#mots 7 album

[seokiescans]

[SCANS] BTS 4th Full-Length Album 'Map of the Soul: 7' - Version 1 Photobook (SUGA)

[deluxe-dumpling]

Black Swan 🖤🦢

[cosmicdreamgrl]

something i thought about after giffing the my time performance yesterday? the way everyone treats it like a thirst trap (ya'll think i don't see your tags when you reblog the set but i do) plays into the exact commentary it's trying to convey, and that's really sad tbh

[bts-hyperfixation]

For the album game: Map of the Soul: 7

The best song on the album - Either Boy With Luv or Make It Right and I will not be choosing between my children

My favourite song on the album - Intro: Persona, something about the lyrics Tell me all your names baby. Do you wanna die? gets me on a spiritual level

My least favourite song on the album - obviously it's ON ft Sia but ignoring ON ft Sia as we all do, I think I listen to Jamais Vu the least? Not that it's a bad song, it's just not a high-frequency listen

The most overrated song on the album - It's Black Swan, I'm sorry but it is. The dance sequence is incredible but I feel like you need the fade between fake love to make it truly excel (On this album that was such a hard choice, I'm SCRAPING THE BARREL)

Most underrated - Outo: EGO Hobi's solo songs have always hit hard, but this one is another level of carefree fun man.

The banger of all bangers - Dionysus, if I'm getting lit then this is on

Rate from 0-10: 9/10

This is the album that was released like two months before I became ARMY it is very special to me and you would have to pry it from my cold dead hands honestly. The first I ever fully paid attention to the boys (I knew they existed before and yes I do hate myself for not deep-diving thanks for asking) was a Boy With Luv Performance on M COUNTDOWN

SEND ME AN ALBUM TO RATE/or just general thoughts on BTS

Doesn't have to be a BTS album

[btsjk-biased]

I was tagged by some amazing creators: @raplinenthusiasts / @cosmicdreamgrl / @jkvjimin / @cordiallyfuturedwight / @yooboobies / @taehyunghobi

Thank you so much for tagging me! I'm so honored! 💜

I created my blog this May. I never would have thought that this little blog could get so much attention. There are so many lovely people here, who are so nice to me. I’m thankful for that. I may not be very creative and productive, but I love making gifs. I feel really out of place here sometimes, but I still enjoy running my blog and decorating it prettily. I hope that the upcoming year will be better, especially since BTS are coming back. And I want to continue making gifs and updating my blog.

For 2024 wrapped I picked my favorite gifsets that I have made from each month since I started this blog.

May

Handsome men in the forest (photoshoots with nature are my favorite)

‘Love Yourself: Speak Yourself’ solo stages

Jung Kook ‘Seven’ interview for Spotify

Glowing

‘Seven’ Campaign Film

Flowers in his hair

Lovely prince

GOLDEN relax room (Spotify)

June

Dreamy (one of favorite concepts from albums)

JK for anan magazine

OUR PRECIOUS 7: Happy BTS 11th Anniversary! (2024.06.13) (this set is really important to me, I tried to match bts solo works by colors)

Jung Kook: BTS Summer Packages (these releses are one of my favorites)

Jung Kook ‘Seven’ x Inkigayo

Jung Kook for Vogue Korea: ‘Modern Hip Hop’

Jung Kook for Vogue Korea: ‘All That Jazz’

Jung Kook for Vogue Korea: ‘1970s Punk’

Jung Kook for Vogue Korea: ‘British Rock in the 60s’ (yeah! I had to make a few separate sets for vogue korea, because look at him! I think british rock set is my favorite out of them)

That flowery shirt on him (coloring this video was challenging to me)

MOTS ON:E concept photo book x MY TIME

JK for MOTS ON:E concept photo book

‘For Youth’: M Countdown (just tried to gently unwhitewash this video, and it turned out to be one of my favorite sets of all time, I really like this outfit on him)

July

I’ll be… lovin’ you right!

Insanely handsome

Are You Sure?! Launch Trailer (tried to combine edits with gifs for the first time)

JK to ARMY: After I met you, I could become an incredible person. It’s all thanks to you. I’m always thankful and I love you. (important words to me, also I tried to get rid of green filter on the video here, it was really hard to do)

7 princes

Jimin ‘Who’

‘Airplane pt.2’: Summer ver.

Jung Kook after Yoongi’s concert

The cutest boxer

August

But I still want you (an emotional song that brings tears to my eyes)

Enjoying some wine

Jung Kook and J-Hope in Love Yourself concert VCR (I love this vcr so much!)

Morning coffee

Relaxing on the yacht

Fun time in the pool

Cutie on the go-kart

Mood

In the waters of Jeju

He is so cute!

September

Happy Birthday, Jung Kook! (I worked on this one the longest and I like it so much, I decided to start making birthday posts in this style, they all are special to me)

Soft Yoongi (chose completely different videos from different years and tried to match them all in one set)

Jung Kook loves snow

Happy Birthday, Namjoon!

Peaceful time on the yacht

Jung Kook in ‘Are You Sure?!’ (it took me so long to make this one, I wanted to have a complication with some of my favorite moments with JK from every episode of the show)

October

Delicate spring look

Happy Birthday, Jimin!

Mint choco

Jin ‘I’ll Be There’ (I’m so happy that he is back! this song means a lot to me!)

Chilly

November

Tender-hearted cutie (I always cry watching this clip, he is too precious)

Jin ‘Happy’

Jin ‘Running Wild’

V ‘Winter Ahead’

December

Happy Birthday, Seokjin!

Checking reactions after performing at TSX, Times Square

The finest Calvin Klein global ambassador

Yoongi (Love Yourself: Tear)

Soft and delicate

Tagging @jung-koook / @heybaetae / @kimtaegis (only if you want to, no pressure) and anyone who wants to do it too!

[jmdbjk]

Episode 1: The Beginning

Beyond the Star, produced by HYBE Media Studio

Opens with a flashback of Namjoon explaining their belief in the concept of how any art, any genre of art, can change the world.

This opening footage was recorded during a press conference for CONNECT, BTS.

A good explanation of what CONNECT, BTS appeared on DAZED, January 14, 2020.

It was a huge wide-ranging global art project to link visual art to music art. This is one of the installations in New York City:

Then we see scenes of them arriving at Incheon Airport in February 2020.

In February 2020, they were about to embark on the MOTS world tour. They were really pushing into the western market, especially the United States. They were headed to the States to start promoting on the talk show circuit and for magazine interviews. Western media was all over BTS. The public relations hype for their tour was huge. It was going to be HUGE. BTS was HUGE. At this point in the documentary we see english speaking fans trying to buy tickets for this tour.

This was the beginning of the year that would be their magnum opus. 

Leading the docu-series with this reminds everyone what was supposed to happen and the impact they hoped to make here in the United States, to ride the wave of their success as far as they could go until they had to stop. Keep in mind they did not have any full English songs yet. 

As far as they knew, this would be the end as we knew it, the end of Chapter 1. We all know what was to follow the MOTS tour even though no one wanted to speak about it: Enlistment. Jin would enlist December 2020 even though rumblings of a potential military exemption were beginning to buzz.

This period of time and after was when MANY MORE became fans of BTS. MOTS:7 was a record-breaking album. They were riding HIGH.

The scene of them being told the MOTS tour was cancelled is gut-wrenching. It makes me think of the content they filmed that day (March 8, 2020 a music show?)

and I wonder at what point during the day they were told. Jimin and Hobi did a Vlive:

There are scenes of MOTS cancellation day in 2020 Memories, but not THIS scene of them being told the tour was cancelled. 

Then we jump forward to scenes of the members on the beach in LA (end of 2021) recalling their feelings and thoughts about the previous (almost) two years (the pandemic), reflecting on themselves. They had to overcome frustration, and change and adapt to reality. 

Some of them were able to do that easier than the others. We know Jimin had a rough time, and it was challenging for Jin, Tae and Yoongi. Namjoon and Hobi worked on music. Yoongi wondered what was the point of even releasing music at all.

Jungkook says even though they were sad, something good came of it, they realized how much singing and dancing – performing – meant to them and how it superseded everything else.

Jimin says he and Namjoon spoke about how they needed to organize their thoughts over the years pertaining to the reasons they are doing what they do, how they feel and what they want to do, perhaps in order to help them sort through the pandemic aftermath and to serve as sort of an outline of how to proceed... it is sort of how the rest of this documentary series unfolds: the past, the present, the future.

Namjoon begins sharing thoughts of how he felt in the beginning and we flash back to 2013 debut. And the rest say their thoughts about how they began. This is a good way for newer fans to understand how they began: hearing their words as mature adults reminiscing about their roots and their start. 

We’ve heard the general story of how they began with RM first and the rap line was assembled, then the vocal line was added with Jimin being the last to make the team. Bang PD recalls how impressed he was with Namjoon and knew this was someone special. 

I’m positive there were opinions, decisions and choices made that we will never know because we weren’t there witnessing the moments. Whatever those decisions were, some probably forgotten in time or only known by a few involved in the process, however it happened, these seven individuals were settled upon and the team was created. The rest is history. 

No one had an inkling of how much they would change the idol and kpop industry from what they then knew it to be.

Preparing for debut: one of the things Jungkook says is they expected hardships back then but looking back now, if he tried to do that now, he couldn’t do it, but back then, it was a given. Yoongi said they spent every moment in the practice room when they weren’t eating or sleeping… up all night practicing, so much stress and pressure amongst seven young passionate young men trying to make a good debut.…you can see the stress and fatigue on their faces.

Through all of that they reveal how hard they worked and how deep their commitment is. They felt it was important to convey this deep personal connection to each other they developed and how strong their bond is.

The events might be repetitive for people who’ve been Army since the beginning or since before 2020, but for the benefit of newer fans, presenting their story like this in the words of each member is important. 

The author of the book Beyond the Story, Myung Seok Kang, explains how much of an underdog BTS was in the beginning. They were from a small, barely making it company and had the audacity to win Best New Artist in 2013 at the Melon Music Awards. 

Hearing them state how they felt during that debut year, their young minds trying to process what was happening, thrust into society at such a young age, seeing their friends still being students, they had to reconcile within themselves that their lives were so different.

Jungkook (our now giant global pop star) said he remembers how small he felt hearing another really good singer in his in-ears as they prepared for a performance.

Watching them struggle to come up with the melody for Danger, working on it as a team from Jungkook, to Namjoon, to Yoongi, note by note… at such a young age and then not experiencing the expected success or gains after they had done that with the previous song… they thought this would be the end for them. All they wanted was to win first place at a music show…. CAN YOU IMAGINE?? The team was wavering.

Newer fans need to be aware of this struggle.

All of this led to them writing the album, The Most Beautiful Moment in Life, the real start of their rise to stardom. They finally bagged that 1st place music show win with I Need U. The win gave them the confidence they needed to push forward and they kept winning with each song after that. Seeing their confidence grow after each win is exhilarating.

This album is the turning point in their career, the launch pad, so-to-speak.

And the song, Yet to Come (The Most Beautiful Moment in Life) is the thread connecting Chapter 1 to Chapter 2 and beyond. We will have a Most Beautiful Moment in Life 10th Anniversary in 2025. This docu-series is the bridge between what was then, now and what is … yet to come.

Review of Episode 2 next…

[aricastmblr]

Jung Kook_GOLDEN Sporify 2023 11 canciones

Jimin_FACE Spotify 2023 6 cancones

¡'GOLDEN' de JUNGKOOK y 'FACE' de JIMIN se encuentran entre los álbumes de K-pop más reproducidos de Spotify de todos los tiempos! 🥳

10- JUNGKOOK — GOLDEN (2.614B)

14- JIMIN — FACE (1.711B)

1-BTS - Proof (14.042B)

2-BTS - Love Yourself: Answer (7.298B)

3-BTS - Map of the Soul: 7 (5.524B)

4-BTS - Be (3.537B)

6-BTS - Love Yourself: Tear (3.173B)

7-BTS - You Never Walk Alone (3.109B)

8-BTS -HYYH Young Forever (3.107B)

9-BTS - MOTS: Persona (2.698B)

10-Jungkook - Golden (2.614B)

11-BTS - Love Yourself: Her (2.361B)

13-BTS - Wings (2.221B)

14-Jimin - Face (1.711B)

[beautifulpersonpeach]

I’m relatively new to the fandom and have really enjoyed a lot of your posts… I have a question that I couldn’t quickly find an answer to in searching through your tags…

What’s the deal with streaming? Like, I listen to BTS. I enjoy them a lot, I listen to a pretty even mix of all their albums though I probably like MOTS:7 era the best). Some days I listen to them like all day lol (if I’m cleaning the house or something) and I listen to them a lot in the car or while working. I’ve enjoyed some solo releases more than others so I naturally streamed those more. but like the more I start following accounts on here and on army twt the more confused I get about the intense pressure to stream constantly? I’ve heard that people play certain songs (or albums I guess?) on repeat on mute and/or have dedicated streaming devices they keep going all the time.

Not to be negative or rude at all but like…what? Maybe because I’m new to KPop and have never followed it until BTS but that just sounds so weird and… idk the word, maybe disingenuous? Again I do not mean this as an attack I am just genuinely confused. Wouldn’t BTS themselves want us only to listen if we were actually enjoying it and not out of some competitive attempt to get better ratings? It feels so odd to me, like that is not how I would behave with any other artist that I love. I would only ever listen to them out of a genuine desire to hear their music. But there seems to be so much weird shaming out there for when/if songs are not streamed heavily enough? And for any other artist I would just write that off as a difference in taste among the fandom, but here it’s treated like a personal wrong against the artist…?

But as I say that I’m sure there’s more to it… I have definitely seen people talking about payola or chart manipulation so idk. If I should google this instead, just tell me to, I just have already tried and didn’t find that much clarity, just a bunch of people on quora and Reddit talking about certain songs not getting streamed enough.

Anyways this is super long, sorry if it annoys you. Just thought you seemed knowledgeable and levelheaded enough to ask? Love your posts. All the best.

*

Ask 2:

Okay wait I’m the anon that just asked about streaming and I went and re-read your post about “inorganic success” — I had read it before but somehow I didn’t put together that the 24-7 streaming is an attempt to combat payola or like go up against it I guess. Okay. That makes more sense. I still feel like there’s a weird focus on charting but I guess if it’s about getting more concert venues and more radio play it makes sense.

You can ignore my last ask then I’m sorry if I’m being dense or something lol.

***

You haven’t at all asked a stupid question. Your confusion is easily explained by you being new to k-pop, and everyone new to this madhouse asks this question eventually. I’ve talked about this before, but can’t find the post for the life of me so I’ll briefly go over it again.

First, you need to understand what k-pop is. K-pop is a system that gamifies music consumption. Competition is something you’ll see in the music industry regardless. Western stans such as Arianators, Barbz, and the Beyhive have organized around streaming goals and efforts for at least 10 years now. But there’s no other music industry that explicitly emphasizes competition among groups and fans, the way the k-pop industry does.

Competition is baked into its DNA:

From the idol training system under agencies with supposed specialities that are treated like warring houses a la Game of Thrones (a mentality created by the Big 3),

to the music shows where fans are encouraged to vote daily and weekly for the best artists and where wins are tied to streaming numbers,

to the highly publicized year-end award show criteria that outline key metrics for wins in streams, sales, and fan votes.

Basically, the k-pop industry creates a clear hierarchy of talent and acclaim for artists in their system, directly stokes fan participation in buying into that hierarchy, and the numbers are the easiest litmus test/short cut to settle the question of who is at the top.

And all of this is served with a cocktail of parasocial delusion and entitlement that has (more easily manipulated) fans thinking their perceived investment into their faves, earns them the right to micromanage their fave idols’ careers. All of this benefits the labels and industry because they��d rather have you more engaged (even if toxically), than not.

Everybody here buys into this system despite what they’ll tell you, some just manage to keep their wits and perspective to prevent getting sucked in, while others fall headfirst into it.

And so, like I said in my ‘inorganic success’ post you referenced, the focus on streaming is part of fans really just playing the game. Excess is something you’ll see on the charts in any case, whether in k-pop or in the West.

The difference with BTS and ARMYs however, is in the why of how the fandom streams. Essentially, you’re more likely to find people just as passionate about the music itself as they are about giving that music its due in hard numbers and consequently, recognition. You’re more likely to find fans like this in the ARMY fandom, than any other, in my opinion. Some people forget that the og ARMYs were k-pop fans first. They were fans who intimately understood how this system worked, they understood why the Big3 maintained dominance in k-pop for literal decades, and they saw the worth in the music BTS made, loved it enough to invest time into the playing the game better than anyone else at the time - pushing BTS from nugu status to where they are now, competing well outside the realm of the k-pop system but in a space that remains complex and highly competitive.

Another aspect that differentiates how ARMYs stream vs other k-pop fandoms, is that due to the sheer size of the fandom in absolute numbers, the average ARMY typically streams less than a typical k-pop stan. Basically, in other fandoms the typical stan has to stream more per person to have even a fraction of the gains seen in the ARMY fandom. ARMYs also aren’t doing anything other fandoms aren’t doing, it’s just that so far, they’re more efficient at it and don’t have to worry too much because BTS makes music that keeps attracting more fans, adding to the size of the fandom. They’ve also generally stayed away from more illegal methods given the intense scrutiny and animosity the fandom has faced for being part of the reason BTS upended the ordained hierarchy in this space. It sounds silly but it’s true.

But that’s only one side of the story. The other side is that in the fandom, everybody here really just does what they want. And many people genuinely enjoy listening to BTS that much and that intensely. Going by personal experience in what I observed before I became ARMY, I noticed that many ARMYs are Type A and organized - people who like and study data. The first time in my life that I saw someone create a spreadsheet for fan theories on a k-pop MV, was when an ARMY made one for I NEED U MV. I’m not sure what it is about BTS, but from the beginning they’ve attracted the sort of fans who genuinely enjoy listening to music often, people who enjoy creating and playing around with playlists, and people who track and measure applicable data. So your assumption that the people who stream like this are people who don’t actually enjoy the music, is wrong. In my opinion. For a lot of ARMYs, streaming and appreciating the music isn’t mutually exclusive.

Personally, I listen to music a lot. And I’ve always been that way, so when I became ARMY, I just sort of naturally fit into that culture. The sort of music BTS makes is a joy to listen to, I play their stuff literally everyday and it feels like the most normal thing in the world for me to sleep to Serendipity sometimes (in my sleep playlist which includes brown noise and rain sounds), or to do laundry to Let Me Know playing, or to drive to UGH and Set Me Free Pt 2 playing. I have multiple accounts because I listen to all kinds of music all the time, and it’s just convenient for me to have things set up such that I can flip on a playlist in every situation I’d want one on.

But like I said, the reality is that everyone in this fandom does what they want. It’s true there are certain people in the fandom who obsess over streaming, these are typically chartmys and akgaes, but most other people stream however they like. Fandom in general is a pressure cooker environment so I don’t blame you for noticing that pressure, but at the end of the day you really should just do what makes the most sense to you.

ARMYs generally recognize the reality of the space they are in, they recognize what it means for BTS, and most simply tweak their normal listening habits to maximize the gain and support to BTS. Plus sometimes it’s fun to play into fandom’s initiatives as a way to connect with other fans (such as in streaming parties).

I ended up rambling but let me know if this answered your question.

[cupidbedsy]

bf!trevor headcanons PLS PLS PLS

i gotchu girl!

—

➪ bf!trevor who buys you something every day

➪ bf!trevor who stays up late to talk to you when he’s on roadies, most likely ending in both of you falling asleep

➪ bf!trevor who gives you a new piece of clothing with his name on it whenever you come to a game

➪ bf!trevor who lets you trace his tattoos whenever your stressed or sad

➪ bf!trevor who lets you draw on his arm when you’re at a restaurant

➪ bf!trevor who braids your hair when your hanging out with friends to keep his hands occupied

➪ bf!trevor who makes you tea when you’re sick, even if it’s in the middle of the night/fusses over you 24/7 when you’re sick

➪ bf!trevor who takes pictures of you when you’re mot paying attention and keeps it to an album in his camera roll that’s just titled “y/n 🫶🏻”

➪ bf!trevor who wakes you up with kisses on your neck

➪ bf!trevor who never lets you put your shoes on yourself (unless he’s not there ofc)

➪ bf!trevor who has a note with all of your favorite things and all your orders from your favorite places

➪ bf!trevor who learns all of your favorite songs so he can sing them in the car with you

➪ bf!trevor who will help you pick out your outfit for any occasion

[solarwynd]

I disagree a little with the assessment that ARMYs would automatically become JK's fanbase if the group is no more. His retail album sales figures aren't all that ahead of Jimin. His entire album is in English, he had crazy promo, from July we got almost non stop stuff till December, he had huge names he collab'd with and yeah with all that he did the best among the members. But comparing effort with outcome, his results don't look that great to me. If army were as enamoured with his music as they were with BTS' old albums like BE or MOTS:7 or LY, I think he would've done way better. He's still got two songs on TTH if you think about it and his streams are good don't get me wrong but his songs are still on the largest playlist on Spotify you know? It tips the scales.

The reason a lot of pjms feel like JK is favoured is because, the fact of it is, that a lot of armys don't like Jimin in particular so when we compare the way they act for Jimin versus the way the act for JK, we can clearly see a difference. But if Tae or Yoongi, who are in my opinion the two other army favourites, had gotten the same push as JK, they would've gotten the same level of support.

Anyway, in pure numbers it won't make a difference whether his results are due to Hybe or due to army. My only point is that if Hybe keeps investing so much in JK, I'm sure he'll continue to do well but he's never gonna reach BTS' level. They continue to pump money to keep him on all the big playlists to maintain this illusion that he's got ARMYs full support but in my opinion, that's all it is. An illusion.

Also this ask is getting too long but I also just want to bring up Tae. The most followers on IG, most fancam views and prior to solo era he was considered by some, including many armys, as the secret weapon since he was considered the most popular. But that didn't get him anywhere with layover (compared to Jimin and JK) and that's because his standing as the most popular member was partly illusion. If you looked under the hood it was the paid followers and views (not by him) or vpn voting and sales or multiple accounts and all that only works up to a limit. I'm just saying JK's strength is also partly illusion, constructed by the label (rather than fans which it was for Tae)

TGK are definitely the middle ground for armys, I agree. But out of the 3 of them, jk was always gonna have the best chance of suceeding. Armys don’t care for golden but they really don’t like layover. They take to yoongi better than joon or hobi, but the majority of the fandom still doesn’t like to stream rap music. Jk having palatable pop music was always gonna work in his favor over the other two. That’s why bang and scooter picked him because he’s the most agreeable member across the board.

And yes jk’s success thus far is mostly an illusion. One that they had to forge because the needed to devalue jimin. But like you said, it really isn’t all that impressive when you consider the effort they put into him. You look at the 16 versions worth of albums billboard reported that they put out to boost his sales yet he was only able to sell around 46k more than jimin who had 5 (a mini album at that). Like it’s very obvious what that reads as. 🥴

That “secret weapon” tagline armys had for th was embarrassing and came back to bite them in the ass. But they’ve always put so much stock in the superficial regarding that man and little else. You’ll see his stans fight this one sided battle with pjms because they’re still deeply bothered that jm pulled off the debut they expected th to do. They’ll cling to his popularity for dear life since that’s their safeguard and you can’t help but laugh because their only solace is that he’s more liked than jimin is. But does that mean much when it’s purely due to looks and out of obligation to do so because he’s one half of a ship? Not really.

[seokiescans]

[SCANS] BTS 4th Full-Length Album 'Map of the Soul: 7' - Version 1 Photobook (RM)

[gavroche-le-moineau]

La mort de Gavroche / Gavroche’s death

Oh it's here, the chapter that breaks my heart to pieces every time. If you haven't heard it before I highly encourage listening to the Original French Concept Album version of Gavroche's death. In my opinion, it is by far the saddest and most impactful version. Below you'll find my translation of the lyrics with annotations. The PDF can be found here: La Mort de Gavroche translation

Gavroche Cette fois, Javert, t’arrêteras plus personne La mort t’a coffré à perpétuité J’espère qu’là-haut, on s’ra pas dans l’même cachot Sur terre déjà, on n’était pas du même combat¹

Gavroche This time, Javert, you’ll no longer be arresting anyone Death has locked you up for good I hope up there, we won’t be in the same dungeon On earth already, we weren’t in the same fight¹

NOTES 1. “du même combat” literally means “of the same fight” but I believe this is using “même combat!” which is an expression of solidarity meaning “we’re on the same side.” I kept the translation in the lyrics more literal since “to be in the same fight” in English can also convey the idea of solidarity.

Courfeyrac Sacré Gavroche, t’as toujours l’mot pour rire² C’est pas la parlotte³ qui te f’ra guérir Marius Ah les salauds, ils ont tiré sur un enfant Ils ont, sans savoir, abattu le printemps Quel dieu cruel s’abreuve du sang des innocents Et combien faudra-t-il pleurer d’combattants?

Courfeyrac Blasted Gavroche, you always have something funny to say² It’s not the gift of the gab³ that will heal you Marius Ah the bastards, they’ve shot at a kid They have, without knowing, shot down spring What cruel god drinks the blood of innocents And how many fighters will we have to cry over?

NOTES 2. “avoir le mot pour rire” is an expression that literally means “always have the word for laughing / a laugh” and is translated as “to make jokes, be funny.”

3. “la parlotte” means “chitchat, chatter, chinwag, talking shop, etc.” I decided to translate it as “the gift of the gab” because that felt like a more appropriate term given the previous line which implies that Gavroche is good at always making jokes.

Gavroche Notre drapeau était par terre Rouge de honte et bleu sali Moi, j’ai bondi blanc⁴ de colère “Allons, enfants de la patrie”⁵

Gavroche Our flag was on the ground Red with shame and dirtied blue Me, I leapt up, white⁴ with anger “Allons, enfants de la patrie”⁵

NOTES 4. “Rouge de honte … blanc de colère” This sequence uses expressions that incorporate the colors of the French flag (blue, white, red). “Rouge de honte” means “red with shame,” as in “blushing with shame” or a “flush of shame” but can also simply be translated as “ashamed.” I haven’t been able to figure out if “bleu sali” is an expression or is simply referring to the dirtied blue of the flag on the ground. “Blanc de colère” is, as in English, “white with anger.”

5. “Allons, enfants de la patrie!” is a reference to the first line of the Marseillaise, the national anthem of France. It means “Let’s go, children of the fatherland/motherland!”

Un mec m’a vu, qui m’a crié : “Qui vive!”⁶ J’ai dit : "Révolution française" Ça lui a pas plu ma franchise M’a mis un pruneau⁷ dans la fraise⁸ C’est comme ça, on gagne pas à chaque fois

A guy saw me, shouted at me “Who lives?”⁶ I said : “The French revolution” That didn’t please him, my frankness, Put a slug⁷ in my face⁸ It’s like that, you don’t win every time

NOTES 6. “Qui vive!” is an expression that literally means “who lives?” but is translated as “who goes there?” Just like the English expression, it has same the context of someone on watch or in a military environment asking an unknown person to identify themselves. However, I chose to keep the literal translation in the lyrics because it ties the pun in the response together. The response is “Révolution française (the French Revolution),” because a common refrain is “Vive la revolution française!” literally, “Live the French revolution!”

7. “pruneau” is argot (slang). The word “pruneau” means “prune” but it was used as slang for a bullet.

8. “fraise” is another argot word. This time the word for “strawberry” means “face / mug.”

Donnez, donnez⁹, ma casquette aux copains C’est tout c’que j’ai et j’en n’ai plus besoin Je suis tombé par terre, C’est la faute à Voltaire¹⁰ Le nez dans le ruisseau, C’est la faute à...

Give, give⁹, my cap to my friends It’s all I have, and I don’t need it anymore I fell to the ground It’s the fault of Voltaire¹⁰ Nose in the gutter, It’s the fault of…

NOTES 9. “Donnez, donnez” is a callback to the refrain used in Gavroche’s introductory song on the Original Concept Album (the equivalent of Look Down).

10. “C’est la faute à Voltaire” – I would have preferred to translate these lines as “It’s Voltaire’s/Rousseau’s fault” but I kept the French wording of “It’s the fault of Voltaire/Rousseau” so that the final line cuts off in the same manner.

As usual, corrections and commentaries are welcome!

[cosmicdreamgrl]

side note: i think this assumption comes from how often the performance is mentioned, i mean, sure people are out here thirsting 24/7. but when you think about it, how many people actually talk about the song first? i rest my case

people: my time isn't that underrated

me looking at my mutuals choices for the ig pick a jk solo game: you sure about that?

[savage-kult-of-gorthaur]

THREE DIFFERENT MOTÖRMASTERS TO CHOOSE FROM -- STARTING WITH THE MIGHTY HEADMASTER HIMSELF.

PIC(S) INFO: Spotlight on the 7 inch "No Class" (b/w "Like a Nightmare") single by English rock and roll band MOTÖRHEAD, released in June 1979 under the Bronze label in the UK. The single was made available in three different picture sleeves, each featuring a different member of the band on the front cover.

Back sleeve: ℗ 1979 Bronze Records Limited. Available from EMI.

Center labels: ℗ 1979 Bronze Records Ltd. Motor Music Ltd. (Leosong) Made in Great Britain

"No class" is from the album��"Overkill" (BRON 515).

Source: www.discogs.com/release/1145718-Mot%C3%B6rhead-No-Class (discogs 3×).

[fetznerdeathrecords]

Tillhygge - De Dödas Klockspel

Raw Black Metal from Borlänge, Sweden

Swedish Raw Black Metal and Obscure Sounds. From The Void And The Dark Forrests Of Dalarna. The first album with the projekt Tillhygge. A fist full of melancholy and despair Worshipping death and gothic aincent pasts.

1. Förord 02:09 instrumental 2. Abyssens Bojor 02:06 3. Skugglöst Hat 02:21 4. Maniska Steg Mot Undergångens Port 02:18 5. Viktoriansk Döds Dyrkan 02:51 6. Drömmande Hädanfärd 01:58 7. Kremerad Själ 02:09 8. Falled,Döden,Paradis 02:42 9. Dödens Budman 02:29 10. Dolda Gestallters Vals 03:10 11. De Dödas Klockspel 01:54 12. Tidlös Melankolisk Vallfärd 01:37

Release date: January 21st, 2025

[starstruckbyacomet]

There Is No Safe Word (Part 6 of 10)

(Source) (Part 1) (Part 2) (Part 3) (Part 4) (Part 5) (Part 7) (Part 8) (Part 9) (Part 10) (Prewarning)

Who Killed Amanda Palmer by Neil Gaiman and Amanda Palmer (2009) First Edition. Photo: eBay.

Editor’s note: This story contains content that readers may find disturbing, including graphic allegations of sexual assault & child abuse.

Gaiman and Palmer met in 2008, when she was 32 and he was 47. Both were at a turning point in their lives and careers. Gaiman was in the midst of finalizing a divorce from his first wife, with whom he had three children, and on the verge of breaking into Hollywood (nine of his works have been turned into movies or TV shows); Palmer was in a fight with her record label that would culminate in a split. Palmer had a collection of photos of herself posing as a murdered corpse and wanted Gaiman to write captions to go along with the pictures. Gaiman liked the idea, and the two met to work on the project, a book tied to her first solo album, Who Killed Amanda Palmer. As Palmer described in The Art of Asking, they were not attracted to each other at first. “I thought he looked like a baggy-eyed, grumpy old man, and he thought I looked like a chubby little boy.”

Gaiman was the first to propose a romantic relationship. In an interview, he later said, “I got together with her because I couldn’t ever imagine being bored.” Palmer could. Ever since she’d gotten her start as a street busker, painting her face white and standing on a crate in Harvard Square dressed as a silent eight-foot-tall bride, she prided herself on a low-rent, bohemian lifestyle, couch-surfing when she toured, playing random shows in the living rooms of her fans. She had no savings and didn’t own a car, real estate, or kitchen appliances. Gaiman owned multiple houses. He was too rich, too famous, too British, too awkward, too old. And they didn’t have great sexual chemistry. But he appeared to be kind and stable, a family man, and they shared a dark, fantastical aesthetic. She also felt a little sorry for him. He seemed lonely, in spite of his fame, and Palmer found herself hoping that she could help him. “He’d believed for a long time, deep down, that people didn’t actually fall in love,” she wrote in her book. “‘But that’s impossible,’” she told him. He’d written stories and scenes of people in love. “‘That’s the whole point, darling,’ he said. ‘Writers make things up.’”

Neil Gaiman and Amanda Palmer's wedding photoshoot. Photo: Amanda Palmer Blog.

They wed in 2011 in the Berkeley home of their friends Michael Chabon and Ayelet Waldman, the novelists. Their union had a multiplying effect on their fame and stature, drawing each out of their respective domains of cult stardom and into the airy realm of tech-funded virality. They became darlings of the TED talk circuit and regulars at Jeff Bezos’s ultrasecret Campfire retreat. Gaiman introduced Palmer to Twitter, which he had used to become fantasy’s most beloved author of 140-character bons mots. Palmer, in turn, leaned into her growing reputation as a crowdfunding genius. Online, they flirted, went after each other’s critics, and praised each other’s progressive politics. In an interview with Out magazine in 2012, Palmer said that the main “other” relationship in both of their lives was with their fans: “Sometimes when I’m with Neil, and go to the other room to Twitter with my followers, it feels like sneaking off for a quick shag.”

This wasn’t strictly a metaphor. During the early years of their marriage, they lived apart for months at a time and encouraged each other to have affairs. According to conversations with five of Palmer’s closest friends, the most important rule governing their open relationship was honesty. They found that sharing the details of their extramarital dalliances — and sometimes sharing the same partners — brought them closer together.

Who Killed Amanda Palmer music book (2009). Photo: Amazon.

In 2012, Palmer met a 20-year-old fan, who has asked to be referred to as Rachel, at a Dresden Dolls concert. After one of Palmer’s next shows, the women had sex. The morning after, Palmer snapped a few semi-naked pictures of Rachel and asked if she could send one to Gaiman. She and Palmer slept together a few more times, but then Palmer seemed to lose interest in sex with her. Some six months after they met, Palmer introduced Rachel to Gaiman online, telling Rachel, “He’ll love you.” The two struck up a correspondence that quickly turned sexual, and Gaiman invited her to his house in Wisconsin. As she packed for the trip, she asked Palmer over email if she had any advice for pleasing Gaiman in bed. Palmer joked in response, “i think the fun is finding out on your own.” With Gaiman, Rachel says there was never a “blatant rupture of consent” but that he was always pressing her to do things that hurt and scared her. Looking back, she feels Palmer gave her to him “like a toy.”

Whittling Hazel, an original illustration from The Ocean at the End of the Lane written by Neil Gaiman (Headline, 2019), illustrated by Elise Hurst. Photo: Elise Hurst.

For Gaiman and Palmer, these were happy years. With his editing help, she wrote The Art of Asking. They toured together. And when Palmer was offered a residency at Bard College, Gaiman tagged along to give some talks, then ended up receiving an offer to join the faculty as a professor of the arts. After they’d been together for a few years, Palmer began asking Gaiman to tell her more about his childhood in Scientology. But he seemed unable to string more than a few sentences together. When she encouraged him to continue, he would curl up on the bed into a fetal position and cry. He refused to see a therapist. Instead, he sat down to write a short story that kept getting longer until it had turned into a novel. Although the child at the center of the story in many ways remains opaque, Palmer felt he had never been so open. He dedicated the book, The Ocean at the End of the Lane, “to Amanda, who wanted to know.”