#like a song was even written about it

[babymorte]

but honestly. fuck em both this time.

The day of reckoning has arrived. Do not be silenced.

We got this.

[jadewritesficshere]

Thinking about Eddie Munson who was complaining to the rest of the band about his shoulders and neck hurting post show. One of them convinces him to go for a massage.

Eddie shows up day of and is told to strip to level of comfort and get under the sheets laying on his back, his masseuse will knock before coming in. Eddie has not an ounce of care or shame, strips completely naked. Scars and tattoos on full display. He climbs between the sheets and waits. After knocking and hearing a "come in", his masseuse enters and-

The most handsome man he's ever seen walks in. A bit of stubble on his defined jaw, soft pale lips Eddie wants to kiss, big brown eyes Eddie wants to get lost in, slutty little waist and an ass Eddie could-

He introduces himself as Steve. Verifies where Eddie had said his tension was on the form he hastily filled out. Then it starts.

And maybe, maybe, Eddie is a bit touch starved. He could have anyone he wants, but they don't want him just his fame. Pushes them all away. Only gets close to his band, but they all are busy and have their own people outside of work.

And Steve is just touching him. Rubbing smooth circles into his temple, down his cheekbones towards his jaw. Pressing on parts of Eddie's face he didn't even realize were tense. It's relaxing.

And Eddie regrets not leaving at least his boxers on to help hide that he's becoming hard. Kind of embarrassing, which makes his dick harder- which, that's a lot to unpack right now-

"Hey, relax man," Steve says, laying a gentle hand on his shoulder. Eddie can see Steve's eyes dart towards the obvious situation," It's natural. Happens to the best of us." "Does it happen to you?" Eddie blurts out. Eddie wants to shove his face in one of these soft plush pillows and scream, but Steve just snorts a laugh and shakes his head at him. Doesn't even respond as he continues the massage.

Eddie tries to hold back his groans as Steve turns his head to the side and rubs his neck into his shoulders. He can feel the tension leave his body slowly. Feel the knots in his muscles release.

Eddie can't, however, hold back the noise he makes when Steve grabs a hold of his hair and tugs it. Eddie's eyes pop open and he stares into Steve's face, who has started blushing. Steve just clears his throat and let's Eddie's hair go before continuing the massage.

[fromtheseventhhell]

I don't think anyone who believes Arya is focused on revenge has ever actually read her chapters, it's just been one long game of telephone where people repeat a take they heard so they can pretend they know what they're talking about

[vimbry]

it's sad how many reviews and stuff around tmbg seem to centre linnell as the sole dark and creepy writer of the band, never really crediting flansburgh too. do "hide away folk family," "dirt bike," "rabid child," "black ops," "cloisonné" mean nothing to them, smh.

[spookberry]

Okay back in my ff.net days, I read a dp fic where Sam had a cousin named Damien and he was really only introduced as a plot device and the plot of the fic was Sam was convinced that Danny was gay (despite the fact that he was dating her) and decided to use her cousin to prove it. He only shows up in one scene and was generally like a snotty rich guy she didnt get along with much.

What haunts me about this is like, I'd just assumed that was an oc... but what if it was actually a crossover fic and I just didnt realize it at the time? Like dpxdc at that time was very Dick Greyson centered in terms of the dc, and like people barely acknowledged the other robins even existing cuz most people were basing their knowledge off of like Teen Titans.

It was probs just a coincidence. I don't think it was meant to reference Damien Wayne.....however,, because I refuse to go looking to confirm anything, I'll just never know

[oidheadh-con-culainn]

your posts about English folk culture being treated as esoteric within England reminded me of a conversation I had with my dad relatively recently. I was complaining about how much I hated doing scottish country dancing in P.E every year in school and he, having grown up in London, mentioned that he never did any kind of folk dancing in school and it really surprised me.

Having an Irish family and growing up in Scotland I just assumed that folk culture would be a big part of national identity in England because it def is in Ireland and scotland. I mean I grew up in the city and I went to a Catholic school where a lot of pupils didn't come from Scottish backgrounds so I'm sure my experience would be different from somebody who grew up in a smaller town or a rural area, but my school still dragged out the girls who could sword dance every year on burns day y'know

Also now I'm wracking my brain trying to remember all the English folk songs I know and realising that it's comparatively few next to the hoard of Scottish, Irish and American folk songs I've accrued over the past 2 decades. That's definitely partially just due to being connected to the cultures those songs come from and that American folk songs are generally quite a bit younger than the scottish & Irish ones, but it's still not something I've ever really thought about

yeah absolutely. it's something england -- and probably urban england and london especially -- has really lost touch with. a lot of my friends and colleagues are irish, and when the topic of things like irish dance comes up, it's always like "oh yeah i did a bit of that as a kid, everyone did" or "yeah i learned the whistle, obviously, but i stopped when i was eight" -- but there'd be no obviously about that here (even when people learn the recorder at school, it's not often trad tunes they're learning to play!)

i don't know if this is to do with the proportion of the population that's urban vs rural in england compared to ireland or scotland (not sure where wales is at with this, they have a strong song tradition but i don't know much about the welsh equiv of trad dance music nor tbh enough about the song tradition to say anything meaningful on the topic), or if it's a "survival of trad culture to spite oppressive dominant cultures" thing so england lost it due to lack of need to defend it, or if it's predominantly a class issue (but that wouldn't wholly explain schools/the national curriculum, particularly at primary level)... i think there's a lot of factors at work

but it's something i do notice because i spend time in those irish-dominated spaces where the attitude towards trad music and dance is so different. but then those are also often irish language communities, so they're specifically irish communities that are interested in their cultural heritage, and maybe that's not representative of the whole country. still, it feels like even people who aren't interested and haven't carried that interest through to adulthood were exposed to it in childhood in a way that many english people weren't because our equivalent traditions have been relegated to this very niche, marginalised (and potentially very rural) status

[sionnaach]

there is light, but there's a tunnel to crawl through

-

I have spent over ten hours rendering this and I'm not fully happy but WHATEVER just take it I'm done

continuing my frightened rabbit agenda. caption is from the oil slick (which may or may not also make an appearance in the next chapter)

[dizzzyondreams]

can't believe gracie abrams wrote "i love you, im sorry" about john and paul

[ivalice-tifalucis]

With the release of From The Rehearsal Room - Tokyo to Ramin's youtube I finally, finally, continue and finish this side project I'm doing.

Initially, I used AI to mastered it because the first version I got from bilibili were not in good quality but I wasn't satisfied and I found the much better quality. But with Ramin uploaded it to youtube, I re did all the mastering just with audacity for both Part 1 and Part 2. The Part 2 is still from the better version I found from bilibili, by the way.

What you need to do is just download the file and put it on your music player. The metadata is all completed as if it's whole legit album. Enjoy, guys!!

And I'm being weird so all the lyrics that are put there are from my listening although I still use what I found online but I still listened and compared. They made few ad-libs and changes and I notice because for the songs that I wasn't familiar, the lyric that I found online and what they sang was slightly different. Perhaps they sing the newer version of the lyrics or mistakes? Even each Sheytoons songs they sing one in both parts differ from the ones I found online.

Another sample from my favorite:

Source and Credits Part 1 | Part 2 (Ramin's upload) Album cover Photos

Vocal & Guitar: Ramin Karimloo, Hadley Fraser Piano: Ryohei Mori

[bedforddanes75]

they should allow me full access to every stimulant so i can do them all at once then die

[optigami]

guys walk with me

[seventh-district]

Could've left me just the way you found me, but you came and put your wings around me. You went out of your way, to fix what you didn't break.

This song is so incredibly Sam & Darlin' coded and no one can tell me otherwise.

[lots of lyrical analysis below the cut] [there's also a short little fanfic blurb of them stargazing down there too (this post got really out of hand lmao)]

For those not fully caught up, note that the following commentary contains various spoilers for Sam and Darlin's stories.

Note: Unfortunately this song is gendered, using the word 'girl' several times. Which sucks a little bit for immersion purposes, not only for keeping Darlin' gender-neutral, but also because I see this song as a duet between them, and Darlin' obviously wouldn't be addressing Sam with the word 'girl' either. So! As with most songs on their playlist, we're just gonna mentally omit any gendered terms we come across.

Side note: Frustratingly, this is one of those songs that didn't really even need to gender the subject in the first place. No part of the story or message is lost without it. But alas, many songs are like that, and so the playlist-makers of the world shall continue to suffer. [/lh]

Anyways, preamble's over. It's lyric time now yay!

Sam's Part

I was a ten-year train wreck

Technically for Sam I suppose it was 13 years, but ten is close enough (and 'ten' admittedly flows a lot better in the rhythm of the song than 'thirteen' would.) Anyways, we're not here to split hairs, (I have to remind myself), we're just here to point out similarities.

In Sam's Dec. '22 HBW, he says "For the last 13 years or so I haven't had to care too much about how I look. Seemed a little redundant after turnin', considerin' I didn't wanna be around much'a anybody anyway."

I think he's mentioned or alluded to that roughly 13 year period of time more than once, but that's the one I remember best so it's the example I'm using. There's still about 4 Sam audios I've yet to listen to as of making this post, so if I'm missing some Key Lore I'll edit this later. But for now, I don't think Sam has given many specifics on exactly how bad things got during that time. Luckily, 'train wreck' is a pretty broad and subjective term, so it easily covers any degree to which he may have fallen apart during those years.

It also feels like a very 'him' way of quickly brushing over the details of his past/his hurt, as he seems to tend to do with Darlin', (not all the time ofc but it's still something I've noticed) putting his own hurt on the backburner to prioritize and attend to theirs. Even outside of his dynamic with them, I think as a healer, it's something he learned to do. And now he does it with everyone. Put on a brave face, compartmentalize things and unpack them later, etc. I could go on and on but there'll be time for that in other posts I'm sure. For now, lets get back to the song at hand.

With a last-call longneck

Due to personal reasons, I've yet to decide if I want to HC him as having used alcohol as a coping mechanism during that time. I don't recall him having mentioned alcohol much, if at all, (maybe one mention of whiskey that I don't have time to find right now) so I don't think it's necessarily canon that he did, but it's certainly possible. My personal preferences aside, I'll admit it makes for some good additional angst. (And- self-indulgently- it makes some other songs on my playlist for them more fitting.) So, for the sake of this song, let's imagine that he did.

I was searchin', I'd been hurt real bad

This one feels pretty self-explanatory given what Alexis did, (and, if you wanna get even angstier with it, whatever his family did earlier on in his life) so there isn't much commentary to add on my end.

I HC that in spite of 'not wanting to be around anybody', he- like Darlin- still had a tiny part of himself buried deep down that was, in a way, 'searching' for someone to find solace in. (No this isn't me projecting onto them both haha what are you talking about-)

Movin' on, gettin' sidetracked One step forward and five back

This is generally applicable enough that I don't feel the need to give too much of a specific example. Anyone who's recovered or is recovering from trauma knows this non-linear, back-and-forth struggle well already, and I'm sure he was no stranger to it.

If I were to give some examples though, I could point to Darlin's (and subsequently, Sam's) encounter with Alexis at the summit, or the shit that Quinn dredged up about Fredrick and threw at Sam in the interrogation room. Those are both more recent examples and I imagine these lines of the song to be coming from a place of him prior to meeting Darlin', but still, they're some instances where I'm sure he felt like the past was pulling him back in. I'm sure that there's been many throughout those 13 years that we were never witness to.

Not your fault, I was scared to fall

This line reminds me of their 'Cuddles and Confessions' audio. I don't think he ever explicitly said he was 'scared' per se, so afaik there's no specific line I can quote, but in that and every audio prior, he was obviously hesitant to admit, perhaps even to himself, that he was gradually falling for them. Even after the initial confession, there's certain limits of his (e.g. biting) that he carries for far longer, and some that I (and others) HC that he'll carry forever. So this line feels to me like him reassuring Darlin' that his reluctance isn't the fault of them, but his past.

Darlin's Part

You were the star in the pitch black Shine the way on the way back

We don't have any canon instances of them comparing Sam to a star, but I can see it being something they'd say (perhaps less poetically, but the sentiment would be there) one night while laying up on their roof watching the stars with him. Maybe they're dead-tired, talking nonsense with lidded eyes at the end of a long day, fighting sleep in favor of more time spent with him.

"What- what're you pointin' at Darlin'?"

Their hazy focus is trained on the brightest star visible in their line of sight, arm stretched out to the sky above them. "That really bright one, to the... to the left."

Sam does his best to follow their less-than-specific directions of 'to the left', their pointed finger doing little to help given the difference in perspective. Luckily, after all these years, he knows this stretch of night sky like the back of his hand, so it isn't hard to locate the brightest one. Ghosting his fingers up along their arm, he takes their hand in his and brings it back down to earth. "Okay, yeah, I see it now. What about it though?"

"That's you." They say, matter-of-factly.

"That's me?" He questions, humor in his tone.

"Mhm." They nod with finality, blinking slow.

Sam considers the odd statement for a moment before gently correcting them. "I'm uh, I'm pretty sure that's Sirius, actually."

They scoff. "I am being serious."

Sam stifles a laugh into their hair. "No- no I mean- like... what's another name for it... Oh! It's also called the Dog Star."

"C'mon Sam, at least call it the Wolf Star if you're trying to turn this around on me..."

He shakes his head and readies himself to explain further, but they cut him off before he can start. "But no- no, this one isn't about me. That's you."

He decides to play along, finding something endearing in their overtired nonsense. "Okay... then would'ja be so kind as to explain to this confused old man just how, or why that star is me?"

Their frown is audible in their voice as they latch onto the wrong part of his sentence. "You're not old, Sam. ...Do I need to tell Asher to kick the jokes down a notch?"

He smiles at their over-protectivity. "There'll be no need for that, now. Was just a joke, darlin', I promise."

They huff, but thankfully shift focus back to the prior topic. "It's... I dunno. It's just you, Sam. It's... bright. Light. Something warm, out there in the cold dark. Standing out amongst all the rest. Calling to me, stealing my attention. I... I didn't come out here looking for it, but there it is. ...There you were. In the dark. The only bright thing I'd seen in... fuck, in years. Years of chasing fleeting warmth, tripping over myself in the pitch black, falling into... places 'n people I shouldn't have. You were the light in that darkness. Even there, surrounded by the ghost of him. You outshone it. Your warmth didn't hurt. I didn't have to squint when I looked at you. You weren't the blinding sun. You were the brightest star I'd ever seen. You guided me back home."

In the back of their mind, they recall something they once heard, something about light, and time, and distance. Space. Something about... how you can see a star that's already burnt out, because it's light hasn't reached earth yet. The ghost of a star that's already died. Only still perceptible thanks to time, and distance.

They remember Sam's words, once whispered to them on this very roof.

"Whatever your choice is... I'm not gonna live forever. I made that decision a long time ago."

They think about dead stars.

They think about time.

"...-lin'? Darlin'?" Sam's calloused hand slides up their forearm, pulling them out of their thoughts. "There you are. Think I lost ya' for a minute there... you good?"

They look up at Sam, concern creasing his features, shadows cast across his face from the light of the dying stars above him.

They reach out, pulling him down into them. Burying their face into his collar, Sam's concern grows when he feels it saturate with tears. A human might struggle to hear their words, muffled against the thick fabric, but his hearing catches it just fine.

"Don't burn out too quick. Please. I still need you here. I don't- I don't wanna be left in the dark again. Please, please Sam. Don't leave me here. I'm not selfish enough to ask you for forever, but please. Not yet. Not yet. Not yet."

.......Whoopsies! Really, genuinely didn't mean to improv an entire scene there, good god. Also didn't mean to swerve hard into angst at the end but uh. that's what came out! so I'm rolling with it lmao. Aaanyways let's move on, it's getting late and this is a song analysis post, not a fic.

Out of nowhere, answered all my prayers

'Out of nowhere' reminds me of Sam's words from the same HBW video I referenced earlier. "You came into my life like a damn wreckin' ball. There was no preparing for that, clothing or otherwise." While those were Sam's words, not Darlin's, I still feel like they feel similarly to how suddenly Sam came into their life as well. (Not in a bad way, mind you!)

[the significance of 'answered all my prayers' edges into my own personal more headcanon-y/personal/OC-ified Darlin' territory, so we can just gloss over this one for the sake of at least attempting to keep this more universally applicable]

Picked up the towel that I threw in Took in a heart that was ruined

Again, largely self-explanatory I feel. (*proceeds to explain anyways*) I imagine that Darlin' was at the point of throwing in the towel, hellbent on a solo-mission to find Quinn regardless of the danger it posed to them. I doubt they were looking toward the future anymore, (to reference Sam,) fully willing to throw themself at their problems until they really did break.

The specific use of 'ruined' hits hard here, because after everything they went through with Quinn, and especially after he recounted it all to Sam in that interrogation room, I imagine that they really, truly did feel ruined.

Showed me the past ain't a tattoo Loved me even when you didn't have to

These lines in particular make me sick with emotion every time I hear this song, because I feel like they hit the nail on the head for how Darlin' feels.

I'll be here citing various quotes all night that I feel showcase that sentiment, but we don't have time for that! So instead I'm just pointing to the entirety of 'Quinn's Aftermath' video, and leaving you with this single quote from it.

"Everything that he said reflects nothin' on you, and everything on him."

Equally Applicable Lines

And I don't know why Why you saw something in me, baby But you saw right through All the pain, and you came and saved me Yeah, I know you didn't leave me lonely Weren't the one that put the heartbreak on me Picked up the pieces It wasn't the mess that you made Could've left me just the way you found me But you came and put your wings around me You went out of your way To fix what you didn't break

Again, I think these lines are all pretty self-explanatory, and are just as accurate coming from either one of them. To me, at least, their entire dynamic is that they saved each other, in their own ways.

(But I will admit, the final verses about 'going out of your way to fix what you didn't break' are definitely conjuring up memories of Sam in the early days, literally going out of his way to visit and heal Darlin' after their fight with the two vamps. In general, his continued/repeated healing of them after they once again hurt themselves is the very literal definition of fixing what he didn't break.

But! While we may have more blatant examples of Sam being 'the fixer' so to speak, I think he'd argue that Darlin' has done plenty fixing of their own. Physical wounds aren't the only things that need healing, after all.)

-------

[shameless self-promo of my Sam & Darlin' playlist for those few of u interested enough to make it to the very end of this wall of text. if u liked this then u might like some of the other songs on there soooo maybe go check it out and maybe perhaps give it a follow so i can get a little serotonin boost or dopamine or whatever the chemical is that's released when Number Go Up. ...okay that's it i hope u enjoyed my fixation-induced ramblings! thank u and goodnight]

[swinging-stars-from-satellites]

I don't know how to write this without it being horribly obvious who I'm writing about

[chitsangenthusiast]

for awhile now i've been craving to do a fic/scene to this song but no earthly clue how to write it where it adequately matches the energy of the song and isn't a song fic

so imagine with me: marine biologist sokka, famous rocker zuko, and a night of karaoke

——

naturally, their entire thing starts with a concert.

zuko's playing in his home city, and all sokka needs to do is take an hour train in to see one of his favorite bands. easy enough, he's made the same commute countless times, and absolutely worth it, even if it means he's going alone when no one else's schedules line up to be able to tag along.

except the forecasted snow hits harder than it was supposed to during the concert, putting any outbound trains out of commission as well as any hopes for an uber willing to drive him the hour back to home. it's bad enough that he wouldn't risk asking his friends to come out to him, especially not katara, who was already on call tonight and whose probability of going into work just sky rocketed.

which means: a hotel. which means: he's pissed, and if he's going to be unexpectedly forced to spend the money to stay a night in the city then he's at least going to go waste more money and get blasted at a local dive bar he knows.

the older couple sitting next to him who he'd been commiserating with get up to brave the weather at the exact moment zuko walks in.

(the next morning, sokka wakes up to the distant sounds of zuko saying he got late check-out for him, then again to an empty room and a phone number scrawled onto the hotel note pad laying next to his dead phone.)

//fast forward, where zuko is trying to enjoy lunch with his friends in the city, except the paparazzi are relentless. but fate had granted it to be a beautiful day, with the bay sparkling invitingly, and one of the best seafood places happens to be on the route to sokka's favorite lunch spot.

they make eye contact across the street, and zuko pursues.

//fast forward, through several more nights spent together, several more paparazzi issues, a classic airport scene, the kiss that finally seals the deal.

//linger on the moment when zuko sneaks into a conference sokka is attending. the one with an importance that had been alluded to for the past month, where sokka even refused to schedule anything together in the two weeks leading up to it, the one where he laughed at the idea of zuko attending it as a show of support, but also hadn't explicitly stated he didn't want him to find a way to get in.

so zuko does, and he finds out that what sokka had vaguely described as a podium presentation was actually the keynote speech, given to a packed auditorium.

zuko knew sokka was smart, but he didn't know he was 'on the fast track to being renowned in his field' smart.

(it's hot, all that easy intelligence and confidence as he watches sokka just totally in his element. he jokes to mai later that he can't believe he fell in love to a total nerd.)

//linger on how, once he's said it out loud, the thought never leaves his mind.

//fast forward to (finally) karaoke night. sokka can sing, but zuko's never succeeded in getting him to sing along to one of his songs, despite sokka's unabashed proclamations of how big of a fan he is. until tonight (thank you katara and ty lee), and—oh.

oh.

zuko had encouraged him by saying he'd provide back up vocals (it's fun to watch sokka squirm at the idea of singing along with the lead singer of the song he's about to perform), and sokka declared he's going to face the tv the entire time to avoid seeing ty lee's phone bc of course she's recording to some social media live—

he forgets about the camera halfway through, forgets their friends are even in the room despite their cheering, because he loves this song, loves the theatrics, and he'll be damned if he doesn't do it full justice like he does every time he sings it. especially when he whips around, caught up in the vocals and the dramatic sway of his performance, and catches sight of zuko on the couch, microphone fully forgotten in his lap as he stares wide-eyed and open-mouthed at him.

sokka is hitting every note, every emotion that the song demands. he's doing perfect, he is perfect, and when he sidles close enough zuko can't help but cling to his legs, desperate and breathless as he stares up at him, utterly enraptured. he yanks on sokka's belt loops, tries to pull him down, an unconscious action fueled more by his pounding heart than any desire to end the performance—the last thing he wants is to end this—but sokka doesn't indulge him until the very end, during the small space of a breath right before the last few lines.

"together bound in madness," he sings, shakier then zuko performs it, sweeter then he could ever make it, then bends down to kiss zuko soundly, putting as much of his everything into this kiss as he is singing zuko's song, and only sokka is able to hear the rattled gasp zuko releases when he slips his hand into his hair to cradle the back of his head.

when he pops back up to do the big finish, his hand remains nestled in zuko's hair, grounding him. he savors both the iron grip on his hips and how zuko's head lays boneless against his palm.

the last ringing note, the end of the song, and sokka barely gets in a steadying breath before zuko is frantically tugging him back down to his mouth.

in the background, simultaneously hazy and so, so clear, he hears mai: "i can't believe we just watched zuko fall in love."

and yeah. yes.

he absolutely just did.

[bluerasbunny]

this song is soooo c!dream it is insane

like it is just him. i need you all to see my vision here i need everyone to hear my point. hear me out guys hear me out.

i am going to ramble so aggressively under the cut but hear me out here stay with me. this may not be coherent and that was because it was written in a haze. no idea what i wrote just hear me out

'The looking glass, so shiny and new How quickly the glamour fades'

its like the SMP. a shiny and new existance, something new he crafted for his friends and yet the glamour fades, it all falls apart and it dissolves and it crumbles in his hands.

'You made a deal, and now it seems you have to offer up But will it ever be enough? (Raise it up, raise it up) It's not enough (Raise it up, raise it up)'

do i even need to explain. the revival book. the deal for it, the crushing realization that reality is not what he thought, that infinity is possible and eternity is a truth, and this is not enough for him. he needs eternity. he needs forever, it will never be enough. he offers up his sanity, his grasp on reality, in exchange for a promise of eternity. hear me out-

'Here I am, a rabbit-hearted girl Frozen in the headlights It seems I've made the final sacrifice'

the rabbit dream agenda. this is just the rabbit dream agenda but also he is frozen in the headlights of the role he has to take on. he has to be the villain, he has to make the final sacrifice and give himself up to the box he's being placed in; because there is no other option. a trapped rabbit cannot flee. a trapped rabbit can only fawn and freeze and fight (reminds you of the prison, doesn't it?).

'This is a gift, it comes with a price Who is the lamb and who is the knife? Midas is king and he holds me so tight And turns me to gold in the sunlight'

oh GOD there is so much i can say. there is so much this post is going to be years long there is so much. the revival book is a gift. it is the gift, and it comes with a price. the lamb and the knife, discduo, vaultduo, however you want to see it; who is the lamb and who is the knife will change and rotate. tommy is the lamb in exile, dream the knife. dream is the lamb in the vault, sam the knife. dream is the lamb in the finale, tommy the knife. the roles will change, the gift always comes with a price. companionship is a gift that comes with a cost. hear me out stay with me here

'I must become a lion-hearted girl Ready for a fight Before I make the final sacrifice'

guys its the fucking disc finale its the. its just the disc finale that's the disc finale thats th. he has to shed his heart, he has to make the final sacrifice, he has to be ready for a fight because he needs to protect, he needs to defend and he needs to stand for his ally. he needs to mold himself from a rabbit to a lion, prey disguised as predator, a rabbit in lions clothing. the final sacrifice is just a price he has to pay. the gift of companionship will always come with a cost, and dream is more than ready to walk into it.

'And in the spring I shed my skin And it blows away with the changing wind The waters turn from blue to red As towards the sky I offer it'

OOHHHH god so much.s o much i can say theres so much there is so much. he sheds his attatchments like a snake shedding its skin, letting them dissipate with the changing winds- and he sheds himself, too. he steps out of his skin and changes the winds, walks a new path not of choice but of necessity, because this is all he can do. what else can he do, when faced with the reality of his situation, of his existance, flawed and cursed with mortality that he can cure? what else can he do, when faced with the reality of his server, his friends, lost to conflict, lost to disagreements, and he can fix it. he can fix it, they just have to trust him, they just have to hate him. he has to be a viper, a snake in the grass, he has to be a lion because he cannot be a rabbit. he cannot be prey, not anymore. c!dream is prey acting as a predator. he is a rabbit cornered and biting in retalliaton read as violence. he is a snake hissing and biting, desperate to be left alone and to be heard. he masquerades as a lion, a dragon, a beast of unknown proportion; but he is an animal that burrows and clings, grapples with the past and craves companionship and distance at the same time. the waters run from blue to red as he offers revival, as he offers himself.

this is a gift. it comes with a price.

okay im done this was probably so incoherent but i am in a c!dream and neurodivergence fuelled haze right now and i need you guys to hear my insanity /hj

no i will not be elaborating or explaining any of this

[doctorwhoisadhd]

hmm thinking about the idea of love songs. i think the idea of what a love song is that we have in our culture is inherently a little bit flawed because we have the idea that any song written about romantic feelings is a love song and im thinking thats not exactly true because there is a difference between "romance" and "love". what i'm saying is not that love is a broader category and applies to things that are not romantic in nature. this is in fact true, but it's not what makes the important distinction here. the true distinction between "romance" and "love" is that romance is a societally defined type of interest in another person, whereas love is, essentially, a promise that you make when you build a relationship.

as such, what i call "love" here might be better defined as "care", as that implies more time and effort, but that's a different suitcase to unpack and largely unimportant to my point here, which is more about the societal conventions of what we call love songs. the point is, relationships can be built with other people, yes, but also animals, places, organizations, ideas, so on and so on, whereas romance requires another person, hence the difference between the ideas of "romance" and "love".

with that in mind, there are two types of songs we in western, english speaking, society call "love songs":

1) songs that are about a person's romantic interest in someone that is either definitively known to be unrequited (existing monogamous relationship, sexuality that doesn't align, etc) or simply not requited (aka romantic interest being unknown); and

2) songs about an existing relationship (keeping in mind my points about relationships not just being with people, but also places, things, etcetera) as is.

(some examples of the latter category: mountaintop by relient k, which defines the relationship in question as non-romantic; or i miss my mum by cavetown, which is - as the title implies - a song about the singer missing their mother.)

now, the thing that makes distinguishing these two difficult is the fact that songs about an existing relationship CAN be about wanting certain aspects of that relationship to change. in these cases, determining that a song is one or the other will hinge either on a) authorial intent or b) whether the song is more about what the singer wants (thereby implying #1) or the lack thereof in that relationship (which would imply #2).

to get back to the subject at hand: the term "love song", as we think of it, is an umbrella term that include both of these two categories, and i think that perhaps it is reductive to do so. with that in mind, i think perhaps it would be more appropriate for "love song" to mean only the latter, whereas the former is a category of its own. WHICH is not to say that the two can't overlap — just that if a song is about a person with whom the singer has no relationship, it cannot be considered a love song due to the fact that it is a song about infatuation, not love.

(another interesting wrinkle this provides is the fact that a song might start out in the first category and, as the writer develops a relationship with a person, might move into the second category as they write more.)