#so I guess it’s time to listen to some albums I’ve been meaning to listen to | Explore Tumblr posts and blogs

gleamingyu · 1 year ago

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hits different.

part I of the midnights series. inspired by taylor swift’s midnights. part II

pairing: music-producer!seungcheol x lawyer!fem!reader [exes-to-lovers]

genre: romance. slight angst. drama.

warnings: she/her pronouns for reader (but no specific physical characteristics). mentions of a pretty rough breakup. slight angst. some light cursing. mentions of death (jokingly though). terrible knowledge of law stuff (thank my brief interest in htgawm). yearning. loads of miscommunication. slow burn. cheol & reader are both stubborn. mentions of drinking. alternating povs. lower caps intended [if there’s anything i missed, please let me know!]

word count: 4.7k

notes: this is the first part of a new series i thought of! this is also my first time writing (or more like, finishing writing) something, so please be kind! any comments, reblogs or likes are welcome. and thank you to whoever decides to give this a chance :)

summary: still recovering from a not-so-fresh breakup, seungcheol leans on his friends to get back on his feet. it turns out to be much easier said than done, especially when his record label recruits the help of a law firm to deal with a recent scandal, which just so happens to be the same firm his ex works at. just his luck.

if anyone could see the scene in front of mingyu, they’d be severely concerned, much like he is at this very moment.

seungcheol is quite literally buried under a pile of blankets on his bed, the only visible part of his body a tuft of his dark brown hair. the floor of his bedroom is covered in clothes and empty food containers, and the air feels so stale and hot, it’s taking everything in mingyu not to gag. there is no light coming into the room except from the lightbulb shining in the hallway where mingyu is standing, and… is that… phoebe bridgers he can hear playing from somewhere?

mingyu glances down at his feet where kkuma, seungcheol’s devoted dog – and only girl who’s ever truly loved him, according to him – is sitting staring right back at him, a look on her fluffy face that mingyu swears looks just as depressed as her dad.

“this is way worse than i thought,” mingyu sighs, finally stepping into the bedroom. “okay, enough of this!”

mingyu grabs the blankets on the bed and pulls them away, revealing a very aggravated seungcheol. “what the hell are you doing?!”

“i’m not sure yet, because this,” mingyu gestures around the room, “is a lot. but it starts with you getting your ass out of bed and into the shower. immediately. this place smells like there’s a corpse somewhere in here.”

“yeah, it’s me. i’m the corpse. or i wish i was, because that would mean i’ve finally died,” seungcheol groans, turning away from mingyu and effectively shoving his face into the bed.

mingyu sighs, turning around to start collecting some of the dirty clothes on the floor. he finds himself regretting not calling jeonghan or joshua to come with him, because seungcheol might have been more easily persuaded to stop moping with them around. the reality is, they all thought seungcheol was doing better; he was back on his grind at work, finishing several albums he had been producing for, he was making progress in his jiu-jitsu classes, and he even joined the rest of the guys on their trip to australia last month, with minimal persuasion from his friends.

looking at the shell of a man laying on the bed in front of him, mingyu realizes he should’ve asked. he should’ve asked his friend how he was really doing, what he was feeling, what he could actually do to help him move past this.

better late than never.

“listen,” mingyu starts, going to sit on the edge of seungcheol’s bed but reconsidering. who knows when he last changed these. “i’m sorry if we haven’t really been there for you. i know a thing or two about breakups and heartbreak, so i guess i should’ve figured you weren’t alright, not like you said you were. you don’t have to keep all you’re feeling locked up. you can talk to us.”

seungcheol’s head moves slightly to the side, peeking at mingyu from the corner of his eye. he sighs, and turns on his back. mingyu tries not to cringe at seungcheol’s sullen face, his eyes red and still wet, as if he was still crying when mingyu arrived at his apartment.

“don’t beat yourself up, gyu. believe it or not, i was actually doing better. but a few days ago, i … i was cleaning around the closet by the entrance and …” he pauses, and mingyu thinks he might burst into tears. seungcheol breathes in however, closes his eyes, and continues. “i found one of her old hats. you know, the yellow crochet bucket hat she always used to wear in the summer? i bought it for her birthday when we had just started dating and … i don’t know, i just broke down. it hit me again that we’re over. like really.”

you and seungcheol broke up … four, five months ago? seungcheol shakes his head, he feels like time hasn’t passed the same since. days pass him by where he just goes over and over your last conversation – which was more of a fight, really – and he always ends up regretting everything he said that day. regrets resenting you for always working late, for never asking him to accompany you to firm events… regrets accusing you of some unspeakable things.

looking back, he can’t believe how big of an idiot he was. no wonder you left and didn’t even bother to come back to get your things. you left everything behind, all your clothes that still smelled of the lavender detergent you used to buy, your makeup haphazardly thrown into one of the bathroom drawers, the cooking books you always bought “for inspiration” but never, ever actually opened… and the yellow bucket hat you got from seungcheol for the first birthday you spent together. seungcheol had left everything where it was, a tiny part of him hoping you two would work this out somehow. but weeks went by with no word from you, and when he had tried reaching you, he came to the grave conclusion that you had blocked him on all platforms, cut him off from your life like a dead limb. back then he thought he deserved it. he still does.

“i’m sorry, hyung. i really am,” mingyu shakes seungcheol from his reverie, reaching a hand to pet his shoulder. a beat passes between them. “have you tried… calling her again since?”

“no. i don’t know what good it would do,” seungcheol sighs. “even if she answered, i doubt all the apologies i could offer would fix anything. i said some pretty fucked up shit.”

“yeah, i know. if you remember, i was there the next day ripping you a new one,” mingyu teases, desperately trying to cheer up his friend somehow. he swears he can see seungcheol’s lips twitch a bit. “but who knows… now that you both had some time to yourselves, you might actually be able to overcome this calmly. and if… if it doesn’t work out in the end, at least you’ll both have some closure.”

closure. that’s a funny word, because seungcheol wants the furthest thing from closure. he wants you back in his bed and your arms around him, he wants your indie artists he’s never heard of playing around the apartment in the morning, he wants your laugh echoing in the halls. he wants you.

he knows that the only way this ending could even be a possibility would be if he actually took mingyu’s advice and called you up, but another part of him is terrified of the other possibility: the one where you pick up and tell him to go to hell and fuck himself and never call you again or show his face around you. so for now, seungcheol opts for a third option: emotional limbo, with a side of trying-to-move-on.

he gets up from the bed and asks mingyu if he could help him straighten out the place. mingyu, bless his sweet heart, of course says yes and gets to work after sending seungcheol to clean himself up. just as he’s about to close the bathroom door, he hears mingyu’s exasperated voice.

“oh, for the love of god, where is that god-awful music coming from?!”

seungcheol can’t remember the last time he laughed so heartily.

the bar you find yourself in is bustling with people, laughter and cheerful conversations filling the space. you’re only half listening to whatever topic your two best friends, yunjin and chaeyoung, are discussing – something about “that bitch” in yunjin’s department at work that’s been giving her a hard time – instead reveling in the pleasant buzz of the champagne you’re nursing.

it had been a while since you were able to enjoy a nice evening with your girls. the past few months had been filled with endless meetings, client-induced headaches and sleepless nights, but thankfully, today you had managed to finally strike a deal for one of the firm’s most important clients (to be read as filthy rich), which you had been working towards all these months. naturally, upon hearing the news, chaeyoung and yunjin had begged you to join them at a bar in the city, “to celebrate your newfound freedom.”

you splurged on a bottle of champagne for the three of you and decided that tonight, you were going to have fun. you were going to relax, enjoy some drink, and catch up with your friends who you hadn’t seen in weeks.

and you will not, under any circumstances, bring up seungcheol.

you like to believe that in the last two months you had gotten better at shutting out any thought of your ex-boyfriend. in the days – more like weeks, if you were to ask chaeyoung and yunjin – following the ugly breakup, you were quite the literal mess. finding yourself alone and with nowhere to go, considering you had left the apartment you shared with seungcheol with nothing but your work stuff (how on-brand for you), it wasn’t surprising that your mental and emotional health had taken a massive hit. thankfully, at the insistence of yunjin, you agreed to crash at her place while you put yourself back together and took time off from work – something you had never done before.

to the surprise of your friends, it only took you two weeks to go back to work and start looking for your own place. two weeks after that, you were moving into a new apartment and claimed that you were feeling much better since the breakup. or at least starting to. chaeyoung and yunjin didn’t want to argue with you on this – even thought they 100% believed the front you were putting up was a load of crap – but in the end, they didn’t even have to, because the first time you went out with them again since the breakup, you had your first meltdown.

but was it really your fault that the man sitting two seats down the bar from you had ordered whiskey neat, just like seungcheol always used to? and was it really your fault that he was wearing a maroon leather jacket similar to the one seungcheol always used to wear in the fall, which you absolutely adored?

could they really blame you for bursting into tears right then and there and wailing about how much of a jerk seungcheol was for never understanding your dedication to your work? how much of a hypocrite he was for expecting you to just dip from the office when he suddenly had some free time, when he had never done so for you?

that night, chaeyoung and yunjin quite literally dragged you back to chaeyoung’s place and held you while you cried yourself to sleep, and in the morning, when you had embarrassingly admitted that “no, you weren’t really doing fine,” they held you again and offered soft-spoken words of support, opting to keep the classic we told you so in their thoughts.

four months passed since that incident and now, you could confidently say that you were truly feeling better. you weren’t quite over seungcheol per se; there were nights when you still thought about the smell of vanilla that filled the room whenever he was fresh out of a shower, the way he always got so giggly when you brought home a tray of cherries… yeah, you still found yourself missing him terribly sometimes. but the more time passed, you realized that seungcheol hadn’t tried reaching you at all in the months since the breakup, and so you thought he might be moving on as well.

it is true you had blocked him on all social platforms for weeks after you stormed out of your place. but on a particularly bad day, when all you did was cry and cry and cry after him, the thought of calling him up and asking him to go back to how things were crossed your mind, and you unblocked his number. unfortunately, your pride had set itself in your way, convincing you that it was seungcheol that needed to make the first step, considering he was the one who quite literally cornered you into a fight. so you didn’t call and instead prayed to whatever forces exist in the universe, that seungcheol would try your number again.

he never did.

“soooo, cheers to the lady of the hour! finally free from the clutches of corporate law!” yunjin cheered, clinking her glass against yours and knocking you out of your reverie.

damn it, seungcheol, i said i would not think of you tonight!

“yes, cheers!” chaeyoung joined in. “how do you feel? are you going to get a big ass bonus for the amount of time you put into this asshole?”

chaeyoung was probably right, you probably did deserve a huge ass bonus for the deal you pulled for the client you were handling. when you were in law school, you had never imagined yourself working for sleazy, corporate pigs who behaved like none of their actions would bite them in the ass eventually, and expecting others – like yourself – to clean up after them. but, as your boss grimly explained to you the day you had complained about your client, everybody has to start somewhere. “and junior partners don’t get to choose cases, sweetheart.”

life at the firm wasn’t always terrible. you were lucky enough to be part of an amazing team, and the firm worked with plenty of influential and big personalities, so you almost never had to worry about your income. but sometimes, some of the people you were asked to represent brought you to the brink of just quitting your job altogether.

“i just feel relieved,” you say. “if i had to hear the incessant whining and nagging of that idiot for one more day, i might have gone insane!”

“well, thank god you’re a stellar lawyer and managed to get rid of him,” yunjin teases, taking a sip of her drink. “do you already have anything else lined up?”

“god, no! i have a few days off just to take care of paperwork, maybe help out some of my colleagues around the office… but nothing big for now, thankfully.”

“oh, that’s amazing! which reminds me, this means you can actually join us on that weekend spa trip we were talking about last week,” chaeyoung happily suggests, as she’s already pulling up the website of the spa retreat.

“i guess a spa day would be nice,” you say, looking over at chaeyoung’s phone. you feel your body already going lax at the thought of a hot stone massage.

“oh, that would be so nice!” yunjin pouts. “we haven’t gone on a girls trip in so long! i miss going away, just the three of us… do you guys remember that trip we took to croatia two years ago? that was the best one we ever did, i swear!”

while chaeyoung joins yunjin in reminiscing about all the trips the three of you took over the years, you feel your phone buzzing in the pocket of your dress paints. pulling it out, you see an email notification…

“oh, no…” your voice trails off, reading over the email you had just received.

“what? what’s the matter?” yunjin asks, her conversation with chaeyoung coming to a halt.

“my boss just emailed me. he wants me in the office tomorrow morning. some big case that just came in,” you explain, already feeling a headache coming in.

“but tomorrow’s saturday,” chaeyoung frowns.

“i know… i know.”

when monday rolls around, seungcheol really wished that he had died before mingyu had found him the week before.

the day started normal enough. he woke up at 5 a.m. and took kkuma for a walk in the park near his apartment building, just like every morning. by 8 a.m., he was already set up in his studio inside the PLEDIS building, ready to work on the tracks he was supposed to finish mixing by the end of the week. seungcheol liked the buzz of the label, people from all different departments running around trying to stay on their schedules; it motivated him to also do his part diligently, and reminded him that he was extremely lucky to be doing one of the things he loves most: music.

seungcheol should’ve guessed something was up today the moment the clock struck 11 and jihoon, the other in-house producer of PLEDIS, and one of his oldest friends, hadn’t come by his studio. he and jihoon had known each other since their college days, having met in an audio engineering class they apparently shared, and had been friends for 8 years now. during their last year of college, they were recruited by a record label that was just starting out (which became the PLEDIS of today), and despite all warnings from their families, they decided to take a leap of faith together and join the company. it all worked out for the better, it turned out, as PLEDIS only grew and soon became a household name in the music industry.

as the only producers that have stuck around PLEDIS since the beginning, they developed several… traditions, or rituals over the years, one of which was jihoon’s 11 a.m. coffee run, which they’d spend sharing ideas and notes over each other’s work, and, if jihoon was in a particularly good mood, engage in some office gossip (not that either of them would ever admit it). today, however, jihoon is a no-show and seungcheol can’t help but wonder what his friend is up to.

when he shoots jihoon a quick text, asking if he’s alright, his friend only replies with a “just busy,” and tells seungcheol not to wait up for him at lunch, as he’ll probably be stuck in the studio all day. this doesn’t surprise him that much, seeing as jihoon might be an even bigger workaholic than he is, but he still can’t shake the feeling that something must be up with his friend. he decides that instead of going out for lunch, he’s gonna pick up some takeout and join jihoon in his studio. he wouldn’t be able to rest easy knowing his friend will go a day without eating anything.

once lunch hours begin, seungcheol takes a quick walk two blocks down the street to the restaurant mingyu works in, who’s already waiting for him with the food seungcheol had requested for him and jihoon. on his way back to PLEDIS, he texts jihoon again, just to make sure he’s still in the studio, but there’s no answer, and now seungcheol is seriously starting to get worried. he jogs the rest of the way until he’s back inside the building, and takes the elevator to the 6th floor where jihoon’s studio is stationed.

walking up to the door that reads UNIVERSE FACTORY, he stops in his tracks when he hears more than one voice from the other side of the door. he easily recognizes jihoon’s voice, but the other voices – two other men and a woman – are harder to make out. except… except the woman’s voice is eerily familiar, and without a second thought, seungcheol grips the handle and swings the door open, four pairs of eyes whipping in his direction.

his eyes land on jihoon, who looks like he wishes he was anywhere else in that moment, and then scan the rest of room, recognizing mr. han, their CEO, and… you. it’s you.

seungcheol feels like he’s going to faint. mr. han does not look the least bit happy about seungcheol’s intrusion, and he really wishes the man would slap him just so he can know for sure if he’s dreaming. if you’re surprised to see seungcheol, your face shows no sign of it, and seungcheol can’t help but stare at you. you look so beautiful, so put together; your make-up is soft, almost unnoticeable, your hair pushed behind your ears, and you’re wearing a dark green suit… oh, how he loved you in green.

you were the picture of grace and professionalism and he was… not. he really wishes he hadn’t come to the studio in sweatpants right now.

“mr. choi, what a… surprise,” mr. han exclaims, standing up from his seat, you and the other man – who seungcheol has no idea who he is, but he knows he doesn’t like the way he’s standing so close to you – following suit. “i didn’t know mr. lee was expecting you,” mr. han continues, glancing towards jihoon, who turned red as a tomato.

“i wasn’t, actually,” jihoon squeaks, avoiding both seungcheol and mr. han’s gazes.

“i apologize, i was… i was just bringing jihoon some lunch. i didn’t know there was… a meeting happening,” seungcheol says, looking towards you, and he’s almost thrown back by the way you’re just… staring directly at him.

mr. han sighs, but remembering the situation, he quickly puts on a polite smile as he turns towards you and the other man. “mr. choi is one of our other in-house producers. mr. choi, this is mr. jeon and miss L/N. they’re helping us with some… legal matters.”

so that’s why you were here. and who the other guy was. but what legal matters? and why was jihoon involved? and why didn’t he tell seungcheol?!

before seungcheol can ask more questions, mr. han gestures towards the door he came through and says “now, if you don’t mind, you can come back in a few minutes, mr. choi. we’ll be done soon.”

soon. soon, his ass!

seungcheol had been pacing the hallway outside jihoon’s studio for the past 20 minutes (he checked, he wasn’t exaggerating!), trying very hard not to eavesdrop through the door, and thinking of every possible reason why jihoon would need legal help and why you would be here.

jihoon was definitely in some kind of trouble. for the CEO to be involved as well, it for sure must be something that could affect the whole label. seungcheol just can’t understand why jihoon wouldn’t tell him if he had any kind of problem. they were colleagues, but most importantly, they were friends. he would’ve dropped everything to come to his aid.

now, when it comes to you… seungcheol knows you’re a lawyer, obviously he does. he met you when you were halfway through law school, and he was there for every failed and aced exam, for your graduation (he was so proud of you that day, it was the first time you’d ever seen him cry), for every measly job you had before finally securing the one you currently held at one of the top firms in the city. he also knows you’re a damn good lawyer, seeing how hard you work and how dedicated you are. he supposes it’s not surprising you were chosen to represent jihoon in whatever mess he got himself in.

he feels bad now that he remembers how he held these things above your head during your last fight. how you were working late so often, how you never asked him to join you at office parties, despite how eager you always were to go out with your coworkers for drinks, how you always asked him to wait for you outside the office building, as if you didn’t want people to know you had a partner...

he knows that both of you were to blame for how things went down between you, but since he started the argument in the first place, he thinks he could’ve brought all this up in a better way, at a better time.

his thoughts are interrupted when the door to jihoon’s studio opens again, and he finds himself regretting waiting in the hallway because now he has to face you again and he’s not ready and he doesn’t know what to say and he still looks like a hobo and –

“mr. choi!”

he looks up to see who he imagines is your colleague – mr. jeon – step towards him, as you and mr. han step out after him, discussing something. you glance once towards seungcheol before turning back to the conversation, and seungcheol feels his heart clench.

“mr. jeon, i’m sorry once again for interrupting your meeting,” seungcheol says, extending his hand to shake mr. jeon’s.

“don’t worry, no harm done at all. i’m actually glad you stuck around, because i had something to ask you. seeing as you and mr. lee are close, would you be available for a short talk with us, sometime in the next days? we’ll have to build a strong case for mr. lee and, well, some insight from his colleagues would be very helpful,” mr. jeon explains, fixing the thin-rimmed glasses perched on his nose.

seungcheol is taken aback by the man’s soft tone. his sharp eyes and cold look on his face made him look pretty intimidating, but his voice is the complete opposite, putting seungcheol weirdly at ease.

“o-of course, anything for jihoon,” seungcheol quickly replies. “can i ask, though, what exactly does he need help with?”

“plagiarism.”

“PLAGIARISM?!”

“you’re being sued. for plagiarism.”

“yes.”

“and you just found out last friday.”

“yes.”

“last friday when we all went out for barbeque and you didn’t even think to mention it? not even once?!”

“will you stop pacing and sit down? you’re making me even more nervous than i already am,” jihoon sighs, dropping his head in his hands.

seungcheol sighs as well, muttering a sorry, and sits down on the couch opposite jihoon’s chair.

jihoon continues. “i didn’t mention anything because i didn’t want to piss on everyone’s good mood. it was joshua’s birthday… besides, i didn’t know all the details of the situation at that point. i thought it was another baseless accusation, you know? but they’re serious about it. they wanna take me to court.”

“what? that’s insane,” seungcheol says. “i feel weird even asking, but did you even plagiarize?”

“no! of course not! i don’t even know the people!” jihoon exclaims, flopping down on the couch next to seungcheol. he lets out a long groan. “this is just what i needed.”

seungcheol pats his friend’s back, thinking of some encouraging words. jihoon was the most talented and creative guy he knew. to think that someone would accuse him of using somebody else’s work was a concept seungcheol couldn’t even entertain.

“don’t worry. that jeon guy looks like he’s already got a game plan.”

“and Y/N,” jihoon says.

silence falls around the two of them, until jihoon stirs from the couch, sitting up to look at seungcheol.

“are we just not going to acknowledge her or what?”

“no! that’s not what i…” seungcheol sighs, hanging his head. “i just wasn’t expecting to see her. i don’t know how to feel.”

“that’s understandable. you guys haven’t seen each other in a while, right?”

seungcheol shakes his head. “did she… did she say anything to you?”

“oh, no. she was super professional, went straight to business. but…” jihoon trails off, debating whether he should say what he was thinking.

“but? but what?!” seungcheol grabs jihoon’s shoulders, shaking him a little.

“but i think she was just as rattled to see you as you were. her hand kept shaking while she was writing, after you left. i guess she was just better at hiding her surprise,” jihoon continues. “now let go of me, you animal!”

seungcheol sighs. could it be that you were just as much of a mess inside as he was? the hopeful part of him thinks you might have thought of him all these months, just as he thought of you. the other part of him thinks your hand might as well just have been shaking from anger.

“you know, this might be a good thing,” jihoon says, getting up and sitting back in front of his computer.

“what, you getting sued and her being around?”

“yeah. maybe this way you’ll finally grow some balls, put your pride aside, and actually fix things,” jihoon deadpans, and seungcheol knows the conversation is over.

yeah. easier said than done.

#📁 lexie.works #🌙 midnights #seventeen #choi seungcheol #choi seungcheol x reader #seungcheol x reader #seventeen fanfic #seventeen imagine #svt au #seventeen angst #seventeen fluff

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wavesoutbeingtossed · 8 months ago

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TTPD Track Speculation/Prediction: @wavesoutbeingtossed Edition

Against my better judgment, I’m putting down my predictions before I am proven completely wrong on April 19.

on the other hand I did correctly attribute all of the 1989 TV vault track teaser lyrics to their songs before it was released so maybe I’m just that good jk.

I’m putting everything under a cut because it’s long and mostly just shooting the shit but it’s a long weekend so what the heck!

I started writing this the night the album was announced at the Grammys in February, so obviously things may have evolved in the meantime. It will be very interesting to see just how wrong I am!

Here be speculation, musings, jokes and more! Enter at your own risk!

SOUND:

I honestly have NO CLUE. I’ve said many, many times that I would be absolutely gagged for an Americana-folk type sound like Carolina/Safe and Sound/some of her acoustic performances on tour. I don’t really expect TTPD to sound quite that stripped back, though. (Prove me wrong, Taylor!)

I am kind of feeling pop-rock-y though, à la WCS, TTDS, based on absolutely nothing but that is also a genre/sound I love that I am begging to hear more on albums.

Completely off the wall guess: Something more jazzy-big band-y, based on nothing but her styling in recent months on the red carpet that harkens back to golden age of Hollywood vibes (especially the Grammys), the inclusion of Clara Bow (renowned flapper girl) on the track list, and the way she keeps talking about being grateful fans accept her bending and switching genres over the years and support her when she does “weird” things.

FORMAT (?)

OK this is just me spitballing, but I said awhile back that I am just getting vibes that there may be, like, a story within a story with this. As in, using some fictional settings as an allegory for the story about herself. The example I used then was The Lumineers, and how they wrote their album III about three generations of a fictional family dealing with addiction, which was an allegory for the lead singer’s own family’s experience with it (without directly calling out the family member in question at the time). There were characters in the album, but many of the songs were sung from an “I”/“you” perspective. I may not be explaining myself well, but I wouldn’t be surprised if there are “fictional” stories in that they’re sung about characters (e.g. Clara Bow?), but it will be obvious to fans that she’s using the characters to speak about herself and her experiences. I’m just getting big “storytelling” energy from the hints. Which means I’m totally wrong!!!! Don’t listen to me!!! (I do think there will be some shades of this somehow, though.)

TRACK LIST SPECULATION

Fortnight: Think you are all on the money about it being the time between the start of tour and when Joever happened for good. Sort of a “two years of uncertainty coming to a head in two weeks” thing. Spending two weeks agonizing over what to do. Two weeks for your whole life to blow up. Finally being removed from the situation and grasping onto your dreams that have been on hold for years and realizing your mind’s made up because you won’t give this part of you up even if it means letting go of what you thought your future held. But another thing I’ve thought of: some common wisdom claims it takes two weeks for a new routine to become a habit, so… outside chance it’s like, two weeks go by and you’re finally used to/accepted whatever it is you’re trying to kick? Also had a thought that there could be many two-week periods that can mark your life and give pause.

The Tortured Poets Department: No idea really lol. For some reason I feel like this is going to be a little more experimental, “laying the groundwork for the defense” type of vibe, kinda like Mastermind, or using the investigative/academic metaphor to delve into it like, Mad Woman or Vigilante Shit. (Or: it could be super petty roasting the infamous group chat lol. In all seriousness though I would doubt that because I feel like this album is very much about Her… unless said group chat was so insufferable she needs to blast it on main.)

My Boy Only Breaks His Favourite Toys: I saw some talk on my dash about this giving renegade themes (you fire off missiles because you hate yourself but don’t you know you’re demolishing me), and I totally thought the same thing. Also those of you who pointed out the parallels to Cardigan are geniuses (when I was an old cardigan under someone’s bed you put me on and said I was your favorite). Again kinda think there might be some more metaphor in this but guessing it may be along the lines of “he’s only doing this because he knows I won’t leave” themes? It instantly gives dark and uneasy. It gives, the people you love are the ones you hurt the most. All signs point to Not Good.

(Or this is about Benji destroying his spin toys or is that just my cat that does that.)

Down Bad: Someone said (on Jaime’s blog I think*) that this is giving False God but icky and I can TOTALLY see that. (Then again I’ve always found False God sad in the sense that it’s like, “even when we fight so bad we can’t communicate we still have the sex holding us together.”) But, Taylor does like to take sayings with common meanings and twist them on their heads, so I also wouldn’t be surprised if “Down Bad,” isn’t referring to being down as in being horny for someone, but being down as in, feeling devastated/hopeless. (Or, even worse, mean both at the same time. 😵‍💫)

(*I wrote this post in February after the announcement, I don’t have a clue when any of this was said anymore sorry)

So Long, London: like a lot of people, I feel like this is her goodbye to the life they had and more importantly/poignantly, the dreams she had of their future. (I don’t know but, “remember looking at this room we loved cause of the light, now I just sit in the dark and wonder if it’s time” just feels like it’d be part of this story.) So because I’ve said that, watch it be an excoriation of London Boy lol. (You know I’m mad at a London Boy / who just really won’t leave Camden / Market in the afternoon / he hasn’t seen my American smile / in two months cause he won’t come to see me / when I have a show to do…) Feel like it’s going to gut us. BUT, also wonder if this is her “I’m getting the fuck out of dodge ROCK FLAG AND EAGLE” anthem haha. (Or: she ran away to London to escape the Bad Stuff but then got stuck in another kind of Bad Stuff living there for so long…)

But Daddy I Love Him: Pretty obviously the Little Mermaid reference. Very curious if the actual quote is in the song, or if it’s just named that to set the scene but the song instead is an expounding on the theme of giving up her voice for the sake of the relationship like Ariel. Also wonder if this is an overtly diaristic song or if she is going to use characters/figures/fiction to expand on the theme subtly, a little like Maisie Peters’ History of Man or Florence & The Machine’s Cassandra or even more pointedly like her own Last Great American Dynasty or The Lucky One. I do assume the overarching theme is going to be the push-pull between keeping her love and giving up things that are important to her to make that love work. (Watch this be about her arguing with her father about marrying *** lol.)

The theme of giving up your voice/what you hold dear for love is so loaded, and has some parallels to Clara Bow’s story, which is also on the track list so… Lots to chew on I’m sure.

Fresh Out The Slammer: Totally think the reference to her locking herself up for years at home because she was scared in the Time POTY interview is a likely link to this. Feeling free after the weight of this decision is off her shoulders, yet the sheer terror at now being on her own and rebuilding her future. It could be uplifting but I could also see it being like pure chaos. BUT, a thought I had earlier is that, if this is a song that was written pre-Joever, maybe it’s about the aftermath of a rough patch. Like, we just got our get out of jail free cards, we made it through the other side of this Big Thing that almost ended us (e.g. the final blow in YLM), where do we go from here?

Florida!!!: Emphasis on the “!!!”!!! Honestly it had me at FLORENCE AND THE MACHINE. I’m soooooo curious and sooooooooooooo pumped for this one. I don’t want to let myself hope it’s going to sound like a Florence song BUT I HOPE IT SOUNDS LIKE A FLORENCE SONG. I’m going to guess it may be a reference to the first stop on tour after the news broke. Wasn’t that also a show where a ton of things went wrong? I can see it going so many ways! Is it a hopeful “Florida I’m coming for you you’re a symbol of my great escape my prison break my entire life crumbling and rising again”? An introspective “I never thought I’d have to rebuild my whole world after it imploded, in Florida of all places?!”? Is it a sarcastic “fucking Florida always the scene of the crime I can’t believe my life is falling apart and I need to go to FUCKASS FLORIDA oh great every thing that can go wrong with my show is FLORIDA!!!!”? Is it a rant about the corporate mouse? Or a scathing takedown of Republican politics ahead of the 2024 elections? (lol) Who’s to say?!

Guilty as Sin?: Sooooooooooo curious about this. I’m a Carolina Stan and I know there is 0% chance there is a link between the two songs other than the lyric which is a common term, but it does make me happy. My first thought about this one is that it’s going to be biting or self-reflective — kinda like the bridge of Is It Over Now? Or the chorus of Anti-Hero. As in, “what is it exactly that you think I’m guilty of?” (E.g. ambition? Drive? Seeking attention? Being selfish? But could also be sad: Loving too hard? Caring too much? Being too needy? Hmmm.) I’m kind of feeling like it’s a “if it’s wrong to be guilty of these things I don’t want to be right.” Again if I had to guess I’d wonder if it would have the same vibes as the bridge of YLM. (For some reason, with the question mark, I don’t necessarily think it’s going to be accusing someone of something…)* I also had a thought about the seven deadly sins and this title and… THOUGHTS ARE THINKING**.

(*I may not have found it accusatory in February, but with the benefit of hindsight in March I… reserve the right to change my mind about this.)

(**Future Waves here: the thoughts may have been thinking for February Waves but March Waves has no idea what she was talking about.)

Who’s Afraid of Little Old Me?: I don’t knooooooooooow. At first the title kinda gave me Blank Space vibes, like, you don’t know how much I could fuck this up if I wanted. Then some people mentioned the similarity to Who’s Afraid of Virginia Woolf? And now that’s absolutely all I can think about. If you’ve ever seen the movie (or the play), it is rooooooooough. Watching George and Martha drunkenly eviscerate each other as their guests watch on in horror is… oof. (As someone who has seen this happen in real life and was trapped on a boat with a couple in full unhinged mode… OOF. Just OOF.) Of course there’s the Burton-Taylor of it all too so… (there’s also an interesting theme in Virginia Woolf about buying into illusion to avoid the messiness of reality… and Martha resenting George’s lack of ambition.) Is this song cheeky? Or a threat? Is this a Better Than Revenge/Vigilante Shit rebuke or is it Bejeweled owning her personhood?

(Like any of these songs, there’s also the chance that it’s heartbreaking and is really a reflection on how the things that make her her can be weaponized against her… Or how her struggles/vices alienate her to the person she loves a la Anti-Hero…)

I Can Fix Him (No Really I Can): My first thought is this is going to be one of her sarcastic/satirical/funnier ones, based on nothing except that this sounds like it could be an Olivia Rodrigo cheeky song lol. (Like, I immediately start singing this to the tune of “Get Him Back.”) Never beat those allegations, Taylor, we’ve all been there. It definitely feels like a stereotypical tale of “girl tries to fix a man who doesn’t want to change and refuses to give up.” Watch this actually be a sad ballad about the flip side of renegade and trying to help a partner through a crisis 😬

loml: the quiet menace in this list!!!! Obviously we’re all immediately thinking “love of my life,” but because this is Taylor, we should not rest easy. The fact that it’s all in small caps is curious to me and calls back to text speak, so is this a term of endearment that turns into a final parting sign off? Is it from an email ahem? Is it a sweet song about the good parts of being together? A wistful song about a lost love? BUT THEN, because it’s Taylor, I can totally see this being a bait and switch and it standing for something else as some of you pointed out, like loss of my life, or love OR my life. Or something entirely different. I’m pretty convinced that this one is going to be devastating in some fashion. I just feel it in my bones.

I Can Do It With a Broken Heart: Like many of you, I’m fairly certain this is going to be a bittersweet Long Live-esque ode to the Eras tour. The pick yourself up by the bootstraps, get out of bed, the show must go on and the show is saving my life story. Just thinking of the quote from the Time POTY interview where she said, “I know I’m going on that stage whether I’m sick, injured, heartbroken, uncomfortable, or stressed.” And in those early weeks, it seems like she might have been all of those things at once. Just trying to talk yourself into getting out of bed when all you want the earth’s core to swallow you whole and never come back. Kind of like, I can pick up the pieces of my life and carry on even when I am dying inside.

The Smallest Man Who Ever Lived: Obviously this is about one Benjamin Button, please. OK, in all seriousness, it’s giving, well… *shots fired*. It’s giving “your integrity makes me seem small.” It’s giving “I’m a monster on the hill, too big to hang out.” It’s giving “all you are is mean.” So, part of me thinks it’s going to be turned on its head a little bit, just because… it seems to point to something directly and sometimes Taylor enjoys a bit of misdirection. So is this about someone who takes shots at someone else and in so doing, displays their own insecurity? Another thought I had is: Is this about someone who retreats into their own world so much that they’ve shut out everything and everyone else? Their whole world gets shrunken down to the four walls around them? I have a strong feeling this is an allegory-type song, using a fictionalized and possibly fantastical story to tell the real life one, but obviously I could be wrong.

The Alchemy: gonna be real with you all: I didn’t know that alchemy was the practice of turning base metals into something that looks like gold. I think I was mixing it up with apothecary or something, lol. I thought it was the practice of making potions and whatnot. #TheMoreYouKnow ANYWAY, I think the idea of “turning nothing into something that shines” is going to be important. Is it about using her best colours for a portrait to hide the cracks underneath? Is it about trying your best to make something work and thrive but ultimately coming up empty because the foundation is gone? Is it about turning these base experiences into art that fuels her? There are so many possibilities! (@taylortruther’s post about The Alchemy and other comments got me thinking too about the magician/illusionist scenario in So It Goes and now my brain is on fire.)

Clara Bow: Soooooooooo intrigued by this one too. People have pointed out so many of the interesting coincidences and parallels in their lives. Clara Bow was a silent film star who found her voice in the talkies — that right there is one metaphor about finding your voice in your art and your life. But it’s also an interesting parallel that she managed to parlay her success in silent film into talkies, at a time where few actors enjoyed a successful transition, which mirrors Taylor’s transition from country to pop. There’s the way Clara’s private life was splashed all over the press, driven by salacious rumours about her sex life and her perceived revolving door of lovers, which seems like something Taylor would empathize with. There’s the way she had a breakdown and left Hollywood, which may have some shades of 2016. Or that she got married and started a family, but insisted on keeping it a secret for many years to maintain privacy, which is interesting because in this case it seems like *Clara* was the one driving the need for secrecy, not her husband. (At least I read that in one article somewhere, sorry if that’s wrong!) Ultimately though, she died relatively young and was forgotten by mainstream Hollywood, a relic of a past uninteresting to all but the most diehard of film buffs. I’m getting vibes of “The Lucky One,” (and “Nothing New”) both in themes and in storytelling. So, watch it be completely different and not a story about Clara Bow but instead just have it be an off-hand line lol.

BONUS TRACKS

The Manuscript: I’m veeeeeery intrigued by this one. (I know I say that about all of them. That’s because they all intrigue me.) I love the idea that this wraps up the “standard” album; the chair(wo)man of the Tortured Poets Department has submitted her thesis for review, and it’s up to the board to draw their conclusion. OR: the idea that this is the unfiltered submission to a publisher, before the editor’s review that will cut and tighten and ultimately make it better, but loses the author’s initial vision in the process. (Like self-editing to share the most palatable story to your reader. Which… Also gives Dear Reader/Midnights in general vibes.) OR EVEN: this is the author’s story, submitted to the audience for their review, leaving it up to them to draw their conclusions and annotate. There are sooooooo many ways I can see this going.

The Bolter: A curious one indeed! I feel like of all of the bonus tracks at least, this is the one I have the least idea about. My immediate guess is that it refers to a person who runs, which would have all kinds of implications. Running from the law (unlikely lol), running from commitment, running from conflict… running for your life. Like running from commitment because you’re scared of being tied down (single girl version) to running from commitment because you’re scared of being tied down (bitter wife* version). (*NOT saying there was a secret wedding lol. I mean as in, that’s the future that was in store if one stayed.) I saw other takes saying bolter is also slang for jailer, which is also interesting with the Ready For It of it all.

The Albatross: So much has been said about this one, so I don’t think I have much to ado about this one! The famous poem is rife with all kinds of allusions: the bird soaring on its own for up to six years, but being brought down by man’s cruelty. The bird looking majestic in the skies, but the burden of its wings dragging it down on land, slowly killing it. The story being a metaphor for how the very thing poets are exalted for in society are the things they are punished for personally. I think it’s safe to say this one is going to hurt regardless, whether it’s a reference to herself, to ***, or something else entirely.

The Black Dog: Also another one I’m not sure I have many thoughts on yet. The black dog being a metaphor for depression is likely the inspiration, and I’m assuming this has the potential to be one of the most vulnerable songs yet. I have a feeling most of this album will be, but the imagery of this — the black dog being a constant companion, wanted or not, casting a pall over its master’s every move — points in a pretty obvious direction. And one that is probably going to gut us.

Well there you have it folks! I am ready to be completely wrong!

#the tortured poets department #Happy Good Friday this post has risen from the dead #(oops was that uncouth of me)#three weeks!!!!!!#i need this album now #my brain is on fire #Writing letters addressed to the fire

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taylor-on-your-dash · 1 month ago

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WRITING OF FOLKLORE & EVERMORE TIMELINE

“I used to put all these parameters on myself like, ‘How will this song sound in a stadium? How will this song sound on radio?’ If you take away all the parameters, what do you make? And I guess the answer is... folklore.”

December 18, 2019: Taylor records my tears ricochet. On folklore: long pond sessions, she confirms that my tears ricochet was the first song written for TS8 and she knew right away that it would take the 5th spot on the track list.

“I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There's no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote "My Tears Ricochet" and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both. It’s definitely one of the saddest songs on the album. Picking a ‘Track Five’ is sort of a pressurized decision but I knew from day one this was probably going to be it. It’s a song about karma, about greed, about how somebody could be your best friend and your companion and your most trusted person in your life and then they could go and become your worst enemy who knows how to hurt you because they were once your most trusted person. Writing this song, it kind of occurred to me that in all of the superhero stories the hero’s greatest nemesis is the villain that used to be his best friend. When you think about that, you think about how there’s this beautiful moment in the beginning of a friendship where these people have no idea that one day, they’ll hate each other and try to take each other out. I mean, that’s really sad and terrible.”

March 5-12, 2020: Band rehearsals for Lover Fest. The band rehearsed 32 songs and Taylor sings on a few.

March 11, 2020: Taylor lands in LA. She'll stay there for the whole lockdown until May 22nd.

March 19, 2020: The state of California issue a stay-at-home order. The lockdown starts. During the Eras Tour, Taylor says that she started writing songs with Jack soon after. It's possible that illicit affairs and august were two of the first songs, as Taylor confirmed that august was the first song she wrote for the Love Triangle. This first version of august doesn't include the bridge.

[Taylor about illicit affairs] This was the first album that I’ve ever let go of that need to be 100 percent autobiographical because I think I needed to do that. I felt like fans needed to hear a 'stripped from the headlines' account of my life and it actually ended up being a bit confining. Because there’s so much more to writing songs than just what you’re feeling and your singular storyline. And I think this was spurred on by the fact that I was watching movies every day, I was reading books every day, I was thinking about other people every day. I was kind of outside my own, personal stuff. I think that’s been my favorite thing about this album: that it’s allowed to exist on its own merit without it just being, ‘Oh, people are listening to this because it tells them something that they could read in a tabloid’. It feels like a completely different experience.

[Taylor about august] In my head, I’ve been calling the girl from ‘august’ either Augusta or Augustine. What happened in my head was: ‘cardigan’ is Betty’s perspective from 20 or 30 years later, looking back on this love that was this tumultuous thing. I think Betty and James ended up together. So in my head, she ends up with him but he really put her through it. ‘august’ was obviously about the girl that James had this summer with. She seems like she’s a bad girl, but really she’s not. She’s a really sensitive person who fell for him and she was trying to seem cool and like she didn’t care because that’s what girls have to do. And she was trying to let him think that she didn’t care, but she did and she thought they had something very real. And then he goes back to Betty. So the idea that there is some bad, villain girl in any type of situation who ‘takes your man’ is a total myth because that’s not usually the case at all. Everybody has feelings and wants to be seen and loved. And Augustine…that’s all she wanted.

[Taylor] I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective. It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is—Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

Taylor had previously written down the phrase ‘Meet me behind the mall’ in her phone years ago, wanting to write it into a song.

April 17, 2020: Lover Fest is cancelled. Taylor writes mirrorball and this is me trying shortly after.

MIRRORBALL

On folklore there are a lot of songs that reference each other or have lyrical parallels and one of the ones that I like is the entire song 'this is me trying' then being referenced again in ‘mirrorball,’ which is, ‘I’ve never been a natural, all I do is try’. Sometimes when I’m writing to an instrumental track I’ll push ‘Play’ and I’ll immediately see a scene set and this was one of those cases. I just saw a lonely disco ball, twinkly lights, neon signs, people drinking beer by the bar, a couple of stragglers on the dance floor. Sort of a sad, moonlit, lonely experience in the middle of a town you’ve never been. I was just thinking that we have mirrorballs in the middle of a dance floor because they reflect light, they are broken a million times and that’s what makes them so shiny. We have people like that in society, too. They hang there and every time they break it entertains us. And when you shine a light on them it’s this glittering, fantastic thing. But then, a lot of the time when the spotlight isn’t on them they’re just still there, up on that pedestal but no one is watching them. It was a metaphor for celebrity but it’s also a metaphor for so many people. Everybody has to feel like they have to be ‘on’ for certain people. You have to be different versions of yourself for different people. Different versions at work, different versions around friends. Different versions of yourself around different friends. A different version of yourself around family. Everybody feels that they have to be in some ways duplicitous and that’s part of the human experience. But it’s also exhausting. And you learn that every one of us has the ability to become a shapeshifter. But what does that do to us?

THIS IS ME TRYING

“I’ve been thinking about people who are either suffering through mental illness, addiction or who have an everyday struggle. No one pats them on the back every day but every day they are actively fighting something. There are so many days that nobody gives them credit for that and so, how often must somebody who’s in that sort of internal struggle wanna say to everyone in the room: ‘You have no idea how close I am to going back to a dark place.’ I had this idea that the first verse would be about someone who is in a life crisis and has just been trying and failing in their relationship, has been messing things up with people they love, has been letting everyone down and has driven to this overlook, this cliff, and is just in the car, going, ‘I could do whatever I want in this moment and it could affect everything forever.’ But this person backs up and drives home. The second verse is about someone who felt like they had a lot of potential in their life. I feel like there are a lot of mechanisms for us in our school days, in high school or college, to excel and to be patted on the back for something. And then a lot of people get out of school and there are less abilities for them to get gold stars. Then you have to make all these decisions and you have to pave your own way. There’s no set class course you can take. I think a lot of people feel really swept up in that. And so I was thinking about this person who is really lost in life and then starts drinking…and every second is trying not to.”

March/April 2020: the lakes was also done remotely, but written before Taylor started collaborating with Aaron, placing it between March and April 2020:

[Taylor] “We’d gone to the Lake District in England a couple years ago. In the 19th century you had a lot of poets like William Wordsworth and John Keats who’d spend a lot of time there. And there was a poet district, these artists that moved there. They were heckled for it and made fun of for being these eccentrics and kind of odd artists who decided that they just wanted to live there. I remember thinking, ‘I could see this.’ You live in a cottage and you got wisteria growing up the outside of it…of course they escaped like that. And they had their own community of other artists who’d done the same thing. I’ve always, in my career since I was probably about twenty, written about this cottage backup plan that I have. I have been writing about that forever. I went to William Wordsworth’s grave and just sat there and I was like, ‘Wow. He went and did it.’ And you kept writing but you didn’t subscribe to the things that were killing you. And that’s really the overarching thing that I felt when I was writing folklore: I may not be able to go to The Lakes right now – or to go anywhere – but I’m going there in my head. The escape plan is working.”

[Jack] On one of my favorite songs on folklore, “The Lakes,” there was this big orchestral version, and Taylor was like, “Eh, make it small.” I had gotten lost in the string arrangements and all this stuff, and I took everything out. I was just like, “Oh, my God!” We were not together because that record was made [remotely], but I remember being in the studio alone like, “Holy shit, this is so perfect.”

This version of the lakes was released on folklore's first anniversary.

April 24, 2020: For his birthday, Aaron Dessner goes on an Instagram Live where he plays a bunch of songs including “Gaite” aka “happiness” and “Stella”, like his daughter, aka “invisible string”

April 27-28, 2020: Taylor contacts Aaron Dessner and asks him to work with her. He sends her a folder of instrumental tracks he had recorded over the years. The first one that inspires Taylor is called “Maple” which will become cardigan. She sends back a voice memo, and right after, she posts a selfie on Instagram with the caption “Not a lot going on at the moment”. What a troll.

[Taylor] The song is about a long lost romance, and why young love is often fixed so permanently within our memories. When looking back on it, why it leaves such an incredible mark and how special it made you feel; all the good things it made you feel, all the pain that it made you feel... The line about feeling like you were an old cardigan under someone's bed, but someone put you on and made you feel like you were their favorite.

[Aaron] That’s the first song we wrote. After Taylor asked if I would be interested in writing with her remotely and working on songs, I said, “Are you interested in a certain kind of sound?” She said, “I’m just interested in what you do and what you’re up to. Just send anything, literally anything, it could be the weirdest thing you’ve ever done,” so I sent a folder of stuff I had done that I was really excited about recently. “cardigan” was one of those sketches; it was originally called “Maple.” It was basically exactly what it is on the record, except we added orchestration later that my brother wrote. I sent [the file] at 9 p.m., and around 2 a.m. or something, there was “cardigan,” fully written. That’s when I realized something crazy was happening. She just dialed directly into the heart of the music and wrote an incredible song and fully conceived of it and then kept going. It harkens back to lessons learned, or experiences in your youth, in a really beautiful way and this sense of longing and sadness, but ultimately, it’s cathartic. I thought it was a perfect match for the music, and how her voice feels. It was kind of a guide. It had these lower register parts, and I think we both realized that this was a bit of a lightning rod for a lot of the rest of the record.

[Taylor] “The quality that really confounded me about Aaron’s instrumental tracks is that to me, they were immediately, intensely visual,” Swift wrote in an email. “As soon as I heard the first one, I understood why he calls them ‘sketches.’ The first time I heard the track for ‘Cardigan,’ I saw high heels on cobblestones. I knew it had to be about teenage miscommunications and the loss of what could’ve been. I’ve always been so curious about people with synesthesia, who see colors or shapes when they hear music. The closest thing I’ve ever experienced is seeing an entire story or scene play out in my head when I hear Aaron Dessner’s instrumental tracks.”

Aaron Dessner shared a screenshot from when Taylor sent him back cardigan.

April 29-30, 2020: Taylor writes seven and peace. seven is the only song that was entirely recorded at Long Pond.

SEVEN

[Aaron] This is the second song we wrote. It’s kind of looking back at childhood and those childhood feelings, recounting memories and memorializing them. It’s this beautiful folk song. It has one of the most important lines on the record: “And just like a folk song, our love will be passed on.” That’s what this album is doing. It’s passing down. It’s memorializing love, childhood, and memories. It’s a folkloric way of processing.

PEACE

[Taylor] “I think this is a song that is extremely personal to me. There are times when I feel like with everything that’s in my control, I can make myself seem like someone who doesn’t have an abnormal life and I try that every day. It’s like, 'How do I make my friends, and family, and my loved ones not see this big elephant that’s in the room for our normal life?' Because I don’t want the elephant in the room. If you’re gonna be in my life I feel like there’s a certain amount that comes with it that I can’t stop from happening. I can’t stop from you getting a call in the morning that says, ‘The tabloids are writing this today.’ I can’t help it if there’s a guy with a camera two miles away with a telescope lense taking pictures of you. I can’t stop those things from happening. And so this song was basically like, ‘Is it enough? Is the stuff that I can control enough to block out the things that I can’t?' So it makes me really emotional to hear this song.

[Taylor] To know that a lot of people related to it who aren’t talking about the same things that I’m talking about. They’re talking about human complexity. It’s about someone who you wanna provide with peace, someone you love, so you want them to have as much peace in their life as possible and reconciling the fact that you might not be their best option for that. But is it still a deal they wanna take?

[Taylor to Paul McCartney] peace is actually more rooted in my personal life. I know you have done a really excellent job of this in your personal life: carving out a human life within a public life, and how scary that can be when you do fall in love and you meet someone, especially if you’ve met someone who has a very grounded, normal way of living. I, oftentimes, in my anxieties, can control how I am as a person and how normal I act and rationalize things, but I cannot control if there are 20 photographers outside in the bushes and what they do and if they follow our car and if they interrupt our lives. I can’t control if there’s going to be a fake weird headline about us in the news tomorrow.

[Aaron] “I wrote this, and Justin provided the pulse. We trade ideas all the time and he made a folder, and there was a pulse in there that I wrote these bass lines to. In the other parts of the composition, I did it to Justin’s pulse. Taylor heard this sketch and she wrote the song. It reminds me of Joni Mitchell, in a way — there’s this really powerful and emotional love song, even the impressionistic, almost jazz-like bridge, and she weaves it perfectly together. This is one of my favorites, for sure. But the truth is that the music, that way of playing with harmonized bass lines, is something that probably comes a little bit from me being inspired by how Justin does that sometimes. There’s probably a connection there. We didn’t talk too much about it [laughs]. The song “peace” — when she wrote that, it was just a harmonized bass and a pulse. She wrote this incredible love song to it that’s one vocal take.”

May 2020: Taylor and Aaron spend the entire month writing all the songs on folklore.

EXILE (FT. BON IVER)

Taylor and William Bowery, the singer-songwriter, wrote that song initially together and sent it to me as a sort of a rough demo where Taylor was singing both the male and female parts. It’s supposed to be a dialogue between two lovers. I interpreted that and built the song, played the piano, and built around that template. We recorded Taylor’s vocals with her singing her parts but also the male parts. We talked a lot about who she thought would be perfect to sing, and we kept coming back to Justin [Vernon]. Obviously, he’s a dear friend of mine and collaborator. I said, “Well, if he’s inspired by the song, he’ll do it, and if not, he won’t.” I sent it to him and said, “No pressure at all, literally no pressure, but how do you feel about this?” He said, “Wow.” He wrote some parts into it also, and we went back and forth a little bit, but it felt like an incredibly natural and safe collaboration between friends. It didn’t feel like getting a guest star or whatever. It was just like, well, we’re working on something, and obviously he’s crazy talented, but it just felt right. I think they both put so much raw emotion into it. It’s like a surface bubbling. It’s believable, you know? You believe that they’re having this intense dialogue. With other people I had to be secretive, but with Justin, because he was going to sing, I actually did send him a version of the song with her vocals and told him what I was up to. He was like, “Whoa! Awesome!” But he’s been involved in so many big collaborative things that he wasn’t interested in it from that point of view. It’s more because he loved the song and he thought he could do something with it that would add something.

[Taylor on exile] “Exile was a song that was written about miscommunications in relationships, and in the case of this song I imagine that the miscommunications ended the relationship - that they led to sort of the demise of this love affair. And now these two people are seeing each other out for the first time and they keep miscommunicating with each other, they can’t quite get on the same page, they never were able to. So even in their end, even after they’ve broken up they’re still not hearing each other, so we imagined that the beginning of it would be his side of the story, second verse would be her side of the story, and then the end would be sort of them talking over each other and not listening to the other, sort of like an argument. Yeah, I’m really stoked about how it turned out because it really does seem like this sort of tragedy of two people, two ships passing in the night.”

[Joe Alwyn] Alwyn doesn’t consider himself a musician or songwriter and insists that he is, in fact, an awful singer. He was merely “messing around” on the piano when Swift heard and walked over, intrigued. He had been singing the fully formed first verse to the song that became “Exile.”. “It was completely off the cuff, an accident,” he says, shrugging. “She said, ‘Can we try and sit down and get to the end together?’ And so we did. It was as basic as some people made sourdough.” I’d probably had a drink and was just stumbling around the house. We couldn’t decide on a film to watch that night, and she was like, ‘Do you want to try and finish writing that song you were singing earlier?’ And so we got a guitar and did that. I press him on this point — he wrote an entire verse to a Taylor Swift song without trying? “Who doesn’t walk around the house singing?” he asks. I explain that it’s unusual for hit songs to spring forth like that from non-musicians’ heads. He says he wasn’t trying to write to Swift’s personal sound but had been listening to a lot of the National.

[Aaron] It was Taylor’s idea to approach [Justin Vernon]. I sent him Taylor’s voice memo of her singing both parts, and he got really excited and loved the song and then he wrote the extra part in the bridge.

INVISIBLE STRING

[Taylor] When I first heard the track that [Aaron] sent me I thought, ‘I have to write something that matches it’. And pretty quickly I came upon the idea of fate. ‘Cause sometimes I just go into a rabbit hole of thinking about how things happen and I love the romantic idea that every step you’re taking, you’re taking one step closer to what you’re supposed to be, guided by this little invisible string. I wrote it right after I sent an ex a baby gift and I just remember thinking, 'This is a full signifier that life is great!'

[Aaron] That was another one where it was music that I’d been playing for a couple of months and sort of humming along to her. It felt like one of the songs that pulls you along. Just playing it on one guitar, it has this emotional locomotion in it, a meditative finger-picking pattern that I really gravitate to. It’s played on this rubber bridge that my friend put on [the guitar] and it deadens the strings so that it sounds old. The core of it sounds like a folk song. It’s also kind of a sneaky pop song, because of the beat that comes in. She knew that there was something coming because she said, “You know, I love this and I’m hearing something already.” And then she said, “This will change the story,” this beautiful and direct kind of recounting of a relationship in its origin.

MAD WOMAN

[Taylor] [“mad woman” has] these ominous strings underneath it and I was like, ‘Oh, this is female rage.' And then I was thinking the most rage provoking element of being a female is the gaslighting that happens. For centuries, we were just expected to absorb male behavior silently. And oftentimes, when we – in our enlightened and emboldened state – now respond to bad male behavior or somebody just doing something that’s absolutely out of line and we respond, that response is treated like the offense itself. There’s been situations recently with someone who’s very guilty of this in my life and it’s a person who makes me feel (or tries to make me feel) like I’m the offender by having any kind of defense to his offenses. It’s like I have absolutely no right to respond or I’m crazy. I have no right to respond or I’m angry. I have no right to respond or I’m out of line. So [Aaron] provided the musical bed for me to make that point that I’ve been trying so hard to figure out how to make…How do I say why this feels so bad?

[Aaron] That might be the most scathing song on folklore. It has a darkness that I think is cathartic, sort of witch-hunting and gaslighting and maybe bullying. Sometimes you become the person people try to pin you into a corner to be, which is not really fair. But again, don’t quote me on that [laughs], I just have my own interpretation. It’s one of the biggest releases on the album to me. It has this very sharp tone to it, but sort of in gothic folklore. It’s this record’s goth song.

EPIPHANY

[Taylor] I remember thinking, ‘Maybe I wanna write a sports story.’ Because I had just watched The Last Dance and I was thinking all in terms of sports, and winners, and underdogs. But actually, what I had been doing really frequently up until that point was I had been doing a lot of research on my grandfather who fought in World War II at Guadalcanal, which was an extremely bloody battle. And he never talked about it. Not with his sons, not with his wife. Nobody got to hear about what happened there. So my dad and his brothers did a lot of digging and found out that my granddad was exposed to some of the worst situations you could ever imagine as a human being. So I kind of tried to imagine what would happen in order to make you just never be able to speak about something. And when I was thinking about that I realized that there are people right now taking a twenty minute break in between shifts at a hospital who are having this kind of trauma happen to them right now, that they probably will never wanna speak about. And so I thought that this is an opportunity to maybe tell that story. I often feel that there have been times in my life where things have fallen apart so methodically, and I couldn’t control how things were going wrong, and nothing I did stopped it. I just felt like I’d been pushed out a plane and I was scratching on the air on the way down. I just felt like the universe was doing its thing. It was just dismantling my life and there was nothing I could do. And this is a weird situation where – ever since I started making music with [Aaron] – I felt like that was the universe forcing things to fall into place perfectly and there’s nothing I could do. It’s one of those weird things that makes you think about life a lot. This lockdown could’ve been a time where I absolutely lost my mind and instead I think this album was a real floatation device for both of us.

[Aaron] For epiphany, she did have this idea of a beautiful drone, or a very cinematic sort of widescreen song, where it’s not a lot of accents but more like a sea to bathe in. A stillness, in a sense. I first made this crazy drone which starts the song, and it’s there the whole time. It’s lots of different instruments played and then slowed down and reversed. It created this giant stack of harmony, which is so giant that it was kind of hard to manage, sonically, but it was very beautiful to get lost in. And then I played the piano to it, and it almost felt classical or something, those suspended chords. I think she just heard it, and instantly, this song came to her, which is really an important one. It’s partially the story of her grandfather, who was a soldier, and partially then a story about a nurse in modern times. I don’t know if this is how she did it, but to me, it’s like a nurse, doctor, or medical professional, where med school doesn’t fully prepare you for seeing someone pass away or just the difficult emotional things that you’ll encounter in your job. In the past, heroes were just soldiers. Now they’re also medical professionals. To me, that’s the underlying mission of the song. There are some things that you see that are hard to talk about. You can’t talk about it. You just bear witness to them. But there’s something else incredibly soothing and comforting about this song. To me, it’s this Icelandic kind of feel, almost classical. My brother did really beautiful orchestration of it.

BETTY

[Aaron] This one Taylor and William wrote, and then both Jack and I worked on it. We all kind of passed it around. This is the one where Taylor wanted a reference. She wanted it to have an early Bob Dylan, sort of a Freewheelin’ Bob Dylan feel. We pushed it a little more towards John Wesley Harding, since it has some drums. It’s this epic narrative folk song where it tells us a long story and connects back to “cardigan.” It starts to connect dots and I think it’s a beautifully written folk song.

[Taylor] I just heard Joe singing the entire fully formed chorus of ‘betty’ from another room. And I was just like, ‘Hello.’ It was a step that we would never have taken, because why would we have ever written a song together? So this was the first time we had a conversation where I came in and I was like, 'Hey, this could be really weird, and we could hate this, so because we’re in quarantine and there’s nothing else going on, could we just try to see what it’s like if we write this song together?' So he was singing the chorus of it, and I thought it sounded really good from a man’s voice, from a masculine perspective. And I really liked that it seemed to be an apology. I’ve written so many songs from a female’s perspective of wanting a male apology that we decided to make it from a teenage boy’s perspective apologizing after he loses the love of his life because he’s been foolish.

[James] has lost the love of his life basically and doesn't understand how to get it back. I think we all have these situations in our lives where we learn to really, really give a heartfelt apology for the first time. Everybody makes mistakes, everybody really messes up sometimes and this is a song that I wrote from the perspective of a 17-year-old boy. I've always loved that in music you can kinda slip into different identities and you can sing from other people's perspectives. So that's what I did on this one," the superstar explained of the song's premise, before revealing, "I named all the characters in this story after my friends' kids... and I hope you like it!

[Joe Alwyn] I’d probably had a drink and was just stumbling around the house. We couldn’t decide on a film to watch that night, and she was like, ‘Do you want to try and finish writing that song you were singing earlier?’ And so we got a guitar and did that.” Initially, Alwyn didn’t want his name credited, anticipating that what he describes as the “clickbait conversation” would distract people from actually listening to the music. So he went by William Bowery as a nod to his music-composer great-grandfather and the Manhattan street.

[Taylor] With ‘betty,’ Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that’s exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people’s. It’s been really fun to watch.

THE LAST GREAT AMERICAN DYNASTY

[Taylor] When [Aaron] sent me the track to ‘the last great american dynasty’ I had been wanting to write a song about Rebekah Harkness since 2013, probably. I’d never figured out the right way to do it because there was never a track that felt like it could hold an entire story of somebody’s life and moving between generations. When I heard that [the track] I was like, ‘Oh my God, I think this is my opening. I think this is my moment. I think I can write the Rebekah Harkness story!' It has that country music narrative device.”

[Aaron] I wrote that after we’d been working for a while. It was an attempt to write something attractive, more uptempo and kind of pushing. I also was interested in this almost In Rainbows-style latticework of electric guitars. They come in and sort of pull you along, kind of reminiscent of Big Red Machine. It was very much in this sound world that I’ve been playing around with, and she immediately clicked with that. Initially I was imagining these dreamlike distant electric guitars and electronics but with an element of folk. There’s a lot going on in that sense. I sent it before I went on a run, and when I got back from the run, that song was there [laughs].She told me the story behind it, which sort of recounts the narrative of Rebekah Harkness, whom people actually called Betty. She was married to the heir of Standard Oil fortune, married into the Harkness family, and they bought this house in Rhode Island up on a cliff. It’s kind of the story of this woman and the outrageous parties she threw. She was infamous for not fitting in, entirely, in society; that story, at the end, becomes personal. Eventually, Taylor bought that house. I think that is symptomatic of folklore, this type of narrative song. We didn’t do very much to that either.

[Taylor] “Anyone who's been there before knows that I do 'The Tour,' where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.”

Dessner and Swift were working intensively and at high speed throughout 2020, so much so that on one occasion the producer sent the singer a track and went out for a run in the countryside around Long Pond. By the time he got back, Swift had already written ‘the last great american dynasty’ and it was waiting for him in his inbox.

Late May/Early June 2020: Taylor sends Aaron the last two folklore songs, the 1 and hoax.

[Aaron] “the 1” and “hoax,” the first song and the last song, were the last songs we did. The album was sort of finished before that. We thought it was complete, but Taylor then went back into the folder of ideas that I had shared. I think in a way, she didn’t realize she was writing for this album or a future something. She wrote “the 1,” and then she wrote “hoax” a couple of hours later and sent them in the middle of the night. When I woke up in the morning, I wrote her before she woke up in LA and said, “These have to be on the record.” She woke up and said, “I agree” [laughs]. These are the bookends, you know?It’s clear that “the 1” is not written from her perspective. It’s written from another friend’s perspective. There’s an emotional wryness and rawness, while also to this kind of wink in her eyes. There’s a little bit of her sense of humor in there, in addition to this kind of sadness that exists both underneath and on the surface. I enjoy that about her writing. The song [began from] the voice memo she sent me, and then I worked on the music some and we tracked her vocals, and then my brother added orchestration. There are a few other little bits, but basically that was one of the very last things we did. [Hoax] is a big departure. I think she said to me, “Don’t try to give it any other space other than what feels natural to you.” If you leave me in a room with a piano, I might play something like this. I take a lot of comfort in this. I think I imagined her playing this and singing it. After writing all these songs, this one felt the most emotional and, in a way, the rawest. It is one of my favorites. There’s sadness, but it’s a kind of hopeful sadness. It’s a recognition that you take on the burden of your partners, your loved ones, and their ups and downs. That’s both “peace” and “hoax” to me. That’s part of how I feel about those songs because I think that’s life. There’s a reality, the gravity or an understanding of the human condition.

[Taylor on the 1] I think, ‘I’m doing good, I’m on some new shit, been saying 'Yes' instead of 'No’ has a double meaning. Opening the album with that line applies to the situation that this song is written about where you’re updating a former lover on what your life is like now and trying to be positive about it. But it was also about where I am creatively. I’m just saying ‘Yes’, I’m just putting out an album in the worst time you could put one out, I’m just making stuff with someone who I’ve always wanted to make stuff with, as long as I’ve been a fan of The National. I’m just going to say 'Yes’ to stuff and it worked out.

[Taylor on hoax] The word ‘hoax’ is another one that I love. I love that is has an ‘x’ and the way it looks and sounds. I think with this song being the last one on the album it kind of embodied all the things that this album was thematically: confessions, incorporating nature, emotional volatility and ambiguity at the same time, love that isn’t just easy. And it’s the most symbolic and poetic thing, listing all these things that this person is to you. That line, ‘You know it still hurts underneath my scars from when they pulled me apart’ – anyone in my life knows what I’m singing about there but everybody has that situation in their life where you let someone in and they get to know you and they know exactly what buttons to push to hurt you the most. That thing where the scars healed over but there’s still phantom pain. I think the part that sounds like love to me is, ‘Don’t want no other shade of blue but you. No other sadness in the world would do.’ To me that sounds like what love really is. Who would you be sad with? And who would you deal with when they were sad? And like, gray skies every day for months, would you still stay?

[Aaron] We didn’t talk about [the meaning of the album] at first. It was only after writing six or seven songs, basically when I thought my writing was done, when we got on the phone and said, “OK, I think we’re making an album. I have these six other ideas that I love with Jack [Antonoff] that we’ve already done, and I think what we’ve done fits really well with them.” It’s sort of these narratives, these folkloric songs, with characters that interweave and are written from different perspectives. She had a vision, and it was connecting back in some way to the folk tradition, but obviously not entirely sonically. It’s more about the narrative aspect of it. I think it’s this sort of nostalgia and wistfulness that is in a lot of the songs. A lot of them have this kind of longing for looking back on things that have happened in your life, in your friend’s life, or another loved one’s life, and the kind of storytelling around that. That was clear to her. But then we kept going, and more and more songs happened. It was a very organic process where [meaning] wasn’t something that we really discussed. It just kind of would happen where she would dive back into the folder and find other things that were inspiring. Or she and William Bowery would write “exile,” and then that happened. There were different stages of the process.

May 21, 2020: As stated in the folklore: long pond sessions, Taylor started recording the vocals on this day. She also finishes august while in the vocal booth.

[Taylor] In my head, I’ve been calling the girl from ‘august’ either Augusta or Augustine. What happened in my head was: ‘cardigan’ is Betty’s perspective from 20 or 30 years later, looking back on this love that was this tumultuous thing. I think Betty and James ended up together. So in my head, she ends up with him but he really put her through it. ‘august’ was obviously about the girl that James had this summer with. She seems like she’s a bad girl, but really she’s not. She’s a really sensitive person who fell for him and she was trying to seem cool and like she didn’t care because that’s what girls have to do. And she was trying to let him think that she didn’t care, but she did and she thought they had something very real. And then he goes back to Betty. So the idea that there is some bad, villain girl in any type of situation who ‘takes your man’ is a total myth because that’s not usually the case at all. Everybody has feelings and wants to be seen and loved. And Augustine…that’s all she wanted.

She previously had written down the phrase ‘Meet me behind the mall’ in her phone years ago, wanting to write it into a song.

May 22-June 5, 2020: Taylor leaves LA and goes to Upstate New York to touch up some vocals (Betty), and shooting the photoshoot at Blake Lively and Ryan Reynolds' house. She also records Carolina at Long Pond. The song was recorded in one take using only instruments available before 1953.

[EW Interview] “I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a mood board and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.”

[About Carolina] About a year & half ago I wrote a song about the story of a girl who always lived on the outside, looking in. Figuratively & literally. The juxtaposition of her loneliness & independence. Her curiosity & fear all tangled up. Her persisting gentleness & the world’s betrayal of it. I wrote this one alone in the middle of the night and then Aaron Dessner and I meticulously worked on a sound that we felt would be authentic to the moment when this story takes place. I made a wish that one day you would hear it. here The Crawdads Sing is a book I got absolutely lost in when I read it years ago. As soon as I heard there was a film in the works starring the incredible Daisy Edgar-Jones and produced by the brilliant Reese Witherspoon, I knew I wanted to be a part of it from the musical side. I wrote the song “Carolina” alone and asked my friend Aaron Dessner to produce it. I wanted to create something haunting and ethereal to match this mesmerizing story.

June 5, 2020: The Inner Circle posts the Oxford definition of the word folklore: “The traditional beliefs, customs, and stories of a community, passed through the generations by word of mouth.” adding “Taylor, your secret is safe with us.” later that day.

June 16, 2020: The Inner Circle posts the Oxford definition of the word cardigan: “A knitted sweater fastening down the front, typically with long sleeves. (Taylor, your secret remains safe with us. Here at the IC we are anxiously awaiting your big reveal)”

June-July 2020: During June and possibly early July, Aaron and Jon Low mix and master the album. It's a complicated process.

[Aaron] If there was trouble it started to be because of track counts. I probably only used 20 percent of what was actually recorded, ’cause we would try a lot of things, y’know. So, eventually the sessions got kinda crazy and you’d have to deactivate a lot of things and print things. But we got used to that. [...] I think the main thing was I wanted her vocals to have a more full range than maybe you typically hear, because I think a lot of the more pop oriented records are mixed a certain way and they take some of the warmth out of the vocal, so that it’s very bright and it kinda cuts really well on the radio. But she has this wonderful lower warmth frequency in her voice which is particularly important on a song like ‘seven’. If you carved out that mud, y’know, it wouldn’t hit you the same way. Or, like, ‘cardigan’, I think it needs that warmth, the kind of fuller feeling to it. It makes it darker, but to me that’s where a lot of emotion is.

[Aaron on the mixing process] In some instances, the final mix ended up being the never bettered rough mix, while other songs took far more work. “‘cardigan’ is basically the rough, as is ‘seven’. So, like the early, early mixes, when we didn’t even know we were mixing, we never were able to make it better. Like if you make it sound ‘good’, it might not be as good ’cause it loses some of its weird magic, y’know. But songs like ‘the last great american dynasty’ or ‘mad woman’, those songs were a little harder to create the dynamics the way you want them, and the pay off without going too far, and with also just keeping in the kind of aesthetic that we were in. Those were harder, I would say.

[Mixer Jon Low] In the beginning it did not feel real,” recalls Low. “There was this brand new collaboration, and it was amazing how quickly Aaron made these instrumental sketches and Taylor wrote lyrics and melodies to them, which she initially sent to us as iPhone voice memos. During our nightly family dinners in lockdown, Aaron would regularly pull up his phone and say, ‘Listen to this!’ and there would be another voice memo from Taylor with this beautiful song that she had written over a sketch of Aaron’s in a matter of hours. The rate at which it was happening was mind blowing. There was constant elevation, inspiration and just wanting to continue the momentum. “We put her voice memos straight into Pro Tools. They had tons of character, because of the weird phone compression and cutting midrange quality you just would not get when you put someone in front of a pristine recording chain. Plus there was all this bleed. It’s interesting how that dictates the attitude of the vocal and of the song. Even though none of the original voice memos ended up on the albums, they often gave us unexpected hints. These voice memos were such on a whim things, they were really telling. Taylor had certain phrasings and inflections that we often returned to later on. They became our reference points. “Taylor’s voice memos often came with suggestions for how to edit the sketches: maybe throw in a bridge somewhere, shorten a section, change the chords or arrangement somewhere, and so on. Aaron would have similar ideas, and he then developed the arrangements, often with his brother Bryce, adding or replacing instruments. This happened fast, and became very interactive between us and Taylor, even though we were working remotely. When we added instruments, we were reacting to the way my rough mixes felt at the very beginning. Of course, it was also dictated by how Taylor wrote and sang to the tracks.”

[Jon Low on the mixing process] Throughout the entire process we were trying to maintain the original feel. Sometimes this was hard, because that initial rawness would get lost in large arrangements and additional layering. With revisions of folklore in particular we sometimes were losing the emotional weight from earlier more casual mixes. Because I was always mixing, there was also always the danger of over mixing. “We were trying to get the best of each mix version, and sometimes that meant stepping backwards, and grabbing a piano chain from an earlier mix, or going three versions back to before we added orchestration. There were definitely moments of thinking, ‘Is this going to compete sonically? Is this loud enough?’ We knew we loved the way the songs sounded as we were building them, so we stuck with what we knew. There were times where I tried to keep pushing a mix forward but it didn’t improve the song — ‘cardigan’ is an example of a song where we ended up choosing a very early mix.

July 2020: While folklore is being finished, Taylor continues to write songs. The first two songs, that at first seem like Big Red Machine songs, are dorothea and closure.

[Aaron] A lot more of [evermore] was made from scratch. After Folklore came out, I think Taylor had written two songs early on that we both thought were for Big Red Machine, “Closure” and “Dorothea.” But the more I listened to them, not that they couldn’t be Big Red Machine songs, but they felt like interesting, exciting Taylor songs. “Closure” is very experimental and in this weird time signature, but still lyrically felt like some evolution of Folklore, and “Dorothea” definitely felt like it was reflecting on some character.

[Aaron on closure] Vernon provided the grainy beat that kicks off ‘closure’, one of two tracks on evermore that started life as a sketch for the second Big Red Machine album. “It was this little loop that Justin had given me in this folder of ‘Starters’, he calls them. I had heard that and been playing the piano to it. But I was hearing it in 5/4, although it’s not in 5/4. ‘Closure’ really opened everything up further. There were no real limits to where we were gonna try to write songs.”

In the Billboard interview above, Aaron says he thinks that Taylor wrote them after folklore was released, while in the Rolling Stone one he says they were written while finishing up the folklore mixes.

“I think I’d written around 30 of those songs in total,” Dessner recalls. “So when I started sharing them with Taylor over the months that we were working on Folklore, she got really into it, and she wrote two songs to some of that music.” One was “Closure,” an experimental electronic track in 5/4 time signature that was built over a staccato drum kit. The other song was “Dorothea,” a rollicking, Americana piano tune. The more Dessner listened to them, the more he realized that they were continuations of Folklore‘s characters and stories. But the real turning point came soon after Folklore‘s surprise release in late July, when Dessner wrote a musical sketch and named it “Westerly,” after the town in Rhode Island where Swift owns the house previously owned by Rebekah Harkness.

Dorothea is the only evermore song to have been recorded at Taylor's home studio in LA, she left LA 3 days after the release of folklore so Occam's razor, I'm guessing that the RS interview is the correct one and dorothea and closure were written in late June/early July, while the Folklorians were finishing up the album.

July 24, 2020: folklore is released, after being announced the day before.

August 6-18, 2020: To celebrate how well folklore was received, Aaron composes an instrumental track called Westerly, named after the town in Rhode Island where Taylor owns Holiday House. Taylor writes willow on it, then sends a voice memo to Aaron.

[Voice Memo] “Here's the Westerly one, written in Westerly!”

[Aaron] And I, sort of in celebration of Folklore, had written a piece of music that I titled “Westerly,” that’s where she has the house that she wrote “Last Great American Dynasty” about. I’ll do that sometimes, just make things for friends or write music just to write it, but I didn’t at all think it would become a song. And she, like an hour later, sent back “Willow” written to that song, and that sort of set [things in motion] and we just started filling this Dropbox again. It was kind of like, “What’s happening?”

There are so many stories I could share. When I sent Taylor the music for our song 'willow' — I think she wrote the entire song from start to finish in less than 10 minutes and sent it back to me. It was like an earthquake. Then Taylor said, 'I guess we are making another album.'

I liked opening the album with ['willow'] because I loved the feeling that I got, immediately upon hearing the instrumental that Aaron created for it. It felt strangely witchy, like somebody making a love potion, dreaming up the person that they want and desire, and trying to figure out how to get that person in their life. And all the misdirection, and bait and switch, and complexity that goes into seeing someone, feeling a connection, wanting them, and trying to make them a part of your life. It’s tactical at times, it’s confusing at times, it’s up to fate, it’s magical. It felt a bit magical and mysterious, which is what I want people to feel going into an album that was a collection of these stories that were going to take them in all kinds of directions. I just wanted to start them off with a setting of the vibe.

August/September 2020: Taylor writes no body, no crime, possibly while in London.

[Taylor] Working with the HAIM sisters on 'no body, no crime' was pretty hilarious because it came about after I wrote a pretty dark murder mystery song and had named the character Este, because she’s the friend I have who would be stoked to be in a song like that. I had finished the song and was nailing down some lyric details and texted her, 'You’re not going to understand this text for a few days but... which chain restaurant do you like best?' and I named a few. She chose Olive Garden and a few days later I sent her the song and asked if they would sing on it. It was an immediate 'YES.'

[Aaron] Taylor wrote that one alone and sent me a voice memo of her playing guitar — she wrote it on this rubber-bridge guitar that I got for her. It’s the same kind I play on “Invisible String.” So she wrote “No Body, No Crime” and sent me a voice memo of it, and then I started building on that. It’s funny, because the music I’ve listened to the most in my life are things that are more like that — roots music, folk music, country music, old-school rock & roll, the Grateful Dead. It’s not really the sound of the National or other things I’ve done, but it feels like a warm blanket. Taylor had specific ideas from the beginning about references and how she wanted it to feel, and that she wanted the Haim sisters to sing on it. We had them record the song with Ariel Reichshaid, they sent that from L.A., and then we put it together when Taylor was here [at Long Pond]. They’re an incredible band, and it was another situation where we were like, “Well, this happened.” It felt like this weird little rock & roll history anecdote.

[Aaron] [We realized evermore was going to end up being another album] after we’d written several songs, seven or eight or nine. Each one would happen, and we would both be in this sort of disbelief of this weird alchemy that we had unleashed. The ideas were coming fast and furiously and were just as compelling as anything on Folklore, and it felt like the most natural thing in the world. At some point, Taylor wrote evermore with William Bowery, and then we sent it to Justin, who wrote the bridge, and all of a sudden, that’s when it started to become clear that there was a sister record.

September 16- 23, 2020: Taylor and Jack go to Upstate New York to record the Long Pond Studio Session. She writes 'tis the damn season there on the 17th. Afterwards Taylor stays a few more days to record the bulk of the evermore vocals: willow, champagne problems, gold rush, 'tis the damn season, tolerate it, no body no crime, coney island, ivy, long story short, marjorie, closure, evermore, and it’s time to go.

After the Folklore: The Long Pond Studio Sessions, [Taylor] stayed for quite a while and we recorded a lot. She actually wrote 'tis the damn season when she arrived for the first day of rehearsal. We played all night and drank a lot of wine after the fireside chat — and we were all pretty drunk, to be honest — and then I thought she went to bed. But the next morning, at 9:00 a.m. or something, she showed up and was like, “I have to sing you this song,” and she had written it in the middle of the night. That was definitely another moment [where] my brain exploded, because she sang it to me in my kitchen, and it was just surreal. That music is actually older — it’s something I wrote many years ago, and hid away because I loved it so much. It meant something to me, and it felt like the perfect song finally found it. There was a feeling in it, and she identified that feeling: That feeling of... “The ache in you, put there by the ache in me.” I think everyone can relate to that. It’s one of my favorites.

[Aaron] She stayed after we were done filming and then we recorded a lot. It was crazy because we were getting ready to make that film, but at the same time, these songs were accumulating. And so we thought, “Hmm, I guess we should just stay and work.”

CHAMPAGNE PROBLEMS

[Taylor] Joe and I really love sad songs. He started that one and came up with the melodic structure of it. I say it was a surprise that we started writing together, but in a way it wasn’t cause we had always bonded over music and had the same musical tastes. He’s always the person who’s showing me songs by artists and then they become my favorite songs. ‘champagne problems’ was one of my favorite bridges to write. I really love a bridge where you tell the full story in the bridge. You really shift gears in that bridge. I’m so excited to one day be in front of a crowd, when they all sing, ‘She would’ve made such a lovely bride, what a shame she’s fucked in the head’. Cause I know it’s so sad, but it’s those songs like ‘All Too Well’. Performing that song is one of the most joyful experiences I ever go through when I perform live, so when there’s a song like ‘champagne problems’ where you know it’s so sad… I love a sad song, you know?

GOLD RUSH

During the willow live stream premiere, Taylor revealed that “gold rush” is Jack's favourite song and that it takes place inside a single daydream where you get lost in thought for a minute and then snap out of it.

[Jack] gold rush was a pretty different sound than what was on folklore. Even the movement in the chorus and some of the chord changes, they're very outside of the realm for what we've done together. We have different processes. Sometimes we sit in a room, sometimes she'll send me a song, sometimes I'll send her a track. That was one where I had the track going. And she did the classic thing where you send it to her, and a very short time later, she sent back a voice note with all of these brilliant ideas of what the song is.

'TIS THE DAMN SEASON

[Aaron] '‘tis the damn season' is a really special song to me for a number of reasons. When I wrote the music to it, which was a long time ago, I remember thinking that this is one of my favorite things I’ve ever made, even though it’s an incredibly simple musical sketch. But it has this arc to it, and there’s this simplicity in the minimalism of it, and the kind of drum programming in there, and I always loved the tone of that guitar. When Taylor played the track and sang it to me in my kitchen, that was a highlight of this whole time. That track felt like something I have always loved and could have just stayed music, but instead, someone of her incredible storytelling ability and musical ability took it and made something much greater. And it’s something that we can all relate to. [Note: The instrumental Aaron is talking about is called Ingrid and was written in 2013 when his daughter Ingrid Stella was born. It was released in 2018 on the album Songs Without Words.]

TOLERATE IT

[Taylor] When you watch a film or you read a book and there’s a character that you identify with, most of the time you identify with them because they’re targeting something in you that feels that you’ve been there. That’s why we relate to characters. When I was reading Rebecca by Daphne du Maurier I was thinking, ‘Her husband just tolerates her. She’s doing all these things, trying so hard to impress him and he’s just tolerating her the whole time.’ There was a part of me that could relate to that because at some point in my life I felt that way. So I ended up writing this song ‘tolerate it’ that’s all about trying to love someone who’s ambivalent.

[Aaron] When I wrote the piano track to 'tolerate it,' right before I sent it to her, I thought, 'This song is intense.' It’s in 10/8, which is an odd time signature. And I did think for a second, 'Maybe I shouldn’t send it to her, she won’t be into it.' But I sent it to her, and it conjured a scene in her mind, and she wrote this crushingly beautiful song to it and sent it back. I think I cried when I first heard it. It just felt like the most natural thing, you know? There weren’t limitations to the process. And in these places where we were pushing into more experimental sounds or odd time signatures, that just felt like part of the work.

CONEY ISLAND

[Taylor on coney island] “The story behind writing Coney Island - Aaron Dessner had sent me this track that he had created with his brother Bryce and I wrote the lyrics and the melody with William Bowery. I think I might have been coming from a place of somebody who’s been in a relationship for decades and wakes up one day and realizes that they have taken their partner completely for granted. So whether you wanna look at it from the perspective of somebody who’s in a new relationship or very long-standing relationship, I think it just really speaks to if people are trying to communicate but they’re two ships passing in the night, they’re trying to love each other but their signals are somehow missing each other - I just found that really interesting... and yeah, we’re really proud of this one. There were elements of it that immediately reminded me of Matt Berninger‘s vocal stylings and his writing, and I kind of targeted some of the lyrics of the second verse to sound sort of like what he might do - cause I hoped that he might sing on it. Because, you know, we already had two members of The National on the song, with Aaron and Bryce. So we got our wish and Matt sang on this song. I think he did an amazing job, I’m such a huge fan of the band and I’m really honored this was able to come together with The National.”

[Aaron on coney island] One key track on evermore, ‘coney island’, features all of the members of the National and sees Swift duetting with their singer Matt Berninger. “My brother [Bryce] actually originated that song,” says Aaron Dessner. “I sent him a reference at one point — I can’t remember what it was — and then he was sort of inspired to write that chord progression. Then we worked together to sort of develop it and I wrote a bunch of parts and we structured it. Taylor and William Bowery [the songwriting pseudonym of Swift’s boyfriend, actor Joe Alwyn] wrote ‘coney island’ and she sang a beautiful version. It felt kind of done, actually. But then I think we all collectively thought — Taylor and myself and Bryce — like this was the closest to a National song. Dessner then asked the brothers who make up the National’s rhythm section, drummer Bryan and bassist Scott Devendorf, to play on ‘coney island’. Matt Berninger, as he often does with the band’s own tracks, recorded his vocal at home in Los Angeles. “It was never in the same place, it was done remotely,” says Dessner, “except Bryan was here at Long Pond when he played. It was great to collaborate as a band with Taylor.”

MARJORIE

[Aaron] “Taylor’s family gave us a bunch of recordings of her grandmother,” Dessner explains. “But they were from old, very scratchy, noisy vinyl. So, we had to denoise it all using [iZotope’s] RX and then I went in and I found some parts that I thought might work. I pitch shifted them into the key and then placed them. It took a while to find the right ones, but it’s really beautiful to be able to hear her. It’s just an incredibly special thing, I think.”

EVERMORE

[Taylor] When Joe wrote the piano, I based the vocal melody on the piano, and we sent it to Justin, who then added that bridge. And Joe had written the piano part so that the tempo speeds up, and it changes. The music completely changes to a different tempo in the bridge. And Justin really latched onto that, and just 100% embraced it and wrote this beautiful sort of... The clutter of all your anxieties in your head, and they're all speaking at once. And we got the bridge back, and then I wrote this narrative of, 'When I was shipwrecked, I thought of you.' That sort of thing, where there was this beacon of hope, and then in the end, you realize the pain wouldn't be forever.

IT'S TIME TO GO

[Taylor] it’s time to go is about listening to your gut when it tells you to leave. How you always know before you know, you know?

Aaron Dessner, Jon Low, Stine Dessner and Taylor at Long Pond in September 2020.

October 6, 2020: Taylor and Paul McCartney get to chat for Rolling Stone. Taylor softly references tolerate it, ivy and willow.

Swift: I was reading so much more than I ever did, and watching so many more films. McCartney: What stuff were you reading? Swift: I was reading, you know, books like Rebecca, by Daphne du Maurier, which I highly recommend, and books that dealt with times past, a world that doesn’t exist anymore. I was also using words I always wanted to use — kind of bigger, flowerier, prettier words, like “epiphany,” in songs. I always thought, “Well, that’ll never track on pop radio,” but when I was making this record, I thought, “What tracks? Nothing makes sense anymore. If there’s chaos everywhere, why don’t I just use the damn word I want to use in the song?”

October 14, 2020: Jason Treuting records the glockenspiel on willow. (I got this date form the original willow stems)

October 28, 2020: Bryce Devendorf records the percussions on willow. (I got this date form the original willow stems)

October/November 2020: Aaron goes to see Justin Vernon in his home studio in Wisconsin, where they work on the album. Aaron writes the instrumental sketch to right where you left me before going on this trip.

[Aaron] I went to see Justin at one point — that’s the one trip I’ve made — and we worked together at his place on stuff. He plays the drums on “Cowboy Like Me” and “Closure,” and he plays guitar and banjo and sings on “Ivy,” and sings on “Marjorie” and “Evermore.” And then we processed Taylor’s vocals through his Messina chain together. He was really deeply involved in this record, even more so than the last record. He’s always been such a huge help to me, and not just by getting him to play stuff or sing stuff — I can also send him things and get his feedback. We’ve done a ton of work together, but we have different perspectives and different harmonic brains. He obviously has his own studio set up at home, but it was nice to be able to see him and work on this stuff.

November 4, 2020: Taylor shoots the evermore cover, the Red TV cover, and the EW photos. (I got this date from an insider)

November 7, 2020: Taylor films the willow music video. (I got this date from an insider)

November 20, 2020: Aaron records the bass on willow. (I got this date form the original willow stems)

November 25, 2020: Taylor is at Marcus Mumford's studio called Scarlet Pimpernel to finish evermore. They record vocals for two new songs, happiness and right where you left me, they touch up the vocals for coney island, they record Joe's piano on evermore the song, and Marcus records backing vocals on cowboy like me. She possibly stays more than one day.

Taylor has mentioned that you recorded “Happiness” just a week before the album was released. Was that something you guys wrote, recorded, and produced all at the last minute, or was it something you’d been sitting on for a while before you finally cracked the code? There were two songs like that. One is a bonus track called “Right Where You Left Me,” and the other one was “Happiness,” which she wrote literally days before we were supposed to master. That’s similar to what happened with Folklore, with “The 1” and “Hoax,” which she wrote days before. We mixed all the tracks here, and it’s a lot to mix 17 songs, it’s like a Herculean task. And it was funny, because I walked into the studio and Jon Low, our engineer here, was mixing and had been working the whole time toward this. And I came in and he’s in the middle of mixing and I was like, “There are two more songs.” And he looked at me like, “…We’re not gonna make it.” Because it does take a lot of time to work out how to finish them. But she sang those remotely. And the music for “Happiness” is something that I had been working on since last year. I had sang a little bit on it, too — I thought it was a Big Red Machine song, but then she loved the instrumental and ended up writing to it. Same with the other one, “Right Where You Left Me” — it was something I had written right before I went to visit Justin, because I thought, “Maybe we’ll make something when we’re together there.” And Taylor had heard that and wrote this amazing song to it. That is a little bit how she works — she writes a lot of songs, and then at the very end she sometimes writes one or two more, and they often are important ones.

[Taylor on cowboy like me] Take yourselves back to 2020, and I put out folklore, and I just kept writing. I thought, 'Let me make a sister album to folklore and call it evermore.' And so I started immediately. Aaron, Jack, and I were just writing remotely. And the challenge at the time was trying to figure out how to record things. Most studios were completely shut down due to Covid, understandably. I could not find a studio, essentially. So Aaron is like, 'Let me call around to see if there is anyone who is cool, and nice, and generous, and might be willing to offer up their home studio, if we do the right amount of testing, we're totally locked down, and quarantined.' And I was like, 'Okay, please, I really hope someone comes through.' And so he calls me ,'I have really really good news. Marcus Mumford said that you could record at his home studio.' So I first of all, I am so excited that he's saving us, because without this trip, we wouldn't have recorded five or six of the songs on evermore, which came from me getting in a car, driving six hours out into the country past thousands of beautiful sheep, to Marcus Mumford's beautiful house where he has a studio. So I got to do this, we get there, and the whole time I'm thinking, 'Okay, wouldn't it be so cool if he would sing on something?' Because I'm such a Mumford & Sons fan. I just think he's brilliant and has one of the most gorgeous voices in the world. So I'm like, 'Will he sing something, please?' But I didn't want to be weird about it, so I'm like, 'I wonder if fate will have him wander into the studio at the right time.' So sure enough, we're recording a song, and he wanders in at the perfect time and just kind of started humming a harmony. And I turned to him as if I hadn't been thinking of it the whole time, and I was like, 'Oh! You sound really good on that harmony! I wonder if you might sing on this song?' And he said, 'Yep, I would love to!' So essentially, because of Marcus Mumford we have a lot of the songs that probably we wouldn't have been able to put out evermore as quickly as we did. And we also have a gorgeous harmony on a song called 'cowboy like me.'

[Aaron] The music for happiness is something that I had been working on since last year. I had sang a little bit on it, too — I thought it was a Big Red Machine song, but then she loved the instrumental and ended up writing to it.

[Taylor] right where you left me is a song about a girl who stayed forever in the exact spot where her heart was broken, completely frozen in time.

Taylor at Scarlet Pimpernel Studios, and a signed sheet with cowboy like me lyrics which Taylor gave to Marcus Mumford.

December 3 & 4, 2020: Aaron works on willow for the final time, recording some synthesizers. (I got this date form the original willow stems)

[Aaron] On evermore, I would say willow was probably the hardest one to finish just because there were so many ways it could’ve gone. Eventually we settled back almost to the point where it began. So, there’s a lot of stuff that was left out of willow, just because the simplicity of the idea I think was in a way the strongest. It almost felt like a dare or something. We were writing, recording and mixing all in one kind of work stream and we went from one record to the other almost immediately. We were just sort off to the races. We didn’t really ever stop since April.

[Low] The final mix stage for evermore was “very short. There was a moment in the final week or so leading up to the release where the songs were developed far enough for me to sit down and try to make something very cohesive and final, finalising vocal volume, overall volume, and the vibe. There’s a point in every mix where the moves get really small. When a volume ride of 0.1dB makes a difference, you’re really close to being done. Earlier on, those little adjustments don’t really matter.

December 11, 2020: evermore is released.

With folklore, one of the main themes throughout that album was ‘conflict resolution’, trying to figure out how to get through something with someone, or making confessions, or trying to tell them something, trying to communicate with them. evermore deals a lot in endings of all sorts, shapes and sizes. All the kinds of ways we can end a relationship, a friendship, something toxic and the pain that goes along with that.

I have no idea what will come next. I have no idea about a lot of things these days and so I've clung to the one thing that keeps me connected to you all. That thing always has and always will be music. And may it continue, evermore.

#so it's up #cannot believe it #there are some quotes i left out bc i don't know where to put them #and i know it's a very dense timeline bc it's two albums #taylor swift #taylor swift timelines #writing of folklore timeline #writing of evermore timeline

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z0mbiefrank · 2 years ago

Text

Transcript for Marina Toybina on the Designing Hollywood podcast

I've seen a couple people searching for a transcript of her discussing Gerard Way's stage costumes, so I have made one! Feel free to share/link as a resource. Popular quotes are bolded.

Link to source video. MCR's section starts around 22 minutes in.

The transcript is beneath the cut.

Interviewer: Well now you’ve just finished working with My Chemical Romance, which is a band that I dig. Gerard Way is also a comic book writer and artist, created the Umbrella Academy. So, first of all, how did you get that job? Because there’s a design, I mean the look of that band and what they like to do, what they’re influenced by, they’re not just your typical rock band. So what was it like? How did you get that job? You designed the whole tour right?

Marina: I Collaborated with the lead singer, yes, with Gerard. Uhm, okay everything kinda has it’s place in time. About 15 years ago, 15 to 20 years ago, I was a huge fan. I’m a rock girl at heart, and back then a lot of their music was like music to my soul. It got me through some of the harder times. A lot of my friends were musicians. I never saw them live, never could afford to get to their shows, but knew one day in my heart there probably will be an opportunity, they were in like my top 5 favorite bands. He was an artist I’ve always wanted to work with. This past summer, while I was designing So You Think You Can Dance, I just happened to turn on their music - nope- let me rewind I'm so sorry. So a year ago I was reading a release that they're coming back together on tour and they're playing LA on my birthday. I looked at my team and I was like "I'm gonna be at that show. We're gonna go to the show, we're all gonna go together." And I just jokingly said “I'll probably dress them!” A lot of things in my career have happened to manifestation, I'm a huge believer in that. I think my intentions were so clear into the universe. I believed in it so much. That happened a year ago. Then this past summer, I was driving to work, I was listening to their music and I just happened to text my agent. I'm like “You know I really want to get back into music. It's what I used to do. I used to do a lot of live performances. I used to do a lot of music videos. I need to feel that again, even though I'm surrounded with music all the time and I'm doing all these shows. But there was a disconnect in my career, to where it's like I love live entertainment.” And she’s like “Who do you want? Like are we going after pop stars?” And I'm like “No I've done all that. I want to go back to my roots. I want like Incubus or My Chemical Romance or Red Hot Chili Peppers. Get me back to rock and roll.” And she was like “Well, you know, they're touring, but it's probably… I don’t know, let's put it out there.” Then within two weeks I get an email from her like “Hey their managers want to meet with you, he wants to meet with you.” One of the biggest things about their aesthetic is one of my probably top three costume designers, Colleen Atwood, did their black parade album and it was so incredible. Back then, I was always a step behind. It's like they did The Black Parade and then I met the photographer later. Then I worked on a project with him. So it was always like some better-late-than-never I guess. And I'm like “I'm gonna work with her someday, I love her work. I've been told by many people we're a lot alike.” You know? And I'm like “Why not?” And so we get this email “He would like to take a meeting, see what we can do.” I never expected to do a tour, I just wanted to open this door of opportunity, to just collaborate, maybe do one thing together. And he just showed up in my studio and it was just an amazing artistic energy.

Interviewer: Were you starstruck?

Marina: I was trying to hold it together. I mean before they came in, I can't tell you how much I paced. Usually, there's like 15 - 20 people at my studio. This was the time and day that I was alone. I didn't know what to do. Of course, my expectations were just to present myself and see if I would be a good asset to them because I love their music and I love what he's about. Also, it’s not just the frontman for me, I think he's a brilliant artist. So there's a lot of things. I just wanted our worlds to merge somehow. Within the first five minutes of our conversation, I'm like “Oh I get his brain.” I told them my story. I told him that this is like 20 years in the making. You know, I probably sound like a crazy-fan costume designer. But we share ideas, he walked me through the concepts of things he wants to do on this particular tour and they haven't started doing the US leg of the tour. I didn't know if they had a designer. Then he did mention Colleen was doing something for him and I was like “Okay, how - can this be a triangle? You know? Can I come in in the picture?” It was just a beautiful collaboration. It was a genuine artist to artist conversation. Like “Let's do something interesting.” He walked me through his concepts, his ideas and I'm like “Alright well, let me come up with some creatives, see if we're on the same page.” Again, as much as I wanted to be like “Hey we're doing this tomorrow!” I also felt like it's important now in my career and possibly in his, to make sure the relationship is good, that this is the right artistic match to one another and… it worked! From there it was just amazing fittings, amazing collaboration and some iconic things that went viral!

Interviewer: I love hearing this from you because this is like the joyous experience of 'oh my god I dreamt of working with somebody and you finally get to do it'. But I want to take you back to that because I'm curious. How would that process even begin? You're working with somebody that you already know their music, you already know his vibe. And Colleen Atwood, who I've interviewed by the way, on the show, she's incredible. Our interview had to - she was in the middle of a work day, so it was only it was a short interview. But how does a collaboration like that work with somebody like Gerard Way? How do you guys start working together? How is that process?

Marina: For us, it was just like an initial conversation. I introduced myself, my work. They already did some background checking up to see where I stand, what my aesthetic was like. And I felt I was in a place in my life, in my career, where I was able to bring something new. That's where my confidence I think came from. At the same time I didn't want to change the artist that's in front of me. I think that's always so important for me when working with music. You're dealing with a fan base, and a reputation, an aesthetic approach that's far beyond any artistic reach of anybody new coming in. So for me it was having a conversation, understanding what characters he wanted to bring forward. This was a very playful tour. This wasn't about dressing up the whole band. This was about him being in this world of iconic characters. And how can we bring this to life? What can we do that's still very recognizable to his fans but at the same time a little bit of a shock value? But at the same time, I wanted him to be him, you know? He was in this beautiful place in his life and career where he felt great and felt confident and I just wanted to uplift that. We did our creative decks, went through the conversations of which characters we wanted to go with, these are the shows that he had. I knew which city, we kind of wanted to play off where was the right time. Halloween was right around the corner, what do we do? So it was like very strategic conversations but at the same time so much room to play and be creative. So I just gathered the top 10 characters that we had discussed and kind of started doing my own thing, and keeping him and the music in mind. Had an amazing fitting. I've never worked with an artist that's so clear. It was not just directional and very precise and very distinct on his own style, but it was clear for me when we were doing fittings, this is somebody that knows his body. This is somebody who knows his aesthetic on stage. This is somebody that knows how they're going to perform. So it just made it so much easier for me to be able to fall into his world and do the fittings like “Is this going to come off? Is this piece staying on? Are we going to do options? Is the character going to evolve on stage? Is the character going to come down on stage?” So all those conversations happen in our fittings and then I just packed it all up, with distinct notes, send them off, and then kept checking in, making sure everything was okay.

Interviewer: So when you had a direction for the characters, were you doing sketches first?

Marina: No, not at all. This was something that I felt like needed to have the research. It wasn't just about designing something on paper. When he mentioned to me “I wanted to be a vintage cheerleader” I'm like “Okay, what era are we in? 50’s, 60’s, 70’s, 40’s?” and then he was like “Find me something that's within possibly this color scheme.” The image that went viral when he did wear the cheer uniform, it was probably like 10 different vintage stores that we went to. And I'm like “Okay everything's size zero.” or like “What am I gonna do? This stuff doesn't exist anymore. If I get it from Etsy it's not going to come in time.” There's like so much and it happened to be as we were leaving one of the stores I looked on a sale rack and I saw this damaged, weird, vintage cheer dress that had no zipper, that had no hem. And I was like “I love this! I love this because I can reconstruct it. I can go and get the fabrics that we need to still keep it original and authentic. And that's how we start working. I build out a mannequin his size at my studio, put it on, we reshaped it, took the whole thing apart, reconstructed it to be his measurements, and still kept it authentic. After he wore it, the pattern for the actual thing was sold out. Fans loved it so much that we were getting notifications that people actually found the original pattern of this 1940s uniform and were buying it out.

Interviewer: That's crazy, okay!

Marina: Oh it's amazing! I think, to me, that's when things are just meant to be. When not only did my work translate into something beautiful on stage, but then he becomes this incredible persona on stage that then delivers the character and plays it off. We did that throughout every single look. Every single look when it became a fan favorite or craze.

Interviewer: In terms of time, what was the process when you first got the gig and then to the first show that was performing using your work? What was the time frame?

Marina: I think I had about a month to get it all together.

Interviewer: Wow! That’s not much!

Marina: Yeh and at the same time, I had another huge project in the works so it was going back and forth. But I could not tell you, I've had difficult projects in the past, I've had difficult times with artists, or finding our own language, or how to execute some things. This was so easy that time didn't matter to me. It was such a great collaboration, it flowed, like Bruce Lee would say, like water. It just made sense and no matter how difficult my other project was or what was going on at the same time, it was like oh this is the universe showing me this is how it's supposed to be. This is what's inspiring me. And at the end of the day, the one thing I told Gerard was “You made me fall in love with music again. You came into my life as an artist that I've admired and wanted to work with for almost 20 years. There was a big part of my beginning that made me look back at this now and be like “Oh that's what. That was that feeling that I had when I was 16 or 20.”

#my chemical romance #gerard way #marina toybina #mcr #my chem #designing hollywood podcast #let me know if i should change anything #ive never done a transcript before but i hope it helps!!#resource #transcript #op #interviews #costume design #cheerleader

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ilooklikeaburntchickenugget · 1 month ago

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helloo! idk if youre taking requests, but if you do i was thinking of revenge era gee with fem reader who is also a well know singer. like shes on tour and does some festival mcr is playing at and shes really mainstream so the guys dont have high expectations on her music but then they watch her play and they're like "fuck, she actually does know what shes doing" and somehow her and gee exchange numbers and start texting all day long bc theyre both on tour

idk if this makes any sense tbh.

i saw one picture of ts on the red tour that looks like if it was taken with a shitty flip phone and thought of this somehow

anyway, feel free to ignore this and have a good day :D

Title: Happily Ever Accident

A/N: Hey y'all I know it's been actually forever but I saw this in my inbox and thought it was cute so managed to somehow write this amidst midterms season. Idk how but it happened. It's also not thoroughly proof-read because tbh I'm tried and lazy right now. But here's some content for y'all for once. Also, side note, but as I was writing this I was visioning reader as a Sabrina Carpenter-esc figure. Just in the sense of popularity, stage presence, etc. Pairing: Gerard Way (circa mid-2005) x F!PopStar!Reader Word count: 7,978 words Warnings: Swearing, mentions of insecurity

Low expectations. The constant standard he had set for almost every single festival his band was expected to play.

It wasn’t that Gerard didn’t like other people’s music, or festivals for that matter, but considering the label had cornered them into a small handful of non-genre restrictive ones he was annoyed. The culture, the vibes, the people- this was not his place. Not his band’s place, for that matter.

But commercialism was the name of the game, he had learned that early on. He was lucky enough the label had allowed their last album to be artistically driven by him, from songs and lyrics to the artwork on the cover. But there is always a quid-pro-quo in the entertainment industry. And playing at a mainstream festival was apparently one of them.

They wouldn’t have agreed to this had their last music video not gone over budget by a significant amount, and now they were paying the price. On top of that the label had encouraged them to be in public, watch other bands play from the VIP tents. Gerard narrowly lost his shit after trying time and time again explain that they needed time to prep for their show, get in the proper mindset, and that would take all the morning into late afternoon when they were finally on. The label exec begged to differ, giving no ultimatum.

“Fucking hell, if we have to listen to another fucking basic pop artist I’m going to lose my mind.” Frank sighed walking through the festival grounds. The group was by no means blending in, as three security guards stood around them and they could easily hear and see people left and right gawking at them as if they were circus animals.

“Good fucking luck with that.” Ray replied. He was never the sarcastic type, if anything he was the most mature and level-headed. So when he had enough, everyone knew it was bad.

“We have one more.” Gerard too sighed, sticking his hands aggressively in his jean pockets. “Then we’re off the fucking hook.” The group took sighs of relief out of sync.

“Who is it?” Frank asked, seeming halfway curious.

“Uh-“ Gerard stopped, checking his phone to see what their manager had texted them. “Great. Y/F/N Y/L/N.”

“Fuck me.” Frank sighed. “My head is going to fucking explode. Listen, I like all music, but I cannot do this much commercial, manufactured pop.”

“I don’t know, her stuff doesn’t seem as bad as some of the others.” Mikey chimed in for the first time.

“How would you know? I’ve only heard her shit in Targets.” Frank speedily replied.

“Social media, I guess. Enough sound clips from her songs have blown up to make them pretty hard to miss.”

“I’m still keeping my expectations low.” Frank shrugged.

“It’s the last one, try to be somewhat positive.” Ray replied halfheartedly.

“We’re never going over budget on anything again.” Gerard quickly added, turning a corner to the next stage’s area. “I can’t fucking do this.”

She got nervous before shows. She was great at hiding it. But in the last few weeks every festival she was playing had crowds growing bigger and bigger. From what her manager had communicated to her approximately two minutes ago, she had the biggest recorded crowd so far for the second day.

Staring at herself in the mirror of the green room, she pushed every bad thought out of her mind. She even closed her eyes and imagined all the bad energy within her swooping out of her body in swirls of dust and being replaced with positive rays of sunshine. It might’ve been stupid, but it worked.

She opened her eyes, putting on her signature smile, looked herself up and down, reminded herself that she was incredibly sexy at the moment, and b-lined it for the door.

Anxiety be damned, her ambitions had gotten her this far and would get her further, she knew that much. She was happy at this point to be thrown into the group of “pop girlies” currently dominating the charts, because it meant she was catering to an already large fan base, and proving others wrong in their assumptions too.

Give a girl some platform boots, a tight outfit where the tops integrity around her chest was questionable, and a microphone- then you’ve got a pop star.

Gerard stood there amazed. He could not fucking believe it.

Three songs in and he was mesmerized. He wasn’t sure if he was more shocked with her or himself. He was trying to rack his brain for reasons to not like this, and blank answers came up time and time again.

To begin with, her songs were substantially above average for pop. They had creative instrumentals, catchy sounds, and her lyrics were truly the star of the show.

But then he took into account her as a person. She was quite attractive, sure. He had seen her enough online and in magazines to see at least that much, but he was sure most of the male population and a decent amount of the female population also saw that. But here, in this light, in that tight little outfit that showed off all the right things just enough to give a good idea, but still leave a good amount to the imagination, he was falling head over heels.

He was almost flustered with her perfection in his eyes, having to catch himself to make sure wasn’t staring like a dog at a bone. After all, there were enough people around to know him and take photos, which would lead to massive and weird speculation online that he simply didn’t want to deal with.

And her stage presence was empowering. She was confident, not selfish. She was sexy as much as she was innocent. She was clear in her intentions and messages, just as much when she left some ideas not fully complete to leave people longing and wondering.

Suddenly he understood all the teenage girls in the audience. She was fucking incredible.

“Told you.” Mikey said next to him with a smirk. It was hard for Gerard to look away from her, but he did. “Don’t always believe stereotypes man. You out of all people should know better.”

“That really wasn’t so bad after all.” Frank shrugged as the group walked back to their own green room, hidden in an array of tents set up on the edge of the festival grounds.

“Yeah, but standing in the heat for that long was exhausting.” Ray commented next, his hands stuffed deep in his pockets. He was always tense until they got all the equipment set up and knew everything was going to go right.

“I don’t know man, that last show kinda rocked.” Mikey responded. “Been trying to tell you guys that not all pop artists are that bad.”

“Well, a lot of them are.” Frank quickly rebutted. “However, you are right, that last one was incredible. I just thought having a girlfriend who obsesses over pop music had gotten to your head.” Mikey rolled his eyes.

Gerard was silent, partially because he didn’t really have anything to say, and partially because he was hanging on to the last show. He learned through years of art school and sketching under cubicle lights that some of the best art was clear as day yet still left you thinking. That was how he felt at the moment. Dwelling in the really astounding feeling he had.

She had single handedly proved a lot of his fallacies wrong. And he saw with his very eyes how she managed to go from half the crowd being into her to the master tools her voice and movement had that puppeteer the crowd like a pro. Who was he kidding though- she clearly was a pro.

Turning a corner he was so lost in his thoughts, his body in auto drive and his vision turned to the cement ground. He knew he needed to stop thinking soon, get in the right headspace for his own show- and then he bumped into something.

His body lost a bit of its control as his right arm collided with something a bit smaller than him. Suddenly he regained all his consciousness as his stabled his footing again, turning his body to see what it was.

And there, low and behold, in those damn platform boots and an oversized hoodie that went so far down her thighs it was a dress, was the very woman who had captured his mind just minutes ago. She was lingering within him, and now she was right here.

Fate works in strange ways.

“Shit, I’m so sorry-“ She began, regaining her own balance as she clearly took more of a hit than he did given that she was shorter and had boots that, despite looking like they weighed a ton, he doubted helped to ground her any more.

“No, that was my fault.” He quickly interrupted, growing embarrassed as she looked up and he realized he had managed to be rude to her in the last 30 seconds not once but twice. “I should’ve been looking out.”

“Me too.” She calmly replied with a small smile, handing this with so much grace and calmness compared to his internal panic.

This close she managed to look even better than on the screens. Photos and videos didn’t do her beauty justice. She looked almost like a doll- near perfect features, beautiful hair, and a smile that was so comforting and cute and graceful. Her makeup was almost as perfect as it was when she went on, but her mascara was ever so smeared around the corner of her eyes, her lipstick fading, and hell- his mind couldn’t help but wander to a place where he wondered what it would be like if he had put her in this state. And then he shut those thoughts up as quickly as they appeared, choosing instead to wonder how anyone could be more perfect.

“I um- I better get going and leave you guys to get to your show.” She quickly said, but froze up not even a moment later, her eyes growing wide with embarrassment of her own. “Shit that was weird wasn’t it? I don’t know you but- well I do, kinda, but like not personally. I mean knowing your music and band and-“ she stopped talking not knowing what to say, her body almost shrinking in a sense of even more embarrassment. “Fuck. I’m gonna shut up now.”

Gerard gave a chuckle and a smile of his own. He felt better now that both of them felt embarrassed.

“No, it’s okay.” He replied. “We’re just coming from your show, actually.” Somehow she froze even more. He could tell under that huge gray hoodie her muscles had tensed further.

“Oh, uh, I hope you enjoyed it.” She softly smiled, polite but seeming almost nervous. Why was he so bad about talking to women, especially pretty ones?

“It was phenomenal, actually.” He replied, nervous himself and instinctively rubbing the back of his neck with one of his hands. There was already a thin layer of sweat connecting back there from standing in the heat for so long. But he didn’t care about that nor how he would survive the heat on his stage later- all he cared about right now was not completely fucking up this interaction with the woman in front of him.

“Are you just saying that to be nice?” She asked with a pouty lip as she clearly questioned the integrity of his response. He rapidly shook his head.

“No, of course not. I don’t lie- ever. If anything I went into the show not knowing much- not in a bad way, I mean kinda in an ignorant way if I’m being honest, and you just- fuck, man, the way you controlled that crowd was so exciting and empowering. It truly was incredible.”

Her face looked like a damn puppy dog begging for a treat. If he weren’t human he would have definitely melted by that look. Big eyes and a genuine smile, her cheeks big and emphasizing her reaction.

“That’s really sweet, thank you so much.” She replied, yet again with grace that he wished he had in these moments. “I um- while I would love to talk more I need to take a shower. I feel so sticky and just- gross. But it was really nice talking to you. And thanks so much for watching me, I really appreciate the feedback.”

His heart broke just a bit.

“Yeah, of course.” He replied, and before he could think he blurted out. “You’re more than welcome to come to ours as well, I mean I’m sure you have the artist VIP tent access, but if you wanna get closer I can definitely arrange a barricade pass for you.”

Her eyes lit up and glowed in a way he wished he could see every single day.

“That’s amazing!” She replied. “Would it be selfish to ask for one more too? My best friend is here and she likes you guys too-“

“Consider it done.” He smiled as she smiled back. “I’ll have my manager send them over to your trailer.”

“Thank you, that’s very sweet of you.” She replied.

“It’s the least I can do. Returning the favor of watching your show and providing feedback.”

“Does that mean I need to take notes for yours and give them to you too?” She asked with a playful smile. Just now he noticed the water bottle in her hand with a straw as she took a sip and damn- he quickly erased all the dirty thoughts that rushed into his mind before it was too late.

“Only if you want to.” Where had this confidence in him come from? He didn’t even know. But right now it was working, and that was all that mattered. Yet again, his body thought before his mind as he said, “Give me your number and we can arrange a meetup. To, ya know, exchange notes and whatnot.”

She seemed flustered, but hid it well. However, the red blush growing on her cheeks and her face that froze yet again for a mere moment told him maybe she wasn’t all that good at this either. But hey, there was a learning opportunity for both of them, he supposed.

“Sure.” She said, as he grabbed his phone, handing it to her as she quickly typed it in.

Y/F/N Y/L/N it read on his screen, the line of numbers under it.

“It was nice meeting you, Y/F/N.” He smiled.

“You too-“ She said, but stopped herself. “I know your first name but I don’t want to say it before you do because that’s creepy.”

He let out a genuine laugh.

“Gerard.” He said.

“Gerard.” She replied. “I’ll see you later, Gerard.”

“So what you’re telling me is Gerard Way wants to fuck you?” Lacey asked her. But she supposed this is why people had best friends- to be both supportive, honest, and borderline crude all at the same time.

“I don’t know if he wants to fuck me-“

“He wants to ‘exchange notes’ on your shows? Code words for ‘come back to my trailer and let’s have sex’.” She said with confidence, sitting down and scrolling through her own phone as Y/F/N changed into a solid black hoodie and jeans to not make her presence obvious. Their show was not about her, and she hoped her presence wouldn’t make it about her.

“Well, I don’t just fuck guys. And I’ll be happy to tell him that if he tries. But he seemed very sweet, and all the interviews of him lean towards him being a very nice guy.” Y/F/N responded quickly, borderline defensive.

“Nice guys can have hookups too, ya know.” Lacey said. She wasn’t wrong, but Y/F/N swore this felt different.

“Regardless, that’s not happening with me.”

“Preach, sister.” Lacy said with a bit of pop in her voice. “If what you’re saying is true, it did sound like you have him wrapped around your finger.”

“We talked for like two minutes. I barely know him, he barely knows me.” Y/F/N rolled her eyes, expertly reapplying her lip gloss in a small mirror.

“Do you know that amount of men after your shows that would fall on their knees and beg for you?” Lacey asked, finally looking up from her phone to make eye contact in the mirror.

“Whatever.” Y/F/N sighed. “I’m just excited we have barricade to a My Chem show. How long have we been wanting to see them?”

“A solid year.” Lacey admitted, standing up to find her shoes. “I’m still not over Gerard Way wanting to fuck you, though.”

Y/F/N was sure rumors would be circulating by morning. As soon as she entered the VIP barricade area alongside Lacey, there was a sudden eruption of screams, and as she looked over a sea of phones were taking photos and videos of her. She gave a polite smile and wave before turning back around towards the stage, hoping as soon as the band got on the attention was going to divert away from her.

Damn her for thinking having a black hoodie on with the hood up would prevent this.

Within minutes though, as the lights on the stage went pitch black and screams from the entire crowd erupted she knew that finally she could just enjoy seeing a band she really liked play from right in front of her. Perks of being a pop star or whatever.

She had to admit that the in-person performance easily knocked any of the recorded ones she saw online out of the fucking park. And while Gerard Way had always been objectively attractive, and happened to be the skinny sad white boy that was her type for whatever reason, he looked really attractive in this light. Like a new skin of confidence took over him. Maybe it was the tight black skinny jeans or fake bullet proof vest with no shirt on under it that perfectly sculpted his lightly muscular arms- and damn the hands. Masculine hands were one of her weaknesses. And his very much fit into that category.

So did she have any notes after the show? No, actually. It was exactly what she had expected, but two fold. She was left amazed and energized as they walked off.

If he really wanted to compare notes with her he was going to be sorely disappointed in the lack of notes she had.

That night did not end with them sharing notes about the others show. Instead, it ended with them sitting on a grassy patch of the festival grounds when it emptied out talking about anything and everything. Gerard had quickly realized how multi-faceted of a person Y/F/N was. Every preconceived notion he had of her was torn down by her random knowledge about random things, her admissions to cringey teen phases she had, cute childhood stories, dichotomy of family and how difficult that could be to navigate.

She was fucking perfect inside and out. And he knew he couldn’t lose her.

In an assertive nature he decided to text her more through the next week. She was on tour in one town, and he was in another. But that didn’t matter. Every other day, or three days apart maximum, they would call from their hotel rooms, or from outside his bus, and talk. About everything. Their days, their histories. What they ate, what they did or didn’t like, who they saw, where they were next, what they wanted to do, asking the other about cool things to do in the city they were in for that day.

And finally, a little less than two weeks after they met, they had that talk.

“So what are we?” She asked over the phone, sitting on her bed and nervously picking at her brightly colored nails. She needed to know before she got too attached and her heart broken further down the line when she was way deeper in than she was now. Not that rejection now wouldn’t hurt- she was trying to save herself from more potential hurt later.

“Seeing each other?” He asked. “I mean, no pressure- we can always take it slower.“

“I would like for us to be ‘seeing each other’.” She replied with a smile growing on her face.

“Great, then we’re seeing each other.” He decided, she could hear the small smile in his own voice despite not seeing him.

“We have a four day break coming up.” He mentioned on a call. A few weeks had blown by, and things felt very normal between them given how abnormal their situation was.

“Okay.” She replied simply, wanting him to go on.

“I want to come see you, if that’s okay.”

“Okay.” She replied again, not hesitant- but a mixture of excited and logistically starting to play a mind puzzle about how this was going to work.

“Just okay?” He asked, now sounding more hesitant himself but equally as confused.

“No, I just mean- like, yes, please come, I really want to see you, but if people see us together again, I think it will kinda be obvious. I- it’s not that I don’t want to show you off, but I kinda like the direction we’re going in now. I don’t want public speculation or opinion to fuck that up.”

Even in a fucking baseball cap and sunglasses at her show, people would grow suspicious of that figure in the secluded family/friends area. They would equally as quickly figure out, judging by the firestorm online caused by her presence at their show the night they met, who it was. And then they would be official without actually saying anything. Just by being together.

She wouldn’t mind being official to the public, eventually. But she wanted more time to have just them to herself.

“I can stand off to the side behind the stage.” He offered.

“Your view is gonna suck.”

“Doesn’t matter.”

“Okay then.” She replied affirmatively.

“Okay?” He asked for clarification.

“Yes, okay.” She softly smiled with a giggle. “Come to the shows, I even have a hotel room booked one of the nights.”

“Oh fancy.” He replied with a chuckle. “Lookin’ forward to it.”

She shouldn’t have been nervous. He had seen her perform before.

Well once- the first time they met, and then twice on TV in the last few weeks since her career had managed to blow up even further. But this felt different. It was different.

She knew he could now have expectations of her. What if he didn’t like something, or got the ick from the way she danced or what if she fucked up? What if she tripped on stage for the first time or bumped into something or forgot a lyric or her voice went out-

“On in two.” She heard one of the stage techs say, peeking their head through her green room door. As if one queue, she heard a roar of screams from the direction of the stage, queueing that her little intro video had started. Despite still playing smaller venues, at least ones smaller than arenas, her label had actually been willing to put quite the production into her tour after realizing that her stage presence and personality was one of the things that charmed audiences so much.

She gave herself one final look over in the mirror. Her opening outfit was standard- a body con number decked out in black sequence with red accents and her infamous knee high boots that were plain leather, but that she had begun to notice were also being worn more commonly by fans to her shows. It was one of those trademark things that made her feel more like the pop star she was growing to be. At least the headlines called her that.

Taking her hands, she fluffed out her hair a bit more giving her light waves more volume, dropping them, closing her eyes, and reopening them in her stage persona.

She walked out of the door beginning her strut with the sense of confidence she only gained to this level when she knew she was going to be on stage. As she approached side stage, her bedazzled microphone with her initials on it in small rhinestones at the bottom was waiting for her with one of the stage assistance. She gave him a small smile and nod as a thank you, taking it delicately and wrapping her hand around it firmly.

Her in-ear monitored queued up with her sound guy, Jeremy, who gave her the 20 second warning. She allowed herself one final deep breath, realizing this was her time to shine. Even if he was here for the first time watching her as the guy she was seeing, and just generally in a new light, she recalled meeting him for the first time after a show, figuring if she could impress him once maybe she could do it again.

After all, the version of herself that managed to get his attention in the first place was the one who was about to step into the spotlight in a mere three seconds.

Sweaty, hot, tired, worn, happy. The best ways to describe how she felt almost every night coming off stage.

She felt great about this show. The crowds she was dealing with were getting better at each stop, she figured it was venues being sold out and her rapid growth as an artist that was to thank for their enthusiasm and their increased screaming of her own lyrics back to her.

But what made this show so special was seeing him in one of the boxes up and over from the crowd. He kept a low profile with a plain t-shirt and baseball cap, standing next to Lacey through the entire duration, but the occasional eye contact they made was what kept her going.

He was always at least smiling at her. If not he was beaming, or nodding, swaying to the music, and her favorite was when he was so focused on just her that she caught his lower lip being bitten, his eyes glued straight onto her. She knew she always had most if not all of the crowd in a trance- but tonight his attention was the one she really wanted.

She giggled at something her manager had said as they walked through the back hallways of the venue, sipping on her bottled water through a straw and trying to regain as much hydration and energy as possible. As the turned a corner toward the green room, she paused and gave a big toothy smile as she saw him at the end of the hallway.

There was Gerard, still in his relatively incognito outfit, and a full smile as their eyes met. As fast as she could manage to run in her boots, she made her way down the hall and collided with his torso, breaking out into a fit of giggles as he hugged her back.

“Did you like it?” She asked first, letting her chin fall on his chest as she looked up at him with big doe eyes hoping for a good answer.

“You fucking killed it.” He said affirmatively with a smile, leaning down to give her a quick kiss. “You’re absolutely insane out there. Such a natural- fuck, I wish I had half the confidence and ability you do when I’m on stage.”

“Oh stop it!” She playfully and lightly hit his shoulder as she backed away to walk back to her room with him. In the process he swiftly grabbed her hand in his, intertwining their fingers which made her smile even more. “Don’t give yourself any less credit- you’re a fucking beast on stage.” He leaned down and gave her a kiss on the head.

“But nothing like you.” He replied, holding the door open for her as they entered back in so she could change.

She quickly and stealthily changed into a shirt and sweatpants, sitting down to take her makeup off, or at least that’s what she would typically do. But as she sat and looked at herself in the vanity mirror, catching a glimpse of him in the back scrolling on his phone, she wasn’t so sure she felt all that confident with him in person without all of this on.

“What’s wrong?” He asked, catching her in a trance. Damn, why did he have to be so good on picking up these things?

“Nothing.” She said with a soft smile. His body language with a raised eyebrow implied he definitely did not believe that. “I just- should I take my makeup off?” She asked turning to him. He gave her an even more confused look.

“Is it what you normally do?” He asked and she nodded. “Then yeah, take your makeup off.” She didn’t move, still staring at him. “Baby, what’s wrong- actually?” She groaned.

“It’s so stupid.” She admitted, now looking away from him. “I just- I don’t want you to like, I don’t know, not like me without this on.”

He looked a bit shocked and confused at look, but it quickly melted into sympathy.

“Sweetheart, take your makeup off.” He requited with a sweet tone. “I promise you, I will not view you any differently without makeup on. That is such a minor thing. And I’m not with you for your looks- I mean, you are fucking gorgeous- but that’s with or without makeup.”

“Fine.” She replied, grabbing some of her cotton pads and makeup remover, then going to town on delicately running them over her skin and cleaning everything off.

Once she was done, only a few minutes later, she grabbed her bag and regular shoes, slipping them on and getting up to approach him where he leaned next to the door. As soon as she was a few inches from him, he delicately took her face in his hands.

“See, just as gorgeous as always.” He softly smiled, giving her a soft and passionate kiss. She offered a sheepish smile and a growing blush on her cheeks.

“Thank you.” She nervously replied. “We gotta go though- I’m fucking starving.”

“Holy shit.” She said, taking another forkful of pasta and placing it into her mouth. “This is so fucking good.”

“Mhm.” He nodded in agreement taking a bite of his own. It was nice to have some company to actually eat with, and not just pull out her laptop to watch a show or call her parents who were halfway across the country. Now, she had her boyfriend laid across the bed sideways in front of her as she sat criss cross at the head.

“You want a bite?” She asked. He looked at her skeptical for a moment before nodding, allowing her to grab another few pieces, giving them to him.

“Well, shit.” He sighed with a smile. “That is fucking amazing.” She nodded in agreement. There was a brief moment of silence that followed.

“I hate that we have to go back to being, like- normal.” She said. It was one of those thoughts that just spilled out without her even thinking.

“Hm?” He asked, looking up with his eyebrows furrowed.

“Ya know, like being apart for so long.” She said with a tight smile. “We’ve barely spent any time together in person but every time we do I want to spend more and more- and we can’t.” He sighed, putting his fork down in his container.

“I know, baby.” He softly said, taking his now free hand and placing it on her bare thigh, rubbing small circles into the skin with his thumb. “But it’s only another month- then we’re on break and I’ll come be with you as long as you want.”

“Gee, you should get a break.” She said with a serious face. “You need to go home and settle for a few weeks and be with your family and friends there who you haven’t seen in fucking forever.” He shrugged.

“I’ve had all the time in the world to make relationships with them- I want to continue to build ours, and if that means going on tour with you than so be it.” He replied with confidence.

“Even if we do that people will speculate and- we would have to go public.” She explained.

“Is that such a bad thing?”

“No, but,” She took a moment to think, making eye contact with him again as his eyes begged hers for answers. “I don’t want to keep you or us a secret. I would love to show and brag about my super cool, super talented, super hot boyfriend to the world, but I want to keep it private.” He smiled lightly and nodded.

“Then let’s do it.” He said, affirmatively. “We’ll take it at your pace. Whenever you’re ready, I’m ready.”

He had been on tour with her for a full week. And it was becoming unbearable how many things were circulating around.

It started at the first show he came to- a solid handful of people had noticed him and put a name to the face, despite his attempt to remain to himself. A small firestorm erupted online over the alleged rumors. The headlines abusing taboos and cliches of the “pop princess and rockstar” trope that made people go crazy.

Then he actually began coming on tour. She wasn’t sure she had been happier on any other leg of it, until he was there to watch every show, and take her out when she had breaks to his favorite spots in each city, and then end the night in her queen sized “suite” on the back of her bus if you could even call it that. She had even bought more storage bins for under the bed to make room for his things.

But people didn’t need to see all the stolen and sudden kissed, or hysterical fits of laughter, or constant touching that were soft reminders of the other. They didn’t need to know about all the photos they had taken of each other, or the memories made, or the lyrics and words that began filling her songbook as she wrote almost exclusively now about him. At least yet.

But on day nine of them being on her tour together, she couldn’t take the speculation anymore. She couldn’t ignore all the photos taken of him at her shows, or the videos that replayed her not-so-obvious smiles and slow hip movements while making direct eye contact with him. In all fairness, she wasn’t trying to hide it.

People could see moments and snippets of their love. But she wouldn’t let them see the whole thing.

“What d’you think?” She asked, the back of her head leaning against his shoulder as they both looked at her phone. It was a simple story draft for her Instagram of the two of them just a few nights ago walking into a gas station. Not the most romantic thing, but her makeup artist had managed to catch it at one of their stops late at night.

The lighting was perfect and almost vintage aesthetic, offering a slight blur to the photo. It was the two of them holding hands as they walked in, both with hoodies and sweatpants on. Only half her face was shown, brightly smiling up at him, and only the back of his head was shown as a mop of slightly messy slightly put-together black hair.

“I love it.” He said with a small smile, giving her a kiss on the top of the head. In the bottom corner she had just put a small black heart, meant to be a small clue.

“Okay,” She smiled. “I think I’m gonna post it.” She said, looking up at him. “You okay with this?”

“Of course.” He genuinely smiled back. “I don’t mind at all.”

Before she could second guess she hit the post button, immediately turning off her phone and throwing it to the edge of the bed.

“It’s done.” She said with big eyes and a giddy tone. “Like, we’ve confirmed.”

“Mhm,” He nodded with a small chuckle, “We have confirmed.” He leaned down to give her a soft kiss, not even a few seconds later his phone buzzed.

He reached over to grab it, smiling at the screen, and showing her.

I was wondering when you guys were gonna post something. Mikey had sent. It’s been fucking long enough.

She should’ve stopped staring after a few seconds, but she couldn’t help it. She rarely felt this confident in herself, but just as quickly as the adrenaline boost of self love hit her, the sobering of imperfections came knocking too.

Dressed in a long green strapless dress that was built to just fit her, she looked and felt like a Barbie. Her makeup team had really done quite an impressive and good number on her face, exemplifying all her good features perfectly, and covering up or minimizing the ones she didn’t like so much. Her hair hung in a low, sleek pony tail against her back, her nails for once long with extensions that would be removed for sure in the next two to three days.

“You’re absolutely perfect, ya know that?” She heard him, turning around to find her boyfriend with a big smile as one of his hands placed itself lightly on the small of her back. She softly smiled up at him, and he swore his heart skipped a beat and nearly sent him into cardiac arrest the way her big eyes stared right into his.

“Not necessarily, but thank you.” She responded in a small voice. She always got nervous before events- he learned that quickly after having to be on text and call standby as she repeated her own self-doubts while spiraling about things going wrong. No one would have ever known- her presence on carpets, stages, and everything in between was flawless.

And now here they stood for the first time together doing this. Him in a traditional and well-fit suit, her in the dress that would put anyone else wearing the color green to shame. He gave her one good look up and down (what was realistically the dozenth already), relishing in the fact that he was merely an accessory to her- and was blessed to be one at that.

There were already rumors circulating everywhere about the potential for them to show up together tonight. It was the ideal place to hard launch, and after dating for just over six months it finally felt like a good time to let the world see them together in all their glory. She was feeling more confident in him, and he was honestly just along for the ride- a very happy passenger too.

“How do we act?” She asked next, his hand still sat on her back as she leaned more into him so their bodies were no more than two inches apart.

“Like how we normally act.” He replied confidently. “I’m not sure anyone will be genuinely surprised- people have been expecting this.”

“When people set expectations about things they don’t know, it typically doesn’t work out the way they want.” She replied quickly.

He knew better than to ruin her hair or makeup, but at this moment he couldn’t see her for that, so he leaned in without hesitation and gave her a soft kiss as an attempt to calm her nerves.

“We’re not here to appease to anyone’s wants or expectations of us.” He explained in a tone just above a whisper, as if they weren’t the only two people in the room. “We’re here to be with each other- not to explain us.”

It was a relative blur, and she thanked the blinding lights of paparazzi that overtook her vision and senses as soon as they took a single step onto the carpet together. She had never heard the two of their names meshed together so many times in such a short period of time. It felt weird to hear them coming out together from other people’s mouths- but it also felt reaffirming.

His hand had initially snuck around her back, resting itself on the other side of her waist and pulling her close to him. The slight warmth from his body made her feel okay, an emotion she typically had to forcefully place at bay here but was tamed solely by him.

They gradually moved their way down at the instruction of the event staff, and narrowly at the last stop he leaned in to whisper to her, hiding his lips behind the back of her head to not let anyone get a chance to overhear what he was going to say.

“I think I have a new appreciation for my name when it’s next to yours.” He said with a small smile, pulling away and looking down at her.

She couldn’t help herself but to break out into a bigger smile, one that wasn’t posed for the cameras but more authentic. She usually hated her full smile, the cheekiness and roundness of her face making the pictures look unbearable to her, but in that moment it didn’t matter. She playfully nudged him a bit as he resumed his position with his arm around her waist, but this time she placed her hand on his chest, angling herself towards him.

He authentically smiled, not expecting it, and had to resist the urge running deep within him to kiss her. But no one here deserved to see that part of them- no one here deserved to know her like he did.

“New album stuff?” He asked, walking over to the living room with a “new” cup of coffee in his hands (this was his third refill in the last two hours). She nodded from where she sat on the floor, back against the bottom of the vintage arm chair she fell in love with and insisted on having to decorate their new place. Their place.

Gerard had always respected her boundaries with her music. She was being incredibly secretive about her upcoming project- despite it essentially being finished from what he had gathered- but he also knew incredibly well how labels worked. And despite both of them being in the industry, her upcoming album was expected to be gigantic. Both in the reception of it and in the work itself.

“They just began pressing all the vinyls.” She smiled up at him.

“When are you gonna see it?” He asked back, sitting down on the couch and leaning over the coffee table to grab his sketch book and pencils again.

“Hopefully within two weeks.” She shrugged. “That’s if everything goes right. Not that I think it won’t- there’s just… a lot.” He looked up for his eyes to meet her, giving her a sympathetic look and nod.

“Regardless of how it goes, you have worked your ass off for this.” He explained. “Critics will always say shit because they’re jaded and subjective. Most of them haven’t even made music. And your fans are gonna love anything you put out.” She softly smiled back.

“Thanks.” She said. “I can’t wait for you to hear it.”

“Don’t you have the entire record on your computer?” He asked, eyeing the laptop that sat in her lap. She rolled her eyes.

“It’s not that simple.” She replied, closing it and getting up. “Besides, I want it to be a surprise.” She finished, walking over to him and giving him a kiss on the cheek.

“So are you flattered or what?” Their manager approached where he sat on the bus. He was so lost in the trance of finding the necklace that she had been dying to get for ages online as a surprise album release gift that he didn’t hear a thing.

“Hm?” He asked looking up at him.

“You’re the muse for the number one song on Billboard right now.” His manager replied with a small smile, arms crossed over each other.

“Right.” He awkwardly responded.

He was, indeed, the quite obvious muse for her first single, which happened to somehow skyrocket on the charts as soon as it released and within a few days was impossible not to hear. Whether it be radio, playlists, grocery stores, social media- the damn song was everywhere.

By no means was he upset, he just wasn’t expecting it. He was actively figuring out how to deal with the amount of empty and comical threats he got from fan accounts saying they were fully prepared to fight him if it meant even a shot at being with her. Also, while he had approved of the lyrics she had showed him (well, specifically the incredibly, borderline obvious, suggestive ones) it still made him feel a blush grow on his face when he heard them over and over again.

And the fucking cherry on top was the music video. At this point, he had seen her in many different ways, doing many different things (if you catch the drift) but as soon as he watched it he felt like he was falling for her all over again, ten-fold this time. It also made him begin to seriously question why the fuck you were with him, and simultaneously wonder if all the manifesting bull shit the merch girl was telling them about was something he should look into given that he needed some form of magic to get someone so out of his league.

“Good luck when the album drops, man.” His manager smiled, “Can’t wait to see all the teenage girls that want to band together and fight you.”

Gerard didn’t drink anymore and hadn’t for a while. But he did stare with a smile as she took a shot of tequila and her face immediately grew into a sour and twisted expression.

“Fuck that was worse than I remember.” She said through a small cough, grabbing the water by her and downing a chunk of it.

The low-key album release party was being held at their place. It was primarily close friends, the one producer she worked with on the record and her engineer, then the band as well as some of Gerard’s friends. Despite it being small, the place was buzzing under the dimmed lighting as there was consistently multiple conversations happening in the background, solid laughter mixed in too, and her album playing track by track in order softly in the background.

She sat on the floor, back against the couch, in a simple shirt and jeans, him right behind and next to her sat on the couch. She wasn’t drunk, but was definitely tipsy as she laid her head on his jean clad knee. He looked down at her with a smile, running a hand through her loose hair.

“I love you so much.” She smiled up at him. “Thank you for being such an incredible muse.”

He had been complimented plenty of times by critics, reporters, fans- but nothing even came remotely close to that comment.

“Baby, this is all you.” He insisted with a smile back. “We wouldn’t be here if you weren’t so damn incredible at everything you do.”

She sighed happily, closing her eyes for a moment.

“I’m so fucking glad you bumped into me.” She said. “I was so pissed at first and so tired and hot and sweaty- I thank the universe everyday for making that happen.”

“I do too, sweetheart.” He said, letting his smile melt into a sincere and content one. It only felt right. “I do too.”

#my chemical romance #gerard way #my chem #my chemical gee #my chemical gerard #gerard way x reader #gerard way fanfiction #mcr gerard #my chemical romance x reader #mcr x reader #mcr fanfiction #mcr #gee way #gerard way x you #gerard way x y/n

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chcrryade · 3 months ago

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⠀ര ( ˶°ㅁ°)⠀UNWRAP...⠀DOUBLE DIP! ⠀01082021⠀❘❙❚❙

Saccharin, a sound that suited the hot summer it was released in, and a colour scheme so bright it could make your eyes water, ‘DOUBLE DIP’ was simultaneously all and none of what the masses were expecting from CHERRYADE. Released on the 1st of August 2021 (digitally, that was, with physical versions only becoming available a few days later on the 5th), most look back on CHERRYADE’s debut mini album and consider it a success; remembered through smoke clouds, artificial flavouring, and a surprising lack of infighting allegations, as well as JAGUAR CEO Ae Seungdae’s reassurance through a short interview held a week before release that it would “leave a sweet aftertaste in the mouths of all who listen”—even if creative director Choi Eunhee seemed to disagree, if the hastily-covered scoff that left her lips was any indication.

⠀ᝪ .ᐟ⠀⠀▬ ▬ ▬⠀⠀the stats

RELEASED⠀01 & 05 / 08 / 2021

PROMOTIONAL PERIOD⠀5 WEEKS

UNITS SOLD⠀990K

WINS⠀3

⠀ᝪ .ᐟ⠀⠀▬ ▬ ▬⠀⠀the tracks

FUN⠀LEAD⠀WRITTEN 도연 & 대진 PROD. 대진

DANCE!⠀WRITTEN 해일 & 주순 PROD. 대진

FLAVOUR⠀PROMOTED B-SIDE⠀WRITTEN 하선 & 잘렌 PROD. 주순

SUMMER NIGHT⠀WRITTEN 잘렌 & 대진 PROD. 대진

ALL DAY⠀WRITTEN 宜君 & 잘렌 PROD. 주순

FlipSide⠀⸻⠀the following overviews have been outsourced from various netizens. general consensus: ★★★★☆

ഒ⠀from user haeilade⠀06082021

so what did this sort-of-anticipated debut consist of, I hear you asking? well, first up is ‘Fun,’ a pretty straightforward anthem about enjoying some time in the sun to the fullest, and the track I expect will be the most performed on the various music shows the group are set to be appearing on in the coming weeks. next up is ‘DANCE!’—a song that seems to be becoming a fan-favourite b-side, in which they compare the feeling of falling in love to dancing, to flashing and falling lights, to a very summery feeling in general. it makes you want to get up and do exactly as the title tells you, and I can see why it’s climbing the ranks in the favourites department. third on the mini album comes a slight mood shift in the form of ‘Flavour,’ a bouncy and enjoyable experience no doubt hiding a number of sex innuendos in the form of the many food-and-drink-related lyrics (I mean, what are we letting ‘swell up a bit more,’ boys?), and what I predict to be the companion performance song, along with ‘Fun.’

second-to-last is ‘Summer Night,’ an upbeat affair speaking of dreams, of flying, of coaxing the listener to ‘have some fun,’ and and, on a less upbeat (but very brief) moment in the bridge, their fear of those aforementioned dreams ‘disappearing.’ and, last but not least, we have an even more noticeable shift in both mood and in tone, a much more direct attempt at a sensual (but still very enjoyable) anthem: ‘All Day.’ it doesn’t take a genius to guess at what they’re referring to. still, the delightful performances of the group and somewhat addictive whistling built into the instrumental makes it just as loveable as any of the others—in fact, it’s my personal favourite from the project as a whole, followed by ‘Flavour’ and ‘Fun,’ and I hope we’ll get a peek into the behind-the-scenes for it (and, really, all of the mini album as whole). credits-wise, all members bar gogo and jaehee contributed with lyrics, but personally I wouldn’t have cared if none of them put a pen to paper anyway.

ഒ⠀from user letsgogo⠀23082021

I’ve seen many people questioning the sudden flip in mood song-wise at the very end of the mini album, but as it usually is with JAGUAR, very little of those queries were answered. some have been calling it poorly structured and lacking in consistency, but some have thought up a theory for themselves (and whether they’re onto something or are just trying to make excuses to comfort themselves, at this point it’s a case of only time being able to tell)—that the change was intentional. that ‘All Day’ was setting the foundations for their next release, sort of like leaving a story on a cliffhanger; in order to get listeners intrigued enough to stick around a while longer for whatever may happen afterwards. but even if it isn’t, most of us are just happy to take it as it is, not minding the differing energy one bit—undoubtedly a positive.

another one of those was how well the seven look like they’re getting along. seeing as they’ve been stitched together from the members of past failed groups (and hand-picked from the companies those groups had been under), a large majority of people were eagerly awaiting their non-music related content (interviews, behinds, general extra things) to try and get a gauge of how they were getting along—because put-on acts of professionalism can really only work so well before someone or other starts to see through them. however, despite how hard many have been looking, not much has been found. there has been, of course, notable tension between yijun and jaehee (which hasn’t been so much of a surprise to anyone, considering their past), but the rest all seemed fine. friendly, even, if I dared to go that far. shocker!

ഒ⠀from user jaleon⠀25082021

past all of the apparent amicability between them, though, this debut era hasn’t been without its downs. first came the standard smoking allegations, grainy photos showcasing the smoke clouds leaking from their mouths or noses as one or two of the group huddled together round the back of the building after dark, laughing while caught up in whatever conversation they were having as they did so. longtime fans of most JAGUAR groups haven’t been deterred at all by this—most of them are just.. used to it. a nicotine addiction on the side has almost been written into the company’s contract at that point—and so these didn’t haven’t made much noise. some saw it as another good thing, if anything—they liked one another enough to hang out outside of work, so it must’ve been a positive.

there has been, however, a more serious issue that arose out of this promotional period. shortly after their first appearance as a group on inkigayo, whispers began to generate, centralising around yijun and seven, a member of senior boy group S(O)UL. the story was that an argument went south backstage, and the two parted on less-than-good terms. neither company has made any move to address it, though, and so the rumours are starting to die down—even if I doubt the feud will, and not for a while at that. I’ve heard similar whispers of mutual dirty looks also being exchanged between him and a member of group MELIORA, but even less has been said about that, so I know as much as everyone else does—pretty much nothing.

ഒ⠀from user hasunshine⠀06092021

styling (the outfits, as you’ll probably come to learn, are really only ever I want to talk about) this era was exactly as you’d expect something named ‘DOUBLE DIP’ to be. outlandish, bodacious, overly colourful, and with so many accessories plastered all over them it was a surprise all of their vocals during performances weren’t interrupted by the jingling and jangling of their jewellery. clunky rings, bedazzled sunglasses (and faces, and shoes, and hair.. bedazzled everything), fur hats and big caps and denim on leather on denim. you sort of just have to imagine someone’s thrown everything they can find in a vaguely-2000s second-hand store at them, and then said ‘break a leg!’—but, to their credit, they pull it off pretty well. maybe it’s just their faces.

and after that, we’ve reached the end of all I was ever intending to cover within CHERRYADE’s debut era. all that was bad brought in as much attention as any one of their performances (quite fitting with JAGUAR’s age-old motto of “all press is good press”), and overall it was very successful for the seven. I hope it’s just one of the (maybe) many more fruitful eras to come.

(¬_¬) ⠀at a glance ⠀𝄂𝄂𝄀𝄁𝄃𝄂𝄂𝄃⠀ doubledip.jpg ⠀( OO3 )

#⠀Ꮺ◞⠀CLUB CLASSIC!⠀⠀⸻⠀⠀discography.#FINALLY FREE OF THIS!#kpop oc #fictional kpop group #fictional idol community #idol oc #fictional idol group

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nattinatalia · 2 years ago

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Jack Harlow x Reader : NEW BEGINNINGS.

A/N : I don’t usually stay up to date with the timelines. I don’t use events that either already happened or are about to happen in order. *MIA IS THE ONLY CHILD AS OF NOW IN THIS TIMELINE*

You had woken up at the crack of dawn to drop Mia off at her grandparents. Maggie was going on a trip and she kindly asked if she could take Mia with her.

It was going to be a little four day trip but lucky enough, her work trip was for one day and it was near Disneyland, so she thought it’ll be nice to have a Mia and grandma trip.

You and Jack weren’t that worried since it wasn’t the first nor will it be the last time Maggie will take your daughter on a trip. She’s a wonderful mother in law and an even better Nona to Mia.

You were pulling up to your driveway when you got a notification on your phone. Once you were parked, you shut off the car and grabbed your phone.

Nothing could have prepared you for what you were about to see.

“What the-?” You gasp out.

“He did not.” You turn off your phone, get out of your car and make your way inside your home.

“YOU SNEAKY LITTLE SHIT.” You yell out.

You hear his laugh coming from the kitchen, so you stomp your way towards it.

You see your husband scrambling some eggs, “I’m guessing you saw?” He smiles, lifting his eyebrows.

You nod. “How?”

“What do you mean how? I’ve been going to the studio?”

“Yes I know, but you never told me this year. You just said for your upcoming album. It never crossed my mind that it’ll be this soon.” You walk up to him.

“So what do you think?” He sets down the bowl on the counter, and places his hands around your waist.

“I haven’t heard it.” You look at him confused, “Your post says Friday.”

He smiles, “I meant the cover and how it looks.”

“Ohhh that.” You slide your hands under his black shirt.

“Oh that?” He’s sounds worried. “You don’t like it?.”

“You showed people my nippples.”

He chuckles at that. “Your nipples?”

You nod, looking at him. “Yeah, my nipples.”

You smile. “I think it’s giving Gazebo and Confetti vibes. I love all your albums and I don’t like to compare them, you know this. But the moment I saw it, I know you’re about to talk your shit.”

“Oh really? Hmm.”

You flick one of his nipples. “You look hot, is that what you wanted to hear?”

“No?” He answers, smirking.

You knew exactly that’s what he wanted to hear, he has a hard time taking compliments, but he welcomes them especially if they come from you.

“Bubs, you don’t even know the thoughts that crossed my mind once I saw your post.” You take out your hands from under his shirt. “And not just over the cover, that’s just the cherry on top.”

“You’re a hard worker, you never stop. You have a movie coming out next month, you are already working on a new one. On top of that, you’ve been working on an album that’s coming out in two days? I’m proud of you.”

He squeezes your waist. “Do you think the fans will like it?”

“I haven’t even heard it and I know for a fact I’m going to love it, so they’ll love it too.”

“You’re my wife, you have to say that.” He smiles.

“Uh no, as your wife I’m allowed to tell you how it is. But I really do think this is going to be one of your best.”

“You really think so?”

You nod, smile and close your eyes. “Do you smell that?.”

“Smell what?”

“It smells like a Grammy to me.” You open your eyes and look at him.

“Babe.” His cheeks are a little pink, he’s smiling. “You’re the best.”

“On another note.” You pull back. “Can I see the track list?”

“No, it’s a surprise.”

“Can I know who’s in it?”

“That’s also a surprise.” He turns around to put butter on the pan.

“Is there a song about me?” You ask jokingly.

“Isn’t there always?” He turns around, smirking and winking at you.

“BABE!” You wrap your hands around his waist, your chest to his back. “Please tell me.”

“No, you’ll listen to it at the party.”

“Come on, don’t I get wife privileges?” Your hand goes inside his gray sweats, “I’ll give you head?” You tease his tip.

He groans. “Just head?”

“Mmm, No.” You feel him get harder against your hand.

“Maybe we can get started on baby number two?” You tell him nervously. You know how much he’s been wanting to get you pregnant again.

Mia was already three, and growing by the second. If it were up to him you would be pregnant every other year- which he’s a bit crazy in the head but that’s your man- He didn’t want to pressure you though, and you loved that about him.

“Wait? Seriously?” He shuts off the stove and turns around to look at you.

“Yeah, I think it’s time. I think we’re ready.” You smile.

“You know I already synced the album to your playlist right, so you don’t have to say that.”

“Baby, I know.” You reassure him.

He smiles and claps his hands. “We’re not leaving the house today.” He picks you up and throws you over his shoulder and starts walking towards your shared bedroom.

“Jackman, you better not drop me.” That gets you a loud and hard smack to your ass.

As soon as you’re inside your bedroom, he tosses you on your bed.

“What are you doing?” He heads to your vanity.

“Want to listen to the album while I put my baby inside you?” He turns around to wink at you.

“JACKMAN, BRING THAT DICK TO ME NOW.”

“Is that a yes?” He’s smirking and loving every bit of this. He’s about to drop a new album and if he was lucky, by the end of the year you’ll be pregnant with the second Baby Harlow.

Life was good and he was going to cherish every single second of it.

The world wasn’t ready for this new Jack.

•

TAG LIST

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#jack harlow #jack harlow x y/n #jack harlow x reader #jack harlow x yn #jack harlow fanfiction #jack harlow fanfic #jackman thomas harlow #come home the kids miss you #jack harlow imagine

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reflections-in-a-critical-eye · 1 year ago

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I feel like this conversation is a bit played out, but I’m curious: do you think JK’s banking on winning a Grammy and potentially getting out of his military service? I’ve tried to take their words for what they are and I know everyone’s said that they’re all going to the military, will be back in 2025, yadda yadda, whatever. I can’t understand why, if that’s the case, they’re banking so much on his solo career if he’s just going to disappear from the scene (physically) for almost 2 years. Do you get what I mean?

My thoughts are that they are actually hoping for a Grammy and subsequent deferment of mandatory service, but then again, nobody knows so I guess we’ll have to wait and see how it all plays out.

As this is only speculation and might as well not happen, let me bring my own contribution. I don't think this is about Jungkook and I'll explain why.

If you look at this entire issue from the perspective of the artist/idol, you'll realize soon that you're stuck, that you can't explain why he's doing this or that. But looking at it as a business deal will shine another light on it.

Yes, Jungkook is leaving to do his military service soon and everything he said up until now points to that so why are they investing so much into making him a "global pop star"? Because Hybe and Hybe America need to show that they can do that. That their strategy is one that works for future business. Why do you think they tried it first on the most versatile of the BTS members, the one that can do any song because he has the voice needed for that? This wouldn't have worked with Taehyung or Jimin. God, I'm so happy it didn't work with Jimin because it would have been horrible to see all that unfoulding. Besides, they had projects on their own and without making any contribution to the song writing, Tae's album was still something that matched his personality, it was him with the help of MHJ.

With Jungkook, the situation is different. I wouldn't know the details, but when they announced their hiatus, it looked like everyone was set on releasing an album, including JK. And then, most likely, life happened. Because you can't plan your state of mind. And when you're under a contract, you do need to listen to other people. I know army always uses the shares in Hybe argument, but the value allocated for the members is insignificant on a larger scale. Yes, they are rich and they can do what they want and sleep on a wlive, but I don't think for one second the company would have let Jungkook do nothing and be a couch potato.

So they found this opportunity. You also have to keep in mind that Hybe paid a lot of money for Scooter's company and then what happened to him? Most of his artists left? So where is this big opportunity for collaboration and projects and all that?

This is just business. That's it. They chose the idol capable of being a blank slate and stuck the concept of global pop star on him. Because that's what it is which is incredibly funny (not). Usually that accolade comes after some time, when the results can be seen over a prolonged period of time, but in this case, that was the starting point. As much as Bang wants to get rid of the k in kpop, they're still using a kpop strategy, that of making an album based on a concept or creating a specific image for an idol.

And now they are pushing it hard. They are investing a ton of money into this in a way that makes them look desperate and I think that in the industry at large, people see it. Not the fans because they either choose to turn a blind eye or their mind doesn't go that far. There are voices which have said a thing or two lately among army, but it's an insignificant minority. The company can rely on the fandom to buy all those 284836521 versions and remixes and they will eat it up. And voila, look at how Hybe produced a global pop star in less than half a year. Quick, open the catalog for some songs that sound mediocre enough for a top 40, make the singer record them asap, fast, done in less than one week. Quickly come up with some generic argument of how this is just to show the artist's vocal range (good job PR for that one, jesus) and then also openly admit that it was made for a Western market, aka US cause the world stops there.

Jungkook had the possibility to show more personality of his own when he was with a group of six other people than with his solo album, which is so ironic. But that is because it is not his album. He's merely a vessel through which Bang and Scooter can show investors that they can invent a global pop star and fast while their pockets grow bigger and bigger.

#m thoughts #hybe #jk #bang pd #kpop

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icyminghao · 1 year ago

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hello 💗💗 i love your fics so much

if you are taking requests now can i request boynextdoor as your bf's meeting your parents for the first time? thank you 😊

boynextdoor meeting your parents for the first time

pairing: boynextdoor (ot6) x gn!reader genre: fluff, crack (a little)

note for anon: thank you so much! hope you like it hehe

JAEHYUN

nervous puppy

would not stop asking you what your parents like to talk about on the way there (you entertain him though, he listens to what you have to say about your parents so attentively it does things to your heart)

you lowkey have to drag him to your parents’ front porch bc he’s having second thoughts as soon as you pull up on the driveway

your mom fawns over him, chattering about how “he’s so cute!” and “i’ve always wanted a son!” while jaehyun and your dad bond over his football knowledge (which your dad deems impressive, much to your endearment)

at the end of the day, jaehyun has charmed them so much you’d think you were the one visiting jaehyun’s parents with the way they’re so reluctant to let him go home with you

“You know, your dad has never been like this with any of the boys you’ve brought home before,” your mom sighs in bliss as the two of you stand by the kitchen, watching Jaehyun and your dad chat animatedly about football.

“Well, I guess he’s just really excited to have someone to geek out over football with,” you chuckle in reply, smiling in endearment at the two favourite men in your life bonding in front of your eyes.

“I think it’s more than that,” your mom speaks up, taking your hands in hers, “we’ve seen the way he looks at you, dear, he’s a real keeper.”

You choke on a breath. “Oh, mom, why are you getting sappy on me?”

“It’s true!” your mom breaks out into a small laugh, smoothing over your hair. “He must really love you a lot, to be coming all the way here and entertaining your old man. Take care of him, yeah?”

SUNGHO

don’t be deceived by the brave front he’s putting on, because as soon as you look away he’s on the verge of crumbling and folding in half at the stress

what if your parents don’t like him? he really doesn’t want to mess things up because he knows how much this means to you, and to your relationship

your warm hand on his thigh as he drives to your parents’ place soothes him just a little, overthinking the multitude of ways things can go wrong on the way there

once your parents open the door though, all his worries fade away

your parents are absolutely smitten with him

your mom fell in love with him as soon as she laid eyes on him (the face card truly does wonders!), though your dad needed some convincing before he grunted and reached out his hand for a handshake (he’s just sappy that he’s not the only man in your life anymore)

the dinner goes by smoothly, and sungho feels right at home as your parents treat him like one of their own!

“Let me help you with the dishes, sweetheart,” Sungho walks over to stand beside you as you scrub one of the many plates with dishwashing soap.

“It’s okay, dearie, you should go outside and entertain my mom. She’s quite the talkative one,” you reply, smiling at him with your eyes and nudging his shoulder to signal to him to go outside.

“Sungho? Come here, I got y/n’s old photo albums, you’ll love this!” your mom’s voice travels from the living room and into the kitchen, and you groan.

Sungho simply chuckles and tells your mom that he’d “be right over”. He rests a hand on your waist and squeezes the skin there, giving you a fond look that says “I’ll see you” in his dictionary before leaving to look at the treasure your mom brought in.

RIWOO

another nervous bf

he usually prefers to steer clear of social interaction, but this is for you, so he makes the effort to step out of his comfort zone to interact with the two other favourite people in your life

has to psych himself up constantly as the two of you approach your parents' place, holding onto your hand for comfort

all his worries go down the drain as he meets your parents, because they make him feel right at home immediately

he's practically their son at the end of the day, with your mom cooing over you and your dad nodding at you in acknowledgement

"Hey," Riwoo greets, taking a seat beside you on the couch. He had been helping your mom out in the kitchen after dinner, insisting to wash the dishes.

"Hey yourself," you nudge his arm, smiling. "How was today? You know, you're practically one of us now, with how Mom is absolutely smitten with you."

Riwoo lets out a soft smile. "I'm glad."

"That's a step closer to getting their approval to marry you, isn't it?"

TAESAN

he was born for this

he’s ready with a white button-down and navy blue slacks, a bouquet in hand for your mom (which you complain about in mock jealousy, bc he rarely ever goes all out for you)

his confidence falters a little once you reach your parents’ front porch, and you can see him start to doubt himself

you take his hand in yours and squeeze his hand reassuringly, reminding him that he has nothing to worry about

and he indeed doesn’t have anything to worry about, because his excellent social skills and ability to just know what to say everytime flatters both your mom and dad, much to your surprise

the day ends with your parents being completely won over by taesan, impressing you to no end

“Oh, come in, Taesan! y/n has told us so much about you, I’ve been waiting for you to come over,” your mom drags Taesan into the house as soon as the door swings open, leaving you behind with you dad as the both of you watch them leave.

“He doesn’t look half bad,” your dad acknowledges, stepping aside for you to come in.

Your mom talks Taesan’s ear off as he sits good-naturedly on the couch, the bouquet of flowers he brought resting on the coffee table, and you look on with a huge smile on your face.

“Mom, do you need help with preparing dinner?” you ask as an attempt to save Taesan from your mom’s never-ending talkativeness. Your mom lets out a surprised ‘oh!’, instructing you to stay put as she goes into the kitchen to resume preparing for dinner.

“She never runs out of things to ask you, huh?” you chuckle, taking a seat beside him on the couch.

Taesan suppresses a laugh. “Yeah. I was surprised, honestly, given how much you’ve already told her and your dad,”

LEEHAN

is excited and terrified at the same time

he’s excited to meet your parents, the very reason why you exist, and he’s terrified that they wouldn’t like him

he doesn’t show it though, but you can tell from how he starts breaking out into a cold sweat and starts tapping his foot on the way there

you take his hand in yours and squeeze it, and it calms him down a little

it takes a little convincing, but he makes it to your parents’ front porch with an uneasy smile plastered on his face

which turns into a genuine one as soon as your parents welcome him into the house warmly, making him feel right at home

the day ends with leehan’s heart (and stomach) full with love from your family, and he can’t wait to see them again

"So," you clasp your hands together and turn to look at Leehan once the both of you are in the car, "how was today? My parents didn't scare you off... right?"

Leehan breaks out into laughter, giving you the cutest eye smile you've ever seen. "No, of course not, baby. I loved today, your parents were really cool!"

"Really? I'm cooler though, right?" you smile giddily, reaching out to hold his hand.

Leehan taps his finger on his chin, pretending to think. "Hmm, I'll have to think about that one, actually."

"Hey!" you raise your voice in mock anger, and the two of you break out into laughter at the same time, leaning towards each other as you laugh.

"I'm kidding, I love you, yeah?" Leehan rests his forehead on yours, smiling brightly. "Let's go home."

WOONHAK

someone help this poor boy out he’s so nervous T-T

he’d be dreading it so bad the whole way there

it has nothing to do with you or your parents, of course, he’s just worried he wouldn’t be able to meet your parents’ expectations (you really weren’t helping when you recounted horror stories of how strict they were about who you were dating)

it would take some convincing and many kisses (+ promises to cuddle as soon as you get home) for him to finally get out of the car and onto your parents’ front porch

honestly he really had nothing to worry about, he doesn’t even have to do anything, just stand there with that goofy smile of his and your mom is sold

even your dad, who’s known to be extremely hard on whoever you bring home, gets along swimmingly with woonhak during the dinner (he even invites woonhak to come back again sometime, which shocks both you and your mom)

“Come on, mom, we have to go! Woonhak has an early day tomorrow,” you whine, pulling Woonhak towards the door, much to your parents’ dismay.

“Oh, y/n, it’s still early! I wanted to watch the Lakers game with Woonhak,” your dad cuts in, sounding so disappointed you coo on the inside.

“Mom, dad, can you at least act like you don’t want me to leave? You’re acting like Woonhak is your son at this point,” you complain jokingly, closing the front door and leading Woonhak to the living room.

“Well, we certainly don’t mind you guys getting married sooner if it means more opportunities to bond like this,” your dad makes an out-of-pocket comment, and your eyes widen.

You open your mouth to retort, but Woonhak takes your hand in his, beating you to it, “We’ll take that into consideration!”

a/n: this is probably not my best work i tried my best not to be repetitive i hope it's not really bad ><

masterlist

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itwasntimethatdidit40 · 2 months ago

Text

Hey there!

I wanted to post that for a while so, here we are.

Wondering who’s behind this blog?

Here’s something about me under the cut:

• I identify as a woman, my pronouns are she/her

• Born and raised in Italy, I still live there.

• I’m 141 LOL but according to people I still look like I’m in my 30s so let me indulge in that, thank you very much.

• I don't think there's anyone who makes me more feral than Joel Miller. I just can’t help it. My (un)holy Pedro characters triad is Joel, Oberyn and Peña 💕 (immediately followed by Frankie)

• I have a little elephant pendant that I always wear, no one knows what it's about *wink*

• I’m Leo Sun, Libra Rising and Aries Moon. You scared? I promise I don’t bite, unless explicitly requested 😏

• I’m Bi/Pan as fuck, always been obviously but I realized only last year. LOL, better late than never i guess. I only have problems with cisgender straight white males because I mean… they’re the worst, okay, I don’t make the rules.

• Single, unmarried, not interested in having kids even a little bit, I prefer to be the cool auntie.

• I love cooking and I'm quite good at it, I had good genes from my Italian grandmas 😌

• I can’t function without coffee, especially in the morning. I take my coffee bitter with just a little bit of milk.

• I can’t stand lies, the phrase “oh I didn't tell you so as not to make you suffer” (UGH, no you didn’t tell me ‘cause you’re a fucking coward and that’s it, my friend), misogyny, racism, fascism, homophobia, bi-erasure, any other form of verbal or physical violence towards LGBTQIA+ people, injustice in general, if you are any of the above you are not welcome here or in my life.

• I love dogs. I have a poodle named Brienne after the GOT character, she’s 5 years old so that means she got me through pandemic and she’s my love and joy. Isn’t she adorable? Yes, she is.

• I’m unfortunately allergic to cats (yep, like Pedro) and can’t pet them unless I wish for an asthma attack. That sucks, I know.

• I have deep brown curly hair, brown eyes and I’m short (158 cm).

• I have a lot of freckles, you could go on a treasure hunt following them.

• I’ve been to more than 100 concerts in my life including some festivals abroad.

• I currently listen to Hozier and Chappell Roan on a daily basis. I also love Billie Eilish, used to be a big Muse fan (listen, their first albums were great, okay) plus I’m a sucker for ‘90/‘00 music ‘cause that’s the music I grew up with.

• I love beer more than wine.

• I love reading, I used to read all the time, I have less time to do it now and it bothers me so much. I’m still reading fanfiction though. 🤭

• I’m a sucker for True Crime Podcasts, I only listen to Italian ones for now so unless you’re Italian you don’t know my faves and it’s a pity ‘cause they’re really good.

• Cults scare the shit out of me but at the same time they’re one of the things that makes me more curious ‘cause my mind can’t really comprehend what happens in people’s mind when they get sucked into them.

• Some tv series I love in no particular order: The Last of Us, Breaking Bad, Better Call Saul, Lost, The Handmaid’s Tale, Bojack Horseman, GOT (until seasons 7 & 8 happened 💀), Sense 8, Jane the Virgin, Grace and Frankie, Narcos, Only Murders in the building, The Bear, Succession, The Morning Show, Friends, Stranger Things (mostly because Jim Hopper is there, certainly not for those z*onists, you know), Mad Men, Gilmore Girls (Luke Danes *cough*), Mindhunter, Peaky Blinders (huge Tommy Shelby’s slut, don’t look at me like that, okay), My Brilliant Friend, The Affair, Black Mirror (until last seasons happened but it used to be one of the greatest things ever), The Walking Dead (got bored halfway through season 9, I recently started a rewatch and I hope to get to the very end of it lol), Fleabag, Normal People, When They See Us, Hill House, Bly Manor, Midnight Mass, Chernobyl.

• Films I love in no particular order: Parasite, Aftersun, Past Lives, All of Us Strangers, Brokeback Mountain, Almost Famous, The Goonies, Stand By Me, The Breakfast Club, The Killing of a Sacred Deer, The Lobster, The Neon Demon, Midsommar, One Day, When Harry Met Sally, There’s still tomorrow, Strange Way of Life, Prospect, The Banshess of Inisherin, Coco, The Emperor’s New Groove (so underrated), Mommy, The Virgin Suicides, Girls Interrupted, Saltburn, Promising Young Woman, Little Women (1994), Gone Girl, Shoplifters, Bin-Jip 3 Iron, Love Me If You Dare, The Piano, Fried Green Tomatoes, Notorious, Some like it Hot, Rear Window and you can ask for my Letterboxd account for more.

• Bad weather makes me sad and melancholy.

• I obviously love Italian cuisine with all my heart but I also love to try new dishes especially when I’m abroad. I love chocolate and I have a sweet tooth in general but there’s nothing I crave more than good carbs (I can be happy with a slice of good bread or focaccia). I love spicy food but I can't handle it when it’s very very spicy.

• I love bags, I have so many bags and I still want more lol

• When I was a kid I wanted to be a writer or a journalist. What do I do now? I’m a secretary LOL (I also have a second job not related to writing as well)

• As a friend, I’m loyal to the bone, I could do anything for you if I love you. If you betray me real bad though don’t expect a second chance, I mean I could try but I know i can’t ‘cause you’re changed forever in my eyes.

• I have so many kinks, you can ask if you want to know, okay. Also, so many authors here are responsible for giving me new ones. I love you deeply.

If you want to know more my asks and dm are open!

Here’s a little bit of me, byeeeee.

#about me #personal #facts about me

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wonderfulworldofmichaelford · 5 months ago

Text

Michael Before Midnight: "Houdini" by Eminem

youtube

Eminem is one of the most controversial rappers of all time, and this reputation isn’t entirely undeserved. I mean, the man has an entire song that’s just six straight minutes of him acting out violently murdering his ex. Uncontroversial artists do not make songs like that. But I think people do give him a lot of shit and really try to underplay his genuine talent too, mainly because of how a lot of his work just hasn’t aged great.

You have to understand the time and place Em rose out of. The 90s was all about being nasty and politically incorrect, and the rap scene reflected that. The rise of gangster rap had guys talking about how cool the thug life was, and there were all sorts of vulgar tunes being cranked out (“Pregnant Pussy” is from the 90s, if that tells you anything). As a white boy in a cutthroat industry where black men are the kings being taken under the wing of the man who produced “Fuck tha Police,” Marshall Mathers really wasn’t gonna do anything other than assimilate into the culture of the time to survive. And it worked; he’s pretty much the only white rapper besides maybe the Beastie Boys who has kept a long and generally well-liked career. He played by the rules, made sure to acknowledge his place, kept his ego in check outside his songs, collaborated with the right people, and boom! Rap has its token white boy.

But the edgy violent white boy schtick that made Slim Shady so funny and… “endearing” back in the day is not really something people like in 2024. Since the 90s, edgy white boys like the Slim character have shot up schools, sexually assaulted women and gotten away with it, openly supported fascism, and whined about queer people and black people being in Star Wars. No one fucking likes a Slim because they’ve been ruining our world for a while now, so this character who was once a beloved aspect of Em’s career just doesn’t sit right with the people of today. Add onto the fact that he’s a middle aged man, and he can’t just be doing the same crap all these years later without looking like the cringiest man alive, a rapping Elon Musk. With all that, and the fact his upcoming album is called The Death of Slim Shady, you’d think maybe he’d drop a single to showcase how he’s evolved over his career, how his sobriety and fatherhood have changed him, and how the Slim persona is well and truly in the past.

Instead he released “Houdini.”

For better or for worse, this is a return to that classic late 90s/early 2000s Slim style, with everything that implies. Get ready for lots of references, offensive jokes, and more, cuz I’m going line by line to talk about the content of Slim Shady’s final comeback. And while I am going to analyze some of the lamer and more questionable jokes, I want to make it clear that I understand the Slim character is satirical and whatever. I'm not fucking dumb, and I've been listening to Eminem for 24 years now. Being satire is not an excuse to be unfunny.

After an ominous skit where Em’s manager Paul Rosenberg tells him he’s own his own for this album, we have an intro to kick the song off:

Guess who’s back, back again? Shady’s back, tell a friend Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? (Da-da-da, da, da, da, da, da, da) (Da-da-da, da, da, da, da)

As should be obvious to anyone with a passing knowledge of Eminem, this is a reuse of the intro of his classic “Without Me.” This is a double-edged sword; on the one hand, it is a fun little callback to his earlier career and helps once more establish that he’s bringing it like he did back then. But on the other hand, you’re reminding the audience of one of your best songs right off off the bat, so if this one doesn’t live up to that, you’re in for a world of hurt.

Now’s also a good time to mention that the song heavily samples “Abracadabra” by the Steve Miller Band. From what I’ve gathered, a lot of people find that song unbelievably corny… but that’s why I love it. And I mean, the song’s called “Houdini,” so why not sample the massive smash hit song that’s named after the famous magic words? Again, for me at least, sampling a song I already love means you’re gonna have to really kick it into high gear to make me want to listen to yours over what you’re sampling. There’s about a million songs that sample “When the Levee Breaks,” but how many of those do you think I’m putting on over Led Zeppelin, y’know?

Well, look what the stork brung (What?) Little baby devil with the forked tongue And it's stickin' out, yeah, like a sore thumb (Bleh) With a forehead that it grew horns from (Look) Still a white jerk (It's him), pullin' up in a Chrysler to the cypher With the Vics, Percs and a Bud Light shirt Lyrical technician (Yeah), an electrician (Yeah) Y'all light work (Haha) And I don't gotta play pretend, it's you I make believe (What?) And you know I'm here to stay 'cause me (Why?) If I was to ever take a leave (What?) It would be aspirin' to break a feve' (Yeah)

So far it’s been pretty solid. It’s pretty clear Em’s still got it, great flow, delivery, subtle nods to his past work, boasts about his skills, talking about how he started from the bottom… It’s nothing really groundbreaking, but it’s at least continuing the idea that Slim is back, baby! I sure hope he doesn’t derail his momentum in the next couple of lines with a stupid, cringeworthy jab at a woman who literally never did anything to him!

If I was to ask for Megan Thee (What?) Stallion if she would collab with me Would I really have a shot at a feat? (Haha) I don't know, but I'm glad to be back like

So a little context here, for those not in the know: In 2022, rapper Megan Thee Stallion accused fellow rapper Tory Lanez of shooting at her feet and saying, “Dance, bitch, dance” like he’s a comic book mobster. The case was taken to court, where Lanez was found guilty and then sentenced to up to 22 years in jail. Now, the two have shouted out each other before—Em interpolataed the hook of Megan’s song “Body” in 2021’s “Killer (Remix),” while Megan referenced “The Real Slim Shady” on her feature on Lil Nas X’s “DOLLA SIN SLIME”--but I’m not really sure the two are close to the point where it’s cool for Em to jokingly reference the time some psychopath acted like a Batman villain to her. The fact Megan’s 2024 diss track “Hiss” referenced Mariah Carey’s “Obsessed,” which was about Eminem, does make me side-eye this bar.

But hey, one corny, cringey joke is whatever. Let’s see how the rest of the song goes:

Abra-abracadabra (And for my last trick) I'm 'bout to reach in my bag, bruh (Like) Abra-abracadabra (And for my last trick, poof) Just like that and I'm back, bro

So this is the chorus, and I have to say it’s incredibly lazy and boring. It’s just an Eminem-themed parody of the original chorus, and it’s not especially interesting. That being said, by token of being a chorus of a song I already like just with lyrical alterations, I don’t think it’s bad either. I just expect a little more cleverness from Eminem.

Now, back in the days of old me (When?) Right around the time I became a dope fiend (Oh) Ate some codeine as a way of coping (Mm) Taste of opiates, case of O.E. Turned me into smiley face emoji (Woo)

Here, now we’re back on track! Em is reflecting on his old self and talking about his drug-addled early career! Surely he’ll stay the course here and dig deep into his manic persona that was partly created by his addictions, and not veer off into alt-right talking points and child abuse jokes!

My shit may not be age-appropriate But I will hit an eight-year-old in the face with a participation trophy 'Cause I have zero doubts That this whole world's 'bout To turn into some girl scouts That censorship bureau's out to (Shut me down) So when I started this verse It did start off lighthearted at first (Hmm) But it feels like I'm targeted

Hoo boy, we’re whining about how “sensitive” the world is becoming and how censorship is coming to get you! Eminem is going full boomer now. But hey, maybe he has a point! You can’t sing songs where you violently murder the mother of your child and then abduct said child anymore, because of woke. You can’t rap about mass shootings right after they happen either, also because of woke. Whatever, grandpa. Let’s see if you have anything of actual substance.

Mind-bogglin' how my profit has skyrocketed Look what I pocketed Yeah, the shit is just like y'all had been light joggin', and I've been runnin' at full speed And that's why I'm ahead like my noggin', and I'm the fight y'all get in When you debate who the best, but opps, I'm white chalkin' when I step up to that mic, cock it then "Oh my God, it's him! Not again!"

Just some pre-chorus boasting topped off with a throwback to his song “As the World Turns.” It doesn’t completely erase the bad taste of his whiny boomerisms out of your mouth, but it’s at least something.

Sometimes, I wonder what the old me'd say (If what?) If he could see the way shit is today (Look at this shit, man) He'd probably say that everything is gay (Like happy) What's my name? What's my name? (Slim Shady)

Em’s had a long, troubled reputation with queerness. He came under a lot of fire for homophobia back in the day, but then his friendship with Elton John happened. There’s also his brief appearance in the Seth Rogen movie The Interview, where he plays himself as a closeted gay man. Even still, he’s often used queerness as jokes in his songs, mainly as an attempt to emasculate his opponents (something he even did to an actual queer rapper, Tyler the Creator). As a bisexual man myself, I do find it tasteless in general, but in the context of this song I thing it’s ok. Like yeah, the homophobic crackhead Slim Shady persona would call the world we live in gay. The line still feels a little weird, though; is the Slim persona actually singing this song, or is this Em reflecting on the Slim persona? It kind of muddies the water, and makes it hard to figure just how seriously we’re supposed to be taking everything here.

So how many little kids still wanna act like me? (Haha) I'm a bigger prick than cacti be (Yeah) And that's why these (What?) Words sting just like you were being attacked by bees (Bzz) In the coupe, leaning back my seat (What?) Bumpin' R. Kelly's favorite group (Uh), the black guy (Guy) pees (Pees, haha) In my Air Max 90s White Ts, walkin' parental advisory

Verse three starts off pretty good! The R. Kelly joke is extremely juvenile and crass, but that’s the sort of thing I enjoy from Slim. It may be low-hanging fruit, but that’s the fruit you wanna grab the most. Now what wacky sort of humor is Slim going to bring to this verse next? Surely he won’t make some incredibly stupid and corny joke that isn’t funny in the slightest and derails the whole song!

My transgender cat's Siamese (Why?) Identifies as black, but acts Chinese (Haha)

According to Genius, this line might actually be a reference to a Dave Chapelle bit from 2019’s Sticks & Stones. If that’s the case, I really don’t need to say much more. There’s no way to read this line in anything other than the worst possible light.

Like a motherfuckin' Hacky Sack, I treat (What?) The whole world 'cause I got it at my feet (Yeah) How can I explain to you (What?) That even myself I'm a danger to? (Yeah) I hop on tracks like a kangaroo And say a few things or two to anger you

So he does openly admit he says fucked up stuff to get a rise out of people. Going in to the song, I knew this. The guy’s a provocateur, it’s what he does, and the Slim persona has always been about being as flagrantly offensive as possible. But the thing is, even the stuff here I’m taking issue with doesn’t make me mad; I’m more disappointed than anything, really. Like he has to know that times have changed and people really aren’t all in on this sort of humor anymore, right? What is the point of bringing Slim back to a world that has evolved beyond him, even if to finally kill him off? If that’s what he wanted to do he could do it without trying to showcase the dated humor. This is the musical equivalent of watching an 80s sex comedy like Porky’s or Revenge of the Nerds. Like maybe it was funny way back when, but looking back at it through a modern lens it’s just really gross and unpleasant and full of terrible messages.

But fuck that, if I think that shit, I'ma say that shit Cancel me, what? Okay, that's it Go ahead, Paul, quit, snake-ass prick You male cross dresser (Haha), fake-ass bitch And I'll probably get shit for that (Watch) But you can all suck my dick, in fact Fuck them, fuck Dre, fuck Jimmy, fuck me, fuck you Fuck my own kids, they're brats (Fuck 'em) They can screw off (Yeah), them and you all (Uh) You too, Paul (Punk), got two balls Big as RuPaul's (Woah) What you thought you saw ain't what you saw (Nah) 'Cause you're never gon' see me Caught sleepin' and see the kidnappin' never did happen Like Sherri Papini, Harry Houdini I vanish into the thin air as I'm leavin' like

The rest of the final verse, save for another tired shot at cancel culture, is fine. I might even say it’s a bit funny; I like him taking at shot at Dre, himself, everyone he’s worked with, his own kids… That part is where it is really obvious the whole thing is tongue-in-cheek, because he is by all accounts a good and loving dad. Making fun of RuPaul and Papini are fine in my book too.

So I’ve been pretty critical of this song and rather unamused by a lot of its jokes. This must mean I hate it, right? Well… no. I can’t say I love it, but I really don’t think this is awful. Trust me, I’ve heard awful Eminem and this isn’t it. “Just Lose It” and “We Made You” are light years ahead of this song in terms of awfulness. On top of that, this is also the first single off of an album that’s all about killing Slim—I don’t really have the full context. For all I know, this could be part of an overarching concept of the album, Slim’s last ride before his inevitable death, and in that regard this is definitely a perfect modern take on the classic Slim Shady song, warts and all. We just live in a world where his kind of humor doesn’t age badly, it just ends up dead on arrival more often than not.

If nothing else, it still showcases Eminem has great flow, great wit, clever writing… and that’s what he should stick to instead of making tired, unfunny boomer jokes about cancel culture and queer people just to rile people up. Hopefully that’s what the rest of the album will be like when it drops. I doubt I’m going to review every single song on it since I’m no Todd in the Shadows and my musical knowledge is very casual, but maybe I’ll give my opinions. Until that time, though, I think I’ll just listen to “Venom” again.

youtube

#Michael Before Midnight #review #song review #Eminem #Houdini #Marshall Mathers #Slim Shady #rap #Youtube

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pizzaqueen · 1 year ago

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38 for the spotify ficlet :)

This was “Johnny and Mary” by Robert Palmer

I guess I kind of cheated by having them listen to the song, but it was the only idea I came up with! XD

767 words / rated T / Could be read as pre-slash or established relationship

(Send me a number and I’ll write a fic!)

“What do you mean you don’t care about music?”

Steve shrugs. Maybe he should have expected this reaction from Eddie, but he wasn’t even thinking when he said it. It’s kind of funny to see Eddie riled up, though, so he’s glad he did. “Just what I said.”

“But you have to like music!”

“Of course I like music.” Steve folds his arms over his stomach. “I’m just not as into it as you are.”

“But… You have a favorite song, right? Or a favorite band?”

“I don’t know. I’ll listen to whatever.”

And, honest to god, Eddie looks crushed. And completely fucking baffled. Steve almost feels bad, but it’s cute. “I don’t…” Eddie Munson, at a loss for words—not something Steve thought he’d ever see. “But…”

Eddie looks around the room, and then his eyes light up. He tumbles off Steve’s bed and grabs one of the cassettes sitting on the dresser. He waves it around and says, “But you buy albums!”

“Yeah, you got me!” Steve holds up his hands. “I’ve been known to buy an album or two.”

“So, you do have favorite bands.”

Steve rubs his eyebrow. “I guess…” He huffs. “Why is me having a favorite band so important?”

“It just is.” Eddie starts stalking around the room, scanning this way and that.

“What are you doing?”

“Do you have something to play this on?”

“You wanna listen to Robert Palmer?”

“No.” Eddie’s face screws up and he looks at the cassette he’s holding, like he’s looking at it for the first time. He falters for a moment, then adds, “I want to listen to your favorite band. Singer, whatever.”

“He’s not…” Steve trails off. This is obviously important to Eddie, and Steve can admit that Eddie’s important to him, so he pushes himself off the bed and goes over to Eddie. “Gimme that.” He swipes the cassette and puts it in the player sitting on his desk. The opening of “Looking for Clues” starts, filling Steve’s room with drums and synth.

“Is this your favorite song?”

“Sure.”

“Steve.”

Steve sighs, leaning back against his desk. He wasn’t lying when he said he doesn’t care that much about music, but there’s something about Eddie wanting to listen to what Steve likes, to want to know about Steve—because that’s what this is really about—that makes Steve feel good. Important. Seen. So, he presses fast forward, stops, presses play too early, fast forwards again until he gets to “Johnny and Mary”.

Eddie raises his brows expectantly, perched on the end of Steve’s bed.

“Yeah, this is my favorite song on this album.” And that’s not a lie either. It’s been a while since he listened to this album, but he always liked this song.

“What do you like about it?”

“If I knew there was going to be a quiz, I wouldn’t have put this on.” Steve shakes his head and says, “I guess I like the beat. You know…” He imitates the rhythm of the song with a string of do-do-do’s.

Eddie nods.

“And it makes me feel…”

“Yeah?”

“It’s stupid.” Steve’s suddenly embarrassed, which isn’t something he feels around Eddie often.

“I wanna know.”

Steve presses his lips together. He looks at Eddie, who’s waiting mostly patiently for his answer, and says, “I guess it makes me feel kinda sad.”

“And you like that?”

“Told you it was stupid,” Steve murmurs.

“No way.” Eddie shakes his head. “It sounds like a pretty good reason to like a song to me.”

“Really?”

“Yeah, I mean… I used to avoid some of the slower songs by bands I like. Like I never really got Sabbath’s Changes! But, now… Listening to it feels different.” A furrow appears in Eddie’s brow; he tilts his head. “It does make me feel kinda sad. And I like that.”

The way Eddie’s saying it, it’s like he’s only realizing it now. And it’s kind of cool to make Eddie realize something about himself.

“Huh.” Steve looks at Eddie, heart skipping a beat; he might not be as into music as Eddie is, but sharing this with him is nice. He feels closer to him. It’s good. And he hopes that this is what Eddie wanted. He thinks it is.

“You know,” Steve says, “we’ve talked through most of the song. Wanna start it again?”

Eddie makes a face and Steve bites back a laugh—it might feel nice to share it, but he honestly, really doesn’t give a shit if Eddie likes the same songs he does—but Eddie nods, so Steve starts the song over.

#steddie #Steddie fic #Steddie fanfic #Steve x eddie #pizzaqueenfic

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cherrylng · 7 months ago

Text

ROCKIN’ON - MUSE (November 2009)

MATTHEW BELLAMY INTERVIEW

●"The Resistance" is an amazing piece of work. 「(Laughs) You liked it, thank goodness.」

●I think it must be a very well thought-out concept album, from the composition and arrangement of each song, to the fact that the last three songs are a suite, to the lyrics. How did you come up with the concept for this album? 「In a way, I think this work is a dramatic reflection of my real life. Because of the current situation in the UK— well, especially the political situation during the time we were making this album. Various protest actions, such as the G20 protest rally (an appeal to the world's 20 major financial conferences held in London in April 2009), the shock of the economic crisis, and the revelation that British parliamentarians were embezzling money (*the British media revealed that many members of parliament had unfairly requested additional benefits for private financial aid, housing allowances, etc. under the pretext of “public expenses”, which developed into a major scandal)… Well, it seems to have calmed down a bit now (September 2009), but at that time there was a very strong feeling among people demanding “change” - breaking down and denying the current system. It was flowing, wasn't it? That's partly because I’ve been away from England for a while now and have been living in Italy, so I guess I was absorbing information about England even more voraciously. I was probably missing England a little bit, so I watched British news on TV, read newspapers, and closely followed the coverage of various events at the time. By looking at the current situation in Britain from the outside, I was able to develop an objective perspective within myself.

At the same time, my relationship with my current lover (Gaia Polloni) is also very important to me. You could call it romance, but yeah, that’s why those two things, politics and love, were in a sense bisecting my daily life at the time. I think if you listen to the album, you can hear that there's a more dramatic, dramatized version of that happening in the album. They serve as a setting for this album. For example, the first song sings of ideas such as revolution, uprising, and a strong desire to overthrow the status quo and change, while the second song sings about an immersion into love that can almost be called a retreat. I want to feel free by being locked up in the world of two people. It is also a desire to be freed or to escape from the various problems faced in reality, such as the government, or from the many unpleasant people that one cannot trust at all. It's a feeling I've had for a while now. In this context - a romance in the midst of political unrest, upheaval, and change - each song on the album depicts a different emotional journey. This is the same thing with “1984,” and that's why I quoted a few things from that book. But the ending of the album is - what can I say, I'm not a particularly religious person, but I'm leaning towards a bit more of a spiritual direction.

In the first half of the album, I use love or romance as a means of escape, but at the conclusion of the album, I objectify the world and the people who live in it, and it becomes very objective. So, so to speak, I'm trying to objectively view the Earth and the people living on it over a longer period of time. In that sense, that last suite can almost be called science fiction, but in a sense, it's a song that starts from the perspective of the universe as evolution. Evolution is a process that progresses on a cosmic scale, and probably occurs all over the universe. Part 1 of that song has a character with a distant, bird's-eye view, looking at everything from a distance. It's almost as if the person is just gazing at various problems, problems for which there seems to be no way to solve them, from afar. So, in Part 2, the idea of escaping from that planet is depicted, and some of the inhabitants of that planet escape to outer space. So, well, we're stepping into a bit of a science fiction world (bitter smile). But then I realized that I really like that movie, Stanley Kubrick's "A.I." (*Kubrick's legacy project, adapted by Spielberg). The first half of the film depicts a typical everyday story, but towards the ending, it becomes very dramatic and reaches the level of a sci-fi drama. I really like that development. So I guess that movie may have partially influenced me. Although the majority of his (Kubrick’s) work depicts extremely mundane and “global” topics such as various problems faced by humans, love relationships, happiness, and the joy of love, in the end he depicts a completely different and spiritual place. I like the idea of making an album that goes somewhere far away from everything and is cut off from this world.」

● At the end, in the eleventh song, you sing, “Let's start over again.” This work, which opens with the order of the revolution and describes the path to its defeat, seems to contain an eternal cycle in which the revolution begins again, returning to the beginning at the end. 「Yeah, yeah. It is a kind of loop! (laugh). It's a kind of cycle of life, of things. I have also studied the work of Richard Dawkins (a Darwinist sociobiologist. He advocates memetics, which compares the spread of culture to genes. His representative works include The God Delusion). I was reading about evolution and Darwin's theory of evolution, and that influenced me a lot. Was it last year? The Darwin Memorial Festival (*Charles Darwin's 100th anniversary) was held.」

In the album's conclusion, I try to objectify the world, or rather, the earth and its inhabitants, in a longer term.

●I think it was this year. 「Yeah, yeah. That's one of the things that brought me into contact with Darwin's research and literature. I read it, and I got really into it. I read that the inside of a human being is almost like a computer program, that the inside of DNA is a storehouse of information from the past, and that the genes are basically spreading this information. In this way, some information survives, while some is eliminated. In a sense, genes are the main force controlling our lives. In this way, we are almost a shadow or reflection of something else. I think that is a very interesting way of thinking.」

●Do you think the human race is still evolving? Are we on the right track? 「Yes, of course! I think we are still in the process of evolution (laughs). But are we going in the right direction? If you ask me, I don't know. I mean, if you read books about evolution, you realize that some parts of the species are always surviving. So, for example, the way we are now, the framework within which we live, the way we live, all of these things may eventually disappear completely. There are even some people who think that the current human species does not have much longer to live! (laughs) Well, I personally sometimes feel that evolution is something very spiritual. The inner workings of evolution are actually very exciting, and through it we can gain a different perspective on time, and a different view of life. For me, it's much more rewarding to learn about it than religion, or, you know, it gives me a peace of mind.」

●As you mentioned earlier, Orwell's “1984” is the basis of the story of this work, but why has the motif of “1984” emerged in your mind now? Why did “1984” have an immediacy in your mind? 「The current British government (Labour) seems to be experimenting a lot with new technologies and things like that in their own country. For example, the newly developed technology of large CCTV surveillance cameras. Nowadays, when you go to the airport, your eyeballs are scanned (laughs).I don't know what to say. It's like the government is trying to be more sophisticated and control the people, using the excuse of "anti-terrorism" as a cover. I think we are moving towards a new period. At least in the UK. Many people (in the U.K.) have a sense that "someone is always watching" and a certain kind of Big Brother (*The dictatorial ruler/politician depicted in "1984". He is a symbolic figure who controls and suppresses people's lives and thoughts through television and wiretapping.). I think that motif is very contemporary, especially for the British. I think it is true that our freedom as human beings is slowly being taken away.」

●Is it a warning to the people? “Beware, our freedom is being taken away”? 「Yes, I think so, but hasn't it always been that way? In the past, the majority of people have always been optimistic, not worrying too much and not thinking too deeply about things. I think that's why it's important for artists to try to influence popular culture, to try to convey some of their ideas and perspectives. It might be an opportunity to make some people think about things that they have never thought about before. And, yes, I think that what I am expressing in this work is probably worth issuing a warning.」

●This is your first full-fledged self-produced album. Why did you decide to self-produce at this time? 「We have been using various studios in Europe as well as some studios in the U.S., and we got a little fed up with working in "rented" places. There are time constraints, you have to finish in a few weeks, and there are other people using the same studio, so it's very difficult in terms of time and freedom. I think it was during the recording process of the last album that the idea of "building a home studio" came to me. I learned a lot about recording technology in the process of building that studio. We bought and installed all the recording equipment ourselves. And through the process of setting up, I became aware of the recording and engineering side of the business. Until now, that part of my life has always been a bit of a mystery to me. I just watched the other people doing all this complicated stuff (laughs), and I thought, "This must be really hard work." But through the studio construction work, some of the mystery was taken away, and I was able to understand exactly what they (engineers) were doing.」

●What, if any, characteristics of the band Muse did you discover in this process of being left to make all the choices? 「Well… I don't know why we didn't do that before - it was pretty tough when we first started recording. But once we got through that phase, we realized that we were really enjoying the recording process. We laughed a lot, and I don't think we've ever had so much fun in all the albums we've made. Because with the previous albums, we were under a lot of pressure in terms of time, because we were only booked in the studio for two weeks or a few weeks, and we had to work really hard while we were there. So, yeah, I think if there's anything we've discovered about Muse, it's that we don't take ourselves too seriously (laughs).」

●Ha ha ha! 「(laughs) Especially while we are in that kind of production environment. Some of the songs are pretty heavy, and I think that's part of what made our creative environment so enjoyable. The three of us had a lot of laughs about the music we were doing, about ourselves, and about everything else. So in that sense, it was a much lighter and more relaxed experience than before. And if there's one more thing I've discovered, I think (with some emphasis) it's that this is the best way for us to record. It's probably the best creative environment for us, and it allows us to be more bold and not be afraid to try out ideas as they come to us. Because when everyone is happy and enjoying what they're doing, it sometimes gives you more courage to try something, even if it's a pretty crazy idea.」

●This album is a concept album, but at the same time, it is a work with an amazing variety of sounds, and is filled with various genres of music that are not all the same. What was the process of songwriting for the 11 songs? Did you compile songs that were born from different triggers and clues, or did you create them in order from the beginning, as if the lyrics depicted a universal story? 「Yeah… It's funny, but as far as the recording goes, we recorded the songs in the order they were recorded. We recorded "Uprising" first, and the symphony was the last song we recorded. But the songwriting process was pretty random, and there was no process. For example, I remember playing some of the piano parts in the final suite on a whim for three or four years, but I never thought they would become songs, or even something for Muse. On the other hand, songs like "Undisclosed Desires" were written almost entirely in the studio. "United States of Eurasia" was probably written a little before we started working on the album. I had a feeling that it was going to be one of the cornerstones of the album. It's a core song. That song was already ready before we recorded it, or rather, it was well-developed, and I had a clear idea of how I wanted the song to turn out. I knew exactly how I wanted the song to be recorded. But for the final suite, even though some of the piano parts were already there, the idea of making it a three-part suite, or adding bass and drums to make it a Muse song, came after I went into the studio and was not part of the plan. So "Uprising," "The Resistance," "United States," and "MK Ultra", which were already with us before we started recording, and most of the others came out of the studio as we continued working on them. Some of the songs had ideas from before, like the piano parts, and some of them were new versions of old ideas.」

●In terms of excitement, “United States of Eurasia” has a structure that has several “chapters” within one song. I think this song, which changes from an operatic melody to a Middle Eastern melody, and has an outro of Chopin's Nocturne, is a number that encapsulates the eclectic charm of this work, but where did the idea for this song come from? 「(laughs happily) That's right, maybe it's a Middle Eastern-ish “♪Dun dun dun dururu~♪” melody part, but didn't that already exist before the Wembley Stadium performance? How did it go? (Thinks for a moment) No! Around the time we performed at V Festival last year, we played a live show in Dubai, and we were able to experience a lot of cool music there. Shortly after that, I went back to England and performed at V Festival, and I remember playing a little bit of that melody during the break between songs, and Dom's mom came to see the show after the concert. But (bitter smile) she said to me, “What's that melody you were playing earlier? It was amazing.” So I thought, oh well, it might be a good idea to write some songs using that, and I thought I'd give it a try.」

●It's Dom's mom's favorite song (laughs). 「(Explosive laughter) Yeah, yeah! And, yeah, that Middle Eastern-style melody was the starting point for that song. And for some reason, I played it in the black key, the key of E flat. Because it is easy to play a melody like that (pressing the piano keys with fingers) like this. So that automatically led me to the key of E flat, which is a scale I don't normally use. My vocal range is usually D, E, C, or A, but I was not familiar with the E-flat, black key. So I had to work with a different chord arrangement than usual, and as a result, I had to build a song around that Middle Eastern groove to match it. And so the song gradually developed into a strange shape, a different type of chord shape, independent of the Middle Eastern melody that started the song in the first place. So, after I finished writing the main part of that song, I was listening to a piano piece. I think it was when I was looking at my iPod playlist, and that Chopin piece, “Nocturne/E Flat Major,” came up. It is one of my favorite pieces of Chopin's, along with the C-sharp pieces, and I thought, “Oh, this is an E-flat piece too, how interesting (laughs)!” I had never played it before, so I bought the sheet music, read it, and learned the notation so I could play it. Then I found that I could play it exactly the way it ended (laughs).」

●(laughs) I wonder if the meaning of the "song" as a unit, or the way you view it, has changed drastically since your last album. The amount of information contained in a song is completely different from your previous works. 「Yes, that's true for "United States" and especially for the symphony at the end. Of course, we try to incorporate new ideas and techniques into our music on every album, but one of the things that happened on this album was definitely a drastic change in the structure of the songs. I'm sure that will influence the next album as well.」

Dom's Interview

Translator's note: I actually finished translating Dom's interview first before tackling Matt's. The reason why? If you see the original interview itself as shown in the second image, his second answer alone took up almost the whole page of the magazine. And I had to split it into 3 text blocks simply because it exceeded the maximum of 4,096 characters that can be contained in a single text block.

It was no wonder Matt's interview took up 3 pages while Dom's only took up 2 pages.

At this point in time, I'm tempted to just set up a Ko-fi or something because this took up so much of my free time to get this scanned and translated, on top of wrangling with Tumblr itself to get this posted. Someone let me know if that's an idea to follow through or not.

#Matt Bellamy #Muse #The Resistance era #smol meerkat #interview #translation #Matt why do you have such a motor mouth #I had to procrastinate by doing Dom's interview first because of that long ass answer alone #don't give me that soft look on your face #look at what you made me do Matt

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