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#it even had a culturally relevant song that they called my song to match
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For the redacted match-ups~ this is my first time participating in something like this so I'm really excited! I hope you're not too overwhelmed by the amount of asks I'm sure you're getting.
Okay so, at the moment I'm fixated on a bunch of Lacuna coil songs, but if we're talking about songs that represent me, we'll need to go back to my month-long fixation on the Bocchi the rock! soundtrack that only faded a week ago. "Guitar, loneliness and the blue planet" has made me cry multiple times. Specifically the end of the bridge towards the last chorus "Even if it's just this moment now! / Hear me… listen to me! / I am here! I am here! / I'm alive at this moment right now! / I try to scream out loud but not even a scribble of sound ever escapes from my own mouth". This is just the English translation, I promise it sounds better in Japanese.
Anyway, for the enneagram, I've taken a couple of tests and have gotten 3-4 different types, none of which I feel describe me. If it helps, my MBTI is INFP which I've gotten multiple times when taking the test and heavely identify with.
My imaginary friends were the Disney princesses. I'd imagine them sitting in my room and we would hold regular council meetings. After I moved countries it became plants instead. I imagined I could talk to them and used to vent to them a lot.
I moved to another country when I was little and no one could pronounce my name so I kinda grew up hating it and always wanted to change it. I love my name now and if I had to change it, it'd still be to something from my culture instead of something easier to pronounce. I'd either name myself Vasiliki (meaning royal) just because I think it suits me, or Agne (pronounced ag-nee with stress on the last sylable, meaning pure) because it is indirectly tied to the name I have now.
I don't care about Aaron and Ollie. I'm not attracted to men, I like Redacted for the plot and they have no plot. I only watched their videos because I ran out of other videos to watch.
A (queer)platonic relatioship with Camelopardalis fill with me joy. I want to hug him, kiss him, and I want to sit in silence with this man while we each do different things.
I am (sometimes literally) unable to talk when I'm tired, let alone ramble. But when I have the energy (and feel comfortable enough) to do so, I will overexcitedly talk about my latest fixation for hours if nothing stops me. My friends say it's like listening to a podcast. First I had fairies for most of my childhood, and mythology (and stars by extension) was the theme for the last two years. Now it's plants :3 I found out that a lot of things that don't look like roses belong to the rose family and naturally I had to map it out. But, of course, I can't just start at the rose family, so I mapped out the taxonomy of plants until the rose family. That mind-map has grown a lot, and I go between periods of research to add new plant families, and just staring at the map and smiling. Seriously, that thing makes me so happy. I haven't had the chance to go through it with my friends yet, but I will be unstoppable once I get the chance to start talking.
I'm so sorry for making this so long. I wanted to talk more about plants, but it wouldn't even be relevant so I had to stop myself. I look forward to seeing your interpretation of all this, but please don't pressure yourself!
P.S. I use pet-names for everyone. One time, when I had misunderstood something and was really stressed someone who was consoling me called me "honey" and "sweetie". It was so so comforting and I decided to start calling people things like that to make them feel good. I completely forgot that words like "baby" are usually used romantically. I'm already a very physically affectionate person so people constantly ask me if I'm dating any of my friends or trying to flirt with people. I'm not. I just like calling people cute things :')
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Well, you’re just a silly-billy if you think you can go on an adorable rant about the taxonomy of roses and the flowers that are roses but don’t look like roses and not expect me to pair you with Huxley, our favorite earth elemental!
He’s so loving and friendly and patient that he’d love your fixation-of-the-day podcasts, even the ones that aren’t about roses! That’s just one of the many things I think Huxley would find absolutely charming about you. (Other things would be your unique, lovely name and your sweet, giving shows of affection!)
Another perfect thing about the two of you is that I can easily, easily picture Mm Huxley adopting plants as his confidantes and friends after he moved to Dahlia just like you did. It would such a lovely and domestic scene, the two of you living together and introducing your little flora found families to each other.
Song:
And I've heard of a love that comes once in a lifetime/ And I'm pretty sure that you are that love of mine/ 'Cause I'm in a field of dandelions/ Wishing on every one that you'll be mine, mine
You gave me too much fun plant imagery to work with! I’m stuck on it, because it’s just too cute! This is also just one of my favorite love songs, because the imagery of pining and wishing on dandelions or, conversely, being pined over and wished for us just so sweet.
Runner-Ups:
INFP’s are characterized as sensitive, creative people with deep wells of empathy, which makes it sick SO much that Regulus is… you know, all that he is. Thankfully, Anton is all that he is: kind, quiet, and the type of man who would get adorably flustered when you call him “sweetie” or “baby”
Note: you don’t have to apologize for this being long; it was lovely getting to peek inside your head, and it was very helpful 💖
Want a match-up of your own? Read this post, and tell me about yourself! 💌
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archivyrep · 1 year
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Arrogant curators, a pine-cone shaped vault, and a magical scroll in "Tangled" [Part 1]
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Rapunzel shows the incomplete, and ripped, Demantis Scroll to Calliope in the episode "Keeper of the Spire"
Building off last month's post, I thought I'd focus on one character in the Tangled animated series in particular: Calliope. She is a keeper of the Spire, a closed-off museum of sorts, who is pretentious and arrogant. But, there is more than meets the eye, which I'll examine in this post, and talk about the role of curators, the difference from archivists, and other related topics, going beyond my past post on the subject.
Reprinted from my Wading Through the Cultural Stacks WordPress blog. Originally published on May 17, 2023.
On the surface, it seems that Calliope (Natalie Palamides), who debuts in the episode "Keeper of the Spire", is full of herself, annoying Rapunzel (Mandy Moore), Eugene (Zachary Levi), Lance (James Monroe Iglehart), and Cassandra (Eden Espinosa), who are hoping to get information on the Demantis Scroll. She also can do magic tricks, as a former street magician, and has a messy library in her house with various artifacts. It turns out, spoilers, that she is only the assistant of the actual keeper (Tony Amendola), who put her on a test to see if she was up to the task, and opens the Spire, a vault filled with artifacts. In the end, Raps gets the scroll she is looking for, and all seems well, as Calliope is now the keeper and presumably becomes more of a scholar. The real keeper is impressed by her perseverance even in adversity.
She is generally stereotypical, wearing oversized glasses, hair tied back in a bun, and wears beige robes. She later helps Raps and Eugene in stopping Cass from acquiring a specific object from within the Spire. In that episode, "Race to the Spire", Cass wants to acquire a spell that can allow her to control those in the brotherhood, even disguising herself as Calliope to trick Raps, Eugene, and Pascal. Her appearance is somewhat in line with librarians in other series, often portrayed as elderly people with glasses. Her hair being tied up could be a hint that she is a spinster, i.e. usually uptight old women who are "sexually undesirable", and rule-mongers, with conservative dress. It is something associated with fictional librarians.
However, in some other ways she goes against stereotypes of fictional librarians as she is not male, with a long beard, or with glasses, even though she is White, common of librarians in animation. These stereotypes are also manifested in elderly White women librarians. While saying all of this, she is not a librarian, and is more of a curator. Specifically, she is described as a keeper in the aforementioned two episodes she appears in. What I wrote about the keepers in my article about Recorded by Arizal is relevant here:
Keepers are curators, guardians, protectors, custodians, caretakers, or guards who visually lay hold onto something, like records, similar to roles that archivists have....the International Council on Archives and archival scholars like Alan Bell, Caroline Brown, Terry Eastwood, and Terry Cook have stated that the words recordkeeper and archivist are synonyms. After all, archivists are more than what Webster’s New World College Dictionary defines: people in charge of archives where public records and documents are kept.
Her name, Calliope, is likely a reference to the Greek mythological muse who presides over epic poetry and eloquence, with so-called harmony coming from her voice. Her character, however, is the opposite of this, or at least it seem that way at first. As noted on her Wikipedia page, in the aforementioned mythology she had two famous songs (Orpheus and Linus), said to be the wisest of the Muses, but also the most assertive, defeated daughters in a singing match. Otherwise, the page notes that she is often shown with a writing tablet, carrying a book or roll of paper, even wearing a gold crown. In his 2020 "Mother of Muses" song, Bob Dylan declares he is "falling in love with Calliope", and says she "doesn't belong to anybody".
Since Calliope becomes the Keeper, she is undoubtedly a curator, what the Dictionary of Archives Terminology calls "the administrative head of a museum or collection". She is not, however, an individual responsible for the "oversight of a collection or an exhibition", the other definition in the dictionary. As the one-and-only Keeper, i.e. effectively a solo archivist or lone arranger, although she has no formal training, she is also responsible for "appraising, acquiring, arranging, describing, preserving, and providing access to a collection of original documents", a manuscript curator, on one level or another.
© 2022 Burkely Hermann. All rights reserved.
Continued in part 2
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yamayuandadu · 3 years
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Arahsamnum 2021: Ishara
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Ishara (middle) in the Yazilikaya sanctuary (wikimedia commons) Few picks would be more appropriate to start the series on a high note than Ishara, one of my personal favorites. I covered her very briefly in a past post, but a slightly more detailed treatment is long overdue.
Ishara was many things to many people in many time periods, a woman of many talents, so to speak. What is of particular relevance for this post is that in Hurrian culture, she acquired an association with the underworld, and with so-called “former gods” residing there - essentially divine ancestors, some of them borrowed from Mesopotamiansources, some completely original. She also became a goddess of infectious diseases, and was said to be capable of inflicting a mysterious “Ishara disease” upon those who broke oaths sworn in her name. In this context she also came to be associated with the Hurrian goddess of the dead, Allani (“The Lady”; rather popular and reasonably nice in the only myth she appears in, contrary to what her function might make you expect). A phenomenon common in Hurrian religion were dyads of goddesses with seemingly overlapping functions, and these two are one of the best attested examples. Both appear in a sadly very poorly preserved myth, but they share the same epithet (siduri, “young woman”) and in a so-called Hissuwa festival they were presented with matching outfits (Ishara with a red one, Allani with blue). While Ishara is best attested as a Hurrian goddess, she had her origin in Ebla (modern Tell Mardikh), a 3rd millennium city in Syria with a rather unique culture, where she was connected to kingship. Much like the names of many other Eblaite deities, hers remains unexplained and likely comes from an unrecorded language. She was introduced from Ebla and nearby Mari to Mesopotamia, where she acquired an association with Ishtar, and by extension of it herself became a love goddess (bēlet ru'āmi, “lady of love,” a title shared with Ishtar and Nanaya), associated both with its physical aspect and with the institution of marriage. Her symbols were the bashmu, a type of mythical snake, and scorpions, a common symbol of marriage. As a love goddess she was also associated with cannabis. Ishara was somewhat of a metaphorical divine social butterfly, acquiring associations with many other deities, not just Ishtar/Inanna and Allani. She is attested as a daughter of Enlil; in Nippur she shared a temple with Dagan, presumably due to both deities being perceived as masters of the western lands (not as spouses, though, unlike what early authors expected); in curse formulas she accompanies Ninkarrak, a medicine goddess; and in the famous treaty of Naram-Sin with Elam she’s one of the few non-Elamite deities invoked as witnesses. Sadly, despite all that ancient relevance she is obscure today, and even some researchers incorrectly gloss her as an “Ishtar byform.”
Further reading:
Translation of Gods: Kumarpi, Enlil, Dagan/NISABA, Ḫalki by A. Archi
The West Hurrian Pantheon and Its Background by A. Archi
A Royal Seal from Ebla (17th cent. B.C.) with Hittite Hieroglyphic Symbols by A. Archi
Goddesses in Context: On Divine Powers, Roles, Relationships and Gender
in Mesopotamian Textual and Visual Sources by J. Asher-Greve and J. G. Westenholz 
Song of Release (translation) by Mary R. Bachvarova
Goddess Išhara by L. Murat
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skekheck · 4 years
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All About the Seven Clans: The Spriton
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THIS POST CONTAINS EVERYTHING I COULD FIND ABOUT THE SPRITON. SOME INFORMATION WRITTEN HERE ARE FROM OLDER MATERIAL AND MAY EITHER CONTRADICT STATEMENTS OR IS NO LONGER RELEVANT. I WILL DO MY BEST TO STRING IT ALL TOGETHER AS COHERENTLY AS POSSIBLE. IF THERE IS INFORMATION THAT I AM MISSING, PLEASE LET ME KNOW AND I’LL ADD IT!
Clan Index: Dousan Drenchen Grottan Sifa Spriton Stonewood Vapra
OVERVIEW
The Spriton were a farming clan that occupied the southern plains of Thra. Although well known for their knowledge in agriculture and husbandry, they were also experts in textile creation and other fine arts. Due to their location and way of life, they were the most important providers of grains and produce for other clans. Interestingly in other media, usually older works, the Spriton were a warrior clan instead.
The Spriton totem animal was the Landstrider and their core elements were the earth, its foundation, and protection of the land and its creatures . Both their clan and sigil colors were green and their pennant colors were beige with green and gold detail. 
Characteristics 
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Most Spritons had dark or tanned skin and were sometimes covered in freckles. Their hair was dark-colored or black and were only ever worn in single braids. Decoration was minimal with only adorning their hair with small beads. A Spriton's eyes were noted to be "jewel-toned", usually light in color. Grey and off-white yellow or green were fairly common with darker greens and browns being rarer exceptions. Thanks to their lifestyles, Spritons were athletic and graceful. Spriton wings were noted to be long and narrow which were good for speed and agility. In the books written by J.M. Lee, one Spriton named Gereni had bright green wings. Older gelfling commonly had sun-worn skin and calloused hands.
Spriton clothing were simple, described as russet colored with autumnal qualities or earthy tones that matched their environment. Reds and browns in particular were extremely common. Plenty of gelfling from this clan wore head coverings which protected their heads from the Three Suns. Despite its simplicity, Spriton fashion displayed beautiful textile work with a unique stitching style not seen in other clans. 
Lifestyle
The Spriton were a traditional clan that valued hard work and generational knowledge. Performing daily tasks kept the community thriving as well as providing clothes and food for other clans. Their agricultural livelihoods revolved around season events like the trine cycle as well as ninents or greater seasons, which were one hundred trine in length. It was very important for memories to be passed on to ensure the success of crops for future generations. Living in harmony with Thra’s plants and creatures was also a tenet in Spriton culture. This stemmed from the Song of the Six Sisters where the Spriton’s first maudra was tasked with not only taking care of the land but also its foundation and animals. 
The Spriton were a medium-sized community whose population was comparable to the Drenchen's. Most Spritons lived in the clan's hometown Sami Thicket, but branched out into smaller villages and singular houses and farms along the Spriton Plains. The Spriton were some of the first clans to had spread outside their main village. Even the Stonewood, who had a larger population, didn’t stray too far from their home village until well into the Age of Division.  A Spriton family unit usually consisted of three to six gelfling. Despite the distance from their hometown, the Spriton never lost their sense of community. Whenever families returned to Sami Thicket to give crops, practice trading, or for special occasions, they were always welcomed warmly. 
Daily Routine
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A day in the life of a Spriton consisted of long work days that started when the suns rose and stretched on well after dark. In Sami Thicket, and perhaps in some neighboring villages, an hourly bell was rung so the Spriton never got too lost in their work. When younglings grew to the age of apprenticeship, they were selected by mentors to begin training. They were put into a work group that was monitored by two elders. Younglings also refined their riding and hunting skills by participating in sports like bola-throwing and knock-knee, a race-and-ball game played on the backs of Landstriders. In the book series, they were also trained in combat and to fight with a spear. 
Because Spriton had a variety of jobs, they were divided into three main categories:
Hearth Workers: This group focused on tasks of integrated care of the hearth and home. Occupations included caregivers, woodworkers, songtellers, musicians, hearth workers (sometimes also called fire workers), bell ringers, food servers, and artisans like weavers, stitichers, and craftsmen. This group emphasized on building and maintaining the physical homes as well as replenished the hearts and spirits of the Spriton. Artisans were also seen as integral to the clan as their tapestries and other creations preserved their way of life.
Dirt Workers: Dirt workers protected the land and cultivated the clan’s many gardens in Sami Thicket and nearby fields. They were largely farmers, but also consisted of animal breeders and maintainers. They kept oral records of seasonal wisdom by marking the passing of time using sun-sticks posted in fields and horticultural and agricultural knowledge from previous generations. Dirt workers tended to creatures by tracking their numbers and observing their health. They believed that the health of the animals represented the health of the land.
Path Workers: Path workers were traders. Gelfling with these jobs were responsible for sorting, preparing, counting, and trading Spriton products. They were strong in numbers and noted for their adventurous and outgoing personalities who used their intelligence, sharp tongues, and charismatic smiles to sell their items. A popular saying “as smooth as a Spriton wagon driver” was inspired by them. Spriton traders often traveled outside of Sami Thicket, mostly staying within the plains but ventured to Stone-in-the-Wood and even Har’rar. 
Spriton Crafts
The Spriton were renowned for their crafts as much as their expansive knowledge on agriculture. They covered just about everything from textiles and quilts to tools and weapons.  Although, in regards to their metalwork, it was not as refined as the Stonewood’s and Vapran’s due to the dearth in materials. Spritons opted to work mainly with charmed wood, fiber, and substances from both vegetables and animals which were magically bounded.  Needlework in particular was considered a highly valued talent within Spriton communities as it was believed they were the stitchers of the gelfling clans.
Spriton textiles were easy to spot with its exposed stitchwork, extensive variety of magically-enhanced colors, and embroidery. They were highly sought out by other clans, especially the fashion-oriented Vapra. Their sandals were particularly famous not just for their beauty but also because of how sturdy they were. Spriton wool, which were spun from the coats of various plains creatures, were popular especially when dyed from one hundred pigments made in Sami Thicket. 
As previously mentioned, Spriton crafts sported a unique style. While craftsmen in other clans hid binding agents like threadwork in shoes and tangle-weed in pottery, the Spriton purposely exposed them. They believed that if it weren’t for them, the craft would fall apart. Highlighting these parts was the Spriton’s way of showing respect to them. Exposed threadwork was incorporated artistically with patterns on clothing and shoes. Tangle-weed, which made clay more durable, was dyed in beautiful vibrant colors.
Some other examples of Spriton craftsmanship were their lyres and bolas. While lyres from other clans had six strings, Spriton lyres had seven. The seventh string was spun from Vapran metal which clans were given through trading. It gave the lyres a sublime character and was said to have emulated the voice of Thra. Spriton bolas were better than ones produced by other clans as it had longer rope with smaller stones, which made it easier to throw and reached farther distances.
Dream-stitiching
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Dream-stitching was a type of magic that originated from the Spriton. It was a skill that combined elements from dreamfasting and dream-etching, which had the ability to fasten memories onto a physical object that invoked all senses and stirred imagination. The object could be anything: books, paintings, tapestries, or even stones or plants. This skill was difficult to master and was only taught by the Spriton maudra.
Kylan, a dream-stitcher, displayed noteworthy forms of the art. In the TV series, Kylan dream-stitched Brea’s memory of her mother within a Glider Seed so that others could know the All Maudra like she did. His skills in the book series were even more remarkable as he bounded Tavra’s soul upon the body of a crystal-singer and spread the message of the gelfling resistance on the Sanctuary Tree’s petals with dream-stitching.
Animal Husbandry
Much like their knowledge of land, the Spriton knew plenty about Thra’s diverse creatures, dating as far back as the Age of Harmony. Dirt workers were the ones responsible for training and handling animals. They knew animal calls and methods that taught them certain commands.  Many of these animals helped the Spriton in their daily tasks. For example, Mounders used their digging abilities to create irrigation channels in fields that helped Spriton crops. 
Landstriders
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Landstriders, the totem animal of the Spriton were the most notable animals among the clan. In fact, it was common belief by other clans that all Spritons were experienced Landstrider riders. Riding one was noted to be difficult for newcomers and it took time for the creatures to get used to a saddle. But trainers created a system that made the Landstriders comfortable giving gelfling rides if they were given treats in exchange (usually roasted fruits or nectar).  While their eyesight was poor, they had impeccable hearing and could “see” by listening to the echoes of their hoofbeats. They could be ridden during both the day and night, but weren’t good for stealth as their hooves produced loud sounds. During times of war, Landstriders were given armor, even on their legs. While this slowed them down, lining them together made for an affective barricade. 
Spriton cared for Landstriders within several large herds. They were given plenty of freedom to roam in large meadows with built structures for them to take shelter with eating-troughs and trenches from nearby rivers for fresh water. These living spaces formed positive relationships between Landstriders and gelfling. These bonds became especially important during the late Age of Division as they were the only animals capable of fighting off the Garthim thanks to their swift speed. 
Swoothus and Windshifters
Swoothus and windshifters were other notable Spriton animals. They were used for delivering messages all throughout gelfling settlements. While windshifters were faster, they were more aloof and easily distracted. Swoothus, on the other hand, were slower but easier to train and performed better especially when motivated by food. They were capable of understanding speech and specific commands as well as recognizing multiple locations. 
Like with Landstriderss, bonds of trust formed between Swoothu or Windshifters and their trainers. With Swoothus, it came to the point where they’d visit their trainer even when there were no messages to send. Younger Swoothu tended to not stray too far from Sami Thicket until they gained the courage or curiosity to fly farther out. Sometimes they hitched a ride with their trainers or traders until they’re ready to fly off. By then, they mainly traveled to major gelfling settlements like Stone-in-the-Wood, Har’rar, and the Castle of the Crystal. 
Cohabitating With Podlings
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While podlings had always co-existed with gelfling, the harmony between them and Spritons were the greatest. The relationship between the two were very communal and so close that they adapted cultures and characterstics from one another. Gelfling from Sami Thicket and neighboring villages commonly spoke podling tongue.
Podlings lived alongside their fellow Spritons in Sami Thicket, having houses nestled in between the gelflings’. They worked alongside the gelfling in various jobs, shared everything together, and even raised within the same nurseries. The two species took part in each other’s holidays or traditions, like podling funerals. Spritons and podlings alike gathered by the Pavilion and prepared the body for service and burial. 
Diet
Thanks to the Spriton’s knowledge in agriculture and crops, they found ways of growing fruits and vegetables not normally found in their region, elongated growing seasons, and yielded bigger crops. Because of the large bounty of produce, a Spriton’s diet was heavily relied on fruits and vegetables. Meat was consumed rarely and when they did the gelfling carefully picked a creature, quickly slaughtered it, and gave it their respects.
Spriton cuisine involved mixing greens with vegetables and fruits. Produce was sometimes marinated in a tangy sauce or seasoned with fire-toasted seeds or nuts. Spriton cheese was treasured and came in great variety, from soft spreadable to harder cheeses suited for grating and melting. The cheeses were widely sought out by other clans and fetched good prices, especially in giant markets like the ones in Har’rar where such foods were hard to come by. 
One notable Spriton delicacy was the sweet cherry squash. Cherry squashes were roasted which gave them a savory sweet taste. They were saved for special occasions like visits from the skeksis during tithe and census ceremonies. Other Spriton foods included dried squash and emroot. 
Festival of the Sour Squash
This was an autumn holiday that celebrated the harvest of the sour squash. The ripeness of the squash signaled the beginning of the harvest seasons and the coming of winter. The fruit grew in partial shades of the thicket and changed color from green to amber and, when ripe, to red. Sour squash was delicious when roasted, although the ripeness produced an even more flavorable heady sweetness. Otherwise raw sour squash, as its name indicated, had an unbearable sourness. Roasted sour squash was similar to roasted sweet cherry squash for both flavor, crispiness, juiciness, and equally sweet-scented.
Along with the beginning of the harvest, the festival was also the Spriton’s way of thanking Thra’s generosity for the bounty of their crops. This was reflected in the festival’s tradition: after gelfling roasted their sour squash they must share all of it with others and only then were they allowed to eat the ones given to them by others. It was generally considered bad luck to decline to share. Sharing roasted squash wasn’t limited to gelfling as it involved podlings and the animals that resided in the village. 
Day of the Great Sun
This was a traditional summer festival that all gelfling celebrated with summer activities like carrying water, taking a day of rest and more. But for the Spriton, who referred to it as the Longest Day, observed the event differently with a tradition called “sun-filling”. On the days leading up to the Longest Day, the Spriton cut back the trees around their homes and removed the latching from their roofs. When the day came, the sunlight from the Greatest Sun filled their houses with its light as it made its long journey across the sky. The Spriton held the belief that the light the sun brought kept out dust and last until the next trine.
Another tradition was burning old or discarded items within Sami Thicket’s hearth whose fire raged on through the entire day. When homes were cleaned and the fire put out, the head of each household took a small handful of ash and sprinkled on the newly thatched roofs. It was a reminder of letting go but also respecting and honoring the old.
Spritons sung a traditional song called “Sun-Filling Song” while they de-dusted heavy quilts and mats.
Mysteries of the Mystic Valley
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Although the Spritons lived near the Valley of the Mystics none knew about the existence of the urru. Yet, they knew that something lived there beyond the dried-up ravine as rumors sprung from sights of silhouettes and hearing chanting at night. Many had gone into the valley to find the source of the rumors but found nothing. This may be due to the mystic magic that cloaked their village from outsiders. Many songs were created to explain these seemingly mysterious phenomena. Some were more logical, that the valley was the new home of the Arathim, but some were more superstitious that the ravine was haunted by a long forgotten race. 
Interestingly, plenty of songs focused on skekMal the Hunter who was known by many gelfling to be a myth. In many of these stories he was known as the Hunter. They explained that the Mystic Valley was his birthplace and in one particular song, called “Hunter’s Knife”, was also the resting place of his heart. In the song, it explained the origins of his bloodthirst as, believing his spirit was holding him back, he carved out his heart with a knife made from stone. He left it in the valley where, as rumors believed, was the source of the moaning heard at night. It was his disembodied spirit’s desperate calls to be reunited with his body. 
Sami Thicket, Hometown of the Spriton
Nestled within a small wood in the middle of the Spriton plains lied Sami Thicket. The word sami meant “to rest” in old gelfling, which signified the village being a welcoming place of rest after a long day of work. Hundreds of families of both gelfling and podling lived within their clay and wooden houses, some multiple stories high. Some houses, like the ones outside of the village, were built with sturdy logs. Animals also lived within the village with winded creatures like Windshifters and Swoothu having built-in dens and nests throughout the wood. The village circled around the Pavillion. 
The Pavillion was known as one of the hearts of Sami Thicket. It was located right in front of the Spriton maudra’s large round house. It radiated out from a stone hearth as its core with paved multi-colored stones of red, gray, and blue which were arranged in a mosaic, twisting, tree branch-like pattern. The hearth itself was ringed with stone ledges wide enough for several gelfling to stand on or for a whole band to play in the evening. 
The community gathered around the Pavillion daily for performing tasks and where supper was served by hearth workers. It was also the meeting place for special occasions. During these times, fire workers created giant fires that towered over the village and beautifully lighting up the Pavillion. 
Nenadi-Staba 
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Otherwise known as the Low Tree, this was the patron tree of the Spriton. It was considered the other heart of the Sami Thicket and was located within a bowl-like valley near a winding brook. The tree itself was a squat tree with bulging roots that had a gnarled, maze like-pattern with dangling smaller roots and vines. The Low Tree’s thin, reedy branches were ruffled with fragile hand-shaped golden leaves. It only took a short walk to get there which allowed the Spriton to visit it whenever they wanted. Younglings played on its labyrinthine roots while elders meditated under its shade. To pay homage to their Great Tree, the Spriton sang a song called “Ode to the Low Tree”.
Relationship With the Skeksis and Other Clans
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The Spriton were among the most loyal of the skeksis. In fact, it was the Spriton who first agreed to form an alliance with them, kickstarting the Alliance of the Crystal. SkekVar, when he was known as the Ambassador, convinced Elder Carn of the gelfling council to form a compromise of exchanging weapons for the skeksis protection from the Makraks. After meeting with skekSo the Emperor did Elder Carn solidified the alliance with them. Since then, the Spriton remained loyal to the skeksis, where they provided them with tithes and banquets whenever they visited. Like most clans, some Spritons were sent to the Castle of the Crystal to become guards. In the book series, along with the Stonewood, they made the majority of the skeksis’ armies and guards at the Castle of the Crystal. However, their loyalty was eventually driven by fear as evident by Maudra Mera. In both the TV and book series, she remained stubborn about joining the resistance fearing the safety of her own clan. Eventually she decides to join the Spriton in the fight against the skeksis.  
Spritons generally were respectful and kind to any visitors who visited Sami Thicket and neighboring villages. They valued keeping face and held the belief they had good trading relationships with other clans. They did have their fair share of rivalries, though. The most well known of these were with their woodland neighbors the Stonewood. Depending on the media, the severity of their rivalry varied. In the timeline established in Age of Resistance, it didn’t extend outside of name-calling and rumormongering. The book series, however,  had the two clans constantly feuding over territory within the Endless Forest. Despite all of this, the Spriton shared the same folklore with them including the heroic Jarra-Jen and the villainous Hunter.
They were the only neighbors of the Drenchen which they had semi-regular contact with. On the surface, the two had a friendly neighboring relationship but looking past this lied a steadily growing tension. This hit a crescendo in the book series as, after Stonewood’s defeat and supposed annihilation, the Drenchen took up arms to fight the skeksis themselves. To get to the castle, they would have to go through the Spriton which were still loyal to the skeksis. Fueled by fear that they too would end up like Stonewood, the Spriton expected to fight the Drenchen. Thankfully, Naia and her friends were able to defuse the situation from becoming a civil war and managed to get the two clans to join the resistance.
Like other clans, the Spriton had their own stereotypes from outsiders. While the Spriton thought of themselves as humble and more productive of the seven clans, others found them overly obedient and old fashioned. At least in the book series timeline, the Spriton were believed to be territorial as well as aggressive and combative. Some outsiders referred Spritons as “grasslings”. 
Notable Spriton Members
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Kylan: A songteller who lived during the late Age of Division. He accompanied the Drenchen Naia who wanted to find Rian and exchange him for the freedom of her brother. He would then help the gelfling resistance by helping the other clans light the fires of resistance. Interestingly, Kylan is half Spriton from his mother side: his dad was from Stonewood.
Maudra Mera the Dream Stitcher: Maudra Mera was the Spriton Maudra during the late Age of Division. She loved the skeksis and much as she feared them and would do anything to keep her clan safe, even if it meant siding with the lords who were draining gelfling. She was shrewd and traditional.
Tolyn: A Spriton who served as a guard at the Castle of the Crystal. When an uprising was being formed after the gelfling learned the truth, Tolyn decided to tell the lords about this supposed traitorous behavior. It backfired on him completely as he was drained of his essence along with most of the castle guards.
Carn: Also known as Elder Carn or Maudra Carn. She lived during the late Age of Harmony and the early Age of Division. During the Makrak raids, she agreed to form an alliance with the skeksis for their protection, an alliance that would nearly last a thousand years.
Thall: Daughter of Carn. A lover of the forest she lived near by, she was the first gelfling to encounter urSu the Master. She, urSu, and Raunip found a way to help the Makraks find their way back underground and stopped their destructive raids. 
Veara: A healer from a Spriton village. She tried helping Barfinnious and Hup with a beast that had been attacking her village, but was snatched by it instead. Veara was able to leave a trail of herbs to the cave where the beast lied in hopes the two could put a stop to it. 
Vortina: A Spriton farmer from a village outside of Sami Thicket. Vortina tried to defend her farm when a beast attacked it but was hurt in the process. Her wounds were mended by the village's healer Veara. 
Mimi: The daughter of Maudra Mera. 
Lun: In Shadows of the Dark Crystal, he was seen helping roast cherry-squashes in preparation for the arrival of the skeksis lords. In Flames of the Dark Crystal, he became a scout for Maudra Mera to keep track of any Drenchen soldiers.
Phaedra: A Spriton who lived in Sami Thicket. She was the village’s sandal-stitcher.
Remi: A childling who lived in Sami Thicket. He was in charge of ringing the hour bell. 
Gereni: Gereni was a scout who accompanied Lun to look out for Drenchen soldiers. 
[Sources: Song of the Seven Gelfling Clans, the official Dark Crystal website, Shadows of the Dark Crystal, Song of the Dark Crystal, Flames of the Dark Crystal, The Dark Crystal: Age of Resistance, the Dark Crystal, The Dark Crystal Age of Resistance: An Epic Return To Thra, The Dark Crystal: Age of Resistance: The Ballad of Hup & Barfinnious, Author Quest: The Gelfling Gathering, Creation Myths, Heroes of the Resistance , the Dark Crystal Bestiary]
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bisluthq · 4 years
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Listening to this olivia girl and coming to the realization her song is better than any single Taylor has put out since 1989 era. Taylor should do a career hiatus and come back with fresher ideas instead of desperately trying to stay relevant and releasing songs every 6 months. Taylor has good album tracks, but i need banger singles to keep on repeat, and she has failed to do that. Also i'm tired of listening to 2016 drama and high school stories.
So I really really like Driver’s License but it’s not a competition and this ask is silly. Like I’m so fucking exhausted of people being like “oh why is Taylor still releasing her dumb high school drama songs when nobody wants that dumb bitch” like she isn’t outselling every other fucking pop star. Which she is. She has long surpassed any of her rival peers - Gaga, Adele, Katy. She blows Selena, Demi, and Miley out the park. Ari hasn’t been able to match her yet and I don’t think ever will.
Like the only person who was on the scene when she was who has had a similar cultural impact for as long as her is Beyoncé but society’s racist so like she’s sold less especially as she has become expressly more political. It’s not right and it’s not fair but Black is King is not going to appeal to as many people in the mainstream as Tay’s shit. Like that’s not right or fair but it is what it is and I mean Beyoncé also knew that and wanted to make an impact in this way rather than trying to keep mainstream appeal.
Taylor is literally an icon at this point. She is in the kind of league that very few musicians, almost no female musicians, have gotten to.
Every single one of her albums since Fearless hit #1. That’s 8 albums in a row, with 3 in the space of 15 months. So you can shut the fuck up about how she must take a hiatus.
Paul fucking McCartney - one of the two most legendary musicians from the most legendary pop band of all time - moved his own album release to accommodate hers. Dolly fucking Parton called her the Number One Woman Songwriter. That’s like off the top of my head. She is beloved and revered by fellow legends.
You don’t have to like her. You don’t have to like her music. But you guys have to stop pretending she’s this annoying little girl piping up in the corner with no relevance about to be “overthrown” by Olivia Rodrigo.
Like ffs I hope Olivia becomes as big - maybe even bigger - than Taylor one day. But she’s expressly inspired by Taylor.
Like the fact that you’d even make the comparison is frankly misogynistic. It’s like saying “oh I like that Harry Styles kid, glad that Bowie guy’s gone because this new stuff slaps.” Like we don’t compare Harry to legendary rock and pop stars. Because it’s stupid.
And y’all should start treating Taylor like the legend she is instead of acting like she’s a try hard nobody.
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sinceileftyoublog · 3 years
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Georgia Anne Muldrow Interview: Rhythm Is A Form of Gravity
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Photo by Antoinette A. Brock
BY JORDAN MAINZER
“The people keep you fresh. They keep you on your toes,” Georgia Anne Muldrow told me over the phone last month. The prolific L.A. musician, whose output ranges from experimental hip-hop to neo soul to jazz and everything in between, is releasing her fifth record in four years on Friday, and the third overall in her beats series. VWETO III (FORESEEN + Epistrophik Peach Sound) follows last year’s Mama, You Can Bet! (released under the name Jyoti), 2019′s collaboration with Dudley Perkins and VWETO II, and 2018′s acclaimed, Grammy-nominated Overload. Unlike any of the previous albums, it was put together with some “calls to action” in mind.
Thought some of the songs were around for longer, VWETO III as an entity was made last year, “over a course of time where things were changing in terms of different recording techniques I was trying,” said Muldrow, harking back to techniques and inspirations from her early years of music making. The record was also, obviously, formed during a global pandemic that caused folks to lock down, and Muldrow is conscious to giving listeners opportunities to reach out on her very active Instagram account. Each of the album’s singles have been paired with those aforementioned calls to action. “Unforgettable”, which combines 80′s-sounding synths with 90′s G-funk, calls for vocalists to submit performances to go along with Muldrow’s vocals on the song. “Mufaro’s Garden”, inspired by an illustrated folktale book called Mufaro's Beautiful Daughters, asks for visual artist submissions. On the day of the album’s release, Muldrow will ask for dance submissions to “Slow Drag”, a throwback Hammond-guitar-piano ditty named after the juke joint dance of the same name. Next month, it’ll be “Action Groove”, with calls for turntable scratch ‘n’ sampling remixes from DJs. And it’s not just the singles that exemplify Muldrow’s desire to connect with listeners on a granular level. Many of the songs on VWETO III refer to or are inspired by specific eras, from the Afrofuturist jazz of “Afro AF” to the genre tribute “Boom Bap Is My Homegirl”. That the titles are clearly referential, too, like “Old Jack Swing” or “Synthmania Rock”, shows that Muldrow’s not winking and nodding or trying to fool us, earnestly inviting us to dive in.
Moreover, VWETO III is coinciding with what Muldrow’s calling the Teacherie, classes she’s trying to develop to spread knowledge of what she’s learned throughout her own career, everything from philosophy to instrumental-specific classes. Right now, from her saved Instagram story called “Teacherie!,” you can take an assessment to fill out what you’re interested in. “It helps me to see what skill levels people have and what they want to learn in the class,” Muldrow said. “I seek to continue to stay open enough to make relevant music and have relevant things to share with people.” Overall, Muldrow is the type of artist that uses online platforms the way they’d be used in an ideal world. Her use of NFTs, too, is noble; the album art by Cape Town-based Breeze Yoko is being auctioned off, with 50% of proceeds going to prison abolitionist organization Critical Resistance. Even when the offline world returns--Muldrow’s slated to play Pitchfork Music Festival on Saturday, September 11th--Muldrow’s created a blueprint for navigating an increasingly isolating digital world, by seeking out real connections.
Below, read my conversation with Muldrow, edited for length and clarity, as she discusses making the record, being inspired by African rhythms, the influence of Digital Underground, and why her work logically extends into prison abolition. You can also catch her tomorrow on Bandcamp Live at 8 PM CST.
Since I Left You: Why did you decide this was a good time to revisit your beats album series?
Georgia Anne Muldrow: The people love it, you know? I always like to post beats on Instagram and share my poetry or state of mind of what’s going on in the world according to my people, and provide a place of joy and uplift. The voice of the people kind of determined what songs were on there. There are some songs that nobody’s ever heard. Different ideas, something a little bit more energized.
Something for the people. It’s really great that I have direct contact with them. Some of the songs are things I like to try based on the vibes I get from their feedback. It’s great; it’s a beautiful thing for me. I’ve gone through phases where critics love me, but the voice of the people that really support your work is really cool to hear. It’s like a little focus group. I just like sharing my music with folks because it’s my way of contributing love energy to the world in a direct, immediate way.
SILY: A lot of folks are still staying home and needing that connection. You’re connecting with them but also providing a platform for them to connect with each other.
GAM: Yes. I’m way into that and seek to be expanding that in an even more literal sense with my classroom project [Teacherie], like a live webinar sort of thing, that enables folks to speak amongst themselves. A more extended form of what I do on social media. An intimate look at what’s really going on in music. They can see where my emotions end and the music begins and try to make things seamless within their own music. Teach what I’ve picked up along the way, because I won’t be here forever. Spreading the love but the knowledge, too, with the music that I share. There’s a certain quality that you can achieve if you have patience.
SILY: Did you always know you wanted to do these calls for action, like for vocalists on “Unforgettable”? And how did you decide which tracks you wanted to do them for?
GAM: It’s definitely my way of trying to promote some sort of hip hop jam in lieu of the isolation that folks are weathering...I’m really inspired by the early age of hip hop where everyone had different dances. They brought their art books to the hip hop jams. The jackets with the art on it, the MCs rapping. The breakdancing, the DJs. All of the different things in place for it to be complete. That’s part of what got me hooked on production. One night years ago, [when I first played] my stuff, and folks started to dance, it got me hooked--to make somebody move. Somebody can rap over this, somebody can dance to this or draw to this. That’s the reason for the calls to action. Opening up a hip hop jam all over the world. I hope it gains some momentum. That would be nice, for more people to put themselves out there. But I do understand we live in different times right now and people are trying to get by. I still have to post some of the artists from “Mufaro’s Garden” and these rap videos from “Unforgettable”.
SILY: You’re giving people an opportunity, even if they’re just trying to get through the day, to take a break or have a beneficial creative exercise.
GAM: Yeah. Being creative together, and togetherness. The thinking that the songs aren’t complete without dance. Lyrics are a certain kind of fulfillment of music. But the movement of the body is another one. [It] goes back to gravity. Drummers harness the power of gravity and manipulate it so things can fall at a certain time. Same thing with dance--[dancers] don’t manipulate gravity, but interact with it and create an interdependence with it. When somebody’s dancing, they come back down to the ground, and you could let that go and let gravity guide what your dance looks like. Rhythm is a form of gravity--a form of gravity engaging with life. I feel like movement is the fulfillment of all the arts. I just seek to do my part.
SILY: You mentioned being inspired by a specific early era in hip hop, and there’s a lot on here inspired by genre or era-specific trends, like the G-funk in “Unforgettable” and “Boom Bap Is My Homegirl”.
GAM: [Boom bap] is one of the things that I specialize in. It’s a home base for me. In my experience, it’s a very African point of access. A lot of the boom bap rhythms are straight from Africa. Most of them are. Off the shores of West Africa. I heard so many of them, from The Gambia, Senegal, Mali. Over there, you hear so much of it. I want to be part of that. At the same time, I might wake up and make a free jazz record. I don’t feel like a traditionalist; I just want to preserve the culture of Black music from this hemisphere. I love traditional ideas, but it’s not like I’m gonna do this one idea for the sake of staying in a lane. There’s no place that Black music hasn’t influenced, molded, shaped, nurtured.
SILY: When was the last time you were able to perform in Africa?
GAM: I believe it might have been 2017. These years have started to run together. I don’t mind it, though. Keeps me young. [laughs]
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VWETO III cover art by Breeze Yoko
SILY: How did the songs on here with vocals come together, whether the ones with your singing or the ones with featured artists? Did the words or beats/melodies come first?
GAM: The beats came first except for “Shana’s Back”. Shana Jensen is my sister; she’s the mother of my niece. Every time she’d come over and I had an idea to compose songs around her, they’d end up being huge songs. She’d be like, “Bye!” [laughs] I guess she wanted something a little more understated. I’d always end up doing big Motown sounds. There’s a song on The Blackhouse called “Shana’s Groove”. It’s a like a reoccurring situation and character. It’s kind of funny at this point.
The other ones, like “Unforgettable”, I’m very much matching the vibe, the punk-funk aesthetic. Sometimes a little hook just pushes it over the edge and gets them into the mindset I was in when thinking about it. Other songs like “Love Call” I just wanted to sound like it was in an arena. Arena rock, funk, Digital Underground-inspired, all the way.
SILY: Are you a big Digital Underground fan?
GAM: I think it shows in a lot of the music I make. I don’t think I can hide it. This record has so many examples of that. I love Shock G so much. He was so bad, as a thinker, a philosopher, a community builder, artist, pianist, maestro. The “Love Call” groove, “Unforgettable”, “[Old] Jack Swing”, you can hear it. I was raised with that kind of music in my head as a child. Unashamed to be funky and make a groove have extra grease on it. That’s what distinguished our sound from other region’s sounds. Getting greasy. While still doing the boom bap and all that other stuff. For me, it was always a goal to represent where I’m from in my music in a non-traditional way. Bringing what I love about the West Coast to whatever I was working on.
Shock G lives in all of us. He brought so many different vibes. A rhythmic pocket that breathes. Somewhat right under "Atomic Dog”. It keeps you moving. It has a breath of life in it. I’m so thankful to have lived in an era where I could hear and experience his work.
SILY: How did “Ayun Vegas” come together?
GAM: Ayun is my little brother. I think I’ve known him since 2014 or ‘15. He’s quite a talent. I love his style. He’s from [New] Jersey. I love his sense of rhythmic dynamic. His use of metaphor, double entendre. I feel like he’s really a gifted poet. He can do all types of different things. He’s an amazing MC--he just released a project with Jacob Rochester called Slaps & Hugs. I’m gonna lean towards people who are creative themselves and insert themselves into everything they do. 
Ayun is very secure in being different. He came out to Vegas, and I had this song. Usually, when I play leftfield stuff, MCs want that beat they can crush and not feel challenged by. This song is really old. I feel like it was made in 2016. I feel like that was the first time when somebody was willing to rap on an idea that was out of the ordinary. It’s not just in your face. It’s something different, but I want you to rap for your life on this. Something more like a movie score, where you find your character. He did it! He didn’t leave one beat behind. 
He’s rhythmically gifted and quite the poet. He almost went into pro football but he chose music. He’s a very enterprising brother, doing all types of apparel. He was working in the visual artist community, in the videographer community. Any time I can showcase what it is that he got to share, I’m there. He’s not afraid to speak the truth. This verse is impressionistic. It’s like somebody is taking a really big brush and making a beautiful image, strong-arming it. It’s dope. I love it.
We did another song together on the Overload album, but it didn’t make the cut. The Japanese version of Overload has a song called “What Can We Do Now”, and it has Ambrose Akinmusire, Ayun, and me. I’d love for that to be heard stateside, because it’s definitely about what’s happening over here.
SILY: Why did you choose to have the proceeds for this record go to Critical Resistance?
GAM: I’ve always wanted my music to be a tool for the motion of people. It doesn’t stop with dance and rapping and singing and drawing. It begins with that. Where it ends up, the movement of people coming into their powers, truths that in order to have a more humane society, we are going to have to throw some of this bullshit away. The spoils of enslavement. We’ve got to get rid of those spoils so we can get to a more realistic place of folks being cognizant of the activities that they take a part in. Jails ain’t gonna help people feel like they’re part of the community. They cage people and endanger their lives and run the risk of ruining somebody’s mental, emotional, and spiritual state even if they did commit the crime they’re in there for.
There’s a sense that all crime is committed from a place of fear. Many crimes people are locked up for is just folks trying to find a way. I don’t see how more fear is going to rehabilitate. The idea that punishment leads to enlightenment. People in the public school system are taught about some of the baddest people that ever lived--mass murders. But they’re not the type of people held accountable. They’re who brought over the imprisonment systems from their failed nations.
I don’t believe in reform at all. Critical Resistance seeks to abolish prisons as we know them. I love that their resolve is so sure and bold.
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Photo by Antoinette A. Brock
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fyexo · 4 years
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200915 Lay Zhang Is Aiming To Bring Chinese Music To The World
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It’s been a few years now since Lay Zhang (also known as Zhang Yixing) released his debut EP Lose Control in 2016. Already a prominent star throughout Asia after debuting as part of K-pop boy band EXO back in 2012 and becoming a prominent television personality in China, Zhang – who is usually known mononymously as Lay – started down a path that year that would turn him into one of the biggest musical players in Asia less than half a decade later: in 2018, he broke onto the U.S. Billboard 200 album chart with his album Namanana, and this year he ranked No. 5 on Forbes China’s Celebrity 100 ranking.
This year, Lay dropped the duality of his Lit LP, split between two parts that arrived in June and July. A multifaceted release that spends its length blending modern musical styles with traditionally Chinese performance elements, Lay’s latest puts the emphasis on his roots. It extensively draws from classical styles and storytelling influences as he attempts to bring China to the world, as he says in the single “Lit” and relays through that song’s highly cinematic music video that sees Lay as a warrior facing down enemies amid a grandiose historic setting, inspired by the legendary general Xiang Yu.
The title track, and the album as a whole, is Lay’s attempt at expressing what he calls “M-pop,” or mixed Mandarin pop music, a genre he’s spearheading with the aim of bringing Chinese culture to global – primarily western – music listeners. Coming at a time when the world is more divided than ever, and China and the U.S.’s trade war continues, it may seem like a lofty aim. But Lay, although he shies away from discussing political ramifications on culture during a conversation with Forbes, has hope that bringing multi-cultural influences together will create greater understandings between one another and different cultures, as long as we take the time to listen to one another. Or, in his case, M-pop.
Tamar Herman: You released the long version of Lit in July, and saw much love for its blending of traditionally Chinese and modern musical elements. What was the inspiration overall for this album?
Lay: I just want to share Chinese culture, so I’m trying my best. Because I’m Chinese and I learn a lot from China, I think our country has a lot of good culture and good traditional instruments that maybe people don’t know. I want to promote that part, and let people know the very dope Chinese culture.
The sound of [the word] “lit” is very close to the Chinese word for “lotus.” I want people to know they can become what they want to be, no matter where they started, like a lotus flower that begins in the root and become beautiful flowers. I was also inspired by the cycle of life and wanted to have a Chinese perspective on it, so the first part of the album is more about the past and [tells] Chinese stories, using more traditional instruments. The second part, about the present and the things we deal with now, has more modern sounds and I worked with great producers like Scott [Storch] and Murda Beatz. Learning [and working with them] so I can mix different cultures on one track, for me it’s amazing work.  
Herman: You released an epic music video for “Lit” as the album’s first lead track, and you’re back again on Sept. 14 with a remix of “Boom” by Dutch-Moroccan DJ R3hab, which you previously released as a single. What about these two songs make them your perfect pairing for listeners to get drawn into your Lit album?
Lay: For “Boom,” I want everyone just to jump and forget. This year is really terrible, right? I want people to forget the bad things and ignore the bad things. Just make happy vibes themselves.
For the second half of the album, my original intention was to have “Changsha” to be the single. However, during the course of the release cycle, “Boom” was selected instead because it really represented a little more what’s relevant to this current climate that covid has brought to the world. I wanted to focus more on that.  I want everyone just to jump and forget. Putting aside the negativity of this year and focusing on positivity.
Herman: How did your creative process differ between Lit and prior releases?
Lay: If I play a video game, my level just goes up and up, right? So I want every year to go to the next level, ever year get better.
Herman: What type of video game character would you like to be?
I’m a warrior. If I can have the opportunity to go to another country, I’ll join the battle with [krumping originator] Tight Eyez (Ceasare "Tight Eyez" Willis).
Herman: Speaking of... I asked fans if they had any questions on Twitter. And while there were many great suggestions, I was surprised by how many wanted to know about your love of krumping. What about this form of dance is appealing to you and made you want to highlight it through “Lit”?
Lay: “Lit” has a very slow tempo. I just found jazz, hip-hop, etc. choreo didn’t match this song. Krump matched this song, so I tried to learn the [style]. In the beginning, it was very hard to do. I couldn’t copy the teacher, the motion, the action. I wanted to know why. The teacher was like, “You have to spend time in this kind of dance, then you can change.” I tried very hard to practice the feeling and vibe. I took maybe three months, and I’m just the beginning of krumping like a teenager. Level three in a game, maybe.
Herman: In “Lit” you say you are taking China to the world, and you’ve been talking a lot recently about how you’d like to spearhead M-Pop’s growth internationally. What do you hope to achieve?
Lay: I think Mandarin can mix with other countries’ languages to become one song, so that everyone can feel a Chinese vibe whether it’s English, French, Korean. It does not matter, I just want to mix a lot of languages, to create one track or music. If people can guess what English [songs] are talking about, they can guess what Chinese [songs] are talking about. It’s very easy to understand songs. The influence that I want to have isn’t about ranks or charts, but spreading Chinese culture to the world.
Herman: Typically, Chinese popular music is known in English as “C-pop,” with variant categories like Cantopop and Mandopop. Why do you feel it’s time to reframe the conversation as “M-pop”?
Lay: Because I think we need to mix something. It’s a global world. Also, I want music arrangements to have Chinese traditional instruments and other countries’ [instruments] put together. Traditional Chinese instruments, it’s better to use one style of instrument itself not with others. It’s a very unique sound, but you can [blend it with others] to make a new vibe.
Herman: You’ve been a top star in both the K-pop and Chinese music industries. K-pop’s having a moment in the west right now, how do you feel about M-pop’s potential?
Lay: Everybody, even me with “Namanana,” we just mix the languages, English with Chinese. But it’s basic, right? I think now M-pop has to change rules. From Lit, I saw the potential that we can reframe M-pop to another level. Let people know that it’s not just language mixing but culture mixing, instrument mixing, genre mixing. Letting people know that we have distinct instruments and unique sounds in China. I think there’s a potential to take M-pop to another level. I want to tell people, “This is Chinese music.”
Herman: You’ve been performing for many years now. How do you feel your approach to your artistry and performances have changed overtime? What have you realized is important to your craft?
Lay: For me, first of all, I think it’s all about music. If I can’t find the right music, I can’t make the performances very dope. Secondly, I think practice is very important. Practice is important if you want to make an amazing, perfect stage. So you have to spend the time practicing dancing and singing. Thirdly, I really respect my staff. Because we have these guys, they can make the stages, lights, speakers, and things for performers. Also, fans. Fans are very important. Without these four things I can do nothing.
Herman: This year’s hard on a lot of people. What makes you happy or hopeful in rough times? Any advice for people?
Lay: 2020 was terrible. But we have to trust tomorrow will be good. We have a very good tomorrow, a good future. So don’t lose confidence, don’t lose happiness. Don’t forget your dreams. Chase your dreams and be happy. And spend time with your family. If you want, you can get anything.
This interview was conducted in English and Mandarin, and edited for clarity.
source: Tamar Herman @ Forbes
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the-busy-ghost · 4 years
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Hi! I hope you're well - I was just wondering if you had any recommendations for interesting & engaging "introductory" texts about Scottish history (particularly between 500 and 1500 AD, although I know that's really broad!) No worries if you don't have any ideas or don't feel like answering such a vague question though! Have a lovely day :)
Hi! 
Apologies for the delayed response on this, I have no real excuse except being anxious that I wouldn’t be able to answer it perfectly. So I’ve decided to bite the bullet and answer somewhat imperfectly. This answer also depends on just exactly how much knowledge you already have of Scottish history, so if I’m being patronising and assuming too much ignorance, or alternatively if I’m not being clear enough, please let me know. 
The first thing I would always recommend before diving into serious literature is having a basic framework in the back of your mind. It may be an inaccurate framework but given that mediaeval Scottish history really isn’t taught or known to the same extent as say mediaeval English history, it is essential that you know where you are on a basic level, so you can both enjoy and learn from the texts that go into more detail. This basic background can come from almost anything- Braveheart and blatantly inaccurate novels aside. 
This is quite freeing because basically reading almost ANYTHING can be useful at first, and also first and foremost if you’re going to devote a considerable amount of time to something, you should work out how to make it fun and understandable.
I always had some idea of Scottish history since I was a kid but I got more into it in my late teens and I’ll be honest, though I probably don’t agree with anything in it pages now, one of the first books I picked up at the age of about sixteen was Neil Oliver’s ‘History of Scotland’ (released alongside the documentary series). Any basic ‘History of Scotland’ of that type (if it looks reasonably reputable) should give you a basic framework that you can build on- in the same way some people learn the kings and queens of England. Wikipedia could also work this way, though it may be more patchy. Other, slightly more reputable and in-depth but not really textbook, works of this kind include Stewart Ross’ “The Stewart Dynasty”; Alistair Moffat’s ‘The Borders’; popular (if coloured) biographies of people like Robert the Bruce, William Wallace, and Mary Queen of Scots (she’s post-medieval but still a relevant example); and even some of the older Victorian histories of people like Tytler (watch out though, they get weirdly ‘ethnic’ in their interpretations of some historical events and processes- some were convinced that there was a centuries-long feud between the “Celt” and the “Teuton”/”Saxon”). Even novels and songs- though sometimes highly inaccurate- can help with this, even if they’re Walter Scott. 
So I’m not going to be a purist and get snobby about Neil Oliver or Walter Scott even if I would never set store by any of the above works in an academic context (or even just a drunken argument). The first step in my view is literally to get a basic feel for what we *think* our history is (and enjoy learning about the different regions and cultures a bit!), and then you can set about dismantling all these stereotypes and misconceptions with better books. 
If you DO want a reasonably trustworthy general overview though, I believe that Fiona Watson has written one called “Scotland: From Prehistory to Present” and there must be a few others written by academics, it’s just been so long since I’ve read completely general histories I can’t really comment on this accurately.
Assuming you’re already aware of the above though and have a pretty good idea of what you’re dealing with then there are two next steps I would recommend.
The first are the series of texbooks/overviews that are often published by universities. Obviously since these are textbooks they are more introductory and general, but they do often cite academic articles and books that are more detailed. I have found a couple of series particularly useful and outlined the main titles below:
- The “New History of Scotland” series. This is a good series as most of the books were initially A5 sized or slightly bigger (so quick to read and easy to carry). Sadly this means that they do not employ footnotes/citations to any great extent, usually only providing a ‘Further Reading’ section at the end of the book. You can usually find old copies of these online for a reasonable price. This series includes, among others:
- “Warlords and Holy Men: Scotland, 80-1000”, by Alfred P  Smyth
- “Kingship and Unity: Scotland, 1000-1306″, by G.W.S. Barrow 
- “Independence and Nationhood: Scotland, 1306-1469″, by             Alexander Grant. (This one has a particularly good basic overview of diet, trade, e.t.c.)
- “Court, Kirk, and Community: Scotland, 1470-1625″, by Jenny Wormald
- “Power and Propaganda: Scotland, 1306-1488″, by Katie Stevenson (note- the previous titles listed were written in the 1980s and 90s, but this one was added to the series in 2014, so it’s more up to date in some ways though it’s up to you whether you think it’s more persuasive).
- The “New Edinburgh History of Scotland” series. These are bigger books than the previous series and are complete with on page citations and bibliography. They tend to all come in matching blue jackets, and I thought that secondhand copies of these would be slightly more expensive than the above but a quick search on amazon has surprised me, since a copy of Oram’s “Domination and Lordship” is several pounds cheaper than Grant’s “Independence and Nationhood”. Anyway these are slightly more in-depth than the above series, but work very well in tandem with those shorter books. The series includes:
- “From Pictland to Alba: 789-1070″, by Alex Woolf (it is a very long time since I read this, so I have to admit I have very little memory of its contents but I put it here for balance)
- “Domination and Lordship: Scotland, 1070-1230″, by Richard Oram (good used along with Kingship and Unity)
- “The Wars of Scotland, 1214-1371″, by Michael Brown
- “The First Stewart Dynasty In Scotland, 1371-1488″, by Stephen Boardman (full disclosure I have not read this one yet, but I have read some of Boardman’s other books).
- “Scotland Reformed, 1488-1587″, by Jane E.A. Dawson
- The “History of Everyday Life” series. These books are collections of essays on some selected aspects of day to day life in medieval Scotland and can provide some interesting reading and insights. Only one of the books in this series is relevant to our time period, but it may be worth checking out the other three since some customs and behavioural patterns from more recent times are worth comparing with the past. The volume covering the medieval period is “A History of Everyday Life in Medieval Scotland, 1000-1600″, edited by Edward Cowan and Lizanne Henderson.
- The “Northern World” series. This is not a series I’m particularly familiar with outside of some light reading while at university (mostly because these books can be really expensive compared to the previous ones mentioned). HOWEVER not only do they range across northern Europe (not just Scotland) but a couple of them help to balance out the Lowland focus which sometimes predominates in the above general overviews. There are quite a few interesting books in this series (identifiable usually by their purple jackets) but some that I know of include:
- “Kinship and Clientage: Highland Clanship, 1451-1609″ by Alison Cathcart.
- “The Lordship of the Isles”, edited by Richard Oram (this is a collection of essays)
There was also an older “Edinburgh History of Scotland” series published in the 1970s- some of the authors were better than others and they’re a bit dated now but they’re still a useful starting point. The series includes:
- “Scotland, the Making of the Kingdom”, by A.A.M. Duncan
- “Scotland: The Later Middle Ages”, by Ranald Nicholson
There are lots of other book series out there- the St Andrews Studies in Scottish History or the publications of old literature by the Scottish Text Society for example but I think I’ve listed enough to be getting on with. There are also a few books that I think make good general overviews (or are collections of interesting essays) that aren’t in a particular series:
- “Women in Scotland, 1100-1750”, edited by Elizabeth Ewan and Maureen M Meikle (this is a collection of essays rather than an overview of women’s history but it’s a good starter, and great if you only have fifteen minutes to spare)
- “Glory and Honour: The Renaissance in Scotland”, by Andrea Thomas (a beautiful coffee table book with lots of pictures of art and architecture). It starts in 1424.
- “The Kingdom of the Isles: Scotland’s Western Seaboard, c.1100-c.1336″, by R. Andrew MacDonald
- “The Black Douglases”, Michael Brown
- “Robert the Bruce’s Rivals: The Comyns, 1212-1314″, by Alan Young
- “The Northern Earldoms: Orkney and Caithness, 870-1470″, by Barbara E. Crawford
- “Scottish Independence and the Idea of Britain: From the Picts to Alexander III”, by Dauvit Broun
- “Virgins and Viragos: A History of Women in Scotland From 1080 to 1980″, by Rosalind K Marshall (Marshall has also written some good introductory overviews on Scottish queens, on Mary of Guise, and on the women around Mary, Queen of Scots, though these last two are sixteenth century).
- Any of Alexander Fenton’s books on agricultural history- they don’t deal exclusively (or even mainly) with the medieval period, and they’re not the most up to date but they are still useful handbooks.
There are also lots of shorter academic articles on JSTOR and elsewhere, as well as online networks for things like Scottish Women’s History and Environmental History. 
The second step I would recommend is using biographies- biography is not always the most useful form of historical writing, but they do have their own benefits. For this time period most of the full book-length biographies of individuals are royal figures (though lots of other people are covered in academic articles).
For some figures it’s wise to have several biographies on hand since they’re well-known or controversial- for example, for Robert Bruce, you could start with an older bio like G.W.S. Barrows “Robert Bruce and the Community of the Realm of Scotland” and then supplement it with a more modern biography like that written by Michael Penman or by Colm McNamee. In other cases, a historical figure may not be quite so well known so jumping straight into an academic biography of them, which hops around and analyses expenditure and parliaments, may be a bit confusing- for example, for King James IV, it may be useful to start with R.L. Mackie’s (admittedly dated and a bit romantic) biography to get an idea of the structure of the king’s reign before diving into Norman MacDougall’s more scholarly biography.
Other biographies/overview of royal reigns include Richard Oram’s works on David I and Alexander II; D.D.R. Owen’s bio of William the Lion (this is an interesting one, since it’s written by a French professor rather than a straightforward historian so there’s a big focus on the importance of literature); Andrew Fisher’s bio of William Wallace; Stephen Boardman’s survey of the reigns of Robert II and Robert III; the two biographies of James I written by E.W.M. Balfour-Melville and Michael Brown; Christine McGladdery’s ‘James II’ and Norman McDougall’s ‘James III’; and Annie Dunlop’s biography of Bishop Kennedy.
Lastly once you feel you’ve got a bit of a grip on some secondary source material (or really, as soon as you like) I do recommend checking out some of the primary source material as soon as possible. A LOT of primary sources of medieval Scottish history were printed during the Victorian and Edwardian periods and now thanks to digitisation projects many of them are available online- from chronicles like those of Melrose, John of Fordun and Andrew Wyntoun (and useful English chronicles like Lanercost and Scalachronica); to acts of parliament and accounts of royal expenditure (Treasurer’s Accounts; Exchequer Rolls); to letters of the nobility and poetry. Personally, I find that you learn as much from working directly with the words of historical figures themselves, even if you’re untrained in source handling, as you would from a whole host of textbooks (also it lets you get used to the languages- Scots is straightforward enough to pick up even if you don’t have Latin or Gaelic). If you ever have trouble finding these let me know and I might be able to point you in the right direction. 
It is also worth bearing in mind that sixteenth century sources may shed a lot of light on earlier periods.
Anyway hopefully this helped but if you have any other questions please let me know and I will endeavour to reply quicker this time!
*One last disclaimer, the above list of texts is based purely on my own experiences and what my brain could remember quickly- it is not to reflect a bias or to promote these texts above the works of other historians. It is also not an exhaustive or comprehensive list (and some dearly beloved books are not included- but I tried to stick to simple overviews/textbooks and a few other interesting surveys).
And people are very welcome to add to this since there’s lots I’ve missed!
Lastly try to have a bit of fun with it. Some of these books are very informative but can drag at times- on those occasions I highly recommend taking a break and trying to get outside to a hill or a castle, or if you can’t do that try putting an old ballad on on youtube, and physically look at or listen to the thing you’re studying.
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jasonbehrs · 3 years
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something that i already know
by airauralintensity (aka me, jasonbehrs!)
As soon as Siwon says it, he can see the way so much clicks into place in Shindong’s astute, masterful, beautiful mind… But not even Shindong can draw the correct conclusion when he isn’t provided with every relevant fact. If he could, they would have cleared the air so long ago.
fandom: kpop, super junior characters: siwon, shindong, eunhyuk ships: shinwon, sihyuk genres: friendship, angst, romance themes: slice of life, one-sided crush, angst with a happy ending setting: high school into college; metro seoul area, south korea word count: 12.7k
read it below or on ffnet, aff, wattpad
A/N (05/01/2021): Hi, ELF! This is my first Super Junior fanfic :) Title comes from the Backstreet Boys song of the same name; cover image is made by me; and if you recognise anything in the fic, that means I don't own it. Happy reading!
~~~
It's never easy being the new kid in school, and Donghee is no exception. He has no friends; he has to play a lot of catch-up in the first few weeks because where his old teachers left off doesn't match up to where his new teachers are picking up; and he has to spend precious emotional energy acclimating to the culture and social politics.
Add in the fact that it's senior year, and he's at the most elite academy in Gyeonggi on a scholarship—he's seen this K-drama before. He knows how it ends.
"Hey! You're the new kid, Shin Donghee, right? Can I sit here?"
Admittedly, Tall, Bright, and Handsome doesn't usually come up to bully the new kid with such a charming smile on his face in the script, but Donghee still knows his role.
"Yeah, got it. Sorry. Didn't know this was your seat," he mumbles as he hurriedly packs up his lunch and books. He's not trying to make waves on his first day, thank you very much.
"No, no," T.B.H. puts out his hand to stop him from putting his planner away, and Donghee is shocked into stillness from the glaringly off-script performance that the other is putting on. "I meant, like, can I sit with you? I didn't know if you wanted to sit alone or not; but if you wanted the option for company, here I am."
Another winsome smile graces the other's face, and Donghee's eyes narrow. "Are you sure you wanna sit with the scholarship kid?" he asks sardonically. He isn't trying to get away anymore, but he's still not convinced he's welcome here.
Tall, Bright, and Handsome's light dims just a bit, but his pout is still effortlessly charming. It's almost offensive. "Come on. We're not like that here."
Donghee looks no further than just above the other's shoulder and sees a group of girls whispering and giggling in their direction. He looks back at the well-meaning but clueless hero of the story and raises an unimpressed eyebrow. T.B.H. looks over his shoulder to see what he saw, and he at least has the grace to be embarrassed when he turns back around.
Donghee is prepared to give a half-conciliatory, half-I told you so parting glance, but the other student keeps talking. "I'll admit, that's not a good look for us," he says with a grimace, "but would you believe me if I said they were acting like that because of me and not you?"
Considering he's been calling the guy 'Tall, Bright, and Handsome' in his head this whole time, yeah, he could believe it.
Hoping against hope that he isn't about to regret this, Donghee sits back down at the lunch table. T.B.H.'s smile is so bright, Donghee thinks he saw one of the guy's front teeth actually sparkle. "I'm Choi Siwon," he introduces as he extends his hand. Donghee shakes it and wryly thinks to himself that of course T.B.H.'s real name means 'cool.'
~~~
To nobody's surprise, Siwon is part of the popular crowd, which Donghee determines by the look on everyone's faces when Siwon invites him to sit with his friends at lunch the next day. The guys weren't exactly welcoming, but they were polite. He doesn't know whether maybe Siwon said something to them or not about being nice to the new kid; but honestly, he'll take it. He's still not entirely convinced that this is the setup for some sort of 'Carrie' situation or something. It's senior year after all, so prom is coming up.
It isn't until Siwon invites them all over to study together that things shift.
"Bro, what the fuck," Kangin says out of the blue, causing everyone to look up and causing Donghee to drop the pencil he was playing with. Kangin is staring at him—more specifically, his hand—and everyone's attention turns to him instead.
"Uh," he intones, not sure what is happening here and suddenly feeling the urge to look up.
"Do that again," Kangin demands, gesturing at Donghee's hand. His fingers twitch involuntarily at the command, but he genuinely has no clue what he's meant to do. He looks to Siwon with a clear plea for help on his face.
"Youngwoon, what gives?" Siwon asks, using Kangin's real name to snap him out of whatever is captivating the varsity baseball captain.
"Donghee was legit balancing a fucking pencil on his finger!" Kangin exclaims while gesturing helplessly at Donghee's hand.
Donghee understands immediately. "Ah, sorry. I forgot I did that." Without further prompting, he balances his pencil on its eraser at the tip of his middle finger. He moves his hand side to side for fun, showing off how the graphite tip stays roughly at the same point in the air all the while. With a flick of his finger, he launches the pencil up and catches it in mid-air, smoothly transitioning to end with a bow in his seat with the same gesture.
He looks up to find four slack-jawed teenage boys, and he brags, "I can do that with basically anything I can lift."
All pretenses of studying are summarily discarded in favour of testing this theory. Donghee easily balances notebooks, folding chairs, and even a curtain pole (dismantled from the window by an excited Heechul and reinstalled by an amused Siwon).
Once the others are thoroughly entertained, they don't want to go back to studying. Alas, they are at Siwon's house; as rich as he is, he doesn't have any convenient distractions (which Donghee surmises is the point of going to Siwon's to study in the first place). Kibum's the one to recommend just going to the local convenience store and walking around for no reason, which feels a lot like acceptance to Donghee.
In fact, it isn't long until he finds himself hanging out with some of the guys sans Siwon.
Kibum hands Donghee part of his deck for some trading card game he's never even heard of before, much more played; but after two rounds and a gradual learning of the rules, Donghee is now locked into a 1v1 match against Kibum, having just killed Heechul's last creature card.
"You sure your name's Shin Donghee and not Hee Shindong?" Heechul mutters as he throws his cards on the table. "Like, what can't you do?"
Donghee isn't paying him any attention then, instead supremely focused on using his impromptu green-black strategy to beat Kibum with his own deck.
So he's surprised when the next day Heechul slaps his back and says, "Yah! Shindong! I've been calling you for like five minutes!" as he falls into step with Donghee on his way to school. "Run me through the lymphatic system one more time." Donghee obligingly pulls out his notebook and helps his friend cram for their biology quiz that day, but his mind is somewhere else.
He's never had a nickname before, and he likes it.
~~~
Siwon is nothing like what he expects.
He spends most of his free time with the guys now, and he keeps coming back to that realisation.
Siwon is touchy. Like, more affectionate than a dog or a baby could be—combined. Kibum may be the youngest, but Siwon is the baby, and no one seems to mind treating him as such. Shindong is a man who likes his personal space, but Siwon's touches are so genuinely friendly and joyful that he finds himself readily inviting them into his bubble.
Siwon is expressive. Casual observers would never notice more than his charming smile and runway-ready neutral gaze, but he and the guys know better than that. Siwon talks with his whole body. His amusement is measured in congratulatory high-fives, and his stress in head shakes and tapping fingers. Shindong can always tell what he's thinking and feeling.
Siwon is down-to-earth. He's the richest in their friend group by a whole social class, but nothing about him plays on Shindong's financial insecurities. In fact, the first time Shindong hosted his friends over, the power went out, and Siwon was the only one who happened to recognise the strategically placed candles and matches around the living room. He wordlessly helped Shindong light them back up and suggested they take advantage of the dark to tell scary stories. Shindong will always be grateful for that.
Siwon is single. Sure, he doesn't give off playboy vibes, but he is certainly the poster child for monogamy. Shindong would not have been surprised to meet a loving, long-term girlfriend who is just as angelic as Siwon is and somehow twice as gorgeous, but no such person exists. Shindong has seen girls confess to Siwon literally once a day since they became friends (the record for a single day is currently four confessions), but Siwon graciously yet firmly denies them all.
Siwon is his best friend. It starts with study sessions, which turn into de-stress movie nights, which turn into sleepovers—and before he knows it, people from teachers to strangers start considering them a package deal. Shindong doesn't mind, of course. Siwon is less intense when he's not around the others, more introspective and goals-oriented—and Shindong can relate. It's great to have a friend who gets both sides of him and around whom he can comfortably show both sides. He didn't have one at his old school, but he's glad he has someone now.
~~~
"Want the rest of my pork?" Kibum offers Shindong at lunch. "Nah, I don't believe in cannibalism," Shindong says, even as he begins transferring the meat over to his own lunch tray.
The table is silent for a moment, but luckily he places his tray down just as Kangin decides to lay an open-palm slap to his back, laughing uproariously. Heechul is legitimately choking on his own food, and Kibum gives him a nod with a grin to acknowledge the joke.
Shindong feels pretty pleased with himself—he just knew that joke would land—and he glances over at Siwon to see the other's reaction. To his surprise, Siwon is staring at the table with a furrowed brow instead. Shindong frowns but lets it go. It's too bad Siwon was too busy thinking to hear his joke.
After lunch, the two of them only have the last class of the day together, and he notices Siwon still seems to be in a sour mood. Shindong racks his brain trying to remember if Siwon had a test he was worried about today. Maybe he feels like he failed?
"Hey, man," he calls out to Siwon after the final bell rings. "Wanna get some gyoza? On me."
Siwon's face brightens for the first time since lunch, and Shindong knows he made the right call; but in the time it takes for them to head to the Japanese place near his house and settle into a booth, Siwon's mood is dark again.
The table is quiet as Siwon plays with his food, making no move to eat any. Shindong stuffs two fried shrimp pieces in his mouth as casually as possible. Don't ask him why, but he thinks talking with his mouth full will help break the ice. "Hey, you good? You've been in a mood all day."
Siwon briefly meets Shindong's carefully neutral stare then averts his eyes to the table. "I don't like it when you do that," he mutters.
Shindong freezes with the next set of two gyoza halfway to his mouth. "Eat? Sorry man, I'm very diligent about my eat-anything-in-sight diet. If I stopped being fat, the girls at school would be all over me instead of you, which would disturb the balance of our friendship." He ends with a bite of dumpling and a cheeky grin.
"No, that! The self-deprecating jokes about your size!"
They both freeze. Siwon did not mean to blurt it out like that.
He deflates a little in his seat in embarrassment. "I don't like them. They make me sad," he continues in a much quieter tone.
Shindong did not see this coming and, frankly, has no idea how to react. "Um, you want me to stop being fat?"
"No, I want you to stop drawing attention to it. It's like you have to make a mean joke about your size first before anyone else can. No one in the group would ever be mean to you about it; I wouldn't let them," Siwon states adamantly. He means every word. The second one of the others crosses a line, he wouldn't hesitate to make sure they never, ever did it again.
The words are out before Shindong fully thinks about them. "You can say the word 'fat,' Siwon. Newsflash, I am fat. I'm as fat as you are tall. It's just something about me. I won't hesitate to make a fat joke any sooner than Heechul would hesitate to make a bi joke." His frustration surprises even himself, so he takes a sip from his water to calm down.
Siwon takes that as his cue to plead his case, and pleading he is. "It doesn't bother you that that's the part of yourself you decide to play up for the jokes? You're a great dancer, and you're quick on your feet—literally and figuratively! You'd be so great at, like, slapstick or something!" Shindong snorts, but Siwon forges on. "I just don't like seeing my friends laugh at you for… for being fat when you're so much more than that."
Shindong doesn't say anything, just lowers his head, and Siwon sighs. "You want to make a fat joke, don't you." "AND I'M SO MUCH ALREADY—okay. I'm done, I'm done."
Siwon withers and lets his head drop to his arms on the table. Shindong laughs, all tension dissipated. "So, this is clearly bothering you a lot," he needlessly observes. Siwon nods his head without lifting it up, and Shindong takes pity on him. "Alright, I'll try to tone it down. Or maybe I'll do like you said and just sprinkle in other kinds of jokes. No one likes a one-trick pony anyway."
Siwon peeks up through his eyelashes, and Shindong nods faux-sagely. "And maybe in the future when I'm rich and can afford therapy, I'll find out you're right and my brand of humour was simply a defense mechanism for some deeply internalised fatphobia all along. Then you could say, 'I told you so.'"
Siwon shakes his head resolutely. "That's not something I want to be right about."
Shindong shrugs in a 'suit yourself' manner and goes back to eating, and Siwon follows suit.
After a stretch of companionable silence, Siwon speaks up again. "I knew you're fat—I know it—but I don't think I understood that being fat was a part of you. Thank you for giving me a chance to understand you better. I thought I was intervening in something unhealthy, but I see now that that wasn't as righteous as I thought it was." He pauses then and doesn't continue until Shindong looks up to meet his eyes. "I'm sorry if I came off as insensitive or, worse, embarrassed. You don't embarrass me, Donghee."
Shindong looks back down at his food, unsure of what the emotion is in Siwon's voice as the other said his real name. "I know, but thank you."
~~~
Shindong is everything he didn't know he needs.
As the school year progresses, Siwon finds himself feeling lighter and lighter, and he can trace all of his growing juvenescence directly to his new best friend.
Shindong values hard work. The other guys are great at their own things, but they're missing that fire under their butts that makes them actually try. Shindong doesn't just put in the effort; he also appreciates the challenge and sees it as an opportunity instead. Shindong empowers Siwon to embrace his own challenges in a way that he didn't feel like he could do until Shindong came around.
Shindong tries new things. Siwon is a rather adventurous guy himself, but that's not what he means. Shindong picks up and drops hobbies as quickly as Heechul switches partners, and he's amassed a great wealth of knowledge as a result. He's dynamic, and Siwon could never get bored of the way Shindong talks about his niche interest du jour.
Shindong speaks his mind. His friend group is made up of some pretty lax guys, which is great until some of them get into an argument. They never really talk things out, instead waiting until it's no longer annoying to be in the same room and just choosing to let it go. When Shindong is offended, you'll know. When he's wrong, he'll admit it. It does lead to some tension at first, but they all end up better for it as a result, and Siwon wishes he could be that brave.
Shindong trusts him. When Siwon was planning on hosting the guys over at his house for Kangin's birthday since he has an indoor pool and hot tub, Shindong shyly asked him to think of something else because he's afraid of water. That was a request Siwon was more than happy to oblige if it meant including Shindong in the festivities.
Shindong doesn't need him to be 'on' all the time. One time Kangin invited himself over to one of their hangouts—he and Shindong had planned to read the newspaper together to catch up on current events and financial affairs—and he got bored and complained that they should do something more fun. Before Siwon could worry Shindong felt the same way, the other had sassily defended their brand of bonding and just told Kangin to leave if he didn't like it. Siwon loves the fact that Shindong cherishes that quiet time together as much as he does.
Siwon thinks he maybe just loves Shindong.
~~~
Shindong slides into the seat beside Siwon in their first shared class of the day just as he slides an envelope across Siwon's desk. The envelope happens to have the same seal as the university into which Siwon is planning on matriculating. They offered him a spot on the varsity basketball team and sponsored on-campus living, and Mama Choi didn't raise no fool.
Siwon raises an eyebrow in interest, and Shindong simply points at the envelope with his chin. Siwon takes that as the invitation it is, and he pulls out the letter inside.
Congratulations, Donghee! You have been accepted…
Siwon whips his head up to look at Shindong, who has the largest shit-eating grin on his face.
They need to talk about this. Now.
"Seonsaengnim!" Siwon abruptly interrupts the teacher's lecture with his hand straight in the air. He ignores all the eyes that turn to him in shock. "Donghee isn't feeling too well. Can I take him to the nurse?"
All attention shifts to Shindong, who improvises in stride. "Ughhhhhnnnn," he groans pitifully, slouching over on his desk for added effect.
"Very well, then," the teacher waves off. Siwon stands up and bows hastily before half-guiding, half-dragging Shindong out the door. "Awwwwwwgggggghhhh," Shindong keeps up the ruse as he stumbles out, affecting delirium.
Once they're out of sight from the doorway, they run down the halls until they reach the bathroom, trying without success to contain their giggles along the way. "Couldn't give me a head's up back there?" Shindong teases as he sits on the edge of a sink, lightly panting.
"Couldn't give me a head's up that you were applying to my university?" Siwon punches Shindong's shoulder, acting affronted, but he swoops in for a bone-crushing hug immediately afterwards.
Shindong awkwardly returns the hug. (Siwon pinning his arms to his side means he can only reach Siwon's elbows.) His voice is quiet when he says, "My hopes were already up. I didn't want to get yours up, too."
Siwon gets it, so he lets it and Shindong go. The excited smile stays on his face, though. "Are you gonna go?"
"I don't know, man. They gave me a scholarship, but that just brings the tuition cost down to the same price as the local uni. I'd still have to get a job or a work-study to help offset the costs; and on top of that, I'd be so far away from home…"
"... But you're willing to go through all that just to keep going to the same school as me?" Siwon offers cheekily, squashing that incredibly light feeling in his chest with humour.
Shindong rolls his eyes. "I was gonna say, 'But all that is doable, and hey, at least you'll be there for me to mooch off of,'" he says with an attitude, but the corners of his lips quirk up at the end.
"You're right. I'll be there for you," Siwon affirms. Something about the serious way he said that makes Shindong feel like he's missing something, but he brushes it off. He was a little nervous about going so far away for school, but he has a feeling he'll be fine with Siwon around.
~~~
Siwon sidles up to Heechul, who casually throws his arm around the newcomer's shoulders despite the height difference. "How's my favourite wallet doing?" Heechul teases.
They're the only two to share this free period, and they often spend it outside, chatting, listening to music, doing homework, whatever. This time, Siwon finds Heechul leaning against a wall and people-watching.
"What's your read on Shindong?" Siwon asks as casually as possible. He's hoping he doesn't need to explain further, and luckily Heechul doesn't need clarification. Heechul knows what Siwon means.
He also knows: "Give up before it's too late."
Siwon's hopes plummet. "Really?" he asks, face and voice coloured by obvious disappointment.
Heechul looks over at Siwon and realises it is, in fact, too late for the other. His heart clenches for his long-time friend, and Heechul finds himself equivocating out of a need to assuage him. "Maybe I'm wrong for once. Like, what do I know? I'm just 18."
Siwon tries on a bright smile. "Yeah, maybe. There's gotta be a first time for everything, right, hyung?"
But now is not one of those times, and Heechul knows it. "Don't say I didn't warn you, though." He tries on a reassuring grin and a friendly knock on Siwon's shoulder.
He knows it looks more like a grimace, and he knows Siwon is ignoring that. He just doesn't know how long it'll take before Siwon's heart breaks.
He may not have had Heechul's fullest support, but Siwon has spent Too Many days thinking about this to go back now. It took long enough as it is to even get to this point; but if he's being honest with himself, he knew it was only a matter of time.
He finds his opportunity on their way home from school the week before showtime.
"Shindong, wanna go to prom with me?" "What?"
Shindong gives him a look so incredulous, Siwon is reminded of one of those dogs with smushed faces. The thought makes him smile even though his heart feels simultaneously too heavy and too fast.
"Should I, um, should I repeat myself?" he asks while trying to hide his shaking hands by grabbing onto his backpack straps.
"I'm just… so confused. Didn't Kwon Boa ask you to prom yesterday? Did she dump you already? What did you do?!"
In truth, Siwon turned her down as soon as she asked him, but saying that now would be unhelpful for his purposes.
"Even if you did somehow fuck up your chance with the prettiest, most sought-after girl in school, you still could ask literally anyone to be your date? Why would you go the friend route for prom? It's not even a valid Plan Z," Shindong continues.
Siwon pouts. "If I can ask anyone, why can't I ask you?"
Shindong is unimpressed, and Siwon wavers in his conviction. He wasn't originally going to tell him, but…
This could be it. This could be his chance to confess to Shindong.
There's always the chance that Shindong would reject him, of course. He'd probably use Siwon's own technique against him, too; that would be pretty pathetic. Then he'd promise that this wouldn't affect their friendship, except it will because he'll be too awkward around Siwon; and slowly but surely, he'd pull away from the other until Siwon finds himself at university, alone and painfully aware of how close he is to his best friend who is completely out of reach—oh God, of course he can't confess to Shindong.
The aforementioned snaps his fingers in Siwon's face, and Siwon resolutely sticks to his plan. He throws a casual arm around Shindong's shoulder and forces them to keep walking. "I heard from the seniors before us that prom's more fun with friends anyway. Why go with some girl I don't know when I can go with you?"
"Siwon, I know you're lying to me."
"What?" Siwon's step falters.
"We're best friends, of course I know." Besides the fact that Siwon is unconsciously telegraphing, the other guys have found dates already. Siwon would have brought it up with all of them if he really wanted to go with friends.
Siwon bites his bottom lip, waiting for whatever fallout comes from his decision to open this can of worms.
Shindong sighs and slips his hand into Siwon's. He's learned touching helps. "It also means I know when to let it go. I'll go to prom with you, flower boy."
Siwon cannot contain himself. "HE SAID YES!" he yells into the sky as he runs around, hooting and hollering in unadulterated jubilation.
Shindong shakes his head with annoyed fondness as he continues walking home, expecting Siwon to catch up with him once he's tired out.
(And it turns out Siwon's seniors were right: prom is a lot more fun with friends.)
~~~
Their final hurrah takes place at the height of the summer. Between family vacations and Siwon moving in early for the summer basketball bootcamp the university is making him attend, it's the only time they'll have where all five are available before the fall comes and scatters them away.
Siwon's family lets them borrow one of their cars for the day, and they make the maknae drive them all the way to the beach as early as they could go (read: as early as Kangin could wake up). The day progresses with plenty of frisbee on the sand, frolicking in the sea, and flirting at the food shacks. The ever present feeling that this may be the last time all of them are gathered together in a long time is never lost on any of them, so they make the most of every moment, earning them unheeded glares from the lifeguard on duty.
Sunset finds them around a small bonfire near the surf. To no one's surprise, Kangin managed to lift some beers from his parents, so they drink as they talk and watch the embers float up into the gradually darkening sky. Gone with the sun is the high energy from the day, leaving behind a calmer and more contemplative atmosphere.
Heechul speaks up after a comfortable stretch of silence. "So, I already know what those two fogies are doing come fall," he says while pointing to where Siwon and Shindong sit on opposite sides of the fire, "but what about you guys?" he directs towards Kangin and Kibum. "All I know is that college really isn't the cards for you."
Kibum ducks his head shyly. "I, uh, made it past the first round of auditions at MS Entertainment."
"WHAT?!" "Like, the MS Entertainment!?" "Um, when was this?!" "You're thinking of joining the entertainment industry?"
The last question surprisingly comes from Siwon, and the other guys shoot him a look. Siwon lifts his hands up in defense. "It's just that, Kibum, I've never even heard you sing."
Kibum shakes his head. "No, I wanna be an actor. I realised it after I missed out on auditions for the school play. For just a few hours a day, it'll be nice to pretend I'm not me. I think I could be really good at it if I got the chance." The guys nod, knowing very well how Kibum struggles to be and express himself without pretense.
"I can't wait to see you on TV one day, man," Shindong says with a smile. "If you book a commercial, I am buying one thousand units of whatever you're selling. I don't care what it is. I'll end up with a thousand pairs of jeans if I must," Kangin jokes.
Kibum grins appreciatively and nods towards Kangin in turn. "What about you, then?"
Kangin puffs out his chest with pride. "I'm gonna start at a baseball development camp out in Gangwon. If I work hard and play my cards right, I might get recruited at one of the farm teams in the Futures League. It would be awesome if I got into one of the Seoul clubs, just so I could stay close to home."
Shindong smirks. "Okay, let's say you had to go to a southern team. Which one would you pick? 1, 2, 3…"
"The Dinos."
Heechul barks out a laugh. "If you think I'd go all the way to fuckin' Changwon just to see your sorry ass… Well, a bitch might."
Siwon quirks an eyebrow. "Oh, yeah? What is the self-proclaimed biggest star in the universe, the Great Kim Heechul, doing instead?"
"Whatever it takes, man," Heechul says with a snort. "I'll get some part time jobs here, travel a little there… Just figure life out as it comes."
Kibum nods, well-acquainted with Heechul's myself-against-the-world attitude. Shindong, for his part, tries his best to offer a smile without looking pitying. He can't help but feel like Heechul is making his life harder for himself than it has to be—but now's not the time, and neither is he the person, for that conversation.
Kangin counters, "You might find yourself in Gyeongsang anyway then, hyung."
"Yeah; and if you were paying attention to me, you would have known I acknowledged that already, dumbass. Clean the wax outta your ears."
"How about I clean your clock instead!" Kangin yells as he launches at Heechul, and they start wrestling in the sand.
Shindong watches, reveling in the familiarity of the moment, and thinks about how close he was to not having any of this. "When I first moved here, I was pretty sure I was gonna spend the school year alone." The words come out of his mouth without prompting; but now that they're out, he finds he actually has something to say.
The boys turn their attention to him, Kangin and Heechul halting their bickering and sitting in place where they found themselves on the sand, and Shindong continues. "You know. I was the new kid, I was only able to afford the school because of my scholarship, I'm fat. If life were like a TV show, that wouldn't have been the most successful combination of factors." He quirks the corners of his lips up in a wane half-smile, then turns his gaze from the fire to the earnest faces of his friends. "But I met you guys, and nothing happened like I thought it would. Thanks for giving me a chance."
"Aish," Kangin says as he gets up and moves back towards the group. He stops behind Siwon and places a hand on his shoulder. "Don't thank us; thank this guy. He texted us one day all, 'I invited the new kid to sit with us at lunch tomorrow. Try not to be dicks.' If it weren't for him, I probably would have pushed you into the lockers once or twice just for fun."
"I probably would have helped," Kibum says with a shrug.
"I probably would have filmed it," Heechul pipes up.
Siwon waves their comments away with good humour. "You guys aren't that mean. Maybe you would have slapped the books out of his hands, but that's really it."
"Maybe we aren't mean now, but that's because you made us soft. Remember when I made Go-seonsaengnim cry in freshman year just with a glare?"
The conversation readily turns to their early high school memories, which Shindong would normally have loved hearing about, but his attention is elsewhere.
The dim light afforded by the fire casts impermanent shadows on Siwon's face that alternately highlight his boyish features and give him the appearance of a grown man. Shindong watches this and feels like he's seeing the present blurring into the future before his very eyes, and he finds it especially poignant that Siwon is the focal point of that illusion considering his role in changing Shindong's own life.
He's going to miss his friends and the gentle feeling of home he managed to cultivate for himself among them, but at least he won't have to miss Siwon.
~~~
College is harder than Shindong thought it would be, but it's easier in other ways too. He plays the first semester safe (he's not trying to get his scholarship revoked before the first year is over, thank you very much); but when the second semester comes around, he knows what liberties he can take with himself to have more fun without sacrificing his studies.
So when the volleyball team holds a party and invites the basketball team, Siwon offers his plus one to Shindong, and he double-checks that he doesn't have a shift at the campus mailroom the next day… well, he doesn't say no.
It isn't the first time he's gotten drunk (there's no way you could be in Siwon's friend group for a year without sustaining at least one hangover); but after a whole semester and winter of working and studying practically non-stop, the lack of inhibitions feels better than it ever had before.
Siwon is far more drunk, however. He is as clingy as ever, introducing Shindong to all of his basketball friends (and even some strangers) and constantly slurring "I miss youuu" into his ears.
He would hate it except he loves it. He misses the guy, too, after all.
"Shindong! Let's go see the stars!"
Siwon drags Shindong to the backyard of the house holding the party, no less noisy but definitely less crowded. He happily settles down onto one of the logs around an unlit bonfire and pats the space next to him in a clear invitation. The happy grin on his face is replaced with a pout when Shindong decides to sit on a different log just to tease him, but that doesn't stop him. Siwon just moves to Shindong's log and cuddles into his friend's side, enjoying the warm feeling spreading inside him. Is it the beer or the company? In any case, it's the most cosy he's felt since school started.
Siwon chances a glance upwards at Shindong. Not for the first time, he cannot help but notice how soft the other looks in the moonlight. His cheeks always look so fluffy and pinchable, but Siwon has never wanted to hold Shindong's face more than he does right now.
When he notices that Shindong notices that he is looking at him, Siwon is just drunk enough to hold his gaze.
Siwon is just drunk enough to move his face forward, as slow as the movement ends up being. Maybe that's because he's drunk, too. He's definitely not sober enough to stop.
Then he's drunk in a different way, because Shindong is the one to bring their lips together.
The moment is perfect, even more perfect than Siwon had ever dreamed of—and oh, did he dream. In the back of his mind, he thinks about going to church three times a week from now on to thank God for this blessing.
He wants to deepen the kiss, he wants to lean closer, he wants to touch—but just as he thinks about doing any of that, Shindong pulls away with a giggle. Siwon laughs too, giddy and uninhibited as he is. He reaches for Shindong's hand and wonders how long the other has felt the same way as he did.
The hand for which Siwon had been reaching escapes to throw a bro-y, friendly punch into Siwon's shoulder. Siwon is mildly confused, but nothing can wipe the smile from his face now. He just kissed Shindong! Is right now too soon to be calling each other boyfriends?
"That wasn't so bad, right?" Shindong says as he looks back up at the sky.
Uh, right. Understatement of the century. That was amazing, stupendous, earth-shattering, future-defining—
Shindong keeps talking. "Not exactly how I thought that was gonna happen, but there's no planning for these sorts of things anyway. What's college for if not experimenting and cutting loose?"
Siwon's lovestruck internal monologue stutters to a stop. "What?"
"Don't get me wrong, you're the prettiest guy I know—full stop—but if kissing you doesn't make me feel something, then I definitely must be straight." Shindong starts cackling then, like he said the funniest joke in the world.
Siwon's hearing fails him, but all he can think about now is how badly he wants to rewind time.
He wants to go back to before he knew what Shindong's lips felt like.
He wants to go back to before he had the first drink.
He wants to go back to before he even met Shindong.
"I gotta go," he manages to say, crushed as he is under the weight of the guilt he felt when that last thought traitorously passed through his head.
Shindong laughs harder when he watches Siwon stumble away. Poor guy must be so drunk. He might not even make it to the bathroom in time.
~~~
Avoiding Shindong isn't as hard as one would think. They're different majors. They live in different residence halls. He has the basketball team too, and Shindong was never the kind of person that keeps up with all his friends' activities anyway. A little "Sorry, I'm meeting someone for a project" here, a little "Sorry, Coach is slamming us with extra practise" there, and a whole semester passes by without spending extended time with his best friend and—he's not afraid to say it now—the love of his young life.
And that's exactly why he needs to avoid Shindong. He can't face Shindong casually right now—not when the only thing that will be occupying his mind is the look on Shindong's face immediately before, not when his palms itch to touch the other's cheeks so he can fold that feeling into his memory. He can't know what it's like to kiss Shindong and not be able to kiss him again.
So he's depressed, he's lonely, and he's irritable—exactly the kind of mindset you want to be in when you meet someone new.
"Hi, I don't think we really talked before," the lanky kid says as he stands up straight from where he was leaning beside the open door to Siwon's room. "I'm Hyukjae, but my friends call me Eunhyuk. I live down the hall." He points over his shoulder with his thumb as if Siwon didn't know which hall he was referring to, and the gesture immediately gets on his nerves.
Siwon glares at him, and the guy—Hyukjae; they're not friends—smiles a wide, gummy grin. "Sorry to bother you like this, but I noticed you were taking your stuff to your car. Are you packing your things into storage for the summer?" Siwon nods mutely, unsure where the other is going with this and approximately three seconds away from blowing him off.
"Listen, I have, like," he pauses to rummage around in his pockets and count the pieces of paper he pulls out, "10000 won on me right now. If I give you that and pay for gas and—I don't know—buy you dinner afterwards, would you help me move mine into storage too?"
Siwon's glare turns incredulous, which makes Hyukjae facepalm. "Oh! And of course I would help you move your stuff. That's a given. Although… you certainly don't look like you need the help."
At this last statement, Eunhyuk gives him a quick once over, and Siwon bristles. This whole situation is really grating on him. Why did this guy look at him like that? Why does it bother him that he did? Why is he supremely against this mildly reasonable request?
(Well, he knows why, and that's only adding to his frustration.)
Hyukjae senses how close Siwon is to turning tail, so he resorts to drastic measures. "Bro, help me out," he begs as he clasps his hands and falls to his knees. "I live all the way out in Ilsan, and I don't have a car. I would be, like, super indebted to you!"
"Ilsan isn't that far away," Siwon points out unimpressedly.
"Indebted!"
He stares at the boy's pout, the hands grasping cumbled bills of won, and the mullet-esque hair and thinks he might actually be more pathetic than even Siwon feels these days.
"... Alright."
Siwon ignores the other's resulting cheers as he returns to his task. He figures that the sooner he gets this over with, the faster he can go back home for the summer.
~~~
Like Siwon said, Ilsan isn't that far away.
As in, he and Hyukjae didn't have the worst time together while moving their stuff, Hyukjae decided they are now friends, and Hyukjae commutes into Seoul every other weekend to pester Siwon into hanging out with him.
In the beginning, he had no problems brushing the other off. Hyukjae isn't bad people necessarily, but he's a brat.
Case in point: The first time he actually agreed to hang out, Hyukjae forgot his wallet and Siwon begrudgingly paid for their excursions that day. Hyukjae hasn't brought his wallet with him since.
After that first time, however, it became harder and harder to turn Hyukjae down. He's depressed, he's lonely, he's irritable—but somehow none of that has pushed Hyukjae away yet. Against his better judgement, Siwon cannot help but be drawn to the individual who is experiencing the worst Siwon has to offer and chooses to spend time with him anyway. It's… nice.
The summer proceeds like that: Eunhyuk having a new hare-brained adventure haphazardly planned for the day, Siwon's wallet finding itself thousands of won lighter each time, and Siwon slowly getting out of his funk and coming back to himself.
Even as the summer draws to a close and their event options dwindle down, Eunhyuk manages to find something for them to do. A couple of weeks before they're set to move back in for the beginning of the next school year, Eunhyuk takes Siwon to a trendy new pop-up cafe in Itaewon.
Siwon likes it. It's lively but not too loud, the food isn't half bad, and the interior is fresh-looking without being overly cute.
He doesn't say any of this though, mostly because Eunhyuk isn't really saying anything either.
It's a testament to how much he feels like his old self again that he strongly considers asking the other what's wrong. Old Siwon wouldn't have hesitated. New Siwon rationalises if something is really bothering the other, Eunhyuk would say something himself.
He's halfway through his cheesecake when Eunhyuk lets his fork clatter to his plate. "Siwon, there's never gonna be a good time or a good way to say this, so I'm just gonna say it. I like you."
Well, of course Eunhyuk likes him. He basically spent the whole summer with Siwon. The surprising part here is that Siwon means it when he says, "I like you, too."
Eunhyuk's eyes do something funny, then he shakes his head. "No, like—" He stops, takes a deep breath, and on the exhale he says, "Wanna go on a date with me?"
"... Oh."
And then Siwon's senses shift. His heart beat speeds up just a fraction more than it had been before Eunhyuk began talking, but he can't hear the crowd of the cafe anymore. Everything behind Eunhyuk's determined, hopeful face blurs into a mess of colours and light. When he swallows, he still has the aftertaste of the strawberry syrup from the cheesecake on his tongue.
"Um, okay," is all he says, but he can feel his lips tug upward in a small grin without his direction.
Siwon is greeted with a gummy smile, familiar yet new, and he cannot help but focus in on the revealed shade of pink.
~~~
Honestly, he forgets about Siwon.
There's only so many times he can get blown off before he stops trying to reach out in the first place, you know? Then midterms came around, then it was finals season, then he was too wrapped up in trying to find an on-campus job for the summer so that he wouldn't have to waste money and time moving out of his residence hall… Before he knows it, it's been a year since he and the guys had their beach day, and he uncomfortably realises he can't remember the last time he spoke to Siwon. Was it at that party in the beginning of last semester? That can't be right.
And yet, for a reason he cannot explain, he doesn't immediately reach out to Siwon first.
He starts off with Kangin, who hasn't made it to a team yet but has met with several scouts already and believes it's just a matter of time. Heechul answers him in English, of all things, and he has to use a translation app to find out that Heechul spent seven months in Australia as a freelance Hangul-speaking museum guide before coming back to South Korea to work at a brewery out in Jeju-do. When he texts Kibum asking if Kangin had made good on his promise to buy 100 units of whatever his latest commercial was selling, Kibum simply says, "lol."
Finally, the only one left is Siwon. Shindong is weirdly anxious to talk to him again, but he firmly pushes that aside.
He tries a text at first; but after two days with no response, he ups the ante.
"Hello?"
"Siwon-ah!" he cheers into the receiver. It had been so long since he heard Siwon's voice, and just the sound of it lifts his mood.
"Shindong-hyung, you called me." Siwon's voice sounds incredulous, and it makes him laugh. They're not people for phone calls, admittedly. It wasn't necessary back when they spent almost all their waking moments together.
"Hey, if you had just texted me back, I wouldn't have had to resort to such drastic measures."
Silence, then chuckles on the other end of the line. "Yeah, that one's on me, isn't it? I did that thing where I read it but only replied to it in my head."
Shindong waits for more, but Siwon doesn't continue from there. "So, um, what's been up with you lately?" he asks stiltedly. He frowns; he and Siwon don't do small talk. He tries again, "Did I mention I'm on campus for the summer? I got a job as the front desk guy at the Alumni Office. It has its boring moments, but at least I didn't have to move out of the dorms. I know some of the guys on my floor even rented a storage unit so that they wouldn't have to move back and forth with their stuff, which is just… so far beyond my budget right now, haha."
Siwon makes a funny noise like he choked on his own spit. "Siwon?!" Shindong calls concernedly into the line.
"It's fine, hyung," Siwon croaks out. "Listen, you kinda caught me at a bad time. I'd love to talk more, but I gotta go."
"Oh, sure," Shindong says in surprise. "See you when the school year starts up again, yeah?"
He holds onto the phone tightly. He doesn't know what he's wanting to hear exactly, but he waits in anticipation for Siwon's response anyway.
"Yeah, of course. See you later, Shindong."
The line clicks silent, and Shindong doesn't let himself read into it. Like Siwon said, it was just a bad time.
~~~
The new school year isn't terribly different from the previous one, but Siwon likes what it brings. He's still balancing the basketball team and classes, but he has Eunhyuk now. Eunhyuk introduces him to his best friend Donghae, and college starts feeling less like something happening to him and more like something he's living.
Early into the new semester finds the three of them grabbing lunch on campus, Siwon and Eunhyuk playing footsie under the table and ignoring Donghae's gags in the background. They're not really talking about anything important, so the conversation is easily derailed by the sound of someone hollering from across the student union.
"Siwon! Ya, Siwon!"
Siwon temporarily freezes. He didn't expect to hear that voice again so soon. He can feel his face do something funny as his body and his mind fight for control over what to do. He wants to play it cool; he wants to ignore the voice; but more than anything, he wants to see Shindong again. He has ever since the summer.
He listens to that part and turns around in his seat to wave. The sight of Shindong's eyes scrunched up in happy half-moons behind his thick-rimmed glasses makes his heart ache even as his body relaxes from tension he didn't know he was carrying. He misses Shindong.
"Siwon, you brat! I didn't hear from you much this summer, and I barely saw you last semester!" Shindong laughs jovially before turning to the other two at the table, and Siwon is surprised to remember they were there. "Hey, I'm Donghee, but you've probably heard this guy call me Shindong. Mind if I join you?"
Siwon eagerly motions for Shindong to grab a chair, and Donghae says, "Hey, Donghee. I'm Donghae." as if it were the most clever observation in the world.
Siwon eyes Shindong's politely amused grin and cannot help but laugh. God, he forgot how funny Shindong could be even when he isn't trying. The other brings a seat over to their table and chats pleasantly with Donghae, and Siwon takes the moment to take in the changes in his best friend.
His face is slightly less pudgy, but the puffy round cheeks Siwon loves so much are fully on display. He has a tiny ponytail sticking straight up from the crown of his fluffy hair, and it reminds Siwon of elementary schoolers on picture day in a way that warms his heart. He notices the suspenders and khakis combination that the other is wearing and remembers how hard it was for Shindong to get used to not having to wear a uniform to school anymore. It seems he finally settled on something that worked for him, as nerdy as it ended up looking. (Somehow, that is endearing, too.)
"Siwon, what's your weekend look like? We should do something, just you and me. Grab some newspapers, eat gyoza, catch up. You in?"
Siwon would like nothing more and almost automatically agrees. Luckily, before he could land himself in hot water with his excitement, his brain supplies that he and Eunhyuk were supposed to picnic in the park this weekend. He flicks his eyes over to his boyfriend, asking without words if he could go.
Eunhyuk nods, so Siwon says yes, and it feels like a piece of him that was asleep finally wakes up.
~~~
They're best friends again in no time.
Sure, there were some awkward instances when Shindong or Siwon would refer to memories that the other wasn't there for in a stilted reminder that there is time lost between them, but they easily catch each other up and fall back into old habits. Their lives intertwine in the seamless way they did back in high school, and Siwon's heart feels so full.
He can't help but ignore the red flags as a result. The more active he and Shindong are in each other's lives, the more he is aware of the fact that Shindong does not know the full extent of his relationship with Eunhyuk; and he admits he has made small—inconsequentially, really—concessions to keep it that way.
He's starting to suspect that Eunhyuk knows something is up, too. It brings him a little bit of guilt, but it's not like he's completely avoiding his boyfriend (been there, done that). Besides, the other hasn't said anything. He even invites Siwon over one weekend, so Siwon figures he probably hasn't messed up too badly yet.
When cuddling on the bed with legs intertwined while watching a movie turns into roaming fingertips and forgotten laptops droning on in the background, Siwon feels content like never before.
"Why does it feel like it's been forever since I kissed you?" he murmurs into Eunhyuk's hair afterwards, planting a kiss right there and embracing his boyfriend closer to his chest. He'd love to fall asleep like this…
But then Eunhyuk gently releases himself from Siwon's hold and sits upright in bed. "I have a feeling it has to do with how Donghee is hanging out with us a lot now," he says as he pulls his clothes back on.
Siwon's disappointment clears when his mind, unbidden, conjures up the memory of Shindong's reaction when he caught Heechul rounding second base with his date when they all went to the movies together one time. "Yeah, Shindong isn't big on PDA," he says as he follows Eunhyuk's lead.
"Sure, but I'm your boyfriend," Eunhyuk emphasises. "Hand-holding, kissing… stuff like that is pretty typical for most couples. He knows what he would be getting into when he hangs out with us, and he still shows up. Doesn't seem to me like it would really bother him."
Siwon's movement falters. So Eunhyuk has noticed. "I guess I'm just trying to be a little courteous," he hurries to say, the not-quite-a-lie sitting heavy on his tongue. "He doesn't know you yet, and I don't want to give my best friend any reason to dislike my boyfriend."
Siwon puts on his most convincing, disarming grin, and it somehow makes things worse. "You know, it's funny," Eunhyuk begins with light tone absolutely lacking in amusement, "Donghee's supposedly your best friend, but I haven't even heard of him before this semester. It's clear he hasn't heard of me either. Wanna explain why?"
Siwon frowns at the accusation. "He is my best friend." He may not have acted like it for a while there, but that fact will never change. It's just… "We weren't really, ah, talking much at around the time you and I met." He wants to stop there, but Eunhyuk raises an expectant eyebrow. "Um, remember that time in the student union? That was, sorta, the first time we had spoken in eight months."
The admission completely melts all of Eunhyuk's cold and angry tension, and the sight makes him even more antsy for some reason. Siwon is acutely aware that he didn't answer the entirety of his boyfriend's question, but the other is already moving on.
"You get why I'm bothered, right?" Eunhyuk asks as he sits back on the bed, and yes, Siwon does finally start to get how bothered the other really is. He's never seen Eunhyuk so despondent before. His entire being radiates tired sadness, and Siwon realises with a pang that he did that to him."This guy that I've never met before just shows up one day, and my boyfriend starts acting completely different around him!" Eunhyuk's pout has a chilling effect on Siwon without the hint of flirtation to which he was so accustomed, and Siwon has him wrapped up in a side-hug as if on autopilot. Eunhyuk happily cuddles into the embrace and lays his head on Siwon's shoulder, but Siwon barely notices, too consumed by the weight spreading all over his body.
He's fucked up.
He hasn't been going about this correctly at all, and it's hurting his boyfriend, and that hurts him, and he's fucked up.
He stands abruptly. "I gotta go."
"What?"
Siwon can barely hear the shocked hurt in his boyfriend's voice, he's so preoccupied with the immense and all-consuming guilt that weighs down his limbs. He can't get out of the apartment fast enough. He needs space; he needs more room so that terrible feeling that is expanding within him has somewhere else to go.
"Siwon, where are you going?!" Eunhyuk hurries after him and manages to intercept Siwon before he could open the door. If he were more himself, he'd chuckle at how his boyfriend, 9 centimetres shorter and 5 kilograms lighter, is trying to bodily prevent him from leaving; but in his state, even a feather could knock Siwon over.
"There's something you're not telling me, and I'm not letting you leave the apartment until you do. What is going on between you and Donghee?" he demands.
"Nothing!" Siwon despairs, and it's the truth.
"Why are you lying to me!"
"I've never lied to you," and that is also the truth.
"But you are keeping something from me." There's nothing Siwon can say to that, so he fidgets where he stands. Eunhyuk laughs mirthlessly. "And it's related to Donghee, too, isn't it? How long did you think you could go without telling me, huh? Did you think I wouldn't notice?!"
Siwon is still in flight mode, his brain is still foggy, so he latches onto the only coherent thought he has just so that he can respond to Eunhyuk. "Why don't you call him Shindong?"
Eunhyuk seizes in incredulous frustration. "Can you focus!? That is so beyond the point!"
Siwon closes his eyes and rubs his hands down his face in resigned acknowledgement. Yes, that was the wrong thing to say. "Hyuk, I'm sorry but… I really, really have to go. I need some time; I need to think. You deserve better than the first thought that pops into my head, but I can't give you that right here, right now."
Eunhyuk's shiny eyes are devastating even under the fluorescent glare of his apartment lights, and Siwon's heart urges him to do something. He steps forward, arms outstretched, but Eunhyuk steps out of his reach. "No, please," he says simply. He hastily wipes away the tears that pool at the rim of his eyes and looks anywhere but at Siwon. "When you touch me, I feel better even when I don't want to."
Siwon lets his arms fall back to his side. The need to leave wars with his need to comfort, so he does nothing.
Eunhyuk sniffles once, twice, then says, "Whenever something happens to me—big or small, bad or good—you've become the first person I wanna tell it to. Nothing feels real until I've told you about it." He hugs himself and turns away. "But you don't even want to talk to me."
Eunhyuk walks back to his room and lightly closes the door behind him, a silent cue for Siwon to leave. When he finally does several moments later, the image of Eunhyuk rejecting his touch replays in his mind, and his heart rebels with every step.
~~~
With time and distance, Siwon realises a lot of things about himself.
He's always wanted his first real relationship to be with someone he shared a lot with, someone he didn't have to force himself to spend time with or get to know, someone who made it all easy yet made the difficult parts worth it. He admits to himself that he always wanted his first real relationship to be with Shindong, but that evidently wasn't possible. Just when he had given up on that dream (and on himself), he found all of it and more in Eunhyuk, who literally showed up unannounced, bribed his way into Siwon's life, and pestered Siwon into letting him stay. Without knowing any of the details and without asking any questions, Eunhyuk managed to shake Siwon out of the depressive episode he was in simply by being himself. The warm excitement that coloured their days together were noted but taken for granted, and the cold emptiness that replaces it in the aftermath of their fight is frighteningly familiar. He regrets that it took the undeniable pain that can only come from heartbreak for him to realise that he had fallen in love with Eunhyuk, but at least he knows now.
He also now knows he's a coward.
He was a coward back in senior year when he couldn't tell Shindong why he asked the other to prom, he was a coward last semester when he cut Shindong out of his life for accidentally breaking his heart, and he's a coward now.
With Shindong is back in his life, Siwon thought he could somehow keep both his past love and his current love in the exact ways he wanted them without having to have any uncomfortable conversations, that the two of them would get along fabulously, and that Siwon's happiness would simply fall into place.
He also now knows he's an idiot.
Siwon has always prided himself on being a man of action. He had enough time and distance to reflect, recalibrate, and reload, so it is time for him to gather his courage and react.
He texts Shindong to do homework together at his place then immediately goes out to buy some food just to have something to do with the nervous energy that buzzes within him. He even buys snacks that he knows only Shindong likes because he needs every advantage he can get. He returns with no less pent-up energy than with which he started, so he sets to cleaning the whole apartment. He even attempts to do his homework to distract himself before he remembers homework is the ruse he told Shindong to lure the other over.
His nervous energy is apparent the second Shindong steps foot in the apartment. "Okay…" Shindong drags out as he plops his stuff onto the kitchen table that doubles as Siwon's desk. "Is there a major exam you're freaking out about or something? I can't promise I know anything, but I can promise to help you study."
Siwon lets a ghost of a smile cross his face, fondly remembering their intense study sessions back in high school that none of their friends were brave enough to join more than once. The memory passes, and he sighs. "No, it's not about class."
Shindong gestures. "Well? Out with it then. You know I'm just gonna leave if you're not gonna focus, and I really don't want to leave when there's an unopened pack of honey apple twists right there."
Honey apple twists are also Eunhyuk's favourite, so Siwon starts there.
"Eunhyuk is a man of questionable taste," Shindong pontificates as he munches on the newly opened snack. "He loves honey apple twists but hates seafood. He's best friends with Donghae but spends all his free time with you. What an enigma."
Siwon tries to chuckle, but it doesn't work. He takes a deep breath instead. He can't think of anything else to say except: "I think he's in love with me."
Shindong stops chewing. "What?"
"I think Eunhyuk and I spend a lot of time together because he's in love with me."
Shindong frowns, brows furrowed and looking genuinely upset. It takes Siwon aback for long enough that he gets distracted. "What?" he parrots.
"Dude, that's fucked up."
"What are you talking ab—"
"You can't just string him along like that! What is he gonna do when he finds out you don't like guys? Bro, if Heechul were here right now—actually, I'm just gonna call him because maybe you need to hear why that's fucked up from someone who gets it."
And there it was.
Every unspoken fear he'd ever had, every answer to his heartbreak, every problem he never solved.
He reaches out with his head down and gently stops Shindong's hand, halfway to dialling their high school friend whom Siwon hasn't spoken to since graduation. "I love him, in any case," he says to the ground.
Shindong lets his hand hold his phone in midair. "What?"
Siwon takes a breath, counts to three, and lifts his head to look Shindong in the eyes. "Shindong, Eunhyuk and I are dating. He's my boyfriend. He has been since the summer."
Shindong says nothing.
"I'm gay," Siwon says at last, so easily, because he knows that's not going to be the hardest confession of the night.
As soon as he says it, he can see the way so much clicks into place in Shindong's astute, masterful, beautiful mind.
"Is that why I haven't seen you since last semester," Shindong says instead of asks, "because you realised after our kiss and didn't want to tell me."
But not even Shindong can draw the correct conclusion when he isn't provided with every relevant fact. If he could, they would have cleared the air so long ago.
"No," Siwon says as he draws away, clasping his hands tight on his lap and wishing he could have told Eunhyuk he was gonna do this. He'd have said something to cheer Siwon up, and Siwon would remember that now, and it could give him courage. The only thing he has right now is the truth.
"No, that was because I was in love with you, and I realised you'd never love me back, and I needed time."
The silence that stretches out between them is awkward like no silence has ever been, even in the first few times they hung out again after reconnecting.
"For how long?" Shindong finally says.
Siwon tries to remember but finds he can't. It must have been one of those things that wasn't tied to any specific event, but a slow build until the whole of the structure was unmistakable. "Since the beginning, basically," he eventually settles on. "Not since the first day we met, no, but very, very close to it. I barely remember a time when I didn't know you and wasn't already in love with you."
"I see."
He finally looks at Shindong, who notices and meets his gaze for a moment before looking down at the table. In that one moment, Siwon could tell from Shindong's eyes that he can see now. He can tell the way Shindong is re-remembering every interaction they've ever had in a new light, and he simply waits. He has no more cards left to play.
Finally, Shindong looks back at him and says, "You should have told me. We should have talked about it. I could have been there for you."
Siwon smiles bittersweetly and looks away. "But not in the way I wanted you to be, and that's why I never said anything. No doubt, you would have absolutely been there. You would have been your funny, action-oriented, perfect self, within arms' reach but not mine for me to hold, and it would have broken me. Broken me worse than if you had dropped me as a friend completely."
Shindong is taken aback by the strength of Siwon's words, the seriousness with which he said them. "You must have been really in love with me."
Siwon turns the bittersweet smile to him then, tears shining in his eyes, and says, "So much. I loved you so much."
Shindong's heart breaks for his friend, his best friend, who suffered all alone and all on his account. He fiercely tugs Siwon into a hug and lets Siwon cry out every tear, every emotion, every everything from the last two years, all while murmuring "I'm sorry; I'm so, so sorry" into his friend's shoulder.
"For what it's worth, I loved you, too. I still do," he says when Siwon's tears subside into sniffles, but the younger is still clinging onto him. Shindong won't let go until he does.
"I know. I know you did, do. Me too," Siwon hiccups out.
With one last squeeze, he pulls away to give Shindong a watery but bright-eyed smile, and Shindong gives him one right back. The clock in the kitchen tells him they were only like that for seven minutes, but in that time it feels like they just relived every day of their entire friendship, finally on the same page.
"I'm in the mood for pizza," he says abruptly, reaching for his phone forgotten on the table. "Do you still like pineapples with yours?"
Siwon chuckles while wiping away some latent tears. "Please, yes. Eunhyuk won't let me eat that around him because 'it's gross American food,'" he says with air quotes.
"Maybe Eunhyuk is a man of taste after all," Shindong says as he waits for the phone to ring. He catches Siwon's eye just to sneer, "What's he doing dating you?"
Siwon laughs, a whole-belly laugh, and gets a second wind when Shindong calmly rattles off Siwon's own credit card number for the payment information.
~~~
It's been almost two weeks since Eunhyuk last spoke to Siwon, the memory of his boyfriend's face as he begged for time haunting his undistracted moments. He's busied himself with dance practice, homework, and even once tried accompanying Donghae to the gym just to get his mind off of how much more lonely he feels. It was pretty bad before when Eunhyuk was convincing himself that the way his boyfriend was pulling away was all in his head, but with confirmation from Siwon himself, it just got so much worse.
Donghee—He's not about to start calling him by that ridiculous nickname. The only thing Donghee is good at, as far as he's concerned, is ruining his mood—first came into the picture like spilled paint across a canvas: completely and all at once where before there was none. He showed up at group hangouts and even tagged along to his and Siwon's casual day dates, sometimes at Siwon's own behest!
Siwon also didn't touch Eunhyuk as much when Donghee was around, which is saying something because Siwon is literally the clingiest man in all of South Korea. To have such a gentle, romantic, constant aspect of his relationship almost completely stop without explanation… Of course Eunhyuk was lonely. The only thing that stopped him from saying something sooner was how undeniably happy Siwon was with Donghee back in his life, and Eunhyuk didn't want to ruin that for him.
But now it seems like their whole relationship is ruined instead, and the idea that this is how it all ends makes him even more miserable.
It is during one of these pessimistic slumps that he gets a text from Siwon that he, Donghae, and Donghee are working on the quad together. Siwon signs it with "I miss you 😘," and Eunhyuk's heart clenches. He misses Siwon too, but he's not really in the mood to watch him and Donghee together.
He realises he's not really in the mood to be alone right now either. He considers texting Donghae to fake some emergency so that he could be with Eunhyuk, but Donghae texts him first. "don't bail i promise."
The fact that Donghae, the only one who happens to know the full extent of Eunhyuk's insecurities and worries about the situation, is the one saying that piques his interest. If Donghae thinks it'll be safe for him, Eunhyuk will trust that.
He sees them before they see him, and it plays out slowly like a movie. They're all sitting in a quasi-circle on the grass in the middle of a laugh. The scene is so picturesque, and the jealous pang in his chest rings loud and true.
He almost turns on his heel right then and there, but Siwon notices him before he can.
Siwon's smile is bright and free, and he makes grabby hands for Eunhyuk like he hasn't in a while. Eunhyuk's feet carry him forward without him telling them to, and he has a feeling that was his heart leading. Despite it all, next to Siwon is where he wants to be.
He settles into the space by Siwon with a little unease, which dissipates completely when Siwon shifts them so that Eunhyuk is between his open legs and Siwon is giving him a cosy backhug. As much as he wants nothing else, Eunhyuk fights the urge to lean in, acutely aware of Donghee's presence.
"Siwon-ah." Eunhyuk squirms. "I'm 'Siwon-ah' now, not 'Siwonnie?'" He can hear Siwon's pout even as the other squeezes Eunhyuk to himself tighter. He puts a little more effort into escaping Siwon's embrace, but Siwon simply uses his legs to lock him in.
Eunhyuk laughs; he can't help it. He wiggles as frantically as possible—not to actually get out of Siwon's hold, just to give him a hard time trying to hold on—and Siwon playfully bites his ear to get him to stop. Eunhyuk lets out a mock gasp, prepared to do something drastic, when all of a sudden they both tumble onto the grass.
Eunhyuk looks up to see Donghee calmly returning to his spot, acting like he did nothing wrong and ignoring how Donghae assaults his back with amusement. "I've wanted to do that for forever!" Donghae cackles.
In embarrassment, he begins to sit up, but Siwon doesn't let him, instead pulling Eunhyuk back down and on top of him. He looks for the reason why in Siwon's eyes, and Siwon just gives him a small smile before leaning up to brush his lips against Eunhyuk's. It was a soft little thing, but it calms him down nevertheless.
He folds his hands on Siwon's chest and rests his head on top of them, facing the side where the other two weren't sitting. "I thought Shindong isn't big on PDA," he repeats, keeping his voice neutral but loud enough for Siwon to hear. In this position, he can hear Siwon's heartbeat as he plays with the collar of Siwon's shirt. He doesn't know what to make of its calm and strong cadence when he knows the other can feel his own heart rate spike in nervousness.
"You're my boyfriend, though," Siwon maintains, echoing their conversation from a week before with the roles noticeably reversed.
Eunhyuk jerks his head up to face the other. He doesn't think Siwon has called him his boyfriend in front of Donghee yet before.
Siwon must see something in his face because he reaches up to hold one of the hands on his chest and squeezes twice. I'm sorry about that, it says. We'll talk about everything later. Eunhyuk nods, looking at Siwon with so much trust in his eyes that Siwon smiles the same wide, happy grin that made Eunhyuk fall for him in the first place.
With a louder voice, Siwon says, "Besides, Shindong's a big guy. He'll find it within him to get over it."
"YA! DID YOU JUST MAKE A FAT JOKE ABOUT ME?!"
Siwon winks at Eunhyuk before sitting them upright and into a more casual cuddle, Eunhyuk against Siwon's side and Siwon's arm across Eunhyuk's shoulder.
Eunhyuk ignores the ensuing banter between Siwon, Shindong, and Donghae, instead looking up to observe his boyfriend. Siwon's different again, but in a good way, he decides. For the first time since they met, Siwon looks completely unburdened, completely secure.
And yet he's still here, holding Eunhyuk to him like he used to, which means whatever Siwon let go of, it wasn't him.
Eunhyuk knows they still have to talk, that there’s a lot of explaining Siwon has to do and a lot of confused pain he has to work through, but he also knows there's time for that now. Siwon isn't going anywhere; and neither is he, for that matter.
He looks over at the other two across the way and muses that Shindong isn't going anywhere either, but he finds that's not such a problem anymore.
(Siwon's laugh breaks his concentration, and he notices that's different, too—better than before, even.)
In fact, he might even welcome it.
~~~
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starshipcaptainjojo · 4 years
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Hi! I love your Jiang Cheng is trying series and I found your work on cultivation really fascinating. My lack of confidence in understanding it is making me nervous about writing stuff about it, even when I like my ideas. Could you tell me where and how you did your research? I want to treat the cultivation concepts with respect and not accidentally fill in gaps with European wizardry stuff.
Hi! Thank you so much! That makes me so happy!!!
This got very long. I’ve added a TLDR (that is still very long) at the bottom for my actual process.
I should start by saying I am not Chinese and I totally get the concern. And the fact that you want to respect the culture is great and very cash money of you! If SOME people had worried about CULTURAL RELEVANCE they would have known not to not put witches in Mulan (LOOKING AT YOU, DISNEY.) 
ahem. 
I can only tell you that for all I know some of my cultivation tweaks might not be entirely correct in the lore of Xianxia or MDZS, but what I do know- and what I thought was more important- is that even if my tweaks are ‘wrong’ per se, they aren’t in direct opposition to any of the core principles of Chinese magic/cultivation/culture. My ideas are not disrespecting the theories and sources. For instance Qi is in everyone, not just males (LOOKING AT YOU AGAIN DISNEY.) 
Fantasy and sci-fi are reflections of the culture of the time, and at the heart of writing for a different culture’s magical system is the desire to understand how it relates to the real world. CQL for instance removed the grey area of WWX’s cultivation, forgave his sins and made it all very black and white. This is because of China’s censorship, which is exactly why people get very heated about letting WWX be morally grey. 
I wrote the Jiang Cheng is Trying continuity primarily based on The Untamed, but informed by a metric boatload of meta about the changes made to CQL from the source material based on cultural relevance, and why those changes were made. I don’t think WWX’s cultivation is good or evil, and I think there’s a moral grey there that’s inherent in necromancy, but from a Chinese perspective there’s even more to it than that. I’ve seen some really great meta on the Chinese cultural relevance of respecting the dead on this hellsite and if I find it again I’ll link it here. The morally grey part of WWX’s cultivation is steeped heavily in Chinese culture, and by that same token, he had to commit atrocities for the author to consider him a character that had ‘become evil’ so there’s a lot to unpack there, and that’s a different super long post.
In my research I also looked up a lot of information on Xianxia itself, as some of the meta says MDZS is a direct counterpoint to the genre. That means that the book itself was written as a critique of the idea of cultivation as ‘pure’ and denouncing the culture as ‘evil’. So again, so much to unpack and I am but a humble rando who wants to write about sad people getting happier by working on themselves.
When I got into the weeds of cultivation, I looked at translation differences to see if anything had been lost when it went from Chinese into English. For instance: Clarity has also been translated as ‘Cleansing’ therefore it goes to follow that the song pushes some kind of healing power through the listener using the instrument as a conduit to clear qi pathways and/or cleanse bad energy. That is the basis of that particular cultivation I got to by cross-referencing different translations. Cleansing and Clarity are the same but also different in that ‘clarity’ doesn’t imply an actual cleansing but more of an ability to reveal the troubles, or uncloud judgement so the person can rescue themselves, but ‘cleansing’ implies that the song itself does banish the resentment, which is where I got ‘a different kind of clarity’ as my theme.
Also side note: BLESS the Chinese speakers who do character/meaning/historical breakdown for names and titles. So helpful!
The TL:DR of what could be a super long meta about cultural relevance is still really long. Oops. Here it is anyway:
I literally googled “Xianxia” and started Here to learn more about the genre and the parts of the magic system that were referenced in The Untamed, then expanded those to include what cultivation practices were shown in MDZS itself (by reading a lot of tumblr meta tbh) and read a bunch of blogs about Taoism and ancient Chinese religion and how all these things were spiritually connected. The Clarity Bells theory came from there, and from the Jiang bell being used in Coffin City to anchor WWX for Empathy. There are bells used in a lot of Xianxia/Ancient Chinese rituals, and the zhong bell is one such thing that was used and made into an instrument called bianzhong and that’s an instrument, so boom. I can use it for Clarity. It came full circle. 
There were differing accounts on whether Empathy was pioneered by WWX, and how Empathy related to the ‘alternative style’ of WWX’s cultivation and that got me thinking about resentment in Xianxia and cultivation. There’s a great tumblr post somewhere about how JC had to concentrate on his wound in Guanyin Temple because cultivators can qi deviate very seriously due to injury, and I thought ‘know what injury’s hard to concentrate on to heal? emotional trauma” and boom: fic.
I can’t find my taoism resource, sorry, but it was a symbol translation map of the expanded and simplified symbols used in talismans and taoism, and the elements in the designs of  in regard to how they match the human body and experience of being alive. My advice: Find resources written by Chinese people or people heavily educated on the facts you’re researching and follow their sources.
I got in deep on the symbols and for a while thought I’d try to make my own array of symbols themselves starting with Oracle Bone Script, but in the end I realized my limited outsider knowledge of ancient Chinese writing systems, culture, and mysticism meant that anything I created wouldn’t be able to expand on what already exists. It’s an entire path of study at the university level! I couldn’t just google it and make it work, ya know? In case you want to dive into that for fun anyway here’s what I found: Talisman structure (source is questionable) Harvard Article on Talismans about Buddhism’s assimilation of taoist principles in talisman making, Some random wikipedia clone
Reminder I abandoned all this research because it was too convoluted to bring together into anything I felt confident sharing as my own idea when my understanding of Chinese elemental magic is surface level at best.
I would conclude by saying know what you don’t know. Look at the things you can expand upon without getting a degree in Chinese mythology, culture, and language (or get the degree and then do it!) Use what you can’t understand to inform what parts of the mythology you can work with.
Find out what parts of the magic are set in stone, and everything else is a thematically appropriate possibility! 
I know it’s long and there’s less concrete resources, but I hope this helps you!!! My method is by no means the only one and I am confident there’s more I could have done in my research. At the end of the day I’m pleased with what I made and I did my best within the bounds of what I know I don’t know and that’s all I can hope to do. :) 
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dailyexo · 4 years
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[INTERVIEW] Lay - 200915 Forbes: “Lay Zhang Is Aiming To Bring Chinese Music To The World”
"It’s been a few years now since Lay Zhang (also known as Zhang Yixing) released his debut EP Lose Control in 2016. Already a prominent star throughout Asia after debuting as part of K-pop boy band EXO back in 2012 and becoming a prominent television personality in China, Zhang – who is usually known mononymously as LAY – started down a path that year that would turn him into one of the biggest musical players in Asia less than half a decade later: in 2018, he broke onto the U.S. Billboard 200 album chart with his album Namanana, and this year he ranked No. 5 on Forbes China’s Celebrity 100 ranking.
This year, Lay dropped the duality of his Lit LP, split between two parts that arrived in June and July. A multifaceted release that spends its length blending modern musical styles with traditionally Chinese performance elements, Lay’s latest puts the emphasis on his roots. It extensively draws from classical styles and storytelling influences as he attempts to bring China to the world, as he says in the single “Lit” and relays through that song’s highly cinematic music video that sees Lay as a warrior facing down enemies amid a grandiose historic setting, inspired by the legendary general Xiang Yu.
The title track, and the album as a whole, is Lay’s attempt at expressing what he calls “M-pop,” or mixed Mandarin pop music, a genre he’s spearheading with the aim of bringing Chinese culture to global – primarily western – music listeners. Coming at a time when the world is more divided than ever, and China and the U.S.’s trade war continues, it may seem like a lofty aim. But Lay, although he shies away from discussing political ramifications on culture during a conversation with Forbes, has hope that bringing multi-cultural influences together will create greater understandings between one another and different cultures, as long as we take the time to listen to one another. Or, in his case, M-pop.
Tamar Herman: You released the long version of Lit in July, and saw much love for its blending of traditionally Chinese and modern musical elements. What was the inspiration overall for this album?
Lay: I just want to share Chinese culture, so I’m trying my best. Because I’m Chinese and I learn a lot from China, I think our country has a lot of good culture and good traditional instruments that maybe people don’t know. I want to promote that part, and let people know the very dope Chinese culture.
The sound of [the word] “lit” is very close to the Chinese word for “lotus.” I want people to know they can become what they want to be, no matter where they started, like a lotus flower that begins in the root and become beautiful flowers. I was also inspired by the cycle of life and wanted to have a Chinese perspective on it, so the first part of the album is more about the past and [tells] Chinese stories, using more traditional instruments. The second part, about the present and the things we deal with now, has more modern sounds and I worked with great producers like Scott [Storch] and Murda Beatz. Learning [and working with them] so I can mix different cultures on one track, for me it’s amazing work.
Herman: You released an epic music video for “Lit” as the album’s first lead track, and you’re back again on Sept. 14 with a remix of “Boom” by Dutch-Moroccan DJ R3hab, which you previously released as a single. What about these two songs make them your perfect pairing for listeners to get drawn into your Lit album?
Lay: For “Boom,” I want everyone just to jump and forget. This year is really terrible, right? I want people to forget the bad things and ignore the bad things. Just make happy vibes themselves.
For the second half of the album, my original intention was to have “Changsha” to be the single. However, during the course of the release cycle, “Boom” was selected instead because it really represented a little more what’s relevant to this current climate that covid has brought to the world. I wanted to focus more on that. I want everyone just to jump and forget. Putting aside the negativity of this year and focusing on positivity.
Herman: How did your creative process differ between Lit and prior releases?
Lay: If I play a video game, my level just goes up and up, right? So I want every year to go to the next level, ever year get better.
Herman: What type of video game character would you like to be?
I’m a warrior. If I can have the opportunity to go to another country, I’ll join the battle with [krumping originator] Tight Eyez (Ceasare "Tight Eyez" Willis).
Herman: Speaking of... I asked fans if they had any questions on Twitter. And while there were many great suggestions, I was surprised by how many wanted to know about your love of krumping. What about this form of dance is appealing to you and made you want to highlight it through “Lit”?
Lay: “Lit” has a very slow tempo. I just found jazz, hip-hop, etc. choreo didn’t match this song. Krump matched this song, so I tried to learn the [style]. In the beginning, it was very hard to do. I couldn’t copy the teacher, the motion, the action. I wanted to know why. The teacher was like, “You have to spend time in this kind of dance, then you can change.” I tried very hard to practice the feeling and vibe. I took maybe three months, and I’m just the beginning of krumping like a teenager. Level three in a game, maybe.
Herman: In “Lit” you say you are taking China to the world, and you’ve been talking a lot recently about how you’d like to spearhead M-Pop’s growth internationally. What do you hope to achieve?
Lay: I think Mandarin can mix with other countries’ languages to become one song, so that everyone can feel a Chinese vibe whether it’s English, French, Korean. It does not matter, I just want to mix a lot of languages, to create one track or music. If people can guess what English [songs] are talking about, they can guess what Chinese [songs] are talking about. It’s very easy to understand songs. The influence that I want to have isn’t about ranks or charts, but spreading Chinese culture to the world.
Herman: Typically, Chinese popular music is known in English as “C-pop,” with variant categories like Cantopop and Mandopop. Why do you feel it’s time to reframe the conversation as “M-pop”?
Lay: Because I think we need to mix something. It’s a global world. Also, I want music arrangements to have Chinese traditional instruments and other countries’ [instruments] put together. Traditional Chinese instruments, it’s better to use one style of instrument itself not with others. It’s a very unique sound, but you can [blend it with others] to make a new vibe.
Herman: You’ve been a top star in both the K-pop and Chinese music industries. K-pop’s having a moment in the west right now, how do you feel about M-pop’s potential?
Lay: Everybody, even me with “Namanana,” we just mix the languages, English with Chinese. But it’s basic, right? I think now M-pop has to change rules. From Lit, I saw the potential that we can reframe M-pop to another level. Let people know that it’s not just language mixing but culture mixing, instrument mixing, genre mixing. Letting people know that we have distinct instruments and unique sounds in China. I think there’s a potential to take M-pop to another level. I want to tell people, “This is Chinese music.”
Herman: You’ve been performing for many years now. How do you feel your approach to your artistry and performances have changed overtime? What have you realized is important to your craft?
Lay: For me, first of all, I think it’s all about music. If I can’t find the right music, I can’t make the performances very dope. Secondly, I think practice is very important. Practice is important if you want to make an amazing, perfect stage. So you have to spend the time practicing dancing and singing. Thirdly, I really respect my staff. Because we have these guys, they can make the stages, lights, speakers, and things for performers. Also, fans. Fans are very important. Without these four things I can do nothing.
Herman: This year’s hard on a lot of people. What makes you happy or hopeful in rough times? Any advice for people?
Lay: 2020 was terrible. But we have to trust tomorrow will be good. We have a very good tomorrow, a good future. So don’t lose confidence, don’t lose happiness. Don’t forget your dreams. Chase your dreams and be happy. And spend time with your family. If you want, you can get anything."
Credit: Forbes.
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dentalrecordsmusic · 5 years
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The Resurrection of My Chemical Romance: MCR’s Dark Catholicism
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Words by Cae Rosch
On October 31, 2019, My Chemical Romance rose from the grave.
Resurrection isn’t a new theme for them, whether it’s in the salvation narrative the band was founded on (“We’re here to save kids’ lives”) or the pervasive undead monsters and heroes throughout their body of lyrics. The Return is another step in their decades-long salvation narrative. And that salvation narrative, one in which death is intimate and impending and necessary, one in which we come alive by shouting out our sorrows and sins like a cathartic confession to rock and roll, is deeply intertwined with a darkly Catholic perspective on the world.
It’s not new to talk about MCR as, on some level, a Catholic band - there’s already great writing about this. But the band took it to a whole new level even just with the concept of The Return, and so we have to take talking about it to a whole new level too.
We know the core members of the band come from Catholic backgrounds (specifically, for the most part, Italian-American Catholic, which is uncontestedly the most melodramatic mode of modern Catholicism). And like most people from Catholic backgrounds, there’s a complex and painful relationship there. As Gerard Way has said, “I was raised Catholic, which turned me off from religion because I had a very bad experience.” Yet in the same response, he remarked that he believed in God, even if it wasn’t in quite a Catholic way.
But that’s the thing: for the sake of this discussion, it doesn’t fucking matter if anyone believes. Regardless of the belief system you grow up to have, Catholicism isn’t something you just shake off, because it’s not simply an ideology - it’s a full-body, five-sense aesthetic world. It never fully departs your subconscious. Something, however small, lingers on your soul. That’s just as true of MCR as it is of your average Catholic or former Catholic on the street. And we can see it throughout their whole body of work.
The imagery is obvious. Song titles reference the Virgin Mary revered as Our Lady of Sorrows, lyrics are addressed to nuns and set in churches and graveyards, entire photoshoots center around Gerard Way as a rock and roll priest. The underlying narrative and its accompanying implied worldview, however, are a lot more subtle. 
C.S. Lewis, though not a Catholic, was operating within a Catholic context when he wrote in Mere Christianity, “The Church exists for nothing else but to draw men into Christ, to make them little Christs.” In the salvation narrative that began as soon as the band did, MCR act as little Christs themselves. But they act within one very specific moment in Christ’s own narrative: at the moment Jesus hangs on the cross, the ninth hour, when he cries out, “Ηλει ηλει λεμα σαβαχθανι” - “Eloi, Eloi, lema sabacthani?” My God, my God, why have you forsaken me? MCR’s dark Catholicism hurts.
At the very beginning of MCR, Gerard Way thought of it as a “mission from God” despite his own troubled relationship with Catholicism. He writes, “I even firmly believed in creating MCR… The mission involved helping people and battling the forces of evil, by using word and the purifying flames produced by Marshall Halfstack amplification.” This is a saintly mission, a mission of sacrifice. It shows clearly in their early lyrics.
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On their first album, the two most Catholicly obvious songs are also the two most relevant to the band’s salvation narrative. Here, in “Vampires Will Never Hurt You,” the singer embraces the necessity of sacrifice to the point of death to save a beloved from the threat of a very Catholic monster. Vampires have a relationship with Catholicism nearly as fraught as MCR’s - Catholics make excellent monsters in the Protestant culture of early vampire literature, given their literal blood-drinking, yet Catholic iconography is also the most powerful weapon against vampires. Similarly, when Way sings, “And if they get me and the sun goes down into the ground / And if they get me, take this spike to my heart and… / You put the spike in my heart,” he becomes both savior and villain. He dies to himself and becomes a monster, abandoned by God (“Someone burned the church.”) 
The only hope for others’ salvation is for him to die. Yet similar to the forsaken Christ, he still desperately cries out for his own salvation when he sings, “And someone save my soul, tonight / Please save my soul.”
“Our Lady of Sorrows,” unsurprisingly, further emphasizes the band’s drive toward sacrifice in its depiction of sainthood (“the patron saint of switchblade fights”) as an act of defiant death for the sake of salvation (“Oh, how wrong we were to think / That immortality meant never dying.”) The violent juxtaposition of that switchblade imagery with the idea of sainthood shows an intense focus on the agony of salvation - fitting, in a song named for Our Lady of Sorrows, who is depicted weeping, with seven swords that represent the seven great agonies of her life piercing her heart.
Salvation is just as painful on Three Cheers for Sweet Revenge. The album and its associated era are extremely heavy on Catholic imagery in general (see the video for “Helena” and that one priest photoshoot, you know the one).
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The album’s “Interlude” is a literal prayer for the intercession of the saints (“Saints protect her now,”) and it’s immediately followed by a song directly addressed to a nun - “Thank You for the Venom.” As in “Vampires Will Never Hurt You,” the singer accepts that his sacrifice will be painful when he sings, “So give me all your poison / And give me all your pills / And give me all your hopeless hearts / And make me ill.” He takes all this onto himself to the point of violent death - “If this is what you want / Then fire at will.”
But just as the figure of Christ, forsaken on the cross, shocks us with the sudden pain of his sacrifice, the singer once again juxtaposes religious and violent imagery to force us to be aware of the complexity of the saving act - sure, his sacrifice is saving people, but it’s fucking excruciating to die. When he sings “I keep a gun in the book you gave me / Hallelujah, lock and load” in the same song as a command to “fire at will,” we can’t see him as simply accepting his sacrifice like the complacent Jesus it would be simpler to remember. Instead, he is a “little Christ” to the Jesus who calls desperately for his father as he suffers and dies. “Give me a reason to believe,” Way cries, and we feel that same desperation.
This dynamic - MCR as the abandoned, agonized martyr violently saving people - builds up through their first two albums. In the 2006 single release of “Welcome to the Black Parade” and “Heaven Help Us,” it explodes.
It’s fitting that these songs are a single and its b-side because they express the two attitudes whose tension drives MCR’s entire narrative of martyrdom and salvation. “Welcome to the Black Parade” embraces the heroic aspect of the savior, victorious through and beyond death. “Heaven Help Us” is its tortured dark side - the savior’s moment of absolute pain, isolation, and loss of faith before that victory can begin.
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“Welcome to the Black Parade” is the most explicit expression of the idea of salvation, beginning almost immediately with the request: “Would you be the savior of the broken / The beaten and the damned?” With this single release, MCR becomes completely upfront about how the thematic martyrdom in their lyrics matches up with the band’s verbalized desire “to save kids’ lives.” MCR know their fan base. Their fans are the bullied kids, the depressed kids, those struggling with trauma and addiction and anxiety - everyone society calls “broken.” It’s clear who’s stepping up to be those kids’ savior.
Though “Welcome to the Black Parade” doesn’t include the kind of explicit Catholic imagery that MCR’s previous records did, lyrics like “Do or die, you’ll never make me / Because the world will never take my heart / Go and try, you’ll never break me” demonstrate a profoundly Catholic attitude toward saving hearts and souls. No matter how much pain (and there’s clearly a lot) happens in this world, the heart persists. This song is about joyous suffering enabled by a heroic savior, about a defiant march past earthly oppression and into eternal victory. That’s pretty Catholic, my friends.
“Heaven Help Us” is about the actual pain that that savior must experience for “Welcome to the Black Parade” to have its victorious end. It’s the darker side of an already dark song.
It’s no accident that “Heaven Help Us,” while just as thematically Catholic as its A-side, is far more obvious about its Catholic imagery. Catholicism knows how to show us pain in a way that’s both beautiful and shocking. When your relationship with the Church itself is alienated and painful, that imagery comes out even more. 
“Heaven Help Us” begins with a melody that eerily parallels the classic Christmas carol “O Holy Night.” But it subverts the idea of a hymn, instead almost luxuriating in sprawling religious abandonment. Its imagery is viscerally bloody - “‘Cause mostly I’ve been sprawled on these cathedral steps / While spitting out the blood and screaming / Someone save us.” The lyrics invite sacrifice (“‘Cause I’ll give you all the nails you need / Cover me in gasoline”) but also call out with the desperation of the abandoned (“And the punchline to the joke is asking / Someone save us.” 
“Heaven Help Us” is a cry born from fear and resignation to abandonment. “Would you pray for me / Or make a saint of me?” becomes horrifyingly ironic when we remember how fast the path to sainthood is for martyrs - it’s almost automatic once they’re murdered. This singer isn’t the defiant hero of “Welcome to the Black Parade.” This singer is dying, alone, prayers unanswered.
And the thing about Catholicism is that both of those figures are equally Christ. Seeds of MCR’s dark salvation narrative persist throughout their discography. Even on Danger Days: The True Lives of the Fabulous Killjoys, “Save Yourself, I’ll Hold Them Back” offers salvation through sacrifice right there in the title. The release of “Welcome to the Black Parade” / “Heaven Help Us” harvests what those seeds all grow up to become - the image of Christ, forsaken. It’s the moment where the pain of fraught relationships with Catholicism crystallizes in support of the band’s mission: going forth into the world to save kids’ lives. But apparently, it wasn’t enough to leave it there.
When MCR formed, the US was a horrific place to live for a whole lot of people. The band started in 2001, and so did the shift of the Bush administration into outright pseudo-fascism. Take it from me, a young teenager of the 2000s - that was not a good time to be a depressed kid, a gay kid, a traumatized kid, any kind of religious or ethnic minority. That was a very specific cultural context, one in which MCR needed to mold themselves into the salvific figure of an alienated rock and roll “little Christ” to save a world of equally alienated kids.
They’re now reemerging in the renewed horror of the Trump administration: the Bush administration on steroids. There’s a whole lot of alienated kids who need saving. And now, at least this one savior is back.
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We may not have any new music, but the imagery of MCR’s Return situates them firmly back in their dark Catholic milieu. They announced their return accompanied by a photo of Pasquale Rizzoli’s “Cella Magnani,” a funerary statue in which an angel draws the soul of a dead woman into the celestial blue of its mosaic backdrop. The new logo, in which the letters “MCR” are written in a medieval Protogothic script, situates us back in MCR’s familiar black-and-white color scheme. In combination with “Cella Magnani,” it also places us in the medieval mode of memento mori - an aesthetic practice beginning in medieval Catholicism in which actively remembering your death helps you prepare your soul to die in a state of grace. (Side note: “Welcome to the Black Parade” is included on a popular memento mori-themed playlist curated by a nun.)
A lot of the effectiveness of memento mori comes from the Catholic perspective on the resurrection of the dead - the idea that someday, Christ will rise again and enact ultimate, perfect justice, giving everybody (and every body) exactly what they deserve. So in light of that, MCR’s Return narrative is itself a Catholic salvation narrative. MCR might not literally mean it that way, but in their own small way, this Return lets us hope that someday real justice will come. Someday, someone we trust will come to judge everyone and not even death will stop it. 
With their return, MCR’s dark Catholicism helps us remember that this is a band bent on saving lives - our lives. For people like us, MCR has spent 18 years building up the idea of a forsaken-Christ figure that exists specifically to save our lives - and that idea rising from the grave is pretty comforting.
Cae Rosch has been listening to MCR since 2004 and cries about Our Lady of Sorrows (the religious figure and the song) at least 18 times a day. Follow her on Twitter and Instagram.
Follow DRM on Facebook, Instagram, and Twitter.
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A (Controversial) Ranking Of 2010’s 10 Tony Winning Best Musicals
Remember when I thought this blog would be full of original theater content? Oops. Anyways here’s my list. Keep in mind some of these were incredibly close. I kept switching around 7/8, 5/6, and 3/4, but this is what I ultimately settled on. There’s a certain placement that I’m sure a lot of people are going to say is way too low, I’m not saying this is the definitive ranking or “correct”, just my personal opinion based on my individual taste. There are a bunch of musicals from this decade that I love that didn’t win the Tony, but that’s an entirely separate list lol.
10: Memphis
Tbh I know nothing about this show. It could be fantastic, but I’ve never heard the soundtrack, know nothing about it, and am unfortunately unable to listen to the soundtrack until 2020. Nothing against Memphis, I just don’t know anything about it which is why I put it at the bottom
9: Dear Evan Hansen
Put down your pitchforks. This is why I put controversial in the title. I’ve listened to this show multiple times, I’ve read the plot a bunch of times, I’ve had DEH Stan’s try to change my mind, I really, really wanted to like this show. The actors are incredibly talented and have great voices, no complaints there. I have anxiety and other mental health conditions and I was ecstatic at hearing about a show getting popular being about those things. I wanted to like this show. I wanted to connect to Evan, I really did, but the way the story is written makes me deeply uncomfortable with what it says about mental illness, and the music is fine but doesn’t distract from the story for me. It’s sort of generic music wise in my opinion. The way they portray both Connor’s and Evan’s characters makes me actively dislike the show, and it is really, really hard to make me actively dislike a show. I feel ambivalent sometimes, I have mixed feelings sometimes, but I actively dislike this show and that almost never happens. Also NPATGCO1812’s score and staging was phenomenal, Come From Away was sentimental and moving without feeling corny, and Groundhog Day surprised me by being better than I expected. I literally preferred every other show in the category from that year, I know a lot of people love it and that’s great but this is where it falls for me.
8. Once
I love the song Falling Slowly, and I think the actors dancing with instruments on stage was really cool. I think it was one of the first times it was done on Broadway, but I’m not sure. Other than the plot being a bit contrived and flat for me, there’s nothing I really dislike about this show. I just...feel nothing about this show. It’s fine, the music is good background study music, it just didn’t leave much of an impression for me.
7. Book of Mormon
So the songs in this show are absolute bops, and some of the wordplay is fantastic. I can appreciate this show for what it was trying to do. But ultimately, this show comes down to the humor, and you either like this style of humor or you don’t. I never personally found South Park to be my taste in humor. If you like South Park, you’re going to love this show. Even though I don’t find South Park funny, there were parts of this show I laughed at. But there were also parts that I cringed at and the cringe parts increased in hindsight. The songs are my favorite part: Hello, Sal Tlay Ka Siti, Turn it Off, Baptize Me, Mostly Me, I love those songs.
6. Fun Home
This show may have three Alison’s, which are all really good, but it felt like two plots to me. There is the story of Alison and her relationship with her father, and there’s the story of Alison’s self discovery and realizing her identity. These stories intertwine, but I personally find the self discovery and realizing her sexuality story much more interesting and compelling, and I also prefer the songs that are a part of that journey. Ring of Keys and Changing My Major are my favorite songs from the cast album. I read the graphic novel and it seems like it is really true to the spirit of the book. This and Memphis are the only ones I haven’t seen or seen a bootleg of, so I’m not really able to comment on the costumes, acting, choreography, setting etc, but for the most part I like what I’ve heard.
5. Band’s Visit
Another show that really comes down to taste. I liked this show when I saw it, the person who came with me didn’t. Part of the point of the show is rather than go to a big exciting city, they end up in a tiny town in the middle of nowhere in a desert where nothing happens. There are multiple songs dedicated to how nothing happens. And there are a bunch of mini story arcs with varying degrees of focus put on them, the focus shifts to much for anything to really happen. Which is the point, and it’s interesting, you just have to know what you’re in for. It feels like Waiting for Godot set to music, which if you like waiting for Godot like I do is a good thing. The romances are sweet. It feels like it should be in a more intimate off broadway setting, but I like it. The music is hit or miss for me, but the hits nail it out of the park. I like a lot of the songs but I love Omar Sharif, I could listen to it on repeat for hours.
4. Kinky Boots
This show is absolutely fantastic and I love everything about it. The fact that it’s at #4 for me was a shock, because this show is so good. This shows how strong the top of the list is in my opinion, because this show knocks it out of the park. This show has so much heart and sole. The costumes, especially for the drag queens, are stunning, the choreography like the boxing match and the conveyor belt dance are really cool, the acting is phenomenal, and the songs. The songs are so good. If they want to make you laugh they make you laugh, if they want to make you cry they make you cry, if they want to make you dance along belting out at the top of your lungs they are going to make you do that. Seriously, this show is so good.
3. Gentlemen’s Guide to Love and Murder
This just barely edged out Kinky Boots, because I feel like most people like and appreciate Kinky Boots, and I feel like Gentleman’s Guide is severely underrated and ranking it higher is going to let me talk about it even longer. This show isn’t as deep as Kinky Boots but it doesn’t try to be. What this show is, and why I think it’s underrated, is pure comedy. There are a lot of comedic Best Musicals sure, but the comedy is only part of it, but this one is wholeheartedly a comedy, which I feel is kind rare. A lot of things have comedy but it seems like not many are straight up comedy anymore. And the thing is... I’m not usually a fan of straight up comedy, like there are very few straight comedy movies that I enjoy, so the fact that I love this so much when I expected to only like it makes it even better. And as much as I call it a pure comedy, it’s got beautiful love song, great commentary, and a couple of twists that are fun even though you see them coming. The murders are really creative and funny. The characters are great, I love the gag with the Dysquiths where all of the murdered people are played by one actor. The acting, costume quick changes, and everything involved in pulling it off is so cool. I love the songs so much, I don’t think there’s a weak one in the bunch. And one scene may have one of my favorite bits of choreography of all time. It only needs three people, a doorframe and a chair. It’s not flashy or involves a million moving pieces like the costume bit does, but it is ingenious in its simplicity and comedic timing. This show seems largely forgotten by people, maybe because it’s not trying to be deep, but it 100% deserves more love than it gets.
2. Hadestown
If Gentleman’s Guide is one of the funniest shows I’ve ever seen, this is one of my favorite modern cast albums. This also hits a lot of my personal interests, so that definitely helps. I love Greek mythology, I love the anachronistic but also roaring 20’s setting, I love the genres of music they pull from, I love the oral tradition storytelling feel it has, it hits so many of my stylistic favorites that I naturally feel pulled towards it. I love the music, if you asked me to pick my top five, no top ten songs from this show I couldn’t do it. The casting fits the characters perfectly, and the songs match the characters so well. The lyrics are fantastic and the themes are both timeless and incredibly relevant. It feels like it was written in the past year or two, especially the song Why we Build the Wall, but it was written way before ‘Build the wall’ was ever a thing. And the design of the show is so incredibly effective, everything contributes to the feel of the piece and the function of the show. Everything seems so well thought out and crafted, from the costumes to the choreography to the script to the music, there is so much attention to detail and is so intricately tied together even though it feels simple, earnest and straightforward. Which to me is an incredibly difficult needle to thread. Like the famous Dolly Parton quote “it takes a lot of work to look this cheap”, it is such a complex show that looks so simple. And it’s so immersive, you fall into the story. You know how it ends, it tells you from the beginning how it ends, but that doesn’t stop you from feeling exactly what they’re feeling, from believing wholeheartedly that it could end differently despite knowing how it ends, it’s a masterful piece of art.
1. Hamilton
I doubt this comes as a surprise to anyone, even if I did technically make you Wait For It. I feel like calling it a cultural phenomenon is underselling it’s impact. There’s nothing I could possibly say about this show that hasn’t been said hundreds of thousands of times already. This show is a piece of lyrical genius, of musical genius too but a lyrical masterpiece. This show was like Rent was in the 90’s or Wicked in the 00’s, not only an instant classic that permanently affected the modern theater world, but outside of theater as well. I have loved theater long before Hamilton, but this show spoke to so many people outside of theater, made so many people fall in love with theater that wouldn’t have otherwise. It might not be my favorite show by Lin Manuel Miranda, it might not even be my personal favorite one on this list to see live, but nothing else could possibly take the top spot of this list for me. Who would have thought a hip hop inspired rap musical about a relatively ignored founding father would become the juggernaut it is. I don’t know what else to say that other people haven’t said already. It’s Hamilton, what else can I say?
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holinessanddesire · 4 years
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Excerpt: ‘What’s Wrong with a World Run by Desire?’
In his 2016 album Darkness and Light John Legend wondered aloud how his baby daughter would fare growing up into the world he knows, a world ‘run by desire’. 
The vitality of desire is not humankind’s main problem. Quite the reverse, actually.  I don’t think that our spiritual energies should be engaged upon the lifelong, doomed task of evading, banishing, neutralising or – failing all else – finding ways to slip out temporarily from under its power.   We, good stoics, would lose in our achieved indifference…all this:  longing, wanting, lacking, yearning, wishing, hoping, burning, hungering, thirsting, calling, praying, reaching, remembering, mourning.  Without these the only thing left to want is death.  
‘Ah, but a man’s reach should exceed his grasp’, wrote Robert Browning, ‘Or what’s a heaven for?’  The question acknowledges that the idea of heaven may be powerful, even necessary, but might not be true. It could be a fantasy, constructed only to keep longing alive. In the context of the poem, it sounds almost like a counsel of despair.
But Browning’s lines escaped their context and became an inspirational aphorism. Taken on their own, the lines keep God at a controllable distance, allowing for a human-centred vision into which optional homeopathic doses of the divine can be dripped as a brightener. They fit quite neatly into the family of inspirational tropes and vaguely spiritualised mission statements.
Modern culture is in the business of narrowing the distance between ‘reach’ and ‘grasp’, to make heaven unnecessary.  (Or at least to make it so that heaven really is a place on earth, as in the Belinda Carlisle song from the 1980s.) Rhetoric about the ambition of the human spirit is built into commerce, into civic rhetoric, into education.  When ‘reach’ and ‘grasp’ are treated as synonyms, possibility and fulfilment can be made to melt improbably into each other.  The promise of fulfilment is everywhere, from the can-do HSBC adverts which line the walls of airport jet bridges to the words of the secular primary school song ‘Believe’, which carelessly loads onto every child the burden of compulsory success:
I can do anything at all,
I can climb the highest mountain,
I can feel the ocean calling wild and free.
I can be anything I want,
with this hope to drive me onward,
if I can just believe in me.
This is great positioning for advertising. Adverts exploit the gap between hope and fulfilment by implying that the one will become the other.  Adverts also need them not to, because fulfilment doesn’t sell things. In watching an advert we are watching a fantasy from which our sophisticated distance is assumed.  They are constructed to exert influence rather than to command assent, though the less sophisticated rollover which assent delivers is always welcome.  
Yet the gap between hope and fulfilment which adverts pretend to bridge is a gap we need. 
Fulfilment that extinguishes hope renders its own benefits invisible.  The gap is where we live, the place of desire.  And when the gap is only acknowledged with success as a pre-condition (‘with this hope to drive me onward’) desire is dangerously harnessed.  For those many - those most; those all - who discover that the mountains are, after all, too high, the ocean too dangerously wild and wet and deep, failure and shame attend an astonished disappointment.  Nothing to wish for except the thing we failed at, nothing to hope for except the thing we thought was already our due.  Nothing acknowledged to be beyond the human grasp.  Success might even be worse - no bounds, no checks, no perspective. If the whole universe is imagined to be smaller than a single human will, then that single human will is a giant adrift in a wilderness of nowhere. But we are not giants.  We are small people tricking ourselves.  We are confined in ways that the songs and the adverts simply will not admit.  
You can only sing ‘imagine there’s no heaven’ with real enthusiasm if you truly believe that there’s an easily closable gap between reach and grasp.  The lyrics of John Lennon’s song are millenarian, eschatological. The perfect time when humankind sings in harmony and lives in peace is here - or just around the corner, anyway.  But it wasn’t.  It isn’t. In the end, the longing of a song like ‘Imagine’ is exactly the same as the longing for heaven in Browning’s poem - it points to a wonderful elsewhere that cannot be touched.  As I was growing up, across the 1970s and 80s, people seemed uncertain about whether it couldn’t be touched because it had already happened (the 1960s being so decisively over, so enviable) or whether it was on its way somehow and still unfolding.
The headmaster of my primary school preached to us almost weekly about the imminent coming of the end-times, newspaper in hand to match current events up to the relevant passages from Revelation.  We would all sing ‘God is working his purpose out’ accompanied by wailing recorders. And the earth shall be filled with the glory of God as the waters cover the sea. I became wary of apocalyptic sunsets. I prayed that Christ would not come in my lifetime, or my children’s, or my children’s children’s, on and on as far as I could imagine my intercessory intervention running.  I wasn’t sure it was going to work.  
Once John Lennon was shot, in 1980, it became clear that heaven was not round the corner at all: it had been and gone.  The world was back to its sordid business-as-usual.  The boyfriends I went out with (some of them) yelled along to Crass’s anti-nuclear blast: ‘They’ve got a bomb’. Personally, I was bored and alienated by punk, so loud, local and masculine. (Hersham was four stops away, its boys a nuisance at parties.)  I took refuge in the last gasps of romantic, space-age eschatology, buying my stairways to heaven with (Tim) Blake’s New Jerusalem, King Crimson’s Islands with its astonishing cover of stars, Led Zeppelin’s ‘Battle of Evermore’ or even the more terrestrial wistfulness of ‘Going to California’. I tried not to notice the ways they were absurd or downright repulsive, or the boredom of long improvisations, or how necessary it was to be a man to enter prog rock paradise. I tried to play the piano like Keith Emerson, but only managed to be nicknamed after the piano-playing dog on The Muppet Show. I didn’t want to think heaven could never arrive, though I had my fair share of four-minute-warning dreams.  I asked my mother, in 1979, whether she was afraid.  ‘Not after Cuba’, she said. 
So what’s a heaven for?  It is the place of desire; and we reach towards it through the passions of experience.
Our delight in the present and tangible is not confined inside a point called now.  It spreads out from it, backwards and forwards through time.  It connects the immediate (now) to the unattainable (then).  It does this in the associations of memory, which is the form for longing after what once was.  And it does this also in the way that we look, in a strangely similar longing, towards what has not yet come to be, the sight just at the edge of our vision. The experience of becoming, of being someone who has an unfolding meaning in the world, is absolutely dependent upon experience we can’t possess, experience lent to us through imagination and in memory.  Somewhere over the rainbow waits the living fulfilment of all our longing.  My Christian faith trusts desire to contain all meaning; in desire my eyeline lifts up beyond what is available, pressing forward towards something I am too small to possess. Whilst we are creatures who value yearning, who know that our reach exceeds our grasp, we are able also to be creatures looking beyond the visible towards what we cannot yet see or touch, towards the mystery of things.  Desire keeps the future open and the past breathing; it invests the present with potential, a charge of power it cannot retain by itself. 
The immediate is important.  But alone it is vulnerable to despair.  Desire invests the immediate and the tangible with potential, so that every experience becomes bigger than its own moment.  Desire is our bridge out of the rule of time; and even if the bridge is barred presently by the toll-gates of marketing campaigns it is still possible to find ways to look into a priceless distance. ‘Buy wine and milk without money and without price’, invites God through the poetry of the third writer to be called Isaiah. ‘Why do you spend your money for that which is not bread, and your labour for that which does not satisfy?” Without hope - without its freight of desire - everything we already possess loses weight and value. When we behave as if the New Jerusalem is already here, we are bound for disappointment. 
The heart-changing stories of humanity’s desire are not about careless delight or tearless potency.   Ours is not a Captain Marvel story.  We do not have to imagine what it is like to possess bodies impervious to violence or age, or minds indifferent to the passing of time. Our narratives of seeking and finding end not in strangeness but in recognition. For Christians like me, God manifests in the known human face, in the weakness of a baby, the rare vulnerability of an unarmed man, the defencelessness of offered love, the keeping company with a dying body, the unlooked-for meeting seen through passionate tears. For us, God inhabits the everyday truths of weakness, finitude and loss.  For us, God’s presence is strong in the places where the human imagination quails or retreats - with the degraded, the despairing, the imprisoned, the raped, the assimilated or devoured, those of damaged or vanished memory, the dying, those in pain, the tortured and humiliated, those in social exile.  All the places which bring human sympathy to a standstill, which darken human comprehension, unreeling the heart towards meaninglessness - those are the places God inhabits with special care.  There are no locked doors in the divine imagination.  This is a very great mercy of its own, because the burdens of human suffering and human cruelty are sometimes too heavy to bear.  Live in the place of death for long enough and death can be what you will long for. But to us another heart helps bear that burden and another eye looks when we cannot, opening a door out of the dark confines of earth and dust. To us, paradise is a place of mercy and restoration, where tears are wiped away rather than where they were never shed.
So, then, what’s wrong with a world ‘run by desire’?  If it is the ultimate good thing, the bridge to eternity, the raw material of meaning, the life-motor?  What’s not to like?  But turn the thought around.  This isn’t about a world unexpectedly illuminated by wild desire, but one with its wildness trapped into serving short-term, deliberately short-lived pleasures.   And our world, the world of the modern West, though it cannot trap all the wild desire there is, has managed to enslave desire on a truly industrial, global scale. 
I do not know exactly what John Legend means as he sings to his baby. But the potential of a new baby is one of the very few places where our vision is long; where we clearly understand desire to be about a relationship between the immediate present and a possibly wonderful future. Babies require patience. They don’t always oblige with smiles and cute moments. You can’t rely on what you’ll get looking after a baby – though it will be unexpectedly wonderful at odd moments. Caring for babies means a grinding and monotonous set of vital, continual mini-tasks, is as different as it possibly can be from the harnessing of desire for swift gratification.
There is little space for the needs of babies - or wildlife, or insects, or trees or oceans or glaciers - in a world run by desire. Desire as a motor for immediate reward drives towards possession rather than care, possessions rather than relationships.  It is harnessed in order to direct and distract us only towards objects we can completely encompass.  It encourages us to think about non-human stuff - whether we mean by that the 27,000 miles of submerged mountain ranges at the bottom of the sea or our distance from the indifferent stars - as items which at least metaphorically can be ‘handled’, owned in the hand.  What does it say about the human relationship with the wilds of space that a businessman might send up a Tesla into the orbit of Mars? (And even that has its own joie de vivre – unlike the many car adverts which fetishise the solitary landscapes the car economy continues to endanger and across which, on our crowded roads, no car driver may travel alone.) Yet to have and to hold means nothing without the stuff which we can’t just have, can’t quite grasp; the associations of the lost past; the potential of what might come; the wildness of what can’t be understood.  The wickedness of many car adverts is that (like certain kinds of global tourism) they pretend we can buy wildness.  
In a world run, rather than filled, by desire, our grasp is so continual and so driven that we forget that we have any reach at all.  We are under compulsion - a word meaning enslavement - flogging the moment to beat a residual grain of longing or memory out of its blankness, or killing the time watching a procession of the wonderfully alien artfully domesticated into small-screen cliche.  ‘It was no great mistake’, remarks the seventeenth century mystic Thomas Traherne, ‘to say, that to have blessings and not to prize them is to be in Hell.  For it maketh them ineffectual, as if they were absent.  Yea, in some respects it is worse than to be in Hell.  It is more vicious, and more irrational’. Living becomes a crowded list of short-term goals and greeds.  When we forget our reach we also forget our own small size; we forget that we shall die; we forget that we do not make ourselves, or live to ourselves, or die to ourselves. We forget that there is anything bigger than the self. We spend our entire lives in the act of distracted forgetting to avert our own mortality. It is not being very good for us. 
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torreygazette · 5 years
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Music Review: The Highwomen
Few debut albums in recent memory have been received with such critical fanfare as the Highwomen’s self-titled effort, and for good reason. Brandi Carlile, Amanda Shires, Maren Morris, and Natalie Hemby each have considerable songwriting and performing talents, and together they create a number of terrific songs that have you realizing what a supergroup of Loretta, Dolly, Patsy, and Emmylou might have sounded like. And with Dave Cobb at the mixing board, whose recent production credits include Chris Stapleton’s Traveller, Jason Isbell’s Southeastern, and Prine’s The Tree of Forgiveness, The Highwomen manages to pay musical homage to outlaw country without being overcome by nostalgia. No small feat.
Morris leads the women in singing “Loose Change” as the singer stands up for her value to a lover who has long since taken her for granted; Morris’s blending of emotional vulnerability and resilience still has me surprised this isn’t a Dolly cover. And “Crowded Table,” with its images of hospitality and welcome, is wonderfully crafted by all four Highwoman singing around a crowded mic. Hemby’s “Don’t Call Me” is a classic country rocker and “Heaven Is a Honky Tonk” makes something written by Ray LaMontagne actually sound fun. 
But these are the true peaks of the album, and I find myself skipping the title track and “Redesigning Women” to get to them. That’s because the Highwomen have adopted a supergroup identity fundamentally derivative of the famous Highwaymen outfit of Cash, Willie, Kris, and Waylon. That move requires songwriting decisions to support it, and these tedious songs end up distracting from the very real talent on display elsewhere on the record. The album feels strained at times because the Highwomen are trying to simultaneously make a name for themselves while adopting a male group’s name and ethos. And the effort fails—perhaps not for the moment, but I doubt that this debut album will match the durability of the Cash/Nelson/Kristofferson/Jennings debut effort.
I realize this is something of a female Ghostbusters take and so I should explain myself. After all, I enjoyed the female Ghostbusters and thought it had some great moments.  Ghostbusters had the advantage of a tried-and-true concept, an obvious plot, and some terrific actresses delivering laughs via one-line zingers and rib-splitting slapstick scenes. In my view, a lot of the criticism was just whinging. So what makes this album any different? Unlike a prefabricated narrative, a record is like a blank canvas; it offers artists the ability to address anything. Given that wide range of possibilities, what do you write about? What do you sing about? For The Highwomen, the answer is often contemporary political or social commentary too often reliant on the acceptable preferences of the moment.
The album’s title track exchanges the Highwaymen’s highwayman, sailor, dam builder, and astronaut for a refugee, a Salem witch-healer, a Freedom Rider, and a preacher; and if the lyrics weren’t direct enough, a new fifth verse is there to provide the moral insights that you might have been too obtuse to infer. “Redesigning Women,” another critically popular track, provides an anthem for the late-capitalist female who successfully manages a professional career, full care of the household, and Joanna Gaines-level home renovations. “Redesigning” deploys these images, which impose real burdens on both homemakers and professional women, without any interesting engagement, and ends up reifying these expectations when challenging them would have been more interesting, lyrically and morally. These tracks, and others on the album, don’t strike me as particularly brave lyrical efforts. Instead, many of these purported outlaw songs are written for a critical and popular audience that is already guaranteed to approve of them.
The Highwomen didn’t invent this kind of overwrought, hyper-relevant lyricism, though. Rather, their album is affected by something I’ve heard on other recent country albums. Jason Isbell’s latest efforts, both individually and with the 400 Unit, have suffered from the same didactic approach to songwriting that I find perplexing for an artist who wrote “Outfit” and “Decoration Day” a few days after he got out of diapers. Country music has a rich history of anthems and stories, with heroes and villains, but the legendary albums that have come out of Tennessee have rarely been so on-the-nose with moral instruction, even when singers dusted off their hymnals to record a Gospel album. This didactic turn from some of country music’s new legends has me reaching for a paragraph about a new kind of honky-tonk version of Socialist Realism, but I’ll spare the reader for now. After all, we still have Prine.
I would expect we have more of these kinds of albums headed our way. The broadly shared cultural understandings (good or bad) that had allowed singers to focus on the key elements of county aesthetics—lyrical narratives or songs of loss joined by tasteful Telecaster arrangements—have disappeared. In their absence, artists seek to fill the gap by alloying old musical forms with instruction in the new morality, whether it’s the celebration of political causes du jour of “Highwomen” or the lesbian clap-back track “If She Ever Leaves Me.” This tedious combination of aesthetics, ethics, and indeed religion will often feel pretentious, disjointed, and worse—boring.
None of this means that the album is unlistenable or unenjoyable. Aside from a handful of tracks that have been lauded by professional critics, it’s a good album, and on the whole a great first effort. While I might not return to listen through this album completely, some songs will stick with me and I’m glad for that. But I imagine I’ll be satisfied with the songs and heroines the Highwomen themselves love; if the Highwomen release another record I’ll lift the needle off Don’t Come Home a Drinkin’ (With Lovin’ on Your Mind) and give it a listen.
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dramaqueeenamby · 6 years
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In Da’ Club
A/N: This is loosely inspired by the TV show Sister Sister. The episode where Tia and Tamera....welll, I’m sure you’ll pick up on it! ;) 
In which you, T’Challa, Erik, Erik’s girlfriend, Shuri, and someone else all set out for a night at the club. 
Words: 2432
Visuals of the ladies as follows:
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In Da’ Club
“Absolutely not!”
“Y/N!”
“No, Erik!” Y/N said more forcefully. “That is a terrible idea.”
“That’s what you say about everything that I suggest!” He threw his hands up to show his frustration.
“Well then perhaps you should stop making suggestions altogether.” She shook her head and noticed a group of boys surrounding a smaller boy. “If you wanna do something, you can go help him.”
Erik dragged his eyes over to the scene and rolled them before sauntering over.
“Ya know, I for one am not always Team Erik, but he might be onto something, girl,” Deja commented innocently from her position on Y/N’s side.
“Deja…”
“Come on, Y/N.” Deja practically whined. “You were the captain of your school’s dance team in high school and led your team to nationals while in college.”
She paused. “I fail to see the relevance.”
Deja sucked her teeth. “You mean to tell me that you and your girls never went out to celebrate?” Silence. “Mmmhmmm.”
“That was different, Deja. I was younger and a co-ed. We were all trying to have a good time.”
“You make it sound like you’re an old woman. You’re 26 girl. What 26-year-old doesn’t wanna hit up the club?”
“I’m not opposed to going to the club.” She sighed. “I’m opposed to taking T’Challa with me.”
“So, we’ll leave him behind at the hotel.” Deja shrugged.
Y/N cut her eyes. “You know damn well he is not about to let me go anywhere without him at least 10 feet away, especially with you and Erik.”
Deja pouted. “What are you trying to say? That we don’t know how to act in public.”
“You don’t, Deja!”
“That is not true!”
“I have one word for you.” Y/N deadpanned. “Paris.”
“Th-those charges were dropped!”
“I rest my case.” She shook her head.
“Okay.” Deja took on a solemn expression. “I suppose we’ll just have to go by ourselves….unattended….without supervision.”
Y/N’s eyes started to widen. The last time Erik and his girlfriend had gone out, her poor fiancé had to intervene to even get them out of the damn country.
She didn’t want that kind of stress on this trip.
“Okay, fine!” She finally relented as Deja squealed loudly and grabbed her to pull her into a side hug. “But I mean it, the second you two start acting out, we are out of there!”
Deja blew out a breath. “You are no fu-what the hell is that boy doing?”
Y/N turned to look at Erik, her eyes maximizing almost immediately. “Erik! Release his ankles now!”
As Y/N ran over to stop the prince from potentially harming a minor, Deja stood there and started to think about what she would wear.
“This is gonna be fun.”
* * * * *
“Don’t leave this room, don’t leave the hotel, don’t leave the state, don’t be having nobody up in this bitch while we gone, especially no goddamn lil’ burning ass niggas-“
“What can I do?” Shuri asked with a voice full of irritation.
“Breathe,” Erik replied with 100% honesty. “But don’t be doing too much of that shit either. American air is full of pollutants and shit.”
T’Challa shook his head as he looked over at his sister. “You are free to order room service, a movie, anything to keep you occupied until we return.”
“I just can’t leave the hotel.” The teenager sassed.
“It is for your protection, sister.”
“Ya’ damn straight.”
Y/N sent the young girl a sympathetic expression. “We’ll be back-“
“I am ready to depart.” M’Baku walked into the room, his traditional attire swapped out for modern clothes.
The four adults froze, none aware that the leader of the Jabari tribe planned on tagging along.
“M’Baku, I did not realize you were coming with us.” Deja laughed nervously.
“Aw hell no, this nigga finna be barking the whole damn night,” Erik muttered as his girlfriend elbowed him in his side.
“Why would I not?” He smiled broadly. “Is the purpose of this trip not to introduce me to American culture?”
“It is,” Y/N replied. “It’s just that the club is…well…it’s a bit much to take in if you’re unfamiliar with the customs.”
“Ha. Even more reason for me to attend,” he affirmed as T’Challa sent his fiancé a way to go look.
“Alright, listen Clifford the Big Jabari Dog, ain’t gon be none of that Que whooping and hollering shit.”
Shuri snickered from her spot on the sofa. “Perhaps being stuck here won’t be so bad after all.”
* * * * *
“But why do the young woman dress so provocatively?”
“Because they all hoes!”
“The gardening tool?”
“Somebody get this nigga away from me.” Erik referred to M’Baku who had been pestering the group with questions the whole night.
“M’Baku, wouldn’t you like to go dance?”
“Sure, when will it commence?”
Y/N clenched her eyes. “It has, M’Baku. That is what they are doing.”
This time, T’Challa’s interest was piqued as he looked over to the crowd. “How? They are simply gyrating with one another.”
“That’s the point!” Y/N snapped before leaning back against the plush seat. “I need a drink.” Y/N moaned as she threw her head backward.
“Of course, my love. Would you like some water, apple cider, or maybe a carbonated beverage?”
Had the music not been so loud, the group would have heard her whimpering.
Erik looked over at Deja who was taking a picture for Snapchat before he snatched the phone out her hands.
“What the fuck?” She hit him on his arm. “Give me back my phone, Erik!”
“You best not be talking to no niggas.” He warned while going through her friend list.
“And if I am?” She sucked her teeth, grabbing her iPhone out his hands.
“Ask one of them to get your ass back to Wakanda.” He shot easily. “We’ll see how far that gets you.”
“Man, whatever Erik.” She blew off his threat and stood up. “Come on, Y/N. Let’s go dance.”
The queen to be froze momentarily. “I don’t know….”
“You should dance, little one.” M’Baku encouraged. “Go join the rest of the hoes in their merriment!”
“Deja, wait up.”
* * * * *
Y/N did not realize how much she had missed her electric nights out at the club from her college years. No, it wasn’t the club itself that gave her a buzz but rather the idea of letting loose and having fun that gave her a high.
She’d only been on the floor for two minutes when the DJ decided to transition into throwbacks, the sound of “Bring it Back” taking her to a time where she used to dominate the dance floor.
She and Deja danced with each other, twerking and all, not caring about the stares and occasional phones she saw that were recording the interaction.
She knew she’d probably be on the blogs the following morning but honestly did not care. She truly was having a good time.
“Sex on the beach, please.”
“Make that two,” Deja added on as they took a break and sat by the bar. “Girl, I knew you still had it in you.”
Y/N cheeks tinted red. “I suppose I did not realize just how…closeted I've become compared to my college days.”
“See what happens when you party with Deja.” She teased. “Ya’ bitch wanna party with Deja.”
“Cartier Bardi in a 'Rari,” Y/N finished the line while running her hands over her sequined dress. “Diamonds all over my body.”
The two laughed and thanked the bartender as he brought them their drinks. They continued to joke around until the glasses were finished, prompting the young women to revisit their significant others in the VIP section.
“Come dance with me,” Y/N pouted while plopping down on top of her fiancé.
T’Challa chuckled, smelling the alcohol on her breath. “Did you enjoy your drink?”
“If I say no, will you dance with me?” She proposed, wrapping her arms around his neck and speaking against his temple.
“This is your element, not mine.”
She started to glare when another thought crossed her mine.
“These hoes ain’t loyal,” M’Baku spoke with uncertainty at first before finishing the statement with confidence.
“You got it!” Erik clapped and nodded his head with glee. “Maybe there’s hope for your M’Baku the giant looking ass yet.”
“You ain’t right.” Deja shook her head and grabbed Erik’s hand. “Let’s go.”
He raised his brow. “Now you wanna dance with a nigga?” A beat. “Naw ma’. Better go call Whitney.”
“She’s dead.”
“Not my problem.”
Deja groaned and pulled on him. “Come on, Erik.”
“What’s in it for me?”
She smirked and leaned down to whisper in his ear. “If you dance with me now, I’ll dance on you tonight when we get back to the room.”
The prince grew smug, slowly standing up as he allowed her to lead the way. “This why I keep your fine ass around.”
Similar to Deja, Y/N also promised her lover a night of intimate trysts, effectively getting him on the floor.
She smiled as T’Challa correctly gained a firm grasp on her hips, pulling her ass against his crotch. She looked over her shoulders to give him a bit of advice. “Just stay with me.”
As if on cue, “Walk It Like I Talk It” by Migos started playing. Erik, of course, knew exactly what do do, guiding Deja as she moved against him, the two sneaking in sloppy, drunk kisses.
T’Challa took a moment longer to catch on, but even his fiancé was shocked when he started reciprocating her actions, adequately matching her sensual movements.
Several songs played that had the whole club hype. Even M’Baku had attracted a dance partner, the monolithic warrior in pure bliss as a gorgeous woman with flawless chocolate skin and a plump ass twerked on him.
However, the crowd went completely ballistics at the sound of one iconic line:
Cash Money Records taking over for the '99 & the 2000
Everybody started piling in on the dance floor, even the ones who were readying to head out turned around when Back That Azz Up filled the room.
Deja and Y/N held nothing back as they danced with Erik and T’Challa, the future queen of Wakanda moaning when her man started to whisper all of the things he planned to do to her when they got back to the hotel.
“Maybe we should go out more often.” She whispered as he started sucking on her neck, her head bobbing to the side. She was about to shut her eyes when something, or rather, someone caught her attention. “Shuri?!”
“Shuri?”
Fuck
T’Challa immediately stopped his assault on her neck, his head snapping around to look for signs of his little sister.
Y/N returned her eyes to where the scientist was and sure enough, there was Shuri, laughing, dancing with….her boyfriend?
What the hell was he doing there?
“You saw Shuri?” T’Challa demanded of her as Y/N struggled with a response.
“I-uh-“
“Shuri?” Erik chimed in as Y/N realized shit was about to get real. “I know lil’ bit don’t have her fast ass up in here.” He growled. “Where she at? Imma kill that girl!”
“Perhaps it was someone who just looks like her?” Deja suggested.
Y/N said nothing because she knew that was not the case, especially since she also saw D’Kar.
“Where did you see her?” T’Challa pressed, his voice alluding that he was not about to accept anything other than the truth.
“She-it was-“
“Y/N!”
“Fuck that,” Erik grunted before making his way through the crowd, not that anyone was trying to stay in his path.
“What the hell is he doing?”
Deja, T’Challa, and Y/N watched in horror as he hopped up on stage and grabbed the mic from the DJ.
“Fuck you looking at me like that for?” He hissed as the disc jockey dropped his judgmental gaze in less than a second. “It’s not like you all that good anyway. Got the nerve to play some goddman Boom Boom Pow after the legendary Juvenile. Man, get your anorexic, Mr. Brown looking ass up off this stage before I Uncle Phil you off.”
The man wasted no time in running off the stage as he Erik beat on the mic.
“Now I’m only gonna say this shit once cause you know who you are,” he started. “And you know damn well you ain’t got no business being up in here with grown folks.” The crowd was clearly mumbling amongst themselves, no one brave enough to try to interrupt the livid man up on the stage. “And I should out your sneaky ass, but I won’t cause a nigga nice like that.” A beat. “But I swear to Bast, you got till the count of three to get the hell up out of here before I turn this bitch inside out.” He held up one finger. “One-“
He didn’t even get a chance to count any further because a surprisingly large group of people started heading for the exit.
“Sthandwa sam-“
Y/N sighed loudly. “I’m on it.” She shut her eyes opening them back up to reveal that they were completely white. Thick, dense, and barely visible fog filled the club as partiers struggled to see, unable to make their speedy retreat.
Of course, there was one person who could still see. In fact, Shuri happened to be one of the first people that he located.
He politely marched over to her as she looked over at him with nothing but nerves.
“Sister.”
Shuri gulped. “Brother, fancy seeing you here.”
“Is that the nigga?” Erik shouted from atop the stage noticing the young man standing beside Shuri was surprisingly managing a brave face.
Y/N groaned and thought of something. “Wait a minute….where’s M’Baku?”
The leader of the Jabari tribe was nowhere in sight, absent from the spot they had last seen him.
“That nigga like eight feet tall, he can take care of himself.” Erik scoffed while hopping off the stage. “You, however, done fucked up.” He spoke while marching toward
“Erik no-“ Shuri tried to stop him from charging at D'Kar by standing in front of him. “It’s not his fault. It was my idea to come here.”
“Well, you are leaving. Now.” T’Challa demanded, the ire radiating off his solid build. “And as far as you,” he turned to D’Kar. “This matter will be resolved.”
“Damn straight it will,” Erik spoke once again. “Soon as I kick your motherfucking ass.”
“Erik, no!”
Perhaps the club wasn’t such a good idea after all.
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