#huge fan is probably not the phrase to use i just would watch his videos when he uploaded lol

[dutchwinter]

re: your tags on the domino miku post, i hope it's okay to answer through an ask, i don't like bringing up serious (and largely irrelevant to vocaloid) stuff on any of my vocaloid fact posts. nick robinson was one of the main people who helped find the app, he was exposed a while ago for sexual misconduct toward various young women (i think specifically those in the game dev industry). i don't want to provide any misleading info cuz admittedly i'm not that knowledgeable about what happened (i never followed him or any of his associates on social media) but you should be able to learn more just by searching the web. hope this helps

oh my god yeah asking is okay. i used to be a huge fan of this guy but ive stopped watching his videos in recent years and i didnt know abt any of this. thanks for letting me know! ill look more into it

[chiskz]

▶️ Changbin being in love with Chichi for 8 minutes straight [probably part1]

🎬🎬🎬

Changbin sits staring at his phone on the couch backstage during SKZ-TALKER. Han comes over with the camera and asks something when Chichi inadvertently enters the frame trying to improve the micro port. Changbin immediately gets up to help, but Chichi manages to fix it. Changbin slowly sits back down and Han laughs at him.

🎬🎬🎬

Another scene from SKZ-TALKER, behind the scenes of the famous photos posted by Changbin on Bubble, Chichi doodles on a piece of paper. She finally looks up at Changbin with the camera and blinks a few times.

"Are you recording?"

"I'm recording."

Chichi laughs, then hides behind a piece of paper.

"Why?"

"What are you drawing?"

"Something for STAY. I want to send it to them on Bubble later."

"Ah, okay, okay..."

"Where's Hyunjin? I'll ask him what it looks like."

"Why do you need Hyunjin, I can tell you that it looks so good."

Chichi laughs again, but this time hiding her face in sleeves, Changbin laughs too.

🎬🎬🎬

One of the "Your Friendly Neighbour, Chichi!" episodes.

"Changbin is very good at Korean. I know how it sounds, it should be obvious, he's Korean after all. But trust me, his vocabulary, his ability to make wordplay... He's on a whole other level. Just when I think learning Korean is finished for me, Changbin comes with a rough version of the song and shows it to me. I read it and sometimes I don't understand a word, as if he was creating a new language. But he explains what the phrase means, he is very patient and enriches my vocabulary. I love him, I love our moments together when he explains to me what he meant. He opens up to me and I want to listen and listen and listen to him endlessly."

🎬🎬🎬

One of the interviews, the Stray Kids are sitting on raised stools holding plastic pointers with a hand with the index finger outstretched.

Question: If you could be in a relationship with one of the members, who would you choose?

Changbin and Chichi do not look at each other, but they chose each other. Chichi hides her face behind sleeve and starts laughing, so Changbin has to explain his choice first.

"Well... Chichi is a really good and caring person. She takes care of all of us along with Chan and is a huge support."

MC: Why are you talking about "us"? Tell me why YOU chose her!

Changbin laughs, trying to hide his embarrassment.

"She always listens to me. Since she's with us, she's the first one who listens to my songs and what I have to say about them. She's like my safe place. I always come to her when I want to feel at home. Plus we have a lot in common interests, so it's always nice to talk to her. Also, she's so talented, I could watch her dance for hours."

Chichi finally looks at him, grunting softly.

"I chose Changbin because I also think we get along great. He's helped me a lot with Korean, he's really helping me all the time, to be honest. He's always interested in whether I ate or slept, he asks a lot about my life and tries to make it easier. It's really sweet... And of course, in addition to a good heart and great talent, he is also... handsome."

Chichi laughs and buries her face in Hyunjin's shoulder, the rest of them, including him, start laughing at her.

🎬🎬🎬

A scene from "Stray 9th", Chichi and Changbin are together at the gym doing his challenge. Chichi is working out on the treadmill, and Changbin is staring at her with buttery eyes, speechless.

🎬🎬🎬

Video recorded by a fan during one of the concerts. Changbin hugs Chichi from behind during "Scars"* as her eyes fill with tears.

🎬🎬🎬

One of the newer SKZ-TALKER episodes. Chichi records from the plane.

"Hey, hey." She adjusts her hair and mask. "I'm coming back from Japan. The rest stayed over, but I'm coming back to Korea, straight from the show. I haven't even changed my clothes yet... I have an exam tomorrow, so I have to go back." She showed her notebook and laughed a little, then glanced to the side for a moment. "But I'm not coming back all alone." She pans the camera and briefly shows Changbin sitting next to her, doing something on his phone. "Silly. He insisted on flying with me so I wouldn't be lonely. My precious..."

🎬🎬🎬

An episode of "Your Friendly Neighbor, Chichi!". Chichi reads the comments on her phone, then glances at the camera. "Hee? A ring? Oh!" She shows a ring on her other hand, with a small diamond on it. "It's beautiful, isn't it? I got it from Changbin when I passed the exam... It's beautiful." She reads the comments again with a dreamy smile, then puts her hand over her mouth and laughs, embarrassed for a moment. "No, no! Don't get this wrong, it's not an engagement ring! No, no, how can you think that!"

🎬🎬🎬

One of the encore stages after Stray Kids win in the music show with "Case 143". Changbin during his "Can I be your boyfriend?" line points at Chichi, who, embarrassed, runs to hide behind Hyunjin.

🎬🎬🎬

An episode of "All Night Duo's Night"**. Chan creates something on the computer and Chichi reads something on the phone, then smiles. Chan notices this.

"Why are you smiling like that?"

"Changbin asks if I'm hungry."

"It's 3am, why isn't he sleeping? And why doesn't he ask me stuff like that?" Chan pretends to be offended, but Chichi blushes and hides behind the phone.

🎬🎬🎬

One of the Stray Kids group lives at the hotel. Chichi, Felix, Hyunjin and I.N read the comments. Hyunjin looks up from his phone.

"Who is whose roommate?"

"Mine is Changbin." Chan answered. "But he has never slept in my room with me yet!"

"Heee? What do you mean?" Han moved closer to him.

"He never came back to his room at night."

Chichi laughs under her breath, putting the phone aside for a moment on the bed.

"Because he was with me! I was studying for the exam and he was next to me working on the laptop."

"So he hasn't slept at all this time?!"

"We slept together!" Changbin called, and Han sighed dramatically and hit him on the knee, and Chichi hid her face in her hands.

"But not like this!"

____________________________

* "Scars" is a very important song for Chichi due to her self-harm issues in the past.

** "All Night Duo's Night" is an irregular live series of Chan and Chichi, who are known for not sleeping much - Chan is producing and Chichi is choreographing and studying for college. During some of these late-night get-togethers, they decide to do a short livestreams.

[hanzajesthanza]

Hi! I just watched your essay on YouTube and really appreciate all the hard work you put into it. I was interesting and you seem so intelligent.

As a huge Henry Cavill fan, he introduced me to The Witcher (which resonated with me on a personal level and really helped me heal my inner child) Through his interviews, I found out about the books and have been obsessed ever since, reading them twice. I agree that the show lacks depth and philosophical insight, and bc of Lauren, I can't forgive Yen for sacrificing Ciri!!!!!!

I had a question about your essay: you mentioned that TWN Geralt made a joke about r*pe abt the rock troll when Ciri had a nightmare .........💀 Could you explain that please? English isn't my first language, so I didn't quite understand his line.

Anyway, I really enjoy your witcher analyses and have been reading them for hours. I hope to see more on your YouTube channel. Thank you!

i’m glad you enjoyed the essay! thank you for all the kind words :D and i am indeed working on new videos so yay!

and okay, so re: the rape/bestiality joke.

(for the uninitiated, this is netflix witcher S2E1, a scene which is netflix’s equivalent of how blood of elves opens: ciri having a nightmare of her kidnap at cintra, and geralt comforting her).

the netflix exchange between geralt and ciri goes like this:

Henry Cavill: “I sleep like shit, too.”

Freya Allan: “You don’t sleep at all.”

Henry Cavill: “Makes for fewer nightmares… Except for the one about the rock troll. Overly friendly.”

Freya Allan: [Silence]

so, the phrase ‘overly friendly’ in english is used as a euphemism for ‘horny’ or ‘rapey’.

it’s kind of like a saying that you may already know: ‘is that a [gun, knife, etc.] in your pocket, or are you just happy to see me?’ which uses ‘happy’ in place of ‘aroused’ (in other words, suggesting that the person (typically a man) who the statement is being said to has an erection (visible through his pants)).

it’s a similar concept of using an innocuous phrase (‘friendly’) to mean something sexual (‘horny’).

an example of how ‘overly friendly’ might be used (or how i’ve heard it used, anyways), would be to describe a pervy guy who constantly hounds women with flirtation and comments, or makes inappropriate attempts to grope them or touch them. you might describe such a guy as ‘overly friendly,’ ‘touchy,’ ‘grabby,’ which are all ways of saying: he’s a perv who will probably try to have sex with you, if you get too close. i.e., sexually aggressive.

so henry cavill’s geralt saying: “[i have few nightmares]… except for the one about the rock troll, overly friendly…” is a joke meaning that ‘nothing scares him, weeell, except for a sexually aggressive rock troll.’

and because it’s a nightmare, which are usually about scary, dangerous, or uncomfortable situations, i think it means the nightmare is of a rock troll trying to rape him… yeah :P kind of not the humor you use with your daughter!

[itaitaita-ita]

MY OPINION ON NETFLIX’S “MAYA AND THE THREE”

OKEY! so for starters (i know that nobody asked for this) Hi everyone, my name is Mari and i’m a mexican girl with native roots so english is not my first language and i apologize in advance for any mistakes.

Lets start off with the overall: Its beautifully animated, it’s refreshing to see this type of stories and characters back on TV. The plot of the story is very interesting and hooking for the viewers, the characters designs overall are good (but i have somethings I want to point out, especially in the female designs). I really enjoyed the ‘Lucha Libre’ vibes that they gave out by presenting the opponents with a banner of their name.

Now, to the more specifics: the good and the bad.

THE GOOD:

Good interesting plot, gives me the vibes that it would make a good video game xd.

The representation of different features and skin tones is amazing!

The designs of the gods were my favorite.

The character development of Maya and how they portrayed the essence of each character despite having limited amount of episodes.

The accurate historical aspects and small details about their view on natural situations ( albinism, eclipses, etc ).

Lady MICTLEEE (mommy.. sorry- mommy? sorry-)

The spanish dub and the local phrases and jokes they use were incredible to see! specially the alburs here and there!

I liked the different Latin American accents each region had and the different cultures that were shown.

I think it was fun the correlation they created with the sun and the moon.

The backstories of the characters were amazing (and SUPER SAD WTF).

Despite not being a huge Zatz fan, i’m a sucker for enemies to lovers romance, so I really liked the trope.

The attention to details was GODLY i was so in love with it throughout the whole series.

THE BAD:

The female character designs ( focusing more on their physique) were a bit weird to me? the main female characters were either SUPER THICC: mini mini waist, gigantic hips, or like tall and skinny. (Except for the queen of the mages sorry if i’m not translating the names exactly, i know them in spanish only , which is also a bit backhanded since she’s supposed to be this annoying and immature ruler). Here’s what i mean:

The design of the clothes, makeup, hair and accessories is AMAZING. but.. the body types were a bit unsettling to watch, especially because the men have a wider range of physical designs and are overall more creative with their physique. also why were only male characters allowed to have big noses while all the female ones had itty bitty ones? Some examples:

ACAT ‼️ A C A T !!! I cannot expres enough how badly she was treated. She was only there for Zatz’s character (the female supporting role that enlarges the male one). She literally appeared, tried to kill Maya because Zatz “liked” her, gor dumped and 2 mins after she got killed. like. wtf. The crazy ex girlfriend trope (ew).

I was not a super big fan of how the concepts of ‘Good and Evil’ were pushed into the deities. There weren’t truly any ‘Evil’ gods, even if they represented war, or ruled the Mictlan. Its very characteristic of the Mesoamerican deities to not be good or evil (they weren’t even gods, but that’s for another post)— but i understand that view was needed to have a story and a plot and the whole Lucha Libre boss fights they had. So i’m willing to put it aside but it still should be mentioned.

The different regions were based in different mesoamerican groups and yet they were all ruled by aztec gods? just like the last point, i understand it simplifies things but i understand why people who aren’t mexican are a bit upset by this, since they are their own culture with their rich mythology.

I probably have more things to say buuut i have a terrible memory. Overall it’s really worth it and fun! and it’s refreshing to see this type of characters and cultures being portrayed like that. If you don’t agree with any of my points just be respectful about it, and remember this is my point of view and it’s not the only valid one :) !

[bemylord]

todo finding out that his s/o is takada-chan’s younger sister

rq: Hey Ny👋 i would like to request something. Can you write a Drabble about Todo finding out that his s/o is Takada-chan’s younger sister? I thought it would be funny, you don’t have to do this but I appreciate it.🙏

characters: aoi todo x fem!reader.

warnings: just todo being overdose with his s/o and takada-chan. it's super fondness and funny + au. my grammar mistakes.

butler's remark: (^◕ᴥ◕^) hello lord, it's me with a fluff work as you might see. did his s/o a todo's type: man has a booty kink [if there is one], in any case, it's a short sketch. also, i couldn't find todo's image like gojo's one or itadori's so i apologize.

disclaimer: everything you read is purely my opinion - any detail, sketch, or event is a figment of my imagination.

you knew your boyfriend was is a huge fan of your older sister, that's why you kept hiding your 'secret' from todo. not because he'd a clingy and be asking to get acquainted with her. you were waiting 'till your sister will have a concert whilst todo will be on the mission - what a shame to be probably on the other side of town when your idol is performing - the probability of such a coincidence is extremely small, but not equal to zero.

like now, when takada has her performance, todo is fighting over the special grade cursed spirit. he couldn't do anything but to exterminate the monster, so he could watch the takada's concert.

a few hours after your sister's concert, when your lover showed up on the doorstep of the house.

'i missed the concert. it was a rare occasion, it-' todo is standing in the door frame, sobbing as he missed the concert his idol. you never mentioned you like her or watching takada's shows on the screen, therefore, todo has to impress you with her. /if he knew she is your sister/

aoi todo - as i mentioned before - would be freak around you when nobody sees: his hands will wrap your waist all time, mostly in the evenings as both of you will be watching tv, but in reality, neither todo nor you ain't seeing what on the screen, mainly, you give each other warmth and hugs.

todo upset as he couldn't show you her concert. he sits on the couch in the living room, tossed his head.

'i wanted to bring you to the concert, so afterward we could have the memory'

'aoi..'

'whose concert?'

takada's head peeked out from behind the door frame leading into the kitchen as she came into the room with her stage persona [?]. todo is sitting there, looking at you, at her, not knowing what's going on.

'y/n, do you see what i see?'

you looked at your older sister, giggled. todo laid his elbows on his knees, put a chin on his fist, speculating on the situation. even being a grade first sorcerer, his brain is mushy as his capability to think straight is lost. todo could calculate a masterful plan of how to beat the spirit but at this moment, he doesn't know what to say.

'my hallucination probably played out, there is no percentage to takada-chan being here and even had spoken'

'do you think i'm not real?'

aoi's brain starts to work as the idol came to the sorcerer, dramatically pouted her lips. the moment of realization of what's happening dawned on him, as light pink blush is dotted on his cheeks, as he almost jumped off the couch.

't-takada-chan, i.. you real? certainly, you ain't fake, just..'

todo is dawned by a sudden feeling, which is hard for him to describe - such an unplanned meeting with an idol unquestionably makes him impossible to talk. even tho he's a sorcerer, ranged first which means he's powerful and astute when it comes to finding the best plan to exterminate the cursed spirit.

'i've been all ears about you - y/n told me that you're the strongest among your students. i am glad that my sister is dating someone powerful and kind like you, todo-san'

have you ever seen someone red like a tomato? well, now you've got an opportunity to have a look - the side of aoi probably you and takada allowed to see is when he's as happy as a child, the full teeth smile [?] that will not leave his face until the end of the evening, he will illuminate the room.

'don't call me todo-san, it's aoi. you're my girlfriend sister, i feel uncomfortable for you to use the formal'

the second question - have you ever seen someone being battle-crazed meathead and willing to demolish everyone but actually melty ice cream and sugary? my answer is simple - aoi todo.

all evening todo had been listening to your sister's stories with admiration in his eyes, peeping at you with those practically puppy eyes as if they're reading: 'thank you, honey'. todo kinda complacent - not everyone has got a chance to talk to the idol like aoi does.

throughout the evening the little and cute blush on his dimpled cheeks staying as if that's how it should be. out of a significant and fearsome man remained a small, purring cat, if you can characterize him that way.

'takada-chan, may i-'

'call me takada, aoi'

'takada.. may you give me taka-tan beam, please?'

at last, before leaving your house, your older sister looked back at todo's request, as if she was waiting 'till he uttered the phrase. she let out a cheerful but quiet chuckle.

'here i go' as if at that meeting when todo had time to come [he probably missed the class to see your sister], still he gets tensed when takada cleared her throat a little.

at first, she clenched her left hand in a small fist, covering her face with a curve of her elbow, next swiftly closed left eye, bringing the index and middle finger toward her eye with the back of his hand to the todo and you, pronouncing, likely the most favorite phrase taka-tan.

'here you go, aoi. i had the pleasure of meeting my sister's boyfriend. goodbye, thanks for the invitation, y/n!'

you smiled as a response, closed the door whilst todo is still speechless.

'oi, y/n, why you didn't choose to be an idol? therefore i'd be your huge fan number one'

'i've chosen another way. but, if i'll be the idol like my sister, hm~ i'll have the huge crowd of fanboys, who'd like to steal my heart'

he wanted to respond but instead of saying, todo wrapped his arms around your body, kissing your forehead.

'i'm glad that you're only mine, y/n. i love you'

you smacked your lips against his as your hands are holding his cheeks.

'..maybe i should be an idol after all..'

'and show your boot- your body to every boy? i'm not allowed you, you. are. mine!'

what is going to be next? well, you'll spend the night in todo's arms as he'll tell you, probably thousand and one quotes why you're his and why he loves you. that fondness of his is unforgettable.

(☆ω☆)

butler recommends you to see this video of todo meets takada-chan and taka-tan beam. hope it's fluff and kinda funny, sorry if it's not. also that cute moment in the end, i think it was UwU.

[?] - correct if i'm wrong.

↳ back to the main master list.

[shihalyfie]

Some fun talking about and analyzing the tri. stage play, and its relationship to Kizuna

The tri. stage play (full title: "Super Evolution Stage! Digimon Adventure tri. August 1st Adventure") is honestly quite an unusual entry in this franchise, even within Adventure standards. Nearly everything about its production is unusual -- the entire genre it's in is unexpected, the choice of time period to release something like this is unusual, and moreover, now that Kizuna’s out, a lot of people have noticed a lot of suspiciously similar themes and even language, most notably the key “we’ll always be together” line (phrased even exactly the same way in Japanese). In fact, despite ostensibly being a tri.-branded product, other than a few vague token nods to the anime series in the play itself, said stage play has very little to do with the actual anime sharing its name, so the similarity to Kizuna is even more striking in retrospect.

Perhaps another interesting thing about this play is that it’s a very good example of a standout work in the Adventure universe that didn’t have any original creator involvement (other than some minor tips from Seki). I think there’s often a tendency for people to think that in order for a sequel or spinoff to be true to the original, it has to have some member of original staff on there, especially since the Adventure (and 02) characters tend to be a bit overly complex and it helps to have the reassurance that someone who knows them is behind the wheel -- Kizuna used the presence of Seki and Yamatoya as an outright advertising point -- but this stage play’s director and writer had no experience with the franchise beforehand, not even as a fan, yet still made a very respectful product that has generally been received well by Adventure (and 02) fans and even got the original director’s approval, too. If anything, that makes it all the more impressive!

(Note that the below text spoils the story content of the play, but not Kizuna’s to any substantial degree.)

Some production background

Anime and video game stage tie-ins are fairly common -- much like this one, they tend to have very short runs and are targeted at a limited audience -- but they’re usually stereotyped as being for the otome crowd (i.e. predominantly female otaku audience), so works like this are generally associated with it. As a result, when this play was announced and released between tri. Parts 4 and 5, quite a few people were surprised, because this franchise originally came from products associated with shounen anime. In practice, this was a period where it was becoming increasingly clear that there was, in fact, a huge female audience for Digimon (especially Adventure universe), on top of the fact that (as noted by the performers in the final show) the audience for this show ended up being unusually mixed-gender, because Digimon really is universal -- but it did lead to the announcement of the play being initially received with heavy skepticism, partially because of the usual misogyny (stigma around things associated with female audiences, etc.), and partially because this was during a time where...well, saying that a very huge percentage of the fanbase, especially the Japanese side, was really pissed off at anything tri.-branded at the time is kind of an understatement. Ultimately, the play ended up very well-received with a small but dedicated following, and it’s currently referred to as “dejisute” (short for “Digimon Stage”) in Japanese fan shorthand. Bringing it up generally elicits positive critical feedback, even among those who were initially skeptical.

Some interesting things also surround the circumstances of its production as well. As some might know already, the tri. anime series and Kizuna share only one key member of staff: Kinoshita Yousuke, who was involved in tri. Parts 5 and 6, and eventually went on to become the producer for Kizuna and the upcoming 02-based movie. tri. was a work that (for some reason) had a huge number of producers on it, of which Kinoshita was only one; he seemed to have been replacing Arai Shuuhei, who left the project after Part 4. However, while Arai was formerly one of the most visible of tri.’s producers (he was the only one regularly brought up in interviews), how much degree of influence Kinoshita had with tri. is unknown, other than the fact he had no involvement in its story. Given that the decision to make Kizuna also seemed to have been made around Part 5, it seems that Kinoshita may have been brought on specifically for the purpose of observing and prepping for Kizuna, because his role on tri. seems to have been so minimal that the moment he was put in charge of Kizuna, the production philosophy ended up becoming completely different under his management. (When you think about it, tri. and Kizuna have very little in common, other than the rough premises of involving the older Adventure cast.)

The thing is, though, Part 5 isn’t actually the first tri. work Kinoshita is credited for, but this stage play is -- which is interesting to consider when taking into account the heavy amount of thematic parallels between this and Kizuna three years later, and in general the very unusual creative decision to make a stage play that suddenly popped up at exactly this time, making heavier tributes to Adventure (and even 02) than the actual anime it was branded with. Making things even more interesting was that the stage play’s director and writer, Tani Kenichi, was allegedly recruited by an unnamed producer impressed with his work (by the way, did I mention Kinoshita used to work in live-action before joining Toei?). Given all that, perhaps this stage play coming off unnervingly like a sort of Kizuna prototype isn’t all that surprising...

Unfortunately, right now we’re still kind of in a time period where official will get barraged with violently angry comments for even so much as putting the series on streaming services, so it’ll probably be a few more years (if ever) before official will be willing to be more open about what went on behind tri. production, and it’s probably a bit much to get too speculative about things like this when real people are involved. Nevertheless, one thing is apparent: the director and writer, Tani, was a newcomer to Digimon -- not even someone who’d been a fan beforehand -- but watched all of Adventure and 02 in preparation for it and stated openly that he was very, very emotionally touched by it. The work itself is obviously made with a lot of love and respect for the series, and one really cool thing about it is that you can also tell that it came from the perspective of an adult with no preconceived notions about it, therefore meaning it comes from someone analyzing the series without necessarily caving to fanbase mantras, and making some very cogent observations about the characters. It’s also just a fabulous work production-wise in general -- the puppet work and making the Digimon look convincing on stage is very well-done, especially when you consider that this play had only ten showings -- and you really gotta appreciate the fact that, even before Seki gave him a few pointers, he was so passionate about the importance of Digimon partners that he pushed for all eight to be represented despite the expenses.

Taking a look at the play itself

Despite ostensibly tying into the tri. anime series it's branded with, the play only really seems to loosely refer to some of its key elements as taking place at approximately the same time, such as Koushirou’s server, infected Digimon, setpieces like KNIFE OF DAY, and an eventual “reveal” that this seems to take place ostensibly around the rough time period of tri.’s Part 4. Look closely, however, and you’ll notice that a lot of things in the characterization and plot arena actually don’t track much with tri. at all -- for instance, in a very non-comprehensive list of things:

It’s implied that Yamato himself is embarrassed about the KNIFE OF DAY band name and is desperately trying to get through it with passion, which doesn’t quite line up with his attitude about it in the anime.

The timeline just really doesn’t line up; Mochizuki Meiko, Meicoomon, and the infections obviously exist, but you can’t have a time period in Part 4 where the kids recognize Meicoomon as being related to the distortions or infections while also being separated from Meiko. Moreover, the “reboot” just doesn’t seem to have happened at all (and to be fair, if you’re planning on making a two-hour tribute to Adventure, not having the Digimon with memories of said adventure would seriously limit the scope of your plot, so this kind of “leeway” was probably downright necessary).

The tri. anime series portrayed Takeru as having a very sharp shift in language, presumably under the implication he’s putting up a front as a flirtatious, aggressive playboy, and so his first-person pronoun was turned into the aggressive ore and his way of referring to Yamato aniki. In Adventure and 02, Takeru had used the polite boku and childish/cutesy onii-chan, and the boku was prominently used as a plot point to hint at Takeru’s identity as the series narrator. (Yes, these kinds of things are actually kind of a big deal in fiction.) Since even longtime fans generally agree that at some point Takeru would be likely to stop using onii-chan once he became old enough, the stage play likewise also prefers aniki over onii-chan, but, notably, it doesn’t even bother with ore in the slightest nor any of the implications that surround it, and Takeru comfortably uses boku for the entirety of the play. Considering that the use of aniki is still a bit unusual (both Diablomon Strikes Back and Kizuna prominently favor the slightly more polite nii-san instead), it seems that the play was made with an awareness that both aspects of Takeru’s language had changed, but a conscious decision to hold over only one from the anime.

And so on and so forth.

In general, the way you could describe this play’s handling of Adventure universe lore and characterization elements is that it’s a bit selective about which tri.-related elements it makes use of, particularly in regards to ones that might be too difficult to reconcile with the original Adventure (and 02). (This is basically the same attitude Kizuna roughly takes in regards to handling of tri. elements, although it’s less noticeable there partially because of the five-year gap between tri. and Kizuna.) Obviously, being completely incongruous with the tri. anime would be a pretty crude thing to do for a play that’s actually branded with it (and especially when said anime was still ongoing at the time, regardless of public opinion), but, regardless, the end result is that its actual relationship with the tri. anime’s version of canon is a bit tenuous.

The main reason for this is probably that, on the flip side, the stage play's references to Adventure -- as in, the specific series that aired in 1999-2000 and took place in the in-universe August 1 and 3, 1999 -- are incredibly aggressive. In fact, it’s actually far more aggressive in this respect than Kizuna is. For all Kizuna is branded as an Adventure movie and puts the original Adventure cast first and foremost in all of the advertising, if you watch the actual movie, in practice, it’s more of something that lies in the gap between Adventure and 02 and the two series together as a whole. Adventure was a series that practically revolved around a "trapped in another world" story and the specific impact its events had on the kids involved, but Kizuna focuses more on the “larger world”, including real world society (very much 02 things), with a lot of themes with suspicious pertinence to 02 and references to its epilogue looming over the plot; the specific Adventure references and even the Digital World don’t come into play until the climax. (And that’s before we get into the fact that the 02 quartet gets more screentime than a good chunk of their seniors.) Really, you can see it just by the fact that a majority of the primary key visuals line the 02 quartet up with everyone else; it’s a movie about both, not just Adventure.

So in other words, Kizuna is really about mixing Adventure and 02 elements, serving as a sort of stopgap work, and recasting the Adventure group in a lot of 02′s context. (And that’s by no means a bad thing; since Adventure wasn’t about that, the differing juxtaposition is a fresh perspective in its own way.) But in terms of revisiting what the actual series called Digimon Adventure was and how those events might have an influence on its relevant cast years later, this play (which actually has longer runtime than Kizuna, being around two hours) is a good place to go to if that’s what you’re looking for. The entire premise of the play revolves around copiously referencing that specific adventure back in 1999, and, more importantly, what impact it’s still continuing to have in this particular group’s memories, to the point where they’re starting to romanticize it and wish they could return to it forever...

Ah, right, that’s what this play has in common with Kizuna: the overall theme of unhealthy fixation on rose-colored nostalgia, and the need to move forward from it. (And, driving it home, “unhealthy fixation on the events of Adventure” as a symbol of that rose-colored nostalgia, to boot.)

The premise of the play itself is that the kids decide to hold a camping trip as tribute to the adventure in 1999, as part of a desire to "go back to those times" (and, as is eventually revealed, it’s actually part of a pocket universe their subconscious wishes had dreamed up as a desire to recreate the past, thanks to the power of the Digital World). So all of the references to Adventure are concrete and fleshed out in specific detail, ranging from everyone referencing specific events and how they impacted them (Jou very explicitly refers to his experiences in Adventure episodes 46-47 in terms of why it fuels his current desire to become a doctor) to even the most minor of references (direct reference to bananas on File Island, from Adventure episode 3).

As a brief aside, a positive side effect of centering the plot on this specific adventure is that it justifies the reason for why these eight are working together (at least prior to the endgame reveal that they’re still involved in tri.’s events); the eight of them weren’t portrayed as liable to do so without good reason, and while certain aspects and events from 02 are alluded to when they’re relevant, the absence of the actual quartet passing without note is completely justifiable because they simply were not on that adventure anyway. (They weren’t initially planned to be at the event in 02 episode 17, and knowing them, it’s likely they wouldn’t want to be at this kind of outright commemorative camping event, because they’d feel like they’d be intrusive in something they had nothing to do with.) So within the scope of the play in two hours, the narrative can be very neatly condensed to be mostly about Adventure itself.

Although this play and Kizuna both share the common theme of the existential crisis that comes with getting older and the tendency to romanticize one’s childhood, the underlying reasons are a bit different; Kizuna’s is very close to 02 in that it’s largely to do with societal pressures and expectations, especially since the question of "what you want to do with your career" is a driving motivation in it. In other words, the existential crisis comes from living up to other people’s expectations, or trying to fit into an arbitrary societal mold of an “adult” without necessarily knowing if that’s what you really want. In the case of this stage play, being set in everyone’s high school years where everyone’s relationship to “the world at large” is a bit more tenuous, the reason for the existential crisis is somewhat closer to Adventure’s: everyone’s started to think they might have been better people back then. More confident, less hesitant, more honest with their feelings. Adventure was a series about self-improvement and one’s relationship with oneself, so it’s understandable that a work meant to look back on that specific adventure will ask the question “well, did they become better people after all?” as a result.

But there’s two problems with this line of thinking: one, this is a very rose-colored evaluation of their former selves, because just because they might have been “more confident” back then doesn’t mean they didn’t have other problems going on (Hikari calls her past self out for being arguably “more honest”, but also somewhat of a dependent child), and two, being more hesitant doesn’t make one a weaker person, just one who’s dealing with a lot more problems and awareness and things to worry about because of how much the scope of their lives has increased. As Agumon says at the end, the old Taichi and the current Taichi are still the same person; it’s just that he’s dealing with more, so he’ll naturally worry about more, and taking on those extra burdens is actually his own way of “evolving”.

Particularly interesting is the position of Jou, the not-so-unsung hero of this story, who is explicitly identified as the person most clearly aware of his future dreams and proceeding without hesitation towards them, to the point of being somewhat immune to the effects of the dream world. (Somewhat, mainly because the ending establishes that he wasn’t entirely.) It's consistent in line with the fact that we actually saw, directly, the train of thought that led to his decision to become a doctor back in Adventure, and he even states it directly in this play himself: he doesn’t consider himself someone who wants to solve things through fighting, but rather someone who can prevent casualties and heal the injured if he pursues this line of study, and thus is determined to make it happen. Even from the very early points of the play, there are several hints at him being able to see a metaphorical “future” that the others cannot, and while he remains unfailingly loyal to his friends (there’s a long sequence of him constantly claiming he’ll leave them as per Koushirou’s request but constantly coming back because he just can’t bring himself to abandon them), he also is the first one to depart the camping trip to attend to a test -- that is to say, he treasures his past, but he has a strong enough dream for his future that he’s willing to move on better than the others can.

Jou’s also the one to personally advise Yamato about the difference in nuance between doing things because you feel you must, versus doing it because you yourself truly want to, a difference in nuance that also becomes very pertinent in Kizuna. Also pertinent to both works in common is the discussion of nuances between “staying trapped in one’s memories” and “violently cutting them all away” (the consequences of the latter being more extensively discussed in Kizuna), versus the ideal situation of reflecting on those memories and experiences from the past in order to productively move forward.

And in the end, rose-colored nostalgia is, indeed, rose-colored nostalgia. Because, sure, that adventure back in the day was great, and they grew a lot, but they also grew a lot because they were overcoming some very harsh, difficult troubles; omitting those parts is losing the substance. The re-invocation of the fun “camping trip” also means re-invoking all of the other things that came along with it, including all of the dangerous threats they’d faced back then. It’s a package deal, and you can’t just filter those out, because it misses the point of what you gained out of it in the first place.

In general, the character writing for this play is also very good; there are some differences between the characters here and them back in 02, but they’re all within the believable scope of positive progression within three years and general adherence to core tenets of their character (Koushirou is certainly more assertive, but emphasis continues to be placed on his deference to others, penchant for spotting details, and capability for being an organizational leader in his own sense). Also notably, this play manages to verbalize a lot of the subtleties in Adventure and 02 that the mainstream tends to gloss over (and don’t tend to get put in official profiles) but are well-known to those deeply familiar with the series. This is the kind of attention to detail usually associated with those who have been studying the series for years, so it’s refreshing to see these come out in words -- for instance, Koushirou stating outright that he was one of the closest people to Taichi for a long time (very true!), Hikari and Takeru actually commenting on each other from back in Adventure (something we never really got in 02, despite “them having known each other for a while” being part of their character arcs), and Sora explicitly admitting that she goes out of her way for others because it’s easier to work for others than it is to even think about herself.

Actually, the attention to detail in general is fantastic; other than a minor slip-up (Sora refers to having met Koushirou during the summer camp at the beginning of the play when she’d actually known him prior from the soccer club, a detail that’s very easy to miss because it’s only mentioned once in Adventure episode 16 and clarified further in the novels), a lot of things from Adventure and 02 are made use of and framed in very clever context; the choice of Etemon as the enemy for this play is well-placed for both his entertainment value and the fact that, as an enemy personally defeated by MetalGreymon in Adventure episode 20, it makes perfect sense that he would have a grudge against Taichi in particular. (It’s also explicitly mentioned that Hikari and Tailmon never met Etemon in person even once, and that Taichi never actually got to see MetalEtemon, so there’s a lot of attention paid to logistics like that.)

Also, while 02 is not really brought up within the scope of the story (and really shouldn’t be, not when this story so heavily centers around Adventure and its themes), its place in canon and its contributions to the worldbuilding are fully respected; a lot of the offhand references to family situations and background are elements that were originally introduced in 02, and many aspects of its Digital World lore are used to assist the plot premise (in particular, the idea of the Digital World being connected to something that can conjure up unconscious dreams wasn’t explicitly invoked until 02). Rather amusingly, at one point, Hikari uses the events of 02 episode 13 to tell a “scary story” to troll Mimi, and it’s interesting and rather refreshing to see the implication that Hikari’s been able to move past the incident enough to use it to troll someone else. There are also some latent epilogue references as well, with Hikari directly bringing up her goal of becoming a kindergarten teacher, Takeru making some really subtle references to wanting to be a novelist and chronicle their adventures (in true Takeru fashion, he never states it outright, but anyone familiar with the epilogue can figure it out), and Taichi alluding to an ultimate goal of humans coexisting alongside Digimon.

Finally, attention should be called to the play’s relationship writing in general. As stated before, the play does call attention to relationships between characters that often don’t get brought up by the mainstream but are somewhat more well-known to fans -- Koushirou and Taichi, Sora and Mimi, Jou and Yamato -- but even the well-known ones are treated with nuance endemic to that from Adventure and especially 02, given that Taichi and Yamato don’t actually have the stereotypical “cold rivals” atmosphere that shounen anime would usually suggest, and the two of them have an extended heart-to-heart in which Yamato actively tries to figure out what’s wrong with Taichi and treat him kindly. (Like in Adventure, the only time they break out in a fight is when Yamato gets emotionally compromised and starts worrying that Taichi isn’t doing enough for others’ welfare.) It’s also very consistent with how the two treat each other in Kizuna as well (the izakaya scene comes to mind, and has a lot of similarities to the awkward-but-ultimately-close conversation they have at night in this play).

And, of course, the centerpiece of the narrative overall: the human-partner relationship. Of course, a lot of this was probably helped by Seki lecturing Tani to not mess this part up, but it really is impressive to consider in light of the fact we’re working with a lot of puppets that have handlers clearly in plain view, so you have to have some massive suspension of disbelief to make this work. But not only are the movements well-done to make it convincing that you really are seeing these actors physically interacting with their partners on stage, the narrative also puts huge spotlights on them, making the Digimon outright be the ones to snap their partners out of their worst patterns of thinking (especially with Agumon and Taichi), and dedicating a long period of silence where literal stage spotlights are dedicated to each kid having some alone time with their partner. The intimacy is very convincing, and, truly, Tani’s insistence on making sure every single one of the main Digimon was represented in spite of the prohibitive budget paid off very well. The point is made: a Digimon partner has to be someone who knows you well and intimately and can call you out at your worst moments, and Taichi even spells it out: Agumon’s capable of seeing right through him.

Putting it next to Kizuna -- a movie dedicated entirely to examining the meaning of a partner relationship, what happens when it deteriorates, what that means for oneself, and what it takes to recover it again -- it’s perhaps unsurprising that this play ends on the same line that was used in all of Kizuna’s advertising and was central to its own plot: “We’ll always be together.”

[natromanxoff]

11 - Van Halen...

Hi there one and all.

Can I first start by saying farewell to Cozy. I've known him for about fifteen years and would not say he was a close friend or anything, but whenever we caught up with each other there was always time for a beer and chat. He was an A1 guy and will be greatly missed as a person and as a brilliant drummer. When John Bonham died he left the crown for the best rock drummer to Cozy, and I can't think of anyone worthy enough to take over. When Bonzo died we were doing a show at Madison Square Gardens, and as they were going into Champions Fred said, "This one's for John Bonham." The place erupted. If that's Bonzo's song, then I think Cozy should inherit We Will Rock You, because he was THE best rock drummer.

My social life has been quite hectic again. Caught up with Status Quo when they played here recently, they're always good fun to chat with, and they still put on a decent show. Next Sunday I'm gonna see Matchbox 20. Have a listen to their album, it's really good. Last night was the all new Van Halen, and thanks to my mate Nick I had one of those wonderful VIP passes hanging round my neck. I, along with the rest of the world was curious to know what Gary Cherone was going to be like. Brilliant. This has to be the best VH line up yet. The show was being filmed by MTV, so if you see it and the camera pans around to the sound desk, just look for the best looking guy in the building and that'll be me, standing next to him.

Anyway, back to VH. They are still a great rock band, a great live act and great musicians, and I still hate drum solo's. But back to Mr Cherone. We all know what he did at the Tribute, and we all know he's a huge Queen fan, and he's the closest singer to Freddie I've ever seen. His outfit, black satin shirt and flared black satin pants. I seem to remember FM wearing that around 75/76. His mic stand is the FM 'wand', except it's a lot longer. His movements are very theatrical, and dare I say camp at times, with lots of twists and turns, very Freddie. Don't get me wrong here, I'm not knocking him at all, he is an amazing showman and doesn't stop all night, even jumping into the crowd and running up the steps to the top of the arena, and then tumbling down like a stuntman. It's good rock 'n roll, so try and check them out, I don't think you'll regret it. (I've become concert reviewer all of a sudden) At times he even sounds like another singer, but I won't keep on, I'll leave it to somebody else. On the rock station, Triple M, one of the jocks this afternoon said, "He's been watching to many videos of our dear departed friend Freddie Mercury. His movements were exactly like his."

The first time I ever saw Van Halen was at a place called the Circus Krona(!) in good old Munich. I went along to see them with the curly one, and when we got there I had to instantly phone the studio and try and get Rog to come along because it was the biggest PA system I had ever seen in a place that size. When they started the intro tape it was so loud I thought my chest was gonna cave in, the bass just pinned you to your seat. Needless to say Brian was like a pig in shit. Before I tell you my little Queen story, I have to tell you about what I consider to be the best onstage patter I think I've ever heard. David Lee Roth was talking to the crowd between numbers and somebody in the crowd chucked a paper cup or something at him, he stopped talking, looked round in the general direction and said, "Hey man, you can throw what you like at me. Because tonight I'm going to f**k your chick." 20,000 people loved it, and so did I cause I still remember him saying it.

OK. We were touring the States, probably around 81/82, and we were flying to Portland. The band entourage were traveling on a wonderful private plane, and as the crew would have been in the bus for about 24 hrs we took as many as we could with us. The date was Sept.1, I remember because thats my birthday, and when we boarded the plane there was a huge cake with 'Happy Birthday Crystal' on it, and even more booze than we normally had. (Somebody must have expected something) One of the nice things about private planes is that you can make detours and the pilot flew around Mt St Helens a few times so we could see right into the crater, and it was still steaming, an amazing sight. Back to my birthday and a few of us needed some privacy, so Jim 'Mary' Devenney, Jimmy ' Idiot Boy' Barnett, Peter 'Feebie' Freestone, Roger '*******' Taylor and myself stocked up with a couple of drinks and retired to the Master Bedroom for a discussion on world politics. When the plane landed we were still a few thousand feet up in the air, legless is the best way to describe us. Hey, it was my birthday after all. We fell into the limo's and headed to the hotel, and the crew went on to theirs.

On arrival I found out that Van Halen were staying there, and they were playing that night, so I secured a few million passes and went looking for somebody to go partying with. After all it was 4pm and if I went to sleep I'd wake up feeling awful so I had to continue. RT said he was gonna crash, but Feebie and Terry were ready to go, so we said we would go to the first bar we came to. As it turned out it was a topless joint, and needless to say I was shocked and stunned, but a deals a deal. We were drinking shots of peppermint schnapps with vodka and orange chasers, very intelligent. At about 8pm we all shot off to watch VH, and they were great. After the show both bands arrange to meet in the bar at the hotel, but the bar is one of those stupid ones in the middle of the lobby. So there we are, the four Queenies, Feebie, Wally, Tunbrige, Terry and me, and the four Van Halens, all sitting around having a slurp, and VH's minders running around like headless chickens in the CIA. Outside the main doors were hundreds of fans, with a VH gorilla keeping them out, even to the point of stopping Ratty coming in. I had to argue with this moron to let one of our crew in, and he said, "If he goes anywhere near David or Eddie I'll throw him out." I could only answer with that wonderful two worded phrase starting and ending in F. Because it was like being in a fish bowl we decided to leave the bar, and everyone wandered off to various rooms to continue, the biggest bash being in Rogers suite.

At some unknown hour whilst I'm having a very pleasant conversation with a charming lady who called herself 'Naughty Nancy,' Jobby says to me, "I've been looking for you, Tunbridge wants you to call him now, it's urgent, Brians had an accident." Jobby was very drunk and I didn't know if he was serious or joking, so I phoned Tunbridges room and there was no reply. What do I do now? If Brians asleep and I wake him I'm in trouble, and if he has hurt himself and I don't call I'm still in trouble. What do I care? I'm drunk and fearless, so I phone and Tunbridge asks me to get there asap.

When I go in, Brians lying on the bed on his side, with the waste paper bin close at hand, and Tunbrige is grinning and mopping his brow with a damp cloth. Brian was mumbling stuff like "Don't let me die." (I'm sure most of us have been there at sometime or another) I probably shouldn't say this, but I had to grin, I thought it highly amusing. I got an explanation and told Tunbridge not to let him sleep on his back, and call me if there were anymore problems. I then returned to NN.

It turned out that when we all left the bar, Brian had gone to Eddie's room where they consumed huge quantities of Jack Daniels, and Brian not being a bourbon drinker, went to the toilet to worship the porcelain god, and threw up with such gusto he hit his head on the cistern, split his head open and nearly knocked himself out. The following night we played the same place VH did, and Mr May with band aid on head, played a blinder. A couple of years later, in the Rainbow in LA, I met Alex Van Halens estranged wife, and that, as they say, is another story all together.

Crystal

[beautifulpersonpeach]

Repost: Ask on BTS Paving the Way

Anonymous: Hey bpp. You talked a little bit about the 'BTS paved the way' discourse on your pinned post but I'm curious to see - read? lol - more on your thoughts about it. If youve talked about it before, can you pls link? Since you might not want to discuss/rehash this at all lol. I got curious because this discourse seems neverending and i just watched a yt video essay abt it. Imo, both sides of the spectrum - army and kpop stans -seems to be missing each other's points. Like, i think a lot of kpop stans havent paid attention to what bts have contributed to kpop and theyve dismissed armys arguments entirely and i think a lot of armys havent been into kpop and kpop history to definitively say the stuff I've seen them saying. A lot of the arguments and statements are very inflammatory too and while I agree with what armys are saying, the language they use isnt going to make kpop stans listen - i mean, the ones who arent blinded by their hate for bts/army anyway lol like a lot of kpop stans think when army say bts paved the way/bts popularized kpop, they always think army mean popularized it in the west. When we have receipts of them doing spectacularly globally, especially in places like india where they seem to have exploded since dynamite. Theyve also broken a lot of records in japan, where kpop is already popular but still seem to have a lot of trouble penetrating mainstream bec theyre very insular. They also think that we mean 'first to xxx', which isnt really what we mean at all. And a lot of army seem to dismiss what older kpop groups have achieved too and just like to prop up bts while putting down other groups and dismissing what theyve achieved for the genre. I just think since a lot of armys are in kpop only for bts -same tbh - we tend to be ignorant of the genre as a whole, which isnt good bec we're always arguing x member is the best in the industry or even bts is carrying the industry on their backs, which dismisses a lot of great artists that are doing great work like solo artists like taemin. Like, I'm an army and I'm not a "stan" of any other kpop artists but the whole argument just makes me v v uncomfortable. I guess i still haven't adjusted to stan culture since i've never been a fan of any artists like i am of bts - to the point of joining the fandom and really immersing myself in it - so the intensity of it is still jarring to me. I know it happens with big western fandoms like taylor swifts too but i think i'm still old school when it comes to being a fan of a musician, you listen to the music, rave about it to friends and buy/stream the music and go about your day.

**

Hi Anon,

Anon, I sympathize completely and not to harp on you here, but my first instinct reading this was “who cares?” - this is generally how I feel about this topic whenever I see it, so not knocking you specifically here. And I’d just like to remind everyone there’s an active, senseless, and deadly war raging right now in Ukraine. Please donate and/or pray for Ukraine if you’re able to.

(And then there’s the leader of Stray Kids who is probably a bigger ARMY than me at this point)

This is not me dismissing the gripes of stans of 1st and 2nd generation groups (the usual suspects), this is me saying that what I’ve seen of this discourse is huge swarths of people engaging in an elaborate exercise in collectively missing the point. And yes I’m also referring to those splitting hairs over the semantics of what it means to pave a road. (Heaven help us). And you already allude to this in your ask, anon.

The phrase: 방법을 만들다 which is what a lot of Koreans have used to describe 'paving the way’, is colloquially used to mean 'chart a course’ or someone showing how something can be done.

If this were a normal conversation with normal people and not k-pop stans, it would be enough to point out that yes, BTS was not the first k-pop group to step foot outside Korea or in the US, but BTS is the one group that has gone farther than any k-pop group has before i.e. created the new path. It’s really that simple. BTS has become a household name globally without doing a single show at Coachella nor having any of the mediaplay seen for other groups that attempted to fully break into the US market. The fact that Korea’s military enlistment laws (which before BTS were enshrined as basically unchangeable) have been modified at least partly on their behalf (and for the benefit of any idol who meets the criteria) and that BTS is the first k-pop group to receive a Grammy nomination, has created a new tier, the highest one yet, of what is possible for k-pop artists.

BTS is the biggest group in the world. They rival Coldplay according to Coldplay. Before BTS, the reality is that this ambition was not even within the realm of possibility for much of k-pop. Even with BTS breaking the records and gaining the influence they have, k-pop is still considered to be niche in some circles, though there is undeniably more visibility and investment brought to the genre since BTS started snagging headlines. Some people still hope BTS will go the way of Psy and BoA who were a fad on the Western landscape for a minute then essentially faded into obscurity. But so far, that’s not what has happened, and everyone is paying attention to see what BTS is doing right, that perhaps other groups can emulate.

BTS won’t be the biggest group in the world forever, but the chances that the next biggest group is a k-pop group, is significantly higher now because of BTS.

La fin.

It’s true some ARMYs can be downright disgusting with how they throw around BTS’s accomplishments and sometimes ignore, dismiss, downplay, or just straight up shit on older groups who made the first moves into Western spheres, whenever this topic comes up.

But a part of me understands them. When BTS won the TSA award in 2017, it felt like hell to be on Twitter and I wasn’t even an ARMY at that point. I did a search through my old screenshots and found more than 15 k-pop fandoms spent weeks shitting non-stop on BTS and ARMYs about how useless it was to win at the BBMAs. It was a non-stop barrage of racism, xenophobia, misogyny, all the -isms you can think of related to POC musicians. Though of course BTS was not the first group to go to the US, all of a sudden, k-pop stans were convinced BTS had 'sold out’, abandoned their heritage and were pandering to 'white colonizers’ (sound familiar?). I started calling myself an ARMY the next year (2018) and as I’ve said already, I was reporting things almost constantly. It was hell.

*

You’re right this discourse seems never-ending because it is never-ending. Remember you’re dealing with k-pop stans who will argue with you that water isn’t wet if it means something positive for their group and some ARMYs are just as bad. Whenever I see people arguing about what paved the way I just mute that whole conversation. I sympathize with you feeling uncomfortable about this topic. I’d like to suggest doing what I currently do which is to not waste a single moment of a single day worrying about something that’s already obvious and settled. This particular discourse is the perfect example of a time sink imo, because really, who cares?

Originally posted: March 18th, 2022 1:35pm

[dailytomlinson]

A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”

The second takes place a few years later. Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Liam got up to use the bathroom and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words…” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, what if the rest of the song was just lyrics from other songs?

“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,��� Ryan says from a Los Angeles studio with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, what if [the next line was] ‘More than a feeling’? Well, that would actually be tight!”

“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live show staple. It’s a mid-tempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock and roll bands of the 21st century.

July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was re-defining the contours of fandom.

It’d been a decade since the heyday of ‘N Sync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.

Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of boy band history. He first witnessed their power back in the Eighties when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”

In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted only did it once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.

“Me and Simon would talk about how [One Direction] was Beatles-esque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, pop-y guitar songs. It would come out of left field and become something owned by the fans.”

“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk

To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy band code once more with songs that recalled BSB and ‘N Sync, but replaced the dated synths and pianos with guitars.

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The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”

One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.

“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.

“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”

Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.

“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”

Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.

Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”

Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.

At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”

“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”

At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”

Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.

“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”

Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.

Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.

“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible.

But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.”

“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”

That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”

For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”

“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”

Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.

“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.”

Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”

“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.

“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”

A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”

Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.

But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.

“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”

After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”

In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.

“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says

There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”

But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.

“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”

[argumentl]

The Freedom of Expression Ep 48 - Nike CM inundated with criticism.

K: Hi, this is Dir en grey's Kaoru, with this week's episode of The Freedom of Expression. Joe san, Tasai san, welcome. Ok, lets get started, Joe, if you please.

J: Yes, uh, last week's episode...the first episode of the year, we were talking about poo, haha. It shows what a wide scope this show has. This week I have some more serious news. This was quite a talking point back in December, I think many people will already be aware of it. Its the news about the Nike commercial which recieved an avalanche of complaints. The promotional video made by Nike Japan, 'Keep moving - yourself - the furure. The Future isn't Waiting' has taken a lot of criticism. The view count on youtube had reached a million views as of last December, but at the same has recieved a lot of negative comments thought to be from Japanese users. The majority of these seem to be from online right-wingers saying things like, 'Racist discrimination is extremely rare in Japan (This cm is outrageous)',  'There is no discrimination against Koreans in Japan, even if there was there would be a reason for it', 'Nike is anti-Japan, Im not buying from there any more', 'Are Nike aware that the Association of Korean residents in Japan (Chongryon) were involved in the abuductions of Japanese people?' etc. Incidentally, there are 3 young people who appear in the commercial mainly. One of them appears to be a Korean resident of Japan. She is shown walking the streets looking down, while wearing Chima jeogori, and also being bullied at school, likely due to her ethnicity. The online anti-Korean, right wing Japanese sphere are thought to dislike this depiction. To summarise, their reaction to this CM has been to say it shows contempt for Japan, by suggesting that Japan is following the same kind of trend as the West in terms of discrimination, even though Japan hardley has any discrimination compared to the West (they think)....

So I checked out this cm as soon as it became news, and the first thing I thought is that these kinds of comments have kinda missed the point. The second thing I thought was in regards to the claim that anti-Korean discrimination is extremely rare in Japan. I personally have quite a few Korean-Japanese friends, and they have said that since they were small, throughout school, they have faced discrimination. Well, discrimination isn't a uniquely Japanese thing, many countries also have discrimination. Im not saying we are the only ones who have it, but I am at least very aware that, even in Japan, discrimination does exist. Well, I mean, how should we interpret this CM?

T: As for the meaning, I get that it shows there is discrimination, but after that it must somehow be related to sports, being Nike?

J: Yeh, so when you see these young people in the CM suffering discrimination, they are each doing different sports. Its like, if you excell at your sport, you can change your own future, kinda. A message like, even though there is discrimination, if you find your calling, you can change the world with it.

T: I see.

J: Kaoru, what do you think?

K: Well, even with that, its definitely not wrong.  *1

J: Yeah, as for Nike, they must have made it this way deliberately. They made a Korean resident of Japan the protagonist on purpose, so they are trying to put out the message of 'lets stop this kind of discrimination'. And with sports, surely...well, its not limited to sports, if there is anything that someone really excells at, they can overcome discrimination with that, and create something new. I think thats the message of this CM. But..

K: Its a bit difficult to get that message across.

J: Well, yeah...

K: To get that across as the point.

T: Yeah.

J: Hmm, yeh. Another thing I was unsure about was the response from the mass media. When this kind of news appears, they use the phrase 'the cm is under fire/recieved a backlash'. But as far as I could see, I had a look at the comments, they seemed a lot more like false accusations, or like harassment. So if you use that to say the CM is under fire, it makes it seem like the fault lies with the CM. All I could see was harassment from the right-wing. And its probably not a lot of people writing this stuff. Its more likely to be a few people from one group doing it. So I thought it was a bit wrong of the media to present the issue as if the CM is under fire, as this makes it seem like the problem it the CM itself. It seemed to me like just a lot of false accusation.

K: Hm, well, they made this CM, knowing it would be an easy target for accusations. So, its kinda hard to see what their aim was with this.

J: Yeah, I see.

T: For example, if they had made the protagonist a really famous sports star, it might have been easier to get the point across..with their story. But because the CM features these 3 kinda abstract characters, the meaning gets a bit vague.

K: Yeah, yeah, I agree. Im not entirely sure what they are trying to say with this.

J: I see, yeh. You think there is room for criticism in that sense?

K: Im not sure about criticism, but for the CM itself, I wasn't sure what they were saying, although Im sure there are people who understand the meaning of it.

J: So as of now, the CM has not been shut down, so if anyone wants to watch it, they still can if they are interested. If any of the viewers have any thoughts on it, please leave a comment on this video.

T: Yeah, they are definitely not showing off their shoe performance with this CM. Though their specific goal isn't obvious, I reckon this is fine. If it starts debate, then its good.

K: Well, yeah, if it creates the opportunity for debate, then its good.

Kami: Um, there is a lot to debate about this cm, but Nike shoes are cool, right?

J: Ah, he joined us.

Kami: Do you guys all have Nike shoes?

T: Yeah, I do.

K: I do.

J: Ahh, I havn't bought any Nike shoes recently.

T: I've always worn Nike. The basketball one's, Jordans.

K: Oh, I have those too.

J: Are they like the low-tech ones?

K: What do you mean by low-tech?

J: Like, not the Air Max type.

T: Well, yeah, they don't have air in them.

J: Right.

Kami: No, the Air Max ones are good.

J: He likes Air Max, haha.

Kami: The Air Max ones are easy to get on, and you don't get tired. Is it different for you guys?

K: No, well, they're ok yeh. Haha. I can't deny that.

J: Right, yeh. Kami, you are a fan of the Air Max ones?

Kami: Yeah.

T: People used to go hunting for Air Maxes, do you remember?

J: Oh, yeah, they did.

T:...when they were really popular, in the 90s. Kami probably bought some of them then.

Kami: I did, I did.

J: You hunted for them?

Kami: No, I didn't hunt for them.

J: Imagine Kami going hunting for Air Maxes.

Kami: I didn't hunt for them. I just bought them normally.

J: Ah, ok. Haha, if you did you wouldn't be a god at all.

Kami: You can only get them through lottery these days, right?

K: Yeah.

J: Oh, really?

K: Yeah, the popular ones. Airmax, and other types like Jordans.

J: Oh, right.

Kami: I don't buy those types though.

J: Oh, you don't buy those?

Kami: No.

J: Ahh, you just buy the normal ones, without lining up or doing a lottery and stuff?

Kami: Yes.

T: There are some that cost a huge amount of money. Collaboration items and stuff.

J: Ehh.

Kami: I shop in Shibuya ABC Mart.

K: There was a collaboration with Dior.

J: Nike collaborated with Dior??

K: Yeah, they are about ¥1million yen.

J: Ehhh??

T: Yeah, they are.

J: Ehh? Its not even leather.

Kami: Shibuya ABC store is good!

J: Hahaha

K: Ahh, yeh, its good.

J: Of course, right? Kami, do you shop there?

Kami: Yeah, cause they have a lot in there.

K: Haha, yeah...ABC does.

J: It does, yeh.

Kami: You can buy whenever you like.

J: Well, yes, thats true. I havn't bought any sneakers recently though.

K: You don't have that kind of image.

J: Thats right, I don't. I usually buy leather shoes.

K: Dr Martens?

J: Yeah, Dr Martens. I worked with Dr Martens last year. Would love to again this year!

K: Should we all go out and buy some? haha

J: To ABC Mart? haha

Kami: I also buy them on Amazon.

J: Eh?!

K: I bought some on Amazon just earlier

J: Oh, you buy them on Amazon?

T: Aren't there a lot of rip offs on Amazon?

J: Hm, are there?

T: I had a look on there before to see if there were any Air Maxes, and there were complete rip off versions going for as cheap as ¥2000. When its normally ¥12000, thats cheap. When you look, its not actually Nike, but 'Ni-kay' or something.

J: There are rip offs of Dr Martens like that too. They look exactly the same but super cheap. I saw two pairs going for ¥5000. They were so cheap, I bought them, and when they arrived they were no good at all. They looked the same as the real thing, but they leather was artificial..I thought, 'Aghh!'.

K: These days even brands are making things like copycat products, aren't they?

J: Yeah, yeah. Like putting out fake versions as the real product. Thats also interesting, its like a totally different approach. It has an effective punch, 'Fake!'.

K: Well, anyway, is that about it?

J: Yep.

K: Thank you for watching this week too. Please subscribe.

*1 Not entirely sure I've got that right.

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[stylesnews]

A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”

The second takes place a few years later. Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Liam got up to use the bathroom and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words…” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, what if the rest of the song was just lyrics from other songs?

“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, what if [the next line was] ‘More than a feeling’? Well, that would actually be tight!”

“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live show staple. It’s a mid-tempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock and roll bands of the 21st century.

July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was re-defining the contours of fandom.

It’d been a decade since the heyday of ‘N Sync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.

Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of boy band history. He first witnessed their power back in the Eighties when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”

In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted only did it once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.

“Me and Simon would talk about how [One Direction] was Beatles-esque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, pop-y guitar songs. It would come out of left field and become something owned by the fans.”

“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk

To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy band code once more with songs that recalled BSB and ‘N Sync, but replaced the dated synths and pianos with guitars.

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The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”

One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.

“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.

“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”

Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.

“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”

Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.

Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”

Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.

At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”

“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”

At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”

Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.

“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”

Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.

Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.

“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible.

But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.”

“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”

That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”

For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”

“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”

Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.

“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.”

Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”

“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.

“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”

A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”

Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.

But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.

“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”

After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”

In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.

“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says

There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”

But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.

“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”

[hlupdate]

A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”

The second takes place a few years later: Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Payne got up to use the bathroom, and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words …” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, “What if the rest of the song was just lyrics from other songs?”

“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio, with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, ‘What if [the next line was] “More than a feeling”? Well, that would actually be tight!’”

“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live-show staple. It’s a midtempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock & roll bands of the 21st century.

July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne, and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was redefining the contours of fandom. 

It’d been a decade since the heyday of ‘NSync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.

Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of the history of boy bands. He first witnessed their power back in the Eighties, when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”

In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted did it only once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.

“Me and Simon would talk about how [One Direction] was Beatlesque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, poppy guitar songs. It would come out of left field and become something owned by the fans.”

To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy-band code once more with songs that recalled BSB and ‘NSync, but replaced the dated synths and pianos with guitars. 

The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”

One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.

“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.

“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”

Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.

“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”

Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.

Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”

Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.

At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”

“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”

At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”

Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.

“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”

Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.

Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.

“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible. 

But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.” 

“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”

That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”

For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”

“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”

Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.

“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.” 

Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”

Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.

“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”

A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”

Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.

But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.

“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”

After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”

In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.

There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”

But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.

“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”

[unholyplumpprincess]

Hello, here for a matchup for Destiny 2!

Gender is a deck of cards I shuffle every so often and pick something from, but They/Them is always good. I'm usually quiet and ambling, I like to take things at my pace, but have no trouble shifting to high gear if needed. But you get me on to something that excites me and there's only one speed and it'd make Sonic the Hedgehog jealous. I'm 6'5, got baby locs in my hair and a long leather vest I love to wear everywhere!

Hobbies include video games, reading, writing, 3D modeling and printing, all things arts and crafts, and skateboarding! Though I'd also like to get into more nature based stuff! Terrified of most insects though!

Couples activities that I like is anything that's good quality time together! Coffee dates, walk abouts, sitting by and listening to my S/O talk about things they like! And I love to give handmade things and hugs!

NSFT things: Get super excited over public stuff, I'm a switch (gentle dom/eager to please and tease sub), I greatly enjoying edging (giving and recieving), and if allowed I will give oral for hours! I've got a dick and normal dick terms are fine!

I SAW UR OTHER ASK SAYING U WERE BI, I GOTCHU!!!

Also ‘gender is a deck of cards I shuffler every so often and pick smth from’ is the most ICONIC phrase I have ever heard, I fuckin Felt that.

I match you wiiiiiiiiiiiiiith

Cayde-6!

Warnings: R18+/NSFT under the cut, Cayde uses both a cock and puss attachment!

____________________________

First of all, you’re huge, that catches his eye right away because as the saying goes smth smth about finding the biggest person in the room. Anyway, he sees you and you’re chatted up immediately, doesn’t matter what you’re doing, he’s gonna see you and start commenting on how he can’t believe how you aren’t a Guardian with that stature, like, seriously, look atcha! You could probably take Shaxx in a height competition, and wow, you’ve got some seriously nice legs, wait, did he say that out loud? Anyway, give him a shout if you want to learn a thing or two about handiwork with a gun. Spoken while he finger guns at you while sauntering away.

Yeah he’s got a crush right away. Thankfully you don’t seem off put by his near embarrassing rant, so that’s a good sign for him.  When he sees you again he offers for you two to go out for something to eat, get to know you since you’re new to the tower and all. And from there it kinda...spirals down. 

He’s very big on physical affection as well as showing you off. Expect to be basically paraded or showed off via Will Smith style when he introduces you as his spouse. You can clearly tell he’s so proud to have you, never shutting up, always having something to talk about that is You. Oh, also, anything handmade you make him? He’s got a shelf with all that stuff, images you’ve made up on his walls- honestly it gets to the point he jokes he could probably make a shrine for you and then pauses to ask, “Wait, would you like that? Gotta god complex in there somewhere I don’t know about?”

As far as bedroom activities go....

~Rest under the cut~

He’ll proudly puff out his chest and call himself a switch, but in reality, this man can’t dom to save his life. Also you can have picks over what attachment he has too. Cock? Pussy? He doesn’t care! He’s, however, ALSO a huge fan of giving head so you two probably end up battling for that right or ending up 69ing often enough times.

Public stuff? He’s got you covered. See, he’s a bit of a flirt, I mean, a LOT of a flirt and a tease. He’ll call your name, kinda get you in a corner alone, making it look like you two are just having a private conversation all the while he’s groping you and murmuring low about the things you can do to him in private. If anyone passes by, he’ll casually press close up against you, laughing and doing a salute or a finger gun at anyone who passes by anyway. He’s good at getting away with it.

You wanna really ruin him though? Take one of his attachments while he still has the sensors running for himself. Take his cunt attachment and call him so he can watch you fuck him from however far he is, sobbing at the screen and mewling as his hips grind against nothing. Or similarly, take his cock attachment, ride it in front of the screen and listen to him whimper needily for you.

Also expect to laugh a lot during sex. Can’t even take himself seriously.

[blueside-hobi]

Get to know me tag 🌸

Thanks for tagging me @cosyserendipity <3

When is your birthday? October 6th.

What is your favourite colour? Green but lately I've been really into yellow too.

What's your lucky number? I don't have a lucky number.

Do you have any pets? I have a 10 year old dog named Wyatt.

How tall are you? 5'3"

How many pairs of shoes do you have? I have no idea, but I'm just going to guess 10.

What's your favourite song? Probably Black Swan but there are so many songs that I call my favorite.

Favourite movie? I really don't have a favorite movie, but I could watch the Lord of the Rings trilogy any time. The Flight of Dragons is my favorite movie from my childhood.

What would be your ideal partner? I've never really thought about it, I'm too needy.

Do you want children? No.

Have you gotten in trouble with the law? My neighbors called the cops on me and three of my friends when we were like 16 for being too loud on a Saturday night at 9pm in the middle of summer, but nothing really came of it. He just told us to quiet down and then left.

What colour socks are you wearing? Red with Christmas pugs.

Bath or shower? Shower, I haven't taken a bath since I was a child because I'm scared of the drain lmao.

Favourite type of music? Probably pop, but I'll give anything a chance.

How many pillows do you sleep with? One. Sometimes two if I use my body pillow, but I haven't used it in a few months.

What position do you sleep in? I think I usually fall asleep in the fetal position, but honestly I just toss and turn until exhaustion sets in.

What don't you like when you're sleeping? Silence. It freaks me out so much when all I can hear are the sounds of house creaking and people moving around. I need to have music playing or sometimes I watch asmr videos, and when I'm at home I have my overhead fan going every night.

What do you have for breakfast? I've been eating a lot of bagels or toast with butter. Also instant ramen with gochujang has been a regular thing.

Have you ever tried archery? No, I would probably injure myself.

Favourite fruit? Yellow pears.

Favourite swear word? I don't know that I have a favorite, but I use fuck all the time.

Do you have any scars? I have one on my eyebrow from running into an archway as a child, one by the cuticle on my left thumb I think from picking at my cuticles, and I'm sure there are more I'm not thinking of.

Are you a good liar? No, I am a horrible liar.

What's your personality type? I think INFP.

What's your favourite type of girl? All girls 🙌

Left or right handed? Right handed.

Favourite food? Probably hashweh.

Are you clean or messy? Messy. I haven't seen my bedroom floor in at least two years.

Favourite foreign food? Pad Thai.

How long does it take for you to get ready? Probably about an hour to an hour and a half.

Most used phrase? Ope, sorry.

Are you a good singer? Not at all, but I love singing.

Do you sing to yourself? All the time.

Biggest fear? Talking to people.

Do you like long or short hair? Medium? Probably medium. I feel like when my hair gets too long I can't do anything with it. I never use heat to style my hair (or really style it in general) so it's always just down and in the way or up in a bun. I really liked when I had a pixie cut but I feel like no one else did so I've kinda lost the love for my short hair.

Are you into gossip? I love gossip. I'm also the best person to tell gossip to because I can't remember shit.

Extrovert or introvert? Introvert. Crowds give me so much anxiety and I will find any way to leave an event early or just cancel. I'm a huge flake.

Favourite school Subject? Concert band and Film Lit. There was also a media/sociology type class I took that I really liked but I forget what the actual title of it was.

What makes you nervous? Being alive.

Who was your first real crush? Some kid named Tony. I met him in fourth grade when I moved to a new school and he was my first friend in my class and he was always so nice to me.

How many piercings do you have? Two in each of my earlobes and one in my septum. I'd like to get more in my ears and every time I see Jungkook I get jealous of his eyebrow piercing....

How fast can you run? Slowly.

What makes you angry? Work.

Do you like your own name? No. No one ever knows how to pronounce it, and I don't blame them because it looks weird, so I usually don't correct people and like half the people at work call me the wrong name.

What are your weaknesses? Anxiety and I'm just a negative person.

What are your strengths? I can make chocolate chip cookies by following the recipe on the back of a bag and sometimes they turn out good.

What is the colour of your bedspread? Black, grey, and cream lines and angles. I don't really know how to describe it, but I like it.

Colour of your room? Brown and white.

I'll tag @e-uph0r1a @miragehoseok @seraphjimin @palpalopaloma @mindofnmn

[2o2o-kit]

An American’s Thoughts on Horrible Histories Songs

Born 2 Rule: Iconic, really set the stage for Horrible Histories, not my favorite George III song though that prize goes to Hamilton, (also I was always taught George III was mad in an angry way)

Wives of Henry VIII: This song walked so Six can run, still iconic

Making a Mummy: Kind of forgettable, but if we are going by the pattern as seen in the first two, I predict the next big history musical will be about making mummies

The Tudors: I don’t know why but I love this song’s intro, but I find the dance moves cringe worthy

Georgian Lady: It’s great when you can read along to it, but Martha is still iconic

I’m a Knight: I love the whole Monty Python inspiration, this always makes me smile, just pure wholesome knight energy, one of my favorite season 1 songs

Caveman Love: It gets better the more you listen to it

It’s Not True: Probably my least favorite Horrible Histories song, still better than most songs on the radio

The Plague: The plague was made for musical theatre, besides this check out Spamalot and Something Rotten

British Things: Drags on a bit, but haha Britain, you are not perfect, (but America is far from perfect)

We are Greek: It’s king boring, but lyrics are still pretty clever

Burke and Hare: I’m not a fan of this TBH, maybe it’s because I’m not a huge fan of true crime and stuff like that, it’s not that catchy either

Literally: Nothing like an 80s rock parody, it’s also one of the funniest songs

Charles II: This was the first HH song I listened to and I’m glad, because it’s a banger, and this is probably the closest you will get to a kid friendly Eminem

Spartan Musical: This is so camp and just you have to watch to understand

WWII Girls: Katy Wix needs to be in more songs, I love the costumes in this

George IV: I’m obsessed with this one, Jim’s vocals in this are perfection, definitely one of my favorite of the whole series, I wish I could belt like that

Blackbeard: The acting in this is perfection, I still laugh while watching it

Victorian inventions: I’m not a big fan of this type of music, but it’s still funny

Hieroglyphics: Idk why Mat did a Texas accent, and I’m not sure but it’s not bad, but it’s not as great as the other songs

Cowboys: The accents are good but I could go without all the farts

Boudicca: This is an inspiration

Funky Monks: I’m not a big fan of this one, it’s funny but I wish they had more singing in this, but Terry is great as always

Pachacuti: At first I was bit nervous to watch it because of the brown face, and yes it’s in there and I also thought it would be too cheesy but that’s the point and makes it so much fun, also what’s a northern accent

Dick Turpin: For most people it’s the guyliner that makes this a thirst trap, for me it’s all the tricorn hats 😍. When I first watched this video I recently developed my tricorn fetish and this song was just... The music to this is great too, I listen to this daily. And imagine me learning that this thirst trap’s name is Dick

Monarchs: Iconic, super helpful, now I can name all the English monarchs, thanks

William Wallace: Better than Braveheart, seems like a lot of fun to film

Work! Terrible Work: Hey look theatre reference, this so is definitely not a mood booster, but those sideburns (and I’m not really into sideburns)

Ra ra Cleopatra: Martha is killing it, and I love all the Lady Gaga references

Richard III: Thanks for talking about the horrors of Tudor Propaganda and the lyrics in this are amazing

Evil Emperors: If you claim your bad, don’t make such a catchy song that can easily be confused as another thirst trap, love the parody and Caligula and Nero and some of my favorite HH characters

Suffragettes: This song proved how hard these ladies worked, also I want to sing this song with others, who’s in?

Ain’t Stain Alive: Okay just like Pachacuti, I’m sure this song can’t work today, but it’s great, so catchy and the screams, also the behind the scenes of this is iconic

Age of Stone: I like how it explains the time periods but I’m not really a big fan of how it was presented

English Civil War: The choreography is on point, Lawry needed to be in more songs and I love the song they parodied, it’s Cool from West Side Story

Celtic Boast Battle: I don’t know, I find it a bit too much but the ending is perfection

RAF Pilots: Now I’m not big on war history, epically WWII, but song is perfection, I love the coloring used for this, the music is just awesome, and this along with The Captain from Ghosts and Molly McIntire are proving the WWII is gay

Nature Selection: I’ve been using this phrase a lot during the pandemic,

The Thinkers: Alright, no strong opinions

It’s a New World: A jam, love the shade of how the pilgrims treated the natives, and it’s a great parody altogether, also I need a New New Castle now

Mary Seacole: So catchy I love it, and the dancing is great. I wish they didn’t cut out that one lyric about Florence because that’s important

Victoria and Albert: It’s kind of slow, but I can see why others like it, maybe it’s just because I’m alone

Blue Blooded Blues: I don’t really like Blues music, even though I’ve lived in cities known for their blues, but James Cape™️, GAAAYYYY!!!

The Luddites: Definitely one of my favorites, I love the cinematography, the costumes are my type, and nothing like historical heavy metal, ironic right, and Jim has the vocal range

The Borgia Family: I love everything about this, the music, the accents, costumes, this is better than the Showtime series, wish Ben got a solo in this song though, (also is it just me or do the Borgias remind you of the Trumps expect the Borgias are more like able)

Mary I: It’s okay, Sarah in this is great and it’s a great parody but I always thought of Mary having a deeper voice (I know weird)

William Shakespeare and the Quills: I love Shakespeare, but I’m not a big fan of this type of music, also I low key wish Shakespeare was sexy in this one

Georgian Navy: Please forgive my star spangled ass, but I’m not a fan of the British military during the Georgian era, and yes I know Nelson didn’t really fight in the American Revolution, but I’m not a big fan of war history

Flame: Will get stuck in your head, but who cares it’s an awesome parody, Jesse Owens in amazing, we love Jim’s Nero, and Mat you said you were all nude (I feel cheated)

Death’s Favorite Things: Hilarious, and a mood for me

Rosa Parks: Now Rosa’s story is something we get drilled in our heads in America, which is good, this song is so catchy and I love the costumes, but the ending did say ‘segregation was ended in America,’ but technically...

Vikings and Garfunkel: Aww so peaceful,

Charles Dickens: I love the music on this and the cinematograph, but there is something about it that I’m not a big fan of it, but I’m not sure what

Crassus Minted: A freaking underrated banger, just like the real Crassus

Joan of Arc: I’m sorry but this song is a bit cringe worthy but still way better than the new seasons

Alexander the Great: I mean is there any other song that can truly depict Alex

Owain Glynwr: Wish they had more Welsh history on the show but Tom Jones parody I never knew I needed

Transportation: The dancing in this is amaze, and I’m obsessed with Ben’s accent in this, how is his Midwestern accent better than mine, and I have a Midwestern accent, (stop making me like Henry Ford!) and I love whenever they do musical parodies

Henry VII: This song makes me want to be Henry VII, he made the monarchy great again

Matilda Stephen and Henry: There are more ABBA references in this than a production of Mamma Mia, and it’s brilliant,

Australia: I’m surprised they got away with saying Hellhole in this, but still very catchy, low key wish Thomas sang this in Ghosts

Cousins: It’s silly and I like it

Love Rats: Lyrics make me want to remain single, video is having me crush on actors that are old enough to be my parents

Final: Supersweet, but I can only watch it once because it makes me emotional

[1zashreena1]

I Am Having a Sad -9

18+, m/f, technically OCxDiego Jimenez [Power]

Summary: Princess has a bad and lonely self-esteem day. Diego goes too far too fast from 2500 miles away and she calls her safeword for the first time in her life. 

WARNINGS: Ridiculous descriptions and ‘the code is more like guidelines’ outlook on grammar. Is it OOC if the character was given essentially zero development in canon???

FEELS. the L word, SAFEWORD, depression/anxiety, self-esteem issues, sensory processing issues, sel-expression difficulties, plus size woman+fit man, soft!Diego,  overwhelmed Princess, is a relationship happening?? apparently. Leftover high school Spanish.

A/N:  Princess took on a life of her own and has essentially become an OC. There are infrequent mentions of her description (specifically as plus size) and her actual name in later pieces (its Bicki). She started as self-insert so she looks like me (plus size, white, short, blue eyes, curly hair). If that is not your thing, I totally understand. And do not feel obligated to read this, I will not be offended!

I’m not a fan of “plot” so be aware that most of this series is just meandering through their relationship, angst-fluff-smut whiplash style. But with dick jokes.

TAGLIST: @chelsfic​​​​ @symbiont13​​​​ @nicke0115​​​​ @bunnykjm​​​​ @rosee-sensuelle​​​​ @girlpornparadise​​​​ @mandoplease​​​​ @heresathreebee​​​​ @xxsteph-enrixx​​​​ @jetiikad​​​​ @joalsglasses​​​​ @mutantcookiesecrets​​​​ @demoncatstone​​​​ @squidlywiddly87​​​​ @lockedoutofmyotherblog​​​ @poeedamerons​​

I am having a sad. This is normal and okay. I just have to wait it out. I do not need to text him. This pep talk would be more effective if you would stop staring longingly at the last selfie he sent you.

It isn't working. All you want right now is to be smothered in Diego but he is in a different time zone. And you don't want to be clingy. And demanding. And needy.

Surely making yesterday's selfie your new lock screen will help, right? 

With a big sigh you flop backwards into your bed. You eye your phone like it's a live grenade. It hasn't even been eight hours since the last text and. And you have this… pain? In your chest? What if I'm annoying him?

He has to be super busy, I should just wait. What time even is it in LA right now?

You snatch up the phone and check. 7:46 pm PDT. You wonder what he ate today. Did he have dinner yet? What shirt is he wearing? Does he have a headache? He always says he has a headache when he gets back to New York. And then you rub his head, stroke through his soft hair, stretch out his solid neck, break up all the adhesions in those broad shoulders.

Bitch, this is not helping. What do you hate about him?

Oh yeah, that list is blank.

You open up the text conversation and stare at the blinking cursor. Just one text can't hurt, right?

You look at the selfie again. He's in bed, deep plum sheet tucked up under his chin, all sleepy chocolate eyes and a soft little smile. His face is relaxed, leaning against his left hand. His beard is ruffled on one side, flattened on the other from where he must have slept on it. You can feel tears welling up again. 

How the fuck is he so gorgeous? Why is someone who looks like that sending me selfies? I have no right to this. I don't deserve this. 

You reach out and trace one finger down his cheek. His right dimple is visible under the stubble. Minimizing the picture, you go back to the cursor. The screen is blurry until you blink and one tear slips out. 

You type out one hasty 'hey' and hit send before you can quadruple guess yourself. This is stupid. He's too busy for your little drama queen hissy fit meltdown.

Sorry, should've asked if you're busy first 

Send.

Enough time passes that you flip the phone screen-down and plop it on your heaving chest. You bring both hands to your face and press into your closed eyelids. Just as you reach back down with a huge sigh the phone vibrates.

Princessssss. You know I'm never busy to you

You choke out a sob-laugh and try to breathe normally. Okay, now a decision. Idle chatter or metric fuckton of feels? While you waffle about it, Diego initiates a videocall. Oh, hell no. You jab 'Decline' so hard it bends your nail back.

What is wrong? Why can't I see you?

I just look like shit rn. Please don't 

That has never been true. Mi princesa bonita

Always quick with the compliments. You sniffle.

I just. I guess I just miss you. Tonight

Perfect, you hit send before could have deleted it. Great job. Wonderful. Brilliant. 

Is everything ok? This does not sound like sexytimes

Oh, Diego. 

Yeah, I'm fine. Mostly. I mean nothing is wrong, its just me

Just me having feels

… should you have sent that? Probably not. Do you regret it? Yes, instantly. In fact, if preemptive regret were possible you would already have drowned in it.

The phone is quiet for a minute. Good job dumbass, now he IS annoyed.

What kind? Sad feels? Headache feels? Work is stupid and frustrating feels? Huffy feels that require cheese? You have many feels. At all times. It sounds exhausting 

Yep. I'm annoying and clingy. You chastise yourself rather effectively.

You're right. Sorry. I got this

Does that sound bitchy? Is it bitchy? Oh my god, I need an off button.

Nonono. I asked. You have to answer. Its a rule

Your laugh is sharp. 

Since when do you care about rules lol

When they're your rules. We agreed to answer direct questions honestly, yes?

Well fuck. He got you there. You had agreed to that. When you two sat down in your living room after the Emotional Spanking*™ and had a 'groundframe setup' discussion. Sometimes you were fairly certain he mangled phrases just to watch your eye twitch violently. Little shit. 

OK fine. I'm feeling shitty about myself.  Happy??

Now that is bitchy. 

FORBIDDEN

And no, that does not please Diego

And is that why I exist? To please you??? 

Before you can stop it, your temper flares.

No Princess. The other way. Let me please you

Oh no. Oh shit. What. Is. Happening?? You are royally fucked now. This entire conversation has gone so completely off the rails that you can't even define a 'train'. Those little bouncing dots have not stopped yet.

Should I tell you how I miss you? How these stupid meetings and these stupid people and my stupid sister bore me when I would rather be listening to you read a dictionary? Or sing every word to every song ever played on the radio? Or explain the differences between cat breeds?

Or maybe I could say how ridiculously empty this bed is with only me in it. How there are no tiny socks hidden under the comforter. Not a single lip balm in sight.

Perhaps you need a list of everything I would touch. The soft lips. A little bitty hand. That tiny ribcage. Those thick thighs. With my beard, ofc. Your forehead with mine?

Oh. Ohh. Oh no. This is not fair. This is an attack. How did he just break me like this? Your face is flushed and you are crying outright now. You have to stop this right now.

Stop.stop please. Diego no

Diego yessss 

You can't take anymore. This isn't funny. You can't even form words. When autocorrect suggests the picture of a pineapple you stab it and then hit send in rapid succession.

Pinnaea🍍🍍

………………………...

Your phone emits one aborted ring then it cuts off.

Can I call? Please

You're trying to figure out a way to calm yourself, to stifle the heaving gasps and whiny sobs. You're nodding. Not useful, idiot, you scold yourself.

No video. Just talk. Please Princess

You can't say no to that when he is trying so hard. 

Ok yeah 

You barely see the message load on the screen when the ringing starts up again. Smacking the green button entirely too hard, you hold your breath to stop the pitiful sounds.

"Princess?" His voice is cautious, tone soft.

"I'm h-here." Is all you can manage. Any more and you'll burst into sobs again.

"Are you in bed?" Keeping it short and precise. Yes or no answers. Nothing too demanding. 

"Yeah. S-s-sitting." He is being so sweet. How is someone like Diego so sweet to you. Something rustles in the background. 

"What was it? A specific word? Or just too much?" His voice is hushed, like he might be in a small room…

"Are… are you in a c-c-closet?" Is he really…? You hold your breath.

"Si. Your closet is too small. I was going to send you a picture." He answers.

You absolutely cannot deal with this man. 

"Baby, I--" Your stupid soprano voice gives away how emotional you really are. He was going to send you a picture of a closet big enough for you to hide. Probably a panoramic shot so you could fully visualize it. Your chest compresses and you gasp.

"Princess? Talk. Make a noise. Something!" He sounds panicked. You suddenly remember he can't read your face this way. He can't see your pleased smile.

"That's. That's just. Diego, I love you so much." Its out before you can stop it. Even though you know he can't see it, you still hide your face.

"Love." He breathes softly into the phone. "Tell Diego what you need, my good little girl." His voice is quiet, controlled. He is letting you lead him where you want him. Everywhere. Forever.

You feel safe enough to actually confess, "I just have a, a really hard time believing… all of. That." You wave your hand in the air vaguely. "Not that you're lying!" You rush to clarify. "Just that anyone could actually like, well seems to, at least, everything…?"

"Did that make any sense?" You chew your lip anxiously.

His soft chuckle makes your stomach flip. "Well, it was technically English." Your snort sends him into quiet giggles.

"I like hearing you laugh." You whisper. He goes silent. You tense up.

"Perfect little princess. No one has ever told me that before. Most people are frightened of my laugh." He seems a little bewildered by his own words. Like he didn't mean for that to come out but now he definitely wants to hear the reaction.

You cover your smile, then pick up the phone so you can lie down. "Apparently I'm not most people." You feel around blindly until you locate TMP (Tiny Murder Panther) and tuck the stuffed animal under your chin for cuddles. "I like your voice, too. Like when you talk to me. Sometimes its just the words. Or rather my ingesting of them of that trips me up." Your quiet sniffle is hidden in silky black fur.

"The words are the problem? Do I need a, a…. The book with words that all mean the same thing." He bites out.

Sometimes you forget that English is his second language. Then things like this happen. And its fucking adorable.

"Thesaurus. Synonyms, baby." Your smile is audible.

"I know!" He huffs in mock indignation.

"I know you know. That's cute, though."

"So are your little 'aqui's and 'si's and 'ahora's."

"Fine! Gawd!" 

You both dissolve into laughter. It fades into easy silence while you rub your cheek over faux fur. 

He sighs gently into the phone. "Was it the forehead touching?" His voice trembles a bit, like he is unsure that he should have asked. As though afraid. A little overwhelmed, just like you.

"Um. Yes. Actually. That was. Yeah, that did it." You blink back tears. "We have a thing. We're a 'we'."

"That is what you want, yes?" Diego sounds cautious. As if he might accidentally utter an irreversible spell or something. Then, a quiet whisper, "It's what I want."

You suck in a deep breath and decide to just force it out. Just take what you desire. Jump already.

"I want you. I don't think a typical, um, relationship would work. But, people can define themselves. Relationships should operate the same way."

That… that actually sounded decisive and authoritative. Wow. You're really that bitch tonight, huh? You are very pleased with yourself. You can hear something sliding against the phone but can't identify the sound.

"There she is." The wide smile in his voice stabs directly into your heart. It was his beard rubbing the phone when he smiled. You laugh with his approval, pleasure burning through your veins.

"Maybe I can write some stuff down. For discussion purposes. Maybe you can write some stuff down for me. Reading it makes it seem more real to me."

"If that is your royal decree, Princess." He shuffles around, you can hear clothing rustling.

"Do you really like finding my orphan socks?" Your voice is sly, like a kid springing a trap question. He likes that smirky tone and you know it.

"They are cute. Just like the tiny feet. You are so very little, Princess." Oh, but he knows exactly how to flip the trap back onto you. The sound of muffled tapping comes through the line. "Tiny feet. Added to the list." His voice echoes the smallest bit, he must have you on speaker so he can access the note app. "Next item: fat ass."

You explode into guffaws. "Damnit Diego!" Your wheezing almost drowns out his husky laughter. 

"Wait! I almost forgot! Fan-tasss-tic. Rrrrack." He sounds out the words as he types them. You lose vocal control again, giggling like a child. Logically you know these juvenile jokes shouldn't be this amusing, but clearly you both have the same maturity level.

"Baby, you are my favorite pervert." Your declaration is met with haughtiness. 

"I had better be your only pervert, Princess." The possessive tone straightens your spine with shock. "You are mine!" He growls fiercely. 

Everything is quiet for a very long minute. You seem to have consumed every butterfly, hot sauce, and poprocks-and-cola mixture on the planet when you weren't paying attention. 

You think about all the gifts. Designer purses, specially tailored clothing, the six pairs of redbottoms you now own, how the last ring he gave you still twinkles up at you from your right hand (he took great pleasure in ensuring it fit your middle finger so you can still be pretty while you flip him off).

You remember all the places he has taken you. The Michelin starred restaurants, that hole-in-the-wall Mexican place where they know him by first name is your favorite, the stupid stores he wanders through with you, the cheesy tourist traps where he always gets you a hideously clichéd souvenir. 

Your memory flashes through a slide show of his laughter. Gleeful giggles at your horrified reaction to the neon orange lipstick he presented in Sephora. His wheezing delight when you gagged on the seaweed appetizer he shoveled into your mouth before you could object. The gentle, knowing chuckle when you pulled TMP out of your bag to take a nap two weekends ago.

You realize he is entirely correct.

"Yes I am, Diego." Is your quiet confirmation. 

"Bicki. I." He seems startled. You stay silent and let him gather his thoughts. The swallow is audible before he continues hesitantly, "I will see you this weekend, mi amor?"

All the ways this man says 'I love you' are so many more than just the actual words. Your pleased smile stretches your cheeks so far it hurts.

"Yes please!" Your shameless request ends in a yawn. "Sorry." 

"You need to sleep for work, Princess. I have one last meeting here then I will be there tomorrow." 

You wish he was here now but keep that to yourself. 

"OK, let me know when you're here." 

I am so not wearing panties under that new maxidress for the flight up and demanding that he pick me up personally. Yes. A perfect plan. You amuse even yourself with your scheming.

"Be careful tonight, Diego. I want you to come home to me." The thought of anything happening to him crushes your throat.

"I, I want that, too. Love you." All comes tumbling out of him in a rushed confession of quiet hopefulness. It makes you so happy that tears well up again. Fucking stop this, woman.

"Love you. Bye, baby." You whisper warmly, hoping he can feel even an ounce of how deliriously happy he makes you.

"Goodnight, Princess." The reply is sighed, full of self-conscious relief and pleasure. His rough voice is so calm and soothing that you nod off before the line disconnects, face tucked into his miniature proxy.

…………………………...

Incoming text

Friday 12:09am

From: Murder Panther

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