#its genuinely some of the best modern pop ive heard

[stormbreaker-290]

You! Can kiss ~a hundred~ boys in bars

Shoot another shot, try to stop the feeling

You! Can say “its just the way you are”

Make a new excuse, 'nother s t u p i d reason

Good luck, babe!

Good luck, babe!

You'd have to stop the world just to stop the feeling~

[akvtsuki-ari]

Sweetheart (Ch.1)

Warnings: Mentions of BDSM and bunch of other kinks but nothing sexual in this chapter lol. Sub!Spencer and Femdom!Reader 

Length: 5.3k 

Authors Note: this is hands down the most self-indulgent shit ive ever wrote but do i care? the answer is no dsjk  but this that series i had planned where the reader introduces spencer to proper BDSM and all that. hoping to make this fic kinda informative also lol. also im uploading this fic on ao3 as well. also no tags for this fic bc its really specific and ill probably be writing for it for a while! sorry about that

Plot Summary: Spencer Reid just wanted to be.., well, you know. He doesn’t expect to find much when he signs up for a BDSM dating website but somehow he manages you and he couldn’t be more delighted

Spencer Reid was certainly a lot of things. He was a lover of the arts, someone who had a particular affinity for 15th-century literature, a magician at best, a theater nerd at worst, and a teacher when life called for it. He loves the world even when it's really dark and he loves sleeping in even more. He loves his friends and they love him too - even when they pretend that his random facts annoy them. Spencer Reid was a friend, an FBI agent, a genius with an IQ of 187, and a son to a mother he loves wholly. He was a lot of things and for the most part - he knew a lot about what he really loved to do. He supposed that it's been like that his whole life.

It's not everyday that he discovers something new about himself. About everything else? Always. He loves to learn, but about himself? There's never all that much on the frontier.

It's hard to say, because of that, when Spencer discovered he was a sub. It's difficult to pinpoint a specific time and place, or even how the pieces got put together. He just remembers how it felt when it hit him, like a freight train going 100 miles an hour into a concrete wall. Or a plane crashing onto an island. Or like a fly hitting the glass panes of a delivery truck. He remembers the feeling when he was deftly reminded of this fact. Spencer Reid was a sub - through and through and he wasn't really sure what to make of it.

Surprisingly to most of his direct peers, Spencer wasn't a virgin. He'd had sex with 2 people who he'd been kinda friends with at some point, but it always got a little weird after that. The second time though, the girl ended up choking him a little bit when she got off and Spencer thought he had died. Not in a bad way, more in a "I'm so turned on by this I feel like I've genuinely gone to heaven," sort of way. He didn't think it was possible for a sexual encounter to make him feel like that but it did. It didn't stop after that either, which was the most agitating part. 

Spencer doesn't consider himself a sexual person. Sex is about intimacy and companionship, and hopefully love when he finds that someday. Sex isn't necessarily about pleasure but that wasn't an easy lesson to learn.

Spencer just wanted to understand - so like any great genius he participated in thought experiments. It's normally a female superhero/supervillain that crosses his mind (he has an affinity for Poison Ivy), and he just kinda imagines what it would be like if they did what she did. The choking turned him on, but it wasn't enough. Through that, he figures out that he had more than a choking kink and that he was more than a little interested in a partner having complete access to him. He thought about it for weeks and the getting off was working for him but he couldn't get the fantasy out of his head. He wanted more - he wanted someone to fulfill his wishes.

It was too much for him to ignore. Those months of being able to hold off through masturbating are over and he's just sorta itching. Aching to act on those impulses with another person who can give him what he needs, and he doesn't want it to be transactional. Maybe it's too ideal to want a partner out of such an endeavor but was it so wrong? To want real affection and romance from someone who could also overpower him wasn't a crime and he'd be damned if he pretended to want any less. Spencer was just searching, even if it was rather desperately. 

So, when Spencer finds himself on a BDSM dating site and he feels like his life is in shambles, he can only blame himself. It's not something he'd normally do but he's getting a little more than relentless about it but he also just wants to see what's out there. He's so out of it was it happens, it felt like he was being possessed as he made a fake email and wrote out his account information. Definitely blaming it on possession, he thinks. 

It's too late to go back, as he scrolls through tons of profiles of rather intense looking people. He's not surprised, this is where people go to express themselves. They're entitled to that, it just sucks since he's just not ready for such levels of intensity. He wonders if he's in too deep yet, but he figures he'd hit that mark a long time ago and keeps scrolling through profiles. There wasn't much to go off of, many people not choosing to use photos for the sake of anonymity, which was good for Spencer. He clicks onto his own profile, reading his own bio carefully.

USERNAME: DOC187 

SUB/ SWITCH / DOM 

M / F / O

FETISHES: N/A

BIO: Interest in a dominant female companion. Completely inexperienced.

Spencer feels ridiculous, but he doubts anyone would even message him. He doesn't have much on his profile and he keeps things short for that purpose. He wanted to stay as low to the ground as possible - more curious to explore what was going in the world than to find anything legitimate. He scrolls through hundreds of profiles, mostly of people who were BDSM vets looking for new connections or fun. Some people catch his eye but they don't match his interests so he doesn't bother.

Except, one profile. The bio was beyond interesting to Spencer.

USERNAME: MISS—LILAC

SUB / SWITCH / DOM 

M / F / O 

FETISHES: Sadomasochist, Degradation, Humiliation, Pegging, Overstimulation, Edging, Crossdressing, Exhibitionism, Mutual Masturbation, Dacryphilia, Shibari/Gags/Bondage, Wax Play, Impact Play, Breath Play, General Sensation Play, Discipline, Collaring, Begging. Willing to try most things. 

BIO: Interested in submissive males of any experience level. Helps if you're interesting and like to read and watch indie films. Looking for genuine connection and plenty of good banter. Curly hair is nice too. lol.

Before Spencer can think about it for too long his mouse clicks over that stupid little message button next to your profile. Spencer shakes his head at his own existence as he types you a message. Says you're online right now, but Spencer's sure he won't get a response for a while.

DOC187: Seems I fit who you're interested in. I even have the curly hair.

Spencer chews on his nails anxiously before he sighs at himself. He has no clue what's gotten into him belle before he can think he sees your 3-dotted bubble pop up. He feels his body wracked with nerves.

MISS—LILAC: I'm guessing you like to read and watch indie films too?

Spencer smiles. You seem interesting and the fact that the two of you were just talking normal was making Spencer happy.

DOC187: Indeed. I'm a sucker for 15-century literature and anything in Russian and foreign language. You?

MISS—LILAC: 15th century huh? I'll assume Chaucer. And Russian? You're interesting, doc. I'm more modern and English, hope you're not deterred.

Spencer smiles, surprised that you recognize an author as niche as Chaucer. He shakes his head at your commentary. He almost forgets that both of you are on a BDSM dating site and the irony doesn't escape him.

DOC187: Deterred? Never. I think you're rather interesting too, Miss Lilac.

MISS—LILAC: Ever the gentleman doc. I'm hoping you won't run away if I ask you more personal questions.

Spencer swallows. He types back quickly.

DOC187: What kinds of questions?

MISS—LILAC: If it's okay, you're real name and what you do. My names Y/N, and I'm a florist. I live in DC and I love romance novels.

Spencer smiles. He appreciates you laying down the path for him, knowing the stakes.

DOC187: My names Spencer and I work for the FBI. I also live in DC, and I love magic.

MISS—LILAC: Magic? I'd love for you to show me sometime.

Spencer swallows. Part of him feels like it's a stupid idea to ask you out so early but if you asked, he'd likely say yes. He decides to wait it out.

DOC187: I'd be more than happy to show you.

MISS—LILAC: I suppose you could send me a video but that's not the same as seeing the magic in real life, now is it?

Spencer is smiling like an idiot at this point. He shakes his head a little, jittery.

DOC187: Infinitely better live, I would say.

MISS—LILAC: Seems like I've found an excuse to ask you on a date then. Saturday's work for me but I'm sure it depends on you, FBI man. Before that, I'm gonna drop my number and I'll be expecting your call. (XXX-XXX-XXXX)

Spencer giggles. It's a little out of range for things he's used to doing, giggling aloud for someone else is certainly new. Spencer picks up his phone and dials away, anxious to call you but excited nonetheless. He heard you pick up the phone and his heart catches in his throat.

"Hello?," Your voice is smooth, and a little bit lower than he was expecting. It sounds pretty.

"Hello, Y/N," Spencer says back. He heard you laugh on the other side and can't help the way his heart flutters.

"Lovely to talk to you doc,"

"Still Doc? Not Spencer?" Spencer questions. You smile on the other side of the line.

"Doc seems to fit you. But, for the sake of formality, hello Spencer,"

"I like Doc too, but it feels like I should have a nickname for you as well. Only seems fair," Spencer says laughing quietly.

"If it's your prerogative you can call me Miss Lilac, or just Miss but..." you trail off for a minute. Spencer squints.

"Miss is a title, you know? Doesn't seem fair for you to call me that when I haven't earned it from you yet. I'm sure we'll get there but for now you can just call me Y/N," you say softly. Spencer blushes bright red, his voice betraying him as he speaks.

"O-Oh, well um - where does the name Lilac come from? Normally people go with their names when it comes to stuff like that," Spencer says shyly. He heard you laugh on the other side of the phone and blushes again, grateful you can't see him.

"I love the language of flowers and flowers themselves. It's a way to speak that not many people know - but I like the meaning and look of lilacs. White lilacs represent purity, so that was a bit of irony, but light purple lilacs mean first love," you say carefully.

"First love?," Spencer asks. You bite your lip for a moment.

"I joke that BDSM is my first love since it's such a big part of my life. Not as big as some but not small for certain. It gave me much needed confidence so I joke that it was my first," You say lightly. You hear Spencer giggle on the other side and you smile.

"What about your username? Any significance to DOC187 that I should know of?," you readjust your seat on your couch as you talk. Spencer grows a bit embarrassed.

"I normally introduce myself as Doctor Spencer Reid for work, not a medical doctor but I have three PhD's," Spencer admits. You raise your brows but hear the hesitation in his voice.

"Very, very impressive doc. What about the 187? It could be a plain ol' number but my guess would be otherwise,"

"That's my IQ, actually. I don't think intelligence can be boiled down and quantified like that but I couldn't think of anything else," Spencer explains.

"So you're a certified genius with 3 PhD's? To say I'm impressed is an understatement. Anything else impressive you'd like to tell me before I totally pick your brains," you say a little shocked.

"You wanna pick my brains?," Spencer asks. You wanna laugh at the irony of such a silly question from such an intelligent man but you refrain.

"Who wouldn't?," you say incredulously. Spencer smiles shyly.

"The only other thing is that I can read 20,000 words per minute," Spencer says trying to deflect. Your jaw dropped before but it manages to unhinge a little further.

"There's a lot to get to know about you Doctor Reid,"

"I'm sure it's the same for you," Spencer replies.

"Guess we'll have to find out won't we?," you say smiling.

Damn, Spencer got lucky. Hopefully he'd get to find out soon

_____

"Reid, are you listening?," Derek's voice snaps Spencer out of his entranced state. His smiling expression snaps up to look at Derek who looks a little exasperated.

"Sorry, what was that?," Spencer asks back. Derek puts down the case file they were working on. They had just finished a case and needed to complete some paperwork before submitting it for review and to be used in court. The job was given to him and Morgan and Spencer was evidently distracted.

"Alright, kid - what is up with you? All case you've been checking your phone non-stop and spacing out, all smiles and giggles. C'mon now kid, seriously. You got a little lady at home waiting for you or is there something else I don't know about?," Derek interrogates. Spencer doesn't really know what to make of it, though it's not really in his interest to hide you, it hasn't really come up with anyone on the team yet so it was proving difficult to decide what to do. The smile on his face manages to appear again as he starts to think about you, the tips of his ears red.

"Reid," Morgan says again, with a small look of irritation.

"Her names Y/N," Spencer blurts out faster than he can't think. Derek gives him a huge grin, holding his hand out to dap Spencer up. Spencer just looks at it confused for a second before getting the memo.

"'My man," Derek says chuckling. Before Spencer can continue Prentiss, JJ, and Garcia walk in. Hotch is the only one missing, and Spencer's a little grateful.

"What are we celebrating in here you guys?," Prentiss asks first. Spencer goes to say something to move away from his sudden confession but Derek is quick to cut him off.

"Our boy genius over here got him a little lady," Derek announces. The whole team erupts in questions and Spencer wants to bury himself.

"Congratulations, Spencer!! How long have you two been dating?," Prentiss asks.

"You guys are so dramatic. It's only been two months but no first date because well..." Spencer trails off. JJ just nods her head.

"Duty calls, I'm guessing" JJ finishes. Spencer nods deflated hearing Emily draw a breath between her teeth.

"That's tough, Spence,"

Just as Spencer goes to give a response back he gets a text from you that makes his day a little better. It's a selfie of you at work, a picture your employee must've taken of you in a room full of new flower deliveries. You're giving Spencer a toothy grin as you hold a bunch of gardenias in your hand.

Y/N 🌸: *image attachment* 

Gardenias// You're lovely + Secret Love <33

Spencer cannot control the way his whole face bunches up in a smile, as if there's no one else in the room with him. Everyone just looks at him surprised, Garcia giving him a side-eye.

"How can you guys trust this stranger? We don't even know who she is! I haven't even run any background checks on her," Garcia complains. Prentiss nudges her side.

"I don't know if it matters - look at how hard he's smiling over there," Prentiss says. Garcia reluctantly looks and can't help but sigh.

"Okay well he seems really happy but still! We don't even know her," she pouts.

"I'm sure we'll meet her soon," JJ snickers at Spencer's lovestruck expression. Derek leans over Spencer's shoulder and raises his brows.

"Is that her, kid?," Derek asks. Spencer nods, simply staring at the picture you sent. Derek whistles when he sees you - you're genuinely stunning and he's surprised to say the least.

"Hot mama, pretty boy - how'd you manage that?," Derek asks, dumbfounded. Emily rolls her eyes.

"C'mon Derek, I'm sure - oh wow," Emily leans over Spencer's shoulder to see you and is met with the same reaction. JJ and Garcia are quick to follow thereafter, both looking equally as surprised.

"She's..." JJ trails off. The rest of the team just nods as Spencer grins ear to ear.

Spencer 🐻: Beautiful, as always.

Spencer ignores the rest of the team as they look at each other in disbelief.

Y/N🌸: Me or the flowers, Doc?

Spencer🐻: Both, but mostly you.

"Wow, Spencer you're really -" Prentiss starts

"You're whipped, kid. I mean seriously whipped," Derek finishes, nodding in agreement. JJ can't help but smile, giving Spencer a small pat on the back.

"She seems lovely, Spencer. How'd you two meet?," JJ says. Garcia stands around looking rather suspicious. A blush creeps onto Spencer's neck as he's reminded of how you two met.

"Online," Spencer says shortly. No one decides to question it, and Spencer thanks every god he can think of.

"Have you two FaceTimed yet? How can we know she's not, I don't know - catfishing you? Or scamming you in some other cyber criminal way?," Garcia sounds distressed. Spencer gives a small smile.

"We fall asleep over FaceTime every night," Spencer admits. Penelope's expression falls, and Prentiss gives a smile.

"That is disgustingly cute," JJ says laughing.

"Okay, well - I'm still running a background check on her," Garcia says stubbornly "But, I'm happy for you,"

"Thanks Garcia," Spencer mumbles out as he texts you again.

Y/N🌸: I wanna see you, love

Spencer blushes red as he reads your message. The word love makes his whole face hot.

Spencer🐻: I can't take a selfie for my life

Y/N🌸: You're with your team aren't you? Get them to take a picture of you.

Spencer wants to fold away, not ever really being the picture type, but how could he ever deny you.

Spencer🐻: How could I ever say no to you?

"Hey guys, can one of you take a picture of me for Y/N?" Spencer asks embarrassingly red. The whole team sends him a look of surprise.

"I'll take it Spence, try not to look as uncomfortable as you do right now," JJ says. The whole team refrains from laughing as Spencer gives an awkward smile. He thanks JJ who hands him back his phone before texting you again.

Spencer🐻: *image attachment* You owe me one

Y/N🌸: you're stunning as always. hadn't seen you in so long I almost forgot what you looked like.

Spencer🐻: stunnings an interesting choice of words.

Y/N🌸: I said what I said, doc. 

Spencer can't help but do a little giggle, that causes the whole team to give him a look. Morgan just shakes his head, shrugging. Emily, JJ, and Garcia just look at each other before the room draws into a subtle but comfortable silence as Spencer just smiles, totally unaware of how whipped he happened to look. He didn’t seem to mind either way. 

___

"How was work?," Spencer asks over the phone, kicking his shoes off as he looks into his fridge for something to eat. He hears you sigh on the other side of the line.

"Busy today - wedding season is coming up so tons of calls for centerpiece designs and costs. It's going well though, business couldn't be better," you say, clearly tired yet content. Spencer gives a small smile and feels relieved that things are going okay for you.

"That's really good. I'm glad you're feeling alright," Spencer replies. You ease into the couch as you talk to Spencer, relaxing by the second. 

"What about you, FBI man? You have an okay day?," Your voice is full of a gentle concern that Spencer appreciates.

"Yeah, just paperwork and JJ said that we shouldn't have any upcoming cases this week to be worried about so I have the weekend off," Spencer says without thought.

"Have any special plans for the weekend?," you say cheekily. Spencer, still not having caught on, shakes his head for a second.

"No, why?,"

"Hm... well - would you like to go on a date with me then Doctor Reid?," You ask, giggling. Spencer's eyes widen in realization as he facepalms for a moment.

"Wow, I didn't even think... yes - yes I would love to go on a date with you Y/N," Spencer says laughing at his own misfortune. You shake your head instinctively, but the growing smile and even further growing adoration makes it hard to sit still.

"Hey, Spencer," you say, butterflies filling your stomach.

"Yeah?"

"I really like you,"

____

Saturday comes quicker than Spencer can really understand. You told him not to worry about what the days plans would be but he can't help it. Anxiously awaiting you in front of the cafe that the two of you were supposed to meet at, in a part of town Spencer hasn't really seen before. You said that you'd lead the way and the irony isn't lost on him.

"Spencer?," Your voice is small, as you call out to what you think is Spencer Reid. Of course, you'd seen him before but to see him in person like this was still so unfamiliar. His head shoots up, eyes searching for you. He's delighted to have found you, certainly that was true as he walks towards you. Your arms envelop him in a friendly hug and he can't help but find himself sinking into. You smelled sweet, like fruit and flowers (which makes sense, the more he thinks about it)

"Lovely to finally meet you, Y/N,"

"Same goes for you, doc. Would you like to be informed of our plans for the day, or do you prefer the element of surprise?,"  You ask smiling. Spencer laughs at your question.

"Details would be appreciated, but I get the feeling you're not gonna give me those."

"You're right! It's a trick question, since it's a surprise. But, promise it'll be good,"

"I'll take your word for it then," Spencer says with a small smile. You hold your hand out for Spencer which he accepts, locking his hands with yours. The affection makes him feel full of warmth, as you lead him away for the day you had planned for the both of you.

___

Spencer underestimated how well you knew him. He really, really did. It's hard to explain since Spencers been on a date before but this was so profoundly different. He's a little touched, but beyond that he's just.. surprised? Every date he'd been on before this, he'd have to play the gentleman but it never seemed like the other person was interested in just him. It was always casual small-talk over dinner, or a mid-day coffee date or something else that just felt mundane but this was beyond Spencer's imagination.

The first place you took him was a bookstore - which was in Spencers mind already a winner for best date he'd ever been on. You walked inside with him and told him he had to pick up a book for you and you had to pick up a book for him and to say his heart absolutely fluttered would be an understatement. He picked up up a copy of "The Screwtape Tales," by C.S. Lewis for you, and you gave him a copy of Shel Silverstein's "Where The Sidewalk Ends." For you, you got a glimpse to see what Spencer's sense of humor was and you gave Spencer a piece of your childhood. Both equal but opposite forms of intimacy. The only thing was Spencer had to wait to read his book because it's relatively shorter than yours and he reads 20,000 words per minute.

The next place you took Spencer was an indoor butterfly garden. Does he have to explain why that's a good date? He heard you talk about all the scientific names for the different flowers and why they attract butterflies and he wasn't sure he could crush any harder on you if he tried. A particular moment sticks out to him on which a butterfly landed on your shoulders and just stayed there like it didn't want to leave. Spencer's eyes were fixated on it the whole time - and he had never wanted to be a butterfly in his life before but he figures there's a first time for everything.

The last place, where the both of you were at now was just a small coffee shop, locally owned and supported by the community here. You told Spencer that when you started up your shop, you'd come in here to work on big orders before you'd expanded enough to have employees. Spencer admires your work ethic, much more than he could ever anticipate as he sits down at a small booth, totally covering the both of you as you return to the table with a little plate of banana bread and two iced coffees. Spencer pouts as he looks up at you, watching you flash him a grin.

"I could've helped you carry this over," Spencer complains gently. You roll your eyes.

"Maybe next time doc," you say softly. You hold back your commentary often on the date, and Spencer pretends not to notice for your sake but he'd be lying if he said he didn't wanna know. You always had something sly to say but you'd kept it from him so many times now he figures it's better if he didn't ask.

Spencer looks at you as you push a plate of banana bread towards him. He looks at you with curious eyes before reading your clearly excited face and laughs. He picks up a piece and examines it, before taking a bite. If it tasted as good as it smelled then he would be more than obliged.

The involuntary moan that escapes Spencer's throat makes you choke with laughter. Shit, you weren't kidding when you said this was the best banana bread in the city. Spencer just looks up at you like he's about to cry with joy as you double over in giggles.

"I know," You say softly, taking a bite yourself eyes filling with joy "I ordered some more for us to take home - you're welcome," you say with confidence. Spencer smiles because that is genuinely thoughtful, but it was more endearing to see you pretend it wasn't. He just shakes his head, a blush arising to his face as he looks at you. You're staring at him with intent. He quirks his brow at you in question.

"I had a good time today, Spencer" You say warmly. You only called him Spencer when you were saying something affectionate and a bit serious. He gives you a toothy smile.

"I haven't been on very many dates, but this was easily the best one I'd ever been on," Spencer says honestly. You grin ear to ear, hands carefully holding Spencer across the table, running your thumb over his knuckles for a few seconds. You couldn't say for sure whether it was too soon to ask him to be your boyfriend, but you'd be damned if you said it didn't cross your mind.

Spencer was mind-numbingly unaware of what good boyfriend material he was, but beyond that - what good submissive boyfriend material he was. It was driving you nuts, but you knew this was all new for him and you didn't wanna freak him out. Even when guys say they're interested in being submissive, they're still often times uncomfortable with you being fully dominant. Dominant in public and in bed, if you will. You wanted to pay for dates, and buy him flowers, and make him feel special too - at least on the occasion. That role came naturally to you, that let me make you feel owned type affection that only a dominant person can give. It scared men off - out of relationships, and you totally got why - but you liked Spencer too much as a person to risk iit.

Spencer holds your hands together, gathering your attention. You looked at him spaced out and he gives you a look of concern.

"You okay?," Spencer asks. You nod, chewing your lip in debate of whether or not you should express your concerns. Spencer just tugs on your hand and looks at you intently.

You sigh, looking at Spencer softly.

"I'm okay I just really like you," you say a little exasperated. Spencer laughs but is filled with relief.

"I'm glad to hear that. What else is on your mind?,"

"I really like you - like in an, I want you to officially by my boyfriend way and I hope it's not too soon but I'm just, worried I guess," you say nervously. Spencer can't help the way his heart beats in his chest when he hears you say boyfriend. God did he want to be your boyfriend.

"What're you worried about?,"

"I'm worried about freaking you out. I can be a lot since I'm... you know?," You say nervously. Spencer looks at you  to continue.

"I'm more than just dominant in bed, and for a lot of guys it's not their thing and that's their right but I like you so much. I really don't want that to happen if I ask you out now and you realize that it's not for you," you say in clear upset.

Spencer looks at you in disbelief. You were worried that he was gonna freak out over that? That you were too dominant for him? It feels like such a silly concern but the expression on your face tells him you're speaking from experience.

"I mean, it's all kinda new to me but, well - I do like how you treat me? It's a nice change, I can't imagine myself getting tired of it, or of you. I really like you too," Spencer tried his best to reassure you without totally embarrassing you. You smiles at Spencer but your face is still full of doubt.

"If that ever changes, I'll tell you but I'd really like to call you my girlfriend," Spencer finishes. You can't help the warmth that spreads in your stomach at the offer. You just nod, looking up at him. You stand and walk to Spencer's side of the booth, sliding in next to him, leaning your head into his shoulder for a few while seconds. You sit back up, and Spencer turns to you.

"Hey, doc," you say softly. Spencer hums in acknowledgement.

"Can I kiss you?," you ask softly. Spencer chews his lip and nods, looking down at your lip. You're wearing lipgloss and it makes them look pretty - you are so pretty to Spencer.

Kisses are their own language, Spencer figures. The way someone kisses you can tell you a lot about who they are - so, when you put your hands on the side of Spencer's face, pulling him closer to you with such care and adoration - Spencer can feel what you were referencing earlier. The word Miss rings out in his mind, the way you pay attention to him with your hands. He feels your lips press against his, slowly gliding your fingers in his hair, thumb brushing agains the side of his cheek. Your other hand rested on his inner thigh and he has to think about anything other than that not to get hard. Spencer didn't get how much he'd been thinking about touching you until you'd do with no hesitation and he lets out a small whine. You pull back and Spencer has to catch his breath.

His lashes blink up at you and you're absolutely beaming.

"You're cute baby,"

Baby? Spencer wants to cover his face when you say it. You kiss him again and he can't help but feel flush.

You were Spencer's girlfriend and then some and he couldn't be more happy.

[backpackbrigade]

Backpack Playlist 5/27/19

I no longer have a radio show so this is where I’m gonna be posting my thoughts and playlists! Have fun, who cares. Apple Music/Spotify links at the bottom. Enjoy. 

“Running Up That Hill (A Deal With God)” - Kate Bush, Hounds of Love (1985, EMI)

A gay icon, not much to say beyond that. We love some extra as shit background vocals.

“Bags” - Clairo, Immunity (2019, Fader)

First single off Clairo’s new LP coming out at some point this year. Literally all I can think when I hear the guitar line in this song is Avril Lavigne, and I say that with the utmost respect and love. Big ups to VW alum Rostam for the production on this track and Danielle Haim for drums - does this mean Clairo is now part of the PC Music squad AND the VW-adjacent rap/indie rock squad??? Her career is definitely pretty strange so far, but I’m hype to see her blow up beyond the world of the Youtube algorithm chewing up and spitting out DIY music videos. This track is also kinda full circle for her - in her big Pitchfork feature last year, she talked about being starstruck after seeing one of the Haim sisters on a plane listening to SOPHIE, and now she’s got one of them on a track. We love growth.

“Kisses 2 My Phone” - Sega Bodega, self*care - EP (2018, NUXXE)

Lona (aka MANIIK aka BABY GAMELAN) shared this EP with me last year, and it’s been rattling around in my head ever since. Some glitchy trap beats and subtly depressing lyrics about sending kisses to your phone and losing love. Scottish experimental pop kid who gets in your ears and won’t leave.

“Even the Shadow” - Porches, Pool (2016, Domino)

A classic, both Pool and their newer album The House (2018, Domino) remind me of a very specific time in my life when I was spending 12 hours in the photo studio every other weeknight and played Porches on shuffle to get through it. Very sad stoner synthy alt-pop for gay kids with lots of insecurity but dreams of 2014 soft pale tumblr aesthetic escapism!!

“Hatin” - Rico Nasty & Kenny Beats, Anger Management (2019, Sugar Trap)

Remember when Rico was just a Soundcloud kid with a stellar remix of “The Race” under her belt?? When I first heard that track in the background of a friend from high school’s Instagram story, I literally dropped my phone trying to lyric search it to see who sang it. Big ups to Lafayette (a newly minted Howard University grad :,) ) for putting me on. Rico’s always been bffs with Kenny, so this collab record isn’t surprising, but I didn’t expect it to be this good!!! Very excited to see her blowing up on Tik Tok rn, maybe she’ll finally get what she’s owed. And she deserves more than just a 2 second cameo in the Old Town Road music video………

“Dig” - Lance Bangs, Lance Mountain - EP (2016, Citrus City)

Reminds me of screamy jangly indie rock from the summer after my first year when I lived in a commune and got a stick and poke from a friend who was three mojitos deep. Also, Citrus City is awesome and we love to support VA labels!!

“Livin’ On a Prayer” - Bon Jovi, Slippery When Wet (1986, Vertigo)

Mostly putting this on here because it’s the ending soundtrack to a great little animated short film I watched recently called WORK (2009) by Michael Rianda. It’s a super 2009 short, but it’s fascinating because it feels like the aesthetic halfway point between Don Hertzfeldt’s Rejected (2000) and Bojack Horseman (2014-) style absurdity. It’s not the subtlest anti-capitalist cartoon out there, but it’s very cute and funny.

“20 Ghosts III” - Nine Inch Nails, Ghosts I-IV (2008, The Null Corporation)

Put this back to back with Bon Jovi because the weird guitar/vocal growls sound like the “Livin’ On a Prayer” digital doo-wops put through an insane pedal filter. Heard it for the first time when I was watching Laura Poitras’ documentary Citizenfour (2014) - she used it for the super haunting opening and closing scenes, and I can’t think of any better use for Trent Reznor’s sad garage dad phase guitar music.

“Guap” - Yaeji, Yaeji EP (2016, GODMODE)

No introduction necessary, hopefully. Gives me third year queer party vibes, and if you know what that means, congratulations. You’re part of an in-group now. Listen when you need subtle hype up music.

“Indica” - Dizzy Fae, Free Form Mixtape (2018, self-released)

When I showed a friend a picture of Dizzy Fae, their first response was that she’s probably from Amsterdam or Berlin or something and floats between secret clubs all week long before performing herself. She’s actually from Minnesota and is way younger than either of us assumed, so big ups to her for projecting the coolest vibes imaginable. Her vocal distortion is a little FKA Twigs, but she knows how to fuckin rap on the rest of the EP. Well worth a full listen.

“Flower Moon (feat. Steve Lacy)” - Vampire Weekend, Father of the Bride (2019, Columbia)

Best track on this new album, imo, but I can’t stop thinking about Vampire Weekend for a completely different reason. When this album came out, literally everyone was making fun of it for sounding like a Paul Simon redux. A lot of people praised it for the exact same reason lol. But Paul Simon’s relationship with cultural appropriation is a lot like Ezra Koenig’s, and not enough people have made that connection. Remember when Paul Simon broke the cultural boycott with Apartheid-era South Africa to make Graceland (1986)?? Everyone shit all over him for not only straight up taking South African music styles and centering himself in their vocal story, but doing it all in the midst of the largest cultural boycott in modern history. It’s a good album, I won’t pretend it’s not, but it’s deeply problematic and disappointed a lot of people who expected something better from a guy who knew what he was doing. Reminds me of 2008-2012 Vampire Weekend!! Anyway, listen to this track for Steve Lacy, if nothing else.

“Ur Phone” - boy pablo, Roy Pablo - EP (2017, self-released)

Another Youtube algorithm kid, boy pablo was in everyone’s feeds because this EP is the perfect summery shimmery gaze-y indie rock. His newer album is a little more uptempo than I personally like, but this track is *chef’s kiss*

“Can the Circle Be Unbroken” - The Carter Family, Can the Circle Be Unbroken: Country Music’s First Family (2000, Sony; original recording 1935)

Really not trying to wade into the country music discourse today, but this track is genuinely full of intense longing and sadness in a way that so clearly changed country/rock music and its relationship to the guitar.

“Before the World Was Big” - girlpool, Before the World Was Big (2015, Wichita)

Their new stuff fucking slaps, and seeing them come to terms with their gender identities is fucking beautiful!! But I always come back to these weird ass nursery rhymes. It’s literally just their harmonies and two guitars, and legend has it if you turn this up to full volume in your car and drive through your hometown, your unrequited high school crush will appear with their spouse and two kids just to rub it in.

“Vroom Vroom” - Charli XCX, Vroom Vroom - EP (2016, Vroom Vroom Recordings)

I mean. It’s Charli’s early work with SOPHIE, you’ve gotta just blast this shit and ruin someone’s life. The return to queer hyper pop over the past few years is the only thing sustaining my fucking mental health.

“Xternal Locus” - Chynna & Oklou, Single (2018, self-released)

Another track Lona played for me after I picked her up from work in DC. Lowkey enough to ***** to, highkey enough to **** to ;)

“Cinema” - Kero Kero Bonito, Totep - EP (2018, self-released)

KKB really did an about face with this record, but I still fucking love them. It’s still sunny and glittery pop, but with a chilled-out vibe. Their intense pop records are like the come up, and this is the chill smoke sesh the day after. Just vibey enough to let you chill out and kick back, but keeps you on your toes with some unexpected samples and glitchy moments.

“Jack the Ripper” - SadGirl, Breakfast for 2 - Single (2018, Suicide Squeeze)

We love surf rock, and that’s all I’m gonna say for this. You either vibe with it you’re bored as shit.

“watch you sleep.” - girl in red, Single (2019, self-released)

Music To Sleep To.

Playlists

[thesinglesjukebox]

LIL NAS X - OLD TOWN ROAD

[6.73]

We're gonna bluuuurb til we can't no more...

Katie Gill: The problem with "Old Town Road" is that it's more interesting as a thinkpiece than an actual song. The song charting, then being excluded, from the Billboard Country Music charts opens so many questions that can't be answered in one sitting. Is this a further example of the well-documented racism in country music? Or is this just a freak accident hick-hop song that vaulted it's way out of the depths of subgenre hell? Is a twangy voice and references to horses enough to make a song "country"? Does the presence of Billy Ray Cyrus in a remix that dropped on Friday legitimize the song's credentials or just make them worse? Where was all this controversy when "Meant To Be," an honest-to-god pop song, was holding steady on the charts? There are so many questions and so many points of conversation that spring out from this song, that it's a pity "Old Town Road" itself is just okay. Everything about it screams "filler track for the SoundCloud page," from the length to the trap beats to the aggressively mediocre lyrics. The song didn't even chart on it's own merits: it charted because it's used in a TikTok meme! This is like if "We Are Number One" or "No Mercy" made their way to the top of the iTunes charts and people decided to have a conversation about the limits of genre based on those charting. I'm a little annoyed, because the conversation around "Old Town Road" is something that country music should be having... but just not around "Old Town Road." [5]

Jacob Sujin Kuppermann: There are essays upon essays to be written about "Old Town Road" as a prism for the racial divides that have served as undergirding for the modern American genre system since the 1930s division between "hillbilly" and "race" records. It's the perfect hunk of think-piece fodder: a simple core question -- is it country? -- that can spiral out to all corners of culture until the song itself is obscured. So let's focus on the song, instead. Because beyond all world-historical significance, "Old Town Road" fucking bangs. It's all in the bait and switch of that intro -- banjos and horns plunking away until Lil Nas X's triumphant "YEAAAH" (second this decade only to Fetty Wap) drops and the beat comes in. It's a joke until it's not -- maybe you came in from the Red Dead Redemption 2 video, or from a friend of yours talking about the hilarious country trap song, or from the artist's own Twitter, which is more Meech On Mars than Meek Mill, but no matter the source, you'll find that "Old Town Road" has its way of looping into your brain, all drawls and boasts and banjos. It's meme rap, but much like prior iterations of this joke ("Like a Farmer"), Lil Nas X fully and deeply commits -- he doesn't drop the pretense for a single line, keeping the track short enough to not outlive its welcome while still exploring its weird conceit to its fullest. Yet even in its jokey vibe there's some actual pathos -- no matter how put on, the lonesome cowboy sorrow of Lil Nas X's declaration that he'll "ride till [he] can't no more" feels genuine. "Old Town Road" is everything at once, the implosion of late teens culture into one undeniable moment. [10]

David Moore: So here's a true gem of a novelty song -- a phrase I use with both intention and respect; I grew up in a Dementoid household -- that could launch a thousand thinkpieces about hip-hop, country, class, the object and subject of jokes, whether to call something a joke at all, you name it. But what I keep returning to is the economy of it, its simplicity, how there is so much in so little, the way that someone on the outside can grok things inaccessible to the insiders, maybe by accident or by studious observation and a fresh perspective, the way music can be a multiverse, characters from one world complicating or clarifying or confusing the limits of another in a mutually provocative way. I'm not a backstory guy, which is to say I'm not a research guy, which is to say I'm either intuitive or lazy or both, so I don't have any clue where this came from, but I know magic when I hear it, I know what it sounds like when you discover, or simply stumble into by accident, the path beyond the bounds of territory you presumed exhausted, territory that can always get bigger, always invite whole new parties to the party. It's a real party party; you can get in. [10]

Katherine St Asaph: "Old Town Road" is the "Starships" of 2019: a song that objectively is not great, but will be called great for the understandable reason that liking or disliking it now unavoidably entails choosing the right or wrong side. This tends to lead to hand-waving freakoutery about critics not talking about the music, man, but once The Discourse is out in the world, it becomes a real and critical part of the song's existence; not talking about Billboard punting "Old Town Road" would be like talking about "Not Ready to Make Nice" as an workaday country song. The problem is not quite as simple as "the Billboard charts don't want black artists," an argument with historical precedent but now doomed to fail: clearly, people like Kane Brown and Darius Rucker and Mickey Guyton (who's left off lists like this, somehow) have hits. It's more about respectability politics. Traditionalists hate the idea of memes, social media, and perceived line-cutting, all of which means they'll hate a song born not of the Nashville and former-fraternity-bro scene, but via TikTok and stan Twitter. But what they really, really hate is rap and anything that sounds like a gateway to rap; like if they tolerate this Cardi B will be next. Country radio, for the past decade or two, has been pop radio with all the blatant rap signifiers removed; its songs aren't about cowboys or horses but suburban WASP life. Of course, double standards abound. Talking about lean is out; talking about bingeing beer is fine. "Bull riding and boobies" isn't OK because it's from a guy called Lil Nas X -- I honestly think people would whine less if this exact song was credited to "Montero Hill" -- but "I got a girl, her name's Sheila, she goes batshit on tequila" is OK because it's from a guy called Jake Owen, and "Look What God Gave Her" is OK because it hides its ogling of boobies behind plausibly deniable God talk. Fortunately "Old Town Road" is better than "Starships" -- the NIN sample is inspired, and the hook is evocative and sticky. (It fucks with authenticity politics, too -- Lil Nas X wrote his own song, but the big corporate country artists often don't.) Its main problem is that it's slight: a meme that doesn't overstay past the punchline, a song that never quite gets to song size. [5]

Thomas Inskeep: Sampling Nine Inch Nails' "34 Ghosts IV" to (help) create a western motif is hands-down brilliant, so huge thumbs-up for that. Lyrically, this is pretty empty, a bunch of western clichés strung together -- but then again, the same can be said of plenty of Big & Rich songs. Split the score down the middle, accordingly. [5]

Scott Mildenhall: But surely this is how country music should sound? Lil Nas X has performed alchemy in combining two generic styles into something inspiring, flipping the meaning of "pony and trap" on its head. The mechanical sound of trap is rusted into the mechanical sound of fixing a combine, or at least pretending that is something you might do, and such performance is fun for all the family. Well, unless you're an American farming family tired of stereotypes anyway. [7]

Stephen Eisermann: Non country (trap) beat with subtle country instrumentation? Sounds like much of country radio, only way better! [7]

Nortey Dowuona: A burning, humming bass girds under sticklike banjos as Lil Nas X rides into town to water his horse and head back out onto the open road. [5]

Alex Clifton: I spent the weekend re-enacting this scene from Easy A with this song, so it's safe to say I like it. I especially love the "horse"/"Porsche" line, which is unexpected and amazing. [7]

Alfred Soto: The usual genre conversations threaten to smother analysis. If Lil Nas X can use trap drums, then why can't Sam Hunt use loops? Silly. (Chief Justice Charles Evans Hughes: "The Constitution is what the judges say it is"). The Kanye allusion ("Y'all can't tell me nuthin'") works extra-diagetically. An assemblage of modest, discrete charms held together by a solid performance at its center -- nothing more. I await the Future-Frank Liddell collab. [5]

Edward Okulicz: It's affectionate and actually quite deferential in its treatment of its parent genres. Crossovers like this have been hinted at, and gestured towards in the other direction quite a bit of late (country artists affecting hip-hop, less so the latter), and the two genres have more in common than the caricatures of the sorts of people who are supposed to listen to them do. Of course, I mean those genres as they exist today, and not in the warped imaginations of purists. You can see why kids have latched on, and it's easy to snarl at Big Chart for sticking their oar in. The kids are right; artists control the means of production and radio and chart compilers can accept that they aren't the tastemakers, and attempts to force their tastes down other people's throats will lead to a backlash. This is not a brilliant song but it's a picture of one of many potential musical futures and, at two minutes, the perfect length too. The right response is to smile, and "Old Town Road" makes it easy to smile -- it's an earworm. Sure, it doesn't give me the same immediate feeling of fuck!!! this is the best that I got when I first heard that version of Bubba Sparxxx's "Comin' Round" but country music survived "Honey, I'm Good" and it will survive this. It might well thrive. [6]

Joshua Copperman: I recently found out that I have a moderate Vitamin D deficiency, but looking up the song everyone was talking about and hearing this basically confirmed that I should go outside more often. There are definitely things to talk about: it's the logical conclusion to "I listen to everything except country and rap" jokes when the inverse has taken over the Hot 100, and it's a song that's set to hit number one because everyone is incredulous that it exists at all -- with a Billy Ray Cyrus remix to boot. The conversations about what makes a song "country" are all fascinating, but it's hard to fully enjoy pieces about something that, as an actual song, is so fundamentally empty. The Nine Inch Nails sample is interesting, but like everything else, more intriguing in theory than execution. This will wind up on every site's "best of 2019" lists, and then in ten years people will snark on how a song with "My life is a movie/Bullridin' and boobies" was so critically acclaimed. As a meme/discourse lightning rod, it's an [8], as a how-to guide for late-2010s fame, it's a [10], but there's little appeal in a vacuum. Adding a bonus point, because music has never existed in a vacuum anyway. [5]

Taylor Alatorre: Remember when the internet was still described as a realm of lawless and limitless potential, when open source could be touted as revolutionary praxis and "free flow of information" was a sacred utterance? Now one of the key political questions is whether private companies should be doing more to banish online rulebreakers or whether the federal government should step in to delimit what those rules are. Whichever side ends up winning, it's clear that the wide open spaces of the Frontier Internet are rapidly facing enclosure. Montero Hill learned this the hard way when his @nasmaraj account was suspended by Twitter as part of its crackdown against spam-based virality. While Tweetdeckers are nobody's martyrs, it's a minor tragedy every time an account with that many followers and that much influence gets shunted off to the broken-link stacks of the Wayback Machine. Rules must be laid down, but their enforcement always entails loss -- the bittersweet triumph of civilization over nature that forms the backbone of every classic Western. Maybe Hill/nasmaraj/Lil Nas X had this loss in mind when writing the jauntily defiant lyrics of "Old Town Road." Maybe he was just riding the microtrends of the moment like he was before. Still, this particular microtrend -- the reappropriation of cowboy imagery by non-white Americans -- feels too weighty to be reduced to mere aesthetics. Turner's Frontier Thesis may have been racially blinkered to the extreme, but the myths and yearnings it spawned can never die; they just get democratized. So it makes sense that young Americans, even those who don't know who John Wayne is, would subconsciously reach out for the rural, the rustic, the rugged and free, just as we feel the global frontiers closing all around us. Our foreign policy elites hold endless panel talks about "maintaining power projection" and "winning the AI race," but most normal people don't care about that stuff. We're all secretly waiting for China to take over like in our cyberpunk stories, so we can drop all the pressures of being the Indispensable Nation and just feast off our legacy like post-imperial Britain. And what is that legacy? It's rock, it's country, it's hip hop, it's "Wrangler on my booty," it's all the vulgar mongrelisms that force our post-ironic white nationalists to adopt Old Europe as their lodestar. In short, it's "Old Town Road." We're gonna ride this horse 'til we can't no more, we're gonna reify these myths 'til we can't no more, because when the empire is gone, the myths are all we have. (Oh, and the Billy Ray remix is a [10]. Obviously.) [9]

Jonathan Bradley: People suppose that genre exists to delineate a set of sounds, and while it does do that, it depends even more on its ability to build, define, and speak for communities. The question of whether "Old Town Road" is a country song or not is in some ways easily resolved: country music showed no interest in Lil Nas X -- or at least not until Billy Ray Cyrus noticed an opportune moment to complicate expectations and grab headlines -- and so Lil Nas X's song was not country. Even taking into account its sound and subject matter, his hit is best understood as a burlesque on country music, one that parodies and exaggerates the genre's motifs and themes for heightened effect. The kids on TikTok, who turned the long-gone lonesome blues of the song's tumbleweed hook into viral content, understand this intuitively: they use the incongruity that clarifies at the beat drop as an opportunity to engage in caricature and costume. And while Lil Nas X, a huckster and a trendspotter before he was a pop star, has been happy to embrace the yee-haw mantle that has been bestowed upon him, his song is a familiar rap exercise in play and extended metaphor. The Shop Boyz did much the same thing with "Party Like a Rock Star" and it would be obtuse to suppose that was a rock song. And yet, as the country historian Bill C. Malone has written, country since its inception has attracted fans "because of its presumed Southern traits, whether romantically or negatively expressed"; there has always been a bit of schtick to this sound. I wondered when we reviewed Trixie Mattel whether country is, on some level, intrinsically camp, and it's tough to declare definitively that Lil Nas X's bold hick strokes are that much more stylized than Jake Owen's performance of small town ordinariness. And just as a country music based on cohesive community rather than sound has found itself broad enough to encompass northern hair metal, Auto-Tuned club stomps, and Ludacris, the gate-keeping involved in keeping Lil Nas X out begins to look suspicious. After all, the first song to debut on Billboard's Most Played Juke Box Folk Records chart, the predecessor to today's Hot Country Songs, was "Pistol Packin' Mama," a hillbilly goof by the decidedly uncountry combination of Bing Crosby and the Andrews Sisters. As Malone has written, "While the commercial fraternity thought mainly of profits, the recording men, radio executives, publicists, promoters, ad men, sponsors, and booking agents who dealt with folk music also readily manipulated public perceptions in order to sell their products." One of the ways they did that was to tap into already mythological figures of American individualism like the cowboy, who is, after all, a creature of the west and not the South. "The respective visions of cowboy and western life drew far more from popular culture and myth ... than they did from reality," Malone writes of the early country singers who embraced cowboy personae; in some ways Lil Nas X's purloining of meme interest in that same culture places him within a rich country heritage. After all, when in popular entertainment has shameless self-promotion not been part of the aspirant's trade? It does matter how cultural communities react to the music made in their name, but when certain people are adjudicated not fit for club membership, it is worth asking why. Country's culture, I said recently, is "one that's implicitly but not definitely Southern, implicitly but not definitely rural, and implicitly but not definitely white," and it's easy to see how Lil Nas X doesn't fit into that. Country music's racism isn't unique to the genre -- the historical hegemonies of punk and indie rock are at least as determinedly white -- but it is particularly visible. Country is racist like the South is racist like America is racist. Lil Nas X disrupts that settlement, helping us imagine a country music that genuinely encompasses the music of the American South -- a genre that has space for "This is How We Roll" and Miranda Lambert, Lil Boosie and Young Thug, "Formation" and Juvenile, and perhaps even Norteño and banda sounds. That would be, however, not only a far different country music to what we know today, but the music of a far different America. [7]

Iris Xie: Yeet haw! Aside from the great pleasure I've had in showing this to my friends, (Me, two weeks ago: "Have you heard this country trap song???" My friends, this week: "Iris, that song you're talking about now has Billy Ray Cyrus on it??") and either slinging back and forth memey references, engaging in discussions on the state of white supremacy in the music industry while also debating about the song's merit, or hearing my friends start singing "can't nobody tell me nothing..." very quietly at any moment and I can't help but join in -- it's all been very fun. Aside from making plans to play "Old Town Road" on my next country road drive to Costco, something that's occurred to me is that this is a song boosted by the status and calamity of its metanarrative. We could always use more discussions of the double standards that Black and POC artists face in the industry when it comes to genres and participating in it, and I'm honestly glad Lil Nas X just made something that was fun and made sense to him, even if "Old Town Road" doesn't stray too much from the conventions of both trap and country, resulting in a well-balanced mashup that sounds more safe than surprising to me, but is serene in its confidence nevertheless. On the flipside of that genre-mashing, Miley wishes and is probably very jealous of her father now for hopping onto this train, lest we forget about all of her cultural appropriation attempts. But for the song itself, those long, relaxed drawls and the imagery of riding a horse to the trap beat -- why not? We live in weird times now, Black people's contributions to country music were erased, and it's kind of a relaxing song. Also, I'm a fan of the "Can't nobody tell me nothing" lyric, which has become an unintentionally defiant line in the face of all the backlash, resulting in a message to rally around. Now excuse me, as I text my friends that "I'm gonna take my horse down to the old town road." [8]

[Read, comment and vote on The Singles Jukebox]

[mrsrcbinscn]

BDRPWriMo Task #6 - 10 Short-Short Stories

Task #6: Write ten short-short stories of no more than a paragraph long.

Franny Robinson’s musical influences; ten interview quotes about other musicians and singers that she says inspire her work

i. Jenny Lewis

“I dunno, there’s just-” Robinson paused and with her palms flat up, made claws with her hands as she searched for the words. “-something so honest about Jenny. I had the honor of performing with her once and I was just in awe. I think I have a little bit of a crush on her. I was first introduced to her work in 2001 by a great friend of mine from college, Dani Weiss [currently a member of the American-Canadian newgrass band The Weepy Willows]. We were...going on a little trip -

Q: Acid or shrooms?

“My husband is sitting right there, oh god. Acid. In moderation, I think things like that can be worthwhile experiences. In moderation. We were doing acid in her apartment and listenin’ to music and she [Weiss] put on their album Take Offs and Landings. I was real into it from Go Ahead [the first track]. Which. I always liked chill music when I dropped acid, anything too loud and busy made me anxious. And when the followup, The Execution of All Things came out, it was like - I was like - just like, ‘damn, this woman is amazing.’ Her songwriting ability is just phenomenal and her voice- I feel like I’m sittin’ across from her and she’s tellin’ me stories. There’s- again, the only thing I can think of is this honesty about her.”

ii. Hizuru

“Japan actually has a vibrant history with jazz music, so I’m familiar with a lot of Japanese jazz and have had the honor of working with many talented Japanese jazz musicians. I don’t know very much about Hizuru, actually, other than I love them. I have been experimenting with incorporating traditional Cambodian music with, you know, jazz and other western styles of music. That part of my culture is very important to me, so I want - I want to show the world how beautiful instruments like tro and chapei are. Anyway- I was struggling with a balance of sounds when in 2017 I stumbled upon a Hizuru song called - oh, god, I don’t speak Japanese, so I’ll probably butcher this. The song is called Ushiwakamaru. It is an instrumental piece, as is the entire self-titled album, and the blend of traditional Japanese music and modern jazz on that entire album is perfection. I hope they come out with more soon, I am hungry for more, truly.”

iii. Ella Fitzgerald 

Q: Of the early jazz vocalists, who inspires you the most?

“Oh my god, Ella Fitzgerald. Well - mm, no, absolutely her, no question. I am by no means implying I live up to her standard, in fact I never will, but I have channeled her. Especially in my earlier work when I was a bit more concerned with going what jazz fans want, expect, and love versus taking lessons from those who came before me and building on that with my own ideas, my own voice. If that makes sense? She was classic. It’s Only A Paper Moon was, I think, the first jazz song I heard when I was little. Or, it was the first that really struck me. [laughs] My oldest brother used his birthday money to buy an Ella Fitzgerald album for me on vinyl so I would stop running around the house singing the only lyrics I remembered. I think it was like [singing]- Say, its only a paper moon, sailing over a cardboard sea...and I forgot the rest so I could just repeat cardboard sea like three times.”

iv. Patsy Cline

“I’m from Georgia,” laughs Robinson, running a hand through her hair as she pulls her feet up under her on the chaise lounge in her Swynlake home. “Like, out in the country in Georgia. You couldn’t grow up there in the eighties and not have known who Patsy Cline and Dolly Parton were. Dolly was more, like, relevant and current, but Patsy’s a classic. And as a woman whose natural register is lower myself, I really appreciated being able to sing along decently well without much effort. We don’t - we don’t get to see alto voices in popular music a lot. Pop, even the jazz music that gets a following outside of hardcore jazz fans. Hitting the craziest high notes does seem to be a current trend across the genre spectrum.”

When asked if that was a bad thing, Robinson simply shook her head. “I don’t think it;s positive or negative one way or the other. It’s just an observation.”

v. Ahmad Jamal

“I mean, if you want to talk jazz pianists, you can’t not talk about Ahmad Jamal. On Green Dolphin Street? Autumn Rain? F---, man, leaving him out is criminal. He’s been in the game for five decades, that’s longer than I’ve been alive. I only hope to be on his level. Like, I hear words from his piano. I understand what I’m supposed to be feeling, thinking, or seeing when I listen to his work. And with instrumental music, that’s a challenge. Classical? I struggle to listen to classical music. I think it’s beautiful, and I really respect classical musicians, but unless I’m explicitly aware of what picture this piece is supposed to paint in my head, when I tell a classical expert what a piece makes me feel, they’re usually like ‘ACTUALLY...’

vi. Édith Piaf 

“My father - well, he’s technically my stepfather,” Robinson said, scowling at the word like it was a swear. “But, he adopted me when he married my mother, and my biological father may as well have been a sperm donor. Anyway. My father is from Switzerland, and they have four official languages there. He speaks them all, plus English, plus he learned to speak Khmer when he married my mother. He’s so cool, my dad. He’s from a Francophone-Italophone Swiss family, so I grew up listening to a lot of old French, Italian, and some German music from him. I still don’t speak German and Italian though, [laughs] sorry Dad.”

“We listened to Édith Piaf a lot together. I was very protective of my mother as a child, you know how kids of single moms are? My mom was my superhero and I was used to American men thinking they had a right to touch her because she was just a poor foreign woman who owned a restaurant. So when my future dad started hanging around, I hated him. But he was determined to make me like him so I’d let him marry my mother, and he’d take me for ice cream and play Édith Piaf cassettes in the car. He’d tell me about what the love songs meant, and didn’t tell me about the songs that weren’t, and told me the love songs are how he felt about my mother. He was like, ‘Dara-’ my legal first name is Darareaksmey, it’s Khmer. My parents usually calls me ‘Dara.’ ‘Dara, if you let me, I’ll be good to your mother, and to you.’ I eventually got tired of him begging me to marry my mom so I let him. [laughs]

I asked if she ever regretted giving him her blessing.

“No, never. He’s my dad, and the two boys he brought into the marriage are my older brothers. I’m my Swiss grandparents’ only granddaughter, so they spoiled me even from Switzerland. No, we’re family.”

vii. Dolores O'Riordan

Interview date, 26th of January, 2018

Q: Let’s talk about something I just found out about you from your Twitter feed the other day.

A: Oh, no, should I tell my husband to cover his ears?

Q: No, it’s rated H for Husband. 

A: Excellent.

Q: You’re a huge fan of Dolores O’Riordan. Which, I wouldn’t have guessed. But on the day the tragic news of her passing broke, you Tweeted out a tribute to her including ffive meet and greet pictures of the two of you together- the first, correct me if I’m wrong, is from 1994?

A: Yes, yes I had actually seen then the year prior, when I was thirteen, but ‘94 was the first time I could afford a backstage package with my babysitting money. The other four are from 1999, 2002, 2010, and 2016. I loved The Cranberries, they were the first concert I dragged my husband to when we were dating.

Q: Safe to say you’ve been a hardcore fan for-

A: Two and a half decades, yeah. Yeah, The Cranberries are one of my all time favorites. Dolores O’Riordan’s voice was...everything.

Q: You’re a jazz artist, primarily. What’s consistently drawn you to The Cranberries?

A: [laughs] Other than being a teenager in the 90′s? I mean, her voice. She changed the game for what it meant to be a female vocalist in rock music. And up until my second year at NYU, I wasn’t sure where I was going with music. I loved rock, I loved jazz, I was into R&B, I loved bluegrass. I sang in several bands in high school and college, and The Cranberries were usually on the setlist. Her voice was amazing. I idolized her as a young vocalist, even if I ended up gravitating toward a different genre.

Q: You uploaded a cover of Dreams with Irish alt-rock singer and guitarist Padraig Chen, and Irish indie musician Siobhán Walsh as well. How did that collaboration come about?

A: Padraig’s been a friend of mine for a long time; we met through a mutual friend who is also an Asian-diaspora musician in the UK and Ireland and it was a match made in music heaven. We’ve collaborated a lot. Siobhán is a friend of Pat’s, and we all looked up to Dolores, so we just got together and made our little tribute to her.

viii. Badi Assad

“I was first introduced to bossa nova...probably during my sophomore year of college. Her voice is like butter, but frankly, that’s not the most interesting thing about her. She combines traditional jazz, bossa nova, other Latin music elements, and traditional Middle Eastern sounds. Anything that is a marriage of different tastes and cultures is interesting to me, and when its done as well as she does it? Forget it. She is one of the best jazz and jazz-adjacent guitarists out there today. I really admire her. I hope to perform with her one day, it’s genuinely a dream of mine.”

ix. Ros Serey Sothea

“One of my most unexpected musical influences...well, I don’t - I don’t think she’s so much unexpected, as any of my following outside of my small Cambodian or Khmer-American following won’t have ever heard of. Ros Serey Sothea is one of the most important singer in Khmer popular music history, she’s called the Golden Voice. My mother would sing her songs to me as a child, whichever of them she could remember. Under the Khmer Rogue, which my mother survived, something like 90% of Cambodia’s artists, dancers, musicians, and singers died or were executed. She was one of them. And my mother’s favorite singer. Most of the master recordings from her and other singers like Pen Ran and Sinn Sisamouth were destroyed by the Khmer Rogue, so whatever recordings we do have of Khmer rock and roll from that era are so, so vital to preserve and keep record of. Even though I am a jazz music educator, at my lower level, more generic classes where I have the wiggle room to do so, I talk about Khmer music of the 60s and early 70s for a class because I feel so strongly about the legacy of this music.”

“I went on a tangent,” Robinson said apologetically. “Where was I? Oh, Ros Serey Sothea. Right, so her voice was just-” Robinson put her arms out to her side and swayed to the imaginary music in her head. “-you could just kind groove like this to only her voice, nothing else needed. Her voice danced on top of the backing band. My mother managed to get her hands on some records, her siblings who remained in Cambodia sent some to us and her other siblings who were resettled, in the mid-eighties. So, I was six or seven before I heard my first Khmer song from a record player or a cassette instead of my mother’s voice, even though she’d been singing to me since I was born. These songs are still incredibly important to Cambodians today, and diaspora as well.”

I asked her if that had anything to do with the semi-viral success of her recent  cover of 70′s singer Sieng Vannthy’s ‘Console Me’. 

“Oh, for sure.” Robinson said.  "It’s the first time I professionally recorded a song in Khmer, a lot of people were surprised I spoke the language.”

x. Dolly Parton

“Okay, Dolly probably has less of an influence on my music than my persona, I’ll be honest. But her music means so much to me. At my wedding, during toasts, my mother mortified me by throwin’ in video footage of my first ever live performance from ‘89. Little nine-year-old Franny was on stage in little secondhand cowboy boots, this horribly 80s lookin’ frilly dress, my hair in little twin braids, singin’ and dancin’ to Why’d You Come In Here Lookin’ Like That. To this day, my husband still brings that up.”

Q: How do you mean Dolly Parton influenced your persona?

“Great question. So, our origins are similar. Kind of. She grew up poor one of twelve children, I grew up poor, one of three. My family eventually was lucky enough to make it out of the poverty I was born into but we were still always poor, you know? Like. I remember my mom rationing her food so I could eat enough until that stopped when I was about seven and my mom didn’t have to make a meal for herself last two meals.  And we’re both from the American South.”

“I grew up on Dolly. She’s the queen of our people [laughs] and I’m not even being facetious. We love her. Can’t get enough of her. And I include myself in that; Dolly Parton is an icon. She is unashamed of who she is and where she comes from, which really struck a chord with me. As the American-born daughter of a refugee, I was always caught between two cultures. Am I Cambodian, am I American? Which can I claim? My mother taught to me my Cambodian culture, our Vietnamese friends taught me about Vietnamese culture, but my white father was from Switzerland so I didn’t learn to be American until school. That’s when I started droppin’ my G’s, sayin’ y’all and ain’t, and asking my parents to make grits for breakfast when they’d never eaten them before in their immigrant lives. I wanted so badly to just be seen as American, to be seen as just a girl from Georgia. If it weren’t for my mother refusing to let me speak English to her at home I would have lost my Khmer. She spoke English just fine, but English was for Out There.”

“My mom taught me to be proudly Cambodian, but I’m not just Cambodian, right? I mean, I’m biracial, sure. But more importantly, I’m bi-cultural. I’m not just Cambodian, I’m American - Southern, if we wanna get real specific. Both of my cultures are vibrant, and beautiful, and are equally important to me. My mom taught me not to be ashamed to be the daughter of a refugee - she didn’t get into specifics until I was older, but she was always made it clear she had Been Through Some Shit and could handle anything. Even now, when I go through something difficult I just tell myself, ‘Mom survived genocide, you can do whatever this is.’ I knew how to be proudly Cambodian, I knew how to wear traditional dress to nice events, and wear Khmer wedding clothes for my wedding instead of a white dress. But I didn’t know how to embrace this other part of myself - because wasn’t raised in the default Middle America. Even my American side is a type of odd culture, isn’t it?

Dolly Parton taught me not to be ashamed of the other half of where I came from. She is unapologetic about bein’ who she is. She is proud of where she came from. And I want to be the Dolly Parton of my rural Georgia town. My identities as Cambodian and Georgian are more important to be than my identity as, like, an American person in general. I want people to think, ‘that’s a Georgia woman’ when they think of me, just like you look at Dolly and say ‘that’s a Appalachian girl’ before you just go ‘oh, she’s American.’