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saebaragi · 1 year ago

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ranking nine percent's to the nines album just because

this was so hard to rank omg

#7: RULEBREAKER

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first of all, sorry i didnt put the music video, is cuz this is focused on the song, the music video is distracting ok! i was surprised myself that i ranked this #7, i love rulebreaker very much and i'm sure she would be higher here if zhengting had more lines. just kidding (or not), i'm obssessed with rulebreaker, i mean it, don't get me wrong, the only reason shes last is cuz the other songs are just that good. i think rulebreaker is really special and the perfect title track for their debut

#6: GOOD THINGS

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this one also surprised me while i was making the rank! i ove good things, shes so sprecious i don't know what i would do with my life if she didnt existed! i love my nine vocalists!! my boys can sing!!!

#5: EI喔EI喔

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i think this one is c-fans favourite cuz shes the only one i can still listen to on spotify cuz i found this account that shares songs that are popular on douyin. if thats the care, i see their vision, ei oh ei oh is a great song with a refreshing summer vibe that is just so adictive and mesmerizing

#4: 离不开

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talking about songs with distracting music videos, this one is so emotional... is a shame zhengting doesnt have more lines, i'm convinced iqiyi hatewd giving my boy lines, but is whatever ig, shes a really good ballad and i love her

#3: 一起跳舞吧

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i have no words to describe my feelings for this one, shes iconic, shes exciting, shes fun, i used to put her on my alarm when i had to wake up early for therapy and it was really cool to wake up to so much good energy

#2: I NEED A DOCTOR

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best ballad in the world, queen of the iconic bridges, miss mesmerizing music video, really, i could have putted the mv here but lets not lose focus i can talk abou i need a doctor musicvideo some other time, for now lets talk about how geniously she was constructed, xukun's intro edited like that starts the song already very heavenly, then we have yanjun's beautiful voice right after????? urgh shes (i need a doctor) is historic!!! and dont even let me get started on the brigde, is just too good, sometimes i can't believe this song is real

#1: 了不起的9%

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friends and non-friends HER!!!!! as the name of the song implies, this is nine percent being extraordinary, this is nine percent being amazing, this is nine percent showing what they were here for!! i'm very addicted to justin and zhangjing's voices in here, and zhengting opening the brigde is always a promising formula. i love listening to her at the gym cuz it makes me forget that i actually hate the gym and also she never fails to give me a energy boost

[breaking news!] i think we as a society were so much better with nine percent, like, 2018-2019 was the best years of my life, you think is a coincidence? i don't think so. even if iqiyi was kinda homophobic for not giving them more songs i stilll treasure this 7 little ones with my whole being and i'm happy and proud of my 9 boys for all they accomplished since then (and if i wake up in the middle of the night wanting to scream and cry "nine percent pls come back to me" that's like, unrelated)

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hunxi-after-hours · 23 days ago

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thank you for — well, you didn't exactly ask, but now I'm going to put you on blast about it as an excuse to dig a bit deeper into this stage because really!!! what's going on here huh!!!!!

this stage takes much of its inspiration from Westworld, a science fiction-dystopian show in which androids perform immersive fantasies in an amusement park for the entertainment of humans. the themes of human vs. nonhuman, performance vs. authenticity from Westworld are then carried into this stage and refracted through the lyrics of the song 《作为怪物》 As a Monster, which was originally performed by 李宇春 Li Yuchun (Chris Lee) and 吴青峰 Wu Qingfeng (Greeny Wu, also the composer) with lyrics by 李格弟 Li Gedi. the original version of As a Monster leans on the aspect of monsters as lonely outcasts who will not and cannot fit into the rest of society, and metaphorically extends to an artist's search for someone to understand them. the lyrics of the original song follow a self-proclaimed "monster's" search for a true companion:

花了许多时间去很多地方 / I spent a lot of time going to a lot of places, 看很多不是你的人 / meeting a lot of people who were not you 这就是他们唯一的定义 / That is the only defining trait of "them"

[...]

我是你的同类 / I am one of your kind 只为与你匹配 / I exist only to match with you

perhaps it is worth noting that in the original song, the sought-after "other," the desired monster, is never actually found:

要如何找到你如何为你命名 / How do I find you and name you? 你总有不在场证明 / You always have a perfect alibi for your absence 是否这就是你唯一的定义 / Is this the singular defining trait of you? 是否你在暗地里 / Are you in the shadows 心有所爱 / in love with someone 只能旁观 / but can only watch from afar? 深情款款 / Lovingly, adoringly— 你是否也在找我？/ are you also looking for me?

尤长靖 You Zhangjing (Azora Chin) enters this stage, costumed as — well, actually his costume is a reference to a third stage performance — but it appears that, in this stage, Azora is playing the role of a mad scientist, here to manage his android test subjects, which includes 早安 Zao An. Azora sings to Zao An in the role of the self-proclaimed monster:

我想要你 / I want you 想找到你 / I want to find you 你和我一样 / You are the same as me 你是个怪物 / You're a monster 怪物太害羞 / Monsters are too shy

the following choreography quite literally goes through the motions of different iconic roles in various installations around stage (most of these are references to previous stages). Zao An, at Azora's behest, tries out different roles but none of them quite suit him, reflecting the repeated insistence in the lyrics that "作为怪物格格不入," that monsters are eternally "out of place" and incapable of truly "fitting in"

what makes this staging particularly interesting is that, while Azora sings the lyrics of the original song as the self-proclaimed monster looking for his match, Zao An writes and performs his own rap lyrics in direct conversation to the original song. what was formerly a haunting monologue has now become a dialogue, and the monster searching for but never quite finding its match in the original song does, in fact, find another monster in this version

the first time Zao An forcibly breaks free of the original song's lyrics is in gif 2, where he snaps:

我不用你告诉 / I don't need you to tell me 我也知道我是个怪物 / I also know that I'm a monster

but unlike Azora's monster of a mad scientist, comfortable and assured in his pursuit towards creating a monster of his own design, Zao An's monster is troubled by his own monstrousness:

我感觉到什么但没人会在乎 / No one cares what I feel 要怎么解释我都不知道 / I don't even know how to describe it 我应该笑还是不应该笑 / Should I smile? Or should I not smile? 我应该要还是不应该要 / Should I want? Or should I not want? 脑子里重复着残暴的欢愉 / The pleasure of violence repeats in my mind 最后也将终结于残暴 / And in the end it also ends in violence 手指上长出了鳞片 / Scales grow on my fingers, 脚趾间长出了蹼 / webbing between my toes 头��上长出了一点点黑色的犄角 / The beginnings of black horns grow from my forehead 牙齿里好像有毒 / and there seems to be venom in my teeth 熄灭了烛火 / When the candle's flame is extinguished, 他们怕如果我在 / they're so afraid of my presence 脚步都变了轻 / they tread light and uneasy 但为什么你的味道 / But why is it that your smell 也有点腥 / also seems a little bloody?

the conflict arises between Zao An's internal landscape — emotional, sensitive, human — and his external appearance — increasingly monstrous (which, given the lack of any visually or physically realized monstrosity, may also be metaphorical). Zao An's monster feels anguish from the way he is treated in response to his monstrous exterior rather than his human interior, while confessing that he does have an internal drive towards the very violence that others fear him for

by the end of his rap, Zao An pivots to his suspicion that mad scientist Azora isn't all that high and mighty compared to the rest of the androids in the room — that Azora is, in fact, simply another one of them. Zao An smells blood on Azora, sensing something monstrous about him. a power struggle then ensues between Zao An and Azora as they both attempt to take control of the other androids. in a reversal of their earlier dynamic, Azora is now forced to perform some familiar choreography while Zao An exults:

来拔掉我手上的鳞片 / Come, pluck the scales from my hands 撕开我脚上的蹼 / Tear the webbing from my feet 把我的犄角都锯断 / Saw off my horns 拔出我牙里的毒 / Draw the venom from my teeth 来套上你准备的束缚 / Come, put on the chains you've prepared 拽我回肮脏的泥土 / and drag me back into the mud and muck 我仍会在土壤里燃气火焰 / I will still catch fire amidst the dirt 束缚里开始起舞 / and dance in my chains 颜色味道血液汗水 / Color, taste, blood, sweat 我为什么要对你忏悔 / Why must I repent to you 我对自己赞美 / for the praises I sing of myself?

through this, Zao An comes into his monstrousness both in defiance of and in concert with Azora's intent. he is a monster, yes, but he will not be Azora's mirror image, a monster dressed up in the outfit of a person. they can do violence to his exterior to try and make him conform to some arbitrary kind of presentability, but that cannot touch or reshape his internal monstrosity, which Zao An refuses to "repent" for — he will "catch fire" in spite of other people's attempts to chain him down

the following choreography is then performed mirrored, reflecting their new dynamic on more synchronized footing. Zao An is now the (frankenstein's) monster to Azora's mad scientist, and has found and accepted the role he was meant to play

but notice that none of Zao An's struggle or catharsis was inherently at odds with Azora's goal of finding another monster to complete him. the choreography still suggests that Azora controls Zao An, not just puppeting his movements, but affecting his thoughts:

sure, Zao An appears to triumph over Azora by forcing him into the choreography Zao An was put through earlier, but all of this has been engineered by Azora, the mad scientist who creates and manages all of these androids in this underground laboratory. Azora never actually loses control over the situation, and as he goes over to the piano to play a slow, dreamy version of the song's melody, Zao An turns, dazed, and sits docilely on the piano bench next to Azora. together, they break down, leaning their heads back onto each other's shoulders, locking together like puzzle pieces perfectly fitted to negative space, two monsters finally finding each other:

so then, this the story that plays out onstage: mad scientist Azora finally creates a monster in Zao An that is his true match. Zao An initially struggles with his own monstrosity, lashing out at his creator, but comes to eventually accept it

but! remember the frame story?

in the vein of Westworld, everyone here is playing a role. Azora isn't actually a mad scientist — he's an android cast in the role of a mad scientist. nor is Zao An truly the monster that he agonizes over being, because Zao An is simply an android cast in the role of an experimental monstrous test subject

for all of their posturing and performance, power struggle and personal realization, both of them are simply androids playing their parts in a larger performance. as they are dragged off stage by mysterious figures, the questions remain: were they monsters because they were nonhuman androids, or were they monsters because their roles required them to perform monstrosity? were either of them ever monsters at all, and if not, who were the true monsters in this performance?

来拔掉我手上的鳞片 / Come, pluck the scales from my hands 撕开我脚上的蹼 / Tear the webbing from my feet 把我的犄角都锯断 / Saw off my horns 拔出我牙里的毒 / Draw the poison from my teeth 来套上你准备的束缚 / Come, put on the chains you've prepared 拽我回肮脏的泥土 / and drag me back into the mud and muck 我仍会在土壤里燃气火焰 / I will still catch fire amidst the dirt 束缚里开始起舞 / and dance in my chains 颜色味道血液汗水 / Color, taste, blood, sweat 我为什么要对你忏悔 / Why must I repent to you 我��自己赞美 / for the praises I sing of myself?

披荆斩棘的哥哥 CALL ME BY FIRE S4 | 五公 FIFTH STAGE

《作为怪物》 As a Monster

bonus: shi kai and wang zhengliang expressing their enthusiasm for zao an