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twistedtummies2 · 1 month ago

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Top 15 Disney Animated Movie Villain Songs

Earlier in the month, in honor of both the Halloween season - Disney’s Season of the Villain - and the fact this year marks the 101st anniversary of Disney as a company, I talked about my favorite portrayals of Cruella De Vil. I’m still in a Disney Villain mood (which, to be fair, is far from uncommon with me), so to continue our Halloween series of lists, I think it’s time I discussed a subject that I’ve actually had brought to my attention several times: Disney Villain Songs. While Villain Songs have existed practically as long as musical theatre, in any of its formats, existed - from the opera to Gilbert & Sullivan’s operettas to beyond - I think most would agree that Disney has effectively “cornered the market” when it comes to these particular parts of many musicals. Whenever people talk about great villain songs, you can be darn sure that not only are you going to see at least one Disney bad guy number in the list, but it’s honestly quite likely you’ll see multiple entries.

This is what made making such a countdown properly REALLY difficult. Because, just as there are numerous Disney Villains from all sorts of mediums and properties, there are all sorts of dastardly musical numbers related to them. So, I decided to apply the same basic rule to this list that I’ve applied to other villain-related countdowns: I’ll only be including movies, and therefore songs, from the core sixty-something movies in the Walt Disney Animation Studios catalog (with one film’s exception, and I doubt that film’s title needs to be named; you’ll find out which, regardless, in the rundown). I’ll probably do a second list for other villain songs from Disney that DIDN’T fit those criteria, but for now, that’s going to be our focus. Also, I’ll only be including one song from every movie, because some of these films actually have more than one villain song. The only exception to that rule will be reprisals of the same tune. With that said, let’s waste no more time! Sing along (most deviously) with me, as I present My Top 15 Favorite Animated Disney Movie Villain Songs!

15. Heffalumps & Woozles, from The Many Adventures of Winnie-the-Pooh.

I initially considered placing either “Pink Elephants on Parade” from Dumbo, or possibly “We Don’t Talk About Bruno” from Encanto, in the bottom spot. In both cases, I felt neither song was really a VILLAIN song, so much as just…well…sort of spooky and weird. They have the VENEER of villain songs, but Bruno in the latter film is decidedly NOT the bad guy, and that’s revealed within about five minutes after the song takes place, if even that. And in the case of Pink Elephants…that’s literally a trip-out scene about a small elephant being drunk. Everything about that sequence is INSANE, but it’s hardly a VILLAINOUS scene in the strictest sense. It was at that moment I remembered this number: “Heffalumps and Woozles” is actually pretty similar to “Pink Elephants." It is a very strange and surreal number with a lot of cartoonish and absurd imagery, and takes place in the form of a sort of dream sequence. However, the titular monsters that silly old Pooh Bear imagines are much more overtly villainous, and the lyrics paint them as such, describing them as bizarre and frightening beasts who will steal and devour everything you care for most (in Pooh’s case, this primarily means his precious honey). Later spin-offs of this compilation feature would actually feature Heffalump and Woozle characters, and often (though not always) they were, in fact, evil creatures. So at the end of the day, it counts a bit more easily than the two that might have been. Plus, it’s VERY catchy.

14. Prince Ali (Reprise), from Aladdin.

I’m counting this one low on the list because it’s extremely short, as it isn’t so much the villain’s OWN song as it is just a sort of “dark reprise” of an earlier number in the story. But hey, it’s become as iconic as many of the other “proper” villain songs, and when people think of Jafar getting a musical number, they usually think of this sequence first and foremost. This song is a pure celebration on the villain’s part; Jafar has just gained control of the Magic Lamp, and with it, he’s made first a wish to take over Agrabah, and then another to dub himself as the most powerful sorcerer in the universe. Jafar is on a power high like no other during this whole scene, unhinged with glee as he toys with his victims, revealing Aladdin’s true identity to Jasmine before sending the street rat rocketing into space. All the while, he’s giddily dancing and prancing about, and the scene ends with him letting out the mother of all evil laughs: easily one of the greatest bits of diabolical, utterly deranged cackling EVER put to the screen. Jonathan Freeman’s exuberant performance, and the power of the animation, sell every second, and while the scene is short and goes by pretty fast, it still makes a BIG impact. Jafar would get his own TRUE villain songs, all his own, later on, but his mocking reprise of “Prince Ali” is still more than worthy of a spotlight here.

13. Shiny, from Moana.

Tamatoa might be one of the best villains to come out of Disney in recent years, which is funny because he’s really only onscreen in his respective feature for…what, five minutes? Under ten, tops? But what he lacks in screentime, he makes up for in personality, and a HUGE part of that comes from his villain song. This musical number actually does quite a lot in a rather limited time, and yet it never feels bloated or overpacked with information: it sets up Maui’s origins, establishes his rivalry with Tamatoa in a more direct fashion, explains exactly who and what this monster is and what he’s all about, provides a malevolent counterpoint to the titular protagonist’s philosophy…and it does all of this with interesting visuals and a glam rock style directly influenced by Jareth the Goblin King-I mean, David Bowie, and performed by Jemaine Clement. Like Tamatoa himself - and, indeed, like a LOT of the greatest Disney Villains - the song fluctuates between campy humor and dark, half-crazed menace throughout, both lyrically and in its instrumentals. Speaking of, the song is the work of the mighty Lin-Manuel Miranda. If that doesn’t earn it a few points just right off the bat, I don’t know what else will.

12. Gaston, from The Beauty and the Beast.

This may be the single jolliest of all the songs on this list. It almost doesn’t sound like a villain song at all, and I think that’s the point. “Gaston” is a pretty simple number, but that’s exactly what makes it so catchy and memorable. There’s not a whole lot that happens: basically, Gaston needs a pep talk after being rejected by Belle, so LeFou and the other townsfolk in the local pub all begin singing a song about how awesome he is. Gaston - being…well…Gaston - quickly buys into the hype over himself and soon begins bragging in-between bouts of praise from the rest. It’s literally just a comical ode to the character’s own narcissism, not much else. However, one could argue it also establishes an important factor in the story: Gaston is NOT going to change his ways. Any chance of him re-evaluating himself or his approach to things is quickly squashed by everybody else singing his praises, and he’s certainly not going to complain or look into changing on his own terms under those circumstances. It’s only moments after the first take on the song that a reprise occurs (so soon after I wasn’t even sure if I should name said reprise directly in the title), and it’s at this point Gaston goes from just being sort of an annoying jerk to a true villain, as he plots to send Belle’s father to the madhouse and force her to marry him. From this point on, it’s clear who the bad guy is, and the fact we were just enjoying watching him flaunt his own silly superiority makes the moment a bit more tense. Very well-written storytelling there.

11. Mother Knows Best (and its Reprise), from Tangled.

Like “Gaston,” this song also has a reprise, but since the latter takes place much later in the story, I did feel I needed to address it separately in the title. (And I did want to include the Reprise because, in some ways, I like it more than the earlier, fuller rendition.) This song is sung by Mother Gothel to her adoptive daughter, Rapunzel. Years before the main part of the plot, Gothel kidnapped Rapunzel from the palace of the King and Queen of Corona. Why did she do this? Not because she wanted a daughter of her own, but because Rapunzel’s hair contains magical properties that heal wounds and restore one’s youth. Fearing age and death, Gothel obsessively uses the power of Rapunzel’s golden locks to effectively make herself immortal. Not wanting to lose her “medicine,” nor have her crimes revealed to the world, she forbids the captured (and unknowing) princess from venturing out in the outside world. In the first iteration of the song, Gothel tries to convince Rapunzel to stay by singing a song about all the dangers out the outside world, not-so-subtly demeaning the teenaged girl in the process by claiming Rapunzel would never survive if she left their tower. There’s a grand string of irony in the song, brought on not only by the fact that Rapunzel has shown she’s extremely intelligent (albeit admittedly naive) before this fact, but also in the tone the song has, as the melody is spritely and playful, contrasting hilariously with lyrics that literally include mentions of cannibals, quicksand, and the Black Death. (Yikes.) Later in the story, the song takes a much darker, more vicious turn, as Gothel tracks down the escaped Rapunzel and tries to convince her to return home. When Rapunzel refuses, Gothel flies off the handle, starting off slow and passive-aggressive before plunging into a snappy tantrum, deriding the girl as a fool and saying that if things go wrong, she shouldn’t come crying to her. This is all just further manipulation, but it’s dramatically intense, and is heightened by much more foreboding instrumentals. One interesting thing I noted in the reprisal is that you can actually hear what sound like church bells going on at points, and there’s a sort of ticking-clock quality to the melody in both renditions; perhaps foreshadowing of Gothel’s steadily deteriorating state. That, or it just sounds spooky and cool, which…hey, I’m all for that.

10. The Headless Horseman, from The Adventures of Ichabod & Mr. Toad.

This is one of the more underrated songs on this countdown, although I have noticed it’s gained more and more of a following over the years, fittingly and especially around this time of the year. Much like “Heffalumps and Woozles,” this song isn’t so much a song BY the villain, so much as a song ABOUT the villain: it’s a description of the antagonist put to music, told by another party. In this case, the song is a musical retelling of the legend of the Headless Horseman of Sleepy Hollow, iterated by Brom Bones as a means of scaring the heck out of Ichabod Crane. The song is both upbeat and sinister at the same time, with a sort of jazzy beat that’s contrasted by eerie wailing and the spooky story the lyrics tell. It’s arguably the best and most catchy song in the movie, and it’s only made better by the fact it was originally performed by the crooner himself, Bing Crosby. (Proving he can be just as much the voice of Halloween as he is Christmas.) The song has been covered more and more frequently over the years, the most famous probably being the one by Thurl Ravenscroft. It works great within the context of the story, but it also makes for a fun, jaunty, yet appropriately creepy Halloween ballad on its own terms: versatility is always appreciated, in music as in other things.

9. Trust in Me, from The Jungle Book.

As a couple of songs so far have shown, sometimes the best tunes aren’t the ones that belong to the main baddies. In fact, in cases like this, sometimes the main baddies don’t even HAVE songs: Shere Khan is the main villain of Disney’s Jungle Book, but he never really gets a song in the original film. Instead, musical kudos goes to the secondary and tertiary antagonists of the movie: Kaa and King Louie. While Louie’s song is a lot of fun, I think most agree that “Trust in Me” is a real standout among bad guy songs. The tune happens during the second encounter Mowgli has with the hungry serpent, as Kaa successfully hypnotizes him, and sings this lullaby-like melody to help keep Mowgli in his power. All the while, the python toys with his prey before coiling him up, ready to lazily consume his victim. The tune is as slinky and serpentine as Kaa is, and is one of the surprisingly few in the film that holds the sort of Indian styling the setting would allow for. Sterling Holloway sells the music with a dangerously mischievous lilt, giving the song both a sinister, almost seductive quality, while also injecting humor into it, given his vocal mannerisms and choices. It’s the closest Kaa comes to being a real threat in the movie, and I’m pretty sure it’s the main reason so many people remember this snake the way they do. Heck, one of the biggest upsets I hear people complain about with the live-action remake is that, despite including two of the songs from the film in the form of “Bear Necessities” and “I Wanna Be Like You” (both of which sort of just come right the heck out of nowhere and interrupt the story, anyway), “Trust in Me” was cut from the film and relegated to only playing over the end credits. Thank goodness the original will always be around on its own terms.

8. Cruella De Vil, from 101 Dalmatians.

This is the last song on the countdown that’s more a tune ABOUT the villain than anything else, and it’s arguably the most famous of the lot. The context of this famous, blues-y ballad is pretty simple: Roger Radcliffe, one of the main human characters, is inspired by the appearance of Cruella De Vil at the home of his and his wife, Anita’s, domicile. While Cruella annoys Anita downstairs, Roger - who very clearly does NOT like Cruella (and who can really blame him for that?) - begins to compose this mocking tune that describes Cruella with a series of utterly deplorable lyrics that frankly would make the Grinch a bit envious. What’s funny is that, while the song doesn’t really do much for the story, and is meant to be an exaggeration of a humorous nature…the song actually ends up being sort of an anthem for Cruella, as it’s quickly made clear she is, indeed, just as nasty and wicked as the song (somewhat inadvertently) describes her to be. Much like with Kaa, I’m frankly convinced that this song is a big part of why Cruella is so well-remembered, as the song and the character almost seem to go hand in hand with each other when either one is referenced. Indeed, many would argue people remember this song more than they remember the character or even the movie in general. That fact alone easily earns it placement in the Top 10 for me.

7. Be Prepared, from The Lion King.

Of all the choices on this countdown, I am pretty sure placing “Be Prepared” so low in the ranks is going to be one of the most controversial. Just as most people would probably name Scar as one of their Top Three favorite Disney Villains, I’m pretty sure “Be Prepared” would be in most people’s Top 5 Disney Villain Songs. Heck, it would probably be in most people’s Top 5 Villain Songs PERIOD. Well, I am not “most people”: just as I love Scar, but simply don’t love him AS much as other Disney Villains, I do love “Be Prepared,” but I just don’t love it as much as other Villain Songs. Do not misconstrue this, however, to mean it’s a bad song in ANY way: this mincing, malicious, and quite ominous song is, in my opinion, the moment where I think a lot of people figured out Scar was going to be a GREAT Disney Villain. Sure, he had some fun scenes before this, but “Be Prepared” is the point where he ascends to the ranks of such characters as Maleficent and Chernabog: a truly iconic baddy. The tune occurs as Scar spells out his plans of domination to the hyenas, and offers to give them all the food they desire if they join forces with him. The song once again has a sort of playful edge to its evilness, but also has a haunting, dangerous quality; it’s a tune that both revels in its own dastardly side, while also sort of acting as a warning of things much less enjoyable still to come. And considering it’s not long after this point that - spoiler alert - SCAR KILLS MUFASA? Yeah, I’d say that’s an accurate description of the situation, if nothing else.

6. Poor Unfortunate Souls, from The Little Mermaid.

This is another song that I’m pretty sure most people would put in their Top 5 Disney Villain Songs, and which only barely misses that mark on my own personal list. Once again, don’t take this to mean I dislike the tune, because I absolutely do not. The song is performed by Ursula the Sea Witch, as she offers Ariel a deal that will allow the mermaid princess a chance to romance the human Prince Eric. However, if Ariel cannot fulfill her end of the bargain properly, then her soul will belong to Ursula, and she will be transformed into a deformed polyp in the Sea Witch’s most unsettling little undersea garden. The song never lets up on its darkness; the first half is a sort of waltz-like tune, very smooth with swooping moments of grandness, as Ursula tempts and lures Ariel by presenting herself as a well-meaning, misunderstood figure, who really only wants to help. However, once Ariel is “hooked,” the song intensifies, getting louder, faster, and more aggressive in its lyrics and orchestrations. This culminates in the glorious, eerie climax, as Ursula casts the spell that will transfer Ariel’s voice over to her own power. As the song goes on, not only does the music intensify, but so does Ursula herself. Her movements become sharper and more sudden, and she forgets all about personal space. Her expressions become increasingly deranged and frightening as she clearly gets a rush out of what she’s doing. My only problem with this song, and it’s the reason it doesn’t make it into the top five, isn’t the song itself…it’s Ariel. And it’s kind of a problem I have with the movie, to be honest: I know everything Ariel has gone through by this point, and I know she’s absolutely head-over-heels and clearly naive, but…considering everything within the film itself, disregarding even spin-offs and such…why does she NEVER turn away from this deal? She’s clearly uncomfortable and unsure, but it’s hard for me to buy she’d see this incredibly scary lady and her incredibly scary lair and NOT try to run away at SOME point. I guess she’s just that desperate to know what sand feels like between her toes. Spoiler alert: not as good as everyone makes it sound, my dear lady. :P

5. The World’s Greatest Criminal Mind, from The Great Mouse Detective.

Before Ursula and Scar essentially reinvigorated the villain song formula, there was Professor Ratigan. And just as it’s a little surprising that this movie, in general, often seems to be overlooked by Disney fans, I’m kind of surprised this tune is, too. Especially since it’s really one of only two proper, full-out songs in the film. That, and it has VINCENT PRICE SINGING. (pauses) Honestly, having said that…I don’t think I need to say anything else about why this musical number is awesome. IT’S VINCENT PRICE. SINGING. AS A RODENT VERSION OF PROFESSOR MORIARTY. Any other arguments about why this should or should not be in the Top 5 become automatically invalid at that point, so let’s move along…

4. Oogie Boogie’s Song, from The Nightmare Before Christmas.

Yeah, you all knew this one was coming. Anytime I make lists like this, I ALWAYS make an exception in the rules for TNBC. This is partially because the film has sort of been “adopted” in to the core canon, in a way…and partially because it’s a strong candidate for my favorite movie of all time, as well as, by extension, my favorite Disney movie of all time. Keeping these facts in mind, it’s no surprise that Oogie Boogie’s Song gets high marks on my countdown. Inspired by the work of jazz singer and musician Cab Calloway (in fact, there’s a direct quote from a Calloway music number in the sequence), this menacing, almost ragtime-esque tune presents the menacing Oogie to us in lurid blacklight, as he taunts and torments his captured prey: Santa Claus himself. Oogie laughs in Santa’s face, deriding him as a joke, literally throwing his weight around as he shows off his casino-themed torture chamber. Oogie has been teased a few times before this, so his entrance is appropriately as gigantic as he is, creating one of the broadest and most fun Disney Villain songs of all time, while also having the weight, power, and sense of cruel brutality that make it one of the freakiest introductions to a Disney Villain, as well. The imagery is wild and in-your-face, matching Oogie’s bullying and somewhat mercurial personality. If any moment in the film indicated Christmas might be doomed beyond all others, this gambling boogieman teasing Santa with how he’s going to torture and eat him is probably your best candidate.

3. Savages, from Pocahontas.

Pocahontas is far from the greatest of Disney Movies, and its central antagonist - the greedy Governor Ratcliffe - is, in turn, hardly one of the company’s most lauded villains. Indeed, many consider him to be one of the weakest bad guys in the Disney film canon. But, for any faults the character may have, you have to give him this: he had not only one, but TWO absolutely fantastic villain songs, just in his first appearance. The first one, “Mine Mine Mine,” is a fun enough tune on its own terms…but it’s the latter, much more menacing “Savages” that takes the cake. This song takes place after the Powhatan Tribe of Native Americans capture Captain John Smith. They plan to execute Smith at dawn, before declaring war on the “pale-faces” who have invaded their land. Meanwhile, Ratcliffe - who wishes to exterminate them in totality, after finding out if they know where the treasure he seeks may be found - rallies his men to plan an assault on the tribe at the same time. After a brief interlude, where Pocahontas officially decides to intervene (so brief I’m not even sure if the second part of the song counts as a “Reprise” or not), the two factions march towards each other, still spilling their sadistic vitriol. This is one of the most bloodthirsty, vicious, and yet strangely tragic songs of the entire Disney canon: the Powahatans are retaliating largely due to a massive misunderstanding, but they’re just as much at fault here as Ratcliffe and his cronies. It’s the moment where Ratcliffe, himself, goes from a generally comical, pompous figure to a genuine threat. The war-mongering hatred both sides express as they march towards seemingly inevitable, mutual doom, makes for probably the darkest part of the entire feature, and one of its most memorable sequences.

2. Friends on the Other Side, from The Princess and the Frog.

While the soundtrack for this movie is, generally speaking, somewhat “meh” (none of the songs are BAD, but I wouldn’t say most of them are among Disney’s best), most people agree the best tune in the movie - and, indeed, probably the best part of the film in general - is this one. Occurring early in the film, “Friends on the Other Side” is a bit like “Poor, Unfortunate Souls” in storytelling placement, among other elements, yet I would argue is even better. The tune takes place when the evil voodoo master, Dr. Facilier - a.k.a. The Shadow Man - lures Prince Naveen and his servant, Lawrence, into his shop. He offers to read their fortunes, and in the process, tempts Lawrence with a chance at a revenge the butler has always craved, while also tricking Naveen into making a sort of Faustian deal at the same time. You can’t really blame Naveen for being fooled, because a.) it’s established in-universe that he isn’t exactly the brightest bulb to begin with, b.) he’s a stranger in a foreign land who has no idea who and what Facilier really is, and c.) he doesn’t even fully realize he’s entering INTO a deal with the Shadow Man in the first place. It’s all a con game, and it’s one that’s displayed in glorious fashion. All throughout there are not-so-subtle hints to Facilier’s true, evil nature, but it’s not till the pair shake hands with the witch doctor that things go totally off the rails, visually, musically, and in terms of the plot. The song is catchy, vibrant, wild, and has that wonderful balance of fun and fear so many of the best of this sort do. It’s once again a huge part of what makes Dr. Facilier such a well-remembered villain, and in my opinion, there hasn’t been a villain song in any Disney movie since that’s topped it.

1. Hellfire, from The Hunchback of Notre Dame.

For once, my opinion seems to align with the popular vote: most people seem to agree that this is the greatest Disney Villain Song of all time, and I see no reason to dispute that. In fact, it’s not only my favorite Disney Villain Song, but one of my top three favorite villain songs IN GENERAL. This haunting, forbidding, almost operatic number is performed by the corrupt Judge Claude Frollo, as he reflects on his sudden feelings for the Romani dancer, Esmeralda, and muses on how he feels he may be going mad as a result of them. He vows by the end to capture the beautiful young lady - no matter the cost - swearing that if he can’t have her, then the fires of Hell can instead. Gothic in style and thematics, with a Latin choir chanting meaningful prayers between Frollo’s frenzied spiel of denials, inane questions, and promises of retribution, it is one of the single darkest and most risky scenes in any Disney film. It’s yet another example of a song that’s become so well-known, I think more people know about the tune than the film itself, or even the villain who sings it. There are more covers and even analyses of this scene, this song, than perhaps any other Disney Villain song out there, and it’s not without good reason why that is. From the animation, to the orchestrals, to Tony Jay’s divinely devilish vocal performance (it was NOT an easy song for him to perform, and he knocks it out of the park by a nautical mile), it is perhaps the ultimate Disney Villain moment, at least in terms of musicals, there has ever been. In fact, the song has become something of an anthem for the Disney Villain lineup, as various live shows at the parks tend to use this song as a musical synonym for evil itself, even when Frollo isn’t involved at all. For these reasons and many others, “Hellfire” more than earns its place as My Favorite Animated Disney Movie Villain Song.

HONORABLE MENTIONS INCLUDE…

We Don’t Talk About Bruno, from Encanto. (Hey, I said it didn’t count for the main list, doesn’t mean I can’t count it here. It may not ACTUALLY be a villain song, but lyrics like "he sees your dreams and feasts on your screams" definitely allow for an Honorable Mention, in my opinion.)

Mad Madam Mim, from The Sword in the Stone.

The Elegant Captain Hook, from Peter Pan.

Hi-Diddle-Dee-Dee, from Pinocchio. ...And no, "This is the Thanks I Get" isn't ANYWHERE here, because - like most people - I don't like that song very much. I used the screenshot as a banner just to make you all panic. It's almost Halloween, give me a break. XD

#disney #list #countdown #best #favorites #music #animation #film #movies #disney villains #villain songs #top 15

12 notes · View notes

thegamingcatmom · 27 days ago

Note

A thought....

So you ever know those situations where there's a song that a person listens to, and they just DONT realize the lyrics until much later

Just like the lyrics are subtle enough to not catch the meaning for some but for others in the know 👀 Just watching the person sing along unknown to what the real meaning of the song they're singing about is,

Or kinda like an innocent child singing along to some popular song, but that song has a bunch of innuendos, but they don't know about such things yet.

Just imaging MC hearing a song she really likes but she never realized the lyrics to the song are rather-

Spicy and sings along, whether quietly or just belting it

How would the sisters react?

-📚

I think most of us have been in that situation before, especially with the innuendos, LMAO.

...Oh god, this reminds me-

STORYTIME:

Back when I was still in school (which means ages ago), I would listen to this song here on repeat. I really liked the dancing. I still do. 😅

The beat is fire too. 🔥😎

ANYHOW-

We went to this school camp where we stayed for a week or so and, one evening, our English teacher went like "why not make things more interesting" or smt. I don't quite remember what he said, but he had us brainstorming ideas for how to spend the evening.

Fun.

Anyhow-

The boys ended up on an impromptu catwalk, strutting like they were in a fashion show. It was hilarious.

As for us girls-

Well, we hit the dance floor - choreography and all. Now guess which song my clueless ass suggested? 😅

(This one´s censored, mind you. I had no idea there´s another version out there. 💀)

In my defense: My English was nowhere near as advanced as it is today. How was I supposed to know what all that shit meant?? I was just vibing. 😭💀

With that said:

I can defo relate and I think MC can too, lmao.

IN HER DEFENSE-

Like me, she´s a clueless baby. Not her fault the only music one can find in this household is from bands and singers she´s never heard of in her life. Probs because they speak an entirely different language. Sounds like Russian or smt...

Well, who cares. The beat is damn catchy.

In fact, it´s so catchy that our girl ends up listening to it over and over, until she knows the lyrics (somewhat) by heart.

...I think y´all know where this is going:

Before she knows it, MC finds herself singing along, blissfully unaware of what the lyrics actually mean...

MC, wearing headphones: *preparing dinner, nodding her head to a song that she´s singing along to*

Kate: *hesitantly rounds the corner because she can´t believe what she´s hearing (coming out of MC´s mouth as well as the headphones - superhearing and all, remember?)*

MC: *still happily singing along (or trying to)*

Kate: *slowly takes a seat at the kitchen island behind MC, propping her chin as she watches it all unfold, utterly entranced*

MC: *starts to lightly move her hips to the rhythm now*

Kate: *...definitely entranced now, a wolfish grin slowly starts spreading*

MC: *continues to give Kate a show without realizing*

Tanya: *rounds the corner, her leader-bells ringing like crazy at the absolute filth that floods the house (again: superhearing)*

Tanya: "What is the meaning of-"

Kate: "SHHH!"

Tanya: "...Excuse-"

Kate: *points to a dancing and singing MC, blissfully unaware of what´s going on behind her*

...

Tanya: *slowly takes a seat next to Kate, drawn in like a moth to a flame, the real reason why she´s come here already forgotten*

MC:

Tanya & Kate:

Irina: *rounds the corner*

Irina: "Can someone tell me what the hell-"

Tanya & Kate: "SHHH!"

Irina: "..."

Tanya & Kate: *point to a still dancing and singing MC*

Irina: *takes a look*

...

Irina: *immediately regrets coming here...but draws closer anyway because, for some strange reason, she just can´t.look.away*

MC: *sings a particularly filthy line, adding some extra sway to her hips as she does*

Tanya & Kate: 🫠

Irina: *crosses her arms, raising her eyebrow in a mix of utter disbelief and...something else*

MC: *continues to give them a show that gets more intense as time goes on, just vibing and all*

Tanya & Kate: 🥵❤️‍🔥

Irina: *has taken a seat by now, arms still crossed as she leans back, feeling much like a witness to a horrible accident...and something else*

MC: *cooking becomes a distant memory as she´s really starting to feel it now*

The Unholy Trinity:

(Kate´s the one on the right cause she´s the only one who deliberately puts herself through the trauma of ingesting human food on a regular basis.)

Eleazar: *rounds the corner, only to skid to a stop when his eyes land on-*

MC: *uses her wooden spoon as a microphone*

...

Eleazar:

Also Eleazar, once the initial shock has worn off: "...Fascina-"

The Unholy Trinity: "SHHH!" (Irina is a lot less aggressive about it though)

Eleazar: *wisely shuts his mouth and comes to stand next to the sisters, crossing his arms as he observes the human acting in a way he´s never seen before*

MC: *sings one of those particularly filthy lines again, playfully swinging the wooden spoon in a slapping motion*

Tanya & Kate: 🫠❤️‍🔥

Irina: 🫣

Eleazar: 🧐

Also Eleazar: *takes out a notebook and starts taking notes*

Carmen: *rounds the corner, looking absolutely appalled-*

Carmen: "What is-"

The Unholy Trinity & Eleazar: "SHHH!" (Irina & Eleazar are a lot less aggressive about it though)

Carmen: "...What-"

The Unholy Trinity & Eleazar: *point to MC*

MC:

Carmen: 👁️👄👁️

MC: *starts twerking*

Carmen: *Spanish mom mode activated*

Carmen: *begins to stomp over-*

The Unholy Trinity & Eleazar, trying to stop her:

MC: *slowly calms down as the song comes to an end (for the umpteenth time)*

The Denalis: *still wrangling*

MC: *begins to turn around, still humming along and dancing to herself*

The Denalis: *go eerily still, frozen as they wait for the inevitable to happen (meaning: MC catching them in a less than flattering pose)*

MC: *claps eyes on-*

The Denalis: "..."

MC: *screeches like a banshee as she throws the wooden spoon into the air out of sheer shock at seeing the whole ass family in the kitchen*

The Denalis: "..."

MC: "WHAT THE F-"

Carmen: "Mi amor."

MC: "...fluff."

Carmen: *nods in approval*

MC: *takes off her headphones, muttering under her breath as she recovers from her near heart attack*

The Denalis: "..."

MC, throwing them an accusing look: "...What are you all doing here??"

Irina, still hanging onto Carmen´s arm: "...We live here, mortal."

...

MC: *...fair point, however-*

MC, dread slowly starting to creep in: "...And how long have you been here?"

The Denalis: "..."

MC: "..."

Tanya, hanging onto Carmen´s other arm: "Oh...not too long, dear."

MC: *dies inside because that was a lie if she ever heard one...Tanya has never called her 'dear' before either*

MC: "Oh...well, that´s...that´s that then...yeah."

The Denalis: "..."

MC: "..."

Kate, still hanging onto Carmen´s leg: "...Interesting choice in music, by the w-OW! Hey! What did I say??"

Carmen: "Lo sabes exactamente, Katrina." (You know exactly, Katrina.)

Kate: *grumbling under her breath as she rubs the back of her head*

MC: "Oh, uh...thanks? It´s...it´s a good song."

The Denalis: "..."

MC: "...Nice beat and all."

The Denalis: "..."

MC: *awkward coughing*

...

Eleazar, still lovingly holding onto his wife´s midsection from behind: "Allow me the question: How would you describe the impact this peculiar piece of art has on your state of mind as well as your bodily sensations?"

Carmen: *closes her eyes in utter despair because she loves her husband but...god dammit-*

MC: *repeats the sentence multiple times in her head, hoping it will make sense at some point (it doesn´t)*

MC: "...What?"

Kate, always happy to translate: "He wants to know if you feel like fu-"

Tanya & Carmen: "KATRINA!"

Kate: "What?? I was trying to help-"

Carmen: *untangles herself and starts pushing everyone towards the kitchen entrance*

Everyone: *various protests of different nature*

Carmen: "No quiero oírlo. Afuera. Todos ustedes." (I don´t want to hear it. Out. All of you.)

MC: *still processing what just happened*

Carmen: *already halfway out the door before she stops and turns around again*

Carmen: "...Mi amor?"

MC: "...Huh?"

...

Carmen: "I know Tanya hasn´t started on your training yet, but you might want to consider going with a different song for your next kitchen performance."

MC: *blinks at her in confusion*

Carmen: *gives a loving smile and a wink before leaving out the door*

MC: *stares into nothingness for a moment, still processing recent events*

...

MC: "Wait...what training?"

Okay so-

Writing this kinda felt like I was laughing at my own joke for about 95% of the time, but-

I HAD SO MUCH FUN WITH THIS. 😭

Honestly, out of all the shitposts I´ve done so far, this one takes the fucking cake, imo. 💀

Also, in my search for the filthiest, most unhinged Slovak song I could possibly find and which also comes with a beat that slaps (like MC did that wooden spoon), I stumbled upon a few that I ended up really liking:

JEBE - Rytmus (the one MC listens to here - I fucking love that beat 😎)

Cítim vôňu lesa - Emily & Justice feat. Mark Voss (this one´s a mix between English and Slovak - I think it´s fire ❤️‍🔥)

Vdaka ti - AZGART (this one actually gives me goosebumps - there´s something so soothing about it 🥰)

I´ll leave it to y´all to look up the lyrics. 😉

Thanks a lot for your ask! 💋

#tumblr asks #twilight #the twilight saga #the denalis #denali coven #tanya denali #kate denali #irina denali #carmen denali #eleazar denali

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takenbypeter · 2 years ago

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hey! i saw you have fic requests open and was hoping i could request something!!

i haven’t been able to stop thinking about steven grant x american!reader and the reader making steven listen to London Boy by taylor swift. his reaction would just be adorable 🥹

London boy

Steven Grant x reader

Words: 876

Authors note: so sorry for taking a while with this one, it wasn’t coming out exactly the way I wanted it but here it is! I hope you like it 💜 thanks for requesting!

You finally heard it. The noise you’ve been waiting to hear all day.

And that noise would be the sound of the apartment door swiftly cracking open, followed by heavy footsteps from a long day. Which could only mean one thing.

Steven was back.

Without hesitation you quickly shoved your book aside and ran up to greet your partner.

“Steven! You have got to listen to this song, it’s not exactly new but I just heard it today and it reminds me of you. I’ve been playing it on loop all day,” you exclaimed, a little overly ecstatic to show him your new discovery.

Now Steven was tired. He barely got sleep last night and his day was filled with much more customers than usual, which of course meant it was combined with more orders from Donna.

But with sunken eyes and dark eye bags decorating his features, his lips curved, your excitement rubbing off on him, “oh yeah? what’s that?”

“London Boy by Taylor Swift. Ever heard it?” You asked, pulling your phone closer to you.

Steven’s lips purse together as he thinks for a moment, “can’t say I have.”

“Well you’re about to right now, so sit,” you ushered tugging him over to the nearby seats and once sitting yourself, you pressed play on the mobile phone.

Right off the bat, only mere seconds in Steven questions, “I don’t sound like that. Do I?”

Your eyes crinkle as a smile plants itself on your face, “sometimes,” you chuckle more to yourself, before telling him to pay attention.

Throughout the catchy tune your body sways side to side as you take in the beat and the lyrics that describe the exact feeling of you being in London.

Now not all the lyrics matched your specific scenario of course, but it felt nice to relate to it.

Pausing from your own thoughts you glance at him. He’s already got a smile on his face while he’s peeking sideways at you. And once you’ve caught him staring, Steven’s eyes flicker back down to the lyrics while the grin on his face only grows wider. You didn’t know what he was thinking.

Once the song was near end, you asked, “so, what do you think?”

His lips turned into an upside down crescent while he nodded his head a little. “It’s quite catchy, I like it. I still don’t think I sound like that, but I enjoyed it. Especially the part where,” his eyes scroll to your phone looking for the specific words, “it says something about, ‘he likes my American smile,’ I definitely agree with that line—not he liking my smile, but you know me being he—liking your American smile of course.”

Your lips mirrored each other as you jokingly smacked his shoulder at the adorable comment from him. “Don’t worry, I get it and thank you that’s very sweet,“ Steven always seemed to over-explain himself but honestly it just served as a reminder of how endearing he was. “Well I really like the line where she says, ‘I love a London boy,’ because I do love a London boy, you.”

Now it was Steven’s turn to act all embarrassed as his whole face heated up unwillingly, not quite used to flirty comments no matter how many you’ve given him in the past.

Sudden realization hit you as you just took in the fact that he’s been at work all day, “oh!” You said clapping your hands together, ”how was work?

He shrugged, shoulders up to his ears, smile still present, “it was okay—yeah okay. Not too terrible. Of course it wasn’t my best of days but tomorrow will be better,” he reasoned.

“I’m sorry, I should’ve started off with that instead of pushing this on you,” you said, suddenly feeling guilty for not giving him the time he probably needed to decompress from the day.

Steven shook his head, palms quickly being held out in the air as he made a point to deny the thought that came to your brain, “no I loved it. You listen to my stuff all the time it’s only fair I listen to yours,” he reasons, “and now I can play this little find and think of you when I listen.”

“Perfect and I’ll be thinking of you.”

You grinned at each other until you frowned, “gross. Are we those types of couples?”

Steven was a little taken aback, “why? What types of couple?”

“You know the mushy kind.”

“Would it be bad if we were?” The way Steven’s voice was so gentle yet you could sense the hint of nervousness in it, filled you up with fondness for the man.

You laughed, “no, it would be great,” you said getting up from your chair and giving him a little peck on the cheek. Steven watched you walk away with pep in your step.

What you didn’t know was that talking to you after work, telling you about his day, hearing about your day, all of that was his way of unwinding. And the thing is, no matter how tired, how drained, how exhausted Steven is, he always has the energy and time for you. Because he loves you and he loves that he gets to show you that everyday.

#steven grant fanfiction #steven grant fanfic #steven grant imagine #steven grant x reader #marvel fanfiction #marvel fanfic #marvel imagine #marvel x reader #mcu fanfiction #mcu fanfic #mcu imagine #mcu x reader #moon knight fanfiction #moon knight fanfic #moon knight imagine #moonknight x reader #requests #request

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azrielsvq · 5 months ago

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my top 10 ariana grande songs, like ever.

✉️ - for reference, i’ve been an arianator since 2013, so my opinions are carefully curated ;) this also does not include unreleased!

۫ ˑ ֗ ִ ˑ ּ 𖥔 𓄼 ࣪⠀ ִ ۫ ּ ֗ ִ ۪ ⊹ ˑ ִ ֗ ִ

10. only 1

> honestly guys, this song is one of her best vocal songs. it showcases some of her most incredible vocals and i find it often very fun to sing. the song also happens to be relatable (boo).

9. just like magic

> ooh i do NOT play when it comes to this song. the beat is stunning and insanely catchy, let’s start with that. it’s such a fucking vibe and never gets old the more i listen to it. almost might get a tattoo inspired by this song, ngl.

8. needy

> when this song came out in 2019, it literally changed my life. such a meaningful song and unfortunately also really relatable. the beat is sad but also really draws you in. such a beautiful song. love the usage of “yuh” in this song, lmfaoo.

7. sweetener

> an absolute banger on a no skip album. groovy as fuck and catchy beat. there’s really nothing else to say.

6. bad idea

> don’t even get me started on the orchestral music in the bridge don’t EVENNNNN. i genuinely thought i was gonna start levitating the first time i listened to it. even now, it transports me back to beautiful places. such a classic.

5. ordinary things

> probably my favorite on eternal sunshine. underrated still. this song is what love means to me. the beat and the lyrics are stunning. nonna’s outro was also amazing. gorgeous song.

4. nasa

> ariana grande-butera and her fucking stunning ass bridges. the bridge in this songGGGGGGGGGG!!!!!! genuinely so timeless and never able to get over this song. well written and a banger too.

3. blazed

> so overhated. i don’t understand why people don’t like blazed. i fell in love with blazed when it came out and even still now, she’s at the top of my list. sweetener is an absolute no skip album. thank u pharrell!

2. west side

> again, the love that radiates from this song is so pure and genuine that i love to listen to it over and over again. beautifully composed and written and such a lovely song to listen to. the lyrics are often so inspiring and i cannot get enough of this song. underrated banger!

1. better off

> this song has gotten me through hell and back. not only is it relatable but it’s also very heartfelt and emotional. her best song, in my opinion. i’ve never heard a song that quite touches my heart like this one does. i love to introduce people to this song because of how GORGEOUS it is. and the vocals too, yeah, she did that. 🥲💗

ˑ ּ 𖥔 𓄼 ࣪⠀ ִ ۫ ּ ֗ ִ ۪ ⊹ ˑ ִ ֗ ִ

okay, that concludes my opinion. keep in mind, it’s just what i think and not what you have to think! :)

#ariana grande #ariana butera #ariana stuff #arianator #ariana icons #music #my music #pop music #musica

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inamindfarfaraway · 2 years ago

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The Guy Who Didn’t Like Musicals Pitch Meeting

[Should be experienced imagining the voice and acting of Ryan George, who is linked to above.]

Producer Guy: So, you have a musical for me?

Screenwriter Guy: Yes sir, I do. It’s called The Guy Who Didn’t Like Musicals because the main character, Paul Matthews, doesn’t like musicals.

PD: He doesn’t?

SG: No, he can’t stand them. Watching one is his own personal hell. And that isn’t a throwaway quirk, it comes up several times and is integral to the plot.

PD: Isn’t the protagonist typically meant to be relatable to the audience?

SG: Yeah.

PD: And won’t the audience be full of people who like musicals?

SG: Yeah.

PG: Bit of a weird choice, but okay then. So other than the musical thing, what’s Paul like?

SG: Oh, not much.

PG: What?

SG: Yeah, he’s the most average, boring, white middle-class American everyman you can imagine. No desires, ambitions or hobbies; he never expresses much passion for anything except things he doesn’t like. He has an office job at a company that’s so generic, I didn’t even think of what it does. He’s not particularly nice either. Like, when his best friend Bill asks him to help him reconnect with his teenage daughter Alice, he refuses to avoid his own discomfort despite having nothing else to do. And when his other friend Charlotte right next to him is clearly upset because she’s in a miserable marriage to a neglectful, cheating husband, he doesn’t bother to comfort her.

PG: Isn’t the protagonist typically meant to be likeable and interesting?

SG: Yeah, but we’re not gonna do that I decided. So another important character is Emma Perkins, this barista Paul has a crush on. She’s the only reason he keeps going to this crappy café.

PG: And what’s her deal? Is she kind and friendly to balance out Paul being so apathetic?

SG: No, she’s also rude, but she has better reasons for it. She hates her job and has really annoying, mean coworkers her boss favours over her, who just won’t shut up about how great musical theatre is. They all love it so much that there’s a new rule that if they get tipped, they have to perform a whole song and dance routine.

PG: But working for every tip negates the point of a tip!

SG: Yeah, yeah, yeah. Like I said, it's a crappy café.

PG: I gotta say, though, you’re presenting musical fans in quite a negative light there. They are the people whose money we want.

SG: (aside) You haven’t seen anything yet. Anyway, Emma and Paul bond over not liking things and people - it’s cute. But then at the end of the day, a meteor crashes down in a big storm and lands right in the town’s theatre, which is putting on a musical. And the meteor turns out to have evil alien life inside it!

PG: Oh my God. What happens to everyone in that theatre?

SG: Well, it’s offstage, but we find out later that the alien works by taking over your body like a virus and killing you to use you as a vessel for its hive mind. So that probably happens to most of the people. Bill and Alice get out okay, but a lot of people are dead now.

PG: This escalated very quickly!

SG: Yeah, this show does that. It’s a horror comedy; it’s like a sitcom where anyone could brutally die. But here’s the thing: the alien hive mind makes the Infected sing and dance like they’re in a musical, so all the fun, catchy songs are actually it controlling people’s corpses. That’s how everyone knows the lyrics and can move in time to music nobody’s playing. You only hear the music if you’re Infected. And it spreads really fast, so this mindless musical obsession could literally destroy humanity!

PG: That’s so dark and tonally dissonant. But I have concerns about the villain essentially being a living musical, in a musical. Won’t that kinda alienate the audience? As in ‘make them not like it’, not ‘make them aliens’.

SG: No, it’ll be fun. The first song after the intro is very entertaining. There’s this really funny part with a silly, crazy homeless guy.

PG: Ah, yes. Making fun of the homeless and mentally ill is tight!

SG: Not what I… (moving on) and, and, we can cleverly parody musical tropes. For example, Paul’s boss tries to get him to sing an “I Want” song because the Hive want him to be the protagonist of their ‘musical’, but he doesn’t want anything so he’s a terrible protagonist.

PG: Oh, that was on purpose! I thought you were just a bad writer.

SG: Yeah, no, I’m setting up an arc. So the Hive take over most of the town - which is on a island and the bridge gets pulled up, so there’s no way off - including Emma’s café. But she escapes with Paul and they meet his friends from work, plus this obnoxious asshole Charlotte’s cheating with called Ted, who's the worst. But then the Infected police show up, including Charlotte’s husband Sam. She begs him to snap him out of it ‘cause she still loves him, but he pulls a gun on her.

PG: Oh no.

SG: Fortunately, Ted knocks him out.

PG: Oh, good.

SG: But he hits him too hard and his brain falls out!

PG: Wait, even putting aside how unlikely it is that his flesh and skull were broken open wide enough that his whole brain could fall out, isn’t the brain… attached? That’s a very implausible injury.

SG: I’m gonna need you to get all the way off my back about that.

PG: Well, okay then.

SG: So Charlotte has a mental breakdown and Emma suggests they go to her biology professor, Henry Hidgens. He’s an eccentric doomsday survivalist who somehow predicted this exact incredibly specific apocalyptic situation and has a huge house with top-notch security. And he's a biologist, so he might be able to study the alien infection if they bring him Sam.

PG: It’ll be hard to get there safely with the town swarming with alien zombies, especially carrying a dead man.

SG: Actually, it’ll be super easy, barely an inconvenience.

PG: Oh, really?

SG: That part just happens offstage.

PG: So they get to shelter?

SG: They do, so they start to relax for a bit. Except Charlotte, she’s dying inside and stays with her tied-up dead husband. Bill and Ted have this funny argument where Bill threatens to kick Ted’s head, which, you know, is a stupid threat.

PG: It is?

SG: Yeah, because you’d have to kick really high and most people can’t do that.

PG: I thought you would just push the person to the ground with your arms and then kick their head. Most people can do that.

SG: True.

PG: And it would be highly effective. You could kill someone that way.

SG: (getting an idea) You could, couldn’t you? (writes that down)

PG: What are you writing?

SG: Nevermind. Emma and Paul have a nice heart-to-heart where she reveals her backstory. Turns out she had a sister, Jane, who lived a great life, dream job, true love, kid, everything, while Emma left home at eighteen and travelled around being aimless and irresponsible. But then last year Jane died and that’s why Emma came back and is studying, to try to do something with her life now that Jane can’t anymore.

PG: Aw, that’s sad.

SG: Even a zany horror sitcom has its serious moments. So she and Paul bond some more, until Charlotte and Sam burst in.

PG: Wait, what?

SG: The Hive made her think he’d come back to life and manipulated her into letting him go. Then he just killed her.

PG: Dick move.

SG: Massive dick move! So now Ted gets beaten up by the possessed corpse of the woman he loves, after the last things he said to her were mean because he’s the worst. Fortunately, Hidgens kills the zombies.

PG: Oh, good.

SG: But Alice calls Bill and she’s under attack at her school!

PG: Oh no.

SG: If Bill goes to save her alone he’ll almost definitely die. But Paul volunteers to go with him.

PG: So he won’t be nice to his friends in everyday life, but he will risk his life for them?

SG: Precisely, this is really bringing out his inner hero. But when they get there, Alice is already Infected. She sings a whole song about what a terrible father Bill is and he's so guilty that he failed her that he tries to kill himself with the gun they brought. Fortunately, Paul takes the gun off him.

PG: Oh, good.

SG: But he drops it on the ground, so Alice just shoots Bill herself.

PG: Oh my God! Why did he let go of the gun? That was a very poor decision!

SG: Extremely poor, yes. Alice nearly kills Paul too, but the army rescue him. Specifically this secret special unit that I made up called PEIP that deals with supernatural stuff like magic and aliens that most people don't know about. They're ordered to kill everyone to keep the weird stuff secret, but the leader, General John MacNamara, is a good person so he doesn't do that.

PG: So he lets Paul live?

SG: He does, and he sends a helicopter to take him and Emma off the island.

PG: Paul tells him about Emma?

SG: Uh-huh. He realizes that he's in love and finally does want something: to be with her.

PG: Cool, cool, cool.

SG: Meanwhile, Hidgens and Emma are studying the Infected. Emma theorizes that if the brain of the Hive is in the meteor, they could take out all of them by destroying it.

PG: Is that true?

SG: There's no reason it couldn't be! But Hidgens changes his mind about the Hive being evil, knocks Emma out and ties her and Ted up. Then he opens his house's gates because he wants the Hive to get in.

PG: Why does he think the Hive isn't evil?

SG: Well, he's thinking that since humans are so immoral and harmful we're killing the planet and each other constantly anyway, but the Hive will bring peace and harmony. And he loves musicals.

PG: Oh, he does?

SG: Yeah, he's even written his own awful one, and he plays a song he wrote and composed to lure the Infected inside. He's willing to die and doom humanity for his twisted, irrational love of musical theatre.

PG: Really slamming your audience again. Hey, why wasn't he at the musical the theatre just put on?

SG: I don't know.

PG: Fair enough.

SG: So Paul comes back, frees Emma and Ted and they escape, but General MacNamara kills Ted because the soldiers are Infected now!

PG: And this is all onstage?

SG: Yes.

PG: Then it's gonna be hard to get past a division of fit, armed zombie soldiers who can survive not even having brains in their heads.

SG: No, it isn't. Emma shoots MacNamara in the shoulder and that makes him just give up.

PG: What about all the other soldiers?

SG: Please ignore them.

PG: Okay.

SG: So Paul and Emma get to the helicopter and think they've made it, but the pilot is Emma's mean coworker from earlier and makes them crash.

PG: Why is she Emma's coworker and not just the army pilot, if the Hive got there first?

SG: Because.

PG: That works. Are they okay after the crash?

SG: Paul is, but Emma's too hurt to walk. Paul says they should find a boat -

PG: Wait. There are boats? Or does Paul just think there might be?

SG: I have more notes on this town and it has a boating society, so there are boats.

PG: Then why haven't the Infected got in the boats and gone to mainland? Shouldn't they have done that by now?

SG:

SG: ...You're right. I didn't think about the implications. Oh my God, I didn't think about it!

PG: Whoops!

SG: Whoopsie! So anyway, Emma tells him her theory and he goes to blow up the meteor with a grenade.

PG: But then he could die, and right when he actually cares about something. That is heroic. Do he and Emma have a touching maybe-last goodbye?

SG: Kinda. They try to kiss, but she coughs up blood in his face. The Hive knows Paul is coming and lets him in order to infect him. He does his best to resist its control, but it makes him sing and dance and have an existential crisis.

PG: Oh no.

SG: But at the last possible moment, he pulls the pin, blows up the meteor and saves the day!

PG: Wow, wow, wow. Wow.

SG: So we cut to two weeks later. Everyone else in the town is dead, but Emma was saved by the army reinforcements and she's getting out of hospital on the mainland and ready to start a new life.

PG: Well, at least she survived and the Hive is defeated. That's what Paul wanted. But it's still a shame he died.

SG: That's what Emma thinks... until he walks in!

PG: (excited) What?

SG: Yeah, he's okay and he gives her this soft smile and she's the happiest we've ever seen her and they hug.

PG: That's such a sweet ending. After everything they've been through, getting to be happy together feels earned, and I really have warmed up to them both.

SG: And then Paul starts singing.

[Beat. Producer Guy's relieved expression turns to confusion, shock, sorrow and horror as he processes that information and its implications. He stares at Screenwriter Guy, betrayed.]

PG: But that means he's... (SG nods, proud of himself) and Emma's theory was wrong, and... (SG nods again) the Hive is on the mainland now, so the entire world is... (SG nods again) oh, a very depressing ending!

SG: Set to a very cheerful song! The cast even stay in-character for the bows; the Infected bow while Emma screams and cries and begs the audience for help before being dragged away. So what do you think?

PG: That ending will haunt my dreams. But as creative as the premise is and as emotional as it gets later on, I don't know if this will be that big of a hit. The tone changes so fast and jarringly, the main characters aren't that likeable at first and it all just seems pretty niche. And it spends so much time mocking its own genre and audience. I can see it becoming a cult classic, but I don’t think you’ll be able to launch a series with it or anything.

#this is probably way too detailed because i don't know how to edit #i also genuinely didn't realize the boat plot hole until now #emma's 'you were right. i didn't think about the implications. oh my god i didn't think about it!'#tried to get ryan's distinctive dialogue style right #the guy who didn't like musicals #tgwdlm #hatchetfield #team starkid #starkid #pitch meeting #pitch meetings #ryan george #long post #very long post

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thoughtsbyharu · 7 months ago

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Guts and Guts (spilled) Album Thoughts

My thoughts about Olivia Rodrigo's 2nd album, Guts!

Hi everyone! Long time no post! A lot has happened for the past months and I haven't posted a lot :(

Anyway, so Olivia released an album last September! This review is sooo long overdue haha but at least I could also review the new songs released on Guts (spilled) which is kind of like the deluxe edition of Guts.

I am very excited for this album because her previous album, "Sour" was one of my favorites. I listened to this on its release and it did not disappoint! So let's talk about my thoughts about it.

1. all-american bitch

Rating: 9/10

Memorable line/s:

"I don't get angry when I'm pissed. I'm the eternal optimist, I scream inside to deal with it"

"I'm grateful all the time (Grateful every f*cking time)"

Thoughts:

Way to start an album! The song is very catchy and the pop rock elements just hits up my alley. I heard that she used some American pop culture references in this song so I did some researching to know the meaning of them (since I am not American lol).

The overall tone of this song is somewhat sarcastic. I think the song is about how people expect her to be the "perfect American woman" when some of that ideals are quite destructive. Take for example the line:

"All the time, I'm grateful all the time I'm sexy and I'm kind I'm pretty when I cry"

and the line

"I don't get angry when I'm pissed I'm the eternal optimist I scream inside to deal with like "Ah""

It's like even if you are upset or angry, as a woman, you are expected to be calm and mature and handle things gracefully like a proper lady. Basically, bottling up your feelings because you, having negative feelings and expressing them doesn't sit well with people.

These types of expectations are toxic and unhealthy. Keeping your thoughts internally because people will be inconvenienced is such bs. Having emotions isn't a crime because guess what, women are people too. We should be able to laugh when you're happy, cry when you're sad and get mad when you're angry.

Overall (before this section takes too long), I like the song and it's meaning. I especially love the outro. Oh! and have you guys seen her performance of this song on SNL? It was amazing!

2. bad idea right?

Rating: 8.5/10

Memorable line/s:

"Seeing you tonight is a bad idea right?"

"I only see him as a friend (The biggest lie I ever said)"

This is like hearing the thought process of your friend who can't leave their ex or move on 😂

It's a fun song and really catchy. I love the build up before every chorus hits. It's fun to sing along to.

It's funny because this song reminds me of one of my friends and his on/off relationship with a girl. Like, he keeps ranting about her but he just keeps coming back to her. Saying things like, "Well, we're still friends so we're still hanging out" but then regrets it later when stuff happens. This song reminds me soooo much of him. No matter how much advice we give him he always does the opposite.

Anyways, to my friend out there, hope you move on already!

3. vampire

Rating: 9/10

Memorable line/s:

"I used to think I was smart but you made look so naive"

"You can't love anyone, 'cause that would mean you had a heart"

So this song was said to be about a previous boyfriend but others said that this is about Taylor Swift, but I think I'd go with the former. I did some research and she did have a former boyfriend that fits the description so maybe it's about him?

The lyrics is kind of like "All Too Well" all over again. Not saying it's bad but it's really weird to think that a lot of young women can relate to it. I mean, why do these men always go after young women who's like, years their junior? The line "Went for me and not her, 'cause girls your age know better"?? Like dudes, why can't you find someone your age? Young women in their late teens to early 20s are still figuring out life, leave them alone 😂

Anyways, the song is quite good and pretty hard to sing so kudos to Olivia! I watched her live performances to this song and it's just so amazing.

4. lacy

Rating: 7.5/10

Memorable line/s:

"I see you everywhere, sweetest torture one could bear"

"People are people but it's like you're made of angel dust"

"I despise my rotten mind and how much it worships you"

This is definitely about envy. It's the kind of envy where you admire someone because you can never be like them. Do you guys get it? (haha)

She puts "lacy" in a pedestal because she's basically perfect; which is something that she (Olivia) thinks she could never be. Basically, "Lacy" brings out her insecurities and this is frustrating her.

I think most of us has their own "lacy". Maybe it's an idol, actress, friend, etc. and I get it because I also have my own. The thing is, you are your own person and that lacy is also their own person. You will never be them because you are you. It's alright to acknowledge the feeling of jealousy but don't let your life revolve around it. Do things that are best for you.

5. ballad of a homeschool girl

Rating: 8/10

Memorable line/s:

"I'm on the outside of the greatest inside joke"

"Each time I step outside, it's social suicide!"

This is not a ballad, this is an anthem!! 😂

I have to say, this ain't just for the homeschool girlies but awkward and socially inept people too (like me). I am laughing all throughout this song when I first listened to it because it is TOO relatable for my own good.

I love how chaotic it sounds, like a mind of a very confused and anxious girl who does not know how social stuff works.

P.S. can't find a fitting gif for this sooo bear with me

6. making the bed

Rating: 8/10

Memorable line/s:

"Well sometimes I feel like I don't wanna be where I am"

"Every good thing has turned into something I dread"

"I got the things I wanted, it's not what I imagined"

This is such a very personal and emotional song. I've been watching BoJack Horseman recently (I'm on Season 4 pls no spoilers) and this song reminds me of him. This song could be about her rise to fame but it could also be interpreted as facing the consequences of your own actions thus the title.

9. logical

Rating: 8/10

Memorable line/s:

"No, love is never logical"

"I know I'm half responsible and that makes me feel horrible"

"i fell for you like water falls from the february sky"

Another ballad~ It's about how she wished she left an unhealthy relationship sooner. She reminisced about how she ignored all the red flags because she loved him. This is probably about that guy on vampire because some lyrics talks about how he took advantage of her because she was young. And yes, when you are young, immature, and inexperienced, love is not logical. She seems to blame herself over it as well which made me want to give her a hug :(

The song makes me sad.

10. get him back!

Rating: 9.5/10

Memorable line/s:

"But I am my father's daughter, so maybe I could fix him"

"Wanna kiss his face, with an uppercut"

"I want sweet revenge, I want him again"

This feels like the continuation for "bad idea right?". Get him back is a song about having complicated feelings for an awful ex. She wants to get back with him but at the same time she wants to get revenge or get back at him for breaking her heart.

Song is very catchy and I hope I could hear this live soon! (Olivia please come to the Philippines) One of my faves in this album.

11. love is embarrassing

Rating: 9.5/10

Memorable line/s:

"My God, love's embarrassing as hell"

This is logical but in a lighter tone or when you are at the stage that you've moved on but you suddenly remember what you did and you get second hand embarrassment for yourself 🤣 It's giving "What the hell was I thinking, tf did I do that for??"

This song is so fun and I found myself singing it from time to time. One of my favesss

12. the grudge

Rating: 11/10

Memorable line/s:

"You took everything I loved and crushed it in between your fingers"

"My undying love, now I hold it like a grudge"

"I takes strength to forgive, but I don't feel strong"

"How could anybody do the things you did so easily?"

"It takes strength to forgive but, I'm not quite sure I'm there yet"

Ngl, this song made me cry. Every time I try singing it I always end up tearing up or crying. It's like you are trying to move on and forgive someone but that pain still lingers and it hurts so much and you can't bring yourself to come in terms with. To anyone who is in the situation, give yourself time because as they say time can heal all wounds. If you must cry, then there's no shame in crying.

13. pretty isn't pretty

Rating: 10/10

Memorable line/s:

"There's always something in the mirror that I think looks wrong"

"...I could try every every lipstick in every shade, but I'd always feel the same "

"You fix the things you hated, And you'd still feel so insecure"

Seriously Olivia. Why should you always write songs that are so personal and relatable?? I gotta be honest, but this song made me cry again haha. I dunno, I just can relate to this song soooo much. I love how Olivia wrote this because it captures the struggles of being an anxious and insecure individual. Anyway, on a lighter note, I love the guitar and the bridge of this song. This is one of my faves.

14. teenage dream

Rating: 10/10

Memorable line/s:

"When am I gonna stop being wise beyond my years and just start being wise?"

"They all say that it gets better, it gets better, but what if I don't?"

Another ballad and yes, I am crying because of this song yet again. If I have a song I want my teenage self to hear, it's this song. I am an eldest daughter in an Asian household so this song just pulls my heartstrings so much because it makes me feel heard and my feelings validated. I am expected of many things so this song comforts me.

The slow buildup to a rock tone during the outro is also such a nice tone.

15. obsessed

Rating: 10/10

Memorable line/s:

"You both have moved on, you don't even talk. But I can't help it, I got issues, I can't help it baby"

You don't know how guilty I felt when I heard this song for the first time hahaha. At one point in my life, I've been soooo insecure at my boyfriend's ex and the lyrics just hits me like a damn truck because my thoughts are exactly the same!! I mean, sometimes you just can't help to compare yourself from an ex you know?

I love the contrast of this vs. the other 3 songs because this is pop rock. I love the instrumentals for this!

16. girl i've always been

Rating: 8/10

Memorable line/s:

"And I can't say I'm a perfect ten. But I am the girl I've always been"

A country song! I love how lively this song is. The lyrics is kind of empowering in a way because it feels like Olivia has accepted that she is flawed and is not pretending to be that perfect girl anymore.

17. scared of my guitar

Rating: 7.5/10

Memorable line/s:

"I can't lie to it the same way that I lie to you"

"So we'll stay together 'cause how could I ever trade something that's good for what's right."

Another sad song (please Olivia I'll run out of tears!). I think Olivia is pertaining to her songwriting skills here and how she uses it to express her raw and authentic self. She compares how honest she is with her songwriting versus her relationship with others. It is implied that she isn't transparent about her feelings with other people, possibly because she is protecting herself.

18. stranger

Rating: 10/10

Memorable line/s:

"I cried a million rivers for you but that's over now. You're just a stranger I know everything about"

"You are the best thing that I'll ever keep so far out of my life"

"If I'm not enough for you, you're not enough for me"

This song is so uplifting and positive for someone who already moved on. I love the lyrics of this as it speaks about moving forward and forgiving someone but never forgetting. Oh! and I love the reference from "enough for you". I also love the guitar on this one.

19. so american

Rating: 9/10

Memorable line/s:

"He's like a poem I wish I wrote"

"Oh god, it's just not fair of him to make me feel this much"

"I'm probably gonna marry him if he keeps this shit up"

"I really love my bed but man it's hard to sleep when he's with me"

"I don't wanna assume this stuff. But ain't it love? I think I'm in love"

Guysss we finally have a love song!! This is such a perfect way to end an album together with "stranger" because it feels like a chapter has closed and another one has opened! This is her first love song since her debut right?? It's sooo good. The lyrics are so cute and makes me smile. She describes this guy as the best thing that's ever happen to her and that makes me happy somehow? She sounds sooo inlove and adorableee! I really love the bridge it makes me all giggly ><

-----

My Top 5 Picks:

stranger

the grudge

love is embarrassing

obsessed

pretty isn't pretty

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Overall Thoughts:

I gotta say, kudos to Olivia and her team because they manage to create another good album! It's great that they are consistent with pop rock and ballads and I especially appreciate that they added a little country touch on the song list!

Overall, like Sour, I love how this album is so personal. Ngl, this made me cry more than Sour ><

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penroseparticle · 7 months ago

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Penrose Song of the Day Day 23: Seven by Jung Kook ft. Latto

I am not immune to Kpop. And this song is interesting to me, for reasons that aren't quite totally obvious.

Like the song is perfectly listenable, and it's good pop music. Well produced track, with nice ornamentation. It evokes a vibe it's going for. I think it's a good song, in a vacuum.

I'm not super sold on Latto, but I do like Seven more than Jung Kook's other foray into English songs with US Features- On level, I like Jack Harlow more as an artist (Don't ask, I have a whole rant), and I like the backing track more on 3D, but I think it's a worse song by a significant margin and Jack Harlow's verse on the song is just absolutely rancid. Seven does a lot of things in the song that makes me feel like they've really set Jung Kook up for a successful across the pond single. Though 3D does a lot of the same things now that I'm giving it a good listening as well.

The first thing that's pretty obvious is that the song is very, very simple lyrically for him. Obviously Jung Kook sings the whole song in English, but the song is a softball lyrically- The pre-chorus is pretty extensive, and the chorus is very repetitive- in a way that seems natural, almost. We're listing the 7 days, which all end with "day". We're talking about EVERY hour EVERY minute EVERY second. It's an intensification that's somehow natural to talk about. Night after night. Every chance for natural, intuitive repetition they went after. And the song is form following function- this song is kind of a jackhammer- auditory pun absolutely probably intended. That makes the lyrics regularly spaced and at an easy rhythm.

When you learn a new language, what are some of the first words you learn. I know I've just picked duolingo for French back up. There's a lot of these words in like. Unit 1 and 2 of learning the language. The days of the week. Every. Time words. I'm just saying, I think this song was made with the Kpop phenomenon in mind-After all, Korean fans are going to want to listen to Jboy's English track too. And this is easy for them to grok as well.

There's this natural desire to make sure Jung Kook comes across as sexual in both of his English songs- I think Kpop artists in general are a bit too polished, idol-esque. They're pretty pretty pony people and it's hard to find them visceral and relatable. I don't think it's at all an accident that Mr. "I'm vanilla baby" and Mrs. "I can tell you have big dick energy" are the features on these two songs, and I for one am glad to live in a universe where Jung Kook feels comfortable enough to say "YO I FUCK, OFTEN AND SEVERELY". And not only that but it seems to be something that both benefits his brand and humanizes him for non-kpop fans.

That said the song is still very, very kpop. It feels calculated for success (The lyrics were a dead giveaway), the chorus has Jung Kook's vocals layered up so he sounds more boyband. It's catchy and I can SEE the elaborate boyband choreography that can go with this in my mind's eye. It's a bit edgier, a bit more, I guess American? Than typical BTS fare. But It's not totally removed from it either.

Also, the swears are easy to cut out, easy underlining and punctuation to what's actually happening in the chorus, and are a nice juxtaposition to the actual verses compared to the. Let's say more direct chorus. So you can make a clean radio edit fairly simply (I think they sub "loving" which just. lmao) for wider radio play and public perception.

I think Latto's feature is whatever to be honest. It's a little. bland even for Latto? I think the sound engineer had too much fun on the camera roll and swallow your pride parts, they're comically on the nose sighs and slurping noises which actually just makes me giggle. But the wordplay works, it's a good alternate perspective on the song subject matter, and ultimately I think Latto did a great job, even if this doesn't make me want to hear more of her stuff.

Long story short- I like this song precisely because this song was crafted and I am looking at the craft. I don't necessarily think I'd like the song nearly as much until I started noticing how "easy" the song was made, in a way.

Studying this was fun. Anyways, as always. You could be dead right now. Go listen to something you love.

#penrose song of the day #fresh jamz

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aijamisespava · 8 months ago

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2023 vs. 2024 Part 3: Semi-Final 2

Closing out our look at the 2024 songs, we have the songs performing in this year's second semi-final. And just like in the previous post with Luxembourg's entry, I will be discussing Romania's 2023 entry to balance things out and make sure all entries from countries I am willing to cover are covered.

Romania: D.G.T. (Off And On). We all know that I actually liked this song. The music is good, the vocals were great, and Theodor Andrei has great potential to be a star. TVR screwed him over and ruined his experience, so I can only hope that he returns and does really well as revenge for 2023.

Austria: Who The Hell Is Edgar? vs. We Will Rave. Winner: Who The Hell Is Edgar?. We Will Rave will absolutely be a summer hit this year. It is made for that, and Eurovision will give Kaleen the jumping board for the summer hit that her song will become. But, I have a soft spot for Who The Hell Is Edgar?. My sister and I still joke (over a year later) that we are Teya and Salena. Plus, I do love Edgar Allen Poe's work...and he's from Boston where I'm studying...so...yeah.

Malta: Dance (Our Own Party) vs. Loop. Winner: Dance (Our Own Party). Loop is a party song. I could see myself going out with my friends and dancing and singing to this song (we're not professionals, and drinks are involved. Do with that what you will). But Dance (Our Own Party) is an introvert anthem. Much so that as an introvert myself, I added this song to my playlist!

Switzerland: Watergun vs. The Code. Winner: The Code. Switzerland gets off the male ballad train that they've been on and sends a banger, send post. In all seriousness, The Code is an EXPERIENCE when listening. Nemo's mix of so many genres, in my opinion, is an appeal to everyone. I will say that Watergun is beautiful, and a great way to end Switzerland's male ballad era.

Greece: What They Say vs. Zari. Winner: Zari. What They Say and Victor Vernicos deserve a lot more love than the fandom (including myself) give it. It's a wonderful song about anxiety that anyone can relate to. Yet, there's a theme to some of the songs this year where more ethnic pieces. We have a lot of languages returning after not appearing in the contest ever or years before. And Zari adds to the list. While we last saw Greek in 2022, the song (and video) is an ode to Greece.

Czechia: My Sister's Crown vs. Pedestal. Winner: My Sister's Crown. Pedestal has been a steady grower on me for a while. It's got quite the punch, that the revamp didn't kill when it came out earlier this week. But keeping a theme of songs with personal meaning, My Sister's Crown has that between the two.

Albania: Duje vs. Titan. Winner: Duje. Now if we were talking about the Albanian version of Titan, then we may be having a different conversation. Titan is good, but I feel the charm of the original version got a little lost in the song. Maybe that version needs to grow on me a little more. Then with Duje, keeping the song in Albanian worked. The revamp was more of a cleanup to make it sound a little better, which certainly helped.

Denmark: Breaking My Heart vs. Sand. Winner: Sand. Breaking My Heart wasn't as horrible as some may recall. It had a fun hook and was a great song to dance to. But Sand is amazing. The music has a groove, the lyrics hit, it's a complete package! It's a song that I really hope qualifies as some may see it as a glow up for Denmark.

Armenia: Future Lover vs. Jako. Winner: Future Lover. Both Future Lover and Jako prove great arguments either way. Jako is a fun song that feels like I'm at an Armenian party and Ladavina pulled me in to dance with them. Future Lover is a powerful ballad with a gentle mix of genres that I still joke about my future lover listening to.

Estonia: Bridges vs. (N)NETM(K)M *I'm not typing that*. Winner: Bridges. Yeah, no. I'm not typing that title. It's been steadily growing since I first heard it with the Eesti Laul songs. It's catchy, has a dance, and still should close the 2nd semi-final. Plus, the translation of the title alone is enough to send me. But my heart goes out to Bridges. I do love my ballads, and between the two I like Bridges more. But 5MIINUST and PUULUUP definitely have a point.

Georgia: Echo vs. Firefighter. Winner: Firefighter. Yet another tough decision as I liked both Echo and Firefighter. The songs are both iconic and sung really well, which only adds to the difficulty that it is picking. But Firefighter is another one of those songs that have been stuck in my head for a while now, which is great considering it was one of the last songs to be released.

Netherlands: Burning Daylight vs. Europapa. Winner: Europapa. Europapa is the Eurovision song this year. Every year, there is one Eurovision song that SCREAMS Eurovision, and Joost made it his mission for that to be his song. And his mission was succeeded, and the reward is this win. Burning Daylight was a great song that saw a lot of fans disappointed when it failed to qualify. But when choosing between that and Europapa, Europapa is it.

Norway: Queen Of Kings vs. Ulveham. Winner: Ulveham. This was yet another tough choice as I love both of these songs. Queen Of Kings is a powerful anthem that deserved its spot in the top 5. But as I mentioned when the National Final happened, Ulveham sounds so much like stuff I listen to outside of Eurovision. And I'm still in awe every time I hear it that it is real and it is happening!

Latvia: Aijā vs. Hollow. Winner: Aijā. We all knew this was going to happen. Sudden Lights put me under a trance which ended in my becoming a fan of their other music as well. It topped my Spotify Wrapped, it was my everything in 2023. They're a tough act to follow. Dons does this with Hollow. While it was a good choice for Latvia, I worry still that it may be too safe an entry. But it is a good, slower song in a year of high-energy bops.

San Marino: Like An Animal vs. 11:11. Winner: 11:11. Like An Animal was one of the entries that I didn't like at first, but by the end of 2023, I would be content if someone played it. But 11:11 is quite literally up my alley in the music world. I love rock (especially women-led rock), and I really hope that they get enough votes to bring San Marino to the Grand Final.

Belgium: Because Of You vs. Before The Party's Over. Winner: Before The Party's Over: We end this journey with one of the most obvious choices in the list. Don't get me wrong, Gustaph brought a great song that showed all of Europe (and the world) that Belgium is back to the way it was back in 2015-2017. But HOLY CRAP. I knew I was in for a treat when getting Mustii's first impression, and I was so blown away by Before The Party's Over. I still haven't been able to stop listening to it quite yet!

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thenightling · 1 year ago

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Well, now that I've updated my favorite Christmas songs list. Here is my list of favorite Halloween songs. Note, this list is subject to change based on my mood.

Bonus: Locked Within the Crystal Ball by Black Moore's Night. It's not actually Halloween related but it has a very elemental magick feel to it so I felt it was worth a mention.

Also bonus mention for Queen's A Kind of Magic.

25. Witch's brew by Omnia. The lyrics are directly taken from Shakespeare's MacBeth but because the play is considered to be cursed the song may be cursed. The story goes that the scene with he three witches was based on an encounter Shakespeare had with some actual witches and as punishment for making them characters in his play, the play was cursed. Now actors and theatre crew consider it bad luck to say the name of the play. It's often referred to as "The Scottish Play" and the only time its name can be said is when you are talking specifically about the character. So because it might be cursed, I put it very low on the list.

24. Lost in the Shadows from the Lost Boys soundtrack. This is an old favorite as I used to watch that movie every summer but I associate it more with summer than Halloween which is why I put it so low on the list.

23. The Master's song, sung by Renfield in Dracula the musical by Frank Wildhorn.

22. Life after Life from Dracula the musical by Frank Wildhorn and sung by Dracula and Lucy.

21. Anything can happen on Halloween sung by Tim Curry for the TV movie version of The Worst Witch.

20. Hex Girl from The Hex Girls for Scooby Doo and The Witch's Ghost. From the Wiccan Eco Goth equivalent of The Spice Girls.

19. Touching old Magic AKA The Halloween song from the Halloween door episode of The Real Ghostbusters animated series. Surprisingly good for a song from an animated series from the 80s.

18. Halloween by John McCutchen. This was a pain to track down. I heard it on Halloween radio and liked it and it took me a while to find a decent recording of it.

17. Halloween by J. P. Ashkar. This song was a Tiktok hit last Halloween and the full (longer) version of the audio can be found on Youtube. It's really very catchy.

16. Creepy Crawlies by Scary Bitches. This song was (for many years) the unofficial theme song to the Spirit Halloween store. The first time I heard it was on the radio in a Spirit Halloween store.

15. Scary Monsters (And Super Creeps) by David Bowie. Not quite Halloween related but it plays on Halloween radio and so does Magic Dance (which is listed under this one). The album Scary Monsters (and super Creeps) inspired Danny Elfman during his Oingo Boingo days.

14. Magic Dance by David Bowie for the movie Labyrinth. Sung by Jareth, The Goblin King, and his goblin minion, to entertain a human baby.

13. The Witches are back to the tune of the similarly named Elton John song, from Hocus Pocus 2.

12. One way or Another. The Hocus Pocus 2 version sung by Bette Midler.

11. I put a spell on you. Bette Midler's cover from Hocus Pocus.

10. Horror in Action by Kayak. For some reason this song makes me think of Cain and The House of Mystery horror anthology comics by DC.

9. You won't survive by Count Crow. A parody version of "I will Survive" sung by Dracula to his victims. I just think it's darkly funny.

8. Fright Night from J. Geils Band. This is the title track for the movie Fright Night from 1985 starring the late Roddy McDowall as a hasbeen horror actor who is dragged into the world of the supernatural when teenager, Charlie Brewster, believes his neighbor to be a real vampire. Peter Vincent must overcome his fears and becomes the hero he always pretended to be. Roddy McDowall's voice is even sampled briefly in the song.

7. Monster Mash by Bobby "Boris" Pickett. How can I not love this classic? But my favorite version of it is a recording I actually only heard relatively recently. Vincent Price's cover from the 1970s.

6. Thriller by Michael Jackson and Vincent Price. I mostly love it for the iconic dance but most especially for Vincent Price's poem / "Rap" and of course his iconic cackle at the end of the song. My friend Sarah used Vincent Price's cackle from the song as my ringtone on her cellphone for many years.

5. Ghostbusters by Ray Parker Jr. This one is a childhood favorite. The title track to the original Ghostbusters movie and the theme song for The Real Ghostbusters animated series. The animated series inspired me to study parapsychology and made me want to be a parapsychologist when I was thirteen.

A recent interview with Ray Parker Jr. revealed that he loves the song because it always makes people smile. No one is ever crying when the Ghostbusters song is playing. He said how even little kids will answer "Who you gonna call?" with "Ghostbusters!" And that's what he likes about the song, it brings people joy. There's no negative emotion attached to the song. And I realized he's right. It's just a fun song.

4. Pet Sematary by The Ramones. Deliberately misspelt, this song was the title track for the movie of the same name, based on the novel by Stephen King. I actually like the song more than the movie. The song is from the point of view of someone who doesn't want to be raised from the dead. In role playing games I always made this the favorite song of my original character, Shelley.

A cover of the song was performed by Plain White Ts for the soundtrack of Tim Burton's remake of Frankenweenie (he was remaking his own short film but as stop motion). I actually prefer the original Ramones version. Though I do love it's use for a Frankenstein story.

3. Weird Science by Danny Elfman / Oingo Boingo. I love the song for it's bouncy nature. Yes, it's "Mainstream' but so what? Oingo Boingo fans who refuse to like any of their "mainstream" songs are (in my opinion) kind of pretentious. Yes, it was written for a cheesy teen comedy that later became a 90s teen sitcom on USA Network. But so what? The song is from the point of view of a scientist / sorcerer or alchemist attempting to create life. It's heavily inspired by Bride of Frankenstein and the version used in the opening of the Weird Science TV series samples clips from Bride of Frankenstein.

In role playing games I often made this the favorite song of my "therapist for monsters" character Percy Van Helsing.

2. Dead Man's Party. This song will now always remind me of a wonderful time I had with my cousin and soul sister, Jessica Louise Conroy and her son, Joey, at Six Flags last Halloween season. It played a lot over the speakers there and was already a Halloween favorite of mine. It's by Danny Elfman from when he was the lead singer of the rock band Oingo Boingo. And it makes reference to the scary story "Room for One More." Today Danny Elfman uses it as his encore performance at the end of his Nightmare before Christmas concerts but between 1996 until 2015 he did not perform it live. Now it's tradition that he adds it to his annual Nightmare before Christmas concerts. And the song became the basis for Six Flag's Halloween stage show of the same name, "Dead Man's Party."

1. This is Halloween. Written by Danny Elfman for Nightmare before Christmas it finally reached the Billboard Top 100 for the first time this year. My favorite recording of it is the demo version sung by Danny Elfman himself because it sounds like Jack Skellington is giving you a tour of his home town.

Another Bonus: I also love Halloween Bash by Irving Fink. I didn't put it on the list before because I couldn't remember who recorded it. I knew it as "Monster Bash" from Halloween Radio, a song I heavily associate with my dearest friend Lorie Pringle

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existentialmagazine · 1 year ago

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Review: Love Ghost and Blnko’s new pop-punk collaboration ‘Veneno’ wraps up the woes of a toxic love in atmospheric guitar and catchy vocals

Love Ghost are a musical force to be reckoned with, as these self-proclaimed misfits find themselves sharing new releases more often than not, already offering 2023 a handful of singles, a full-length album and an EP. Conjoining a style equally informed by Seattle tradition and Souncloud-era fearlessness, Love Ghost find themselves coining their music to be something of emo trap-rock, a niche that no artist has truly been able to capture in the same way. Now collaborating with Mexican artist Blnko’s, their newest single ‘Veneno’ - meaning poison - sees the two acts creating a patchwork of their stylings into something new and unique.

Storming in at full atmospheric force, ‘Veneno’ sees soaring, quickly strummed electric guitar placed front and centre of everything as it leads us into the release, delivering a pop-punk-esque core for the track to shine as well as Latin rock elements that push its individual flair to the max. Steady, hard-hitting drums commence for the verse, with the instrumentals feeling clean but striking all the same as Love Ghost’s vocalist delivers a spoken-sung performance atop it, championing his staple whine-y emo sound that’s a distinctly catchy staple part of the group. The chorus only ramps things up further, with the drums hitting harder and the guitar more vigorous as well as Blnko’s screamed backing vocals making this an angsty moment you won’t be forgetting or failing to head-bang along to anytime soon. Taking hold of the second verse, Blnko’s clean Spanish vocals carry both a charisma and confidence that’s perfect for the song’s teetering bridge between gritty and smooth. At just two and a half minutes in length, this short but sweet offering is one you’ll need on repeat a handful if not more times to get the full flavour of as Love Ghost and Blnko get in your head and plant one hell of an earworm to be remembered.

As the lyrics deliver a conflicted narrative of a relationship that’s evidently a two-way street of toxicity, ‘Veneno’ finds itself fighting between knowing it’s best to let go, but instead clinging on like its life depends on it. With a contrasting internal battle evident in every line, Love Ghost spew a monologue of thoughts, admitting ‘I’m done putting up with you, I can’t get enough of you’ but never capable of making up their minds. As lines like ‘the venom you give is like a dream’ sugarcoat this progressive downwards spiral, ‘Veneno’ doesn’t hesitate in offering quite the truthful depiction of how it feels to be consumed within a toxic partnership, finding a rush in every blow and feeling incapable of walking away. An air of codependency also surrounds ‘Veneno’s narrative, clinging onto lyrics like ‘I can’t be without you’ that make it very clear they’re not just infatuated but also feel so deeply dependant on this person they don’t believe they’re capable of walking away even when they’re causing so much pain. Every hard-hitting word of ‘Veneno’ captures a side of a toxic relationship that many don’t speak so openly of, and as always we can’t help but adore Love Ghost’s continued willingness to set the stage for others to relate and feel less alone within their darker narrative topics. With Blnko’s second verse also entirely in Spanish, ‘Veneno’ doesn’t limit itself from offering an experience a little different from everything else out there, surely becoming an anthem you’ll be singing for a long time after first pressing play.

With a video incorporating the trio performing in a rundown location amidst depictions of a toxic relationship constantly teetering between thrilling highs and broken lows, ‘Veneno’ also sells its poignant narrative in every visual.

youtube

Check out ‘Veneno’ for yourself here to enjoy the addictive soundscape and hard-hitting lyrical matter that Love Ghost and Blnko have to offer!

Written by: Tatiana Whybrow

Photo Credits: Unknown

// This coverage was created via Musosoup, #SustainableCurator.

#music #singlereview #loveghost #blnko #Youtube

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struggle-but-its-all-ocean-floor · 2 years ago

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Armys who are much better at interpreting MVs than me, what does it mean that rebel Agust D in Daechwita had the King's men on his side while rebel Agust D in Haegeum had the cops on his side which was how he killed scarred Agust D? What kind of commentary is that? If the King and the "boss" are also a metaphor for capitalism, then those working for them are enslaved to the system yet took Suga's side to free themselves. But I feel like the capitalism metaphor doesn't quite apply to Daechwita. Daechwita the song and Daechwita the MV are not entirely related. The MV has its own plot and is made in a way that is visually appealing and interesting. The main takeway from it imo is that Yoongi chooses to kill the tyrant version of himself, and that he does so with help, already in a position of power himself. Suga said in a Road to D-Day video on Disney Plus' YT channel that he wrote Daechwita pretty much thinking he was the shit but called that behavior immature.

Maybe Suga was killing the old him in Daechwita (he was blond in the Agust MV), expressing his desire to be rid of the anger and greed that characterized him, but Suga wrote the song from his current self's pov and was still talking about power. I don't know what his intent in writing Daechwita was. Maybe it was inspired by Shadow, like what if he actually became the King ("I wanna be King") and the result is that he became someone he didn't want to be, an enemy to himself that he had to kill. But that other person was still him, so they had the same friends or subjugates, and thus the King's men were his too. Even if he killed the King, rebel Agust D was tempted by power as well, and I think Suga wrote the song from the rebel's perspective - most of the lipsyncing came from black-haired Agust D. Maybe he was the King and the boss. He killed the old version of himself who disgusted him for being unaware of his weakness and the precarity of his position. Black-haired Agust D knew he could fall from the top and killed the foolish King who was blind to what was happening. It's confusing because Suga is killing the King and denouncing what he stands for, but rebel Agust D has the same cockiness and sense of entitlement. Suga said the song was like a trap, the kind of song that drew haters in. He used that song to call them out and the lyrics are arrogant on purpose - that's what makes the song catchy. Yet, the lyrics also reflect Suga's own pride and desire to be the best, and, at the same time, that he is not blind to how temporary his success is, and the MV is almost like Suga is repenting by killing the King.

But like I said, the Daechwita MV was probably not supposed to be taken very literally. And even the song was meant to appeal to a wide audience and not necessarily to be taken seriously wordy by word. Both MV and song are meant to look cool but both also reflect that Suga is aware of his own bolstering and that his desire to appear cool is immature. Haegeum, as a continuation to Daechwita, is different. Everything, from the MV to the lyrics, has meaning, because Suga deliberately chose to do a sequel. The Haegeum lyrics are Suga's response to the "immature" lyrics of Daechwita. In Daechwita Yoongi says he doesn't need to flex but that in itself is a flex. The MV and the lyrics are full of contradictions. Yet in Haegeum he calls us slaves to flexing. The lyrics are a call to freedom, freedom from the desire to be bigger, richer, and more everything than the next person. But Suga is only human so he himself is presented in a cool manner, smoking like scarred Agust D, pretentiously stealing the chopsticks instead of buying or asking for them. Maybe he only set himself free when he killed the other him.

An Army account on Twitter said the chopsticks were a metaphor for capitalism, since Suga used them to kill an agent of capitalism and corruption, but then ate with them because we must all participate in this capitalist society - even if you fight it, it literally feeds you. But I wonder if the chopsticks don't represent a different metaphor? In the beginning of the MV he walks in full of swagger, his henchmen in tow, and steals from a normal man having a meal, without even thinking twice, because people like that don't register to him. At the end of the MV, after destroying the root of his problem, he's free, because that desire to take and consume is taught to us, but he killed the oppressor, stopped smoking, set fire to the money, and is now a normal man eating a restaurant, though the restaurant is empty and he is alone... He was dropped by the police but he wasn't driving the car or in the front seat. So he didn't take over as chief or whatever? Did the world heal and the institutions who were supposed to protect us are finally doing their job because he ended corruption? Help, I don't know how to interpret anything.

I also find it interesting that rebel Suga dances after stealing Agust D's money, similar to how blond Agust D dances in Suchwita. Is there a difference between the dancing? Is one freedom and the other self-indulgence? Two acts similarly the same yet different in intent? Ah, I really want to sit down with Suga and Lumpens and ask them to go over the song and MV frame by frame.

#bts #agust d #suga #daechwita #haegeum #text

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twistedtummies2 · 1 month ago

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Top 15 OTHER Disney Villain Songs

A couple days ago I went over my Top 15 favorite villain songs from animated Disney movies (not counting Pixar or previously non-Disney properties). However, as anybody who knows Disney is doubtlessly aware…yeah, they’ve got a LOT more you can look at than just those movies. Disney has expanded its mighty empire of media to all kinds of outlets: animated television, direct-to-video features, video games, musical theatre shows, and live-action screen productions. Just about every outlet, somewhere and at some point, has featured its fair share of villainous musical numbers. While the majority of these tunes aren’t as renowned as any of those in the theatrical animated pictures, some of them are pretty good villain songs in their own right, and I feel they deserve to be recognized. So, I’m going to go over just a few of those musical numbers today: terrifying and traitorous toe-tappers that come from all across Disney’s expanded media. Once again, I should point out, I won’t be including things from Marvel, LucasFilm, or other such properties that have sort of fallen under the Disney banner over time: these will be for things that were always directly Disney-related. With that said, however…just about anything goes. From the theme parks to the silver screen, these are My Top 15 OTHER Disney Villain Songs.

15. The Happiest Home in These Hills AND Every Little Piece, from Pete’s Dragon.

This entry is the one and only entry on this countdown where I decided to count two songs instead of just one, both from the same feature. Why? Well, not only BECAUSE they’re from the same feature, but because both are actually pretty similar in terms of tone and approach! “Happiest Home in These Hills” is sung by the Gogans - a rowdy family of violent mountain folk who have become the abusive surrogate family of our titular character, Pete, right at the start of the film. It is merrily performed by them as they hunt down a runaway Pete through the forest. The Gogans are the secondary villains of the story; the main baddies show up later. They are Dr. Terminus, a wiley con artist, and his right-hand stooge, Hoagy. When the two find out about the titular dragon, Elliot, they plot to capture the creature and chop him up, using and selling his body parts to make a fortune. (YIKES.) Both songs have this sort of “overlay” of being chipper, catchy ditties that have an upbeat tone…but when you really look at the lyrics and what’s going on, it’s actually VERY messed up in both cases. Songs like this can be hit or miss, and it’s weird how both primary sets of villains in the movie get such numbers. I like both songs, and I couldn’t decide which one I really enjoyed more, so I decided to just lump them together.

14. Brimstone & Treacle (and its Reprise), from Mary Poppins: The Musical.

The original movie of “Mary Poppins” doesn’t really have a villain to speak of. The closest thing one could argue fits is the creaky old Bank Chairman, who acts as Mr. Banks’ boss, and even he doesn’t really count. In the stage musical, however - which takes more from the books than the film, really - things change. Enter Miss Andrews: a nasty old hag who is the antithesis of Mary Poppins. While Mary can be strict and prim, Miss Andrews is just pure nightmare fuel: a foul-smelling woman who delights in tormenting children for the very slightest offenses, her “Brimstone & Treacle” elixir a direct contrast to the “Spoonful of Sugar” philosophy Mary has. While her time in the story is brief, Andrews makes quite the impression, as it’s revealed that she was Mr. Banks’ nanny AND the Chairman’s nanny when they were each children (which explains QUITE a lot, I fancy). When Andrews first appears, she sings the titular song as a means of justifying her actions: claiming, essentially, that one has to be cruel to be kind. Later, the song is reprised, as the two nannies face off, with Mary using her powers to humiliate and defeat the wicked old screw, and revealing her for who she really is: a bully with no soul. In the original staging, Mary even goes so far as to BANISH MISS ANDREWS TO HELL. I am dead serious. I…would be utterly SHOCKED at this, but frankly, I say good riddance to the sadistic witch!

13. Who’s Afraid of the Big, Bad Wolf? From The Three Little Pigs.

Hey, no reason I can't include songs from the old cartoons, is there? It is pure iconography and stubborn catchiness in the popular consciousness that lands this little ditty on the countdown. This classic song BARELY qualifies as a villain song, when you really look at it: it’s really just the same few lines repeated over and over, but somehow it’s managed to become just as recognizable and well-remembered as many, MANY other Disney Villain Songs, and Disney songs, in general! People quote it all the time, reference it constantly, and so on. I think it’s the irony of the tune that makes it so memorable, above all else: In the original cartoon, when the Pigs sing this song, it’s usually either just before or just after the Wolf attacks them. In the former case, it serves as slightly humorous foreshadowing: “Who’s Afraid of the Big Bad Wolf? Let’s see if YOU are!” essentially. In the latter case, it’s kind of funny, because the Pigs were very, VERY clearly afraid only SECONDS ago. Personally, I’m a little more afraid of Virginia Woolf…but that’s another story.

12. Yo Ho (A Pirate’s Life For Me), from Pirates of the Caribbean.

Yep, a song from the Parks! I also considered including “Grim Grinning Ghosts” from The Haunted Mansion, but I decided against it because, while that song is certainly a “spooky” song, I don’t really think it’s a “villain” song. The ghosts aren’t singing about doing evil things, they’re basically just having a nice after(life)party. This song, however, I DO think qualifies as a villain song. Yes, it’s a fun tune - bouncy and merry and all that good stuff - but the lyrics literally have the pirates singing about how much they enjoy being absolutely awful scoundrels. They make no secret of the fact they’re crooks and thugs, and just revel in their own mad antics. It’s a humorous sort of villain song, but it’s still villainous in its lyrical content, and even its context! In the ride, the pirates are singing this WHILE BURNING DOWN AND RANSACKING A CITY. If that doesn’t make this famous little sea shanty a villain song, I don’t know what else will do it!

11. The Frigate That Flies, from The Pirate Fairy.

TOM HIDDLESTON SINGS. Did I get your attention with that? Good! In “The Pirate Fairy” - one of several prequels to Peter Pan made as part of the “Tinker Bell” film series - our main villain is…who else? Captain Hook! Of course, he’s not CALLED Captain Hook YET. Here, he’s simply “James.” In the movie, James and his crew of pirates manipulate an outcast fairy called Zarina, planning to use her powers to make their pirate ship fly, and thus allow them to go anywhere in the world and steal anything they want. However, for the first half of the film, Zarina and the audience are unaware of James’ villainy (I don’t think saying he’s the villain is really a spoiler, for various reasons, hence why I didn’t bring it up earlier). When we first meet the pirates, they sing this jaunty shanty as a way of celebrating their impending victory, as they make plans for what treasures they’ll go after. Much like the two tunes I mentioned from “Pete’s Dragon,” the song is very upbeat and humorous, which makes the underlying menace of these thieving scoundrels (and their later-revealed manipulation) all the more intriguing. For me, though, the highlight is when Hiddleston, as a young James, sings: he somehow makes lines like, “No wicked deed cannot be done!” sound so pure and wholesome, it’s absolutely insane. Not a tune many people are likely to recall, but definitely one worth looking up.

10. It’s Our House Now! From Mickey’s House of Villains.

If you’re a major Disney Villains fan, chances are you’re EXTREMELY aware of this song and its source material. “House of Villains” was a TV movie spin-off of the series “House of Mouse”: the show focused on the cartoonish happenings inside a Toontown nightclub, run by Mickey Mouse, where…basically every single2D animated character in Disney history (and even a few characters from the Parks, surprisingly) would congregate to eat, drink, be merry…and watch various cartoons, with the stories of each episode really just being framing devices that happened around the presented shorts. In this Halloween special, literally ALL of the Disney Villains - both major and minor - join forces. Led by Jafar, they take over the House of Mouse at the stroke of midnight (what better time?). As they lock all their nemeses up in the backrooms, and throw Mickey and his friends out into the streets, the villains all band together to sing this short but very fun song, rejoicing in their success. While the song is great, and it’s really, REALLY cool to see SO MANY VILLAINS all onscreen at the same time…my one complaint with it isn’t so much the song itself so much as the context. And it’s really my major problem with the special as a whole. See, once the villains take over the House of Mouse…well…nothing happens. Like…literally. The cartoons they share don’t take on a more villainous theme, they…don’t seem like they’re doing anything especially illegal or diabolical, when you really think about it. Literally all that seems to REALLY change is the lighting turns red and Jafar becomes the host instead of Mickey. (pauses) Like…that’s it? That’s really it? You have characters like Hades, Ursula, Captain Hook, and so on all working together and…all they do is sing, dance, and then just go back to watching cartoons like nothing happened? LAME. Again, the song itself is fine, and it’s a shining moment in Disney Villain history as far as seeing all the baddies together…but it’s REALLY a shame that all this story and the song itself led up to was…absolutely freaking NOTHING, really. I don’t know what I expected, exactly, but just about anything would have been more interesting than the final result.

9. Do What You Gotta Do, from Descendants 3.

Ah, the Disney Channel Musicals…I guess I couldn’t avoid THEM entirely, could I? As just about anybody can tell you, most Disney Channel Musicals are essentially cookie-cutter products that amount to the same thing: a bunch of teenaged stock characters trying to “stick it to the man” and singing pop-style songs that range from “okay, that’s actually pretty fun and catchy!” to “someone silence this vapid excuse for music IMMEDIATELY, please.” Needless to say, not a fan of a lot of these…and the Descendants films are no exception. These movies focus on the lives of the sons and daughters of many classic Disney Villains…and those sons and daughters are mostly teenage stereotypes, with the actual villains mostly depicted being about as out-of-character as it gets. I really WANT to like these movies, to be honest, and I know the series has its fair share of fans…but for me, these are just so utterly, UTTERLY disappointing. I will say this though: there ARE some good songs strewn throughout all the films, and given the subject matter, nearly ALL of them can qualify as villain songs. I debated what tune I’d place here - other options which arguably would have been more fitting were “What’s My Name?”, “Queen of Mean,” and “Evil Like Me.” (Because even if I can’t stand Kristin Chenoweth as Maleficent, I’ll admit that WAS a catchy song.) After some consideration, I went with the arguably more controversial “Do What You Gotta Do,” from the third film of the series. This old-time-rock-and-roll-style duet is sung by our main protagonist, Mal - the daughter of Maleficent and Hades - and her father…whose name I just mentioned. :P Hades is played by Cheyenne Jackson, and is admittedly one of the villains I felt was handled okay in this reimagining, which is part of why this song gets the vote. The song takes place when Mal tries to get something from Hades to help her on her quest, which leads to a confrontation between the two, as Hades left Mal and her mother many years ago, and the two have had almost zero contact since then. The fact that Mal has joined the heroes’ side doesn’t really sit well with the Lord of the Underworld, either. Hades tries to convince Mal to give him a second chance, not out of any real desire to connect with his child, but mostly because he wants to leave the island he’s trapped on and find new ways to commit evil schemes. Mal, however, is onto him, and is in NO mood to do him ANY favors, under the circumstances. While not STRICTLY a villain song in the typical sense, I felt it qualified enough to gain some recognition, and it’s also quite possibly my favorite song out of all these films. Therefore, I selected it for the coveted placement on this list. I can’t stand the movies, but this melody and sequence is a fun one.

8. I Want It All, from High School Musical 3: Senior Year.

I don’t remember enough to say if the “High School Musical” movies INVENTED the formula for the Disney Channel Musicals, but I think I can safely say they became the debatable gold standard for every single one that followed. Pretty much every Disney Channel Musical after these films has felt like it was basically the same story and characters, just with little tweaks here and there to give them their own unique gimmick, so to speak. While I really didn’t like the first or the second film of the series, I will admit that a.) all of the movies in the franchise have their fair share of fun tunes, and b.) call me crazy, but…I legitimately kind of like the third film. I wouldn’t say it’s perfect, or one of my favorite movies ever, but it’s a slight guilty pleasure for me. I could go into the reasons why, but that would probably take all day: suffice to say, it stands to reason, with that in mind, that my choice of villain song from the trilogy would come from that picture. “I Want It All” is unironically a GLORIOUS villain song, in my opinion: it’s catchy, has a great sense of humor, but also has this wonderful vein of manipulation and even underlying danger. The setup is that the main antagonist of the series - Sharpay Evans, who I can only describe as a G-rated version of Regina George - creates a scheme to sabotage her rivals, so she can get a special scholarship. To this end, she turns to her brother and former henchman from the past two films, Ryan. However, Ryan has seen the light by now, after several years of Sharpay’s knavery, and refuses to take part in whatever villainy she has in mind. So, Sharpay decides to try and persuade Ryan to join her in one last plot. How? By using the one thing she knows she and her sibling share: delusions of grandeur. Sharpay enthusiastically entices Ryan with the idea that, if he helps her this one final time, they could both benefit, and the results could catapult them to stardom. Ryan resists at first, but eventually he’s lured in by the temptation. Not only is the song really fun, but it shows some intelligence on Sharpay’s part: we’ve never really seen her manipulation on display in a MUSICAL form before, and it actually makes sense this would work, since while Ryan may be more or less reformed, it’s known that he’s a bit of an attention-seeker…and also isn’t necessarily the brightest bulb in the bunch. Plus, being an over-the-top, musical-loving thespian sort myself, I can’t deny that the ambition and flamboyance of the number speaks to me in its own way.

7. Tree of Life, from The Lion Guard.

There are MANY great villain songs in “The Lion Guard” (and many great songs in general…seriously, the people behind the music for this show really brought their A game to it). Some marvelously fun tunes I considered that didn’t make the cut were “Outta the Way,” “Panic and Run,” “Let’s Bring Back a Legend,” “When I Led the Guard,” “Lions Over All,” “You Best Not Mess With Mama,” and “Beware of Poa.” I ultimately decided, however, to go with this tune, and not only because of the ironic title (although that certainly does give it some extra points). The song is performed by the central antagonist of Season 3 of the show: Makucha the Leopard. Makucha was a recurring villain in a couple episodes of the first two seasons, but it was in the third and final season where he really stepped up his game, becoming the leader of an army of villains out to take over a mystical place called the Tree of Life. Why does he do this? One word: gluttony. Makucha is interesting because his entire motivation is based around the fact he’s a giant greedy guts. He’s not out to take over the tree for power or glory, and even though he convinces others to join his cause by offering them a chance at revenge on the Guard, among other possible benefits…all that is secondary or even tertiary to him. In this song, he makes it very clear what his plan is: he wants to take over the tree for the simple and singular purpose of eating every single animal he can catch there. That’s it. I don’t know why, but the fact this character becomes such a threat, gathering a whole army to his side and becoming the main climactic antagonist by the end of the series, with such a simple and basic motive is kind of fascinating to me: other villains were ravenous before Makucha in this franchise, certainly, but most of them were either followers of greater foes, or had other motivations besides their hunger that were more prominent, or both. Makucha is just a voracious pig of a leopard, who takes delight in eating animals that are rare or one of a kind in particular, which would be something the Tree of Life is absolutely teeming with. The song has a fun rhythm and some good lyrics, but what I think sells it most is the performer: Makucha is voiced by Steven Blum, of all people, and he’s a surprisingly good singer. He sells this number deliciously, and I think that, above all else, is what gives this tune so much credit in my books.

6. You’re Only Second Rate, from The Return of Jafar.

As I think I said in my previous list, while I do love the “Prince Ali” reprise Jafar sings with such maniacal and mincing passion in the original film, I’ve always felt it’s a little sad that he never got a full and proper villain song all his own in the movie. Thankfully, later Aladdin spin-offs and materials have amended this problem: in the Junior Edition stage show, for example, Jafar originally had a song entitled “Why Me?” In later editions, as well as the Broadway musical, he and Iago gained a duet called “Diamond in the Rough.” And there are several other Jafar-related tunes you’ll find in other places. However, in my opinion, the very best is this one: in the sequel to the original film, Jafar got his own belated musical spotlight. Now with the powers of a genie at his disposal, the villain gets into a sort of magical spitting contest with Genie, and soundly defeats the comical blue fellow, mocking him relentlessly the entire time. The lyrics are wild, the visuals - considering the budget - have a lot of creativity to them, and it’s just great to have Jafar get a song all to himself that allows him to do what he does best: derisively mock people while losing his mind. A somewhat underrated entry in the villain song catalogue for Disney, in my opinion.

5. Snuff Out the Light, from Kingdom of the Sun.

This song is unique on the list, and if you don’t know about it already, you might be a bit confused. For example, you may be saying, “Hey, why is there an image from Emperor’s New Groove here? And what is Kingdom of the Sun?” Well, to make a long story short: “Kingdom of the Sun” was the movie that BECAME “The Emperor’s New Groove.” Originally the film was planned to be a sort of more “traditional” Disney movie, with a plot that combined elements of “The Magic Flute” and “The Prince and the Pauper,” with the familiar Aztec-or-Incan-inspired aesthetic motif that the final film had. However, somewhere along the line, the project changed…but one thing remained the same: the villain, Yzma. At least, a few things about her remained the same: her design was largely kept about the same (albeit handled by a different animator), her name was the same, and her voice actress - Eartha Kitt - was also the same. However, the character’s role in the story did change: in the final film, of course, Yzma is the Emperor’s advisor, and is depicted as a mad scientist who wants to - of course - take over the world. Originally, however, Yzma was a witch, who commanded all the creatures of the night, and her goal was to try and gain eternal youth. In this original version, she had a villain song…but when the film’s script and plot changed, the song was removed, as it no longer had a place in the story. While Yzma would get some other songs in later spin-offs, such as “Feel Like a Million” and “Yzmopolis,” her original song - in which she conjures an army of the night after making a deal with the demon Supei - is ironically her greatest moment in music, in my opinion. While I do like the final result of the film, it’s a shame such a brilliant song never got to see full fruition.

4. My Lullaby, from The Lion King II: Simba’s Pride.

“Tree of Life” was great, but when it comes to Lion King-related villain songs…well, let’s face it, nothing beats “Be Prepared.” BUT, I dare say this tune comes relatively close. In the direct-to-video sequel to the Lion King (which is actually one of the better Disney sequels out there, though still not as good as its predecessor), this song is performed by the utterly demented Zira: a former follower of Scar who acts as the mother to the dark lion’s chosen heir, a mysterious young cub named Kovu. After an encounter between Kovu and Simba’s daughter, Kiara, Zira begins to work out a long-reaching plan to take over the Pride Lands: as Kovu goes to sleep, she plots to train him to be an assassin, who will kill Simba, trick Kiara, and allow her return to power. The resulting “lullaby” is frankly one of the most bloodthirsty and sadistic villain songs not just from any Disney movie, but frankly just in general. Zira is basically fantasizing a bloodbath the entire song through, imagining the murder of Simba and his family and the glory Kovu will bring to her and her pride. It’s a delightfully dark and twisted tune…but in my opinion, it has one major stumbling block: the visuals. The setting, angles, colors, and even the “pattern” of the scene - where interjections from other characters take place, how they happen, when certain shots occur, etc. - all feel EXTREMELY close to “Be Prepared.” It’s pretty obvious that’s the intent, but I wish the visuals had taken a few more risks and gone for a more original approach. There’s a few good moments, mind you, and the song itself is fantastic, but it is a nitpick I cannot overlook.

3. Professional Pirate, from Muppet Treasure Island.

I debated whether or not to include the Muppets, but they’ve been part of Disney much, MUCH longer than Marvel or Star Wars, and this film was released under the Disney banner, so…eh. I’ll give it a pass. “Muppet Treasure Island” is quite possibly my favorite Muppet movie. While other films like “The Great Muppet Caper” are great showcases for the Muppets, and “Muppet Christmas Carol” is a fine adaptation of a classic story I love, this film is BOTH of those things, in my opinion, and balances the elements in a way that I think is more…well…balanced. This song is performed by the great Long John Silver: our central antagonist who leads a band of mutinous pirates on a quest to retrieve long lost treasure. Silver forms a bizarre bond with the main hero of the story, Jim Hawkins: the young boy who discovered the treasure map. In this song, after kidnapping Jim (and while some of his gang work on taking over the ship in the meantime), Silver and his closest confidantes (most of whom are Muppets) try to convince Jim to join their side. They claim that pirates really aren’t as bad as people think…with the irony being that, throughout the song (and the movie as a whole), they’re shown to be completely false in these claims. What I love about this song - aside from the fact it’s…well…just a darn good song, frankly - is two things. One, Silver is played by Tim Curry. Automatic win. Two…Silver actually MEANS what he’s saying. What’s interesting about the character in the Muppet film is that he genuinely and truly believes in a sort of “honor among thieves” mentality: he’s quick to turn on Captain Kermit-I mean, Smollett, but when it comes to the other pirates, he only seems to turn on them or get nasty when they aren’t following his personal code of honor. He also admits that he genuinely cares about Jim, and the two form a sort of father/son bond, which gets strained as the film goes on. He’s genuinely sincere in everything he’s saying, which makes the irony of the truth both hilarious and kind of tragic: it’s telling that, at the end of the film, he reiterates some of the lyrics from this song by saying to Jim, “You’re honest, brave, and true. You did learn that from me.” Jim’s response, “I learned it from my friends, Mr. Silver,” has to cut him to the quick.

2. Ready As I’ll Ever Be, from Tangled: The Series.

This song is very similar to “Savages” from Pocahontas. (Which makes sense, since I THINK this was written by the same people; feel free to correct me if I’m wrong, I very well could be.) Only about half of the song PROPERLY belongs to the villain, but it’s the villain who really drives the song and context of the scene, so I think it counts. “Ready as I’ll Ever Be” occurs in the final episode of season one from “Tangled: The Series” (which would later be retitled “Rapunzel’s Tangled Adventure”). The villain of the hour is my favorite character from the show, Varian: a young alchemist who - for a LOT of reasons - has kind of gone off the deep end into crazy-ville, and kidnapped Queen Arianna - Rapunzel’s mother. The heroes form a plan to attack Varian from two different routes - one side trying to sneak into his castle hideaway and ambush him, while the other leads a frontal assault - but Varian, who is one step ahead of the heroes, is making his own preparations. There’s a lot of gret things about this song, but it really is Varian who sells it: first of all, he’s played by Jeremy Jordan. Again, like the previous pick, automatic win. Second of all…Varian is maybe 15 years old, at best, when he does all this. And it is taking an ARMY, and a LOT of strategy, to even TRY and beat him. And it’s made pretty clear that both of those attempts from either side are not going to be as successful as they hope. Something about those facts ALONE just makes the whole song, situation, and the character himself SO fascinating to me: the tension, determination, and desperation of the song are only intensified when you realize it’s literally a battle of the villain against the world…and, shortly after this number, the world nearly LOSES. Later villains would follow Varian, as well as later villain songs, but for me, none of them ever TOPPED this moment. It’s my favorite song in the entire series, and for good reason. That reason, in a nutshell, is Varian.

1. I Put a Spell on You, from Hocus Pocus.

If any “other” Disney Villain song arguably equals the iconic status of nearly any from their animated movies, I think it’s fair to say this would be it. Which is ironic, since the song isn’t even native to the film. “I Put a Spell on You” (originally the work of Screamin’ Jay Hawkins) was a staple of many a Halloween-themed music compilation long before “Hocus Pocus” came out…but nowadays, it’s hard to think of the song, for most people, without specifically thinking of the version performed in the film by the wicked and wonderful Sanderson Sisters: the trio of soul-sucking witches whose devilish antics are the crux of the story. The Sisters - played by Bette Midler, Kathy Najimy, and Sarah Jessica Parker - have the power to hypnotize people with their siren-like voices. They use this to their advantage when they find themselves at a Halloween costume party, where the parents of their victims are all dancing the night away. The witches perform the song to cast a spell on the rest of the partygoers, keeping them under their thrall for the rest of the night, and have a rockin’ good time while doing it! For many, it’s the most famous scene in the entire film, and the sequel tried to replicate it with a similar scene, which had the Sisters singing a cover of “One Way or Another” by Blondie. That scene was fine, but nothing can really top the original. It’s arguably become just as well-known as songs like “Hellfire” or “Poor Unfortunate Souls,” and for that reason above all else, it easily takes the top spot on this list. Case closed.

HONORABLE MENTIONS INCLUDE…

Things Are Not What They Appear, from Pocahontas II: Journey to a New World.

Don’t Fall in Love, from Beauty and the Beast: The Enchanted Christmas.

Chow Down, from The Lion King: The Musical.

Run, from The Jungle Book Groove Party.

Petey's King of France, from Mickey, Donald, and Goofy in The Three Musketeers.

Impress My Professor, from Phineas & Ferb. (Dr. Doofenshmirtz has a LOT of songs, I chose this one simply because it was the first I thought of.)

#disney #list #countdown #best #favorites #disney villains #villain songs #animation #tv #film #movies #theatre #disney parks #top 15

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aspiring-prototype · 2 months ago

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For the ask game! 3, 28, 38?

Hello, Sparrow!

3. 3 films you could watch for the rest of your life and not get bored of?

Nausicaä of the Valley of the Wind (1984) is one of my top favourites, never fails to give me that big 'oof' every time. The feels are spot on and I love the animation, especially of the insects.

How to Train Your Dragon (2010) is another addition. The stray from 'young hapless protagonist slays beast and becomes a hero' really got me, I love the relationship between Hiccup and Toothless and all the different types of dragons, not to mention the music is beautiful.

Unfortunately, I don't have a third film to add. I have watched many movies, but it's been a while since I've done so. I haven't yet watched another movie that gives you that spark, y'know?

28. Do you collect anything?

I do collect a few things, namely seashells from the occasional trip to the shore, any funky erasers from a book fair, and I guess merch counts? I don't have much, most is bootleg but I'm fine with what I got. I don't go furiously searching for specific items, I'm not an eccentric collector yet, I'm content with just picking up anything I like as I go along.

38. Fave song at the moment?

I've got quite a few, so I'll give you 3!

Language of the Lost by RIProducer

Youtube <> Spotify

(TW: The YT video contains flashing/glitching visuals)

This song in the vocaloid genre is one that I can relate to, especially with the lyric's metaphors comparing the singer to a computer system, one that keeps reinstalling and resetting to default. It describes how one would keep going on even if they can't remember why and what dark thing from the past they want to avoid, calling out for help even if no one answers, but in the end they persevere and find a place where they belong and are loved.

2. Kiss With a Fist by Florence + The Machine

Youtube <> Spotify

(TW: Lyrics have mentions of blood and violence, as well as overall theme may imply domestic violence)

To make things clear, while this song may have implications of domestic violence and violent descriptions, the visuals are only a metaphor and there is no domestic violence actually present in the song. I can't find the artist's original statement on the song's meaning to link, but you can read it on Wikipedia here. I've pasted it here in case someone can't access.

"Kiss with a Fist" is NOT a song about domestic violence. It is about two people pushing each other to psychological extremes because they are fighting but they still love each other. The song is not about one person being attacked, or any actual physical violence, there are no victims in this song. Sometimes the love two people have for each other is a destructive force. But they can't have it any other way, because it's what holds them together, they enjoy the drama and pushing each other's buttons. The only way to express these extreme emotions is with extreme imagery, all of which is fantasism and nothing in the song is based on reality. Leona Lewis's "Bleeding Love" isn't actually about her bleeding and this song isn't actually about punching someone in the mouth."

This and another reason I like this song is how it describes fights between a couple, troubles they face together but bring them apart. The visuals of smashing plates on the other's head, burning the bed and spilling blood may put off most but to me, it makes sense, even of I haven't been in any such relationship. I like the tune too, it's pretty catchy.

3. Wait for It by Leslie Odom Jr. and Original Broadway Cast of Hamilton

Youtube <> Spotify

I've never watched the musical nor the film, but when I first came across this song, the lyrics got me hooked, especially:

Death doesn't discriminate Between the sinners and the saints It takes and it takes and it takes And we keep living anyway. We rise and we fall and we break And we make our mistakes. And if there's a reason I'm still alive When everyone who loves me has died I'm willing to wait for it.

The way it describes Love, Death and Life really fits.

Thank you for asking and have a great day! <3

#arina answers #ask game #song recs #(i think?)#dunno if i need to tag the triggers... i think putting the warnings in the post should be enough but if someone tells me then ill add them

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thebandcampdiaries · 5 months ago

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sensoryDEPT. has released a new album: "times_new.wave (beta release 1.0)"

June 2024 - sensoryDEPT. has recently released a new work titled "times_new.wave (beta release 1.0)".

This new release exemplifies what it means to explore the vast possibilities of hip-hop as a genre. Many rappers gravitate toward the same sounds, samples, and styles. However, sensoryDEPT. fully understands the potential of hip-hop as an open canvas, where music can stretch out to different directions and explore a greater variety of sounds and styles.

The album features ten tracks. Each song has something different to offer, allowing the full length to be a very mercurial and creatively dynamic experience for the listener. Brad “Future” Frere, the musician behind sensoryDEPT. is more than just a rapper. He shines as a very full-rounded, creative artist with the ability to seamlessly explore a wide range of sounds and ideas, using hip-hop mainly as a springboard for him to create something that’s quite one of a kind.

All the songs on this album are a perfect example of that. sensoryDEPT. crafted a compelling set of tracks, bound together by a set of aesthetics that brings so much vibe to the album as a coherent, artistic piece. Each song also stands out on its own, meaning that the album isn’t only strong as a full-on listening experience overall, but each single has enough power to impress even a standalone track. This isn’t always easy to do, as it requires artists to consider the overarching concept of the album and each song as a unique component in its own right.

Today, many artists, especially in the world of hip-hop, neglect the full album experience in favor of fast-paced singles and short format EPs to keep up with the demands of streaming platforms, pushing artists to release music very quickly. There’s nothing wrong with releasing singles or EPs; but the downside is that the amazing experience of an album is progressively getting lost, and people are missing out on such compelling musical narratives and content. However, sensoryDEPT. managed to go against the grain with this release, hitting the market with a very well-made record that will stand the test of time.

The opening track, “Theme Song For The Other Side Of Forever,” is the perfect mood-setter. This tune has some intricate ambient sounds in the background, and the Lo-Fi rhythm adds warmth and character to the mix. On this opener, the vocals are quite sparse, making for a very immersive introduction to the spirit of this album overall.

The set list goes on with the second track, “California (What Will We Become),” which brings a different twist to the table. The drum beat is quite fast and driving, at an faster tempo that you wouldn’t normally find within the context of a rap album. In conjunction with the psychedelic ambient synthesizer sounds and the distorted lead lines, it makes for a unique instrumental with a personal touch. It’s apparent by now that the artist decided to consciously try something different with every song on the album. With each new track, there comes a different style and a different set of ideas to set it apart. For example, the third song happens to be one of the most distinctive and catchy tracks on this release, and it stands out for the artist's ability to combine appealing vocal hooks with his signature, immersive instrumental style. The following track, “Live from the MoMa,” is just as enticing, but this time, it offers even more melody through some soothing keyboard patterns and very personal lyrics. The next song “Modern Dilemma” is also easy to relate to, combining experimental ideas and classic sounds in equal parts.

Moving on, “Human Resources Interlude” is another opportunity for sensoryDEPT. to further expand the sonic palette of this record with some unexpected melodic ideas and vocals that fit within the music in a very spontaneous and organic way. “… In A Distant World I Need You Closer” is one of the most distinctive songs on the album, especially because of the way the drum pattern becomes busier, but still leaves enough room for the vocals to unfold.

sensoryDEPT. has a very original style because it is not only about trying to cram as many words as possible into a bar. His flow also brings melody to the table, and it is very expressive, at times reminiscent of legendary contemporary artists such as the great Mac Miller, but also channeling the artist of experimental acts, such as Dead Rituals, outside the realm of rap music. Having said that, it is not quite easy to compare sensoryDEPT. to other rappers because he genuinely succeeded in creating a sound that escapes easy categorizations.

“A Theory About Us” is another exciting song combining minimalistic electronic music elements with old-school hip-hop, almost as if J Dilla had decided to explore techno back in the 90s! The result is unique, and it is one of the most distinctive components of this release. The next song allows a dreamier soundscape and glistening melodic tones to take over. This release almost has influences from trip-hop, shoegaze, and other styles of music that are not commonly associated with hip-hop. However, the combination of sounds works wonderfully, bringing yet another element of originality to this release. Last but not least, the closing song brings a completely different approach, this time focusing more on the rhythm. As the title of this track might suggest, the patterns of the drums are almost tribal in nature. This means you can expect punchy, big drums that add a lot of depth and a lot of size to the mix.

This allows the album to end on a more ambitious note, which highlights the artist's grand scope of creativity. To conclude, sensoryDEPT. truly did manage to create an extremely rewarding album, especially for listeners willing to take a deeper dive and immerse themselves into the full setlist from start to finish. As mentioned earlier, all the songs will stand out individually. However, if you want to make the most of this album, it’s highly recommended to listen to it from start to finish and allow sensoryDEPT. to build his full musical narrative with a well-executed record with so much ambiance, energy, experimentation, and passion.

#rap #indie rap #alt rap #alternative rap #experimental hip-hop #trip-hop #hip-hop #sensoryDEPT.#Spotify

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