#it's the energy of it more than the lyrics but it's both combined

[gotyouanyway]

btw the last 60 seconds of john mcclane by say anything is so marie/homunculette.. you have to listen to the song to rly get the angry loserly pathetic energy of it, and it helps if you mind meld with me and understand my vision of what they're like in earlier parts of their story. but just so you know.

[bitchslapblastoids]

Just curious, was the energy any different between the two shows?

Dan and phil’s energy wasn’t different other than Dan sounding like his voice was strained. It actually cracked right at the end when he said ‘see you back on the internet,’ and he had to visibly pause to swallow and like. Lubricate his throat (sry) during some of his solo bits. The vocals backing track or vocal distortion or whatever was happening was up way louder for the song; I could barely hear them both after the uke bit was done. Like, you could hear the lyrics well but couldn’t pick out the individual strands of their voices.

Can a vocal coach PLEASE teach dan that the mic is there for a reason and you actually don’t have to shout and ruin your vocal chords the whole show and there’s actually so much technique to preserving your voice and that it doesn’t have to be this way! I feel like Phil (naturally less of a shrieker too) has a better handle on this and uses his mic tactfully to amplify his voice. (there were points when Dan’s sheer volume sorta hurt my ears sry I love you please never stop talking but please pipe down)

But yeah I was surprised by how totally energized they were on their third performance in a row!!! Didn’t appear tired or wired during show or preshow, they were just them <3

Also I have to say (and I don’t think this is just bc I knew what to expect the second time around) the clothes sharing/tour bus bed/Vegas vid combination (night 1) was so absolutely fucking gobsmacking, and the way they read us for filth with the zooming in and compilations of photos felt more cutting. I felt genuinely shellshocked and so fucking clocked as I was hurdled back to being on idb in 2015 engaging in busgate discourse and…yeah. The phwedding/pole/sleepless night conspiracy combo just didn’t quite hit the same.

I find it really interesting how drastically those conspiracies can change the tone of the show. Some are much more revealing than others.

The audience’s energy was diff - people were louder night2, more yelling out random shit during the show at unsolicited points (pls stop omg it makes me want to die this show is actually not about you), more energy when dancing to the preshow playlist, more interacting with eachother and then scrambling to find their seats while act 2 had already begun, more feral overall I’d say, lol

Oh and it seemed like they were moving through everything a bit faster night 2. It ended a bit earlier.

[bubster3020]

Album Review #4 - London Calling - The Clash

This album is insane in terms of scope alone. The Clash's third album is a massive undertaking, blending elements from punk rock, rock n' roll, reggae, and a whole swathe of other genres. The project combines all different types of music seamlessly into one of punk music's (and music in general's) greatest triumphs, in great part due to Joe Strummer's absurd songwriting talents. While it's not your typical punk album, exchanging the typical short bursts of aggression for a more drawn out track list, it remains to this day the gold standard for anti-establishment music and the template of the post-punk movement. I cannot overstate how influential London Calling is and how ahead of their contemporaries The Clash were. Despite releasing more than 40 years ago, every song sounds like it could have came out within the last decade and still be innovative.

The album opens with its title track, which acts as a hook for the rest of the project. Arguably, it's the most stereotypically punk song on the record, utilizing standard electric guitar sounds, yet even then it doesn't quite fit its mold. The guitars are cleanly mixed in a way that makes more room for some killer bass, a common throughline throughout the project. It also works to set the tone, reminding the listener that London Calling is a punk album, regardless of how it sounds. It's anxiety inducing, creating an aura of fear bolstered by Paul Simonon's menacing bass and the thick power chords synchronized with the militaristic drumming. It feels as if a big and irreversible change is about to happen, which is not only true for the record, but echoes Strummer's thoughts about where the world was headed at the time. From here, the records jumps to the high-energy, rockabilly "Brand New Cadillac," a cover of the 1959 song by the same name by Vince Taylor. The song demonstrates Strummer's great vocals; despite being similar in tone to the original, the cover sounds much more visceral and passionate. The jump between the first two songs exemplifies The Clash's versatility, and the variety between each song only grows larger as the record continues.

This album's varied offerings are one of its strongest points. For example, right after the rocking "Brand New Cadillac," a complete switch occurs as the band moves into jazz music with the aptly titled "Jimmy Jazz," a semi-improvised, bluesy story of an outlaw. This song is a statement: They're throwing the musical conventions of punk music out the window, at least sonically. The album's cover art, which is reminiscent to Elvis Presley's debut album, furthers the notion that The Clash cannot be contained. Instead of happily singing like the original cover, they're smashing the guitar in anger. Ironically, the lack of punk sound is the ultimate act of defiance. The variety only increases with the band taking influence from reggae, soul, and even pop on the track "Train in Vain (Stand by Me)." The band succeeds in every genre they jump into, with songs like "Rudie Can't Fail" that both serve as a respectable reggae-adjacent song on it's own as well as a proper punk song. Despite the band leaping between all kinds of music, there is never doubt about the band's leanings.

The Clash have always been rebellious by nature, and London Calling s no different. Even in the songs furthest away from the punk sound typical of the time, the lyrics are drenched in counterculture ideals. Tracks such as "Koka Kola" and "Lost In The Supermarket" are very much departures from the band's usual sound, yet both are scathingly clever critiques of capitalism and consumerism. The record is ceaseless in its disdain for the UK and other government powers, even in its most lighthearted moments such as the aforementioned "Train in Vain (Stand by Me)," which talks about how difficult being a young person can be when you're overworked and underpaid. There are of course some clear-cut songs, like "The Guns of Brixton," where Simonon sings about going out on his own terms over one of the most intimidating bass lines I've ever heard, but there are also certain songs loaded with metaphors. "The Card Cheat" is an epic set against a huge soundscape (which the band achieved by layering the instrumental over itself) about a gambler cheating in a card game, but in reality is about how the rich essentially cheat in life, with the king of spades up his sleeve being the king of Britain. Regardless of how obvious the message of a song may be, there should be no takeaway that The Clash is anything but punk.

Overall, this album is a phenomenal exploration of just what music can be when you have no boundaries. It exists in protest, turning anything it can find into acts of revolution, proving all art is political by taking previously existing works and recontextualizing them. Simply appearing on the album is making a statement. Its unprecedented length, stellar prose, and huge variety makes London Calling an album that offers something new upon each listen, and changed what punk music would be forever. It is all held together by synergy between bandmates, as every instrument works so well with one another, building on each other flawlessly to create one of the most historical records ever.

Favourite song: Lost In The Supermarket

Least favourite: Lover's Rock

Score: 10/10

[hoodreader]

ꪆৎ⋆ ˚｡⋆ Astrology Lyric Breakdown ⋆ ˚｡⋆ ꪆৎ

i want war (BUT I NEED PEACE) — Kali Uchis (TO FEEL ALIVE EP)

♪ Time too precious and my patience thin — 8H Gemini Mars square 5H Pisces Saturn (Rx)

the combination of saturn (patience) harsh aspecting mars and being in a mutable sign can show that Kali isn't someone who likes to stretch her patience thinner than it already is. these people already are tested with their ability to commit to things; their abilities to meaningfully distribute their energy. naturally, they make be prone to being tense or irritable. this can manifest in a good way though because they usually are more liberal with asserting boundaries (pisces saturn people can often struggle with this, so the aspect to mars is helping a lot with that.)

♪ My mind and my soul is the weapon — 1H Scorpio Moon

in astrology, the "mind/soul" are associated with both the first house and the moon. in a martian sign like scorpio, quite literally, her mind and her soul are weapons.

♪ And every failure was a lesson / It's time to stop blocking these blessings — ASC and 1H Scorpio Jupiter trine 5H Pisces Saturn (Rx)

saturn (lessons) aspecting both the ascendant and her first house jupiter (blessings) shows that she sometimes is her own greatest ally or foe. sometimes, saturnians can be responsible for blocking their own blessings. it's also relevant to mention that the fifth house is the house of "fortune." a malefic like saturn being here could seem like it'd work against the native, but it can work for her too. karma is neutral, and saturn blesses just as much as he curses. it depends on whether you’re working with or against yourself.

♪ See, I just wanna grow into my greatness — 1H Scorpio Jupiter trine 5H Pisces Saturn (Rx)

first house jupiter natives have a "larger than life" self. it's quite powerful. but with the aspect to saturn, this might not be something the native realizes until they mature. hence, this is something she has to "grow into." but there's a lot of potential. jupiter aspecting saturn is considered auspicious that causes longterm blessings.

♪ I wish I had the time that you've taken — 5H Pisces Saturn (Rx)

the feeling of her time being stolen from her could be the fact that saturn is retrograde in pisces. it can kinda feel like time just whizzes by and before she knows it, she committed to something she (in hindsight) may not have.

♪ 'Cause I got needs, yeah, I got needs

♪ I want war, but I need peace — ASC in Scorpio / DSC in Taurus, Chart Ruler in the 8H, 8H Gemini Mars square 11H Virgo Venus

the ascendant-descendant opposition will always tell you that oppositions are two sides of the same coin. the first house is a house of the native's ego, in a way, because this is where the mind is represented. so from an egotistical standpoint, she wants war (scorpio; martian quality). but on a deeper level, she wants peace (taurus; venutian quality). this point is furthered by having an eighth house mars... these people can be vengeful, angry, vindictive, etc. but then... it's squaring (harsh aspecting) her virgo venus in the eleventh house: the planet responsible for union and harmony in the house of good spirit and aspirations. the war is within her.

♪ And they kept on calling me crazy / But maybe that's how God made me / Take a look at what you made me / Calling me crazy, that's what you made me — ASC in Scorpio, 1H Scorpio Moon, 8H Gemini Mars

that first house scorpio moon can say a lot about her being viewed as crazy. the moon, being that it's the planet of the mind, being in fall and in a martian sign can show mental and emotional dysregulation. scorpio placements tend to repeatedly find ourselves in deeply transformative situations that kind of shift our state of mind. very rapidly. likewise, she had her mars in the eighth house. these people can sometimes be stunted in their root feelings; stunted in their anger. we get triggered into transformations just as much as we trigger others.

♪ Look at the mess I got myself in (Ooh) — 5H Pisces Saturn (Rx) trine ASC in Scorpio

a lot of times, saturnian ascendants can often get themselves into their karmic situations.

♪ I don't wanna get numb to the feeling — 5H Pisces Saturn (Rx)

numbness would be saturn, especially in pisces (the sign of confusion and ambience).

♪ Will all of my sins be forgiven? — 5H Pisces Saturn (Rx) opposite 11H Virgo Venus

sins would also be saturnian. forgiveness would be venus. the opposition works as a balance. the eleventh house venus gives hope to reconciliation.

♪ Hope you pin me to the wall like a painting (Ooh) / I just want a kiss on my neck bone / I just want some head and a few wet kisses / To make it all better — 11H Virgo Venus quintile 1H Scorpio Moon, 1H Virgo Venus sextile 1H Scorpio Jupiter

venus aspecting both jupiter and the moon can show that she has general optimism about love, but the reasons aren’t genuine. she can start seeking something superficial in hopes to distract her from whatever.

♪ Ripped up my old love letters / Tick tock, you got me fed up / Used up your chances, held my heart for ransom — 11H Virgo Venus square 8H Gemini Mars

the eighth house mars can feel like it had a “hold” on her heart. also… “ransom” would be something ruled by the eighth house. to hold something for ransom is to steal or kidnap something — theft is ruled by the eighth house — in hopes to obtain money. eighth house’s money shows money obtained through taboo or illegal practices, or because someone has to pay a debt.

♪ And now a new man treat me better than you did

♪ Get my pussy wetter than you did

♪ You know it could have been you and me / That's all that I wanted it to be / That's all that I wanted it to be — 11H Virgo Venus opposite 5H Pisces Saturn (Rx)

i feel like a pisces saturn (Rx) causes a native to reflect on the past a lot. pisces is the sign of endings, of closure, of memories. saturn is the planet of cycles and the past. then the retrograde causes introspection. this is opposing the eleventh house venus, where the eleventh house is hopeful and venus is loving. so i think it causes this causes a bit of a “bittersweet” (bitterness being saturn; sweetness being venus) retrospection. about what could’ve been but can no longer be.

works of @hoodreader. all rights reserved, 2024.

tips — $mooninfall 🌕 readings open

[writingquestionsanswered]

Hiya! Not sure if you’ve answered something like this before, but if you feel comfortable answering, I’m wondering what tips you might have for writers with ADHD/ADD.

I haven’t been able to write well for years and thought it was laziness/lack of self-discipline, but it very well could be that my brain just wants to work a certain way and I didn’t know about it.

Of course, there’s no “one-fits-all” answer, but some ideas about where to start the journey of understanding what works for oneself would be nice.

Thanks!

Writing with ADHD

There are three sub-types of ADHD (inattentive/formerly ADD, hyperactive, and combined), so tips depend somewhat on which type you have. As luck would have it, I'm combined type, so I have tips for both. (And these tips can be helpful even for writers who don't have ADHD but still struggle with keeping their butts in the seat...)

Writing with Inattentive ADHD

My biggest struggle with writing is difficulty staying focused and getting sidetracked easily. Here are the things I do to work around that:

Dedicated Writing Time/Place - I'm fortunate to have a writing room with a desk, but even if you don't, just having a dedicated space for when you write can be really helpful. It also helps to make sure your chosen writing spot is tidy and free from built-in distractions, like people traffic or a distracting view. And, if you can aim for the same general writing time each day, that can help train your mind to go into writing mode when you sit down to write.

Minimize Distractions - this is a "must do" for me when I sit down to write. Phone goes on silent, no TV, no music with lyrics, no social media, and if it's a busy day outside I close the shades and put on headphones. Also, nicely ask anyone else in the house not to distract you during your writing session.

Regulating with a Timer - When I'm really struggling, I've found that timers are very helpful in keeping me on track. If I need to stop to research something along the way, I set the timer for 10-minutes. If I can't find out what I need to know in that time, I note it for later research and keep going with a placeholder. I'll also set the timer for breaks, writing sprints, or anything that might pull me off course.

Scene Lists & Timelines - Having a scene list to follow was a real game changer for me early on in novel writing endeavors. When I start to feel my mind wander, just putting my eyes on the scene list to see where I'm supposed to be and where I'm supposed to be heading can be enough to get me back on track. Checking off each scene and plot point along the way makes it more task-driven which also seems to help keep me on track. You could do this with a timeline, too. And even if you're not a planner but like to write organically, you can still keep kind of a general scene list or timeline to keep you on course.

Writing with Hyperactive ADHD

My biggest struggle with the hyperactive side of my ADHD is fighting the constant need to get up and be anywhere but in my chair typing. I've actually been working on this post for an hour because I haven't done any of my safeguards, so I've been out of this chair probably 20 times since I hit the answer button. Here's what I could have done to prevent this...

Start Writing on a Full Stomach - Nothing gets me out of my chair more often when I'm writing than feeling like I'm hungry. So, I get up, eat a small snack. Sit down and type for a few minutes. Then decide I need another small snack. Whether you write after you've eaten a meal, sit down to write with something to drink and munch on, or just make sure you've got your big water bottle there, eliminating hunger pains as a reason to get up makes all the difference.

Do Writing Sprints - Set a timer for anywhere from five minutes to an hour, and write as much as you can during that time without stopping to edit or evaluate your work. Writing sprints are a great way to focus your energy to make sure writing is getting done. Five-minute intervals work great for me, but sometimes I can do ten-minute intervals. When the timer goes off, I set it again and get up to do a few things like stretch or get something to drink. Preferably anything that won't take longer than the timer or snowball into something else. This way, if I'm only writing for an hour I still get a solid 30-minutes of writing in even if I'm up and out of my chair every five minutes.

Keep a Basket of Fidget Toys - This doesn't always work for me, but sometimes it helps to have something to fidget with during the moments when I pause to think. Thinking putty, fidget spinners, stress balls... Anything you can do for a second while you're thinking and immediately put back down. That way you don't get up out of your seat looking for something to direct that energy toward.

Speech to Text App - If you really need to be up and moving, try getting a speech to text app for your phone and writing your story verbally while you do other things.

I hope that these tips will help you be able to sit down and start writing again. If you need ideas for exactly how to outline your story or general ideas for how to get started, see my guide to How to Outline a Plot as well as my Plot & Story Structure master list of posts.

Best wishes on your ADHD writing journey! ♥

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[untitled5071]

I have a Lisa Frankenstein request! If you'd rather not, thats totally okay, but I'd love a modern au of them going to a my chemical romance concert. ^^ it's for me and for one of my friends too, and it would really mean a lot to us! Thank you so much for doing what you do!

I hope you like it!

🪦🪦🪦🪦🪦🪦🪦🪦🪦

“Oh my god oh my god, I think this is it!” 

Even though Lisa’s eyes were trained on the stage in front of her, her arms were busy shaking the daylights out of her husband, her hands on his shoulders while he chuckled adoringly at her enthusiasm. He wasn’t doing too good of a job at hiding his own, either; this concert may have been a gift for Lisa while they ‘traveled’ through Mexico as part of their “don’t get caught by the police” world tour, but he was excited too. 

They hadn’t been to a concert in a long time; after Lisa was reanimated and recovered, the two of them had gotten as far away from Brookside as they could potentially get, and once the dust settled, they decided to do a little traveling to see what the modern world could offer them. They had no end of potential date ideas, but they both particularly liked live music. 

Though their favorite of all time would always be the private one given in the living room of Lisa’s old home, they both enjoyed being among other music lovers and shouting lyrics like maniacs. Granted, he knew he wouldn’t be doing much shouting tonight in the sea of people they found themselves in-both because he knew he wouldn’t be heard and because shouting just wasn’t in the cards tonight, but it was all worth it for the sake of seeing Lisa so happy. 

Speaking of Lisa, her declaration that the show was starting seemed to be right on the money, since the lights were starting to dim, the anticipatory roar of the crowd was starting to get louder and cell phone flashlights were starting to flick on like illuminated eyes across the arena. The creature divided his attention between Lisa and the stage as the sound of a heart monitor was projected over the screams of the fans, and she grabbed his stitched-on hand in a vice grip when a gurney containing a covered body was rolled onstage. 

Lisa’s cheers joined that of the rest of the crowd when the body revealed itself to be the lead singer, clad in a hospital gown over his signature dark outfit and clutching a microphone. The first song was ironically called “The End”, and as the creature expected, Lisa sang every word at the top of her lungs, teased hair flying in every direction as she bounced along to the beat.

He knew buying her that second hand iPod Nano last year was a good idea. 

The first verse ended with Gerard Way ripping off his hospital gown as the biggest curtain they had ever seen opened to reveal the rest of the band, already whaling away on their respective instruments. They all wore black outfits and parade marshal’s jackets (which seemed fitting), and they weren’t the only ones who had dressed the part. 

Lisa had spent hours trying to pick the perfect combination of tights and tops for this concert (all black, of course), and had finally settled on black fishnet tights that she had torn and woven back together herself with more colorful embroidery thread (sticking heavily to purple and green to match her husband’s stitched limbs), a black tulle miniskirt and a black sports bra under a mesh top, complete with black and dark-gray striped arm warmers, to match the fashion of the time. He himself was wearing a leather jacket over a deep red shirt, and his best ripped jeans that Lisa distressed for him, in more ways than one. They blended in perfectly with the ocean of punks around them, and that was just fine by them. 

The band cycled through their set with infectious energy and an electric stage presence, and the creature was surprised that the stadium they were in didn’t collapse under the weight of the stomping and jumping the audience was doing. He was particularly fascinated by the mosh pit that had formed towards the font; it was mesmerizing to see all of those bodies moving in such a disjointed but synchronized way that anyone could immediately understand was dangerous if not done properly. He had to respect it, honestly. 

The biggest problem with it, on the other hand, was that it was blocking their view of the stage, and by the time the band’s most popular started (signaled by a single note that was almost drowned out by the crowd), the frenzied movements of the people closer to the stage got more intense, as did the noise level. 

Lisa was staining herself on her tiptoes to see over the screaming heads in front of them, and when her husband noticed this, he put a hand on her shoulder gently, shuffling in the limited space that they had so that his back was to her, and squatted down slightly. Lisa got the hint immediately and hopped onto his back, and he hoisted her up so she could see over the several hundred flip phones being used to record the show and get a better view of the stage. She was delighted by this plan, holding onto him with her thighs and one hand while waving her other hand in the air, mirroring Gerard on stage. And even though her voice was meshing with thousands of others, even that of the actual lead singer, the creature thought her voice was the clearest and most beautiful of them all. 

She must have been able to feel his adoring gaze somehow, because as the song ended in a shower of confetti and pyrotechnics, she bent down and kissed his right cheek first, then his left, whispering (or, given the noisy circumstance) said in a normal speaking voice, 

“Thank you. I love you so much.”

And though he was particularly tongue-tied that evening and unable to speak the words back, he hoped that the kiss he gave her amidst the crowd’s raucous applause spoke his feelings adequately. 

They stayed that way as the concert continued, the creature keeping Lisa safe in the arms collapsed around where she was perched on his back and Lisa sneaking little kisses or playing with his hair in between songs, and as the band played one of their slower pieces, the two undead souls swayed together, united in their love of music and each other. 

These are the eyes and the lies of the taken

These are their hearts but their hearts don't beat like ours

They burn 'cause they are all afraid

When mine beats twice as hard

'Cause the world is ugly

But you're beautiful to me

[psychedeliclush]

( INFORMATION AND EXAMPLES OF EACH GENRE UNDER CUT )

NOISE ROCK !

Artists: Sonic Youth, Melt-Banana, Big Black, The Jesus Lizard, Boris

Most popular Era: Late 80s

Basic definition: Noise rock is a genre of music known for its abrasive and dissonant sound, characterized by extreme distorted guitars, feedback, and unconventional song structures (commonly associated with no wave). Rooted in punk and experimental music, noise rock pushes the boundaries of traditional rock music by incorporating elements of noise and avant-garde soundscapes. Bands in this genre often prioritize raw energy and intensity over polished production, creating a chaotic and rebellious experience for listeners.

Song examples:

POST PUNK !

Artists: Joy Division, Television, The Cure, Magazine, Talking Heads

Most popular Era: Late 70s - early 80s

Basic definition: Post-punk is a genre of music that emerged in the late 1970s, following the initial punk rock explosion. It combines the raw energy of punk with elements of art rock, electronic music, and funk. Post-punk bands often veer towards darker and more complex themes, both musically and lyrically, than their punk predecessors. The music is known for its dissonant chords and rhythmic intricacies. Some key bands associated with the post-punk genre include Joy Division, Gang of Four, The Cure, and Siouxsie and the Banshees. It's commonly associated with the rise of other sub-genres, such as gothic rock, no wave and synthwave.

Song examples:

[shineemoon]

SHINee ✨ Femina India Interview FULL Interview → HERE

You’ve always been completely ahead of the curve when it comes to genre, often blending several sonic elements in one album. In this album, for instance, you have wobbly drum and bass and soulful vocals on The Feeling, a really fresh take on the clear drum breaks of ’90s hip-hop on HARD, and dance-pop on Identity. Yet, you can tell a SHINee track from a mile away. How do you connect so many diverse sounds to the SHINee colour, and what – in the first place – would you say is SHINee’s colour? KEY: Rather than defining SHINee with one colour, I believe SHINee’s colour consists of all the colours each one of our fans sees us as. MINHO: SHINee is quite an interesting team because we have the ability to make any song into SHINee’s own colours. It’s our biggest weapon. We’ve built up this skill since our first album, and it only strengthened as we tried out various genres and concepts. Now, all our members know how to make any track SHINee-like. TAEMIN: SHINee’s colour is a combination of the various music styles we’ve experimented with. Without being limited to a specific genre, we capture several different colours and find SHINee’s own way of uniting everything into one.

SHINee has a way of tapping into a collective sense of nostalgia – whether we go back to View, Married To The Music, or 1 of 1 even. Yet, you somehow manage doing this in a future-forward way with both your look and sound. How do you access and communicate a wide spectrum of emotions for people across borders and gender? KEY: Songs and melodies are very effective in expressing emotions and conveying messages to different people and genders. Though the lyrics might be interpreted differently depending on one’s culture, I believe a melody has a relatable power for everyone. MINHO: We try to convey emotions directly instead of hiding them. One of those characteristics is being upfront about how one feels and not hiding one’s emotions. TAEMIN: Even if we do not speak the same language, it’s the energy we’ve poured into this album that makes it possible for us to connect and communicate with those who listen to it.

Often, when you’re with a group of people who end up knowing you inside out, it helps you to see yourself more clearly. How would you say the close bond that exists between all of you has affected or changed you? TAEMIN: I was able to learn a lot from my (fellow band) members since they are all very talented. The bond we’ve formed through our time and experiences together is such a valuable gift to me.

How does the future look? KEY: SHINee will always remain the same. MINHO: The future will always be SHINee. TAEMIN: I’d like to live a happier life by giving back to our fans with good music and maintaining the precious relationships we have together. And I hope to perform overseas more often.

[lukkabloom]

Fun facts abt residents according to Ikevamp Radio (ヴァンなま) Part 4

Let's go with episodes 11 & 12!! Only 2 episodes since one was a bit longer. Anyways, LET'S GOOO!!!

Episode 11: Back in the studio w/Vincent & Sebas!!

Vincent sees Sebas singing “Can you celebrate?” a song by Amuro Namie, so he knows the song from the future

Vincent can’t get Sebas to pay attention to him, Sebas keeps singing until Vincent gives him a flick on the forehead

Vincent thinks Sebas is bored as he has created many lines & scenarios for both him and Vincent (flashback to episode 10) Sebas says that “Time is something you make for yourself”

They talk about June brides and wedding for a bit (not my fav episode tbh)

Sebas teaches Vincent the lyrics of “Can you celebrate?” (they sing the song together)

Morishi and Makki call Issac cute (this was when Isaac’s route was released in jp)

For the “Can you tell me… your name?” it was a bit different than usual. There were 4 options to choose from instead of 3, and the fourth was a line that combined the previous three statements into one. For example, Vincent’s provided lines were 1. “Don’t worry, I’ll be here until the morning” 2. “You can depend on me today, okay?” 3. “Pain, pain, go away” 4. A combination of the three.

The audience voted on option 4, so he had to say “(Y/n), depend on me til morning and then go away” or some other weird version. He picked and chose words from each line & rearranged them w/weird grammar (which I’m sure that was NOT what he was supposed to do but it’s funny so…)

Sebas’s chosen line was a combination of “Don’t worry. I will do my best to help you with your recovery” “It’s painful, right? You can depend on me until you recover” and “Do you want to wrap green leeks around your neck? It’ll lower your temperature”

So his finalized line was something along the lines of  “(Y/n). Don’t worry, for now, do you want to wrap green leeks around your neck?” & other variations (he always had some part w/green leeks) It doesn’t make sense but it’s hilarious

Afterwards, Makki was like “More people were being wrapped around by leeks than I’d imagined… haha”

Episode 12: feat. Ikesen Sasuke’s VA Akabane Kenji

Ikesen x Ikevamp Radio Collab!!!!

(I used to play Ikesen but wasn’t as obsessed so I’m not as familiar w it as I am w ikevamp)

Everyone is so chaotic in the intros & throughout (Akabane & Morishi just feed on each other’s energy and Makki’s like “Sorry—hahaha—I can’t follow… haha” ←he’s dying of laughter)

Even Makki was like “I’ve been thinking… Morishi and Akabane-san give off the same vibe” Akabane: “It’s true that our tastes are overlapping right now, but when I first met Morishi, he wasn’t like this. Now… he turned out like this.” Morishi: “Like what?” (offended)

They did a new section called “You’re a producer! Self-judge!” (nvm it's not a new section, they do it on ikesen radio but not on ikevamp) where the audience will think of lines that Sasuke will say if he was a vampire & if Vincent and Sebas are Sengoku-era warlords. The presented lines will be said by their respective voice actors

Sasuke’s line was “As research, can you let me have your blood? … That was a lie. I want it because it’s yours… So, can I?” 

Vincent’s line is “When I spend time with you, I forget that it is a time of war right now. Ah, I need to go. Please don’t be so worried. I promise I’ll be back to you, so believe in me.” Akabane says that his line is similar to what Mitsunari would say

Sebas’s line is “Aaasasaasasaassu! Aaasasaasasaassu! Aaasas…!? Yes? What am I doing? … I’ll be heading to enemy headquarters, so I was energizing myself. Is something wrong?” LMAO as soon as the words showed up on the screen everyone started laughing. Akabane was like “Is ‘Aaasasaasasaassu!’ something Sebastian would say?”  Morishi: “That, Sebastian doesn’t say that. That’s something Morishima would say” HAHAHA

“Aaasasaasasaassu” according to Morishi, is a spell that is shortened from “Arigatou/Azassu!” (thank you). When you say this while pulling for gacha, you get good cards (we need to all try it)

“I love yu” skit w/Sebas, Vincent, and Sasuke!! Sebas and Vincent are relaxing in the thermae when Vincent discovers something coming from the water. Sebas describes it as “something that ninjas use to breathe when they dive into lakes.”

Vincent doesn’t know what a ninja is. Sebas explains what it is to Vincent. Vincent thinks ninjas sound cool

Sasuke pops out from the water, explaining that he came from experimenting with another wormhole. He introduces himself to the two residents, saying that he came from the Sengoku era, saw a rift in time and space, and ended up there, in another timeline.

Sebas, the history nerd, says “Sengoku era? So that means in that era, there are Oda Nobunaga, Uesugi Kenshin, and Tokugawa Ieyasu, & etc.” Sasuke: “Yes, of course. Also, Uesugi Kenshin is my boss” Sebas: “Please. I would like to hear the details. Please, take a seat. I am the butler of this mansion, Sebastian”

Sasuke: “Thank you for the welcoming atmosphere. I guess until the next wormhole appears, I will relax here… Just call me Sasuke.”

Sasuke enters the bath in his clothes, Vincent asks if he doesn’t need to strip. Sasuke: “Well, I don’t know when the next wormhole will appear.”

Sebas: “I had felt this since the beginning, but you give off a similar energy to me.” Sasuke: “What a coincidence. I feel that as well.” Sebas: “Dyun…gyun” Sasuke: “Zuban, zuban!”

The two repeat the phrases, each one becoming more dramatic than the previous, until Vincent stops them bc they’re “leaving him behind”

Vincent finally introduces himself to Sasuke, who gets excited that “he can meet another genius other than the Sengoku warlords” Sasuke: “If I were to describe this feeling, it would be… choberigu (チョベリグ, slang meaning extremely very good)” Sebas: “Our Master Vincent is gekimabu (激マブ, slang meaning very bright), isn't he?” 

Vincent: “Choberigu? Gekimabu?” Sasuke: “Yes, he’s gekimabu. So I was right. I feel a same energy off of you”

Sasuke gives them makibishi (caltrop) as a token of appreciation. Vincent is in awe of the caltrops, and Sasuke is happy that someone appreciates his caltrops. Says how Masamune doesn’t need it, proves how angelic Vincent actually is

Vincent: “Next time I see Will, maybe I should throw them to him?” (I LEGIT SPAT OUT MY DRINK) Sebas: “... He will be extremely sad, so maybe not.”

Vincent thought that it was cool that Sasuke had a cool nickname “Shippujinrai” so he tries to think of one for Sebas. Sebas: “to be given a nickname from two people I admire… it makes me feel embarrassed” 

Vincent: “Perverted butler!” LMAO IT’S CANON SEBAS IS A PERVERT

Sebas: coughs  “‘Perverted butler…’ while it is not incorrect, it may be weird to say that to myself. ‘Perverted butler, Sebastian.’ Can you say that?”

Sasuke: “I think it sounds pretty good… What about ‘three meals a day?’” Sebas: “That’s just a routine” Vincent: “I got it! ‘Versatile butler’”

Sebas: “‘Versatile butler’ I like it. Versatile butler, Sebastian.”

Sebas: “Master Vincent would be ‘Innocent Angel’” Sasuke: “No, he would be ‘innocent’ (天真爛漫, it means the same thing, just worded differently)” Vincent: “Hmmm… I want something that’s cooler…”

Sebas: “He may look like that, but Master Vincent’s strong in a fight, so maybe ‘Ready to fight (喧嘩上等 means they’ll take on any fight challenged)” Vincent: “Isn’t that a bit dangerous?” 

Sasuke and Sebas try to get Vincent to say it. Vincent: “Ready to fight, Vincent van Gogh! It’s a pleasure to meet you!” Sebas praises Vincent, saying he did a great job

Then a whirlpool forms in the waters, a wormhole, Sasuke gets ready to travel through space-time. Sasuke promises that they’ll probably be able to meet again

Akabane was surprised to see that the characters were naked and said “Ohh, so Shiro-sensei (the artist for Ikesen and Ikevamp) is the type to draw nipples”

So in the “van Gogh’s drawing section” Sasuke participated w/Sebas & Vincent. The theme was “Hollywood movie ‘Sengoku warlords vs Vampire’” and Akabane’s art was good? Like you can tell he drew Napoleon and Nobunaga. Makki’s one had a certain electric-type mouse Pokemon on the lower right side of his piece haha

In the segment, “Dyun, zuban… Your name…” (It’s basically “Can you tell me… your name?” but combining the two versions) Vincent’s chosen line was a combination of the lines “You’re gonna get wet. Come here” “You’re wet… Here, take my jacket” “I want to stay here until it stops raining”

He would say most lines properly, but some were weird like “Let’s get… wet together” (not in THAT way) or “The rain got wet, huh? Get closer and wear it” (literally it doesn’t make sense even in Japanese since the grammar was so weird, he just picked and choose words from each line)

Sebas’s line was a combination of “If you want to, do you want to do an aiaigasa (相合傘) with me?” “Come closer so you don’t get wet” “Don’t your joints hurt when it rains?”

“If you want… don’t your joints hurt?” “To not get wet, do you want to… do your joints hurt?” He always puts the “joint blah blah” line at the end it's so funny. There was also “Yoshihiko, do you want to do an aiaigasa? To not get wet, don’t your joints hurt?”

Sasuke’s lines were the combination of “... I’m worried about my caltrops. Sorry, lemme go get them~” “I had the caltrops out to dry but it’s all ruined…” “Are the caltrops okay… Caltrops…”

His was funny bc he would replace the caltrops w/the names so it would be like “I’m worried about (y/n)” “I had (y/n) to dry but… I have to go back” “(y/n)... It’s now all ruined…”

OVERALL, amazing collab I hope they did more but I only have 3 more episodes to watch, and sadly, none of the rest are ikesen/ikevamp collabs

[slugtranslation-hypmic]

Hey there Slug! I hope you ain't too buys and might have a lil fun with this one! Of each individual character, what are your respective favorite songs of theirs and why?

This is an easy ask to answer, so I'mma clear it from the pile and get to some older ones eventually.

I assume you mean solo songs only, right?

Under a cut for length because there are a bajillion boys in this series

Ichirou: I like his VA's rapping work in just about everything; he's really solid. Stage Ichirou also has a youthful quality I appreciate a lot, but of the main series songs... probably Break the Wall. It's high energy in a fun way. It also ties into a creative project I've been chewing on for years that's near and dear to my heart, although I'm not sure if I'll ever put it to paper and share it anywhere.

Jirou: I think Jirou's VA has a very pretty singing voice, so I like his softer songs. In general, I admire the "softer" aspects of Jirou's character and think that's where he shines best. So probably School of IKB, although I adore his choruses in Re:start.

Saburou: Requiem. I'm very, very, very into things that commit to being over the top and goofy, and I also enjoy combining classical and baroque elements with other genres. What's not to like here?

Samatoki: Gangsta's Paradise. The high speed rap is technically compelling. I generally appreciate v. fast rap since I enjoy learning and singing them. If the stage plays count, I really enjoy the emotion Samatoki's stage actor brings to Come Back to Me.

Juuto: ...There is some interesting text in the Personality section of Juuto's wiki page. (I have it pulled up to quick reference the song lists.) If anyone with wiki edit powers is reading this, you may want to clean that up... Anyway, I feel like they give Juuto great background music in just about every song, but Uncrushable takes the cake for me. I really like the BG music in that.

Riou: Move Your Body Till You Die, hands down. Goofy as fuck. Also, great workout music.

Ramuda: I find his main voice pretty grating, and his usual styles of music aren't my favorite in general. So Ramuda songs don't do a lot for me. I appreciate Pink Colored Love for plot reasons, though.

Gentarou: The slower Hypmic songs rarely do a lot for me, but I found myself enjoying Yume no Kanata a lot. Not sure I know why, necessarily...

Dice: 3$EVEN was one of the first songs I really enjoyed in Hypmic, and I still like its high energy today. In general, I'm impressed by Dice's VA's rapping ability and appreciate his parts in group songs a lot.

Jakurai: Like I said earlier, I'm not usually a fan of slow songs, so none of Jakurai's solos or duets have ever stood out to me. With that being said, I think Jakurai's speech style and slower rhythms makes him more fun and easier to translate w/ full rhyme and rhythm than many other characters. Like I think Labyrinth Wall would be fun to do a full cover of with syllable matching rhymes and line length while simultaneously trying to stick as close to the core meaning and tone as possible.

Hifumi: Both Champagne Gold and Don't Stop the Party are high-energy bops and great for working out. Slight preference for the former. I also really like his singing voice in group songs.

Doppo: Doppo's angrier verses in group songs are fun, but I'm especially fond of BLACK OR WHITE. In particular, I enjoy the DOTAMA cover. I'm a big DOTAMA fan for both his lyrical strength and considerable rapping chops. He's got a lot of songs that are really punchy and angry in this exact vein, and I love throwing on a playlist of his stuff while grinding out tedious work projects. Hahaha. Just rapping along "I don't want to work. I don't want to work. I don't want to work. BUT HERE I AM, WORKING!!!!" furiously under my breath.

Sasara: Comedian Rhapsody is really fun. This is another song I would love, love, love, love to try and do a full translation w/ preservation of rhyme/line length/jokes. Not for sharing--at that point it's just kinda showing off--but it's fun to chew on bits of it when I have moments of free time.

Roshou: Like most of the slow song characters, Roshou's solos aren't my favorite. I guess I prefer Under Sail to Own Stage for its background music.

Rei: All of Rei's songs are wild to the point of me liking them for the goofiness. If you commit to the bit, I'll enjoy it 9 times out of 10. Doesn't matter what the bit is. Shiro to Kuro is probably my favorite. LOVE the "heh heh we are up to no good" NPC villain energy of that song. But also, shout-out to his singing in Enishi, even if it's nigh-on intelligible to me. I love the hell out of Enishi in general.

Kuko: The king of goof himself. Sou Gyaran BAM is probably my favorite, but I am--to some degree--into virtually every song he's in.

Juushi: Wow, I'm listed as a source on this wiki page, lol. Anyway. Juushi's aesthetic as a whole isn't my cup of tea, but I have a soft spot for Moonlight Shadow, because the first two times I heard it were on Spotify shuffle while I just so happened to be scrubbing a toilet. So for a couple months after, I would put Bad Ass Temple on every time I cleaned the bathroom. Hahaha.

Hitoya: One and Two, and Law is so fucking goofy. I adore it. The live version with the airhorn? Chef's kiss.

Otome: Fuck it, let's do the ladies too. Out of all of her musical appearances, I like Just Do It the most. It adds such an interesting strength to her character, and the English portions are done super well.

Ichijiku: Love, love, love her part in Verbal Justice for its strength. This is yet another song I think would be fun to do a hell TL of, and then I remind myself that trying to rhyme "Kadenokouji" in English is a fool's errand.

Nemu: Her singing voice in WINK is nice, but I love her part in Femme Fatale for its energy. "I'm Nemu, and this is my masterpiece" Fuck yeah it is

[lolotheparagon]

Top 10 Sofia the First Songs

Fuck it, I know most of you dont give a shit about Sofia the First but this show has been a sheer delight for me so y'all gonna sit down, shut up and appreciate some good music. The music in this show is much like the music in Friendship is Magic. They both went way too hard than they needed to.

Here's the top 10 best songs in Sofia the First

10. King Cedric the Great

Villain songs are always fun and its even better when the villain singing it is about as dangerous as a rubber duck. Cedric is the true example of how to write a sympathetic villain. He's a hapless sorceror who's actually really good at magic but his anxiety combined with everyone (except Sofia and his niece Calista) viewing him as some kind of loser are the reason why he wants to take over the kingdom cos he thinks that's the only way he can get respect. As this song illustrates how he wants Sofia's amulet so he can use its powers, but as the episode goes on, he finds out he doesnt really have it in him to be truly evil for reasons I won't go into, cos the episode this song's from is SO good. Its called Cedric's Apprentice if anyone wants to look it up.

As for the song itself, its a homage to classic Disney villain songs but Cedric's plan is so childishly over the top its hard to take him seriously, which is the song's intention. Its a great juxtaposition. Jess Harnell's singing is just the ham on top of these cheese sandwich.

He really has a knack for playing characters that are totally wacko

9. Wendell's Way

Speaking of sorcerors, here's another villain: a kid named Wendell. A spoilt brat who stole all the flying horses of Enchancia for his birthday. He's like if Horrid Henry went to that terf wizard school. The song itself has a very boisterious energy, amplified by the hard rock drums and the lute/guitar solo?? which makes it all the more satisfying when Sofia, Amber and James get the upper hand in the end and Wendell's mother comes out of nowhere to ground him, its fucking great. Its nice to see a bully character actually stay a bully and not get force-redeemed by the writers so they can pull the 'everyone deserves a second chance' message , when in actuality, no, some people really are that mean and you're not obligated to give a shit about a bully. Wendell is, in retrospect, a breath of fresh air as the song doesnt pull some sad backstory out of the aether to make you feel sorry for this kid. No, he's just that selfish.

Also the lyric: 'That is a promise, but also a threat' is fucking great.

Its a simple song but a bop nonetheless.

8. Make Some Noise

Sometimes a song is good when its just plain fun. And this song definitely applies. In the episode this is from, Sofia befriends a bunch of trolls living under the castle that everyone warns her are dangerous and violent and here... theyre actually super chill. The fact that Sofia instantly gets into the groove is delightful and again showcases how compassionate she is.

The song itself has a fun, jazzy melody with the trolls using thier equivalents of piano, trumpets and of course their clubs. It's such a feel good song, almost like the voice actors just got up from the chairs and just danced like they dont give a shit and the directors just hit record. It really feels like a song you would hear at a party. Even the repeated animation doesnt bother me.

7. A Princess True

One of this show's biggest weakness is portraying people from different cultures cos its clear the show is made by mostly white people who have a limited understanding of non-white cultures and can easily fall into racist stereotypes without realising it. Its not by any means racist as the show features plenty of non white side characters (Khaled, Kashmir, Jun, Jin and Kari) that the main cast are on friendly terms with. But here, this song is relatively tame as this song is all about Sofia, a white girl, believing in Lani, a Hawaiian girl, as her actions throughout the episode are proof she's the real deal.

In the episode, Princess Leilani lost her family heirloom the Emerald Key into the sea after fighting an evil witch, where it gets washed up in Enchancia so Leilani goes to the castle to get the key back, cos its a key to help her parents find their way home from the sea. However, the witch Mamanu disguises herself as Leilani as well so she can trick the Enchancian royal family into giving her the Key. So Roland puts both Lanis to the test but the test involves the Lanis to act like THEIR cultural view of royalty. Sofia notices one of the Lanis aces it and the other competely fails at it and does something different instead. So Sofia thinks the latter is the real princess and this song is her showing her full support and belief that Lani is the true princess.

Its a very sweet song to a very meaty episode which is why I had to explain in full detail. Its not perfect but the song really encapsulates Sofia's and the show's earnestness towards non-white characters and I appreciate that. It helps the creator is Jewish and went on to make a show all about Latina culture and did actual research on it. So this song, and the episode itself is a good, albeit rocky start.

Even if they fucked it up with giving Lani powers in the next episode she appeared in, goddammnit why the magical native stereotype we were so close!!!!!

6. Me and My Mom

Creator Craig Gerber has stated many times that one of Sofia the First's core themes is teaching kids about blended families and how to adapt after getting new parents and step siblings in your life (since he was a child of divorce himself and had to adapt to having a new father and siblings). This song is about Sofia's struggles to adapt now that she has to share her mother with Amber and James. You really feel sorry for Sofia cos she's so used to having her mother being the only family she has and of course, is easily attached to her.

Its a very soft, heartfelt song that resonates with a lot of kids that are in Sofia's position. I bet they felt very seen by this episode.

5. Improvise

In the episode, Amber wants to join in Sofia's girl scout group but in typical Amber fashion, she brought nothing but dresses and jewellry to an outdoor trip and forgot to pack a tent. So Sofia and her friends teach her how to improvise via musical number. A cute lesson about being resourceful and a great example of Amber becoming a more versatile character as she grows to love the outdoors.

There's a very jovial, motivational energy to the song that really makes it stand out from the usual pep-talk songs in this show. What else can I say? Its a highlight of Amber's character development and a fun little song to boot. Whats not to love?

4. Two By Two

Amber's relationship with her sister Sofia is always expanded upon in the show but her relationship with brother James is a lot less so since Amber and James sparsely interact beyond typical sibling teasing. So its nice this episode, and this song helps establish how much Amber actually cares about her twin brother.

In the episode, Amber accidentally turns James into a toddler thanks to a botched magic spell cos Amber didnt want to share her birthday but as her and Sofia run around trying to find baby James. Sofia suggests to Amber to sing the twin song that James and Amber used to sing all the time when they were little. (which is just adorable)

I love how Amber starts the song in a very deadpan, almost annoyed tone until the second verse hits and slowly her singing becomes more melancholy and emotional, like the fact that her twin being lost is just now hitting her. Especially since she spent the whole episode wishing to have a birthday to herself for once, not realising that she's taking away James' birthday and thus losing him too. That small bit of her looking at the pocket watch with her and James' portrait it, finally finding baby James behind the throne, picking him up and hugging him and them finishing the song together

STOP, MY FUCKING HEART CANT TAKE THE AMOUNT OF CUTE

Its so nice to see a sibling relationship that's actually wholesome.

3. Dare to Risk It All

One of Amber's biggest flaws is her envy and her getting over being an jealous bitch to her little sister is a lesson that Amber has always had to learn in the show's earlier seasons. And while she has made some development, this is the episode where Amber makes the most change. And this song is emblematic of that.

Dare To Risk It All has Rapunzel appear to teach Amber that you have to put other's needs before your own to earn forgiveness, to prove you can change, which is a lesson not a lot of kids shows teach nowadays cos most shows like Steven Universe and even MLP put the pressure on the victim to forgive their bullies or let them off easy (especially if they're family) but in this episode, Sofia is rightfully angry at Amber for stealing her amulet and isnt afraid to snap at her for it the whole episode so Amber throughout this song (and the episode) realising how much Sofia means to her and it puts the pressure on Amber to be a better person and a better sister.

Its one of the few good Disney Princess songs the show has. The Disney Princess aspect of the show is honestly its biggest crutch cos Sofia always has a good role model with her mother and her dad to some extent and the princesses havent exactly had the best trakc record for teaching good lessons to Sofia since they either state the obvious or gaslight her. So its nice to see the princesses teach someone else for a change. And its Rapunzel, the best Disney princess.

Also bonus points for having a good song about earning forgiveness whilst flying dragons.

2. Princess Things

Sofia wants to do flying horse-racing even though mostly boys at her school do that sport and both Amber and Sofia's rival Prince Hugo are discouraging her from trying out the sport. Its your typical girl empowerment message. While the pilot episode established the whole premise, this episode (Just One of the Princes) and this song establishes Sofia's character: a pro-active princess who doesnt fall for anyone's bullshit, which is perfect for a moral center protagonist.

I love how Sofia's expression throughout the song goes from confused to smiling like she's internally screaming. And her verses are basically 'screw you guys i do whatever the fuck i want.' So not only did everyone waste their time singing to convince Sofia but in fact made her even MORE CONVINCED to try out the flying horse derby. Good job, guys.

Aside from that, the song itself is a bop. The repeated chorus really emphasises the peer pressure Sofia is going through. Second episode of the series and they're already making a hit.

1. All You Need

In the episode, Sofia meets Vivian, a princess who's a great artist and musician but is painfully shy and thus everyone is spreading rumours around her. Even Sofia was a bit apprehensive but she pushes through it to meet Vivian at her house whilst they work on their school project and this delightful song just pops up.

I love how it starts with Vivian nervously playing her lute and Sofia starts singing, whilst helping her IN SONG start brainstorming their ideas for a dream castle. Then after Sofia's verse is done: ending with the lyric, Ill paint all the towers blue, now the rest is up to you, Vivian immediately jumps and enthusiastically suggest her own ideas. The music even matches the tone of the characters. When it starts, its only Vivian's lute and a backing track but as soon as the bridge comes, the music swells when Sofia's singing motivates Vivian and its just chef kiss.

This song, as well as the episode this was from, made me really like Vivian as a side character and I always loved her interactions with Sofia whenever she made an appearance. I like how she retained her newfound confidence into later seasons, where she becomes just as pro-active as Sofia.

This song, to me, is what Sofia the First is all about. A girl who's just the sunniest child, befriending the shy kid in her class and having the most adorable musical number. Are there songs with better lyrics and theming? Absolutely. But the sheer serotonin levels this song has, as well as encapsulating the main character's compassion for others, is why this is the best song of the show

Thank you for coming to my TED talk about a bluebell princess

[iwanthermidnightz]

Finally got a chance to write a few thoughts about Lana last night. She looked like a completely different person than she did just a few months ago. She dyed her hair lighter, had a stunning outfit and was clearly glowing with happiness and serving face with that makeup. It reminded me of vintage Lana. Arriving on a motorcycle was very fitting.

Lana headlining Coachella seems like she got a sort of glow and confidence back. Or at least she’s taking in this celebratory moment for her as an artist who has shaped pop culture for the better part of almost 13 years.

She has said in the past that shes not an entertainer, shes a singer. So doing Coachella may not translate. Those who get it, get it. To some, her set may have not hit, but until you experience Lana live and feel the energy, you probably never will.

This was one of the most put together shows I’ve seen from her lately that truly showed her range, her vast discography and ethereal beautiful melancholic soundscapes she dreams up. The vocals were amazing and you could hear them (mostly - there were a few times she had to ask Byron to adjust the volume). The stage set was complete and both Lana and the dancers seemed prepared to move around it and it showed. Even with the quiet transitions the prospect of what would happen next still hid in the shadows of suspense.

I do believe she wants to do her best at every show and she loves to see the fans. But don’t expect a high energy set. Fans know what they’re getting and they continue to sing every word faithfully. I will say there was room to add a few more songs with a beat lol, she’s definitely got them!

And don’t get me started on her bringing out Billie to perform Ocean Eyes and Video Games… just INSANELY AMAZING. The chemistry. I love how much they love each other. There’s a lot of Lana’s influence in Billie, and they really seem like kindred spirits.

And Jack coming out to perform Hope Is A Dangerous Thing For A Woman Like Me To Have - But I have It with a stunning hologram of Lana and then he just leaves. Very on brand.

You have to watch with headphones and the volume turned up to experience her live band and vocals and really immerse yourself.

Also, the odes to her past in the video that played before ride and people screaming at certain parts— it truly captured the cultural impact Lana has made in the last decade.

Ever since Born To Die came out in 2012 she has shaped popular culture with her unique musical style and tone. Her voice and the nostalgic production combined transported us to another dimension and we’ve all been different since and you felt that last night. The impact she’s had.

While being one of the most influential artists and lyrical poets of our generation, Lana has often been overlooked for her contributions to music, songwriting and setting trends. She has been nominated for 11 Grammys, included several AOTY, she has not won one. I find that crazy.

Anyways, the last song was Young and Beautiful and after she exited on a motorcycle to a Gatsby-esque Jazz outro and fireworks… you know the vintage lover in me got chills to the sound of a transition into an instrumental version of Heartaches by Al Bowlly, and it slowly drowned out (you just have to hear it… saw someone say it was backrooms music — which not not true) and I love it.

So proud of you Lana! I’d definitely say to tune in again next weekend for more surprises 🤍

[goodbysunball]

Digital monsters

Sneaking a few in before April's done and gone. Many of these musics were experienced digitally only for the most part, whether it was due to lack of a physical product or expensive import prices, none of which now apply (except for the Stone Rollers) as I finally get around to posting this. Ian's making Light Metal Age tapes, MIKE just put Pinball on CD, I finally pulled the trigger on KN​Æ​KKET SMIL, etc. Still, the car is the place where most listening is done these days, an unavoidable and really-not-that-bad reality. Windows down, these up:

Maria Bertel & Nina Garcia, KN​Æ​KKET SMIL (Kraak/No Lagos Musique/Otomatik)

It would not be much of an understatement to say I'm a bit burned out on free-improv-jazz and adjacent records, but a live video posted earlier this year by @dustedandsocial piqued my interest in this duo. Nina Garcia shreds and mangles the guitar in a manner both controlled and explosive, like the best no wave auteurs, but the draw here is what Maria Bertel does with the trombone. She pulls these long, drawn-out notes from the belly of the instrument, like glass fibers being pulled from a melt, reminiscent Phill Niblock's arrangements for cello or voice. There's plenty of scrape 'n skronk coming from the trombone, too, like on "Trick & Illusion," but I find the bass-y drones to be more interesting. The end result is a brittle, harsh push-pull between the relatively free guitar and the more grounded trombone, where it often sounds like the two are running in circles in a room with their eyes closed, occasionally colliding to combine forces. When they are not at odds, as on "Nightmare of a Lunatic," the results can be thrilling. At other points on the record I am reminded of Harvey Milk's "Pinnochio's Example" (the title track), later-period Sightings ("Lost Arts," "Twin Truths") and the instrumental side of Khanate ("Playground of Blind Forces," "Inorganic Body"). Given how this is presented - bare, without any perceivable ornamentation or post-production - it makes for a tough listen; you've gotta be in the mood for something this harsh and unadorned, 'cause meeting you halfway isn't happening. But, if you've any affinity for old instruments hammered into new shapes by inspired/inspiring hands, there's some powerful, almost-mystic energy wafting from the grooves.

Bobby Would, Relics of Our Life (Digital Regress)

Bobby’s back, continuing his partnership with the esteemed Digital Regress label, who brought his STYX release to the LP format. STYX was dedicated to his mother, and initial listens have left me convinced that Relics also appears to be wrestling with her passing. Unlike STYX, which contained tracks like "Hype On" that worked themselves into something resembling upbeat and energetic, Relics is a comparatively somber affair. It's bookended by two quiet instrumental tracks ("Runaway" is especially good), and in between is more skeletal, maybe even refined, version of Bobby Would. The overall effect here is often reminiscent of Wonderfuls, or Lewsberg on In Your Hands: gossamer-thin arrangements, sparkling guitars, slow tempos and mumbled vocals. While there are points where Bobby Would presents as a bit listless or hopeless, it never stretches to the maudlin, mostly due to the opaque phrasing. As on previous BW releases, the lyrics are still usually little more than repetition of single phrases until they become profound, which works especially well on these subdued arrangements. The more I listen, the more it sounds like a natural progression from his last two proper LPs, the subtle refinement of a now-signature sound. Like “Maybe You Should” from World Wide World, “Tryin' 2," "Is It Nice Now?" and “No More” rank with some of his best slow dancers; "Explain" and "All I Do" feel like Baby's grown now, using only the necessary elements to create a song and cutting the tape when it's done (not that Bobby Would has ever had a problem with economy). The only misstep here? The hidden track at the end of the physical record, a cover of UB40's "Red Red Wine" (no fucking joke), and nothing more need be said about that. The nine tracks that properly make up Relics of Our Life deserve to be lived in, spindly guitar lines swirling around like smoke and mumbled vocal incantations taking you elsewhere for the duration. Another unassuming gem from the surprisingly durable Bobby Would.

Light Metal Age, s/t (self-released)

In retrospect, I think Gen Pop's PPM66 is one of the best records to come out in the past decade, wringing modern ennui by the neck to squeeze out lyrical inspiration, nailing down a balance between catchy and smart in an impressively effortless way. That record flew, and still flies, under the radar, unfortunately, and the band is no more. Light Metal Age is the new project of Gen Pop's Ian Patrick Corrigan, and it sorta picks up the thread of PPM66, but veers off into the countrified black humor of Country Teasers ("Quil Ceda"), lonesome new age ("Oakland 2017"), and a chilling minimal synth track ("Garage In Meridian"). Corrigan's vocals sound like Bill Callahan in his early days as Smog, but in content he appears to be searching for a place or meaning or some sign that the world isn't as backwards and cruel as it actually is. I think opener "What He's Done" is my favorite song of the year so far, a perfectly dusty guitar line paired with deep, reverberated vocals coldly presenting a personal inventory (“Tattoos since he was 20,” “$20K he owes/20 years to go”). It’s all tied together by the chorus of “You said let it go/But do you know/what he’s done?,” the anxiety of being a prisoner of your past neatly summarized. “Quil Ceda" is my other standout favorite, the biting line "It will make you sick" now popping up in my head all too often as I go about my days. Really, there's something to like on every track here: the double-timed portion toward the end of "T.U.L.I.P."; the rain-soaked, pre-dawn alleys conjured by "Garage In Meridian"; and the subdued Ben Wallers impression on "Gaps In the Material." Sure, "Oakland 2017" is maybe a bit long and saps momentum plopped in the middle, but this seems more like a mixtape than a finished product, and I've come to appreciate the cracks in the tracks forced together. I've been playing it non-stop for nearly two months now, a potent distillation of the young American's modern struggle, laid out without self-pity and the right amount of simmering discontent. Can't ask for much more.

MIKE & Tony Seltzer, Pinball (10K)

Here’s an unexpectedly economical and breezy offering from MIKE, produced entirely by Tony Seltzer. Not sure what Tony Seltzer did here to allow MIKE to let down his guard and puff out his chest a little, but it’s a welcome change of pace, if a bit forgettable. Seltzer’s beats aren’t going to have many rappers come calling, but they’re exciting enough jumping off points for MIKE to try on different personas. I get hints of UGK-era Bun-B (named checked in “Underground Kingz,” as required), Young Dolph, and Lil Baby in MIKE’s rapping on Pinball, and it’s fun and jarring to hear him rap over trap beats like “Yin-Yang.” For all his efforts, the album lags in spots - “100 Gecs,” “Underground Kingz” and “R&B” have become laborious over multiple listens, the beats sputtering, the rapping losing steam without MIKE’s usual emotional overflow. But the opener “Two Door,” the unassuming bounce of “Skurrr” and "Pinball," and the Niontay-featuring “2k24 Tour” still connect, MIKE throwing off a satin boxing robe and sparring with whoever. It’s true that overexposure to this album over the past few weeks has probably taken away some of its luster, but hearing MIKE in this capacity paints a more complete picture of him as an artist. Short ‘n mostly sweet, with no tears, Pinball’s sure to be a steady listen through the punishing summer ahead.

The Stone Rollers, The Ballad of Bill Spears (self-released)

Are the Woolen Men done? Nothing official on that, but members are shifting priorities to other groups: guitarist Lawton Browning is in Change Life, and the Stone Rollers features WM drummer Raf Spielman. The Stone Rollers have been releasing single tracks, one at a time, since September of last year, and The Ballad of Bill Spears puts all four tracks together. It's a separate project and unfair to compare the two, though there are strong sonic similarities to the Woolen Men. The Stone Rollers are bouncy and hard-strumming, somewhere between folk protest songs (yes, there's harmonica) and country with a punk edge (but obviously not as bad as that descriptor conjures). In the spirit of the best country songs, the Stone Rollers don't restrain themselves from saying some really mean shit on these songs, taking people to task with an acid tongue and leaving without apology. I like all four songs - if you're not listening to the lyrics too closely, these are breezy pop songs with the strong character of the '60s - but I think "The Shell Song" and "You Can't Reach Me" are the two best. The former has the harshest lyrics ("When I see you down the line, I hope you're not the same" and "I won't wait around to see what you become/because good or bad I do not care at all"), and "You Can't Reach Me" is an ode to the dream of escaping "my life/bound up so tight" for the greener grass. All four tracks are simple and effective/affecting in an immediate way, familiar but bristling, classic-sounding but unmistakably modern. A nice teaser from the Rollers, who I can only hope will excoriate this feeble review on an upcoming track.

[utopiabytravisscottbreakdown]

Travis Scott's Utopia Blog

Travis Scott’s Evolution in Trap and Hip-Hop

Travis Scott's most recent album, Utopia, is a significant turning point in the evolving trap and hip-hop music scenes. Since his breakout album Rodeo, Travis Scott has been one of the most innovative and significant voices in the genre, always pushing the boundaries of production and performance. Scott displays his distinctive fusion of strange noises, surrealistic themes, and distorted vocals. 

Released in July 2023, his most recent album, Utopia, builds on this reputation even more by presenting a plethora of sounds that both defy conventional rap and capture the reality of the modern world.  Having witnessed the complete experience of Utopia during his live performance in the pit at the Prudential Center on December 26, I’ve come to both love and critique this album as well as his live performances.  Writing about Scott's work within the context of music journalism requires a technique that blends in-depth technical study of the music with subjective and cultural understanding, as discussed in Woodworth & Grossan's How to Write About Music.

Who is Travis Scott?

For those who don't know, Travis Scott is more than simply a rapper—he's a producer with a unique style and a curator of moods who creates sounds that are immersive. He has established himself as a master of captivating beats that entice listeners into his wild and chaotic universe thanks to his two previous albums, Astroworld and Birds in the Trap Sing McKnight. Scott is well-known for his wild mosh pits and explosive energy, which he frequently combines with intricate staging and pyrotechnics to give audiences an almost surreal experience.  Just as the title of his most recent album implies, an immersive listening experience is created by his ability to blend trap beats, synth-heavy soundscapes, and psychedelic vibes—a trip to an unattainable, occasionally utopian future.

#UtopiaAlbum #TravisScott #HipHopRevolution

Star-Studded Utopia Lineup

Utopia features an amazing lineup of features, including Beyoncé, Drake, and Kid Cudi, emphasizing Scott’s role as a musical director rather than just a rapper. Although others might say that this would be considered as a “heavy-reliance” on features, these artists are not just features for popularity, they expand the album’s audience, turning it into a genre-hopping experience from pop to rap. Travis Scott isn’t just making music for the charts; he’s shaping the future of sound, very similar to Kanye West’s approach on My Beautiful Dark Twisted Fantasy.  

Fever Dream of Energy and Sound

When I attended the Travis Scott concert at the prudential center, standing in the pit, the energy was immense. I could barely breathe, I felt like sardine getting pressed amongst all the other people in the crowd.  I somehow made it to the front row right next to the stage, and seeing him come out to HYENA was like a fever dream. The roar of the crowd, the pulsating bass, and Scott’s unrelenting performance made it clear that this album is designed not just to be heard, but to be felt in person.  Every 808 felt like a thunder strike to the chest and I was being swept in a tidal wave of sound and energy.  Watching him perform songs like “FE!N” felt like stepping into his utopian dreamscape. From the euphoric highs to the melodic lows, Scott’s Utopia is an album that demands to be explored in its entirety.  It truly felt like I was in a utopian society for two hours and one of the best concerts I will ever get to experience.  The atmospheric production translated beautifully in a live setting, enveloping the audience in a wall of sound.

#UtopiaExperience #TravisScottConcert #MusicForTheFuture

Utopia’s Production: Heart of the Album, Lyrical Depth

One of the strongest aspects of Utopia is its production. Travis Scott is always known for his amazing and hallucinating beats and Utopia definitely consisted of that.  One of the main weak points that I see in this album are his lyrical choices.  They often fall short of a deeper meaning and lack storytelling.  That said, the experience of seeing Utopia live was truly unforgettable . Scott’s ability to create an immersive concert experience that makes you feel like you’re part of the music is unparalleled. As a fan, I’ll always be drawn to his innovative production.

#travis scott#utopia#concerts#live music#new music#trendingmusic

[oalesleinad]

Napalm Death - Metal Hammer #388 "The 100 Songs That Changed Our World"

NAPALM DEATH SCUM (SCUM, 1987)

With their debt album Scum, Napalm Death pushed the frontiers of noise back further than anyone could have ever imagined. The line-up that recorded this two-and-a-half minute grindcore landmark - singer/bassist Nicholas Bullen, guitarist Justin Broadrick and drummer Mick Harris - took in a disparate set of influences (Swans, Killing Joke, Siege, Metallica) and spat them out as something that was filthier, faster and bleaker than anything that had come before. The mainstream world was baffled and/or repulsed by its seemingly impenetrable din, but over time its revolutionary racket became fused into metal's DNA, in the process helping establish Earache Records as one of the most influential underground labels in history. Today, any band who profess to be remotely extreme owe a massive debt to Scum. Here, former Napalm Death guitarist Justin Broadrick looks back on the making of the seminal album.

Scum was such an important album. What do you remember about writing it? "I was a barely functioning 15/16 year old during my time in Napalm Death. Everyone else in the band was two years older, but what I could do prolifically was write music and create songs. I was writing the majority of the music, and Nic was writing pretty much all the lyrics. Scum was one of the last songs I wrote for Napalm Death, that is for sure [Justin and Nic Bullen left after recording Side A of the Scum album, with an almost totally new line-up recording Side B). I would have written it in my bedroom in Shard End, Birmingham, being 16 and still living at home with my mum and stepdad at that point."

Did it feel different to earlier songs you'd written for Napalm? "I felt my riffs and writing were essentially getting better, that was for certain. This was evident by the responses we were getting at our shows in that period. We, as a band playing these songs, had something special by this time."

Scum alternates between slow, sludgy sections and lightning-fast parts. What were the influences? "We were totally obsessed with Celtic Frost! Ha ha ha! That mid/breakdown riff is a direct take on a Hellhammer song breakdown, changed very slightly as it progresses. The main slow riff was me trying to emulate Am I Evil?, the Metallica cover [of Diamond Head], combined with a variety of Black Sabbath riffs. The fast parts are all essentially a take on Discharge riffs, but sped up and perhaps 'noisier'. Also, Siege had seeped into the riffs there."

What did Nic Bullen and Mick Harris bring to the song? "Everything, from Nic's vocal stylings, lyrics and bass playing, to Mick being able to reach speeds we hadn't heard before. Without Mick, that wouldn't have been achieved. Mick and I first rehearsed at his mum and dad's house, and we literally sped up every Napalm Death song I taught him. Mick's energy and fierceness on the drums was unrivalled."

Who was Scum aimed at? "Nic wrote the lyrics, so he would be best person to comment. But how the I saw it back then was an attack against our overseers, those who chain us: those in power. We were both becoming increasingly disenchanted with the human race as a whole. I think initially we intended to inform/protest, but both Nic and I became more nihilistic, especially from this period onwards."

Do you remember playing it live for the first time? "Not the first time, but the shows around that period were when people and audiences really started noticing us. There was a huge buzz."

How do you look back on Scum now? "Very proud of it. I'm proud of the whole A-side of Scum. It's sad, but I lost the sense that it was my music for many years, while watching different forms of Napalm Death perform it time and time again and endless reissues of the album. But, I've felt like it's mine again; it's a part of my musical identity, my music as a 16-year-old. As a band, for a moment, we were amazing, and Scum, as a song, was the peak of that for me."

"WE WERE DISENCHANTED WITH THE HUMAN RACE" JUSTIN BROADRICK

[a-kookie-with-my-tae]

Befallen: Chapter 2

Pairing: Idol!Jungkook x Music Producer!Reader

Genre: Fluff??

Word Count: 2.7K

Warnings: Jimin is that annoying best friend, Y'N is in denial, all the drama just because

A/N: I'm so sorry this was out late! My computer died on me and it set me back a bit. So, that being said, this next chapter is gonna be a couple days late as well. I'm gonna try my best to get back on track as quickly as possible. Anyway, I hope you guys enjoy it!

Masterlist

Effervescent: Lively, full of energy, bubbly.

The smile Jimin dawns hasn't left his face since we left the studio a few hours ago. Joy so obviously adorning his soft features. Although he wears a mask it's easy to tell, his eyes squinting so much it makes me wonder how he sees the sidewalk in front of us. It feels as if a insurmountable weight has lifted from my shoulders as I pull my mask down to my chin, taking a sip of my tea and chewing lightly on some of the tapioca pearls that come through the straw. Jimin and I's boba tea are similar yet so different, just like our personalities. While we both went for cold milk tea with no ice, mine was banana with tapioca pearls while his was coconut with aloe jellies. A weird combination on his part, but aloe apparently has healing properties and he's all about that. I'm not the one that has to drink it - except the one time he made me try it and I made him vow to never again make me taste his drinks after that experience - so I don't pay mind to it. 

He hasn't stopped gushing about the song that I showed him, ultimately claiming it as his own and running through ideas for it at a mile a minute. I didn't even know he could talk that fast. He's so enthused and focused on his ideas that he hasn't even touched his drink since we left the cafe, which is unheard of when it comes to him. Usually he gulps that thing down in the first couple minutes of having it, then complains when he has nothing left to drink and ultimately goes back to get another one. I smile to myself at him, butterflies fluttering through my chest in a much different way than they were earlier.  I'm nervous, but at the same time, the excitement at the prospect is greater.

Ideas for it flow through my own mind as we walk, the suggestion from Jungkook on the front of it, distracting me from my own. 

It's not a bad idea. Especially with Jimin's soft vocals, it would pair nicely. It would sure be a lot different from what he has put out in the past, but the boy likes to change up his vocal style like its a sport. No two songs of his have ever sounded alike, and this would fit in with that theme. 

He goes on about how he's torn between themes, whether he wants to talk about the the fear of stardom or the fear of losing someone. Either way, he wants it to be a meaningful message. I focus on the two themes, running through different sets of lyrics to see which one would fit better, but I'm also at a loss.

"Ugh, this is so hard!" Jimin throws his hands up in the air in exasperation, grabbing the attention of a few of the other people in the street at the dramatic display. "I don't know how to decide..."

"Maybe you should ask one of the other members?" I suggest, knowing that a few of his hyungs have production experience and have produced a few albums on their own already.

"No, this has to be something I decide on my own." Jimin says with determination permeating his features. He slows his walk and I see him starting to get in his own head. He tends to do that a lot, overthink. Jimin, although one of the most talented and hard-working individuals I know, is somewhat of a walking contradiction. He exudes confidence in everything he does, but at the same time is more self-conscious than anything. He doesn't like to show it, but he's harder on himself than anyone else could possibly be. Always overthinking every move he makes, a perfectionist at heart. Especially when it comes to himself. 

"You know, there's nothing wrong with asking for help." I try to reason with him, attempting to break him from the inevitable spiral that will happen if he is left to his thoughts.  "After all, aren't I helping you with it?"

He pauses for a moment to think, his eyebrows creasing. We walk in silence for a few seconds before he speaks softly, but each syllable is coated with conviction.

"That's different..." he starts, "we are making this together. If I ask them... it just proves that I can't do it on my own."

Jimin avoids my eyes as says this, his competitive nature showing through. He always wants to be the best version of himself that he can be, sometimes near destroying himself in the process. I want to argue, say that it's not a weakness to rely on others to help. But I don't, knowing full and well that it wouldn't change his mind. He's very stubborn when it comes to this, so I don't push it. I think for a moment before an idea pops in my head.

"Well... why don't you just do both?"

He looks at me, puzzled. "How would that work?"

"Didn't you say you were thinking about putting out an English version as well for your international fans?" 

He raises an eyebrow at me skeptically. "Yes...?"

He trails off, waiting for me to continue.

"Just make the English version one theme, and the Korean version the other."

His eyes widen in realization. "Oh my God, yes! That's perfect! I have so many ideas... we have to go back to the studio!" 

He grabs my arms and faces me toward him, almost shaking me with his excitement. 

I smile and laugh lightly, happy that he's so enthralled at the idea. 

"How about we go back tomorrow? It's already 9PM and you have an early practice tomorrow. We can work on it first thing after you're done, I promise." I stick my pinky finger out at him, smiling softly. Pinky promises are pretty much sacred between the two of us, so offering it eases pretty much any skepticism that he might've had.

"Ugh... fine." He says dramatically with a roll of his eyes, knowing he wouldn't win this argument as he intertwines his tiny pinky with mine. "Sleep is unnecessary anyway... but whatever."

I shake my head at him before starting to walk back toward the company building. After stopping at the cafe down the street, we decided to walk a little bit before heading back. The fresh air was refreshing after spending all day couped up in the studio. 

"Did you want a ride home?" I ask as we near the parking lot, digging in my cross-body purse for my keys. 

"No, thanks." He says before dawning a teasing smile. He pauses for dramatic affect before continuing. "Kook is actually giving me a ride home."

My face instantly flushes at his words, the moment from earlier coming to the forefront of my mind. The smirk on Jimin's face widens at the sight of my red cheeks.

"So... what happened earlier before I came in? You guys seemed... close." He teases. 

I purse my lips at him. "Nothing! He just barged in randomly when I was working. I don't even know why. He just starting talking and messing with my track." I try my best to fake annoyance at it, but Jimin sees right through it. 

"Yeah... sure." 

We arrive at my car and he leans against the passenger door as I put my bag in the back seat. 

"You look awfully flushed for someone who is acting all annoyed." He pushes.

"Whatever." I say with a roll of my eyes, heart beating ever so slightly faster. I've never been the best liar, especially around Jimin. He always seems to know what I'm thinking, able to read my face like a book no matter how hard I try to mask it. 

"You know... I could totally ask him what happened. I'm sure he'd tell me."

I wonder if he felt it, too...

I quickly shake the thought out of my head before shutting the door to my car in finality. 

"Do what you want, but nothing happened." I state firmly. 

"Fine, I won't ask. But I know that something happened between you two. You could cut the tension in that room with a knife." He glances to the side at me before continuing. "But just so you know... Jungkook is different. When he likes someone, he doesn't mess around. And that boy is more stubborn than me, he always gets what he wants. So if that's you..."

"Then, he should prepare for disappointment. You know how I feel about all that... and I don't think we will have to worry about it. There's no way Jungkook feels something for me, we met for like 2 minutes. You can't like someone that fast." I shrug off Jimin's words. The man we speak of is basically untouchable. Unreachable by my mere human hands. He's like a god, an Adonis, and the fact that Jimin thinks even remotely that a man like that could have any sort of feelings for me makes me wish insane asylums still existed, because this boy really needs to be checked in. 

"I don't know..." Jimin trails off before looking off to the side. He leans up and off of my car before zeroing his eyes in on it. He stares for a moment before smirking, the twitch of his mouth as quick as lightning before the stoic expression resumes on his features. "I've never even seen him really talk to a girl, even our stylists. So the fact that he was comfortable talking to you and standing so close...."

He turns back toward me. "Not to mention he looked mighty jealous when he found out we knew each other."

"No he didn't." I roll my eyes, yet again brushing off the words of the insane man next to me. My mind is made up. Even if the very unlikely scenario that he proposes is true, it wouldn't matter. I don't care how great of a guy Jimin says he is, at the end of the day all men are the same. If you let yourself fall in love, you'll only get hurt. It may not be about sex, or love, or money. But some way some how, it'll happen. I'm done with setting myself up for disappointment. I'm tired. So, I continue on after a moment, indifference coating my every syllable as I try and fail to fool Jimin into believing my facade. "He was just surprised you knew me. It makes sense, since I've never worked with you guys before."

He sighs deeply before his shoulders drop in acquiesce. I avoid making eye contact with him. I know that if I do, he'll be able to read all the bullshit I'm spewing and I'm not quite ready to admit that to myself. I don't know if I'll ever be. "I'm just saying. Don't close yourself off to the idea. I know how you feel about... well... boys in general. But he's different. Just... think about it." He turns to give me a hug. 

"Anyway, JK has been standing over there glaring at me for a few minutes, so I better go." He says with a laugh, causing me to shoot my eyes in the direction he was focusing on earlier.

Jungkook looks even more handsome that I remember, even though the interaction was only a few hours ago. He's leaning against his car confidently, arms crossed as he pins the man standing next to me. If looks could kill, Jimin assuredly would've melted to the ground. He nibbles on his full bottom lip as his brows furrow together, a crease forming in between them. His dimples show from how flexed his jaw is, the corners of which look as if they could cut me if I dragged my fingers across it. Something swims in those orbs that I can't quite place, and I don't wish to find out either .

Jimin's earlier words flash through my head, but I try to pay no mind to them. Jungkook can't have feelings for me, it's impossible. Saying he's out of my league is a vast understatement. It's more like he's on a different planet altogether. I can never let myself feel anything for him, no matter what the stupid organ in my chest is trying to tell me as it beats harder at the sight of him. If I let go... If I let myself fall for him... It would only cause me pain. I've had enough of that for one lifetime. I won't set myself up for disappointment yet again. 

His eyes meet mine from across the parking lot, and time seems to pause its existence. They seem to soften at the sight of me, his cheeks gaining a slight flush from the eye contact. I know mine don't fare much better. He uncrosses his arms before adjusting himself against his car, putting his hands in the pockets of the hoodie he now wears before glancing momentarily toward the ground awkwardly. I smile lifts in the corner of my mouth at the sight, endearing as it is. He brings one hand up to wave shyly as his eyes meet mine again. I almost forget to return the gesture as I get lost in his ethereal gaze. 

"I'll see you tomorrow, first thing after practice. Do you want to hit the dance studio after?"

Jimin's voice thankfully snaps me out of my daze. The knowing smirk on his face makes me groan internally. I already know that I'm in for it in the morning, there's no avoiding it. There's no playing indifference either after the display of awkward teenage tension that he just witnessed. There's no ignoring it either. Fuck.

"Won't you be tired? You're gonna be dancing all morning." The idea of stretching my limbs again is a welcome one. The dance studio used to be a place in which I'd frequent. But, lately, life has been so chaotic that I haven't had the chance to go. 

"Dancing with them is... different. Ballet is more of a release. I mean, you know what I'm talking about. And I think both of us are in need of some of that classical R and R." He kicks his leg out in a tendu dramatically, as if to further punctuate his words. 

"Yeah, that sounds good." I say with a smile at my best friend, happy that he's not pushing the subject of the man across the parking lot.

Even though he's over 100 feet away, I can still feel his eyes bore into me. His gaze makes my skin tingle as it rakes over my features. I glance at him from my peripheral, only to cause myself to flush from the heat of it. I shiver runs down my back at the attention. 

"Alright then." He pauses for a split second before donning an evil smirk. He pulls me into a dramatic hug, lifting me off the ground as I giggle. He sets me down after a few seconds, quickly turning away and walking toward the car across the lot.  "Bye, bitch! I'll see you tomorrow."

I'm slightly out of breath from the random display of affection. Even though Jimin is not that much taller than me, maybe an inch or two, his strength always surprises me. My eyes meet with the man he's walking towards. The confliction in his gaze sends my heart racing in my chest. He looks as if he's debating on killing my best friend or running toward me. As if he's fighting his instinct to either defend me or claim me. The fact of it causes a flash of heat through my body, making my breathing speed up in the process. 

Something clicks in his gaze as Jimin finally reaches him. I see the shorter male's mouth move, but can't quite make out what he's saying before he opens the door to the car and slides in. I gulp as he slowly drinks in my form, the heat from his gaze causing a flutter under my skin wherever it touches. As his eyes meet mine once again, the corner of his mouth lifts in a smirk. This snaps me out of my daze as I quickly hop into the driver's seat of my car. I focus all of my attention on starting the vehicle, trying to push out the feeling of his eyes still on me. I'm hyper aware of his every move as he continues to look at me. 

I let out a shay breath before buckling my seat belt and putting the car in gear. 

Oh, this is not gonna be fun.