#track eight album nine

[catgirlrobot]

ID: Four pictures of a lion and a cub in the snow. The cub touches the lion's mane with one paw, before he shakes the snow off, leaving himself clean while the cub looks on now covered in snow. /end ID.

[doyoulikethissong-poll]

Daddy Yankee - Gasolina 2004

"Gasolina" was released as the lead single from Puerto Rican rapper Daddy Yankee's 2004 album Barrio Fino in the US in October 2004. By November 6, WSKQ-FM in New York City reported "Gasolina" in their top 10 rotation, and WRTO-FM in Florida said the song was their number one most-played track. It entered the US Billboard Hot 100 chart a week later, rising to number 32 in January 2005. "Gasolina" was a hit in North America and the Caribbean, gaining Daddy Yankee popularity among Latino mainstream music fans. In July 2005, "Gasolina" was released as a single in the UK, eventually earning a Silver certification in March 2019. Australia saw the single enter their charts in late January 2006 during their summer season, rising to number 12. "Gasolina" was the first reggaeton song to be nominated for the Latin Grammy Award for Record of the Year. Puerto Rican reggaeton singer Glory sings the line "dame más gasolina", although she is not credited.

In 2015, the song was ranked number nine on the "50 Greatest Latin Songs of All Time" list according to Billboard. In 2018, it was ranked number 38 on Rolling Stone's 50 Greatest Latin Pop Songs. In 2017, it was included on Billboard's "12 Best Dancehall & Reggaeton Choruses of the 21st Century" at number eight. In 2021, it was ranked number 50 on Rolling Stone's "500 Greatest Songs of All Time", and a year later it was ranked at the first place on their 2022 "100 Greatest Reggaeton Songs of All Time" list. In 2023, "Gasolina" was selected by the Library of Congress for preservation in the United States National Recording Registry as being "culturally, historically, or aesthetically significant." The song was used in the 2023 movie Fast X / Fast & Furious 10.

"Gasolina" received a total of 77,4% yes votes!

[princessbrunette]

SHORT N’SWEET — THE SERIES ♡

a series of drabbles based on each song off sabrina carpenters newest album short n’sweet — an album equal parts toxic as it is horny, just like the ramblings on my blog! hope you enjoy, cutiepies 🧁

♡ TRACK ONE — TASTE

♡ TRACK TWO — PLEASE PLEASE PLEASE

♡ TRACK THREE — GOOD GRACES

♡ TRACK FOUR— ESPRESSO

♡ TRACK FIVE — SHARPEST TOOL

♡ TRACK SIX — COINCIDENCE

♡ TRACK SEVEN — BED CHEM

♡ TRACK EIGHT — DUMB & POETIC

♡ TRACK NINE — SLIM PICKINS

♡ TRACK TEN — JUNO

♡ TRACK ELEVEN — LIE TO GIRLS

♡ TRACK TWELVE — DONT SMILE

[dinolvr4l]

ⓘㅤ 𝐋♡︎𝐕𝐄 𝐑𝐔𝐒𝐇. ⠀⠀( 𝑚𝑎𝑠𝑡𝑒𝓁𝑖𝑠𝔱. )

« 𝐏𝐀𝐈𝐑𝐈𝐍𝐆 » Heeseung × M!reader

« 𝐖𝐀𝐑𝐍𝐈𝐍𝐆𝐒 » rivals to lovers trope , Idol!reader , fluff , crack, slight angst , byeon wooseok (actor) as y/n , enhypen as themselves , yeji (itzy) , yunjin (le seerafim)

« 𝐒𝐘𝐍𝐎𝐏𝐒𝐈𝐒 » Heeseung and M/n have been rivals for the longest, ever since they were trainees and nobody knew why. They had no interest in working it out or contacting each other at all until they had too.

M/n is working on his new album and the company forces him to collaborate with Heeseung on the title track.

Through a bunch of heated arguments, dance practices, no communication, heart warming conversations, and hatred for each other still in them, they have to find a way to work it out.

— 𝐦.𝐥𝐢𝐬𝐭

𝐬𝐭𝐚𝐫𝐭 — march , 13 , 2025

𝐞𝐧𝐝 — ???

𝐭𝐚𝐠𝐥𝐢𝐬𝐭 — n/a

( 𝑝𝑟𝑜𝑓𝒾𝑙𝑒𝔰. )

Hybe best twinks — Big 3

( 𝑐ℎ𝑎𝑝𝓉𝑒𝑟𝔰. )

⌗ chapter one

⌗ chapter two

⌗ chapter three

⌗ chapter four

⌗ chapter five

⌗ chapter six

⌗ chapter seven

⌗ chapter eight

⌗ chapter nine

⌗ chapter ten

[bunnliix]

When Eight Becomes Nine - Chapter Eighteen

I didn't think I'd go this long without posting for this, or at all, but life kinda killed me ngl, and so did school. But I'm alive and here's another chapter of our favorite boys, plus y/n!

Pairing: Ateez x 9th member!reader Summary: We get down to business, and y/n starts her first day as an official member of Ateez! wc: 1.6k AU: a/b/o Genre: Fluff/Angst warnings: pet names, fireman carrying, scenting, mentions of being anxious and embarrassed, I think that's it! masterlist

 Y/n was woken up by the sounds of footsteps in the dorms, opening her eyes to find that she was still embraced by San.

“Good morning baby, did you sleep well?” The beta asked her, already awake. A bit too disoriented still by the cacophony of noise, and still a bit overwhelmed from the last time she was awake, she just nodded. San chuckled before explaining the chaos, “It’s a bit loud, isn’t it? This is what mornings are like when we forget that we have to be up at a decent hour. You should go ahead and get up too, we have to go into the company today, for you, to start preparing for our next comeback.”

Y/n slowly sat up, watching as the others ran around the dorms, a couple of them running around from one part of the dorm to another, too busy to notice that she was awake. She groaned as she sat up further, feeling her body protest, but she sat up fully, as San’s hand came up to support her back. She smiles gratefully at the beta, before pushing herself off the couch, and reaching back to pull the bulkier man up as well.

“We should get dressed ourselves, shouldn’t we?” She asked him, to which he nodded in response.

The two of them walked down to her room, the beta leaving her there as he walked further down the hallway to his own room. She entered her room, finding that one of the others must have unpacked a few of her things, and from the organization of it all, it was Seonghwa who did so. She found that her clothes were still packed away, which she was grateful for the elder omega respecting her privacy.  She quickly picked out an outfit, finding one that was comfy yet also not too casual looking, and that was also easy to move in. She quickly packed up a bag with everything she needed, including another change of clothes, just to be on the safe side. Emerging from her room, she heard voices from the main room of the dorm, and once she got there, she found that everyone but Jongho was there.

“Good morning y/n-ah, how are you?” Seonghwa asked, coming over to her when she was noticed. “Good morning Seonghwa-oppa,” she said, “I’m doing well, I’m a bit nervous though.” She admitted, feeling able to share her feelings with her fellow omega.

“It will be okay. Today is mostly a show you the ropes day, and also for Hongjoong to try and insert you on the track as well, even if it might be a bit too late to get you in for any of the album material. But with an upcoming tour next year, it’s easier to get things done now, than to wait.” Seonghwa explained, trying to ease her nerves.

Hongjoong caught everyone’s attention as he stood up. “The vans are here,” he announced, “Everyone grab your things and head downstairs.” That spurred everyone into moving, as everyone shuffled to grab their bag or bags and leave the apartment. Y/n slung her own bag onto her shoulder, and with Seonghwa’s guidance, left the apartment. Yunho followed behind the two of them, and when they reached the first floor, headed into the second of two vans. When y/n climbed in, she found that San was the only one inside. He beckoned here to sit next to him, and she did.

“Did Seonghwa-hyung tell you what we’re doing today?” He asked, turning to look at her. Y/n nodded, replying, “He told me that today was getting me used to what will happen now, and also for Hongjoong to play around with where I’ll fit in for your songs.” “For our songs,” Yunho interjected, before going back to scenting Seonghwa in the row ahead of where y/n and San sat.

And with Yunho’s words, the car fell silent for a little while, everyone focusing on their phones or the view outside, since they would likely be locked away in the company building for the rest of the day.

Seonghwa leaned his head on Yunho’s shoulder as the alpha’s arm wrapped itself around the pack omega’s shoulders, while San silently showed y/n his social media, while also explaining the likelihood that she would be getting access to her own accounts and the like over the next few days, once the company had created them. Yunho glanced back at the two behind them, before looking down at Seonghwa. “You’re worried for her, aren’t you?” “Of course I am. Just like I worry for the rest of you,” Seonghwa replied, “She’s one of us now, so one of mine to take care of and worry over.” “I know. But you have us to help, so please don’t try and take it on all by yourself, hyung.” Yunho reminded him, and before Seonghwa could reply, the van was pulling in front of KQ.

The other van had already arrived and the other members had already headed inside, so the four quickly climbed out of the van and made their way inside. The others thankfully hadn’t gone far, finding them standing around the elevator, seeming waiting for them to arrive. Hongjoong came up to Seonghwa first, scenting the omega like Yunho had in the car, and once he was satisfied, moved onto scenting Yunho, the other alpha melting under his pack alpha’s actions.

Hongjoong moved to stand in front of y/n, smiling at her. “Would you like me to scent you as well?” He asked, slightly unsure. Y/n thought about it for a moment. They did say last night that she could have it if she wanted, and she really did. His scent was so nice and the thought of having him scent her sounded so good right now. She found herself eagerly nodding in reply to his question, her face heating up when he chuckled at her enthusiasm. “Come here then,” he said, beckoning for her to come a bit closer and she did.

His hands reached out, scenting her wrists with his, smiling and relaxing as both of their scents bloomed, before he slowly leaned in, scenting her neck as well. Y/n could feel herself becoming putty in the alpha’s hands, reaching out and gripping his hoodie for some stability. Hongjoong pulled away once he noticed her grip on him, as the omega in front of him whined at the distance between them now, enjoying the closeness. By the time y/n had gotten her wits back, the other members were standing behind Hongjoong, smiling at her, though there were a few chuckles at her reaction. She looked away, a bit embarrassed by how quickly she melted.

“Awww, it’s okay,” San comforted her, “We all had the same reaction when hyung scented us for the first time.” Still flustered, she looked down, until Wooyoung came up next to her and grabbed her hand.

“It’s okay, baby omega. We find it cute how you melted into hyung.” He told her, tugging her into a hug.

“Well, now we should get down to business, yes?” Yunho said, stepping in and pulling the attention away from y/n.

“Yes, and we’ll be stealing y/n to go over choreography,” San said, with Yeosang and Wooyoung nodding in agreement, with the latter moving to stand behind her, his hands moving to rest on her hips. “Wait, we need to take y/n to go over her lines for the upcoming comeback.” Hongjoong cut in, to which the three whined in protest.

“That can be done later, hyung. We should get y/nnie up to speed with the choreography, since she likely can’t be added into the official tracks right now.” San said. In an almost seemingly planned out move, Mingi appeared in front of y/n, swooping the omega off of her feet and up over his shoulder. As the tall rapper moved into the elevator that had just opened up, she could see Hongjoong follow them, telling the others, “We’ll see you later!” before joining Mingi and her in the empty elevator car. Once the door was shut, Mingi set her gently back down on her feet.

“Sorry for that, firecracker, but they would have done the same thing if we had let them.” Mingi apologized, reaching out and ruffling her hair, to which y/n batted his hands away. This made the man chuckle, though before the omega could say anything in retort, the doors opened and Hongjoong reached for her hand, pulling the younger one out of the car and down a familiar hallway. She recognized where they were, and realized that she was back in the same hallway that they had been guided down to see the two idols that first day at the company.

However this time, she was led past the other studio, to a door a little farther down. “This is my studio, and where we’ll be working today,” Hongjoong explained. “My studio is two doors down,” Mingi cut in, as they all ushered themselves into the studio.

Hongjoong sat down in his chair, as Mingi took the one next to him, while y/n stood, unsure of where to go or sit. The leader turned around in his chair, smiling at her to try and ease her nerves. “Sit down on the couch, yeah?” And after she had done so, he spoke once again, “Now, let’s figure out where exactly you fit in our songs.”

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Taglist is: closed!

if your name is in pink, I can't tag you!

[mirrorball-leclerc]

guilty as sin - charles leclerc & oscar piastri

─── ❝ what if they've written "mine" on my upper thigh? what if the way they hold me is actually what’s holy? ❞ ───

masterpost

click here to be added to the guilty as sin taglist

¡guilty as sin - the album!

prologue - is it a wonder i broke?

track one - the scandal was contained ... at all costs, keep your good name

track two - 'cause i knew too much, there was danger

track three - it’s obvious that wanting me dead has really bought you two together

track four - the men start wars yet troy hates helen

track five - birds of a feather, we should stick together

track six - i can still make the whole place shimmer

track seven - i don’t regret it one bit, ‘cause he had it coming

track eight - you can start a family who will always show you love

track nine - where's the trophy? they just come runnin' over to me

track ten - you'll see my face in every place, but you can't catch me now

track eleven - 'cause i'm a real tough kid, i can handle my shit

track twelve - could someone give a message to the smallest man who ever lived?

track thirteen - you said some things i can't unabsorb

track fourteen - i built a legacy that you can’t undo

track fifteen - forgot that inside the icon, there's still a young girl from madrid

¡fortnight - the ep!

track one - secrets i have held in my heart are harder to hide than i thought

track two - i want to taste his lips, yeah, 'cause they taste like you

track three - loving you forever can’t be wrong

track four -  carlos doesn’t know, don’t tell carlos 

track five - three is a charm

¡the anthology - bonus tracks!

track one - someone puts out a hit on james vowels (allegedly)

track two - tba

track three - tba

track four - tba

track five - tba

[777bae]

SWEETENER LUKE HUGHES

- A small series of imagines for Luke Hughes, each individually based on a song from the album ‘Sweetener’ by Ariana Grande, all being sfw, though some have suggestive incentives.

TRACK ONE | Raindrops (An Angel Cried)

:: (1.5k) In an empty rink, Luke Hughes breaks your heart, leaving you alone to face the silence and the pain of a love lost forever.

TRACK TWO | God is a Woman

:: (2.1k) In the city’s pulse, you take control of the night, shifting the power between you and Luke. With every move, you leave him breathless, uncertain, and surrendered to your lead.

TRACK THREE | Sweetener

:: (1.2k) In Luke’s embrace, the world fades away. There’s no rush—just the quiet sweetness of being together, where every touch and word makes everything feel right.

TRACK FOUR | Everytime

:: (2.0k) Caught in a toxic cycle, you can’t resist Luke, no matter how many times you swear you’re done. Every time he returns, your walls crumble, and you’re pulled back into his arms, knowing nothing ever truly changes.

TRACK FIVE | Breathin

:: (1.7k) Drowning in anxiety, Luke Hughes becomes your calm, reminding you that with him, you’ll never face it alone.

TRACK SIX | No tears left to cry

:: (1.9k) After months of healing, you run into Luke, and everything you thought you’d moved past comes rushing back. Disoriented and lost, you realize you haven’t truly moved on.

TRACK SEVEN | Borderline

:: (2.3k) As the sun sets over the lake, the distance between you and Luke fades, replaced by his promise to meet you halfway. In his touch and words, you find hope for something real.

TRACK EIGHT | Better off

:: (3.6k) A chance encounter with Luke turns into a deep connection, but your fears and insecurities lead you to walk away, believing he’s better off without you, despite the heartbreak it causes.

TRACK NINE | Goodnight n go — Coming soon

:: (4.0k) You can’t stop thinking about Luke Hughes—the quiet, magnetic presence in your life. From fleeting touches to charged conversations, every moment with him leaves you questioning if he feels the same. Torn between holding on and letting go, you’re left trapped in the ache of almost-love.

[catgirlrobot]

ID: A cat facing towards the camera with its front paws on a laptop, and the same cat laying down on a desk, with the laptop visible in the foreground. /end ID.

“Jasmin” 2008

[plaidcowboy]

kansas anymore ( the longest goodbye ) — role model

( notes ) eeee omg i’ve been wanting to do album themed bot release for so long! this is literally my favorite album these past months, i love tucker down. i did a lot of characters that ive never done before trying to spice things up. i’d love to have feedback on this. thank u all sm for the support. i love u!

track one — ( writings on the wall )

୨🌪️៹ donnie darko — ‘dads on the phone and he’s lecturing me, ‘bout a girl that he met back when he was nineteen.’ donnie, his father and his bestfriend all having a realistic conversation about his toxic girlfriend.

track two — ( look at that woman )

୨🌪️៹ patrick bateman — ‘damn honey, look at you go. look at that woman, breaking my heart.’ watching his ex from a distance at a business party, still so deeply in love with her.

track three — ( scum bag )

୨🌪️៹ jonathan byers — ‘i’m a scumbag, i’m a setback, im a stain on the kitchen floor. but you stand by me.’ getting high sometimes means all your thoughts coming to light, especially jonathans thoughts of insecurity.

track four — ( oh, gemini )

୨🌪️៹ spencer reid — ‘i’ll remember your face from time to time, i’ll remember that taste of cheap red wine, i’ll remember those days i called you mine.’ visiting the bar where you had your first date, spencer runs into his ex, both of you here for the same reason.

track five — ( frances )

୨🌪️៹ benedict bridgerton — ‘at the end of the day, i’m just happy i could say she was mine.’ after your parting due to status issues, benedict releases a poem book, every word being publicly read all about you.

track six — ( superglue )

୨🌪️៹ rafe cameron — ‘we’re gonna make it through. a little bit of superglue, stick by my side.’ gentle apologies and reassurance as rafe finally notices the crumbling of your relationship, wanting to make things right.

track seven — ( the dinner )

୨🌪️៹ felix catton — ‘swear they wouldn’t even notice if i never even showed, take me home.’ going to your boyfriends house for dinner to meet his parents for the first time reveals the difference in your status, felix in a cold rich family and you in the exact opposite.

track eight — ( deeply still in love )

୨🌪️៹ patrick zweig — ‘i’m sorry but i’m deeply still in love, in love with you now. yes ma’am.’ pathetic man crashing your wedding, getting down on his hands and knees to beg for your love back!

track nine — ( slut era interlude )

୨🌪️៹ bruce wayne — ‘i don’t like you, but i’d like you to spend the night. i’m going through it girl, could you do it girl?’ pulling himself out of bed to go to the club, trying to recover from his heartbreak as he brings home a random hookup.

track ten — ( so far gone )

୨🌪️៹ michael berzatto — ‘if you wanted me to go, you should have told me. so far gone, so lonely.’ mikey picking you up shitfaced drunk from a club, beer being your self remedy to a heartbreak. crying in mikey’s car.

track eleven — ( slipfast )

୨🌪️៹ jj maybank — ‘oh my god what i’d pay to just, run away from this. let me pay for it later.’ leaving behind your responsibilities and honestly bad-for-you boyfriend to spend the day with your bestfriend. slipping away from your duties to live in the moment.

track twelve — ( compromise )

୨🌪️៹ hughie campbell — ‘you deserve a happy ever after don’t you? after all the tears you’ve cried, don’t you compromise.’ not wanting you to settle for anything less than what you deserve, hughie changes himself for you.

track thirteen — ( something, somehow, someday )

୨🌪️៹ will graham — ‘he’s a loose cannon, foolish man who needs some medication. she’s a shoe-tied, bluesky honeymoon vacation. but i believe they’re meant to be.’ crying in your lap about what he feared the most being brought to life, not being good enough for you.

track fourteen — ( old recliners )

୨🌪️៹ natalie scatorccio — ‘i remember when the days were long, old recliners in the yard. kicking heels up to her favorite song, all the boys were playing cards.’ living with your ex after her return from the wilderness, battling with your own romantic emotions.

track fifteen — ( sally, when the wine runs out )

୨🌪️៹ anakin skywalker — ‘i’ll buy a couple of rounds. don’t let me think i’m enough, then disappear when the wine runs out.’ taking a break from the brutal jedi training to have a drink. spotting a cute, possible hookup.

track sixteen — ( some protector )

୨🌪️៹ sam winchester — ‘am i still worried about you? why, yes i am and i always will be some protector.’ sam watching you from a distance, the alcohol bringing him straight to your house in the late hours of the night.

[love-quinn]

THE GOOD WITCH

featuring . . . ! patrick zweig, art donaldson, remus lupin, rafe cameron, steve harrington, spencer reid, aaron hotchner, tasm!peter parker, dodge mason, dave lizewski

─── hello hello how are we ??? i’ve been a huge maisie peters fan for a few years now, and since she’s been teasing her next album i thought i’d do something fun to kind of commemorate the good witch before we move on to MP3. i’ve also been experiencing some major writers block :/// so! to combat that, here are some fics that are VERY VERY loosely inspired by some of the songs from the album <333 i hope you enjoy !!

TRACK ONE : THE GOOD WITCH [patrick zweig x reader]

when all i do is think about the past, create a universe that you can live in

you’ve done a lot of growing in the 4 years you and patrick have been broken up. you’re hoping he has as well because you’re still desperately in love with him.

TRACK TWO : COMING OF AGE [dave lizewski x reader]

baby i am the iliad, of course you couldn’t read me. so i’ll leave you behind but that don’t mean it’s easy

dave’s had a crush on you since he could remember, but he’d driven you away with his superhero duties. you’re the TA of his class and he’s determined to get it right this time.

TRACK THREE : WATCH [spencer reid x reader]

nobody actually happy and healthy has ever felt so desperate to prove it

you’re trying to show the team that you’re fine after spencer’s return from prison. if you were coping well, you probably wouldn’t have to try so hard.

TRACK FOUR : BODY BETTER [art donaldson x reader]

i can’t help thinking has she got a better body? has she got a body better than mine?

your boyfriend patrick is convinced that you have a thing for tennis players. you say the same about him. it doesn’t help that you’re both sleeping with one.

TRACK FIVE : WANT YOU BACK [remus lupin x reader]

and what was cheap to you, to me was all i had. the issue is i know all of this and i still want you back

remus was punishing you for something that wasn’t your fault. you should hate him. unfortunately, you can’t bring yourself to.

TRACK SIX : THE BAND AND I [dodge mason x reader]

told her you were just a friend, told her i was homesick. i hadn’t thought of home twice

after moving across the country to go live with your aunt and participate in panic, you’re wary of the boy who works at the diner she owns. he’s wary of you too.

TRACK SEVEN : YOU’RE JUST A BOY (AIKTM) [aaron hotchner x reader]

don't you see what i'm giving up and you can't even text? don't be surprised now i'm giving up, god, what did you expect?

aaron isn't a bad boyfriend, he just tends to get caught up in his job. you wouldn't mind his constant abandonment so much if he didn't always forget to tell you.

TRACK EIGHT : LOST THE BREAKUP [tasm!peter parker x reader]

so, i'm feeling and i'm dealing with the heart you broke, while you do press-ups and repress us and take off her clothes.

for peter parker, you're it: the one that got away, the best thing that ever happened to him. now that you're broken up, he expects that you hate him. he could be right; you can hate someone and still need them to save your life.

TRACK NINE : WENDY [rafe cameron x reader]

then you're evasive on the phone until you're sorry on the floor. so i'm throwing you a bone cause you want me and you're sure. if i'm not careful i'll wake up and we'll be married and i'll still flinch at the sound of a door.

it's been unspoken and set in stone for as long as you'd known each other: you and rafe were in it for the long haul. you've loved rafe since you were young. now that you've grown up, your feelings haven't changed, you're just waiting for him to grow up as well.

TRACK TEN : BSC [steve harrington x reader]

i'm gonna throw you down the river, your mom can watch it over dinner, golden boy you've dropped the ball. i am annie fucking hall. if you don't love me, what was april?

steve thought breaking up with you after his experience with the upside down would be his best bet of keeping you safe. unfortunately for him, you don't know how to keep your nose out of his business.

these will come out every so often depending on how well they do lmao i hope u like them ik this is different than the stuff i’ve done so far :]]] ty to @robinsgrl and @xxepherr for letting me yap abt these as much as i like :]

[catgirlrobot]

ID: 2 images from Wikipedia.

1 - A calico cat sitting on a CRT monitor, captioned "Top view of Sony PMV-4300 with calico cat for scale."

2 - A black and white cat on a speech synthesiser, captioned "DECtalk DTC01 (with a cat for scale)" /end ID.

[petercapaldi-press]

INTERVIEW

Interview: How 1980s Glasgow inspired Peter Capaldi's debut album

3rd November 2021

Paul Trainer Best of Scotland magazine

I WANT to ask Peter Capaldi about his debut album but first he wants to know what the weather is like in Glasgow. He’s planning a trip up for a few days and we spend a moment discussing sensible clothing to pack.

An instantly recognisable actor, there’s not much time spent in pubs these days while he is here but he does like to have a wander around. “I like going around the old parts of the city, where Glasgow emerges, then I will often find myself up around the art school,” he explains.

One crisp December evening a few years ago I was charging through shoppers on Buchanan Street when I was suddenly confronted by the elongated figure and tousled locks of Capaldi as he took a photograph of the police box that sits outside of The Ivy restaurant in the city centre. I relate this momentary, unexpected encounter to him, describing the blue box as “his old office”, an oblique reference to the TARDIS, and his role as the twelfth incarnation of Doctor Who.

He breaks into a cackle, then volunteers: “Sometimes I pass those – Glasgow’s one of the few places with police boxes – so if I see one I send a picture on to a friend of mine who is also in the same mode, shall we say,” giving an intriguing hint at a Time Lord WhatsApp group.

For some people, Capaldi will always be Malcolm Tucker in The Thick Of It – a bombastic performance characterised by a hail of Scottish invective, creating a political satire monolith that continues to cast a shadow nine years after the show went off air. Being cast in Bill Forsyth’s Local Hero in 1983 was a breakthrough. Ten years later he would win an Oscar for Best Live Action Short Film as writer and director of a film about Franz Kafka that starred Richard E Grant. Then there was a memorable turn as Uncle Rory, a significant but infrequent presence in the television adaptation of The Crow Road. More recently, he starred as The Thinker in James Gunn’s The Suicide Squad. There’s a lot in the back-catalogue.

Before all that Peter started his performing career in music. While studying at The Glasgow School of Art, he put together a band, The Dreamboys, (future comedian Craig Ferguson was the drummer) and enjoyed a small part of the thriving music scene in the city at the time.

While his life went down a different road, he retains his love of music and has recorded a 10-track release called St Christopher. His relationship with music is more to do with storytelling and creating something new. “I’m not that guy who brings a guitar along to every party,” he says.

The story of the album started with an invitation from a friend, Robert Howard, the Scottish singer of The Blow Monkeys, to come along to a few recording sessions at his studio.

“Robert, who’s great and a wonderful musician, does this thing called the Monks Road Social, which is a conglomerate of musicians who put out an album every year, and they’re just happenings. I’d be encouraged to vaguely join in.” At one of these get-togethers Peter was asked if he had anything to record.

“I quickly put together a song, which they recorded in the space of a day, and it was so much fun. I thought: ‘Oh, I really want to do this again.’

“Over a period eight or nine months, I did that. I wrote stuff and sent it to Robert and we would ditch certain ones, and on then other ones he’d say: ‘Let’s hang onto that.’ ”

Did that first song that he wrote make it onto the album? “That was song called If I could Pray, which was released as a single to no acclaim last year. It got about two plays on the radio. That’s showbiz.”

When Peter was in Atlanta in the US to shoot The Suicide Squad he found he had time on his hands. He travelled to Nashville and started writing new songs. A band was assembled and a studio booked in London. Then lockdown intervened. They persevered.

“We just sent it back and forth over the digital ether and then sent it to the percussionist or some other musician who would add something wonderful to it. Because we had the option to do it, we thought: ‘Let’s just put this out and in a very low-key way, just start doing music.’ ”

There’s a lot of Glasgow in this record: echoes of Scotland set against a canvas of Americana guitar and retro synths. “I kept going back to a Glaswegian art school ‘80s vibe,” Peter says.

“The city itself, how it has such a power about it. Glasgow is a wonderful, noirish, synthy setting for things. Robert is very different and his musical experiences takes it in another direction occasionally, which is interesting.”

The American elements enter via those Nashville trips. “When I went there it felt like the spiritual home of any Glaswegian. You feel so at home, the music is elemental and we’ve been fed it already.

“The melodrama and the sadness and the darkness and the joy that’s very present in country music: the west of Scotland is a cauldron of that stuff and we reach for it all the time.

“There’s always a wish among Glaswegian musicians to mythologise the place in music and I think I’m trying to do that as well.”

Peter is open to the idea of taking some of the songs out onto a stage but there’s no tour planned. “Maybe a theatre piece, I don’t know”. He won’t be signing up for a musical. “This isn’t a new career or anything. This is an exploration of my own interest, an expression of who I am, being a performer and an actor and a director. That inevitably leads me to conjure up things, I think, as opposed to making hit singles.”

There’s already one Capaldi in that game. “He’s fantastic and I’m so knocked out by Lewis and I’m so proud of him and he’s just incredible. This is not an attempt to be a pop star.”

If this record, then, picks up where he left off in music, revisiting a time and place, what does he remember of his art school days?

“That was a golden period. In the sense that the government did pay for kids to go into further education and it was an ideology that was respected and it allowed so many of us who came from humble backgrounds to come into these various professions because we were allowed to go and explore.

“Art school was a great melting pot of ideas. There was just a general ethos that you could do anything in that building off the top of the hill there and that you were part of the city. It was the late 70s moving into the 1980s.

“We’d hang out in Nico’s, the first place you could buy a cappuccino or go to The Griffin pub opposite The King’s Theatre. Maestro’s was a nightclub we all use to end up and there was always some piece of nonsense being planned there. We’d do gigs that were not organised or you’d be asked to join other bands to play.

“When we arrived at the art school, we were all dressed as Neil Young with long hair and great coats. Then in the summer the punk thing happened. So we all came back with plastic trousers and peroxide hair. It was very open to all the ideas in the zeitgeist. I didn’t realise it at the time, but it was the perfect place to be.”

St Christopher by Peter Capaldi is released by Monks Road Records on November 19. 

This interview was featured in Best of Scotland magazine, published monthly in The Herald on Sunday and Sunday National newspapers. You can read the November edition here. 

[kookienooki]

Melodies of Seduction | Ch. 5

❀ summary: With platinum albums and millions of adoring fans, Yeon-jin thought she knew exactly where her music career was headed. But when her manager drops an unexpected bombshell—BTS' golden maknae Jungkook wants to collaborate on an R&B album—her carefully planned world spins into beautiful chaos.

Between late-night recording sessions, stolen glances across the studio, and harmonies that seem to sync with more than just their voices, Yeon-jin finds herself composing a different kind of song altogether. One that could either launch her to new heights of stardom or leave her heart in free fall.

The question is: in an industry where every move is scrutinized and romance is taboo, can two of K-pop's brightest stars risk it all for a love that wasn't part of the production plan?

❀ pairing : idol!Jungkook x idol!oc

❀ genre: idol AU, romance, angst, fluff, eventual smut, im not sure what else

❀ rating: 18+

❀ word count: 2,228

Previous Chapter • Next Chapter

Chapter 5: Breaking Point

Yeon-jin found herself unconsciously smoothing the sleeve of her cream cashmere sweater, a nervous habit she thought she'd outgrown years ago. The preview session had been scheduled for 9 AM sharp, but she'd arrived an hour early, needing the quiet to center herself before what she knew would be a pivotal moment in her career.

Eight weeks of recording had produced six nearly complete songs, each one a carefully crafted fusion of their distinct styles. The studio had become a second home, filled with takeout containers from late-night sessions, scattered musical notations, and the lingering energy of breakthrough moments. They'd pushed themselves beyond their comfort zones, experimenting with harmonies that dove deeper than either of them had dared before.

Jungkook arrived at 8:30, dressed in a simple black buttondown and fitted slacks that somehow made him look both professional and rebellious. His hair was slightly disheveled, telling her he'd probably been up all night tweaking arrangements. Their eyes met across the room, and a small smile passed between them – the kind of wordless communication they'd developed over their intense collaboration.

"Did you sleep at all?" she asked as he slipped into the chair beside her, the scent of his cologne – something woody and expensive – mixing with the coffee he set down.

"Maybe an hour." He ran a hand through his hair, making it even messier. "I couldn't stop thinking about the bridge in 'Best Part' I made some adjustments to the vocal arrangement around three AM."

"Show me," she said, already reaching for her tablet. Their shoulders touched as they leaned over the device together, his finger tracing the new harmony line he'd added. The change was subtle but brilliant, adding an emotional depth that had been just out of reach before.

"It's perfect," she breathed, and his answering smile made her heart skip in a way she wasn't ready to examine too closely.

The room began to fill with executives and producers, each carrying identical leather portfolios and expressions of careful neutrality. Yeon-jin recognized most of them – she'd been in the industry long enough to know all the major players. There was Kim Sung-ho, head of A&R, whose approval could make or break careers. Beside him, Park Min-jung, marketing director, already typing rapidly on her phone. In the corner, Lee Jae-wook, BigHit's senior producer, who'd been instrumental in shaping K-pop's sound for the past decade.

Na Ra slipped in just before nine, taking her usual position slightly behind Yeon-jin's chair. Her manager's presence was reassuring – they'd weathered countless meetings like this together over the years. But something felt different today. The stakes were higher, the tension more palpable.

"Shall we begin?" Kim Sung-ho's voice cut through the quiet murmur of conversation. He nodded to the sound engineer, who began queuing up their tracks.

The first notes of "Midnight in Seoul" filled the room, the haunting piano intro Yeon-jin had composed giving way to Jungkook's rich baritone. They'd recorded this one first, when they were still finding their collaborative rhythm. His voice wrapped around the Korean verses while she provided ethereal harmonies, until the chorus brought them together in a blend that still gave her chills.

She watched the executives' faces carefully, years of experience helping her read the subtle signs. The slight tightening around Sung-ho's eyes. The way Min-jung's fingers stilled on her phone. The almost imperceptible shake of Jae-wook's head.

The final notes faded, leaving the room in heavy silence. Yeon-jin could hear her own heartbeat, too loud in her ears. She'd been in this industry for fifteen years, had faced countless criticism and feedback sessions, but something about this moment felt different. Perhaps because she'd never cared quite this much before.

"It's very... artistic," Kim Sung-ho said finally, his tone carefully diplomatic. The word 'artistic' hung in the air like an accusation. "But we need to think about commercial appeal. The market expectations for a project of this scale—"

"The market doesn't know what it wants until we show them," Jungkook interrupted, his usually respectful demeanor showing cracks. There was a collective intake of breath around the table – interrupting a senior executive was practically unheard of. "This is exactly the kind of music we should be making."

"Jungkook-ssi," Park Min-jung began, her marketing director's smile firmly in place, "your position as a global artist carries certain responsibilities. We need to consider—"

"What about artistic responsibility?" Yeon-jin found herself speaking up, surprising everyone, including herself. The words seemed to come from somewhere deep inside, where she'd buried years of compromise and careful compliance. "We're not just making products. We're creating something meaningful."

The room fell silent. She could feel Na Ra's shock radiating from behind her. Yeon-jin had never directly challenged company decisions like this. She'd always been the professional one, the reliable one, the one who understood the business side of music.

"Perhaps we should take a short break," Lee Jae-wook suggested, his tone making it clear this wasn't really a suggestion. The room quickly emptied, leaving Yeon-jin and Jungkook alone with their producers and Na Ra.

The silence stretched between them, heavy with unspoken words. Through the windows, Seoul's skyline shimmered in the late morning sun, the city carrying on its usual rhythm while their artistic world threatened to implode.

"They want us to change everything," one of their producers, Min-ho, said quietly. He'd been with them through every session, understanding their vision from the start. "Make it more... accessible."

"You mean make it generic," Jungkook responded, his frustration evident in every word. "Strip away everything that makes it unique."

Yeon-jin stood, needing to move, to think. The executives' suggestions ran through her mind: "More commercial." "Less experimental." "Simplify the harmonies." "Add more English lyrics." "Make it trending-friendly." Each requirement felt like a betrayal of what they'd created.

She caught Jungkook watching her, his dark eyes intense. They'd spent countless hours together over the past two months, learning each other's musical instincts, building something that transcended their individual styles. The thought of compromising that vision made her physically ill.

When the executives returned, their requirements were laid out in careful, corporate language. They wanted substantial changes to at least four of the six tracks. "Best Part" would need to be completely reworked, its complex harmonies simplified, its lyrics made more "accessible" to a global audience.

Yeon-jin watched Jungkook's jaw clench during the meeting, noting how his hands gripped the armrests of his chair. She could feel the tension radiating from him, the careful control he was maintaining. His reputation for professionalism was legendary, but she could see the cracks forming.

The meeting ended with polite bows and careful promises to "consider all feedback." As soon as the last executive left, Jungkook was on his feet, energy crackling around him like electricity before a storm.

"Studio," he said simply, and Yeon-jin nodded, following him to the elevator. Na Ra trailed behind them, her heels clicking against the marble floors, her silence speaking volumes about her concern.

The familiar space of Yeon-jin's studio should have been calming, but today it felt charged with potential energy. Afternoon sun streamed through the windows, catching the dust motes in the air and casting Jungkook's shadow long across the floor as he paced. The walls, covered in acoustic panels and carefully chosen artwork, had witnessed countless creative breakthroughs. Now they seemed to hold their breath, waiting.

"This isn't why I wanted to work with you," he said finally, stopping at the window. The city sprawled below them, a maze of buildings and dreams and compromises. "I wanted to make something real. Something that honored both our musical journeys."

She caught his hand as he passed her again, stopping his restless movement. The contact was bold and unexpected. His skin was warm against hers, and she felt him freeze at the touch. During their time working together, they'd maintained a careful physical distance, despite the emotional intimacy of their music.

"Then let's make something real," she said, surprising herself with the conviction in her voice.

He turned to face her, their hands still connected. "They won't support it."

"Since when has that stopped either of us?" She smiled, remembering all the times she'd pushed boundaries in her career, all the small rebellions that had led to her biggest breakthroughs. "You were the one who told me to trust the music."

His expression softened, and he squeezed her hand gently before letting go. "You remember that?"

"I remember everything about these sessions." The admission slipped out before she could stop it, hanging in the air between them. The late-night conversations about music and life. The way he brought her favorite coffee without being asked. The moment their voices first blended perfectly in harmony, creating something greater than either of them alone.

For a moment, neither of them spoke. The studio felt smaller somehow, more intimate. Outside, Seoul continued its endless rhythm, but in here, time seemed to pause. The air between them felt charged with possibility and something else – something they'd both been carefully avoiding acknowledging.

"We could release it independently," Jungkook said suddenly, energy returning to his voice.

"That would be career suicide," Na Ra's voice cut through the moment. Neither of them had heard her enter. She stood in the doorway, her expression a mixture of concern and resignation. "The companies would never allow it."

"They might," Yeon-jin said slowly, an idea forming. She moved to her computer, pulling up their rough mix of "Best Part." The track that most perfectly blended their styles, their voices dancing between Korean and English.

As the music filled the studio, she remembered recording this one. It had been late, most of the building empty. They'd ordered chicken and beer. Something about the night had felt magical – every take better than the last, their creative energy feeding off each other until they'd created something extraordinary.

"We leak it," she said, turning to face them. "Just this one song. No announcement, no promotion. Let the music speak for itself."

"That's extremely risky," Na Ra warned, but Yeon-jin could see the consideration in her manager's eyes. After all these years, Na Ra knew when her artist was right about music. She'd been there through every triumph and setback, understanding that sometimes the biggest risks led to the greatest rewards.

"Everything worth doing is risky," Jungkook said, moving to stand beside Yeon-jin. The warmth of his presence steadied her, as it had so many times during their recording sessions. "But if anyone can pull this off, it's us."

They worked through the night, perfecting every detail of "Best Part." The familiar routine of studio work took on new meaning, each decision weighted with the knowledge of what they were about to do. They adjusted levels, tweaked effects, refined every harmony until it shone.

Yeon-jin found herself watching Jungkook as he recorded one final harmony line, his face illuminated by the soft studio lights. He'd shed his formal clothes hours ago, now wearing just a black t-shirt and jeans, looking younger and somehow more himself. His dedication to perfection matched her own, each of them pushing the other to be better.

Na Ra ordered food around midnight, then again at 3 AM, keeping them fueled as they worked. She made calls, prepared statements, laid groundwork for damage control. Her efficiency was both impressive and slightly terrifying – a reminder of just how much was at stake.

As dawn broke over Seoul, casting the studio in soft pink light, they had something that was entirely, uniquely theirs. No compromises, no commercial considerations—just pure artistic truth. The final mix of "Best Part" played through the speakers, their voices weaving together in perfect harmony, tradition and innovation becoming one.

The song told their story without telling it – the unexpected connection, the creative spark, the way two distinct paths could converge to create something new.

"Once we do this, there's no going back," Yeon-jin said as they listened to the final mix one last time. The morning light caught the silver in her hair – she'd stopped dyeing it completely black a few years ago, another small act of defiance against industry standards.

Jungkook took her hand again, this time with purpose. His fingers were slightly callused from guitar playing, warm against her skin. "I don't want to go back. Forward is the only way."

Na Ra watched them from the doorway, her expression unreadable. She'd seen Yeon-jin through countless career decisions, but nothing quite like this. "I'll start preparing damage control. You two just... be ready for what comes next."

The city was waking up outside, the first hints of morning traffic beginning to build. Soon, the business of music would resume – contracts and expectations, markets and trends.

The sun rose fully over Seoul, marking the beginning of a new day and a new chapter in both their careers. Their song played one final time through the studio speakers, a declaration of artistic independence and something more – something neither of them was quite ready to name, but both could feel in the spaces between the notes.

They had created something beautiful, something true. Now it was time to share it with the world, consequences be damned.

Na Ra's heels clicked against the floor as she returned, phone in hand. "If we're really doing this, the file needs to be ready in an hour. The morning news cycle is about to begin."

❀。• *₊°。 ❀°。✯¸.•'*¨'*•✿(◕‿◕)✿ •*'¨*'•.¸✯❀。• *₊°。 ❀° ❀

A/N: sorry it took so long to post this chapter, I've been so busy it was hard to find a good time to edit but I'm back and will be uploading chapter 6 tomorrow. I'm also in the process of writing a new book so look out for that one as well!

taglist: @jkxlvrr

[doyoulikethissong-poll]

Duran Duran - Come Undone 1993

"Come Undone" is a song by English pop/rock band Duran Duran, released in March 1993 as the second single from their seventh studio album, Duran Duran (1993) (aka the Wedding Album). With their commercial and critical success reestablished by the previous single "Ordinary World", "Come Undone" continued to showcase more of the band's entry into the adult contemporary radio format. The single became the group's second consecutive US top-10 hit from the Wedding Album, peaking at number seven on the Billboard Hot 100 and becoming their last top-40 hit on that chart. It reached number two in Canada, number eight in Italy, number nine in Ireland, and number 13 in the UK. As of October 2021, "Come Undone" is the eighth-most streamed Duran Duran song in the UK.

"Come Undone" was initially built off of a single guitar hook, which the group's guitarist at the time, Warren Cuccurullo, developed in Privacy Studios while trying to do a re-interpretation of the song "First Impression" from their 1990 album Liberty. John Jones and Cuccurullo expanded on this idea, incorporating a drum loop and bass from Jones' track "Face to Face". Their unfinished demo caught the attention of Nick Rhodes and Simon Le Bon, which they played to them through a phone call. This led to Rhodes joining them in the studio to finalize the music that afternoon. Le Bon swiftly penned lyrics for the song and added vocals the following day. The next day they brought in the English singer Tessa Niles for backing vocals and added additional overdubs.

"Come Undone" received a total of 59,9% yes votes. Previous Duran Duran polls: #21 "The Wild Boys", #133 "The Chauffeur", #257 "Ordinary World", #398 "Danse Macabre".

[venusvity]

Kpop stan Twitter hates them. Sena is talentless tweets hitting crazy numbers. Jiah deactivated her Instagram account. #BaebiGoSolo has trended for three days now...They had ONE chance.

VENUS entered 2021 mad as hell with their second full album, "I AM VENUS," which included the title track "I AM. "I AM was a commercial success in South Korea and topped the Circle Digital Chart for six weeks. It also reached the top ten in Hong Kong, Japan, Malaysia, Singapore, Taiwan, and Vietnam. The song has been certified platinum for streaming in South Korea. It also received four PAKs and nine music show wins.

Dazed ranked it 19th among the 50 best K-pop tracks of 2021, and Grammy named it one of the 15 K-pop songs that defined 2021.

The group would repeatedly go viral for their performances of I AM as the girls were either emotional while performing the song or they were in platformed heels. For the first time in their career, Chloe was able to look people in the eyes during the music show interviews. Though the heels were a hit, they raised concerns for fans as there were multiple instances of the girls twisting their ankles or falling during performances because of them. Either way, iconic.

The platformed heels Venus wore during the promotions of I AM. These are the ones on displayed at the Angelico Artist Muesum. The group wore a total of 36 different pairs of heels for this era.

Their repacked album "VENUS, I AM." would come shortly after I AM VENUS with the title track "DIVE". Before the song's release, the teaser images for VENUS, I AM would go viral for their unique concept and artistic expression.

The teaser images used for "VENUS, I AM." under the creative direction of LEXA.

The album debuted at number one on the weekly Gaon Album Chart and also topped the monthly chart, selling 544,339 copies in its first month of release. It has since been certified triple platinum by the Korea Music Content Association (KMCA) for surpassing 750,000 units.

Tássia Assis from NME gave Dive a 4 out of 5-star rating, describing the track "Dive" as "the definite, luxurious plunge. " Despite being "more subdued" than the group's previous album, "I AM," it is a "chaebol crush" that matches the extravagance and confidence that defines VENUS. Uproxx named it one of The Best K-Pop Albums of 2021.

The hate train finally seemed to slow with the ever-mounting success the girls were receiving. It's not like the girls had enough time on their hands to even really focus on the hate. They were always working on something. That next something would be their 6th mini album, "Illusions," followed by a title track of the same name.

Upon its release, Illusions was praised by music critics for increasingly showcasing all members' vocal abilities with "trendy" production. Illusions was a commercial success in South Korea and charted in Japan and the United States. It debuted atop South Korea's Gaon Album Chart on the chart. Overall, it ranked seventh on the Gaon's 2021 year-end album chart.4 Walls debuted at number thirty-nine on Japan's Oricon Albums Chart, and it peaked at number one on the US Billboard World Albums Chart, becoming Venus' second number one on the chart following 2019's Love Simulator.

Illusions was primarily beloved for its "multidimensional" concept and music video. In the video, the girls were trapped in a time loop, and the song restarted midway through the eight-minute video, signifying that the viewer was also in the time loop with them.

Stills from the "Illusions" music video. Creative direction by LEXA.

The girls would close out the year with the summer classic "Summer Luv!" and a title track of the same name. When I tell you this song was massive, it was huge. Love Simulator was finally overthrown as Venus' most-known song because you could not go anywhere with Summer Luv'ing.

GQ Korea named "Summer Luv!" its Song of the Year in the magazine's November 2021 issue. In December, IZM listed the song as one of its top 10 singles of the year. Dazed ranked the song at number two on its 20 Best K-pop Songs of 2021. The song landed on Billboard's 20 Best K-Pop Songs 2021 list at number four. Melon ranked it number 15, while Rolling Stone ranked it number 13 in their lists of the greatest K-pop songs of all time, with the latter publication praising its production and hailing it as the epitome of "summertime fun, adventure, and romance."

Summer Luv! would win the girl's Song of The Year at the 2021 MAMA Awards and the Best Dance Performance – Female Group award. They would go on to win the Digital Daesang at the Golden Disk Awards and Song of the Year at the Korean Music Awards.

Some of the various wigs and hairstyles were worn by Venus during their Summer Luv! Promotions. Gif style inspired by @pickmedolls !

The Summer Luv! era was not only defined by success but looks as well. The girls would wear different wings at nearly every stage, mixing up their styles and colors while "giving their scalps a much-needed break," as said Chloe during an interview. The girls would go through seventy-five wigs between the five of them, with a fraction of them, the most iconic ones, being displayed at the Angelico Artist Museum.

[dreaminginthedeepsouth]

Song of the Day - “Take Five”

Today is the 65th Anniversary - July 1st, 2024 - The Dave Brubeck Quarter recorded their signature tune - “Take Five” at Columbia’s 30th Street Studio in New York.

The track would appear on their next album “Time Out”, and would also get released as a single…

It remains the biggest-selling jazz single of all time….

The album “Time Out” was another concept album for Brubeck, and this one’s concept was to have songs with odd time signatures…

His thinking was that jazz in 1959 was having some landmark innovations with Miles Davis’ “Kind of Blue” and Coltrane’s “Giant Steps”, but that the one thing that never seemed to change was that the music was being played in 4/4 time.

Brubeck said, "It's time that the jazz musicians take up their original role of leading the public into a more adventurous rhythm”

So he set about doin this album of original songs and each with an odd beat structure… with six-four, three-four, nine-eight and, in "Take Five," five-four timing…

“Take Five” was a collaborative creation, starting with Morello’s 5/4 drumming, upon which Paul Desmond constructed the melody to match and then Brubeck wove together the elements.

The record label was nervous about an album of all original songs without one single cover of a jazz standard… but once this album and the single of “Take Five” were released, the song became a new jazz standard in its own right…

A bit of a waltz, “Take Five” was straight up innovative at the moment of being released, but its legacy is to be a very accessible piece and an enduring classic…

[Mary Elaine LeBey]