, nature and quite honestly the concept of life and death.

My first impression with Gong Yoo was that he had this mature but gentleman charm that makes his character Kim Shin a gem. Kim Shin as a character has a nice blend of solemness and lovable, soft, with humor. Acting was spot on and pretty consistent. His and Kim Go Eun’s acting and chemistry onscreen was just brilliant. I’ve never felt so compelled to be attached to characters, especially one that’s predominantly about romance. Kim Shin has a goofy presence when paired with the Grim Reaper. Despite some of the serious scenes, he knows how to bring a light hearted presence in scenes. Some of my memorable lines was ep 4 (the moment I fell in love) where he talks from the book he reads (which is a famous book by a Korean poet titled “Physics of love”). And ep 13 and ep 16 were some of my favourite scenes that Gong Yoo gave a very emotional performance and ones that I loved very much.

Lee Dong Wook who plays the Grim Reaper (aka the reincarnation of Wang Yeo) also did such a great job through this drama. He quite surprised me as a big sofite that’s ironic as his work is sending off the dead and chasing after Eun Tak as she’s a missing soul. Lee Dong Wook brought such a humourous and serious side to his character. It’s my first time seeing Lee Dong Wook and I have to say I’m on the bandwagon as his fan haha. He has this natural charm and charisma that goes well with the Grim Reaper. It’s also funny seeing his retorts to the Goblin and banter in each episode. But I really loved his relationship to Sunny and their intertwined destiny from the get go. One of my favourite scenes from him was ep 5, ep 13, and ep 11, were some of my favourite scenes from Lee Dong Wook.

I thought that I should introduce my favourite quotes from this drama because there so many good quotes these are just a few! In ep 6 Kim Shin talks about Eun tak and quotes “Every moment I spent with you…shined. Because the weather was good, beacause the weather was bad, and because the weather was good enough. I loved every moment of it. No matter what happens, it is not your fault.” This quote and parts of it reoccurs throughout the drama and I picked this particular one because of their tumultuous relationship. Nonetheless it had its ups and downs to which I find this quote particularly interesting to me. Another quote comes from ep 6 where the Grim Reaper says “There is no life that deserves to die.” menaing in reference to his work and that in the drama we see different people from all walks of life. Some that are only as young as 5 to as old as maybe in their 60’s-80’s and beyond. A concept that pops up in the drama is life and death, reincarnation and how it affects your present life.

To me it was a concept that I’ve been thinking in terms of its meaning in depth and thought to these types of circumstances. Whether in our past life if we were of royalty or a beggar; clearly we all seem to have these “past lives” that dictate sometimes our current life. The use of nature to represent symbols such as the buckwheat flowers signifies “lovers” or rain as “sadness”. But what I loved most and was memorable to me were the characters quotes I remembered from the episodes throughout the drama. I have so many to share but these are just a few that I adore and would keep:

“life is a momentary thing. You come and you go.” Ji Eun Tak (Ep 6)

“The sword is his reward and punishment, his reason for existing and the clue to his extinction.” – Grandpa Yu (Ep 8)

“Fate is a question I ask someone. And the answer…is something you must find yourselves.” – Deity (Ep 12)

“It’s French for “Fate ordained by the sky” – the absolute destiny far beyond the realm of humanity.” – Kim Shin (Ep 12)

“The world needs miracles – beautiful and strange miracles” – Ji eun Tak (Ep 13)

The fashion though I have to say was such a hit and unexpected thing I’d be talking about. I mean in terms that in Korean culture already a natural thing to see people “dressed up” or more so always looking so nicely dressed. But the trend that hit Korea was oversized coats, and boy were there many of them in the drama. Many of the coats worn by Gong Yoo in the drama are of brands such as Burberry, Givenchy, Tom Ford. Even an unreleased coat from Lanolin Paris’ 2016 Fall-Winter collection. Some examples I have below, they’re supppppper nice (I have two black coats I own and adore) but pretty pricy. If you want to invest in getting these it would be worth the price but you can always find for cheaper at stores like Pennington’s or Hudson’s Bay (it depends on where you are as I’m just listing North American brands).

Directing and cinematography I have to applaud for too (although I think I’m applauding for almost every single thing haha). Consistent and never any awkard angles so I’m not struggling or straining seeing the scenes or character’s face.

Yoo In Na (who plays Sunny) and Kim Go Eun (who plays Ji Eun Tak) both had strong parts that supported the two male leads. They have this sister relationship I love when they first meet each other. And I didn’t think one overtook the other, usually when I see double love couples for Korean dramas sometimes one couple overpowers the other. Here its not the case, Kim Go Eun for me is such a good actor so far as I’ve seen her in the Korean drama Cheese in the trap and the movie Memories of the sword. She has this pure angelic and youthful look that I don’t really think of first for actresses in Korea. I’m definitely rooting for her in more versatile roles that challenger her. Yoo In Na I’ve watched her from My love from another star and definitely love her acting and the way she expresses her characters. Deok- Hwa (Yook Sungjae from BTOB), Chairman Yu (Kim Sung Kyum), Secretary Kim (Jo Woo-Jin), Birth Grandmother (Lee El), The queen (Kim So hyun) and King of Korea (Kim Min-Jae) that were supporting characters in the drama was such a stellar line up.

Of course how could I not forgot the OSTs like if I love the drama then I’m also in love with the soundtrack. And omgggggg the line up for Goblin was undeniably talented. Ailee, Crush, Roy Kim, Sam Kim, Chanyeol, Punch, Heize, Urban Zakapa, Soyou, Mamamoo there’s more but all these artists mentioned are amazing. Some of my favourites were Ailee’s “I will go to you like the first snow”, Chanyeol & Punch “stay with me”, Crush “Beautiful” and Soyou’s “I Miss you”. For me it was a home run and all each were memorable songs in the drama I couldn’t be more happy! Take a listen and see which one is your favourite :)

In all I just have to say how much I adore this drama, few have really stuck out for me and this drama’s been great. From the actors, script, costume, cinematography, and music its near perfect. Thank you for reading this post like, comment, follow and share for more of my posts ^^ Also enjoy this video of bloopers from Goblin, the cast are also goofy off set and its great to see their natural chemistry with one another.

Drama Review: Goblin And here's another fabulous review for the Korea drama Goblin or aka Guardian: The lonely and great god.

#Drama #Drama Review #Fantasy #Gong Yoo #K-Drama #K-Drama Review #Kim Go Eun #Lee Dong Wook #Lee El #Romance #Yoo In Na #Yook Sung Jae

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deadcactuswalking · 6 years

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REVIEWING THE CHARTS: 8th July 2018

All right, I really don’t want to talk about Drake. Let me elaborate: Drake has made a lot of music I love ever since he started rapping, but honestly, after a few years, he just got too popular and lost my interest because, like anyone at their peak, kind of got the mindset of “I can do whatever the hell I want and still get money” – which is, in fact, true. His laziest, mediocre, most boring and cheap songs seem to be his most successful, and that kind of aggravates me, when he’s capable of much better and puts it out, only for it to pale popularity-wise in comparison to the trash that he can spit out. Hence, I am glad UK chart regulations have shortened my Drake-load to only three songs, while America has 27 Drake songs in the Hot 100. Let’s stop rambling and get on into the top 10.

Top 10

Surprisingly, Drake just couldn’t knock George Ezra’s “Shotgun” off of its top spot, now at its second week there. That would be Drake’s third number-one debut this week if not for this track’s somewhat odd amount of strength as a hit. Huh.

Oh, yeah, speaking of Drake, we have “Don’t Matter to Me” from his latest album Scorpion, featuring posthumous vocals from Michael Jackson and uncredited vocals from Paul Anka, debuting at the runner-up spot.

“Solo” by Clean Bandit featuring Demi Lovato is down one spot to number-three, somehow still toppling two Drake songs.

The highest of those two being “Nonstop”, debuting at number-four.

Drake also takes up the number-five spot with “Emotionless”, and just like that, he takes up three spots in the top five of both the US and UK charts. Delightful, it’s like the charts are his house that he rents every Summer.

Due to Drake, we have some decent fallers in the top 10, including number-six, “2002” by Anne-Marie, down three spots to number-six.

Also down by three positions is “I’ll be There” by Jess Glynne, now at number-seven.

“I Like It” by Cardi B featuring Bad Bunny and J Balvin stays at number-eight from last week.

“If You’re Over Me” by Years & Years is also down three spaces to number-nine, but that will definitely rebound with their new album and all next week.

Finally, “Girls Like You” by Maroon 5 featuring Cardi B creeps into the top ten at #10 due to a three-spot increase.

Climbers

Yeah, not much increased this week at all. Mostly debuts from last week had smaller gains, but those aren’t really notable. There are seven-space jumps for “Taste” by Tyga featuring Offset up to #27 and “Nevermind” by Dennis Lloyd up to #32, but other than those and “Oh My” by Dappy featuring Ay Em going up five spots to #26, there’s nothing to go and talk to home about here.

Fallers

There are a LOT of small fallers this week, especially for trap-rap and hip-hop since Drake took over that demographic, so I’ll only mention the bigger ones for pop and go rapid-fire for hip-hop. “One Kiss” by Calvin Harris and Dua Lipa is down six to #16, as is “Familiar” by Liam Payne and J Balvin down to #20, as well as “no tears left to cry” by Ariana Grande now at #29. “Flames” by David Guetta and Sia took an eight-spot hit to #34, and “Girls” by Rita Ora featuring Cardi B, Bebe Rexha and Charli XCX didn’t fare well either, down eleven spots to #38, joining Cheat Codes and Little Mix at the bottom of the top 40 as their track “Only You” is down eight spaces to #40 after its debut last week.

Now, for hip-hop: XXXTENTACION – for obvious reasons – didn’t have a good week, with “SAD!” down nine to #14, “Moonlight” down 14 to #31, and “changes” down 15 to #37. Post Malone’s “Better Now” is also down eight to #15, taking an identical drop to “German” by EO, now at #23. And rapid-fire for the lesser falls: “Praise the Lord (Da Shine)” by A$AP Rocky and Skepta hit #21, alongside “Butterflies” by AJ Tracey and Not3s at #22. Women in hip-hop suffered too, as “Man Down” by Shakka and AlunaGeorge hit #30 and “Bed” by Nicki Minaj and Ariana Grande had a five-spot injury down to #35.

Dropouts

Drake dropped out the charts. Somehow, “Nice for What” featuring uncredited vocals from Big Freedia and 5thward Weebie is out of the charts from #25, despite the album release and it hitting #1 in the US. That’s really odd, actually.

Other than that, “Love Lies” by Khalid and Normani is out from #33, “Answerphone” by Banx & Ranx and Ella Eyre featuring Yxng Bane is out from #37 and “Family Tree” by Ramz is out from #38, with most of the songs being pretty much at the end of their run, although “Answerphone” is fading away much quicker than I expected it to.

Returning Entries

There is one returning entry this week due to the World Cup and it’s an interesting case. Let’s talk about it.

#24 – “Three Lions” – Baddiel, Skinner and the Lightning Seeds

“Three Lions” is a Britpop song written by rock band Lightning Seeds, as well as comedians David Baddiel and Frank Skinner, known for hosting the show Fantasy Football League together. It originally hit #1 in 1996 because it was made to celebrate England hosting the European championships, however it has since been recontextualised for World Cup events. In 1998, it was re-recorded and hit #1 once again, but that version never really stuck. Instead, every four years (and sometimes in between due to the European Championships), the original 1996 track kept on returning to the top 40 or top 100, peaking differently each time – in 2002 it was #16, while it was #9 in 2006, #10 in 2010 (alongside a second re-recording that peaked at #21, released with Robbie Williams and Russell Brand under the name THE SQUAD), #77 in 2012, #27 in 2014, #84 in 2016, and finally, #24 in 2018. It has a strong legacy and will go down as an official anthem for English sport, but is it actually any good?

Well, I’ve never been too much of a fan of music that’s too rowdy or ladsy (for lack of a better word), including a lot of Britpop, but this is too safe for even that. The hook is so weakly delivered with not really much of a passion at all, and I’m not sure if any of these guys can actually sing – don’t get me wrong, it’s catchy and I appreciate all the references to other notable English football moments, as well as some being sampled in an instrumental break that includes a nice guitar/synth refrain that slowly grows in intensity but then it all drops off at that anti-climactic, weaksauce chorus! Skinner’s vocoded, for God’s sake. Put some passion into the main vocals as much as you do with all the backing and left-ear-exclusive vocalising. Yeah, I’m not too much of a fan, but hey, I’ll chip in and have some hope for my own country. Come on, England! It’s coming home!

Wait, sorry, no, it’s not, we just lost against Croatia. God, it’s going to be depressingly ironic when this hits #1 next week – and it probably will.

DRAKE (new arrivals)

#5 – “Emotionless” – Drake featuring Mariah Carey

This is technically a solo Drake song that samples Mariah Carey, but I want to credit her as a feature here because I find it odd (and kind of awesome) how she’s done nothing of note this year and yet she’s still had two top 10 hits in the US since December simply by convenience, the first being “All I Want for Christmas is You”, the second being this new track from Scorpion, and, yeah, you know this is a No I.D. beat as soon as you hear Mariah Carey’s powerful vocals over the simple piano chords and a choir being pummelled by this bass and the skittering hi-hats, very similarly to “The Story of O.J.” by JAY-Z, which he produced last year, especially with how the sampled vocals are chopped-up at times, setting the stage for Drake to body this track with his rhymes about... condemning females using social media and modern technology to enjoy their time in foreign places, specifically Rome, and how he wasn’t hiding his kid from the world, he was hiding the world from his kid (that basically means the exact same thing, Drake, you can’t switch that!). He takes some shots at Kanye and mentions how the wise man once said nothing at all, which apparently, Drake cannot do throughout this year as he’s dissing Pusha T and Kanye throughout the album subtly, and then there’s an awkward fade-out to a nice funky, jazzy piano section that just seems kind of out of place and unnecessary? It doesn’t even lead up to the next song on the album (that’s “God’s Plan”), it’s just kind of there. Okay, but the beat is fantastic, so check this out anyway.

#4 – “Nonstop” – Drake

This nearly debuted at #1 in the US. I’m sorry, but what does anyone see in this?! This is boring. This is trash. This is Drake and his producers just not trying. Drake half-mumbles his verses for the most-part, with some pretty cringeworthy lines about how he’s light-skinned but still a dark man mentally, and how he’s a wig-splitter or whatever the hell. This beat is literally just a bass and some cheap trap percussion I could probably download from Loopmasters right now. This hook is literally just a sample from a Mack Daddy Ju song repeating with static effects and distortion, to the point where it’s unrecognisable and a massive waste of sample clearance money. I can’t believe Wheelchair Jimmy could make a Lil Xan song, but here we are: a sleep-inducing, probably drug-addled sleepwalk through Drake’s mind with more ad-libs than bars, which is probably how I’d describe his album – just replace ad-libs with pointless samples, for which “In My Feelings” is probably the worst case. I’m glad that one didn’t debut. Oh, yeah, and there’s the opening part, which is supposed to be cool and all but all he says is he flipped a switch and has some dumb “flip, flip” ad-lib afterwards, like, what are you trying to do, Drake? No matter what you’re trying to do, you’re failing immensely.

#2 – “Don’t Matter to Me” – Drake featuring Michael Jackson and Paul Anka

So, combining his enthusiasm for both lazy sampling and grave-robbery, Drake decided to buy some unreleased material from Michael Jackson that he wrote with Paul Anka, who provides additional vocals on the song, in 1983, recorded in the same session that lead to “Love Never Felt So Good”, another posthumous single Jackson released with Justin Timberlake in 2014. Surprisingly, Drake sloppily rap-singing over deceased R&B singers has proven to be a working formula, as he does the same stunt with Static Major on the best song on the album, “After Dark”. It’s vaguely tropical in its production, with some nice, warm synths and handclaps as well as some accentuated 808s that set the stage once again for Drake, who has a charm in his badly-sung verses. Michael Jackson’s pre-chorus is okay, and the King of Pop’s chorus is somewhat lowkey, which is a shockingly calm, subtle vocal hook for MJ but possibly an overly dramatic performance for self-certified wig-splitter Drake. Also, I know the audio was from the 1980s, but this could really have been mixed better, especially in the kind of excruciating pre-chorus and bridge (which is just all over the place with unnecessary reverb and echo). Come on, Drake, the mixing throughout this album is way too amateur for someone of your status. JAY-Z’s verse on “Talk Up” might as well have not been there before you made it louder when you pulled a Kanye and changed your own album, cluttering “In My Feelings” even more in the process and not changing this track and “March 14”, which need better mixing, or “Final Fantasy”, which really should have had the unnecessary bridge that samples the Maury skit cut, or “Emotionless”, which could do with you leaving the profanities intact on the explicit version of the album (how do you mess that up, honestly?), or even “Blue Tint”, by giving Future the verse he rightly deserves, instead of just sticking him onto the chorus as an uncredited hook-singer. Maybe you could have put songs on the right side of the album? Side A was darker hip-hop and trap, why is “God’s Plan” on there? Side B was smoother, funkier alternative R&B, why are “Blue Tint” and “Nice for What” on there? Thankfully, this will probably and hopefully be the last time I review a Drake song until my end-of-year lists – in which knowing Drake, he’ll probably make both worst AND best – so I can say I’ve slain this dragon for now (if Pusha T hadn’t done it already).

Conclusion

I mean, what do you think? I can’t give anything to the returning entries, so I have to give Drake something or other. “Nonstop” easily takes Worst of the Week – that is a dreadfully boring song – while I think I’ll give Best of the Week to “Emotionless”, and Honourable Mention to “Don’t Matter to Me” with Michael Jackson and Paul Anka for at least... trying. See you next week.

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