#there's way more albums that i liked this year but i included only women because these albums were just chef's kiss 🤌🏽

[icanseethefuture333]

Reblog with your big 3 + your favorite album releases of 2023

Capricorn sun ☆ Taurus Moon ☆ Leo Rising

@psychecore

@sunkissedchldrecon

@julyourwitch

[nartml]

To Pimp a Butterfly and 1989: a rant

Listen here, three things about me are that I'm a) white as snow, b) Greek, c) still a minor.

What does this mean? It means that I obviously wasn't raised with hip-hop, and I got into Kendrick Lamar's music pretty late.

As in, early this year.

I've known of him for some time, and the moment I found out he had a Pulitzer prize at some point in late-ish 2023, I decided I had to sit my ass down and pull out Spotify.

Now, as an avid reader of both fanfiction (ao3 raised me) and books [I feel the immense need to clarify that I don't associate myself with mainstream booktok. Capitalism's consumerism has overrun that shit and all I see are the same 20 books being recycled and recommended (a substantial amount of those are Colleen Hoover and her variants). Tropes and spice* are officially the defining factors of whether a book is worth it (*your porn addiction ain't cute) and quantity is heavily prioritized at the expense of quality. Also, diversity who?], I was, for a lack of a better word, hyped.

A Pulitzer prize is nothing to scoff at in general, more so in music, more so in hip-hop.

(Edit: Upon quick reflection, I realize that putting emphasis on hip-hop can come across as coded.

I am in no way, shape, or form trying to undermine hip-hop or say that it's somehow less 'sophisticated' than, for example, classical music. I'm very aware of the amount of skill and technique one needs to write a masterful hip-hop album, and I'm not doubting that there are hip-hop artists out there who are also incredibly deserving of such a prize. I meant it in the sense that I've unfortunately never heard of another hip-hop artist who won a Pulitzer before, which is quite telling.)

That's some huge shit, and I'd be a fool not to be intrigued.

Admittedly, I didn't get on that immediately. For a while I procrastinated, because I wasn't in the mood to hyper-fixate on anything new just yet.

Which of course meant I ended up forgetting about it for a few months, because of course I did.

But then I came across a TikTok that talked about how it was insane that '1989' won the Grammy when To Pimp a Butterfly was right there.

Now, a fourth thing about me is that I don't fuck with Taylor Swift.

And a fifth thing about me is that I'm not baseless in anything that I do, say or feel, and that includes annoyance.

Her immature understanding of activism and feminism leaves a bad taste in my mouth. The way she built up her fan base around this portrayal of her as a relatable girl's girl, her refusal to accept criticism, and always making a victim out of herself (even now when she's in her thirties and is a fucking billionaire) while never using her position of power and privilege for good are all reasons that serve to fuel my dispassionate dislike.

And before any Swifties get on my ass, no, I don't think that "But she's a singer! Why are you expecting so much out of her, she isn't even qualified to speak on XYZ—" is a good enough excuse.

She has always been rich, and now she's a billionaire. There are no ethical billionaires, and that includes her.

Fame is influence is power. Uncle Ben said it all: With great power comes great responsibility.

And let me tell you, I don't see her owning up to that responsibility, especially after all that talk about how she supports women, supports the LGBTQ community, and supports the BLM movement. Has she ever actually put her abundant money where her mouth is?

I've never seen her speak about anything that doesn't immediately concern her.

Don't get me wrong. She's not the only celebrity like this out there. I'm sure there are worse cases. I know it for a fact.

To wrap this segment up before I get even more sidetracked, I'll outright state that I don't hate her, because hating her would by definition mean that I, in some way, actually care about her, and that just sounds exhausting.

Best way to describe me is indifferent, leaning towards distasteful.

She's annoying.

And that's how I feel about both her as a person and her as an artist.

I'm not denying her talent, nor her impact on the industry, nor the fact that she does have good songs that even I like.

A select few, of course, but still.

Apart from those...what? Ten songs? I have never, ever been able to listen to any other song of her's all the way through.

I get bored. They do nothing for me. They sound empty. Hollow. Plastic. Repetitive.

Her lyrics, that are praised by fans for being deep and complex, sound pretty surface level to me.

Not all of them. But I'm a sucker for analysis. A literature nerd. Greek is my native language. I can tell when something's deep and when something wants to be deep.

(Not necessarily including Folklore and Evermore in that category. Her storytelling ability is actually great.)

Her music largely sounds like it wants to be deep.

Most recent example being her latest release, The Tortured Poets Department.

Anyway, back to Kendrick.

My initial plan was to listen to 'DAMN.' first, because that's what he won the Pulitzer for in the first place.

There was a change of plans after that TikTok.

I decided to compare the opening tacks.

I put on Welcome to New York, and predictably, I felt nothing.

The rhythm is dance-y, I suppose. But there's nothing substantial about it. There's nothing exciting about it.

The lyrics are juvenile, and I get it, it's a pop song and she was in her twenties.

Nobody is expecting Shakespeare (no matter how much you scream or kick your feet, the only reason Shakespeare couldn't write Taylor Swift is because he's in another league entirely) or Odysseus Elytis. Nobody is expecting mind-blowing lyricism.

But it's the opening track to an apparently Grammy-worthy album. The very least I'd expect from it would be some additional levels of artistry.

Am I being harsh? Probably. Do I care? No.

Disappointed but unsurprised, I put on Wesley's Theory.

I ascended within the first minute.

Don't get it twisted, I barely understood shit.

Not only am I white, I am also entirely removed from America and its culture as a whole. I don't know what's going on there in y'all's daily lives.

And this was baby's first proper introduction to hip-hop as a whole.

My untrained, white-ass ear barely caught two references. I got what the gist of the song was about, and that's about it.

I had to look up analyses of the track to fully grasp what Kendrick was on about, and even then, there was obviously still a disconnect.

And I expected all of that.

I didn't expect to get hooked on that song within the first listen.

I swear to fuck, the beat is addictive. I swear to fuck, even when I was fighting to understand what the lyrics were referencing, I was having the time of my life.

Even I, an amateur in every sense of the word, could tell that there was depth and there was quality and there was intentional meaning in every line of that song.

It didn't matter that I couldn't understand it. It mattered that I knew it was there. Not because someone told me that was the case. But because it was audible.

I listened to the next track. And the one after that. And the one after that. I had listened to all of the tracks, before I knew it.

And the evident permeance of quality, of substance, carried on throughout the whole album.

It had exactly the type of lyricism I'd expect a Grammy-worthy album to have. It had exactly the amount of artistry I expected a Grammy-worthy album to have.

Even better, it had all the ingredients I expected a timeless album to have.

The poetry Taylor Swift fans insist hides in her discography, I found in plain sight within Kendrick Lamar's.

After meticulously reading the lyrics, I watched video essay after video essay, searched for analysis after analysis on this album, each time understanding the meanings behind it a little better.

Needless to say that the Grammy's are rigged and I love Kendrick Lamar.

Hip-hop is gorgeous.

[ranidspace]

i don’t get the whole rap battle between Kendrick & drake because, obviously kendrick’s the better one here but he apparently knew all this shit about drake being a pedophille and groomer the WHOLE TIME and then only spoke up in order to win a fight, and kendrick had Kodak Black on his last album, who was charged and plead guilty for sexual battery in 2016 for raping a teenage girl and also got in hot water for child neglect. same kinda shit as drake. idk, no matter how good his bars are and how good he pretends he is, kendrick still just seems like a typical man who protects and supports predators when they’re his friends and calls women bitches while he’s at it

yeah. context to those who dont know kodak black was convicted of rape in 2016 (6 years before mr morale dropped) and has a history of violence

i really cant argue against that, but i believe he wasn't added to the album as an endorsement of what he did. Mr. Morale is an album about personal growth, and about Kendrick himself. Kodak said himself that him and kendrick are very similar in a lot of small ways.

while kendrick's never said why kodak was added to the album, many believe it's the contrast of despite the fact they're similar, kodak has a history of violence and has went to jail many times, highlighting how even though kendrick is successful, others like him are still struggling with systemic racism and the cycle of violence and crime pushed by that same system.

The line as well "like it when they pro black, but I’m more Kodak Black" is literally telling the viewers he's not a Savior or a Mr. Morale, he's closer to a Big Stepper who makes awful mistakes

i can't say it was a good idea to include a rapist on an album, that does deserve criticism. but i believe it wasn't him supporting rapists, it more read as "there's growth and change both individuals and the entire system needs to do"

I'd definitely say i didn't explain this part enough because i didnt know too much about kodak black so i'd really appreciate others chiming in.

as for the "people have known about drake being a groomer the whole time" yeah. people have. he's gotten away with it until now. and it's a good thing that a well respected and incredibly famous person is bringing light to it.

kendrick had fuck all to do with drake since poetic justice so he didnt say shit about him. a lot of the industry kinda hated drake the whole time, and have been speaking out against him. kendrick's just the second (shout out megan thee stallion) to make it into a popular catchy song, which is a good thing as well because it gets more people talking about it!!!

Drake was the one who made Push Ups and Taylor Made and constantly went online to told him to make a response track. like the feud would have been over at Like That but it was Drake constantly provoking him to make content. Straight up doing things that kendrick said "hey if you do this i'm going to retaliate" and then drake did it, and kendrick retaliated exactly like he said he was. This whole thing is Drake's fault, he's the one constantly pushing it.

I can't say kendrick isnt also pushing it now, but everything's pointing to he's just making more songs to bring more people to talk about it. There's no ads on the videos. He's not copyright claiming anything. He's making serious songs to highlight issues and catchy songs to spread this info far. it's a genius use of the medium to bring light to the issues drake brings.

which is what kendrick is fucking known for. using music to bring light to the issues the world face

[thickness-protection-program]

Even without it being a country album and even if it wasn’t an album “in her genre”, the idea that an artist can only create within a genre is soooo stupid and limiting. I don’t go here but a band I like went from hardcore heavy metal screamo shit to like, high concept alt pop in 10 years and they specifically have said in interview that they distanced themselves from the metal scene because they felt it was too limiting to their ability as artists to be confined by a genre.

They’re incorporating elements now, but like. That’s what you DO with art. You try new things, get good at them or decide you don’t like them, and then you take the bits you like or find useful and incorporate them elsewhere. Idk where the idea that artists are “make more of this specific kind of art only�� machines in any way.

People are being hella weird because it’s Beyoncé and broader society seems to hate black people and especially black women winning, but I’ve seen this same thing with pop punk/post-emo whiteboy bands trying a new sound and having an album flop because everyone quietly just “wished it was like their last one” until a few years later when everyone realized it was good actually and they were being close minded.

Do I find her most popular song right now overplayed on the radio? Yes. I listen to a LOT of radio. But it’s a good fucking song and she can make country if she damn well wants to. I swear we all JUST did this with Lil Nas X. If I’m tired I can’t imagine how tired the people who actively follow this are cause at this point it’s goofy as hell. People getting mad over nothing with the memory of a goldfish so they can get mad over the same nothing again in three months

Ooo you fuckin said it. It's the literal fact that music as a whole can't evolve if we don't allow individual artists to evolve and especially black artists. There's a wide variety of reasons why this unjust hate is here but I feel like two of the main reasons are 1) consumers have become a little too comfortable expecting from artists as if they owe us something as opposed to just enjoying the harvest and 2) in this current rage based culture we let our dislike of someone get in the way of viewing the facts as facts. The fact of the matter is Beyonce and any artist in the world, yes including the ones you hate, can do whatever tf they want bc they don't owe us shit

[triplexdoublex]

Let Go (Chapter 1)

Paring: Jaden Hossler x Landon Barker

Tags/Warnings: blonde Jaden, dual POV , internalized homophobia, homophobia, religious gulit, scent kink, masturbation, mentions of Coopers death,

A/N: Breaking this long ass fic into chapters as requested. Landon’s 20 as this takes place last year.

Landon

Ever since Jaden started working with my dad and signed to his record label, our house has become his second home. And with a new Album in the works, Jaden’s been here more than usual lately, recording with my dad in his home studio until late at night. Most nights after recording he just crashes here. Despite the house having numerous guest rooms, Jaden usually opts for sleeping in my room.

The first time my dad introduced me to Jaden the two of us clicked right away and quickly became best friends, so I don’t mind the company; in fact I might enjoy it a little too much.

Jaden

After a long , but productive day of recording it feels great to just chill and play some video games in Landon’s room before we go to sleep. Landon’s sitting cross-legged on his bed just scrolling through social media, while im sitting at the end of the bed kicking serious ass in Call of Duty. I honestly love that about our friendship, how we can be doing totally different things at times and yet still enjoys eachother’s company. And there’s never any need for annoying small talk or pressure to feel like either of us have to keep the conversation going. But at the same time we can talk to each other about anything and everything. The only other person I was able to do that with was Cooper. Fuck, I miss him, man. His death broke me, and although I’ve been getting help and healing I’m not sure I’ll ever be fully put back together, but I’m trying. It’s part of the reason why I crash in Landon’s room almost every night. Besides it being easier than going back home for the night, staying with Landon makes feel less alone and keeps me from getting lost in own head. He’s been a big help with adjusting to life in LA too, Moving from the south to LA a few years ago was a bit of a culture shock for me, and I don’t know what I would have done without Landon in my life to guide me through it. I seriously love him so much…No Homo. Ugh, I wish I could stop feeling the need to think or say shit like that anytime I compliment or express how much one of my male friends mean to me. Growing up in a Conservative Christian household in Texas and Tennessee will definitely do that to you. I’ve definitely grown as a person and have become more open minded and accepting since moving to LA. I’ve met and worked with some of the coolest people, a lot of which are from the LGBT+ community, including some of my fans—who i adore more than anything. I’m tying my hardest to let go of the homophobic ways of thinking that’s been ingrained in me from my life in the south and Christianity, and for the most part I have. I even joined an inclusive church out here but something about it still makes me uncomfortable for some reason and I can’t quite put my finger on it, and why I have the insitent need to make sure no one assumes or gets the impression that I’m gay, because I’m not, I’m totally straight.

Landon

I’m bisexual, I’ve known that for some time. Maybe bi-curious is more accurate? I don’t really know. All I know is as far back as I can remember I’ve found both women and men attractive, I thought everyone did. It wasn’t until I was like fourteen and one of my friends asked me if I liked the outfit he had picked out for the first day of freshman year, and I told him I thought he would look cute in it, and he asked me if I was gay? I never gave it much thought before, with LA being one of the most LGBT+ friendly places in the United States, I never really had to, it didn’t matter. But after that I found myself wanting an answer to that question too. And with some unsupervised computer time and a bottle of lotion, I quickly learned that I was, in fact, at the very least, bisexual. And although I never actually developed any crushes on my male friends or felt the urge to experiment with them, the glow of the computer screen in my dark bedroom at night became a routine, became like NyQuil to me. I’ve kept it to myself all these years, never feeling the need to come out as it was more of just a guilty pleasure and I was content with not taking it further in real life, but that all changed one day this past year while playing basketball with Jaden in the LA heat. I was about to go for a slam dunk, when Jaden jumped right in front of me, arms up, blocking my shot. The sweaty musk of Jaden’s underarms fighting its way through his fading deodorant took me by surprise. I don’t know if it was his pheromones or what, but I would have bottled the scent and doused myself with it until I drowned, It was that intoxicating. I wanted more, wanted him, his sweat, his smell, his body, his everything— fuck, I wanted Jaden.

Jaden

I’m about win Call of Duty when out of nowhere I get shot.

“Fuuuck, I was sooo close,” My body falls back in defeat, my head accidentally landing in Landon’s lap. “Oh shit, dude, sorry!” I quickly sit back up, but Landon stops me.

“It’s fine,” he says “I don’t mind. You’ve been playing that game all night. Just relax.”

“O-ok, you uh..” I scratch the back of my neck, “You sure?” I question, but I’m laying back down before he even answers.

My brain is overflowing with confusing thoughts: Is this normal? Do guy friends do this type of stuff? Is this cuddling, it certainly feels like at least a form of cuddling. And my body seems to be responding the same way as it does to cuddling; I feel safe and comfortable and a little warm inside. I’ve only cuddled with girls though. I didn’t know you could cuddle with your guy friends too? And that’s like acceptable? I’m still learning where the line between anti-toxic masculinity and being gay crosses or if that’s even a thing? But one thing is for sure, LA and the South have VERY different opinions on what’s considered gay.

What’s considered gay in the South: looking at another guy for more than two seconds, hugging another male (a quick pat is all you need), giving a guy a compliment, having excellent hygiene— hell I know some guys that don’t wash their ass cuz ‘it’s gay.’

What’s considered gay in LA: Actually being gay. So since I’m straight I guess this is okay? I hope so because I hate to admit that I really like this.

Landon

Don’t touch his hair, don’t get hard, don’t touch his hair, don’t get hard .But fuck it’s all I wanna do. I’ve had this fantasy many times before except usually he’s face down in my lap, my fingers lost in his hair as I palm the back of his head.

I shake my head to clear the image from my mind like an Etch-a stretch.I hate that sometimes my desire for him is so strong, I think about him in ways I know he wouldn’t approve of. It feels like betrayal, it feels wrong. He’s my best friend, I don’t like hiding this from him, but I know, he would be disgusted with me if he knew, I mean wouldn’t anyone, gay, bi or not? Imagine finding out the person you trust the most has been secretly getting off to you. I do my best not to give into the temptation, but how can I not when he’s gone at the studio all day and my bedsheets still smell like him.

I shouldn’t but I do, I let my fingertips flirt with pieces of his bleach blonde hair— my absolute favorite look on him by the way— aimlessly twirling small tuffs as Jaden searches through Netflix for something to watch. In the short time it takes him to choose something, my fingers have found themselves even deeper, my nails lightly grazing his scalp in a circular motion. I half expect him to tell me to stop any second now but when he lets out a small moan, it’s me who stops.

Jaden

“Holy shit, man, I’m sorry. I-I just got way too relaxed there for a second,” I blurt out in embarrassment the second I feel Landon’s hand pause in my hair. It was kind of an odd thing for him to do in the first place, and at the beginning, my old ways of thinking started creeping back in, but then I noticed my body slowly relaxing into his touch. We’ve spent so much time together lately, I think he’s just stating to know me better than I know myself, because after a long day in the studio, relaxation, is exactly what I need

“No worries,” Landon says with a small chuff of laughter “Everything’s all good bro. You really gotta stop apologizing tonight.” He starts scratching my scalp again but then pauses once more. “Do you want me to stop?”

“Actually, umm i-if you don’t mind doing it just a little longer, it’s really helping me unwind before bed.”

“Of course,” Landon agrees.

Landon

And now he’s asleep in my lap. God, he’s so beautiful, I could stare at him forever; his flawless skin, jaw so sharp it could kill a man, his full pink lips just slightly part—nonooonoo, fuck, I gotta get him off me before my dick wakes him up first. I cradle the back of his head with my hands and gently lift him from my lap, replacing my body with a pillow. He’s on my side of the bed, so I have no choice but to sleep on his.

Not even five minutes into being on his side I know there’s no way I’m getting any sleep, because despite being tired, part of me is very alert right now. I can’t control it, his smell is all around me; the sheet under me, the blankets on top, and don’t even get me started on his pillow— I can see the TMZ headlines now: ‘Landon Barker dead at 20! It appears the son of Blink182’s drummer, Travis Barker has died from accidentally asphyxiating himself with a pillow.’ I’d bury my face in it and forget to come up for air.

There’s only one thing I can do to fix it, it certainly isn’t gonna go away on its own. This time I allow myself to think of Jaden as I tug on my cock because I know it’s the quickest way to finish; alternating between pretending my tight grip is his mouth and his ass. I get too lost in the fantasy and before I can stop myself a breathy “Jaden,” tumbles from my lips…

[drdemonprince]

The cancelled video for Grimes' song So Heavy I Fell Thru the Earth just leaked, and considering all that we know about the song, it's incredibly moving.

So Heavy came out on Grimes' last album, Miss Anthropocene, and in interviews she shared that it was about when you decide "or someone convinces you to" get pregnant. Grimes has always described her decision to get pregnant by Musk in pretty negative terms, saying she felt incredibly vulnerable having unprotected sex for the first time, and that she had "capitulated" to the patriarchy by opening herself up in that way.

Of course, at the time we had no idea that Musk was likely abusing and manipulating her into carrying his children, as he has done with numerous other women before and since (including Amber Heard and his employee Shivon Zilis, who identified as a lesbian until partnering with her boss and having his kids). And we certainly didn't know that Musk would one day cut Grimes off from all access to the baby she'd birth for him, carting him around like a prop to Tesla and Starlink meetings and reportedly using time with him as a pawn with which to control Grimes and her movements (which she has only recently opened up about, having finally left his house in Texas to return to her support network in LA. You dont have to like Grimes or think her actions are excusable to realize this was all a bad, bad scene).

The video, which was produced years ago while Grimes was still pregnant with baby X is disturbing. Grimes rolls around on the floor, surrounded by swords that are pointed directly at her belly. At one point, the sword morphs into an automatic rifle that is pointed at her. She lays out on her back, swaddled in cloth and surrounded by flowers, a funereal scene. Throughout the video, Grimes has a life bar over her head that continues to diminish until it empties out at the very end, and then she turns away from the camera, cradles herself, and then the life bar fills entirely back up -- symbolizing the new life she has created inside of her.

This is quite a dark video, associating pregnancy with violence, self-destruction, and death, and it's all the more dark with the knowledge that Grimes was likely being gaslit and manipulated while it was being produced. (Again, you can still think she's a dipshit who holds responsibility for plenty of her actions and words while still acknowledging that obviously being dependent upon the wealthiest man in the world, isolated from all your friends and family, and unable to see your own kid because of him is quite the vulnerable and crazy-making position). Grimes also viscerally disliked this video, though it's one of the best and most tasteful videos she's made in years -- probably the emotional associations with the subject matter have tainted it for her.

it seems Grimes knew on some level that she was getting herself into a bad situation, and that makes it all the sadder. See also the video for Player of Games, where the knight (who represents Musk) deals a death blow to Grimes by striking her twice in the stomach. At that point she'd had two kids.

Here is the link to the video: https://www.tiktok.com/@hyperion666/video/7305392869156637957?_r=1&_t=8hfyVZGc4us

[gakuxiu]

I wanted to see if the Chinese and Japanese graduation albums were any different from one another + some comments under my translation. It's almost his birthday too! I'm doing his character book pages next.

Kunugigaoka Junior High, 3rd Year Class A

Asano Gakushu

The Asano Family

Father: Chairman of Kunugigaoka Academy

Mother: Housewife

Siblings: Only child

An only child.

He is very concerned about his genetics because his mother’s younger brother went bald at a young age.

With his genius-level talent, he leads Class A as the student council president.

He has outstanding grades, language skills, business acumen, is proficient in martial arts, has a commanding presence, is eloquent, and can even play the guitar. He is the leader of the "Five Virtuosos," someone who knows too much, to the point of being a bit laughable, and the student council president. He was a fierce rival in the mid-term exams, where a heated battle took place. To win, he would stop at nothing, but due to his noble character, he dislikes underhanded methods.

"I will lead! So please… continue supporting me."

A naturally condescending gaze. To him, "classmates" and "subordinates" are synonymous, and he occasionally slips up and mixes them up.

The side of Asano Gakushu that no one knows!

"And besides… With your abilities, I’m sure you’ll figure out a way, right?"

After going through several intense battles, he has developed a comrade-like relationship with Class E… I guess this could be considered a sign of him becoming more well-rounded.

Messages written for Asano Gakushu:

"After entering high school, I’m always ready for a challenge from you, Asano-kun. Please look after me~" (Akabane)

“I believe that by competing with Asano and the A-class, we can all grow. Thank you. (Isogai)

"We’re not just subordinates, but comrades as well. Don’t hesitate to rely on us sometimes, leader!" (Seo)

Subordinates… The other members of the Five Virtuosos:

Koyama Natsuhiko

The crazy character of the Five Virtuosos. Despite his appearance, perhaps due to his confidence, he is rather flirtatious with girls.

Seo Tomoya

The arrogant character of the Five Virtuosos. He often boasts about being a returnee from overseas and has a quick temper.

Araki Teppei

The "explainer" character of the Five Virtuosos. He excels in social studies. He also takes on the role of MC during school events.

Sakakibara Ren

The ladies’ man of the Five Virtuosos. He’s very skilled at attracting women and even once tried to pursue Kanzaki.

PERSONAL HISTORY

Private Kunugigaoka Junior High School

Private Kunugigaoka Senior High School

Private Massachusetts Institute of Technology (MIT) ※ Acquired qualifications necessary for entrepreneurship, including an MBA.

Founded a business in Silicon Valley

Starting from his first year of high school, he began establishing his own system of control, with Karma being the only one who refused to submit to him. The two graduated in a state of constant tension and rivalry. After graduation, he went on to execute his perfect dominance at MIT. By leveraging his connections worldwide to recruit top talent, he became a leading figure in Silicon Valley.

Notes from yours truly

In the original Japanese, Gakushu’s name is written as 学秀 with the simplified kanji 学, while his father Gakuho’s name uses the traditional 學, which is probably a subtle reflection of a generational difference.

However, in the Chinese version, Gakushu’s name is localized as 淺野學秀. Chinese publications, especially in regions like Taiwan or Hong Kong, use traditional characters as the default, so his name would naturally be localized with 學 instead of 学.

I've seen people on Tiktok posting about Gakushu having an absent mother in 2024. The misinformation around this boy is pitiful!

Male pattern baldness (androgenic alopecia) can be passed down through genetics, and there is some scientific basis for the concern Gakushu has about going bald, especially in relation to his mother’s side of the family.

The key factor in the inheritance of male pattern baldness is related to the X chromosome. Men inherit their X chromosome from their mother, so the gene that influences baldness is often passed down from the mother’s side.

The gene in question is related to the androgen receptor, which regulates the body’s response to male hormones (androgens) like testosterone. If someone inherits a particular variant of this gene, they may be more susceptible to hair loss. It’s a fun detail since Gakushu has this whole Genetic General thing running haha

The choice of words for the archetypical roles of the four other Virtuosos are

Natsuhiko: 瘋狂 (mad/insane)

Seo: 自傲 (self-pride/arrogance)

Teppei: 解說 (explanation/commentary. as a role*)

Ren: 把妹 (picking up girls/flirting)

Beyond the obvious qualifications (like top grades and an impressive application), I believe Gakushu’s ability to pitch his vision was crucial. He wouldn’t have just been accepted into MIT for being academically brilliant but for his ability to prove that he's an ambitious visionary. That, and he's extremely charistmatic and knows how to act infront of people.

Given the tech-driven nature of Silicon Valley, Gakushu likely obtained qualifications related to technology and innovation. He might have pursued computer science or engineering coursework, or certifications in emerging technologies like artificial intelligence, machine learning, or blockchain. These qualifications would allow him to understand the technical side of the business, especially if his startup involved tech-driven innovation.

My guess is that Gakushu’s business could be centered around developing and controlling advanced technologies, such as quantum computing/AI/neurotechnology, to establish dominance over human society.

[skzpixie]

For my youth interview

Cw: Dark!! Mentions of past abus*ve relationship(physical and sexual), suicidal attempts, past pedophilia(kai was the victim), mentions of infertility, drinking problems, let me know if there is any I missed

Taglist: @mynameisnotlaura

Px: Annyeong! My name is Pixie from straykids, but you may call me Kai. (She waves at the camera and blows it kisses)

Q: What is "For my youth" about?

Px: For my youth... it's a very raw, emotional part of myself. I try and make sure my image before now is the silly kind, I hate seeing anyone in pain or sad, so I don't like showing my emotions other than positive ones.

Px: I never had a good grasp of emotions growing up. My childhood was cut short because of me becoming a trainee, and I was not able to come to terms with my emotions through puberty. While other trainees at least had some semblance of a social life, I was always training or too busy teaching others to actively partake in regular emotional stability.

Px: so in a way, For my Youth is therapy?(She laughs) it's basically a love letter to myself.

Q: Who is the ex you talk about in your songs?

Px: Oh my (she blushes, holding her cheek, embarrassed) he was my first relationship I had. I was fifteen and he was... late into being nineteen?

Px: Don't look at me like that. So many people look at me with pity when I tell them that, and I hate being regarded with pity. (She sighs)

Px: It was... not a good relationship. We fought constantly. We were both jealous of the other's time away. I would be training with Chan and he would get so... angry. I had threatened the girls he was talking to, it was not a fun thing. I felt so.. ugly when I was with him.

Px: He had a massive drinking problem. Some days he would come to the dorm and...(her eyes glossed over at the memory) ...I'd rather not speak of it.

Px: Whenever I was able to have my phone, he would only let me talk to him. He was able to talk to whoever he wanted, but I was lucky if I was even allowed to talk to my mother once a month. The relationship lasted a year and I was only able to talk to my parents... about a collective two times? One during Easter and one during Chuseok.

Px: (she clears her throat) Back then, I was so blinded by love of this... man. He was so sweet one minute, and then he would be violent. I can't tell you how many times he forced himself upon me, that now it's hard to say whether I would be able to have kids (she laughs bitterly) which really sucks because my dream was to be a mother. (She tilts her head back to avoid the tears to fall)

Q: Why did you include a song such as Bullet in For my Youth

Px: Ah, Bullet... it was originally supposed to be a Stray Kids song but we decided not to because of the very dark concept it had. I still have the demo of the us singing it together (she laughs softly)

Px: I wrote it before I joined JYP at thirteen. I was twelve and I really enjoyed listening to bands like MCR and Guns and Roses. It was the time where I would hurt myself, I still have the scars from the time. Not physically but...

Px: The second time I revised it was back in 2022, right after my second attempt. I was so depressed after my parents passing that I didn't even think about the effect it would have on my family and especially my brother. I was very depressed, I think the most I was in my life. I blame myself, y'know. And don't say it wasn't, because they wouldn't have died if that guy wasn't a "fan" of mine.

Px: I think that's the irony of Bullet. The happy tone of me singing shows how us idols, especially women, have to be all happy on the outside while we all have problems.

Q: What is the biggest message you want people to take away from your album?

Px: funny answer or serious answer? (She pauses) serious answer? That you can overcome anything. You are much stronger than you look, and you may be the reason a friend is still with you today. Don't make your past your present, and don't ever make it your future. You are so much more than your past.

Bonus:

Px: Funny answer? Capitalise your trauma and cry on company time. (Winks)

[mysteryflavorsoda]

Rurik Liderc and the stereotype of the broken (but sexy) anti-hero

(and how it makes him worse as a character)

Heyy, I'm back, kind of! This is my first actual rant, so I'm sorry if it's a bit boring or confusing. Feel free to ask me anything! This is just something that I've always had looming in the back of my mind, and I really want to talk about it. 

In October 2005, Pop Punk band Green Day released their seventh studio album, American Idiot. It follows the life of the central character, Jesus Of Suburbia, a middle-lower-class all-American teen who hates his town and pretty much everything. He's pretentious, a rebel, angsty; a faithless, working-class man who hates the system he's placed in, screaming for the rebels living in post-2000s America. It comes as no surprise, then, that @angeutblogo's Lasser would inspire her iconic character, Rurik Lidérc, off the song that describes this main character.

As the years went by, Rurik gained more and more traits, hobbies, a story, friends, and of course, multiple lovers. As it is today, you could call him a multifaceted character- I'm here to say that this perhaps might've been his downfall, too. As it stands, Rurik is a badly constructed character, where new information contradicts old information and traits that are not in line with the logic set upon him initially are imposed. It seems that the creators try and stuff him to the brim with different exciting ideas, but ultimately end up getting a messy clump of characteristics that results in many users having to redefine him with headcannons and rereadings, myself included, because he ends up being so confusing.

First, Rurik being a US Army veteran is one of the biggest pillars in his personality. Although not a lot of information is revealed about that part of his life specifically and the effects it had on him, we can deduce that it greatly affected him in more than one way, changing him fundamentally; PTSD. A prime example is that Lasser has stated that he has an aversion to loud noises, such as fireworks and thunder, but then proceeds to state that it only makes him have a minimal response of being "more alert". How can he be fundamentally changed as a person due to trauma and still only suffer minor damage? Are the creators afraid of making a character that's fully and realistically traumatized by war because it would compromise his appealing "sexy bad boy" nature? But then, that very nature is driven forward by the very fact that he's traumatized, that he's "angsty". It just confuses me how posts speaking of his trauma are immediately followed by posts describing his kinks and hypersexuality, and descriptions of his mental state are switched out for retellings of future events where "everything is all right finally", not bothering to make him go through the process of recovery, and research of trauma responses or toxic relationships is traded for discussions of what motorbike he has. It almost seems like the creators want him to be many different things that cancel each other out.

Thus, this contradiction leads us to the next point: Dante and Rurik have an open relationship, despite Rurik being shown to be possessive and emotionally immature. Rurik is, in simple terms, a manchild at times, stalking Dante when he feels like it, being insecure, and being sad by small things Dante says, in addition to threatening his exes. Those are toxic, insecure behaviours, of course, but it gets brushed off as "oh, but it ends in them sexually punishing each other" (going into how their relationship is sexualized, but that's a topic for another day), which in itself is contradicting because it's written to be a healthy relationship that's good for the both of them. And yet, we get bombarded with recounts of Dante being toxic to Rurik and vice-versa. He's also said to get extremely uncomfortable when Dante flirts with other women because he "can't compare", so how on earth could they have an open relationship without constant interventions and fights?

I believe that, if Rurik is insecure, it would naturally cause him to believe that Dante is replacing him if he flirted with another person. This is because he has a fragile ego, and people like him tend to fall into that insecurity (speaking out of experience and my interest in human psychology), and it would lead to constant fights, doubts, manipulation, and overall a bona fide toxic couple. Perhaps even worse than Lurik, as Dante is constantly described as psychopathic and manipulative, even to Rurik himself. They're shown to kind of fix everything with sex and "punishments", downplaying the other's insecurities and genuine feelings and promoting unhealthy dynamics. Rurik is not written to be someone who could have an open relationship that would be fair to himself and Dante, and yet, they push on, because of course they do; they are entirely centred around having sex, after all.

So, where am I going with all this? In all the glamourized media that we see, there's a strong tendency to try and make perfect characters. Rurik Lidérc is broken, angsty, insecure, and repressed, but that doesn't get in his way at all! All he wants is sex, drugs, and rock and roll. He reminds me of James Hurley from Twin Peaks: his conflict can be so well-explored, his trauma could be so fleshed out and the effects of trauma on the human mind could have given us a beautiful story of redemption, of growth, of understanding. But God, he just keeps making out with Donna all the damn time, and the camera always focuses on him like he's in a Playboy magazine. The realism, the beauty, the relatability- it's all sacrificed for middle schoolers to ogle at him and go "Wow, he's so misunderstood! I could fix him!". But that comes at the cost of a character that has the full potential to be truly amazing, as I've seen with my friends in the fandom.

When you look at Rurik Lidérc, he comes across as well-researched because he's traumatized, but it doesn't take long before you realize that that's quite a far-fetched idea. It seems like he's just a list of ideas and randomness that no one bothers to organize, and that deeply saddens me because I've seen the interesting directions he could be taken in, and I just wish the love and care put into this character also shined through through the creators.

[thatscarletflycatcher]

So you have heard Rick Astley was the unexpected sensation at Glastonbury this year...

and you'd like to get a taster of his music, but you don't know where to start, because you are only/mostly familiar with Never Gonna Give You Up?

This post is for you!

I'll give you a quick overview of his discography, and a recommendation of what I think are the best tracks of each album and why. Aggregated playlist at the bottom of the post.

Whenever You Need Somebody (1987)

This was Rick's debut album, and the one that included Never Gonna Give You Up. If you have heard the piece of trivia that says "if you drop the pitch Kylie Minogue's I Should Be So Lucky, it will sound like Rick Astley"... there's a very easy explanation for that: both were composed by Stock Aitken Waterman, a trio of music producers that wrote several of the most well known eurobeat hits of the late 80s and early 90s (i.e. You Spin Me Like a Record), based on the principles of... well, being very generic and catchy. Half of the tracks of this album were written by them.

Thematically the album is strangely obsessed with cheating, cheating women, and being in love with cheating women, and being heartbroken over them. I don't know what to tell you, sometimes I forget how common this was around that time for the romantic ballad outside of the US (?)

Anyways, of the 10 tracks of the original album, the best (and also most Never Gonna Give You Up-like) are Together Forever, Don't Say Goodbye, and Whenever You Need Somebody.

The album closes with a cover of When I Fall in Love, that to me feels very out of place. Perhaps it was one thing Rick himself was dead set on singing?

This album had a 15th anniversary expanded remaster in 2010, including 3 ""old-new"" songs and 4 remixes (one of them is an extended version of NGGYU). I'll Never Set You Free is remarkable for being one of the creepiest songs this side of Every Breath You Take.

The 2022 remaster:

This one includes one "old-new" track that is a severe earworm, My Arms Keep Missing You (it does deserve the THREE remixes it gets in this album), several remixes of other songs, three instrumentals, AND, most notably for me, three "reimaginings" of NGGYU, Together Forever, and Whenever You Need Somebody as slow piano ballads, very very worth listening if you are into that sort of thing (these were first released in the compilation album The Best of Me (2019)).

It also includes a new version of When I Fall in Love, that really highlights Rick's growth as a singer and an artist, very worth comparing the 1987 to the 2022 one.

The remixes and "old-new" tracks in these anniversary editions come from compilation albums Rick Astley - 12" Collection (1989) and Dance Mixes (1990).

2. Hold Me In Your Arms (1988)

If you liked Whenever You Need Somebody (1987), then Hold Me In Your Arms (1988) is just the thing for you, because it's more of the same, but louder, catchier, and now with less cheating obsession! This time it's 3 out of the 10 songs that are SAW written, one is a cover of The Temptations' Ain't Too Proud To Beg, and the remaining 6 are all by Rick himself, but the tone doesn't shift that much between them.

The first half of the album is non-stop top danceable tunes: She Wants to Dance With Me, Take Me To Your Heart, I Don't Want To Lose Her, Giving Up On Love (big involuntary "I'm killing off Sherlock Holmes" moment for Rick, the not giving up didn't even last a year :P), and Ain't Too Proud to Beg; the second half is not as strong, but also not bad either. It definitely helps that the tracks are ordered in such a way as to slowly slow down till the beautiful sweet soft ballad that closes the album and gives it its name: Hold Me In Your Arms.

I Don't Want to Be Your Lover, the penultimate track, is the first song that feels more like what Rick writes and sings as a more mature artist.

The 2010 expanded remaster is just remixes of some of these songs, I'll Be Fine (which is, quality wise, between the rest of the tracks of the second half) and My Arms Keep Missing You, again.

The 2022 remaster includes even more remixes, reimaginings of She Wants To Dance With Me and Hold Me In Your Arms (I'm not a big fan of either, but they are interesting, as they are much more modern ballad sounding) and instrumental versions of Take Me To Your Heart and She Wants To Dance With Me.

3. Free (1991)

Almost like a pun, this is Rick's first album "free" of SAW. He even grew out his hair! (probably one of the rare cases of a guy to having gorgeous hair that somehow suits his face horribly). The tone moves away from the 80s eurobeat hit into the soul-ish + gospel-ish ballad, which seems to be more like the territory he feels comfortable in. It's a bit of an "experimental" album, in the sense that he's trying new things and new sounds, but it's all very tentative, and the unsure footing is noticeable.

Even so, Cry For Help, written and sung by him was a hit all the same, although it isn't a favorite of mine. In general it's difficult for me to pick favorites here; none of the songs stick out to me as particularly good or particularly bad. If you like slow ballads, you will probably like Cry For Help, Wonderful You, and Behind the Smile. Really Got a Problem is a first sample of a "social" song in his repertoire. Move Right Out, Never Knew Love, and The Bottom Line are more the essence of what his music evolved into later on, whereas In The Name of Love, Be With You, and This Must Be Heaven are dead on the sort of generic adult-contemporary of the early 90s.

4. Body and Soul (1993)

This album takes a more... lounge-ish turn I do not relish. You'd say, okay, but what sets Rick Astley apart from the general adult standard lounge music of whatever decade he sings in? Difficult question to answer, as all questions about vibes are. To me it is a mixture of A) cringe is dead, long live cringe B) earnest feeling C) plain, direct and sometimes quirky lyrics D) It sounds like he's having a good time singing them.

I just cannot really buy the constant "baby" and "lover" in Everytime, for example. And while none of the songs in this album are bad, most of them aren't even fun. Body and Soul and Enough Love I think are the two most interesting tracks here.

That same year, Rick got on hiatus.

5. Keep It Turned On (2001)

This comeback album is a bit of a rarity -it was released in Germany, but never in the UK (although some of its tracks made it to compilations later on), and it's therefore rare to find, which is a pity, because I think it is one of his best!

It is also one of the most early 2000s sounding things ever. It is to 2000s eurobeat and pop ballad what Whenever You Need Somebody and Hold Me In Your Arms were to 1980s eurobeat and pop ballad, so if you are into it, this whole album will be for you.

I have a particularly soft spot for Sleeping, and the way it just sounds like what a 2001-2007 summer night sounded to me; it's very nostalgic. The lyrics, just like the ones in the ballad Breathe, give heartbreak what I perceive to be a more mature tone that I like much more than the treatment it gets in previous albums.

Other highlights are the very danceable Wanna Believe You and Keep It Turned On (this last one a very pick me up song), and on the ballad front, I think Romeo Loves Juliet has the most delicate, enjoyable sound, but Full of You has better lyrics.

6. Portrait (2005)

This album is a collection of covers of classic pop standards, so there isn't much rickness to it at all, and it is to me, personally, a skip; while I usually like Rick's covers in other albums (and I think his reimaginings of the SAW songs are interesting) these are... off. I just don't think the style he picked for them suits at all.

Between this and his following album, Rick released two independent singles: Lights Out (2010) and Superman (2012) which I think are both peak Rick and worth a listen; earnest, simple feeling and catchy sound.

7. 50 (2016)

This is my favorite Rick Astley album, and it seems I'm not alone in this! It was the first album of his to be number one since his debut one. He sung AND played all instruments for it, and it really feels like a personal project, that brings the artist close to the audience.

From the very title you know you are in for something: the 50, Rick's age in 2016, is a tongue-in-cheek homage to Adele (whose albums have all been titled after her age at the time of release), that also speaks of this sense of being a middle aged artist in an industry and particularly a genre or family of genres that leans so heavily into youth and coolness.

In 50 Rick leans on instead of shying away from the fact that he's not young (In either the heartfelt "Don't fake it, I can't take it/My heart is, close to breaking/It reminds me of my youth" or the humorous "I got to thirty and you show a little wrinkle/One more big plate/Now I'm putting on weight/Skinny jeans but nobody's fooled"), cool, or detached, but that doesn't make him jaded, heavy, or self important; the songs of this album are filled with a sense of hope, gratitude, generosity, and... fun. It's a curious marriage of the lighthearted beat of the pop that made him famous, and a mature version of the soul-ish style he seems to love and that he tried first in Free. Although there isn't a single skip in this album for me, the most representative, and that have what in my opinion is the best sound, are Keep Singing, Angels On My Side, Wish Away, Pieces, I Like the Sun, Let It Rain, Let it be Tonight.

8. Beautiful Life (2018)

There's little I can say about Beautiful Life in general, other than characterize it as an echo of 50. Same ideas, same themes, same tone and sound.

The highlight tracks are: Beautiful Life, Last Night on Earth, Rise Up, and Try.

Since Beautiful Life, Rick has released a compilation album (The Best of Me, 2019), a few remixes and a couple new singles; of those singles I'd highlight Giant (a true banger), Every One Of Us, and Unwanted.

Rick's next album, Are We There Yet? releases in October this year (2023).

[hello-nichya-here]

Who would Michael Jackson vote for, in your opinion?

Ah, I see we were recommended the same clickbait video XD

Until the Bad Era (so around 87-89, aka Michael's late 20s) he was a very devoted Jehovah's witness, meaning he had to follow certain rules. No christmas, no blood transfusions - and no voting, for anyone of any political party, ever. You were not gonna see him being too overly patriotic either, because things like saluting the flag are seen as a form of WORSHIP, and are thus unnacceptable in their eyes.

There's a reason the song of USA for Africa had no flags around, just the artists singing "We are the WORLD." Why his biggest hits about injustices tackled it in a GLOBAL scale. Why he always responded to accusations of racism by showing love to people of all different races and nationalities.

It wasn't just because he was a nice guy with love for everyone (but don't get me wrong, that was part of it). He literally did not have permission to get too into US politics. Even when he was next to freaking presidents he was always polite and friendly - but never expressing any explicit support or disapproval of him, his political allies, or political rivals.

Now, the Jacksons were known for ignoring their religion when it was convenient (the brothers sleeping around with groupies, Joe having a whole other family, The Jackson 5 having a christmas album, etc) but Michael notoriously had a problem with all that. The song "Superfly Sister" is basically him judging his family, with lines like "Mother's preaching Abraham, brothers they don't give a damn."

He almost didn't release the Thriller video and wanted every copy of it destroyed because he "got in trouble" for the supernatural, horror-movie theme. Even when he decided to go for it, he still felt the need to start with a disclaimer on how it was just a music video, not an expression of his religious beliefs (and ending with a cheeky "This is fiction, any similarities to events or people, living, dead or undead, is purely coincidental" because Michael's gotta Michael).

He only stopped being a Jehovah's witness/was kicked out by them because he didn't like how they were interfering with his art - he was literally told to try dancing without moving his hips, because it was "obscene." He realized he got to a point where anything and everything he did would make someone mad, and dediced to just do as he pleased instead of fighting a losing battle.

He still continued living pretty much the same lifestyle and expressing the same beliefs (the only big differences I've seen is that he became a lot more okay with the fact that he was a horny straight guy like any other, and that according to his daughter he's one of the few people in the Jackson family that doesn't treat people not being straight as a huge taboo and treated her attraction to women as fully normal right away).

Even after he had spent YEARS looking into other religions, including lots of talks with his brother Jermaine, who had converted to Islam, Michael was still pretty much behaving like nothing had changed and he was still a Jehovah's witness - hence his family basically burying him as one because everyone knew that was still Michael's religious belief, even if he had been shunned by them.

I am honestly going to be very surprised if it turns out he ever voted for anyone, as that seemed to be one of the beliefs he never let go of - for God's sake, the man cried after celebrating Christmas for the first time, in his 30s, because he felt he was doing something wrong.

Now, please don't misunderstand what I'm saying, Michael had VERY strong feelings on lots of things that were/are relevant in political debates - but whenever he expressed his concerns on a topic, he'd often go out of his way to DISTANCE it from any political affiliation.

For exemple: Earth Song is all about the planet being destroyed and all the suffering it leads to, which, yes, is an issue that is more left-aligned, but once again, Michael deliberately chose to make it a UNIVERSAL thing, expressed it through MUSIC, and while he donated a lot of money to help the cause, he never showed support for any politician that had a simmilar concern as part of their campain. The music video even ends with the planet being healed through a miracle after everyone affected falls to their knees and prays in the midst of their grief. It shifts the focus from any possible association with some kind of anti-captalism sentiment to make it simply about a devout man's own spiritual belief that humanity doesn't have the right to destroy what God created. It blurs the lines so he can do something that the left will cheer for, without angering the right.

The most openly political thing he ever did was show full support for Nelson Mandela (aka a foreign leader) as well as respect and admiration for MLK and Roosevelt in the song "They Don't Care About Us" (aka two important figures of America's past that were already dead) - and remember, that song in particular had videos both in the US and in Brazil. Once again, he makes it all about GLOBAL issues, trying to be, in a way, "bigger" than US politics so no one can figure out who he's supporting, assuming he supported anyone at all, which is unlikely.

Now, I know someone is inevitably going to ask "But weren't Michael Jackson and Donald Trump friends? Doesn't that mean he'd make an exception on his 'no voting' rule and likely support him over both Hilary and Biden?"

Michael hung out with Trump casually many, many, MANY times and has been to several of his properties (if I'm not mistaken he even lived at Trump Tower for a while). HOWEVER he explicitly told a friend, in a private phone call that he had no idea was being recorded, that he warned his father to not get Trump involved in any of the Jacksons business because he was NOT a smart, competent business man like Joe said.

Worse yet, at the end of his song "Money", Michael mentions a few important names, like Rockefeller and TRUMP, making his thoughts on their character crystal fucking clear through it all (and keep in mind, this was AFTER Trump defended him of the false accusations of pedophilia):

"I'll never betray or deceive you, my friend, but If you show me the cash, then I will take it If you tell me to cry, then I will fake it If you give me a hand, then I will shake it You would do anything for money Anything, anything, anything for money Would lie for you, would die for you Even sell my soul to the devil"

To me, it's pretty clear that, while Michael was clearly willing to be friendly with Trump, he was not blind to the fact that the guy is far from a saint, is no mastermind, and is very greedy, to the point that Michael did NOT fully trust him - and was willing to say so both in private and in public.

Any republican that tries to say he would 1000% be one of them just because Trump (who did not even have a political career when Michael was alive) is constantly telling stories about "My good friend Michael Jackson" is as delusional as any democract that thinks "Earth Song" means he would never ever support him.

If Michael Jackson ever bothered to vote for anyone, he kept quiet about it. At most, he'd let his music do the talking - "Slave To The Rhythm" was him being sympathetic to the struggles of women, "Little Susie" was about how neglectful families can full on kill their children, "Song Groove" was him making it clear he was pro-life (though he said he wanted to be careful with how he'd approach it because he didn't want it to be a guilt-trip or offend anyone, and the song didn't come out until 2012, three years after his death, despite being written in the 80s), "Black or White" was about not being racist, "They Don't Care About Us" was speaking out against police brutality/people in power neglecting their responsibilities and/or abusing said power, etc.

Considering "This Is It" was meant to be his final tour so he could solve all his money issues and chill somewhere with his family, I doubt that he'd say a word about who, if anyone, he'd voting for in this election if he were alive today. He was done with being a public figure.

Not to mention: Michael was NOT stupid. He always went out of his way to be the artist everyone could like (again, see him not wanting the anti-abortion song to offend or guilt-trip people, and it eventually being shelved to avoid the headache). He would not openly support a democrat and piss off the conservative half of his US fans, and he'd not be crazy enough to think people wouldn't drag him through the mud if he supported mister "We'll build a wall and make Mexico pay for it" and then went on to sing "The world must come together as one." It'd never fucking happen, he had more than enough problems to deal with already.

Plus, he very famously did not like being told what to do, so if either side tried pressuring him into supporting their candidate because he HAS to vote for SOMEONE, they'd be met with whatever the polite, super nice euphemism for "Fuck you, I'm Michael Jackson, I do whatever I want" is, because I'm pretty sure he had one.

[neo-shitty]

before the new year begins — tag game

happy new year, everyone! i've been doing a lot of journaling lately and i came across the written version of this tag from @madamescarlette on the dash and thought i'd give it a try just because i've been practicing more reflection these past few days.

tagging: @petrichor-han, @mosviqu, @straykats, and anyone who'd like to look back on 2024 🤍

share your favorite memory of this year.

off the top of my head, my favorite thing to recall was when i confronted this girl who spearheaded making rumors and talking shit about me and my friend group (mind you, we're college seniors). singlehandedly, one of my most empowering moments. other pleasant memories include campfires and hangouts by the sea across various friend groups, leaping together in joy when we passed our integrated subjects, trying our best not to laugh too loud in the office, and of course, graduating.

2. what was the highlight of your year?

finally getting my degree in accountancy. tough course :') would not recommend :') walked out with two mental illnesses, banger degree ender!

3. list the top five books you read this year.

sit down, this will be a long one. right off the bat, read last january, there is no antimemetics division by sam hughes (qntm), which put me in a crazy mental loop that just made me more immersed into the story than i already was. pet sematary by stephen king, my first step into horror and definitely not my last. there's genuinely nothing i like more than cosmic/domestic horror. this is how you lose the time war by amal el-mohtar and max gladstone, which has everything i truly want in a book—good writing, gays, pining, and time travel. hollow city and library of souls by ransom riggs, which are the 2nd and 3rd books of the miss peregrine's home for peculiar children series. truly, the only books that mattered. the whole thing could've been a banger trilogy bc of them idc idc. i wish i read more than i did this year, but i did my best given how busy i was.

4. list the top five movies you watched this year.

i watched chicago because of the trendy 'we both reached for the gun audio' but i ended up enjoying it far more than i anticipated. a uniquely formatted film musical, banger plot (with social commentary undertones) and banger songs. then i headed into wicked blindly and cried my eyes out with a friend at the cinema. beautiful story between two friends, banger cast and banger songs as well, and just the visuals of the movie were just stunning! all quiet on the western front, a devastating depiction of just how brutal war is. almost a 5/5, if it weren't for the shock factor ending. barbie because it wasn't what i expected a barbie live adaptation to be. it got across what a barbie cartoon movie would normally get across to kids to us adults in the real world. banger monologue, cried my eyes out in my room. cruella, though i watched it too early in the year to recall its impact fully. she was fabulous! i support women's rights and women's wrongs!

5. list the top five tv series you binged this year.

none. sorry, my attention span was just nowhere this year.

6. what is the one new thing you discovered this year (could be a place/hobby/song etc)?

hmm, i discovered that, though it shouldn't come as a surprise, i actually do like journaling and it really does help me in ways i thought it didn't before. i was always so pressured by the aesthetic standards around journaling that it just deterred me from utilizing it for what it was originally meant to be. now i just throw up words onto paper and pray for relief afterwards (which normally happens now!)

7. top three albums that you played this year?

preacher's daughter by ethel cain, the tortured poets department: anthology by taylor swift, and golden age by ethel cain. ethel taking 2 of the 3 spots in justified. i never did shut up about her and i just put her albums on loop in the background for hours while i was playing.

8. your spotify wrapped #1 song

it says good luck babe by chappell roan but i beg to differ. it doesn't say so on other sites like receiptify/volt.fm nor do i feel like i played it enough for it to land first this year. good song tho!

9. your spotify wrapped top artist

i think it was taylor swift? on another site, i have ethel cain which is honestly more accurate.

10. your personal song of the year.

a house in nebraska by ethel cain *sad pole dancing*

11. what is an achievement that you are proud of this year?

again, graduating. it's such a huge milestone in my life that i just can't undermine it. it means so much to me and reaching it lifted a lot of weight off my chest.

12. what are your goals for the next year?

to focus on the other aspects in my life that i neglected in the past few years such as family relationships, mental and physical health, self-improvement outside of academics, etc.

13. any three book releases you are excited for next year.

i'm not really one to look forward to releases but maybe the new hunger games book if its coming out this year. haymitch's story?

14. any three upcoming movies/tv series that you are excited for next year.

again, not one to look forward to movies. i literally had to look these up just to recall but: wicked 2, of course, and the minecraft movie for the hell of it. that's about it.

15. if you could change one thing about the past year what would it be?

i wish i took on more opportunities instead of letting them pass me by.

16. did you manage to stick to your new year's resolutions this year?

my life was too much of a whirlwind for me to even have a new year's resolution at the time. i was anxious and probably depressed and i just kept telling myself, "just one more year and it'll all be over".

17. do you have any new year's resolutions for the next year?

my new year's resolution is to just practice putting myself first and alleviating the pressure i've been unknowingly putting on myself since day one very many years ago.

18. favorite meme of the year?

i think i was too out of orbit to pick out a favorite one. i still keep on recycling all the ones i had since high school lol

19. which month was the most fun this year?

was there such a thing? my whole year was characterized by breakdowns and picking academics over the fun things in life. might've been december. i've been unwinding the whole month.

20. what color do you associate the previous year with?

maroon and/or blood red because that was a brutal year.

21. if you could tell yourself something at the beginning of this year based on what you know right now, what would it be?

apply for it. she'll understand when the time comes and she wouldn't live with the same regrets that i do.

22. favorite viral trend of the year?

i honestly have no idea. maybe the korean cheerleaders???

23. list any three new things you learned this year (could be recipes, a new skill, etc.)

memory keeping in the form of scrapbooking, relearning how to cook based on the recipes my parents have, a lot of workplace-related skills lmfao.

24. how would you describe your year in a word?

rollercoaster, every up just had to come with a down and sometimes it made me wish it just flung me off the track.

25. what color do you want to associate the upcoming year with? why?

a dull grey because this might be the year i become a corporate slave in a physically lively but emotionally dead city. tragic.

[cyarsk52-20]

While this might sound like (just) a fandom post for Taylor Swift, it’s not.

It’s a remark about how social media sways public opinion and how the patriarchy is still alive and well in American society today.

If you’re not listening to Taylor, you cannot objectively claim a lack of talent. You cannot objectively claim she’s overrated. And you definitely cannot claim to not like her “genre” (unless you listen solely to like death metal or trap).

Taylor has recorded 10 studio albums in 17 years. She has fluidly moved between country, pop, rock, synth, hip hop, folk, alternative, and indie genres.

She has written or co-written 243 songs, some in collaboration with or even for such names like: Little Big Town, Miley Cyrus, Sugarland, The Civil Wars, and Andrew Lloyd Webber.

In her 200 million records sold, Taylor has won 324 awards, including 12 Grammys, 23 MTV Video Music Awards, 40 American Music Awards, 40 Billboard Music Awards, 12 Country Music Awards, and an Emmy.

She is the most-awarded artist of all times at the AMAs and BMAs, and she ties with Frank Sinatra, Stevie Wonder, and Paul Simon for most Album of the Year Grammys.

Swift was “the most streamed artist of 2023 on Spotify, Apple Music, and Amazon Music; the first act to place number one on the year-end Billboard top artists list in three different decades (2009, 2015 and 2023); and the first living artist to simultaneously chart five albums in the top 10 of the Billboard 200.”

Rolling Stone described Taylor as “a songwriting savant with an intuitive gift for verse-chorus-bridge architecture,” and scholars and critics have compared her to literary figures such as Shakespeare, Emily Dickinson, and John Keats, as well as to modern songwriters such as Bob Dylan and Paul McCartney.

Over 20 universities include a Taylor Swift course in their catalog, including Harvard, Mizzou, Berkeley, Stanford, and Brigham Young.

Taylor has acted in five movies, headlined six tours, and can play guitar and piano. She has developed, written, and directed several of her own music videos.

She has influenced the music business by revitalizing vinyl records, championing artists’ rights on streaming services, and changing the way label contracts are written. Her journey to take back her intellectual property by re-recording her first six albums is one of the best business and personal decisions any artist has made regarding rights.

She’s not just a talented performer and savvy businesswoman. She is also very human and fights for things she believes in. Taylor speaks up for the rights of women, LGBTQ, and artists.

She has donated millions to charitable relief and philanthropic efforts, as well as to the arts. She generously gave millions of her revenue in bonuses to her Eras Tour team.

She was sexually assaulted by a DJ in Colorado and reported it. The DJ was terminated and sued Taylor for $3 million in damages, so she counter-sued for a symbolic $1 and spent over two years in a legal battle that ended in a jury deciding in her favor. Since then, Taylor has been even more active in fighting for the rights for women to be heard.

She genuinely enjoys her fans and has fun leaving clues and hints in her music to keep her fans engaged and like they’re part of the story. She always seems sincerely delighted to be doing what she’s doing.

Her 17 years in the industry have proven her talent. It shows that she’s earned every fan she has and dollar she’s made. (And if you think she’s only country-pop, then you need to spend a day with Folklore or Evermore.)

If you have a negative reaction towards her as a person, it’s because our society still goes after successful women in a way that men avoid. The media turns on celebrities - especially women - who dare to do things like countersue a sexual assault case, speak against corrupt politicians, or not laugh at misogyny.

I will never apologize for being enchanted by this one. She is a poet, and she’s possibly the most self-aware artist I’ve ever heard speak. 🫶🏻

(ETA: I did not pay for this post. I did not anticipate the shares. And I wasn’t out to seek attention. Why strangers feel the need to message me rude things because I posted on my personal page is beyond me. This is why we can’t have nice things.)

Author: Megan K Hall

[love-little-lotte]

I Watched 🎵Siiiiiix!🎵 in Manila!

A bit of a late post, but hey, better late than never! Last October 10, my friends watched the International Tour of Six during their stop in Manila. The tour was only for a very limited period—only three weeks!—but we were very determined to catch this iconic pop musical live no matter what.

I know most musical theatre fans who are chronically online are familiar with Six, but for those who aren't, Six is a one-act musical retelling of Henry VIII's six wives in a pop concert setting. It started out as a concept album by Toby Marlow and Lucy Moss while they were studying in university (how cool is that?!) It's currently running in the West End and Broadway and had shows and tours all over the world, including Australia, Canada, South Korea, and more.

I first got to know this musical way back in 2019 after seeing clips on YouTube, and I became intrigued by this very pop-y and modern musical. As someone who loved The Other Boleyn Girl by Philippa Gregory, I was an instant fan of the musical. The music is very upbeat and the lyrics are witty. It's not your traditional musical, but that's what makes it charming and unique. It's also one of the shows that's very interactive with the audience and even encourages them to take videos of the last song as if it's a real concert.

When I learned that the International Tour was going to make a stop in Manila, I immediately told my friends who were also fans of the show. This would be the second musical we would watch together after Hamilton last year. Seeing Six with them was definitely a blast! After all, a musical about women empowerment with an all-female cast and crew is best enjoyed with your closest girlfriends.

Like most international musical productions that tour in Manila, Six is staged in The Theatre at Solaire. I'm pretty impressed with the photo-op backdrops they had this year with Six. It was closest to what I experienced during The Phantom of the Opera tour in 2019.

The best one was the throne set where you can also wear a crown from any of the six queens. I chose the red one (Cleves!) because it went well with my outfit that night haha. There was also a sparkly background that was kind of similar to this POTO one in 2019. (And yes, that's an Aragon headband from the merch shop that I'm wearing!) While in line for the throne set, there was also a quiz to help you determine which queen you are most alike. Sadly I didn't take a photo of the results but I got Catherine of Aragon, which I'm quite happy about!

Another highlight of the evening was when I discovered that my seat for Six was the same as my seat for POTO five years ago! It seems like the theater must have made some changes during the pandemic, including renaming the rows and seats. Imagine my surprise when I found out that B15 (my seat for Six) was the same as C17 (my seat for POTO). Luckily, I wasn't alone this time and had my friends with me!

As for the musical, it was very fun and I enjoyed every minute of it! When I'm watching a show, I'm usually not tempted to sing along—but with Six, I was literally biting my cheek to stop myself from belting along with the queens. I was bopping my head and clapping (when appropriate!) but my god, was it hard not to get on my feet and just start dancing as if I were in a real concert. Props to the cast for keeping that energy for the entirety of the show!

Also, I love that the touring company we had was from the UK because I honestly can't imagine experiencing Six without the iconic British accents. Don't get me wrong—I like the Broadway cast and listen to the OBC live recording a lot, but the British accents just make the show feel more authentic and the deadpan jokes are more hilarious.

I was also very lucky to catch three alternates and three principals in our show. If I remember correctly, this was the first show with half of the main cast and half of the alternates. My friends are also fortunate enough to meet all six queens at the stagedoor! Even though 3/4 of us are huge introverts, we were able to thank the queens for a great show and told them how we loved their performances.

Our (chaotic but precious) stagedoor photos (check image description for their names and the roles they played!):

(And yes, you can tell that 😃✌🏽 is my favorite pose!)

Milly Willows, who played Aragon, was the major standout in the show for me! Her energy was so infectious and lively. Maybe it was her performance, the Aragon headband that I was wearing, or the result I got in the quiz earlier, but I think that Aragon's my favorite queen out of the bunch. Yna Tresvalles was mischievous as Boleyn and her small stature, compared to the other queens, helped in the quirky Boleyn she's portraying. Erin Summerhayes, who played Seymour (a.k.a: "the only one he truly loved"), also gave a heartfelt rendition of "Heart of Stone." She also sang for us a lil bit on the stagedoor! Lorren Santo-Quinn was playful as Cleves and looked so pretty that it was hard to believe Henry divorcing her because "she didn't look like her profile picture." Lizzie Emery was snarky with her little quips and comments as Howard. Her "All You Wanna Do" was also very fun yet harrowing. And, of course, Eloise Lord, who played Parr—the voice of reason in the end!—brought the house down with her profound version of "I Don't Need Your Love."

Here's a little sneak peek of their Megasix from my friend's video:

And that's all for my Six in Manila post! It was a memorable experience and I had such a great evening. Can't wait for the next musical (Hadestown next year, please please please!)

[notafraidofredyellowandblue]

OOR 2004 - Nr 19 - Rammstein interview

Rammstein <The claim that Germans have no humor is outdated>

Three years after Mutter, Rammstein comes on Reise, Reise with a more human sound. Guitarist Richard Kruspe explains why openly laughing is allowed.

by Mark van Schaick

Has Rammstein gone soft with Reise, Reise? Not exactly, given the criticism of first single Mein Teil and its accompanying video clip. But the Berlin group has certainly changed. Look at those photos. The militaristic and post-apocalyptic poses have made way for a more droll image. They shot a few more series: at the edge of a swimming pool, on the beach, in the sauna and in a bullfighting arena. And listen to Amerika, and Amore, and the title track of Reise, Reise. They are accessible and catchy tracks with a double meaning. Mein Teil is also more than just the story of the German cannibal and his victim (see 'Mein Teil'). Richard Kruspe (37) calls it self-awareness. In 2004, Rammstein dares to distance itself from itself.

Los is Kruspe's favorite new song. It is also the clearest proof that Reise, Reise is a different album than Sehnsucht (1997) and Mutter (2001). Kruspe already wrote it for Mutter, but it remained on the shelf until they decided to play the riff acoustically. "It's not what you'd expect from a German band, especially this German band. It's a simple, AC/DC-like riff, which when played acoustically gives it a bluesy feel. It's unlike anything we've had before done,” says Kruspe. And yet Rammstein, unmistakable.

"We decided that a few things had to be different when making this album. For me personally, this first of all meant that we had to work less tensely. Previously, the aggression in the music was paramount and the mutual friction in the band was also an important factor in the recording process. This time we consciously tried to leave the egos at the door. To give each other some space. And I think that is why this album sounds a bit more human than its predecessors. We used fewer machines, that was also a goal in itself. The live feeling had to be included. No more having to figure out our own songs afterwards because we had been cutting and pasting too much.

We used to be more at each other's throats because... everyone had their hang-ups and because in a band of six people you simply have clashing characters. Rammstein has no leader. All six of us are equal and this means that each individual fights for his place and sometimes there are endless discussions. That causes problems. In fact, it can lead to major crises. At the time of Mutter I had very clear ideas about what the music should and should not sound like. I was quite rigid about that, but fortunately at a certain point I realized that I had to let go and see the whole picture - a dynamic group of six people. It was a particularly intense period during which I finally decided to live in New York. I literally had to distance myself."

Kruspe was not the only one who struggled with his place within the democratic whole that is Rammstein. Each band member has chosen a form of self-therapy.

"It's quite something, of course. Over the years you get a certain vision of your work and your music, which does not necessarily correspond to that of the five others. Just deal with that. When I once started the project - because Rammstein was a project, I didn't have a permanent band in mind - my starting point was that I wanted to work with equal musicians. Everyone had the same input. That's how it stayed and gradually no one ever let themselves be ordered by someone else. But eh...Between people, there is always some kind of chemistry. Men, women, it doesn't matter. With the six of us, that chemistry is quite explosive."

This means that Rammstein is standing at the mixing desk in the studio. "Yes! More bass! More guitar! More drums! That's really how it goes. That's why we have to have a producer [for Reise, Reise it was just like on the previous studio albums Jacob Hellner]. He gets twenty, thirty percent more from the songs. And otherwise the work would never be finished. What we do notice, now, after ten years, is that some of us have become less fanatical. Not everyone has an opinion about every aspect of the music. That's not possible either. But to admit that you have to turn off your ego. Anyway, that's happened now. For the new album we wrote more as a band. That's different than before and that's important, because when you write as a band, you can discussions are easier."

Kruspe does not discuss the lyrics: "Till actually writes poems, not lyrics. Sometimes they fit, sometimes they don't. That's simple. Some of his poems have nothing to do with my feelings, but have such a strong story that I can completely agree with it. It helps that I have known Till for about eighteen years. I know where a text like Stein Um Stein comes from. A man who bricks up his wife because he doesn't want to lose her. The biggest problem for a person is letting go. That even plays a role in Mein Teil. Giving things away, giving up, distancing yourself. Very difficult. A theme like that means that I can identify with that text. That's enough."

So Rammstein was initially a project. Kruspe once shared an apartment with Oliver Riedel (bass) and Christoph Schneider (drums). Together they started developing musical ideas, without even an inkling of worldwide success. Second guitarist Paul Landers (real name: Henry Hirsch 1)), singer Till Lindemann and keyboardist Christian 'Flake' Lorenz joined them later; the latter only under the necessary pressure.

Kruspe: "With Mutter, Rammstein has made a big leap, especially in Europe. We have become a stadium band. But we never thought about any success whatsoever. It started with an idea. We wanted to try everything. Success or no success, great become or stay small, that didn't occur to us. A band has its own dynamic, you can't plan that. When we got success that was nice, but what do you do with it? A person has to follow his intuition. Even if after ten years you are no longer as free as when you started, but you still have to try to continue working from a certain naivety. Switch back to the time when you were uninhibited about your music. It was Picasso who said later in life that he had spent his entire life going back to painting like a child again. That's it: learn everything and forget it again. We try and sometimes it works, sometimes it doesn't. Of course you can't take it too literally, because you grow as a person and you become always influenced by new things. But it's a good starting point."

That said, Rammstein isn't enough to fully satisfy any of the members' creativity. Kruspe doesn't want to limit himself, so he puts some of the music he writes aside for other projects. "New York helps me with that. When I'm there, I'm not so on top of Rammstein. And that makes it easier for me to write and play. In a way, I've already put this album behind me and am working on new ideas. I'm working on it now with... I can't say too much about it. Not a band, but a nice project that will interest people."

Second single from Reise, Reise is Amerika, with the irresistibly cheerful chorus 'We're all living in Amerika, Amerika ist wunderbar' (later on it becomes 'We're all living in Amerika, Coca-Cola, Wonderbra').

"The claim that Germans have no humor is outdated. Germany has become self-conscious in the last ten years - and humor comes when one develops self-awareness. America comes directly from our band humor. It is not a political statement, we don't do that.

I believe that everything in life should be in balance. You don't eat the whole cake, a slice is enough. A look at America shows us that there is a lot of imbalance there. America controls the entire world and that's a bit much. But it is not a black and white story. It also depends on the people themselves, in the US and abroad. I remember the first time I drank Coca-Cola. Man, that was cool. It tasted good, it felt good, the marketing of that brand worked perfectly for me. That's nice, isn't it? It's just done well. Now I know how much sugar is in it, how bad it is for you. I make a choice. Anyone can do that. Coca-Cola, Hollywood... It doesn't take much effort to look beyond that."

Rammstein broke through in America with Sehnsucht. David Lynch used the group in his film Lost Highway and a Lollapalooza tour did the rest. Kruspe: "I think that the theme and visualization of Sehnsucht came at exactly the right time for many American young people. However, in America everything moves very quickly. You can suddenly be successful, but also quickly forgotten. An American band must therefore tour endlessly, visit radio shows, make noise. As a German band, this is impossible, because you already put a lot of energy into your own country and Europe. When we toured for Mutter, we noticed that we simply no longer had the strength to tell the whole story again in America. Plus, after September 11, 2001, America took a much more cautious stance towards foreign groups. Patriotism was rampant, even when it came to pop music. Now it could be possible again. Rammstein has a certain cult status Rammstein is cool, you know. And in Germany it helps if you prove yourself in the US. They then look at you differently. America remains the largest music market; if you are big in Europe, then you want to go there. Not for the music itself. Interesting trends and developments no longer come from the States."

At the time of their first album Herzeleid (1995), Rammstein was a band from 'the former East Berlin'. Nowadays those words have little value. Kruspe has seen Berlin change. "West Berlin was another world. The capital of darkness. A dark, depressive atmosphere. When I ended up there, I didn't feel at ease at all. [Kruspe fled via Hungary and Austria shortly before the fall of the wall from east to west.] Yes, West Berlin was essentially worse than East Berlin. Now you can also find a lot of cheerfulness in the city. East and west have drawn together and that gloomy thing that David Bowie, Iggy Pop and Nick Cave looked for on purpose that is largely a thing of the past."

"I am someone who feels at home somewhere quite quickly. Not in the sense of family or friends, but in a general sense. In New York it is easy to meet people, but it is very difficult to make friends. The city has so much energy, which I don't feel in Berlin. In New York, capital of the world, you want to go outside and feel part of something bigger, of a whole. In your apartment you feel lonely. In Berlin, capital of Germany, it is the other way around. There you feel lonely when you walk on the street and it's nice to be at home. Now I still fly back and forth. A month here, a month there, so I can't say that I feel completely at home in New York. I am someone who tries to live intuitively. I went from the countryside to the Berlin suburbs, then to Berlin itself, now to New York... I am a wanderer. After 25 years in and around Berlin 2), I also felt the call of other places ."

Back to Los for a moment. What sets that song apart from the rest of Rammstein's repertoire is the primal feeling that emanates from that acoustic riff. No associations with drinking and sailor songs, but American roots. Yet Kruspe says: "I have never been a fan of American rock culture. I liked English hard rock much more than American hard rock. Only with bands like Faith No MOre and 24-7 Spyz did I start listening to Americans. Metal in itself bored me. The aggression of Metallica, for example, did appeal to me, but I went more for the melodies of Judas Priest. What Americans I like now? Queens or The Stone Age. Dave Grohl. But I listen more to the latest Killing Joke or The Cure.

My own guitar sound remains very metal. Why? Well, why do men prefer to ride a Harley... A metal guitar wall is the nicest thing there is. It makes me lose my inner aggression. But you won't see me fiddling around for hours on all kinds of guitar runs, I find that really annoying. I once studied guitar for a year or two to get better, but don't ask me about my guitar heroes. I find Depeche Mode's Martin Gore infinitely more inspiring than any guitarist."

Reise, Reise will be released on September 27. Rammstein will play in Ahoy, Rotterdam on November 4 and 5.

--

Mein Teil

“They've got a sense of humor, those guys from Rammstein,” says Neil Tennant of the Pet Shop Boys as he points to the fork and knife on the cover of Mein Teil (My Member), the first single from the album Reise Reise . The Pet Shop Boys made two remixes of the song at the request of the Germans. The illustration may seem funny, but the song - a hard and melodic song by Rammstein standards - is a serious tribute to the German cannibal and his dinner companion from a few years ago. Two decent middle-aged gentlemen - one hungry for man meat, the other offering himself as a meal - find each other on the internet. After some emails back and forth, they decide to make their lifelong dream come true. Before one goes into the freezer, they cut off the member of one together, fry it in oil and garlic and eat it. And that is true love, says Rammstein. That's why they call Mein Teil a love song.

Unlike the sinister duo, Rammstein and the Pet Shop Boys did not meet in cyberspace, but through a mutual acquaintance, German composer Torsten Rasch. Tennant: "We were impressed by Mein Herz Brennt, the song cycle that Rasch based on songs by Rammstein. That's why we recently asked him to make some film music with us." The Pet Shop Boys had been fans of the Berlin six-piece for years. Their conversations with the composer, who is friends with members of Rammstein, showed a mutual appreciation. "At one point Rasch suggested that we edit a Rammstein track," says Neil Tennant. That track became Mein Teil.

The synth duo has upped the tempo of the Wagnerian track, replacing Schneider's monumental drum parts with energetic techno beats. The Fassbinder soundtrack-like voices of sirens and the sounds of knife sharpening have made them even more prominent than in the original version. You can't call the remixes scary, but they clearly reflect what the eaten German probably heard in his head, thanks to all the antifreeze, schnapps and sleeping tablets he took to undergo the bizarre act.

---

Sea shanties & Drinking buddies

Schlagers, Rammstein, Reise, Reise

Of course there is no doubt that you are hearing Rammstein when you put on Reise, Reise. But where Sehnsucht and Mutter aimed directly at the metal and industrial audience with their ever-increasing bombast, the human element is given more space on this fourth studio album. That means fewer computers and electronics; a more traditional approach, if you will. Some songs are kept smaller than you are used to. Los even floats on an acoustic guitar riff and the concept of 'rest' no longer only serves the threat and dynamics. And even though the riffs in the heavy tracks like Mein Teil or Keine Lust ('Mir ist kalt'), Stein um Stein or Morgenstern are again sky-high and recorded fabulously (regular producer Jacob Hellner and mixer Stefan Glaumann), Reise, Reise can appeal to a broader audience than its predecessors. The choruses of Morgenstern and the title track are a hit with anyone with a bit of sailor's blood in their veins and that of America is perfect for drunkards who are not afraid to declaim trodden social-critical observations. Back to back with America is Moskau, which shows Rammstein at his most festive. On Mutter the ballad (Nebel) closed the album. On Reise, Reise the point of rest comes earlier: Ohne Dich, a song as gray as a drizzly November morning. That song is followed by 'love song' Amore, which is also played largely subdued and which refers to the theme of Mein Teil. In summary: no big surprises, enough variety, a solid new Rammstein.

--

1) Article really says 'Henry Hirsch', we know it is 'Heiko Hiersche'

2) i'm not sure if Richard means this literal, because 25 years at this point would mean that he was in Berlin from age 12, and i don't think that was the case, but maybe he means it more broadly

--

List of other Rammstein OOR interviews

[weaversweek]

More from Lilith Fair

"Foolish games" - Jewel

Lilith Fair was organised by Sarah McLachlan, always featured Suzanne Vega, but Jewel was the star attraction.

America's most charted single of the year was a double A-side - charming song "You were meant for me" was turned for its sad flip "Foolish games". Jewel Kilcher had broken through with debut album Pieces of You, and was the biggest thing in American pop.

Lilith Fair wasn't without its criticism. Sarah Vowell, the acerbic cultural critic, made a very fair point.

Lilith Fair isn't a picture of solidarity so much as a picture of uniformity. McLachlan, the event's organizer, has chosen singer-songwriters in her own image: pretty, polite, folksy moderates with sensible hair and more melody than message.

Future editions were less white, less acoustic; future years would show rock and rap, and Latin and R&B.

"Naked eye" - Luscious Jackson

Jill, Gabby, Kate, and Vivian were on the fringes of fame over here: given quarter-hearted approval by the fashion police because they were American and influenced by hip-hop beats and were women. In the error of Britpop, that's at least four capital offences.

"Naked eye" is about being emotionally vulnerable, honest about what you're feeling. Always reminds me of a sunny day with my favourite person of the time, as banks of snow melt into puddles.

"Sleep to dream" - Fiona Apple

Twenty-seven years before Chappell Roan, Fiona Apple wore a suit of armour onto the New York subway. Photographer Joe McNally explains.

"Fiona had always been shot as a waif – tendrils of hair blowing (dressed in lingerie), out in some sort of lily field. She told me she wanted to chuck that scene and be a warrior woman in a suit of armor. I was like 'Cool, babe, works for me!' We did the whole Camelot thing in a daylight studio. A big deal with hair, makeup, styling, painted backdrop, falling rose petals, fake blood on the sword, catering, crew, managers, hangers-on. Everything. All the while her manager is heating up about how late it’s getting. I was like, 'You brought her late, okay?' Finally he explodes and says 'Gotta go now and the subway is the only way' (it was rush hour in New York and she had a gig in Jersey, 'Get on the subway in the armor?' And she said, 'Yeah, that sounds about right!' I shout for a camera, wide lens, hot shoe flash, green and magenta gels and a bunch of 100 speed 35 chrome. We bolt and slip her through the turnstiles–sword and all–unnoticed, Subway came right away and I started ripping film like crazy for 5 stops. On the train, New Yorkers, true to form avoided eye contact. The studio shot went away and the subway shot (flash on camera, 1/15 of a second at F4, a hand held mess of a photograph) ran as the lead. You never know."

from the book "The Moment it Clicks" by Joe McNally

Performance from Conan O'Brien's show.

Bonus interview

"Your new cuckoo" - The Cardigans

First Band on the Moon had yielded an unexpected hit when Lovefool was included on a film soundtrack. What are these Swedes doing in the top ten, do they think they're Ace of Base?

For their next hit, the group released something more typical of their sound, bouncy and energetic and with a nice minor key lilt. But they didn't really promote it, being on dates in Lilith Fair at the time, so only a minor hit.

Lilith Fair was well-documented at the time, but much of the history was recorded digitally. All those ones and zeroes have become halves, and the memories are in danger of being lost. Television coverage and interviews with the performers were made at the time.

Later, there have been oral histories from the fans and performers points of view.

"Closer to fine (live)" - Indigo Girls

We learn that Emily and Amy, the core of the Indigo Girls, were the glue to bind the tour together. Knock on dressing room doors, open windows, get to know their co-stars.

The energy came out on stage, with lots of the acts joining in for a mass singalong near the end of the night. Here, for instance, are Sarah McLachlan, Jewel, Meredith Brooks, and others.