#what does an auto tune up consist of

[expertcarcare]

Wonder how do you know when your car needs a tune up? Ask the auto specialist at Expert Car Care Inc. to let you know when your car needs a tune up.

[ask-whitepearl-and-steven]

would you have any small writing tips to share with others who are attempting to write their own stories?

Sure.

Disclaimer: This is not a full on tutorial on how to write. These are just tiny, tiny little grains of wisdom of things I realized here and there. Do not eat this advice like a full course meal. It isn't one. It's just a dusting of some spices, and I am salt bae-ing them over you, but they are not calorically relevant without a story.

1. Help your readers read your story.

AKA: If you want your readers to build a house, you better take them to a Home Depot and teach them how to use a screwdriver first.

You want your readers to read your story easily? You gotta make your story easy to read. That means learning how to make sentences easier to understand. That means breaking up walls of text into smaller bites. That means - yes - spelling words consistently and using accessible (not Correct, necessarily, but ACCESSIBLE) grammar!

You want your readers to understand your world? You gotta give your readers tools to understand it with. That means explaining new concepts! That means describing stuff a lot! That means using visual language if you don't have actual visuals!

Your readers will not read your mind to know what you MEANT to say. You have to say what you mean. You have to mean what you write. Learn to write clearly. Learn to help your readers.

2. Something that takes you a month to make will take your audience ten minutes to read.

You want to spend an hour drawing one comic panel? Great. You wanna spend an hour writing a single paragraph? Fantastic. You wanna use up a week perfecting a script? Amazing!

Your readers will still glance at that panel for a second before moving on. Your readers will still eat that paragraph in a bite. Your readers will skim that script. If you're lucky.

You cannot control how much your work is appreciated. But you CAN control how much of your time you sacrifice to make it.

Balance the scales.

3. You are not talented.

Neither am I. Nor are any of us.

Listen to me. Listen.

Talent is a beautiful, useful word. But it often lies to us. It suggests that we are born better than others.

This is not often accurate. What talent hides within itself is not pre-ordained inherent skill. It is not something you are birthed being. It is not a statistical difference of physicality.

Talent starts with passion.

Maybe you have passion for stories - so you beg your grandfather to read to you before you can recognize words, and you write a lot in every school assignment, and you pay attention to EVERY story you watch in school plays, and you observe all the characters you see in movies, and you CARE. So. Much. And this moves you to try to write, and then to try again, and then to try harder.

Talent does not exist, because no amount of 'you were made for running' can make you run. No amount of 'you were the son of great authors' can make you write.

But inherent curiosity can push you forward. Inherent curiosity can make you watch, and observe, even before you understand you are observing. Inherent curiosity for your personal interests makes you a fan of writing, of drawing, of world-building. It makes you research how to be a great author before you even know what research is. It auto-tunes you to what you know is good about these things, and it gives you the necessary tools to know what will work and what won't.

So when you think you are talented, understand that this is not something that was done to you in the womb. It was something you raised, and watered like a seed, before you even knew what you were growing.

Don't rely on talent. Understand that you got this far because you CARE about this thing. And don't forget to care. Because that's what has carried you this far, and it is the only thing that can carry you even farther.

also, cringe is dead.

[kadetheradio]

Since so many people have a fanmade weird route variant, might as well join.

It's called SugarSong/Forced Friendship.

It's a K_K-centric route because I like tormenting my comfort characters. SCC are siblings in this AU.

To start the route, Ignore every NPC except K_K. You don't have to buy his CD bagels, you just aren't allowed to buy them from Cap'n. You can't talk to anyone who isn't K_K, so ignore the other NPCs as well, You MUST talk to K_K every time you see him. Next, when you get to the battle, have Susie constantly use rude buster on both Sweet and Cap'n. Doing this about 4 times(2 on each) will end the battle, causing this interaction:

Sweet: "I don't feel to good..."

Cap'n: "Same here man, battles done."

K_K: "Oh no! Yes, let's go home!"

Once this happens, continue as normal(Without talking to NPCs. Scripted events don't affect this.) up until you reach Sweet Cap'n Cakes shop. Enter the shop. Everything is normal aside from the fact that the Auto Axe is replaced with a new item, the DigiScarf(They don't wanna sell an Axe to a girl who beat them up with one not to long ago.). Go to the talk section and click on the new dialogue option simply labeled "Cakes," Although dialogue implys that Kris is saying "K_K is my favorite." K_K reacts very positively towards this, thanking Kris while beaming. Sweet and Cap'n, despite seeming a bit jealous, simply talk about how K_K is pretty cool, not pushing any further. Leave. afterwards everything will continue as normal until you fall into the garbage dump. There you see K_K humming a quiet tune to themself and smiling. Talking to him, he will mention how he decided to go for a walk, but now he's a little lost. Ralsei will invite him to stick with the $!$! squad(Or whatever name you picked for your team in chapter 1, I just used that because picked it.), to which K_K agrees, as he likes how kind Kris was to them back in the field. K_K will always appear in the garbage dump, but will decline the offer if you didn't follow the exact instructions. Once K_K is in your party, he gets unique dialogue when interacting certain things. Such as laughing when you interact with the Egg plant that looks like a trash bag, feeling bad for trashy when Susie and Ralsei ignore him, and stuttering when meeting Nubert(He's starstruck OK?), Etc. When Susie and Ralsei leave, K_K stays behind. "Don't worry! I'll stay! We're friends, aren't we?:)"

Some important battle info:

Default Armor: Golden Bracelet

Default Weapon: NewCD

K_K has multiple spells:

K-Action: How K_K ACTs by himself, like with all Characters. Does not cost TP.

SilkMilk: Heals the entire party. costs 16% TP, 8% with BrokenCD

RockABye: Puts TIRED enemies to sleep, similar to Pacify & SleepMist. Costs 50% TP, 25% with BrokenCD

TastyBeats: K_K's equivalent of IceShock, killing/paralyzing enemies using powerful sound waves. costs 16% TP, 8% with BrokenCD.

SugarSong: K_K's Equivalent of Snowgrave . Fatal towards target, Causes user immense physical pain while being used. Costs 200% TP, 100% with BrokenCD.

Anyways, Now that we've heard that, let's continue with the route.

Continue with K_K, using TastyBeats to kill enemies. During this, K_K's smile seems to falter. After killing 10 enemies, K_K asks Kris a question

"...Why are we doing this again?"

After the question, you are given 2 responses. "Self Defense" & "We're friends, Right?" You must click the second one to progress through the route. Upon asking that, K_K says yes, and you are given 2 more choices. "I thought so" & "Friends do what friends want." You must click the second option once again. K_K look hesitant, but agrees. The only friends he ever had were his brothers, and they always listened to him. Surely it's a normal thing. Surely friends always listen to each other. Continue killing enemies until you reach the Addison from Snowgrave. They'll mention how they have a great gift for a pair of friends. This is the CentreCD. It will always be $1 more than the party has. Consistently pressure K_K into stealing it, until he stops protesting. The screen blacks out and you get the flavor text "the music sounds uneasy." shows on screen. When the screen lights up, the CentreCD is in the inventory and the Addison is gone. The front of the shop looks like it had been burnt. K_K looks uneasy, and when the CentreCD is equipped, he's silent. Continue through the route like normal, killing all enemies you encounter. K_K is no longer smiling and walking a lot slower. His battle sprite is now almost completely still and he rarely talks. Upon killing enough enemies, walk back. The boxes where Sweet Cap'n Cakes are in the normal game is replaced by an empty room with a broken CD. Equipping this for K_K will lower his HP down to 55 and he responds will a verbal "Ow" and an uncomfortable buzzing sound. Then walk back, killing every enemy you may have missed until you get to the room where the Berdly encounter would normally happen. This time however, it's Cap'n and Sweet. The beginning of the encounter goes something like this:

Cap'n: "K_K! There you are!"

Sweet: "We've been lookin' all over for man! We need to get home.

Cap'n: "Yeah, some psycho is going 'round and killin' everyone!"

K_K: "..."

Sweet: "Hey, uhm, everything alright man?"

Kris/Player: "Friends do what Friends want."

K_K: "...What?..."

The player repeats the sentence, with K_K becoming more shaken and desperate each time. Eventually Sweet and Cap'n butt in.

Sweet: "Look... We don't know what's going on but,"

Cap'n: "No one, messes with K_K like that."

Afterwards, a battle starts, with K_K becoming panicked. Like in regular Snowgrave, you need to max out your TP to use their new ability, SugarSong. K_K will not do anything during the battle. Not listening to anyone. He's in too much pain from the CD and too much distress with the current situation. Once your TP is maxed out, click on it. K_K will look at the ground in distress. The interaction goes like this.

SugarSong

"What?..."

SugarSong

"...N-No, not them..."

SugarSong

"I don't wanna hurt them..."

SugarSong

"..."

SugarSong

"..."

Friends do what Friends want.

K_K looks at the ground, before casting the spell. The Screen blacks out and the Flavor text reads "And suddenly, there was silence."

When you can see again, Sweet and Cap'n are nothing but piles of scrap metal and K_K is down(Reread the description of SugarSong). Interacting with K_K says "Put the scrap away?" You must select yes. The screen fades out and back in, now with K_K gone. Checking your items shows an unnamed object with the description "A friend. Fast asleep."

The rest of the route continues like a normal route, mainly due to the fact that there's no reason for any major changes. A few lines will be different but most things stay the same.

In the lightworld, there is a cassette player and speaker lying on the ground. interacting with them says "Broken beyond repair."

Back in castle town, Sweet Cap'n Cakes place won't be there, for obvious reason's, but entering Kris' room, K_K will be curled up in the corner, asleep. Interacting with him says "Goodnight Scrap friend"

[elvenbeard]

2072

"You're the son of Kousuke Ezaki, right?"

"Hm. Got a feelin' he'd be disagreein' with ya on this..."

After Vince returned to Night City in 2071, Jackie introduced him to another of his many "friend-of-a-friend"s - the owner of a Valentino-adjacent (but not officially affiliated) car repair shop in Heywood. The guy had been desperately looking for a tech-savvy helper, and Jackie figured it might be something Vince could be good at with his knowledge, skills and an interest in cars.

Vince did not exactly jump at the opportunity, but he did not have too many other choices at the time, if he wanted to keep a roof above his head. There were better jobs, but also much worse, and so he agreed to give it a try.

Turned out, he had a knack for cars, and after some initial reluctance from both sides, "V" became an important asset to the small repair shop in no time. He learned to enjoy all aspects of the work, from fine-tuning ECUs to fixing electrical damages, all the while improvising with the often limited resources at hand. Still though, not a Heywood-native, Vince always remained the odd-one-out among his coworkers, as with their love for cars their common interests ended. Vince learned to prefer it this way, as it gave him the freedoms to set his own priorities, work on side-projects while the others were out for lunch for example. Also, he would not get too attached to a workplace and coworkers he knew he did not want to stay around forever.

The repair shop's clientele largely consisted of locals, gangers and "normal" citizens alike (even if the lines tended to get blurry occasionally). But there was also a handful of regulars of a bigger, much better-paying caliber, that Vince initially wasn't even allowed to look at, let alone touch their cars.

Word-of-mouth recommendations had led a certain Arthur Jenkins to Heywood one fateful day, his request so simple that Vince was allowed to tackle it. The first time he was trusted with a "special" customer on his own. The task: "correct" the milage of the suit's car, easy as pie. Vince had mastered similar feats as a teenager already.

What should have been a quick-and-easy job though uncovered something Jenkins did not like at all - a well-hidden tracker following his every move, and had it not been for Vince's experience with these things, it would have remained undiscovered most likely. Jenkins left the shop satisfied but also curious... How come a low-life street-punk like that knew so much about Militech tracker signatures?

A few days later Vince was intercepted by Jenkins on his way home. Initially not too impressed by the corpo throwing around random facts about Vince's not-so-secret past that anyone with too much time on their hands could have uncovered, Jenkins had an ace in the hole. Vince was confronted not only with a part of his past not even he himself was aware of at this point... but also an offer too intriguing to pass up...

Vince through the years (4/9)

Fun fact: I'm fully abusing this little project to showcase all the hairstyles I almost gave Vince when I first made him in CC XD This wasn't my second or third choice, but I considered it! It's just so funky-looking with the two colors, super bold, and it does really fit him during that time in his life where he doesn't give a fuck about anything at all anymore. He goes a bit more wild with his appearance, dares to experiement more and grows into his own person... only for Jenkins to show up just in time to ruin everything, the bastard (affectionate).

I don't want to spoil too much about what exactly it is that Jenkins knows about Vince's past that made him eventually follow him into Arasaka's loving embrace, cause I still wanna write this scene out in detail in my background fic for Vince :3 It isn't just one detail or one thing either, it's a multitude of factors, promises, secrets, opportunities, combined with Vince's hunger for more than being a little part-time mechanic in a sleazy auto shop, more than a roadie or retail worker, just more... because he knows he has the potential for it, and Jenkins is holding all the keys to unlock it in that moment.

And yes, this is all one hell of a fateful coincidence, but it's those that make a good story. As for the task Vince was given with resetting the car's mileage: he had done similar things to his mother's car as a teen, when he "borrowed" it late at night to go on joyrides with his "friends" at the time and she was not supposed to notice. His mother also had connections and friends at Militech that supplied her with little tracking devices to keep her unruly child in check, and once Vince noticed that he learned to spot and disable them as well.

Also, tiny detour to/ easter egg for "Love is Stored in the Olive Jar", if you've been keeping up with that!

The car in the background of the upper pic and more prominently in the second with Jackie is Vince's first car, a pale blue Archer Quartz. The (almost) same model Mr. B provided as a getaway vehicle in chapter one of my post-ending fic, that Vince has to abandon at an auto repair shop :3c Oh, how could Mr. B have known these details of Vince's past...

Speaking of Vince's past and the quote I put at the very top of the post! Vince isn't hiding the fact that he's trans, it's a part of his story and he's proud of his identity. So, when Jenkins wonders if he's Kousuke Ezaki's son, Vince reacts the way he does because for one, by the time his father had died he hadn't realized himself yet that he was trans. And secondly, even if he had, he knew his father well enough to know he would never have accepted him the way he is, for a variety of reasons.

In this moment he learns an important thing about Jenkins: that he's a manipulative bastard trying to tug on his heartstrings, but he only has outdated, surface-level information - or is at least willing to reveal only that for starters.

[deadcactuswalking]

REVIEWING THE CHARTS: 01/06/2024 (Central Cee & Lil Baby, Bring Me the Horizon's POST HUMAN: NEX GEN, Zach Bryan)

Sabrina Carpenter’s still dominant on the UK Singles Chart as “Espresso” spends a fifth week at the top - welcome back to REVIEWING THE CHARTS!

content warning: language, discussions of death, trauma, drug addiction

Rundown

As always, we start with our notable dropouts, songs exiting the UK Top 75 - which is what I cover - after five weeks in the region or a peak in the top 40. This week, we bid adios to Eurovision tracks like “Europapa” by Joost and “The Code” by Nemo, as well as “Family Matters” by Drake (telling that these three couldn’t make five weeks), “Outside of Love” by Becky Hill, “Jump” by Tyla, Gunna and Skilibeng, “Home” by Good Neighbours (Good riddance) and finally, “Back to Black” by the late Amy Winehouse.

We see one big return with Katy Perry’s catalogue streams rising thanks to some American Idol news or something - I don’t care, I imagine the catalogue sales for her biggest records are high enough anyway. This does mean “Teenage Dream” - the title track - is back at #72. It peaked and debuted at #2 for two weeks in 2010, being blocked by Olly Murs’ “Please Don’t Let Me Go” and Alexandra Burke’s “Start Without You” respectively, though I think we can agree which one of these three have actually managed to pass the test of time. To be thorough, the Glee cover peaked at #36 the next year. As for our gains, we have a small but notable batch of boosts for “Never Lose Me” by Flo Milli at #61, “Right Here” by Becky Hill at #60, “Smalltown Boy” by Bronski Beat at #55, “Miles on It” by Kane Brown and Marshmello at #47, “The Man Who Can’t be Moved” by The Script at #38, “The Door” by Teddy Swims at #35 and finally, all the way up in the top 10 for the first time, Myles Smith with “Stargazing” at #9.

The UK Singles Chart’s top five this week consists of Billie Eilish’s “BIRDS OF A FEATHER” spiking off of the debut up to #5, whilst Central Cee and Lil Baby debut right at #4 with their new track “BAND4BAND”. Following them up is the top three staying the same as last week’s: Shaboozey at #3 with “A Bar Song (Tipsy)”, Eilish again with “LUNCH” at #2 and of course, “Espresso” at #1. Now for what ended up debuting in the lower realms of the chart this week.

New Entries

#73 - “Fall Back” - Lithe

Produced by Lithe

Do I pronounce this “life” or “live”? It doesn’t matter, this is a blog. However you pronounce it, Lithe is from Melbourne and this is his viral breakout hit for an otherwise underground artist who seems to have produced and released this all by himself. This may explain why it’s garbage. Lithe strikes me as the kind of person who would make for a great additional vocalist on a maximalist project by, say, a Travis Scott type, because his vocals, which are very Travis as well, lure you into a mumbling Auto-Tuned atmosphere very effortlessly due to the layering of murmured ad-libs. The problem here is the utter shit production, consisting of rote trap presets in such a static and typical pattern that it almost stands out how frozen and dull trap beats can be because of one weird snare choice that sounds way too loud and mechanical. I know this is very nit-picky but there’s so little to this song, which relies entirely on Lithe for its melodic element considering the blank grey synths that practically could be completely absent under the looming trap dirge. Don’t ask about the lyrics, it’s bottom-of-the-barrel flexing, but at least this song is very uniquely terrible. It uses basic trap tropes, for sure, but Lithe is taking his own approach to things and creates a bad song that is bad in ways more established artists probably couldn’t pull off. That’s a compliment, genuinely.

#66 - “The Craving” - Twenty One Pilots

Produced by Tyler Joseph and Paul Meany

I think it’s somewhat telling that Bring Me the Horizon nabbed three debuts this week, but the usually more accessible Twenty One Pilots, with a higher-peaking album at #2, could only snatch one at #66. I usually care at least a little to check out these guys’ records but the lore aspect has always somewhat bothered me in that I know without fully emerging into it, I’ll never get the full intended effect and relationship with the music that they intend. This week’s effort, Clancy, was one I just straight-up didn’t bother listening to, especially on the grounds of not liking those singles at all. I was thinking that hopefully this could give me some reason to check it out, and, well, there is something to this one.

“The Craving” is available in two versions, with the version on the album being subtitled “(Jenna’s Version)”, referring to his wife Jenna and… yeah, the stripped-back, ukulele rendition on the record is pretty devastating. Starting with a static that obscures Jenna’s voice lamenting the fact their relationship may be deteroriating or stalling out as she grows older, the song is a ballad expressing Tyler’s inability to communicate and express the simple gestures that he loves her. It’s a pretty simple song compositionally but that makes complete sense as it feels like a song he can only sing improvisationally in her presence, but not with her listening. This may be a stretch, but I’m imagining “(Jenna’s version)” refers here not to dedicating the song and playing it to her but her being the muse for this version, which sounds like it could have been written very quickly in a night where he can’t fall asleep thinking about the subject matter whilst she’s fast asleep. The song explains that he can’t communicate this to her, and the visual it gives is Tyler playing the song quietly to himself as to not wake her up but knowing fully that he won’t be able to sleep for the rest of the night without it being expressed. The final chorus ends with an utmost declaration of his dedication to the marriage, complete with a voice crack, but that outro simply writes it off: once she’s awake, the promises mean nothing, and he can’t bring himself to all he promised: the simple act of reminding her that she’s loved. I will be 100% honest: this song kind of fucking broke me, and the imagery surrounding those choruses being one of waiting until demise, wherein the “she” who looks for Tyler as he lays down and tries to sleep could be both Jenna and God, made this a very affecting listen for me, or rather, several listens. I never know exactly what to expect from TOP, but I didn’t expect to be crying.

The single remix, co-produced with Spencer Stewart, is much lighter and breezier with its folk-pop production that’s reverbed to Hell and back and covers some of Tyler’s vocal faults with harmonies and whistling that makes it a bit too saccharine for my taste. I still think it’s a brilliant song but as a performance and production, not so much, and this puts me in a weird position because as far as OCC is concerned, these are both the charting song, I just happen to prefer the very slightly less streamed acoustic version a lot more. Personally, I think adding drums to “The Craving” may be an inspired touch because it takes that fear of death and adds a frolicking carpe diem feel to it but it also touches my soul a bit less by detaching Tyler further from reality: the problem isn’t that he’s separated from his wife, it’s nearly the opposite, with her continued presence acting as both why the song exists and why the emotion is so palpable. Regardless, if more of the album is this personal and honest, less lore-focused as the lead single really scared me off with, maybe I’ll find more to like on it because this acoustic version is genuinely shattering, might be their best song ever.

#57 - “LiMOusIne” - Bring Me the Horizon featuring AURORA

Produced by Zakk Cervini, Oli Sykes and Dan Lancaster

Another week, another album debuting three songs that I haven’t heard. I’ll be fair and say I probably should have listened to Billie’s record before the chart week, and I have since heard and greatly enjoyed her album, but for this one, can you blame me? Firstly, look at the way the tracks are stylised, secondly: whilst I did like the first edition of this POST HUMAN series from 2020, the incessant delay and consistent flow of really mediocre singles that leads to an album that seems a bit bloated compared to the last one’s conciseness because I guess all of them needed to be included. Thirdly, they lost their keyboardist Jordan Fish, also a major songwriting contributor to the band, who now has just a few more lyrical credits on this record than BloodPop, I’m genuinely quite weary that this’ll be another disappointing mess from Bring Me the Horizon. Regardless, I’ll give them this: they always experiment, and these three next songs are going to be interesting and weird, at least in comparison to what usually charts, so it’s good we have them all lined up consecutively. BMTH’s latest, POST HUMAN: NEX GEN, debuted at #5 on the albums chart and naturally, we have three debuts as that’s all OCC’ll allow.

The first to chart, “Limousine” (I’m not doing this, guys) features Norwegian singer AURORA, who had some viral success with “Runaway” a few years back, a song I never really liked and I honestly haven’t heard much else, so maybe I’m missing something by not checking her out - I’m definitely going to be missing something with these songs given the added context of understanding the album’s theme and narrative is pretty important for what seems like a loose concept album, though BMTH records can be so eclectic that it flies out of the window. See amo for a clear demonstration. This particular track takes us into the easy and quick blast frontman Oli Sykes gets from doing hard drugs and the power, authority he feels when he’s off them, hence the “Limousine” - it’s a luxury car you’re in the back of, drugged and being driven around, but you still feel in control. It does this through grinding metal riffs and some of the most strained vocals I’ve heard from Sykes, not in the sense that he hits any insane notes or belts but more so because he stretches out these melodies beyond their need, especially in the pre-chorus, with pitch correction not doing that great of a job to cover it. That sounds like an insult, but it’s really not: when he’s refuting the need for closure and the chorus starts with a stuttered glitching of the song’s last section out of existence, his slow luxury chauffer ride to death feels particularly potent and fittingly gruelling. There’s a seductive and sinister nature to some of the lyrics, AURORA kind of blends into the background which is perfect for this as Sykes’ streams drowning out the clearer, beautiful voice of reason is thematically perfect, that bridge with the keyboards is genuinely moving before everything crashes into shit in the screeching breakdown. That breakdown, however, demonstrates the one time this song succeeds in the mixing department for me, as there’s a muddiness to everything here and an unnecessary vocal focus that seems to push the heavier and cathartic elements back, which does not serve a track like this very well, when the progression into chaos should come from something that is genuinely unnerving and inescapable. A more immersive mix could have done wonders to what is structurally a very sound track that has great performances.

#50 - “YOUtopia” - Bring Me the Horizon

Produced by Zakk Cervini, Oli Sykes, Dan Lancaster and Lee Malia

We can actually split this episode quite nicely into the two songs below the Horizon, the two songs above them, and the Horizon itself. It works out quite nicely too because according to Sykes, “Youtopia” acts as a counterpart to “Limousine”, and I can definitely tell that from the lyrics, wherein Sykes begs for the ability to give his partner the best version of himself, a “youtopia” so to speak. He desperately wants to connect himself and his partner to that utopian setting, but can’t bring himself to do the self-improvement that would enable that kind of perfect relationship, one that you can kind of tell from the imagery either doesn’t exist or has been buried so far deep into obscurity by the constant perpetuance of negativity in everyday life. To be completely honest, I was worried that Bring Me the Horizon’s lyrics would turn as basic as some of the structural songwriting had been on the singles so I’m glad I can still both get a lot out of analysis and resonate pretty heavily with their notions, it’s the most frustrating feeling wanting to be something that no-one but your own insecurity expects you to live up to, so it just seems fruitless to achieve.

As for how it sounds, well, that basic songwriting is there for sure, but oh, my God, this is an insanely nostalgic sound for me. That late-2000s early-2010s Kerrang! TV post-hardcore sound combining fuzzy electronics with the lackadaisical guitars of 2000s emo-pop and often Auto-Tuned vocals - both the clean and unclean vocals, sometimes - as well as just killer hooks and chasm-esque mixing that makes the drums go so hard once they pound into full relentless chorus mode. Of course, BMTH take it into further electronicore territory with the sampled-sounding female vocals, tiny little vocalised riff in the first verse that’s an adorable touch, the birdsong passages of ambiance that mesh so well with the cleaner guitar build, and the hip hop drums in the second verse that actually go for a 2000s R&B groove instead of the typical trap skitter, which I commend them for doing - trap metal feels way too easy and wouldn’t have fit a longing song like this. The harmonies from Sykes and the filtered Dan Lancaster in the bridge are excellent, and whilst the guitar solo is in what I like to call Weezer-meter (very obviously and shamelessly just repeating the chorus lead melody), it’s oddly brief and inessential to the song, as the final post-chorus kind of takes its place with the string swell and incredible drumming from Matt Nicholls that winds down in an industrial squirt for the outro. Apart from once again some mixing that acts as a disservice - when there’s this much going on, I understand the difficulty in making it sound that dynamic, and thematically, sometimes it just wouldn’t make sense to - this is pretty much something I’d inject to my veins any day. I know I say this every time BMTH show up because they’re the country’s biggest left-field rock act currently, but something like this charting in the top 50 in 2024 never fails to put at least a smile on my face.

#41 - “Top 10 staTues tHat CriEd bloOd” - Bring Me the Horizon

Produced by Zakk Cervini, Oli Sykes and Dan Lancaster

This final song is titled like a WatchMojo video, and is a very clear single - the lyrics and songwriting are pretty basic woes, wound up in generic metaphors that Sykes and the lads have sung before. It’s got a pessimistic chorus and a vaguely motivational bridge, and so many lyrics that vaguely allude to prior singles that I can’t tell if these are purposeful references or they’re just that far into their careers that their attempt at being an “average” BMTH track is an amalgamation of all of their other obvious singles. Those lyrical allusions definitely make it a bit more obvious and distracting that this is the case, but musically, it’s in similar territory. They have a brief, cutesy electronic intro, this time slightly hyperpop-esque, before crashing into a catchy alt-metal riff and, yeah, it’s just obvious that this is pulling the tricks of their own trade in a very typical way. Sykes performs incredibly well as he pretty much always does, you can’t take away his passion, but the screaming and sound effects may be a bit much in that second verse. They even have a stop-and-start rhythm built into the chorus melody which feels very Bring Me the Horizon to do: stopping and starting is basically their motif and songwriting approach if we boil it down to borderline offensive essentials. They have an aggressive breakdown with rapid drumming and video game samples, a trap drum pattern in the final pre-chorus, a stuttered vocal, it’s all very by-the-numbers and that’s fine. We can’t all be zingers, sometimes we need to write something accessible and given the album is assumingly a mess (all BMTH albums kind of are, it’s by nature), something like this could be particularly refreshing within its context, and they did care enough to place an atmospheric ambient outro that may contextualise it even further. This is a perfectly cromulent Bring Me the Horizon song, but a bit underwhelming to end on here.

#31 - “Pink Skies” - Zach Bryan

Produced by Zach Bryan

Country star Zach Bryan is back, presumably, he’s got a 30-song album on the way and this is his lead single. As always with Mr. Bryan, it feels wise to discuss the lyrics here in some detail, as this paints a vivid picture of the life that a mother has left for her children at the time of her funeral. The kids who came from that small town are back there to celebrate their late mother’s life, and reflecting on those lessons they learned from the mundane outskirts: appreciating the “pink skies” as a sign of youthful vitality and peace and cleaning the old house as if it were never populated (which feels stereotypical but is very much true for how parents can behave), though with the caveat that those memories remain physically as what appear to be faults in the house but are unavoidable reminders of the life lived within it. The second verse and especially the chorus sing a pretty funny ode: she’d be proud of where her kids are but would still lightheartedly mock them as “yuppies”, and he even has the snark to comment that God probably heard her coming, which I assume she means that she never shut up. For a parent, that’s a great thing to have the ability to do, and it’s reassuring to think that in the afterlife, she still cares too much about her kids’ well-being. This hits particularly close to home for me, and the fact that this song makes great use of my favourite instrument, the harmonica, does not exactly help this from not being a bit of a personal tearjerker for me. Bryan’s smoky drawl comes with his typical homegrown organic instrumentation - though with a higher focus both lyrically and instrumentally on choppier rhythm which I find interesting - and the light female vocals panned into the left channel. Sonically, you could argue it’s a bit safe or easy for Bryan to come out with something that sounds like this, but think of the content: why shouldn’t he be back at home, and invite you into that warm, comforting place as openly as his mother would have? This guy already put out some of my favourite songs of last year, some of the art that emotionally resonated with me the most from that year, and it doesn’t seem like he’s stopping this year either. I adore this.

#4 - “BAND4BAND” - Central Cee and Lil Baby

Produced by Ghana Beats, Geenero and Aasis Beats

This is just such a neat week. We begin near the very bottom with pop-trap from the Anglosphere outside of the US and book-end it near the very top with a UK rapper, whilst sandwiched in the middle are rock and alternative acts, two of which are personal ballads by slightly more mainstream and lighter in sound, closer to more accessible genres they emerged from before developing their sound, and both on either side of three Bring Me the Horizon tracks from the same album. Thiss week just makes sense systematically, damn it, and I love to see it. Also, Central Cee and Lil Baby, I guess, the song’s fine. It’s a bit undercooked because - I repeat, Central Cee and Lil Baby - but the basic rising synth loop, even if very obviously just a basic and lazy implementation of a loop, has enough tension to make way for the heavy-hitting drill rhythm, which is a lot cleaner than some other drill tracks, but also uses much louder, mechanical hats - again, something it has in common with Lithe, and the grey cover arts are just furthering it all - that give an industrial and intense feel to this beat. As for our rappers, this is much more typical: Cench’s complaining about people not being real Muslims, talking about his Lambos, using rhyme schemes that prominently implement acronyms, being distracted by big booties and most importantly, going “Alllright”. It’s almost like “Top 10 Statues that Cried Blood” because Cench feels like an amalgamation of himself on here, though this isn’t a bad thing, he still has more energy than many other rappers and it was cute for him to exchange bars with Lil Baby. Lil Baby then continues to take the song over entirely, as the beat switches up slightly with that crawling trap skitter and Baby goes for his typical frog-throat, running-off-on-the-beat flow that goes insanely hard, bizarrely, without drums, as it builds into a very well-done beat drop. He’s similarly being an amalgamation of himself and his running themes, but there’s some cold wordplay with the birthday lyric and there’s always been something compelling about his relentless approach to just going on and on regardless of what the beat actually asks of him. Overall, I know I’ve sounded nit-picky but this is good, probably great even when taking it outside of the larger context and just treating it as a banger reaching across the Atlantic. There’s a real intensity and hunger to this that there hasn’t been for either in these guys in a while, and it’s refreshing to know that those efforts paid off for a very high and very deserved top five debut.

Conclusion

Considering this is a week mostly consisting of rock acts, it makes complete sense that it’s one of the best weeks for me. Hey, I listen to everything, but some genres will hit closer to home than others. As for the Best of the Week, it is genuinely an incredibly difficult decision, but unsurprisingly, Zach Bryan takes it for “Pink Skies” and the only reason that happened is because of the second single edit of “The Craving” by Twenty One Pilots that I do not care for, because Jenna’s version would run away with Best of the Week, it’s heartbreaking from the first vocal sample of Jenna herself to that final line. Unfortunately, due to the double billing, it’ll have to take Honourable Mention, and on any other week, I would easily be giving all of this praise to a song like “YOUtopia”, which I still love, or Hell, even “BAND4BAND”. Lithe takes Worst of the Week for “Fall Back”, obviously, and I hope the next batch of songs is either just as good as this one or gives me a lot less to talk about because sheesh, this is one of our shorter weeks and I’m still maxxing this word count out. For now, thank you for reading, rest in peace to Charlie Colin, and I’ll see you next week!

[mywifeleftme]

93: Vampire Weekend // Contra

Contra Vampire Weekend 2010, XL Recordings

Contra dropped right in the heart of what was, in retrospect but also at the time, an incredibly stupid backlash against Vampire Weekend. Fortunately, in the year of Our Lord 2023, there’s no longer any need to litigate the right of this band to exist, but it’s funny to look back at how perfectly calibrated this album was to further piss off anyone who’d hated their debut. “Too Ivy League, too WASPy,” detractors groused, so here’s a song called “Diplomat’s Son.” “They shouldn’t be appropriating African music,” members of the faculty of arts moaned, so here’s an updated song from Koenig and Tomson’s pre-VW hip-hop project (“Giving Up the Gun”). “They’re inauthentic!” said some guy in a Bad Religion t-shirt, so here are a few Auto-Tuned bars, causing that man (and Jay-Z presumably) to spontaneously shit his drawers.

I don’t think Contra is the sound of trolling, exactly, so much as it is a band who heard everyone telling them the places they shouldn’t go and decided to go have a poke around some of them. If it’s a hair less consistent than their wall-to-wall banger debut, it also reaps the benefits of its wider range: even as “Cousins” and the extraordinary “White Sky” proved they were still capable of writing compact indie pop gems, the dayglo electronica of “Run” and languid bleep-bloop ska of “Diplomat’s Son” found them creating ever more immersive soundscapes, each full of unexpected detail and surprise. Though it’s fair to think of it as a bridge between their self-titled and the celebrated Modern Vampires of the City, I’ve always thought of Contra as my favourite by the group.

A bit of an aside, but despite all the deserved fawning over the band’s songwriting and Batmanglij’s production over the years, I realized recently that I think Koenig is a bit underappreciated as a vocalist. Listening to the way he consistently turns his own wordy, hyper-literate lyrics into fluid pop, reminds me of what Cole Porter remarked upon hearing Ella Fitzgerald’s take on his songbook: “My, what marvelous diction that girl has.” Like the singer to whom he’s most often compared, Paul Simon, he has a high, pretty voice that might seem thin in the hands (cords?) of a less sensitive vocalist, but he transcends it by making the right choices. In 2014 Koenig performed a duet of “I Think Ur a Contra” with Angelique Kidjo, a vocalist who is always poised to (warmly) eat her duet partner’s lunch, yet despite the massive disparity in firepower, Koenig holds his own. He keeps to the breathy little melismatic adornments that brought him to the dance even as she does her usual bravura thing, and the steadiness of his performance makes for be a nice study in contrasts, two ways to get at the emotion latent in an elegantly built song.

93/365

[puleosauto]

Is it time for a car diagnostics? Call the professionals at Puleo's Auto Clinic to ask what does car tune up consist of?

[johnalexcooper]

Discover the Honda CR-V: The Ultimate Choice for Peebles Drivers

When it comes to finding the perfect SUV that combines style, performance, and practicality, the Honda CR-V stands out as a top contender. For drivers in Peebles, the Honda CR-V offers an exceptional driving experience that caters to various needs, whether you're navigating the charming streets of the town or embarking on adventures in the surrounding Scottish countryside. In this blog, we'll explore why the Honda CR-V is a fantastic choice for those in Peebles and what makes this vehicle a standout in its class.

The Honda CR-V: An Overview

The Honda CR-V has long been a favourite among SUV enthusiasts due to its reliable performance, spacious interior, and advanced features. As one of Honda's most popular models, the CR-V consistently delivers on all fronts, making it a solid choice for families, professionals, and adventure-seekers alike. The Honda CR-V remains impressive with its combination of contemporary design and advanced technology, thanks to its latest updates and improvements.

Design and Comfort: A Blend of Elegance and Practicality

One of the first things you'll notice about the Honda CR-V is its sleek and sophisticated design. The CR-V's exterior features bold lines, a distinctive front grille, and stylish LED headlights, giving it a commanding presence on the road. For Peebles residents, the CR-V's refined design not only enhances its aesthetic appeal but also ensures that it stands out in both urban and rural settings.

Inside, the Honda CR-V is equally impressive. The cabin features a generously sized and thoughtfully planned interior, providing plenty of space for both passengers and luggage. Whether you're heading out for a family outing or loading up for a weekend getaway, the CR-V's versatile seating and cargo configurations make it easy to accommodate your needs. The high-quality materials and attention to detail in the interior create a comfortable and upscale environment for all occupants.

Performance and Handling: A Dynamic Driving Experience

When it comes to performance, the Honda CR-V does not disappoint. The CR-V is available with a choice of engines, including a fuel-efficient turbocharged option and a hybrid powertrain. For Peebles drivers who value efficiency, the CR-V's hybrid model offers excellent fuel economy without sacrificing power or performance.

The CR-V's handling is another highlight. With its responsive steering and well-tuned suspension, the CR-V delivers a smooth and enjoyable driving experience. Whether you're navigating the winding roads around Peebles or tackling off-road trails, the CR-V provides a confident and controlled ride.

Advanced Technology: Stay Connected and Informed

Technology is essential in improving the driving experience in today's interconnected world. The Honda CR-V comes with a variety of cutting-edge features aimed at keeping you connected and well-informed while on the move. The CR-V's infotainment system includes a user-friendly touchscreen, Apple CarPlay, and Android Auto compatibility, allowing you to seamlessly integrate your smartphone and access your favourite apps.

For added convenience, the CR-V also offers features such as a navigation system, Bluetooth connectivity, and multiple USB ports. These technological advancements ensure that you stay connected and entertained during your journeys around Peebles and beyond.

Safety and Security: A Top Priority

Ensuring safety is a key focus for Honda, and the CR-V is no different. The CR-V is equipped with a comprehensive suite of safety features designed to protect you and your passengers. Honda Sensing, the brand's advanced driver-assistance system, includes features such as adaptive cruise control, collision mitigation braking, and lane-keeping assist.

For Peebles drivers, these safety features provide peace of mind, knowing that you are well-protected on the road. Additionally, the CR-V's solid build quality and rigorous safety testing contribute to its strong safety ratings, making it a reliable choice for families and individuals alike.

Fuel Efficiency: Save on Every Journey

Fuel efficiency is an important consideration for many drivers, and the Honda CR-V excels in this regard. With its efficient engine options and aerodynamic design, the CR-V delivers impressive fuel economy, helping you save on fuel costs during your daily commute or long drives. The hybrid model, in particular, offers exceptional fuel efficiency, making it an excellent choice for environmentally-conscious drivers in Peebles.

Why Choose the Honda CR-V in Peebles?

For residents of Peebles, the Honda CR-V offers a perfect combination of style, performance, and practicality. Its versatile interior, advanced technology, and strong safety features make it an ideal choice for navigating the town's charming streets and exploring the picturesque Scottish landscape. The Honda CR-V is the perfect choice whether you need a family-friendly SUV or a vehicle that can keep up with your adventurous side.

In summary, the Honda CR-V is a standout choice for drivers in Peebles who value quality, comfort, and performance. With its sleek design, advanced technology, and commitment to safety, the CR-V is a vehicle that truly enhances the driving experience. When looking for a new SUV, you should consider the Honda CR-V as it continues to be a popular choice for drivers who demand the best.

[undersmusic]

What is the Best Autotune Plugin

Introduction: Pitch correction stands as a pivotal element in contemporary music production, cutting across various genres. With a multitude of tools available, navigating the options can be daunting. In this exploration, I delve into the world of pitch correction plugins, comparing some of the industry's leading options. As a user of the Logic stock pitch correction, I've often wondered if there are superior alternatives. Today's video features a lineup of contenders, including Nectar 3, Antares Auto-Tune Pro, Waves Real Tune Live, and the lesser-known Grallion. Let's dissect each plugin's performance and find out which one reigns supreme.

For a more in-depth comparison between Autotune and Logic stock processor, check out this video for a side-by-side analysis.

Setting the Stage: To establish a baseline, I've chosen the Logic stock pitch correction for initial testing. The track, set in A sharp minor, is a representation of what I typically work with. The vocal range profile becomes crucial, and I'll be examining how each plugin captures and corrects the harmonics. The plugins will be assessed in their ability to enhance the raw vocal quality, making it essential to set up each plugin for comparison accurately.

Contenders:

Nectar 3: Part of a comprehensive vocal suite, Nectar 3 offers a dedicated pitch correction module. We'll explore its nuances and determine its effectiveness in isolation and within the context of the entire mix.

Antares Auto-Tune Pro: A heavyweight in the pitch correction realm, Auto-Tune Pro is renowned for its precision. We'll evaluate its performance against other contenders, seeking to uncover its unique characteristics.

Waves Real Tune Live: A plugin sharing similarities with Auto-Tune Pro, Waves Real Tune Live enters the ring. We'll assess whether it offers a distinctive edge in pitch correction.

Grallion: As a third-party option with a free version, Grallion adds an interesting dynamic to the comparison. We'll explore its capabilities and see if it holds its ground against more established players.

Plugin Setup: Taking a meticulous approach, I'll showcase the setup for each plugin, ensuring a fair comparison. From key selection to re-tune speed, we'll navigate the intricate settings to achieve a consistent sound across the board.

Naked Vocal Assessment: Before diving into the processed versions, it's imperative to evaluate the raw vocal performance. Each plugin will be applied individually, allowing us to discern any intrinsic qualities or shortcomings.

Processed Comparison: With the plugins in action, I'll play excerpts of the processed vocals, gauging which one enhances the raw performance most effectively. Contextualizing the improvements becomes pivotal in determining the overall winner.

Mix Context Evaluation: Finally, we'll zoom out and assess the impact within the context of the entire mix. Does the pitch correction seamlessly integrate into the sonic landscape, or are there noticeable discrepancies? Autotune's subtle nuances might shine in this phase, but surprises may arise.

Conclusion: As we wrap up the comparison, I'll share insights into each plugin's performance and declare a winner based on overall effectiveness. Considerations such as price, accessibility, and unique features will factor into the final verdict. Whether you're a Logic loyalist or exploring new horizons, this comparison aims to guide you toward the pitch correction tool that aligns with your musical vision.

I hope this comprehensive exploration aids you in navigating the diverse landscape of pitch correction tools. Stay tuned for more music production insights in upcoming videos!

[storytimewithnova]

Trapped in the Limelight Exploited and Exhibited

This is part of my inner demons series the message behind this story is Showing how the music and entertainment industry uses people to their pleasure that the limelight isn't all glitz and glam and you are that stage and it starts to feel like that old school active of show and tell

Once in a humble town, Shona, a young woman with an extraordinary voice and an unmatched passion for music, lived her life. Shona was deeply in love with Eita and Keiji, her partners in both love and music. Eita was the talented guitarist and vocalist of their band, and Keiji served as their manager. Together, they toured the world, sharing their musical magic.

Shona and her bandmates, Semi and Keiji, consistently graced the stage, enchanting their audiences with harmonies and lyrics from the heart. But behind the spotlight, Shona battled an unrelenting pressure to not only perform but to bare her soul on stage. Her songs were her confessions, laying her darkest thoughts and vulnerabilities out for all to see.

One day, everything changed for Shona. During a live performance, she suffered a public mental breakdown, exposing her raw emotions to the world. It was a moment of vulnerability that shook her to her core, leaving the crowd in stunned silence.

Among the onlookers was Shona's manipulative ex-boyfriend, seizing the opportunity to exploit her fragile state. He wove his web of manipulation, targeting her insecurities and fears.

This was Shona's harsh reality, and she found herself once again ensnared by her ex's manipulation. The aftermath played out during a major concert for Songbird Paradise. As the lights dimmed, Shona was suspended on stage like a marionette, controlled by invisible hands. She wore a lifeless expression.

She gazed upon her brother, ex-best friends, former lover, and fans who treated her as an object. With a sigh, she began to sing, her voice laden with emotion:

Sho: 🎶You pull me by my hair, so I don't go nowhere Tell me you love me, but you treat me like I'm never there🎶

Fans surged onto the stage, trying to touch her, leaving her angry and disheartened. A live stream allowed viewers to interact, leading to questions and concerns:

Comment: Ace, what do you mean? Another comment: Does she mean literally or...? One comment caught her off guard.

Anno: God, she is so annoying and whiny. Why do you idiots like her? She can't even sing; she probably uses auto-tune. FAKER 😂

Sho: 🎶You say the cruelest words, you used to break my heart 💔 'Cause I'm over here working my ass off🎶

Semi couldn't hide his upset and anger. Shona's perspective echoed her internal struggle:

Sho: 🎶Why is it so hard to see? (Why?) If I cut myself, I would bleed (kill me) I'm just like you, you're like me Imperfect and human, are we?🎶

Sho's pov: Why can't people see that I am human? I am not a machine. What do I have to do? Overwork myself until I'm bleeding, or perhaps end up in the hospital, comatose or worse?

🎶Show and tell I'm on display for all you fuckers to see🎶

The performance felt forced and unnatural. Shona was no longer authentic; it felt as though she were merely a puppet manipulated by others.

Sho: 🎶Show and tell, harsh words if you don't get a pic with me🎶

Refusing photos and autographs led fans to turn hostile, pushing Shona to relinquish fan interactions to her bandmates.

Semi: 🎶Buy and sell🎶

Semi sang with increasing concern.

Sho: 🎶Buy and sell me, baby, like I'm a product to society🎶

Shona felt like a commodity for people's amusement, an exhausting and dehumanizing experience. She sighed and continued:

Sho: 🎶Art don't sell unless you fucked every authority🎶

Shona acknowledged the harsh reality of her world, where she had to plead with people to watch her, like, subscribe, and listen, often appearing desperate. All she wanted was success for her group, but it came at a cost.

Sho: 🎶You beg and cry for more,he had 'em on the floor There are strangers takin' pictures of me when I ask, "No more" It's really hard for me to say just how I feel I'm scared that I'll get thrown away like a banana peel🎶

As Shona continued to sing, her movements appeared orchestrated, as if she were a marionette controlled by invisible strings. It was a painful metaphor for the inner turmoil that haunted her life.

The applause thundered through the arena, and Shona forced a strained smile, acknowledging her fans. To them, it was another electrifying performance, a dazzling display of talent. But deep down, Shona couldn't shake the feeling of being trapped, a puppet dancing to the whims of an audience that demanded more and more.

As the lights dimmed and the stage went dark, Shona stumbled backstage, her breath ragged. Her bandmates rushed to her side, concern etched on their faces. Semi and Keiji watched her backstage, equally worried, but Eita in particular couldn't hide his concern and upset any longer. Shona didn't look like she had control of her body anymore; it was as if someone else was manipulating her like a puppet master.

Sho: 🎶Why is it so hard to see? (Why?) If I cut myself, I would bleed (kill me) I'm just like you, you're like me Imperfect and human, are we?🎶

Sho continued to move and contort in ways that were far from normal. She looked possessed, and it was freaking out her boyfriends and bandmates, but she kept going.

Sho: 🎶Show and tell (show and tell) I'm on display for all you fuckers to see (fuckers to see) Show and tell (show and tell) Harsh words if you don't get a pic with me🎶

Semi: Cut the show; this isn't looking good.

A staff member replied, "We can't."

Semi: Cut the damn show, damn it! Something is happening to her!

Shona was still singing, but tears were spilling from her eyes.

Semi: 🎶Buy and sell🎶

She sang softly, her voice no longer carrying the roar of the crowd.

Semi: 🎶Buy and sell me, baby, like I'm a product to society🎶

His words were a silent reassurance, a promise that they were in this together, navigating the treacherous waters of fame as a united front. Shona appreciated his support, but the weight of her inner demons still bore down on her.

Shona's Pov: How did it come to this? When did my art become a mere commodity, a product to be bought and sold? The very essence of my creativity feels tarnished, and I'm drowning in a sea of expectations and demands.

Their manager approached, his eyes calculating, already thinking about the next promotional event and the tour ahead. Shona could hardly breathe; the relentless cycle of shows, interviews, and fan interactions threatened to consume her entirely.

Sho: 🎶Art don't sell unless you fucked every authority🎶

Her thoughts drifted to the choices she'd made and the compromises she'd accepted to reach this point in her career. She wondered if there was a way to reclaim her authenticity, to break free from the chains that bound her.

As the night wore on, Shona found herself alone in her dressing room, staring at her reflection in the mirror. Her face was a mask, concealing the turmoil within. The lyrics of the song, "Show and Tell," continued to echo in her mind, a haunting reminder of the price she paid for stardom.

Sho: 🎶Show and tell Why can't you fucking hear me? Show and tell, um Are you listening yet?🎶

The room felt suffocating, and Shona longed for a moment of solitude, a chance to reconnect with the artist she once was. She knew that the journey to reclaim her authenticity would be a difficult one, but it was a path she was determined to walk.

Sho: 🎶Show and tell (show and tell, baby) I'm on display for all you fuckers to see (fuckers to see) Show and tell (oh) Harsh words if you don't get a pic with me Buy and sell Like I'm a product to society Art don't sell Unless you fucked every authority🎶

In the midst of the chaos and manipulation, Shona's inner demons had grown stronger, but so had her resolve. She would find a way to break free from the strings that controlled her, to rediscover the true essence of her art, and to show the world that she was more than just a product of society.

Days turned into weeks, and Shona's determination to break free from the suffocating grip of her fame grew stronger. She knew she had to confront her inner demons and find her authenticity once more.

With the support of her bandmates, Semi and Keiji, she decided to take a hiatus from the music industry. They canceled the remaining tour dates and retreated from the public eye, seeking solace and healing in a remote cabin in the woods.

In the serene isolation of the cabin, Shona started to reconnect with herself. She spent hours by the fire, writing songs that came from deep within her soul, not songs meant to please the masses, but songs meant to express her truth. The lyrics were raw, unfiltered, and free from the constraints of commercial success.

Semi and Keiji were there every step of the way, providing emotional support and encouragement. They too had felt the strain of fame, and this retreat was a chance for all of them to rediscover their artistic roots.

As the weeks passed, Shona's music became a cathartic release, a way to process the trauma she had endured. She shared her new songs with Semi and Keiji, and together they created music that felt genuine and authentic.

During this time, they received messages of support from fans who had witnessed Shona's breakdown. Many of them had realized the toll that fame had taken on their idol and were now expressing their understanding and empathy.

Shona decided to document her journey to self-discovery and healing through a series of heartfelt vlogs. She shared her struggles, her moments of vulnerability, and her determination to find her true self again. The response from her fans was overwhelming, and she realized that she could use her platform to advocate for mental health awareness and the importance of authenticity in the entertainment industry.

Months passed, and Shona and her bandmates emerged from their retreat as changed individuals. They were no longer slaves to the demands of the industry; they were artists who had found their voice and their purpose.

Their return to the music scene was met with anticipation, but this time it was on their terms. They refused to compromise their authenticity for fame and fortune. Their music resonated with fans on a deeper level, touching their hearts with its honesty and vulnerability.

Shona's journey had not only transformed her but had also inspired others in the industry to prioritize mental health and authenticity. She became an advocate for change, using her platform to raise awareness and support for artists struggling with the pressures of fame.

In the end, Shona had reclaimed her authenticity, and in doing so, she had found a new kind of success—one that was built on self-expression, resilience, and the unwavering support of her bandmates and fans. It was a success that allowed her to be true to herself and to inspire others to do the same.

[expertcarcare]

Are you wondering what happens when your car needs a tune up? Ask your mechanic at Expert Car Care Inc. for more information about auto tune up.

[2023cars]

Top Features of the New Hyundai Exter You Need to Know

The automotive industry is constantly evolving, and one brand that has consistently embraced innovation and cutting-edge technology is Hyundai. With each new model, Hyundai pushes the boundaries of design, performance, and safety. One such example is the highly anticipated Hyundai Exter, the latest addition to their impressive lineup. Visit PPS Hyundai Showroom Kochi to witness the vehicle and find Hyundai Exter SUV price in India for different variants.

Hyundai Exter Top Features

In this article, we'll explore the top Hyundai Exter features that make it stand out from the crowd.

Striking Exterior Design

The Hyundai Exter boasts a bold and striking exterior design that immediately catches the eye. The front grille features Hyundai's signature cascading pattern, flanked by sleek LED headlights that provide enhanced visibility and a modern touch.

The sharp body lines and aerodynamic curves not only add to the car's aesthetic appeal but also improve its overall performance and fuel efficiency.

Innovative Hybrid Technology

Hyundai has integrated hybrid technology seamlessly into the Exter. The new model comes with an advanced hybrid powertrain that combines a gasoline engine with an electric motor. This hybrid system not only reduces emissions but also enhances fuel efficiency, making the Exter an eco-friendly and economical choice for drivers.

Intelligent Safety Features

Hyundai places a high focus on safety, and the Exter is no different. The car is equipped with a comprehensive suite of safety features, including forward collision avoidance, blind-spot monitoring, lane-keeping assist, and adaptive cruise control.

These intelligent safety systems work together to keep drivers and passengers safe on the road, preventing potential accidents and mitigating the severity of collisions.

Cutting-edge Infotainment System

The Hyundai Exter comes with a state-of-the-art infotainment system that keeps drivers connected and entertained. The large touchscreen display serves as the command center for various functions, including navigation, smartphone integration, and multimedia controls.

Apple CarPlay and Android Auto compatibility ensure seamless smartphone connectivity for a more enjoyable driving experience.

Comfortable and Spacious Interior

Step inside the Hyundai Exter, and you'll be greeted by a comfortable and spacious interior that offers ample legroom and headroom for both front and rear passengers. High-quality materials and ergonomic seats contribute to a luxurious driving experience, making long journeys a breeze.

What is Hyundai Exter?

The Exter is Hyundai's latest sub-4 metre SUV that delivers great performance. Packed with advanced features and stylish aesthetics, the Hyundai Exter promises to redefine driving experiences.PPS Hyundai Dealer Kochi provides you with the perfect purchasing experience while you opt to buy and drive it home.

Does Hyundai Exter have sunroof?

Hyundai offers various models, and some of them may come equipped with a sunroof in Exter. To find out if a specific Hyundai Exter model has a sunroof, we recommend visiting Hyundai dealers for the most up-to-date and accurate information on their current vehicle lineup and features.

Dynamic Driving Performance

Behind the wheel of the Hyundai Exter, you'll experience a dynamic driving performance that strikes the perfect balance between responsiveness and comfort.

The precise steering and well-tuned suspension system provide excellent handling, making daily commutes and weekend getaways equally enjoyable. Hyundai Exter mileage is also good enough, when compared to different other models in its segment.

Eco-friendly Materials

As part of Hyundai's commitment to sustainability, the Exter incorporates eco-friendly materials throughout its design. Recycled and bio-based materials are used in various components, reducing the car's environmental impact while maintaining high standards of quality and durability.

Is Hyundai Exter a 7 seater?

The Hyundai Exter is a 5-seater SUV offered at Kerala's PPS Hyundai Showrooms. The 7-seat Hyundai Exter hasn't been formally introduced yet.

What is the starting price of exter?

Hyundai Exter price range starts from Rs. 6.00 Lakh* for the base model to Rs. 10.10 Lakh* for the top variant (Avg. ex-showroom). All the variants of Hyundai Exter are available to purchase at PPS Hyundai Kozhikode.

Conclusion

The new Hyundai Exter impresses on multiple fronts, showcasing a blend of innovative technology, stylish design, and environmental consciousness. From its striking exterior design to cutting-edge hybrid technology and advanced safety features, the Exter stands as a testament to Hyundai's dedication to delivering top-notch vehicles. If you're looking for a car that offers a blend of performance, safety, and sustainability, the Hyundai Exter is undoubtedly worth considering.Also, explore details related to Hyundai Exter Features in India from PPS https://www.ppshyundai.com/pps-hyundai-showroom-thiruvananthapuram/Hyundai Trivandrum Showroom.

[savagenewcanaan]

Michael Savage New Canaan What Really Makes a Muscular Tissue Auto

What do you believe it takes to make a muscle car? Is it foot/lbs of torque? Horse power? Is it totally the image? The buzz and build-up bordering a muscle automobiles can get a little complicated when a new design is launched, yet the "tried and also true" desire cars and trucks have confirmed their power and efficiency every year as well as decade after decade. American, European, and also Asian cars and trucks appeal to different sectors of muscular tissue automobile fanatics, for various reasons.

A number of cars and trucks instantly race right into your ideas when you think of American muscular tissue vehicles: Corvette, Camaro's from the late 60's via the 70's, Mustang, and, the AMC Javelin. An automobile fan can go on to point out the Charger and Challenger, Chevelle, and also Grandmother Torino. What you have there is a short list. The entire listing of American muscle mass vehicles goes on for miles. Those automobiles all have something alike ... efficiency every year. To back that up, they all have good public relations. Except for the Javelin. AMC never can determine just how to market its cars.

Michael Savage New Canaan

Need to you want to chat European muscle vehicles, then you have: BMW, Porsche, Ferrari, Opel, Maserati, as well as Fiat, among others of the bigger ones. A great deal of individuals beyond Europe are a little baffled when they listen to Opel pointed out, yet all they have to do is look into racing to obtain their authentic. All of these firms were great tuning as well as marketing their cars and trucks before WWII. The Asian auto makers have actually run Formula 1 as well as Monte Carlo-style races for fairly awhile, yet have only gained broad spread recognition in the last couple of years. They are primarily recognized for their four cylinder, nitrous backed performance. That produces some argument over their being muscle cars or not. Personally, I have never ever had much respect for them, other than their gas mileage. With the best equipment, they can place your back to the seat, though.

Yet, what makes these vehicles muscle cars and trucks? When you consider muscular tissue do you simplify right into stock and modifieds, or do you consist of complete construct outs? A case can be produced every one of these. In the average man's mind a muscle mass auto is one that is based on an initial manufacturing facility engine, front end, as well as drive train. Simply adding a new Edlebrock consumption does not make a muscle mass cars and truck, either. There needs to be some substantial adjustment in torque, horsepower, time in the quarter, and leading end.

Michael Savage New Canaan

Picture has a good deal to do with it. Public assumption is a lot more effective than anything else in this era of media overload. When an automobile is at first marketed, it has a tag ... muscular tissue automobile, household car, granny mobile ... that it either measures up to or does not. The man who purchases that automobile is the one that inevitably identifies what stereotype the automobile sustains under. If an automobile does not supply, from pedal to repair, it will never re-sell. Alleviate of repair service, as well as the family member infrequency of those repair services, has a whole lot to do with the long term picture of a cars and truck.

What makes a muscle mass cars and truck is a question that can not be responded to with a short list of standards. It is a feeling, an appearance, and a lot of interest. You have to have a mix of the right elements. Try intensifying a Chevette or a Pacer. All you will get are some stares. a great deal of laughs, as well as an entire number of "Why"'s. You might get that thing down the quarter in a heartbeat, 0-60 in advance of a Ferrari, yet it still will certainly not be a muscle auto. Public photo carries the majority of the weight. The technical things is for the "grease monkeys" as well as "equipment heads". Each group has its very own preferred muscle mass vehicles. I understand which ones are mine as well as you know which are your own. A person has to regard that, yet do not cut me off on the freeway ... We might have to run 'em to figure out.

[edmturnmeon]

Timeless Provia SOOC Film Recipe For Fujifilm Cameras

Muted Provia Film-Look Recipe for Fujifilm Cameras

Mood: Classic, Muted, Film-Look It has been awhile and lets get back to the basic with some simple film recipe. The Timeless Provia SOOC Recipe is a custom film simulation and camera settings that is created for all kind of shooting conditions and is suitable for urban street photos and portraits. Probably this is one of the first Fujifilm recipes that are created using the Provia/Standard and I think it does look great. Great news! Timeless Provia, the film simulation recipe based on the Fujifilm Provia film simulation, is compatible with all Fujifilm cameras, including the older X-Trans sensors, the X-Trans IV, and the latest X-Trans V cameras. Whether you're using an older Fujifilm camera or the latest model, you can achieve the same muted, film-like look that Timeless Provia provides. This makes it a versatile all-in-one film recipe for Fujifilm users who want to create a consistent and cohesive look across their work. So, regardless of the Fujifilm camera you use, you can apply this recipe to achieve the desired timeless look in your photos. Just follow the recipe's settings and make any necessary adjustments based on your shooting conditions and preferences.

What Timeless Provia SOOC Recipe Is All About?

Timeless Provia is a film simulation recipe based on the Fujifilm Provia film simulation that will give your photos a muted, film-like look perfect for creating a timeless feel, regardless of the lighting conditions. It's optimized to work well in both shaded and harsh sunlight environments.If your camera doesn't support certain settings like the Color Chrome Effect or FX Blue due to having an older X-Trans sensor, don't worry, as the difference will be subtle, and you can still achieve excellent results.The Timeless Provia film simulation recipe features several key adjustments to achieve its muted, film-like look. First, the color tone has been reduced to decrease saturation, creating a more subtle and subdued color palette. This helps to create a timeless feel that is perfect for any type of photography.Additionally, the shadow setting has been slightly increased to lift the shadows and bring out more details, making it especially useful for portrait photography. This allows for a more nuanced and dynamic look, even in challenging lighting conditions.Finally, the sharpness setting has been reduced to -1, which achieves a softer look without appearing too blurry. This helps to create a more organic and natural feel to the images, which complements the muted color palette and shadow adjustments.These settings have been carefully fine-tuned to work in harmony, creating a consistent look and feel across all types of photography, from portraits to street scenes. By applying the Timeless Provia recipe to your Fujifilm camera, you can achieve stunning results that capture the essence of film photography in a modern, digital format.

Timeless Provia SOOC Recipe Custom Settings

Film Simulation Provia/Standard Highlight -2 Shadow +1 Color -2 Sharpness -1 Noise Reduction -4 Grain Effect / Grain Size Off Color Chrome Effect / FX Blue Strong / Strong WB / Color Temperature Daylight, Red 1 & Blue -1 Exposure Compensation Up to +1/3 ISO Auto up to ISO 6400 Clarity 0 Dynamic Range DR400

Sample Photos

Photoshoot with Sawitti Kim

Photoshoot with Sawitti Kim

Looking for more Fujifilm SOOC Recipes?

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[deadcactuswalking]

REVIEWING THE CHARTS: 11/03/2023 (Nicki Minaj, j-hope/J. Cole)

For an eighth consecutive week, “Flowers” by Miley Cyrus reigns on top of the UK Singles Chart. Welcome back to REVIEWING THE CHARTS!

Rundown

I’d like to say that this is a pretty calm week, which I’m somewhat glad about, though it does mean I don’t have all that many observations so let’s just get straight into our notable dropouts, which are songs exiting the UK Top 75 – the chart that I cover – after five weeks in the region or a peak in the top 40. This week, that list includes “Me & You” by Central Cee (good!), “METAMORPHOSIS” by INTERWORLD, “Here with Me” by d4vd (right after peaking as well), “The Color Violet” by Tory Lanez, “Lionheart (Fearless)” by Joel Corry and Tom Grennan and finally, “When I Was Your Man” by Bruno Mars.

Considering we don’t have any returning entries, it’s just the gains filling up the space left by those songs, and we have an interesting selection of songs gaining traction, with “In Ha Mood” by Ice Spice at #58, “Snowfall” by Oneheart and reidenshi of all songs at #57, “REACT” by Switch Disco featuring Ella Henderson and the late Robert Miles at #54, “Bad Habits” by Ed Sheeran inexplicably picking up at #53, “Here” by Tom Grennan up big at #50, “I Ain’t Worried” by OneRepublic at #43, “Shut Up My Mom’s Calling” by Hotel Ugly at #41, “Another Love” by Tom Odell at #40, “Oh Baby” by Nathan Dawe and Bru-C featuring bshp and Issey Cross making the top 40 at #35 (great!), “Whistle” by Jax Jones featuring Calum Scott also making the top 40 at #34 (not great!), “22” by JayO flying way up off of the debut to #32, “Pretty Boys” of Caity Baser at #26, and finally, making its way to her first top 10, we have Libianca at #8 with “People”. It’s a fantastic song, and I’m very much glad it’s here – now the task the UK has is ensuring she stays there.

The top five of this week’s UK Singles Chart consists of “Sure Thing” by Miguel at #5, “Kill Bill” by SZA at #4, “Die for You” by The Weeknd at #3, “Boy’s a liar” by PinkPantheress at #2 (I would credit the remixes for those two if OCC did) and of course, “Flowers” at the top. As a little aside, if you’re wondering what the best way to tell a slower or quieter week from a standard or busier one on the chart, you could look at the low sales in the top 100 or simply see where “Mr. Brightside” by the Killers is. It’s up five spots to #65. It’s even above a new Justin Bieber song. Speaking of...

NEW ARRIVALS

#74 – “Private Landing” – Don Toliver featuring Justin Bieber and Future

Produced by Cardo, Omar Guetfa, Rob Bisel and 206Derek

So Don Toliver released his newest album, Love Sick, and it was a bit of a commercial disappointment. I haven’t heard the record, but given it has credits such as James Blake, TisaKorean, Teezo Touchdown and Toro y Moi, I can only assume it’s a more adventurous project that paid the price for being so, debuting at #36 on the UK’s albums chart, his lowest showing yet. If Don had a Justin Bieber and Future collaboration, one does wonder why he couldn’t have pushed this as a single to save a flailing rollout, but commercial success isn’t the only thing that matters, of course... well, okay, financially and statistically it is, but is the song any good? No, of course not. Don’s voice is very situational so placing his nasal riffing over intimidating bass knocks with an odd bass mix and a monotonous bell loop that sounds accidental just doesn’t work, especially if the song is going to refuse any attempt at being actually catchy. Whilst Future obviously fits well within these kinds of textures, his verse isn’t particularly interesting, and then we get to the Justin Bieber “verse” and it’s pretty clear that this is an attempt at bridging gaps like Travis Scott did so successfully on Rodeo, pitting Bieber against Future but his “verse” consists solely of droning Auto-Tuned repetition over a “psychedelic” beat that both goes nowhere and doesn’t end up feeling as much of a trip as it does just an unfinished demo, especially if Bieber’s going to put as little effort in as possible, seemingly not understanding the purpose of all the trap-rap he clearly listens to. When it comes to constructing a song, whilst Travis has his problems, especially in the mixing department, at least there’s ambition but with “Private Landing”, absolutely nothing happens between the first and final chorus that makes either stand out. Also, I guess Future’s really into feet now, which is brand new information.

#73 – “Freezing” – Mimi Webb

Produced by Andrew Wells and The Nocturns

Mimi Webb has released her debut album, Amelia, which debuted at #4 on the albums chart and the new single is seemingly less popular than “Mr. Brightside” by a decent amount. I could leave it at that, right? It’s a breakup track with an “anthemic” hook that sounds way clunkier than I think Webb realised before recording, going for that final wham line in the chorus that could work if it weren’t so tackily connected to the rest of said chorus. The synths are hazy and lacking in punch unlike the drum machines which just pummel cheap gated synthpop in your ears like a conveyor belt. Yawn.

#70 – “Right Hand” – Unknown T featuring Knucks

Produced by R14 Beats, Chucks and HONEYWOODSIX

Unknown T’s back with a song about his right-hand girl, who doesn’t understand his life but is still precious to him... I don’t care, there are no stakes and his verses are not really funny or interesting so I have no interest in this relationship. T has his awkward charisma that he always has, but it comes off as a bit on-the-nose when he’s rapping with obvious punch-ins over a very minimal beat with softer keys. His gruff ad-libs and flows that sound really bizarre under his constantly snivelling, menacing cadence just doesn’t really work over this instrumental. Knucks is way more predisposed to work on this material, and his flow is way smoother, telling a short narrative within the little time he has about this girl whose boyfriend is toxic so Knucks kills him, but only as an act of selflessness because he’s not interested in this “groupie” he’s now acquired. I mean, it’s misogynistic, sure, but at least slightly compelling compared to Unknown T? Regardless, there’s just not much to this song, so let’s move on.

#63 – “Rhyme Dust” – MK and Dom Dolla

Produced by MK and Dom Dolla

These little duos make sense for now, but the next one goes against that trend as much as possible. For now, however, Mark Kinchen teams up with Australian producer Dom Dolla for a song that may require a bit of a history lesson. In 1971, Kool & the Gang, legendary funk group, released a live album that contained the great jam track “N.T.”. Like many tracks from Kool & the Gang, it has been sampled extensively in hip hop over the years, by a grand roster of rappers including Nas, ScHoolboy Q, Dr. Dre, Run-DMC, Common and more, as well as several times by Q-Tip. Whilst several of Tip’s uses of the song’s drum break were in music by his group A Tribe Called Quest, he reached #12 in the UK as a solo act with “Breathe and Stop”, a catchy, percussive track produced by the late J Dilla that honestly I’m not a fan of. I just find it a bit dull, as whilst Tip’s verses are sometimes impressive, the flows are monotonous and the breathy percussiveness of it all ends up actually hurting the groove. Hey, if Q-Tip and J Dilla will fail, which they rarely did, they will fail in an interesting way. Naturally, 23 years later, MK and Dom Dolla scrape up some vocal loops from that song for a propulsive house banger that sets a pretty unsettling atmosphere at first with its door-knocking sound effects, sirens and incessant mantra from Q-Tip until the buzzy synths come in and the hype starts to click in... yet it doesn’t come immediately. Instead, a soaring, ambient synth gradually comes in aside a growing sprinkling of atmosphere, and by the time we get back to that lead synth, we’re without a bass. It’s a pretty intricate, club-ready track, but it’s also damn near eerie, especially since once that bass knock finally comes in the whole song becomes a minimal almost-pastiche of itself, using those same loops that are familiar to you but without much effort regarding an actual groove or melodic base, just fluttering out as soon as possible. It’s pretty difficult to hear how this came from a funk jam by Kool & the Gang until you realise how much this sounds like an essential moment of tension within a DJ mix, and that’s definitely one I want to hear. I’d be surprised if it lasted on the charts, but it’s a welcome addition to this week’s chart at least.

#59 – “Can’t Tame Her” – Zara Larsson

Produced by MTHR

Much like Miley Cyrus before her, Zara Larsson can’t be tamed, and is proving so through one of the tamest genres possible: an 80s synthpop pastiche. That is really a wild and untamed sound to tackle in 2023, truly. I don’t even know why I’m being sarcastic, I actually like the song a fair bit, given how the synths are ACTUALLY 80s in the way they stab in and out instead of always phasing in, and they hit particularly hard against the sweet pianos that add a lot of melodrama to the song. The writing is fun too, with Larsson observing this party girl who is unbothered by any attempt to tie her down, which I actually think is more interesting than her directly taking on that role. If I have a problem, it’s probably that the drums just don’t hit as hard as they really good, as whilst they are pretty choppy, I’d prefer for a fully propulsive and overwhelming rhythm section, yet the chipperness of the lighter production here, especially with the cheesy bass synth wobble in the second verse, probably fits the content more. Some of Larsson’s melodic tendencies and inflections are a bit awkward and stuffed in, but that’s pretty much a nitpick, especially since I love the infectious gang vocals in the chorus. The song does feel like Ava Max should be singing it, since she could actually kill that bridge with her performance that Larsson kind of dips out of, especially when she’s needlessly distorted in the mix, and Cirkut could add a bit more pulse to it, but Larsson holds her own fine and ultimately, it’s an insanely catchy pop song that I think will be a hit, and absolutely deserves to be.

#37 – “on the street” – j-hope and J. Cole

Produced by Pdogg

Our final duo, like I said, makes a lot less sense, though also more than you’d expect. Sure, j-hope is a member of BTS, and K-pop as an industry is very separated from American hip hop, especially the semi-conscious brand that Cole makes. As an art form however, K-pop cannot exist as we know it without its rap influences, and BTS is a group that made its rappers a large part of their music for much of the time that the band was together. j-hope has referenced and remixed J. Cole before, and he even met his idol at a festival last year, so the collaboration makes a bit more sense, especially given it’s been nearly a decade now since BTS first released their “Born Sinner” remix. Oh, and continuing the trend the last two songs set, this is seriously great. The whistle and acoustic guitar had me worried but against the overwhelming boom bap drums and record scratching, this has a really nostalgic pop-rap feel that j-hope matches with his melodic rapping (even though his verse is annoyingly short for all its passion), as well as the chorus that doesn’t show much vocal range but instead acts as one of those casual rap choruses that everyone can sing along to: if j-hope were to show more of his vocal prowess, it wouldn’t be nearly as casual and chill, especially with the multi-tracking making it sound like he’s hanging out with friends and they’re all singing together. Of course, we then have J. Cole, whose verse is absolutely transcendent. I am not a fan of Cole’s, in fact quite the contrary, but his more homely verses always get me, and this one starts with some flexing but it’s all founded in genuine anxieties that he’s gotten over, all with an effortless flow and slick rhyme schemes. The way the beat envelops around him when he gets into the compelling anecdote about why he personally believes in God is just really sweet and excellently crafted by Pdogg, especially with those smooth keys in the back and the distorted drum fills. Cole is definitely in his typical bag when going all meta and referring to his place in the rap game, but him contemplating retirement sounds a lot more genuine this time around, especially when his bars about a father crying when seeing his daughter walk down the aisle, and easing off to “let her grow”, in some ways mirror both the fact that j-hope will himself be enlisting in the military, as well as the fact that Cole has a record label now for his younger talent, that recently with JID and Ari Lennox is showing a lot more potential, meaning Cole’s preparing for his role as an elder statesman. It’s a fantastic verse then topped off by Cole showing his singing skills for once, with some of his most impressive harmonies backing j-hope in that final chorus, which really highlights the role model dynamic Cole balances against j-hope. Goddamn, a song by a BTS member and J. Cole actually made me feel something other than regret. I know it’s only in the top 40 because of those K-pop stan sales, but it’d be a breath of fresh air if it stuck around for any longer.

#30 – “Red Ruby da Sleaze” – Nicki Minaj

Produced by Go Grizzly, Cheese Beatz and Tate Kobang

“Never Leave You (Uh Oooh, Uh Oooh)” by Lumidee is a very interesting song. It’s an oddly ghostly, pitchy vocal performance over a percussive, kind of lo-fi drum pattern that not even Timbaland would have approached yet in 2003, yet is still mind-numbingly catchy. It hit #2 in the UK on release, and has since been somewhat of a staple, recently finding success as a sample for Chip and most notably Anne-Marie and Little Mix with “Kiss My (Uh-Oh)”, which is pretty fascinating considering how singular the song really is. I was pretty compelled by Nicki’s use of the sample since it kept the awkward intensity whilst adding Nicki’s similarly singular rap delivery, with some pretty detailed, aggressive bars dissing her competition... but with the chorus, the awkward, trap-adjacent percussion comes in alongside Nicki’s lazy, Auto-Tuned singing that never sounds good, and all of that intensity just leaves the song, since she ends up in goofy sex-rap territory once again. The second verse, once again, is pretty intense and uses the ghostly essence of the Lumidee track as a great foundation for some hardcore bars, even if she becomes less tense and more reminiscent of boring flexes as it goes on. Honestly, I know it wouldn’t have been a hit, but she could have just made a drumless track – she was raised in New York so a grimey, Griselda-esque sound would be a natural fit, and it would take out all of the need for the “contemporary” production since it would reach a more niche audience alongside her core base of fans who already buy everything she makes. I don’t think it would alienate nearly as many fans as she thinks it would, and it’s a shame that there’s a pop hook tacked on to what could be a heavy-hitting, toxic diss track otherwise. With Nicki Minaj, for me, it’s always been hit-or-miss, and yes, usually, within the same song as well, but I REALLY wished I could have liked this more because it could have been well up my alley.

Conclusion

Well, it’s an interesting batch of new songs and most of them are pretty alright. Worst of the Week easily goes to Don Toliver, Future and Justin Bieber for “Private Landing”, although I’m mostly blaming the producers... okay, and Justin Bieber. Mimi Webb bags the Dishonourable Mention like clockwork for “Freezing”, but as for our best it wasn’t even that difficult either. Of all people, j-hope and J. Cole take away Best of the Week with “on the street”, whilst I think MK and Dom Dolla are just barley eeked out by “Can’t Tame Her” by Zara Larsson for the Honourable Mention. All three of those songs really pleasantly surprised me. As for what’s next on the horizon, I suppose we’ll see what damage that Miley Cyrus album does, but for now, thank you for reading and I’ll see you next week!

[oof-i-did-it-agaaiiin]

One of my pet peeves in film is when a movie is good but it could’ve been great.

Spirited (2022) was an honesty brilliant concept and almost flawless execution, with some missed opportunities and one glaring fault. I wanna go over what I loved about it and what I would’ve changed.

This will contain spoilers.

First of all, I love that it’s a musical, and furthermore how much it embraces the fact that it’s a musical. I mean the choreography is incredible, and the music is catchy and doesn’t shy away from its musical theatre-ness at all. In fact, I could see this translating into a stage adaption really easily. 

Secondly, I love the concept. Seeing the inner workings of the afterlife in this universe is fun, and adding the layer that the Ghosts of Christmas were once alive adds intrigue, and on top of that adding the element that the Ghost of Christmas Present is Ebeneezer Scrooge himself is brilliant. It gives new meaning to Jacob Marley running the operation, and seeing them working side-by-side adds some complexity to the relationship.

Speaking of I ADORE Patrick Page as Jacob Marley. He is the perfect fit for the role, both in his haunting form and out of it. I wish he had gotten more screen time in his chains and they hadn’t kept interrupting his song because you know he was cast for that deep, haunting voice of his and I wish we’d heard it more. 

I think the secondary cast was very good. Past and Yet-To-Come were funny and Octavia Spencer was charming and lovely as Kimberly, it’s wonderful to see her in the role of the love interest. Clint’s family tugged at the heartstrings perfectly, and Ryan Reynolds played a very entertaining douchebag but secretly lovable softie.

I think the themes of this movie were a natural continuation of the themes from the original book and, while not always consistent with the canon of the original book, felt faithful in its message.

Here’s my main contrivance though. The one main thing I’d change if I were able to.

Will Ferrell was wrong for his role. For one thing, I personally don’t think Will Ferrell is very funny. On top of that he’s just not a good singer. Like, at all. I mean everyone in this movie was at least a little auto tune, even the professional singers, but even all the auto tune in the world can’t stop Will Ferrell from sounding mediocre at best. Fine for musical cameo, but not for a leading role. Additionally, he’s not a very good Christmas Present, or Scrooge.

I mean, it makes sense for Ebeneezer Scrooge as we see him at the end of the book to become the Ghost of Christmas Present. He’s awfully jolly after waking up. But at no point in this film is Will Ferrell playing “jolly.” Present should be big and boisterous and loud and the kind of person where you can’t help but smile when you see them. 

Someone like Patrick Page.

That may sound out of left field but hear me out.

I know I already said he was perfect for Marley, and he is, but I think he would’ve suited the role of Present/Scrooge so much better than Will Ferrell does. Patrick Page has played Scrooge many times before so he has good experience with the character. While Page is known more for his cold, cruel characters he, plays warm, soft, and joyful well too. And this very movie is proof of that fact. I mean…

Look at that smile.

And perhaps most importantly, Patrick Page is fully capable of carrying a musical as its leading man. You know why? Cause he can fucking sing! Boy can he sing. And while the deep, gravely tone he’s known for may not be your first thought when you think Ghost of Christmas Present, it would work well for Ebenezer Scrooge, that’s for sure.

I know this movie is a comedy and Will Ferrell is a comedic actor, but honestly, I think this movie would work well if Present played a bit of a straight man to contrast with Clint’s constant jabs, with his joking being a way of him deflecting. That’s not to say Present can’t be funny, but I think Present being depicted as warmer, kinder, less witty and more of a guiding hand to Clint would make him a character you care more about and want to see succeed.