#which i myself only like the chorus of but he still sounds fantastic on the chorus so can't complain that much ig | Explore Tumblr posts and blogs

samaraannhan20 · 2 years ago

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Pete Davidson Imagine: Nonsense

https://youtu.be/ECVA6FvhdEE

Inspired by Nonsense by Sabrina Carpenter

A.n: I’m sorry for any inaccuracies, I know nothing about music production😅

“Okay, let’s go from the pre-chorus and chorus, then we’ll do the verses,” your producer says over the speaker as you walk back into the sound booth.

“Sounds good,” you say into the microphone as you slip your headphones on. You hear the music begin, and start singing the first chorus

“But I can’t help myself, When you get close to me, Baby my tongue goes numb, sounds like bleh, blah, blee. I don’t want no one else. Baby I’m in too deep. Here’s a little song I wrote, It’s about you and me. I’ll be honest, Lookin’ at you got me thinkin’ nonsense. Cartwheels in my stomach when you walk in, And when you got your arms around me, Ooh it feels so good i had to jump the octave. I think I got an ex but I forgot him, And I can’t find my chill, I must have lost it. I don’t even know I’m talking nonsense,” you finish, and grab your water as your producer starts talking.

“That sounded good, let’s do the first verse when you’re done getting a drink. After we get each of the parts recorded separately, we can do a run through of the entire thing, does that sound good?” he asks you, and you nod your head, then give the okay to start the music.

“Think I only want one number in my phone,” you sing, closing your eyes to get more into the music, thinking of your boyfriend, Pete Davidson. “I might change your contact to don’t leave me alone. You said you like my eyes and you like to make ‘em roll. Treat me like a queen, now you got me feelin’ thrown,” you finish the first verse, and open your eyes. “How was that?” you ask your producer who is sitting on the other side of the glass.

“It was great!” he responds, looking very happy. “Let’s do the second verse, and then we can go into the chorus, then the bridge. Sound good?”

“Yeah, just let me grab a drink really quick,” you respond, turning around to find your water bottle. As you take a sip you hear the people in the booth start saying hi to someone who just walked in. You turn around and look out the window and see Pete standing there. You quickly close up your water bottle and yank open the door that separates the two rooms. “Pete!” you exclaim, rushing over to him and jumping into his arms, which he was holding out for you. “What are you doing here? I thought you had an SNL rehearsal?”

“I did, but it ended early, and I knew you would still be here, so I thought I would come hang out while you recorded. Oh, and,” he says nodding his head behind him, “I brought Colson.”

“Hi Colson,” you say, moving your head so that you can see him standing behind Pete. he waves back at you, and Pete lets you down. “Well, I’m going to go back in there,” you say, suddenly shy, because you realized the song you are currently recording is about Pete, and he brought Colson with him, who is famous for his music career. Fantastic, this isn’t nerve wracking at all you think to yourself as you get situated again in the booth. You sit for a minute and get situated again, before giving the okay to your team to start the music. As the music starts you can feel the nerves start to wash away as you close your eyes and get back into the music.

“I’m talking, I’m talking. I’m talking all around the clock. I’m talking hope nobody knocks. I’m talking opposite of soft. I’m talking wild, wild thoughts. You gotta keep up with me. I got some young energy. I caught the L-O-V-E. How do you do this to me?” you finish and slowly the music stops.

Looking through the window you can see Pete and Colson sitting on the couch and smiling at each other. You get off the stool you were sitting on, and walk through the door into the rest of the studio. “What do you guys think?” you ask, going to sit next to Pete for a second.

“I think it sounds amazing, Y/N,” Colson says, holding his hand out for a high five, which you give him.

“I agree baby,” Pete says, leaning over and placing a kiss on your neck.

“Thank you guys,” you say with a laugh, and then stand up. “We’re gonna go through the whole thing now, so you’ll get to hear the whole thing together,” you say, walking to the door. You go back in the sound booth and put your headphones on, then think of something. “Hey,” you say to your producer, and he looks up. “After I finish, keep the extra music going, I’m going to do an outro,” you tell him, and he nods his head. The music starts, and you get into it. This time the music has your backgrounders in it, and it sounds even more put together.

“Think I only want one number in my phone, I might change your contact to don’t leave me alone. You said you like my eyes and you like to make ‘em roll. Treat me like a queen, now you got me feelin’ thrown.

“But I can’t help myself, When you get close to me, Baby my tongue goes numb, sounds like bleh, blah, blee. I don’t want no one else. Baby I’m in too deep. Here’s a little song I wrote, It’s about you and me. I’ll be honest, Lookin’ at you got me thinkin’ nonsense. Cartwheels in my stomach when you walk in, And when you got your arms around me, Ooh it feels so good i had to jump the octave. I think I got an ex but I forgot him, And I can’t find my chill, I must have lost it. I don’t even know I’m talking nonsense. I’m talking, I’m talking. Blah, blah, blah, blah, Uh-uh-uh-uh. Ahh. I don’t even know anymore. Ohh,” you finish the song, then start making things up as the music keeps playing, keeping with the rhythm of the song.

“This song catchier than chicken pox is,” you say, the smile on your face growing. “I bet your house is where my other sock is,” you say, seeing Pete and Colson laughing through the window. “Woke up this morning thought I’d write a pop hit. How quickly can you take your clothes off pop quiz?” you say, full on laughing at this point. “That one’s not gonna make it,” you laugh looking at your producer. “Most of these aren’t going to make it,” you say, slipping the headphones off your head as the song ends. You quickly walk back through the doors, and sit next to Pete on the couch. He wraps his arms around you, and lifts you to be sitting on your lap.

“Give us a minute Y/N, and we’ll have it ready to listen to,” your producer says.

“Awesome, and then we’re done recording! Just have to choose an order” you reply with a slight chuckle. You slide off of Pete’s lap and stand up and hold out a hand. “Hey, Y/P/N, we’ll be right back. I’m going to go see what snacks are in the break room,” you say, and pull Pete out of the room. You walk down the hall side by side, with you keeping a hold of his hand to make sure that he follows you into the right room. “So, what did you think?” you ask him, looking up at him through your eyelashes. “Be honest,” you blurt right as he opens his mouth to respond.

“Honestly?” he asks, and you nod eagerly. “Honestly, I’m jealous of whoever that song is about,” he says, smirking down at you. You let go of his hand as you walk into the break room, skipping over to the fridge.

“What do you mean?” you ask him coyly as you grab a water bottle out of the fridge.

“Well, I could tell that you really care about whoever it was you were singing about,” he says as you hand him a soda.

“You dummy,” you say, slapping his arm gently. “I wrote the song about you. You’re the person who has me thinking nonsense.”

“Oh. OH,” he says, when he realizes.

“Yeah,” you say, looking down. Although you and Pete had been dating for six months, you had yet to say the three words to each other.

“Hey,” he says, using his hand to lift your chin up. “I wanted it to be in a more romantic setting when I told you, rather than the break room of your recording studio, but, well, I love you,” he says, still holding your chin in his hand.

“I love you, Pete. That song was kind of my love letter to you, that’s why I got kinda shy when you showed up and I had to record it in front of you,” you say, looking up at him through your eyelashes. He leans down to kiss you, fiercely. You wrap your arms around his neck and deepen the kiss. Before you know it Colson walks in to find you sitting on the counter in the break room with your legs wrapped around Pete, deep in a makeout session.

“Um, ahem,” Colson says, laughing, as you two suddenly break apart and you bury your face in Pete’s chest as he turns to look at Colson.

“What man?” Pete asks him.

“They finished the song. They’re ready for her to hear it,” he says, still laughing. Once you realize what he said, you push Pete away, jump down, grab his hand, and pull him all the way back to the studio.

After you listen to the song, you and your producers decide to call it a day, and you, Pete, and Colson head out to celebrate the fact that you just finished your album.

#pete davidson #pete davidson imagine #pete davidson fanfiction #pete davidson x reader

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halfseoulco · 2 years ago

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“Black Eye” — VERNON: A review

Published Friday, December 23rd, 2022 — Hello. If you are reading this right now, I am writing this review from the afterlife.

Introduction

Vernon is the latest member of SEVENTEEN to release a solo record this year, following Woozi, The 8, Hoshi (although they still won’t put “Tiger” on Spotify for reasons I cannot fathom), and Jun—and boy, does he know how to make a statement.

Prior to its release, Vernon revealed that “Black Eye” leans more towards the pop punk genre. Now, genre is very fluid in the current landscape of the music industry—especially in KPOP, where producers and composers are constantly blending different genres together and experimenting with sound to create something totally unique. However, pop punk as most people in my age group who maybe grew up going to Warped Tour and all-ages shows in small, packed venues with mosh pits know it has a very strong sonic identity as a genre. As a matter of fact, the first artist that came to mind when I heard the overall sound of this song was The Story So Far, whom I was actively listening to circa 2013-2017—alongside other well-known pop punk groups such as Knuckle Puck, Neck Deep, and Real Friends, just to name a few. Although Vernon has lived most of his life in South Korea, his collaboration with fellow Korean-American member, Joshua, “2 MINUS 1″, proves that he is still very much in touch with genres that are considered more Western—including pop punk. “2 MINUS 1″ was a beautiful deviation from what SEVENTEEN is known for and it is so thrilling to see Vernon continue to pursue those veins of sound in his own work.

The Sound of “Black Eye”

“Black Eye” has the kind of the sound that can only be described with certain words and phrases: “summer break”, “driving on empty streets with the windows rolled all the way down at midnight”—you know the kind of vibe. It also screams teenage angst, which is relatable and dare I say tangible, even to those who have long since left their teenage years. The music video itself is relatively simple conceptually—and too short for my liking—but it invokes the kind of nostalgia that I think most twenty-somethings are still holding onto. Personally, my favorite thing about “Black Eye” is that Vernon is singing. As a member of SEVENTEEN’s hip-hop unit, he’s largely considered a rapper—but Carats know that the unit doesn’t define or limit the individual member’s capabilities—and we also know that Vernon is a fantastic singer. I’ve always liked his singing voice—and his voice in general. It’s deep but not too deep, a nice, even timbre that feels warm and a little husky—which helps him lean into the genre very easily. Honestly, if I had no idea who he was, you could tell me that he was the lead singer of a band and I would ask when they’re touring.

Looking at the Lyrics

I’ve spent a lot of time talking about the soundscape of “Black Eye” but let’s talk about the lyrics. Carats know Vernon to be the kind of person who speaks his mind; and he has admitted that he speaks rather bluntly. He doesn’t let other people define him—he does what he thinks is right and doesn’t care what others think of him. This approach to life is embodied in the chorus, in which Vernon sings, “I’m on my worst behavior. How you like me now? Put a muzzle on me, I’ll spit in your mouth. Wake me up from this nightmare, please. A scar and bruise with a black-eyed face.” He is also considered one of the more reserved members of the group, keeping to himself at times and getting lost in his own world, as illustrated by the lyrics “I got a couple friends, just me, myself, and I. We play with fireworks all night. I’m okay.” There’s a certain layer of self-deprecation here, if you will, that is prevalent in many songs of this genre—the belief that one is self-destructive and will destroy anyone or anything who gets too close. Keeping people at arm’s length is a form of self-preservation and as much for one’s own protection as it is for others, which is an interesting idea to consider, since Vernon is so full of love for the other members of SEVENTEEN and for Carats.

Conclusion

Anyway, please excuse me while I try to wrap my head around this gift that we’ve been given.

GENIUS LAB USA RATING: Let’s dance all night long.

#GeniusLabListens #VERNON #SEVENTEEN #Black Eye #KPOP #Korean Music #Album Review #Choi Hansol #Chwe Vernon #Choi Vernon

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upalldown · 2 years ago

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Suede - Autofiction

Ninth album from the English alt. rock group which they describe as their punk record was produced by Ed Buller

8/13

As well as showing our age, that period also speaks to Suede's incredible longevity; not many bands have successful careers as long as Suede, and, of those bands at a similar career stage, few are capable of producing an album as good as Autofiction.

The band have spoken about Autofiction being created to replicate their live power, and that ambition is well realized here. The albums the band have released since Bloodsports, their first album post-reunion, had tended more towards their experimental side, with the actual depth of the songs shining through when the albums were toured. Autofiction comprises eleven songs that sound like they were recorded by a band ready to unleash them live, and the album benefits from that approach.

"She Still Leads Me On" starts the album off on the front foot with post-punk guitar lines bringing to mind "Ceremony" by Joy Division and Brett Anderson sounding as good as he has ever sounded. One thing that jumps out on Autofiction is Brett's vocals. There's confidence and real power to them, which backs up his belief about the band's current performance levels when discussing this album and its recording process.

Certain songs on Autofiction celebrate the band's early high points, with "Personality Disorder" having a Suede era-like title and sounding like a song that could have come from their debut. Similarly, "15 Again" recalls Coming Up, its chorus as poppy as anything the band have produced since then.

"The Only Way I Can Love You" and "The Boy On The Stage" keep the pace up with Anderson again sounding fantastic on the latter before the Dog Man Star-like drama of "Drive Myself Home" slows things down slightly. It's a glorious song and one of the album's standout tracks.

"Black Ice" also recalls Dog Man Star, bringing to mind "This Hollywood Life" or "New Generation", and another standout, "Shadow Self", follows. The penultimate track, "What Am I Without You?" is one of those songs that only Suede can do well; only they can bring that dramatic feel to a song. Autofiction ends on "Take Your Brain Off And Yell", a muscular, pounding end to an album by a band sounding fresher and more vibrant than they have in a long time.

To continue to produce quality albums more than 30 years into a career is one thing, but to produce an album as full of quality and as energetic as Autofiction is far more impressive. With this album, Suede again shows that they are a band full of surprises. At next March's concert, I cannot wait to see how these songs come across live. While my friends and I may not have the energy we did in 1994, Suede certainly seem to. Long may they continue to have that,t and long may they carry on.

youtube

https://www.xsnoize.com/album-review-suede-autofiction/?amp

#suede #autofiction

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barbariccia · 4 years ago

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it’s time to talk about Hydaelyn.

i’ve been sat on this theory for a long time - i’m pretty sure i didn’t come up with the original idea myself, but the more i think about it the more it makes sense to me. i’m not sure HOW it’ll come into play in the story, necessarily, but the new year’s eve poem posted last night has me rubbing my chin even more. so:

Hydaelyn exists under Silvertear Lake and i won’t hear no for an answer.

(please note there'll be spoilers for 5.0.)

we have known since 1.0 that there’s Something Under Silvertear. admittedly, in 1.0 it was likely just Midgardsormr, because the times have been a-changing and while the dev team has done a truly admirable job at building on what lore remained from the 1.X days, they couldn’t and didn’t keep everything intact. i do not at any point consider this a downside, just something worth noting!

the Garleans, headed by Gaius van Baelsar (acting under solus-selch’s orders), after the invasion and successful annexing of Ala Mhigo, pushed into Mor Dhona as the next part of their “invade Eorzea” project as a central location that would make continued pushes into the land easy. not only that, but Mor Dhona is noted as being (and has been since 1.X) the center of aetherial connections in Eorzea, if not the whole world, though Eorzea is particularly topped up with aether compared to other landmasses. Cid Garlond in his 1.X iteration suggests that Mor Dhona is where aether returns to rejoin the Lifestream. Quote:

Cid nan Garlond: All aether would - should pass through Silvertear Lake upon returning to the Land, but it now appears that something is bending the energy's course - drawing it away.

in 1.X, Nael van Darnus was originally drawing Dalamud down to fall on this area, where Castrum Novum (now Castrum Centri in ARR and beyond) was built, until adventurers put a stop to that and the transmitter was relocated to Coerthas, where the Rivenroad was ripped from. I’ll accept it as a happy coincidence - the castra was built in this area, it makes sense for plot events to happen there - but it does strike me as interesting, especially where the parallel between the Garlean’s Meteor Project and the original Meteor from FFVII is concerned. Sephiroth wasn’t just calling down a giant slab of asteroid for shiggles; he was doing it specifically to create a wound in the Planet that would require an immense amount of energy to heal that he could siphon off of and become a god. If XIV’s Meteor had hit (and not hatched like an egg), a similar thing might have happened.

And there’s no better place to call a lot of aether to the fore than somewhere entirely rich in it. Almost like there’s a great being in that area dependent on aether that directs the Lifestream through itself to preserve not only itself, but all life on the planet.

The second the Garleans got too close to the lake, Middy burst out with a whole host of Dravanians and the Battle of Silvertear Skies began (and ended with Dravanian victory at great cost). This sequence from 1.X is notable as being one of those things that has to have been changed from ARR onwards considering what we now know about primal summoning (they weren’t just ‘let loose’ into the world, they’ve been actively taught to certain peoples (though why only ‘now’ and not ‘before, too’ is still up in the air)) - not to mention we know that the Echo started manifesting after the battle, too, almost as though something felt like it was in danger and needed thralls (1) to protect itself - but Middy came out to protect something. He’d been known as the great protector of Silvertear Lake for a very long time, since he first appeared to the source. Quote The Rising Chorus, from patch 2.5:

Minfilia: [...] an unlikely ally came to Eorzea's aid that day─Midgardsormr, legendary guardian of Silvertear Falls, burst forth from beneath the waters of the lake and led a host of dragons against the Garlean airships overhead.

Minfilia: Midgardsormr was once worshipped as the guardian deity of Silvertear Falls [...]

Minfilia: One of the ancient myths regarding Silvertear Falls states that when the waters came into existence, so too did the great wyrm. Althyk and Nymeia, Brother Time and Sister Fate, decreed that Midgardsormr ever watch over the source, from which all water─and magic─was said to flow. I wonder... What if this was the covenant of which he spoke, and 'twas not the gods with whom he treated, but Hydaelyn Herself?

minfy and ourselves can only guess as to the nature of the covenant forged between hydaelyn and midgardsormr. Following the Omega questline, we know that Midgardsormr fled the Dragonstar with his seven eggs to get away from Omega, crossing the vast expanse of space at great cost to his own personal strength. We don’t know at what time Midgardsormr appeared to the Source - whether it was before, during, or after the time of the 13th Reflection being turned into the Void as we know it - but it would have been post-Sundering of the Ancient world, considering he was able to make a pact with Hydaelyn at all (2) (not to mention there’s no dragons on the First; if there were dragons everywhere we’d know they were reflections of the First Brood! i’m still angy there’s no Azdaja and Vrtra. fucking PLEASE squenix i’m DYING for info on them).

(1) this is a good a place as any to mention that in 1.X, Minfilia - then known as Ascilia - witnessed the Battle of Silvertear Falls with her father Warburton and her Echo awoke a few years later. interesting to think that the primal that tempered Ascilia in potential desperation would later scour her clean and use her for its own purposes, though i know this wasn’t intentional from the devs at all as a plot-point.

(2) the nature of Hydaelyn and Zodiark’s battle makes me doubt that there was much time between Her summoning and the Sundering of the world

There’s an interview from 2014/15 with Koji Fox where he notes, quote,"There's a presence [at Silvertear]. It wasn't just Midgardsormr there, it was more of a force[...]". There’s definitely something there that isn’t just the dragons. Something big. It’s Hydaelyn!!! It has to be. (highlights in the excerpt mine.)

My interpretation of this event is that Midgardsormr agreed to protect the physical ‘body’ of Hydaelyn in exchange for the safety of his eggs - the First Brood - which is what he’s been doing for potentially upwards of 10,000 years. The battle at Silvertear is pretty explosive otherwise for what’s effectively a non-event. There might not have been dragons in Gyr Abania, or in Ilsabard, or Othard or anywhere else they’ve been pushing into - but there’s never been any indication of the dragons being particularly territorial. The Dravanians shared their space with proto-Ishgardians back in the day, and their issues with the elezen of the Source was due to some choice eye-vorage, not encroaching on lands like the sahagin and kobolds.

As for Hydaelyn’s physical form - well, it’s known that Zodiark has a physical form which was sealed directly into the moon. The true moon, known to us colloquially as Menphina (3) (is there another name for it? i haven’t seen anything). It stands to reason that Hydaelyn has a physical form as well, then, hidden away somewhere safe, because as we known, primals can be defeated and their essences scattered to return back to the Lifesteam.

(3) Hey, it’s worth noting here that Menphina, the Lover (whose divine stone is parked right where Haurchefant’s grave is) is said to be the younger sister of Azeyma, the Warden! and boy, while we’re thinking about the misremembered names of the Convocation coming back as names of gods in modern day, what significance does that have?

The Antitower: In all of creation, what greater mystery could there be than the fate of this very star? To sound the deepest depths, to study the aetherial sea itself─for these purposes and more was the Antitower built. Abandoned by her Sharlayan caretakers following the exodus, it has since been overrun by the magical guardians they left behind. Yet were one blessed with Her gift to brave these dangers and descend to the furthest reaches─to hear, feel, and think at the heart of this world─what would they find?

(emphasis mine.)

in the cutscenes following the Antitower, we meet Hydaelyn in the aetherial sea, and Her mouthpiece, the Word of the Mother. and by using the Antitower, something specifically Sharlayan-built, no less. I’d be very interested to know if you can reach the aetherial sea from only the Forelands, where that dungeon is, or from anywhere. I’m gonna make a stab at anywhere.

It’s been brought to my attention that in the cutscenes post-Antitower, Hydaelyn mentions in the quest The Word of the Mother (patch 3.2), and Ardbert echoes later in Shadows of the First (patch 3.4) that “across ten and three were [we] then divided, reflections of the source, each possessed of a shard”, which seems to imply that not only the people of the world and Zodiark, but also Hydaelyn Herself was sundered and became weaker in so doing. which is FANTASTICALLY interesting, all things considered! maybe She wasn’t just becoming weak (and finding it harder to take mouthpieces and the like) because of the land’s aether being drained by primals (and other sources).

The just-released (as of time of writing) New Year’s Eve poem makes me think that the “last chapter of this story” might relate back to this in some way.

[EN]

Our progeny may never know Wherefore we look unto the sky Nor why we dig for truth below; We bear their scorn or watch them die.

[FR]

With our mouths closed, we pile stone upon stone, To form a staircase leading to the lands of knowledge, As well as another pointing to the heavens of existence. Our children will remember it, no matter how angry they are.

[GR]

Committed to our silent office We seek wisdom in the deep earth. Put tomorrow in starry hands, Sung by children's lamentations.

[JP]

By staying silent and saying naught, we will not accumulate the crystals(?) (4) To gain knowledge, we climb into the earth, To survive, we climb to into the heavens. Even if our progeny resent us, it is all for their sake.

(4) 石 meaning stone rather than ‘crystals’, 水晶 meaning ‘crystal’ (and used in the JP title of the Crystal Exarch).

*** translations from THIS reddit post and THIS tweet for the EU and JP translations of the poem, respectively.

something something 6.0 is looking more likely to be Sharlayan than anywhere else, something something big tower something something learn stuff from within the earth. c’moooon, i wanna go beat some answers out of crystal mom. walk freeeee indeed.

Getting away from the poems again and back to Stuff On The Source, we can take a look at the First, a much more pristine reflection of the Source due to having no Calamities happen to it ever. The Source (not to be confused with the Source), the equivalent of Silvertear, is being presided over by none other than... Bismarck, a member of the fae (and BOY i’d like to know more about whaleboi in this world!!!!), in exactly the same position Midgardsormr is, presumably protecting something of equal importance. Having said that, I don’t know if by splitting the world, Hydaelyn also split Herself.

Having said that, there’s an environmental anomaly in that area. Fly out to Bismarck’s (5) nose, and then dive under the waves. There’s a crystal formation coming out of the ground that can’t be found anywhere else on the First - there is nothing else similar to this formation - that has patches of light emitting from bits of it. A friend of mine noted that the way it seems to be coming through in only this location is almost cancerous in origin - that is to say, uncontained and Wrong in some manner, more complex than we have words or knowledge of. The only way you can interact with these crystals is in the level 78 mining levequest Crystal Meds, which notes that you can yank salt crystals out of that formation... but it seems a little too suspect to leave as ‘just salt’.

(5) Speaking of Bismarck, from that earlier interview with Koji Fox, he also has this to say, which... what else have you been hiding in plain sight... (highlights again mine.)

Or the Crystarium’s just going around seasoning their meals with primal mama, who knows.

Eep, this post got away from me. Anyway, i’m not really sure what to DO with any of this information. as many of my friends know i’ve been harping on about this for years at this point, and i’m not the best at speculation and guessing accurately where stories end up going - but it feels more right than ever to talk about it now after that poem was release.

hells, maybe they’ll give us another tower. say... a tower of bab-il, to take us to the moon? 6.0 FFIV expansion pretty please??

#ffxiv speculation #ffxiv #hydaelyn #final fantasy 14 #ff14

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taylorswifthongkong · 4 years ago

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Taylor Swift broke all her rules with Folklore — and gave herself a much-needed escape The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency. By Alex Suskind

“He is my co-writer on ‛Betty’ and ‛Exile,’” replies Taylor Swift with deadpan precision. The question Who is William Bowery? was, at the time we spoke, one of 2020’s great mysteries, right up there with the existence of Joe Exotic and the sudden arrival of murder hornets. An unknown writer credited on the year’s biggest album? It must be an alias.

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore — a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner — delivered.

“The only people who knew were the people I was making it with, my boyfriend, my family, and a small management team,” Swift, 30, tells EW of the album's hush-hush recording sessions. That gave the intimate Folklore a mystique all its own: the first surprise Taylor Swift album, one that prioritized fantastical tales over personal confessions.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil — and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums — something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness — something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vain, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy?

That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies?

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

I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing?

I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

It was weird because I had never made an album and not played it for my girlfriends or told my friends. The only people who knew were the people that I was making it with, my boyfriend, my family, and then my management team. So that's the smallest number of people I've ever had know about something. I'm usually playing it for everyone that I'm friends with. So I had a lot of friends texting me things like, "Why didn't you say on our everyday FaceTimes you were making a record?"

Was it nice to be able to keep it a secret?

Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that?

Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness?

Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story?

I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House?

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

I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"?

F---ing fantastic.

And that’s the first time you ever recorded one on a record, right?

Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally?

I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change?

It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event?

I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor?

Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room?

I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first.

It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

"I almost didn't process it as an album," says Taylor Swift of making Folklore. "And it's still hard for me to process as an entity or a commodity, because [it] was just my daydream space."

I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn-of-phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere.

Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future.

I can't wait to see what comes out of this interview.

This interview has been edited and condensed.

For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

#ew #entertainment weekly #article #interview #folklore promo #folklore interview #quote #aaron dessner #jack antonoff #joe alwyn

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grace-likes-things · 4 years ago

Text

Beside Her

Peter Parker x Stark!Reader

A/N: uhh it’s been a while. Here’s this! And here’s to me posting a random one-shot every two years lmaoooooo. Disclaimer: alternate reality where no one died/left after endgame.

Summary: A mission Peter’s off the job for, and which goes terribly wrong.

Warnings: blood, major character death, this one is v angsty folks.

Word Count: almost 6k

~~~~~~~

“So, am I alright to go with?”

“No way, Peter. Your sling may be off but your arm can't handle the kind of wear you put it through yet. Give it another day or so.”

Peter sighs, exasperated, “But the mission’s tonight!”

“Nuh, uh, Pete,” my dad cuts in across the room, “You’re staying here, doctor’s orders. I told you we’d check, and we did, and Helen says no.”

“Mr. Stark—!”

“Not me, Helen, you really gonna combat her decision?”

Dr. Cho gives Peter a stern look, having had experience with his impulsively-gained-injuries before. He turns away, ducking his eyes, knowing not to challenge her.

“Peter it’s fine,” I say, hand on his good shoulder, “You’ll join us on the next one.”

“If—“ my dad buts in, “he doesn't go shatter half the bones in his arm again. And don't go assuming you’ll be on the next one, Y/N, I'm hardly supportive of you coming with tonight as it is.”

I sigh, turning stubbornly towards him as he waltzes out of the room, “I've been training for over 3 years, dad I—“

“Nope. Still my kid, don't push your luck. We’re t-minus 1 hour out, so go get ready,” and with that, he turns the corner and leaves.

“Sorry Pete, better luck next time.” Helen picks up her clipboard and departs, leaving us alone in the room.

I turn to Peter, who’s looking rather defeated about the fact that he won't be allowed on the first mission in three months. I nudge his shoulder playfully, “Hey, think on the bright side, now you get to snoop around the lab uninterrupted for a couple hours.”

He gives me a halfhearted smile, “Yeah? I still wish I could be out there with you.”

His eyes change into an anxious look. I look at him, sympathetic, and grab his hand in mine.

Since the snap, the fight with Thanos, and almost losing my dad, Peter’s had this protective, premature-guilt complex concerning the people close to him. We got lucky not losing anyone, but I think seeing my dad recover from mourning us and the near-death experience I had in the battle, he’s not really comfortable being separated from us in a fight.

“I know. But it’s relatively minor, from what I’ve heard. I mean — minor enough to convince my dad to let me tag along, so.“

“Yeah, I know. I just hate not being there to have your back.”

I lean into his side, shoving him playfully, “You suggesting I can’t handle myself?”

“Absolutely not,” and I see I’ve forced a grin onto his face, “Just think, ya know, maybe your dad’s had a few too many juice pops lately, and I gotta be concerned — I mean, a gain in weight could throw off his balance in the suit—“

“Oh! Throwing my dad under the bus here, are we?” I laugh, “That’s funny, maybe I’ll mention it to him later.”

“Kidding! Don't tell your dad I said he’s fat — he's not.” He hangs onto my hand as I stand from the med-bay bed, “He’s a very fit man, you know, for his age.”

I laugh, “This just gets better and better! I’ll make sure to tell him you think he’s old too after I get ready.”

I move to walk away, but Peter stops me, tugging my hand gently.

“Hey, but seriously,” he murmurs, “be careful tonight. Come back in one piece for me. Okay?”

“Of course,” I say, and lean my forehead against his, “And you have a fantastically boring night, let your arm rest. Don't get into any trouble.”

He kisses me long and gentle, “I’ll try not to.”

——————

Tonight’s mission was a fairly routine one. One of the lingering branches of Hydra left, hiding in a bunker and planning nothing good. We’d all been briefed on the most recent information about their weapons and tactics, and the team had decided tonight was the time to shut the place down.

I examine the repulsors in the palms of my suit, sleeker like Peter’s, but armed similarly to my dad’s. There’s about 15 minutes before we fly out, so I tuck my braids beside my neck — getting my hair caught in the helmet seriously blows — and make my way up to the launch pad.

“Hey, offspring!” my dad plants his hand on my head and shakes it, “You still wanna come along on this one? Sure you don't wanna stay home? Absolutely? Because you know, you’re welcome to, in fact, DUM-E's been missing you down in the lab, i’m sure he’d appreciate your company—“

“Nuh uh, old man, I'm going with. You said so.”

“Oh, so I’m old now? You know, I did end up with an extra five years than you, so you can cut me a little slack.”

I laugh and walk onto the quinjet to meet the team, “Never.”

————————

“You all remember your assignments?” Steve asks, “Me and Sam, Tony and Wanda, Nat and Y/N.”

A chorus of yes’s and nods follow, as if this wasn’t the fourth time we’d answered that question.

The ride to the bunker is relatively boring, other than my dad pestering me with Stay with nat, and don't get distracted, and be careful, and don’t do anything I would do, and definitely don't do anything Peter would do. Nat and Wanda chuckle at my situation from across the quinjet, and it was getting pretty old by the time we landed a bit outside the target.

Once we’ve all gotten set with weapons and coms, we start out on the jog to the bunker. Upon arriving there, Nat and I are tasked with stealing a hard drive that contains targets and weapons data. From what we know, it’s in a room close to the center of the building, so we have a long way to go while trying to get noticed as little as possible.

My dad tells me to stay safe and call for him if needed before we part ways, and Nat and I are alone in a dark hall.

“Alright,” Nat whispers, “We move toward the center of the bunker, 4 floors down, we’ll use the vents if we have to. They might cause a scene somewhere else, but our job is to keep hidden, all the way in and out if we’re lucky.”

“And when are we ever lucky?” I murmur back with a smirk.

“Don’t jinx it, kid, let’s go.”

For the most part, the beginnings of the mission are easy. We used Friday’s heat signatures for a full week to map out the guards’ schedules, so we knew what halls to stick to and when. Making our way to the less-monitored maintenance stairwell, we walk in silence, keeping an ear out for updates over the coms. Just as we reach the bottom of the third flight of stairs, a pair of guards walks through the doors.

“Hello, boys,” Nat says and quickly turns to me, “I’ll take the tall one.”

With that, we spring to action.

The pair raise their weapons toward us, but Nat quickly disarms the man across from her while I blast the gun from the shorter man’s hand and drag him through the doorway before he can reach the alarm on the outside wall. Slamming him into the stair railings, he tries to get rid of me by throwing a headbutt my way, but my suit takes the brunt of the impact. Pulling my arm back and releasing his wrist, I aim a punch square at his face and hear a crack when it lands on his nose. After a disdainful grunt, he shoves me back and tries to kick my legs out from under me, but I quickly grab hold of his ankle and yank up. The man lands harshly on the floor, and one kick is all it takes to knock him out.

When I look up, Nat has already beat her opponent and is checking the outer hall for more guards. “It’s clear,” she says, and we both take the ankles of the two guards and drag them through the door into the nearest room, tying them up securely before jamming the door in place.

“I hope they enjoy a nice nap, let’s keep moving,” Natasha says, and we make our way back to the stairwell.

Finally on the fourth lower level, we hold ourselves with a bit more caution. This is where they guard more heavily, and we still have quite a ways to travel before we’re near the center of the building. With light steps, we make our way down the dimly lit halls, occasionally ducking through doorways and turning corners to avoid passing agents, guards and other workers. It seems as if most of the work they do happens down here, as we constantly see high-ranking members and people in lab coats muttering to one another as they roam the halls. I’m only able to catch a few words of any given conversation, and of the ones that were spoken in English, none of them sound pleasant.

Nat and I travel fairly uninterrupted for the next few halls before she stops me and says, “Alright, we’re close to the center now. The hard drive we need is going to be in a lab somewhere around here, so we’re checking rooms. If there are any heat signatures, we clear it together. If Friday doesn’t pick any up, we split and multitask.”

I raise my eyebrows, “Oh? Going against my dad’s orders, huh?”

She gives me a wry smile, “You seem to be able to handle yourself, and it’ll get us out of here faster,” she points at me, “Just don't make me regret it.”

I laugh, “I won’t.”

And with that, we start scanning the upcoming rooms.

The first room we check has a few Hydra agents inside, so we clear it together, check the computers for the right information and come up empty handed, breaking the doorknob and continuing on. We go about this for a while, knocking out the occupied rooms together, splitting up to clear empty rooms, checking for the right hard drive, and moving on. It’s tedious, but no alarms have been activated so far, and we make a good team.

Now very close to the center of the bunker, we come upon another few rooms free of heat signatures, so we once again divide and conquer. We have to be getting close now.

“I’ll take this one on the left, you’ve got the right?” I ask, walking carefully toward the door.

“Gotcha, call if you find anything.”

I open the large metal door and take a cautious step in, examining the room around me. There are no lights on, so I use a light on my suit to see my surroundings.

It’s strange, the room is large with high ceilings, but is pretty much empty. A few scraps of metal and packaging are strewn about the floor. Concrete floors and dark walls line the place. I take a few steps further in to double check that I haven’t missed anything, but all I see is one door on the opposite side. I turn back to exit when the entrance I came through slams shut in front of me. Alarmed, I run forward and try to open it, but the handle won't budge.

“Nat!” I whisper hushed through the coms, “The door shut behind me, can you get it from the outside?”

I hear her footsteps approach from the other side and the sound of her trying to open the door, “I can't get it, and the lock must be electric, there’s nothing to pick. How’d this close on you?”

“I don’t know, I didn’t see it.”

I hear a new voice over the coms, “Wait, did you two get separated?” My dad’s voice resounds with a hint of anxiety, “What did we talk about, Y/N? I said to stay with—“

“I tried! Not my fault the door shut behind me.”

“Well you should’ve gone through the door with Nat in the first place!”

“Hey!” Natasha’s voice cuts in, “While I would love to listen to you two bicker, we’ve got a job to do. She’s fine, Tony, we’ll figure it out.”

“I could just blast the door handle—“

“No, Y/N, it’ll be too loud, we’ve gotten this far without being noticed.” I hear Nat huff through the door, “It’s in our best interest to keep it that way. Friday’s telling me there’s another door, leads out to a hall. I can go around and meet you there. It's further toward the center, so at least if you have to blast the thing down we’ll be closer to the target.”

“Sounds good, I’ll wait for you,” I say, and with that, Natasha stalks off through the halls.

I turn to make my way across the room, walking leisurely. This place really is unusually huge for a seemingly-unused underground room, about the size of a school gymnasium. I’m wondering if it may have been used for storage or training when I hear a noise to my left.

Turning swiftly with my guard now up, I see a male guard walk through a side door. Another entrance? How did I miss that? I ready my fists in a fighting stance and call through the coms, “Hey Nat? This room was occupied, I’ve got it handled for now but you might wanna make it here quick.”

Strangely, I get no response, but I don't have time to dwell on that fact because the man is charging toward me.

He’s a good fighter, and we both land some hard hits as we combat to occupy the room. I flip over him and blast him into the wall, but he recovers abnormally quickly and rises up again for more. I land another punch to his stomach once he’s in range, but he quickly grabs my wrist after and squeezes with inhuman strength, crushing the thin-design gauntlet on my hand. The metal cuts into my palm before tear what remains off and launch him over my shoulder onto the floor. I move to kick his side but he grabs my leg and throws me off balance, and my back hits the floor in a harsh slam. Groaning, I try to sit up as the guard grabs a metal pole off the floor — oh shit — and slams it onto my other palm, crushing my second gauntlet. Two hands now bare, aching, and unarmed, I continue to fight at a slight disadvantage. But I’ve trained for years, I can handle this.

It turns out maybe I couldn’t handle it.

The guard has to be one of Hydra’s human experiments, because he’s stronger than the average adult. I struggle to gain the upper hand for several minutes. He's had me pinned me to the ground, and just when I think his weight is lifting off me he brings down the pole on my side. Hard.

I groan and curl away. Even through the thin — and now damaged — metal of my suit, the blow took the air out of me. I press my palms to the cold floor to push myself up, but another blow strikes my back and I collapse forward. Finally, the man grabs a fistful of my hair and slams my head into the ground, and a ringing suddenly starts in my ears. Dizzy, head aching, and barely able to think, the next thing I register is being dragged across the room to the opposite wall by my wrists, which are then cuffed in front of me.

And strangely, the guard who put all that effort into beating me walks out of the room.

“Hey!” I shout, “What’s going on, asshole!? Come back here!” But he doesn’t return, and shuts that same side door behind him. I groan in frustration, head still pounding in pain, and try to reach the team again, “Anyone hear me? I’m still in this room, my gauntlets are broken and I'm cuffed, anyone around?” No response, “Hello?”

I’m starting to think Hydra somehow interrupted our signal when another noise distracts me from across the room.

The door opens once again, and this time five people exit. Four guards and…

Peter.

A chill surges down my spine.

They’re dragging Peter into the room.

“Peter?” I call out, panicked, “Hey! What are you doing with him?”

He’s dressed in plainclothes, so he didn’t come here as Spiderman. He doesn’t look like he’s in the best condition, slumped and hardly fighting the guards who are carrying him to the center of the room. My mind starts racing with all the things they could’ve done — what’s wrong with him? How could they have hurt him so badly he isn't able to fight back, especially with his strength? I need to get him away from them, but if these four guards are anywhere as strong as the last, I need a plan of attack. Or backup. Where is the team?

And how did they get to Peter? Peter Parker, not Spiderman, so not out on the streets — he was supposed to be in the lab tonight. Did they get into the compound? Is anyone else hurt? My mind keeps spiraling into more and more panicked thoughts, and then I hear him.

“Y/N?” He calls out, “Where are we?” His voice is raspy and slurred, and I think they must’ve given him something, some sort of drug. I’m about to call back to him when a guard lifts him up and punches him in the stomach.

“No!” I shout, raising up to my knees and then beginning to stand before one of the four guards points his gun at me. I stay there, kneeling before the scene, not knowing what to do to stop either of us from getting hurt. The three remaining guards begin to beat on him again, kicking and punching and Peter is too delirious to serve any resistance other than curling up and grasping weakly at the ankles of the men hurting him. I can hear his pained whimpers, and my heart squeezes in my chest, I feel tears building in my eyes.

“Stop! Stop hurting him, what do you want?!” I scream, wanting to get closer to him but still at a stand still with the fourth guard, “Come on, tell me what you want! You’re not getting anything by just beating him!”

The three guards pay me no regard, but the fourth, still pointing his gun at me, snickers as if I’ve said something funny.

Peter is still at their mercy, receiving hit after hit and a voice in my head tells me, they’re gonna kill him. You have to do something or they’ll kill him.

“What do you want? Come on, what is it?!”

And with a heavy accent, the man says, “To cause you misery.”

The chill returns, and I decide — despite my terrible odds — that I have to get them away from Peter.

I get my feet firmly under me.

I charge toward the guard with the gun, bracing myself.

And he does something I didn’t expect.

He turns the gun on Peter.

I hear three shots.

“NO!” I scream, my eyes go wide and I drop to my knees once again, facing Peter and crawling toward him, “No, no, no, no, no!”

The guards shuffle back into the shadows, laughing, seemingly done with their job, but all I can see is Peter.

I’m frozen for a second, staring, shaking, unable to process the scene before me. He lies on his back, staring up at the ceiling, hands grasping at his chest where blood has begun to pour from three wounds. I race toward him and drop to the ground at his side, placing my cuffed hands firmly over the holes in his chest.

“Peter?” I say, my voice tight and choked, “Hey, hey listen to me, you’re gonna be okay. The rest of the team is here, my dad is here, he's gonna get us out, okay?” A few of my tears leak down onto my hands, running into the blood that now stains them.

“Y/N?” He mumbles, hardly able to speak.

“Yeah, it’s me, I'm so sorry,” I sniff and try to keep my throat from closing up, “I’m so sorry I couldn’t stop them but you’re gonna be fine, Peter, we’re gonna get help.”

His face is twisted in pain, and when he tries to speak next, only a cough comes out, and blood bubbles out over his lips.

I fail to hold back a sob and move my hands to his cheeks, “Shh,” I try to get out, but it comes out shaky, like a whimper, “Shh, don’t— don’t try to talk.”

His eyes look into mine, I can see the pain behind them as he lies there, struggling to breathe. I stroke his cheek, and only now come to notice the blood I’ve painted there. I sob again. I don't know what to do, I don't know what to do, I don't know how to help him.

Can I?

Is it too late?

I cradle his head across my thighs, take one of his hands in mine and leave the other on his cheek, trying to provide some sort of comfort.

“I’m sorry, Peter, I’m so sorry, I’m sorry,” and I just keep saying it, breathing it out and heaving air back into my lungs between sobs. Tears are constantly tracking down my face now, and i’m doing all I can to subdue them while he’s still conscious, still looking at me.

My mantra of apologies keeps repeating, and my thumb keeps stroking along his cheek, and I don’t know how long I sit there, crying, mumbling, desperately hoping someone comes to help us before I notice him release a slow, defeated breath.

In, out.

“Peter?” I mumble. My blood freezes in my veins. My breath stills. I wait for his chest to rise again. I watch and pray for it to happen. Please, please, please.

It doesn’t move.

A long, whining sob erupts from deep in my chest as I drop my head and cry, and cry, and cry above him, “No, no, no, no. Please, no.”

I sob, loud and painful, unable to take a breath in anymore. I shut my eyes and don't look up because I can't look at his face — his eyes are still open his eyes are still open.

I’m never gonna see him again,

I’m never gonna hear his voice again,

I’m never gonna kiss him again.

The pain in my chest gets worse and I feel dizzy with the force of my sobs.

And then suddenly there are arms under mine, and I'm being dragged backwards.

Away from Peter.

“No, no, no, no, let me go! Let me go!” And what i’m saying is barely coherent between the sobs, “Let me stay with him, please, please!” But the arms hooked under me don't relent, no matter how hard I pry at them, no matter how hard I kick and scream. He’s getting farther and farther away from me, alone in that room, and I can't bear the thought of it.

“Please, let me go!”

And suddenly I hear my name, as if through a haze, but I can’t make out who’s saying it. I don't really care. I have to get back to him, I have to stay with him, I can’t leave him alone.

“Y/N— “

“Y/N it’s us! Come on!”

I pull and pull at the hands around me but I can’t remove them, I keep getting pulled backwards until—

I’m yanked through a doorway, and the room where Peter lies is dark and blank in front of me.

My hearing isn’t fuzzy anymore.

I gasp in surprise but the sobs haven’t stopped, and my father’s unmasked face appears in front of me.

“Y/N? Hey! You’re okay, we’re here!” His hands are on my face but I swat them away.

“No! Peter’s in there! We can't leave him! We have to take him home, we have to get him home—”

“Y/N— “

“Dad they shot him, I couldn’t help him, I couldn’t help him—“ my words dissolve again into cries of grief.

“Y/N he's not in there.”

I turn to him in confusion.

“He is!” I point my hand frantically toward the doorway, “In the middle of the room! They k— they killed him in there!”

“Y/N…” my dad speaks.

And it’s then that I notice my outstretched hand, pointing toward the door.

There’s no blood on it.

I start to shake harder.

“I- I saw it, I saw it happen I— “

And I notice the thin fog rolling out through the doorway, lazily dispersing along the floor.

I look up. I breathe heavy and shakily. The whole team is staring down at my red, tearstained face. Cap’s face is twisted into concern, Natasha looks sad and sympathetic. Hydra agents lie dead or out cold on the ground, alarms blaring, but no one takes any steps to exit. The raid is over…

And I can't see any blood on my hands.

“Y/N, it was a hallucinogen,” my dad says firm, but gently, “Whatever you saw in there wasn’t real.”

I stare at him, trying to make sense of this. It looked so real. It felt so real.

“But— but I saw it— I felt it, I could feel what they did—“

He gently breaks the cuffs from my wrists, “I know, I know kiddo, but it wasn’t real. They know how to get in your head.”

I shake my head in confusion, “But the cuffs? And my gauntlets are broken—?”

“Whoever did that was real.” Nat cut in, “They hurt you so you wouldn't fight the simulation and then the drugs were pumped into the room.”

I sit there on the floor in front of the Avengers. Disbelief, confusion, and grief all playing across my face.

“Check the room,” I demand.

My dad points a light into it, and Steve walks through, “No one here, see?”

My mind still races, it felt so real.

“Friday?” My dad speaks up, a gentle hand in my hair, “Where’s Peter now?”

“At the compound, sir, working on his suit in your lab.”

I sniff and mumble out, “Vitals?”

“All normal levels.”

I sigh, squeeze my eyes shut, and drop my head into my hands. A sob of leftover panic and relief fights its way out of my chest.

“C’mere,” My dad says, and pulls me closer to him, a soothing arm around my back.

“I need to see him,” I choke out, “I need to know he’s not— “

“I know, I know, we got the job done here, we’re going home.”

——————

I don't remember the walk back out of the compound. It’s all vague reassurances and worrying eyes. I think my dad buckled the straps around me once we got to the quinjet.

The flight back is somber, quiet, despite the fact that we succeeded. I feel the entire team’s eyes on me, but I don't look up. I’m too busy sitting curled on my seat, staring down at my hands.

There was so much blood. So much of his blood.

I spend the next few hours staring, not speaking, unable to stop the images from replaying in my head. My dad sits beside me, stroking my hair, muttering things I can’t hear.

I thought he was gone. All I can hear are the choked, wet sounds of the blood rising from his throat, all I can see is the stark image of dark red dripping down his pale cheek. Pain in his eyes. His chest refusing to move.

“Y/N,” I think it’s the fourth attempt someone makes to get my attention, and I look up to see my dad kneeling in front of me, “We’re almost back.”

“He’s at the landing pad?” I whisper, my voice hoarse.

My dad takes my hand and says, “Yeah, I had Friday call him up.”

The next thing I’m aware of is the quinjet touching down, and I unbuckle the straps and stand up. My dad rests a reassuring hand on my back, and when the ramp lowers, he walks me forward. He can tell I’m still doubtful. He can tell a part of me still believes what I saw back in that room.

But then we reach the ground and I see him.

Peter is standing back from the landing pad, accompanied by Pepper. He’s healthy, he’s standing on his own, he’s not bleeding, he’s not hurt, he hasn’t been shot, he’s okay.

He’s not dead.

I pick up the pace, walking out of reach of my dad, and once I’m close enough to see his eyes a sob fights its way up my throat and I throw my arms around his shoulders.

“Hey, shh, it’s alright,” his arms wrap firmly around my back, one hand landing in my hair and one stroking up and down my spine. His hair tickles my cheek, his shirt collar is bent out of shape — he never folds them right. He’s warm and strong and breathing and alive. I bury my face in his neck as another sob wracks through my body.

“What happened?” I hear him ask, confused, and his voice rumbles so low and soothing and I can feel it against my chest, hear it in his throat where my ear is pressed. I can’t stop my cries long enough to answer him but I realize the question wasn’t directed toward me.

“She’s not hurt,” my dad’s voice reassures him, “They messed with her head. She thought — she saw them hurt you—“

“I thought you were dead,” I croak out. My grip on him tightens and I let my hand trail to the curls at the base of his neck, let them twist around my fingers. My voice has risen an octave when I say, “You died, I saw you die.”

We sway for a moment, his hands still running down my back and through my hair, I don't think he knows what to say. I wouldn’t know, either.

We stay there for a minute, and the rest of the team has walked inside to give us some space, I assume.

After a while, when my sobs have quelled and I'm just quietly sniffling against him, I feel his hand on my cheek, pulling me back.

“Hey,” He whispers gently, wiping his thumb under my eye to clear away the tears there, “Good thing that wasn’t me then, right? I’m right here. And I’ve got proof— I was talking Dr. Banner’s ear off in the lab the entire time, he can vouch for me,” I let out a watery giggle at his antics, “You wanna go inside? Get you warm, patch you up?”

“Yeah,” I sigh out, disentangling myself from him, but keeping an arm around his side as we walk into the building, “Sorry, I’d give you a hello kiss but I’m pretty sure there’s snot running down my face.”

He chuckles and presses a kiss to the hair at my temple, “That’s okay, let’s get you cleaned up.”

——————

After a brief period of time, I’ve showered, changed into pajamas, and am now sitting at the bathroom sink where my dad is bandaging the shallow cuts on my hands from the broken gauntlets. We sit in relative silence, and there’s no doubt from the look on my dad’s face that I appear just about as shell shocked as I feel.

“Kiddo, you gonna be okay tonight?” He asks in a hushed voice.

I don't look him in the eye, instead watching him work on my hands as I mumble out, “Probably not.”

He huffs with a bit of amusement, “Well, thanks for the honesty, I guess.”

He finishes up on my left hand and raises my chin to look him in the eye. I don't know what to say, so I let him speak first.

“Seriously, Y/N, that was heavy, what you went through. Don’t be afraid to ask any one of us for help, okay?” He looks me pointedly in the eye, already doubting I’ll take him up on that. I am his daughter, after all.

“Yeah,” I whisper, “Got it.”

He stands with a sigh and puts the first aid kit back under my sink.

“Goodnight, come get me if you need me.” He presses a kiss to my head and leaves.

——————

Tony looks at the clock. 7a.m., three hours after they returned from the mission.

“Friday? Has Y/N gotten any sleep yet?”

“No, sir. She spent a few hours in the kitchen with Mister Parker, but it appears as if they are both headed to their respective rooms now.”

“Alright. Alert me if she needs help, Fri.”

“Will do, sir. Goodnight.”

——————

“Sir, it appears as if Y/N is in distress.”

Tony wakes up to the alert just forty minutes after he’d laid down to sleep. He's quickly alert and shuffling out of bed, down the hall to his eldest daughter’s room. Although, when he turns the corner he sees Peter already at the door.

The teen looks up at him, “Hey, Mr. Stark. I— Friday told me she needed help. I was just gonna check in.”

“Me too,” Tony sighs, “You go ahead, Pete. It’s you she needs to see right now. Goodnight.”

The man turns to leave, but stops short of turning the corner. He says, tired, but playfully, “Door open, Parker.”

“Gotcha, Mr. Stark,” And the boy walks in to comfort his daughter.

Several hours later, after Tony’s gotten his meager version of a full-night’s sleep, and after a night he’s sure has held several nightmares for his daughter, he walks back past her door to make sure she’s okay.

He smiles warmly at the scene. Wrapped in Peter’s Midtown sweatshirt, his daughter sleeps, restless but quiet, leaning an arm over the boy she loves. He holds her secure, both their legs strewn about the covers, and Tony can't help but notice Y/N’s hand. Resting softly at the side of Peter’s neck, fingers in the hair behind his ear, and her thumb rests just over the boy’s pulse point. Thrumming gently in sleep, reassuring her — even in her unconscious state — that what she saw was fake. Peter is alive and well, sleeping soundly right beside her.

—————

Alrighty that’s it! Let me know how you liked it and thanks for reading!

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sanstropfremir · 4 years ago

Text

the hotly anticipated kingdom episode 7 review is here!!

this episode was a lot less spectacle-y than the last one (the last episode with stages, i mean), and i think that was a good choice for all the groups on the whole to tone it down on the run up to the finale, because at the rate everyone was headed there would be no room to go any higher. i'm very glad that there was actually a collab stage and not just a song swap, especially because it gives a chance for the boys to work together and make friends when they otherwise arent going to be able to interact much. love love love to see them making friends and having fun doing these stages!

i'm not really sure why mnet didnt put the vocal stage this episode, because what on earth else are they going to put in the next episode with it??? i know it's a content stretch but still, it seems like a weird choice to me. anyways, there’s four stages for me to talk about this time and i'm going to try to not ramble out of control, but we’ll see. i did enjoy watching all of these, but we’ve all got favourites and i'm going to rank by which group i liked better out of the two for each stage, and then i put a few conclusions at the end. strap in folks this is another long one.

rap stages

skz + btob + atz

i was actually really surprised at how much i liked this stage. i would not classify myself as a rap fan and believe it or not i actually do not place a lot of importance on lyrics when enjoying music. although i have very high lyric retention and comprehension, i focus more on the sound than the literal words, so a fair amount of rap is swing-and-a-miss in my personal listening. plus when you add a language barrier on top of that, a lot of the nuance and technical skill of it just flies over my head. so i really dont have much to say about the sonic elements this time around, sorry. also.....i know i joked that nobody from the kingdom staff is reading my reviews.....but is someone from the kingdom staff reading my reviews????? i specifically mentioned that i think skz should do an art themed stage and then we got one????? i know i manifested the punk ateez stage but did i manifest this also??? am i just that powerful???

costume

obviously these are pretty basic rap/hiphop stage looks, but the white was a really good choice for visibility’s sake, and also thematically: it reflects the colours in the lighting really well.

i am DYING to know who the designer of minhyuks jacket is. if somebody knows please tell me i love it so much. it looks like some of the recent belted jackets that dior was putting out, but the drawing on the front armscythe piece reminds me of the superm/kim junggi collab for tiger inside. say whatever you want about superm, but you cannot deny that that is not some of the coolest merch on the kpop scene.

loved the traditional korean elements that came through in addition to the western references: the screens, hongjoong’s fan, minhyuk’s big fuckoff brush, the masks, and the sleeves on the dancers at minhyuk’s bit. those are a costume feature from a style of korean traditional masked dance called bongsan talchum. the masks themselves are versions of hahoetal masks, which are used in a very specific archetypal ritual dance in andong. i think these are imae masks, who is the servant/fool archetype that mocks the nobleman and the scholar. i suspect that was a deliberate choice, but i can only speculate.

another point about the masks which is not relevant but maybe a fun fact for people who don’t know. i actually thought at first that they were western theatre half masks, which are a very old style of mask that, like with hahoetal masks, represent a number of archetypes/stock characters. maskwork is a very common training practice in theatre schools, because it teaches body language and control, because half your face is covered and you cannot speak in your own voice (sometimes you cannot speak at all, this is one of the rules of full mask). the tradition of usings masks to portray emotion goes all the way back to the ancient greek chorus, but more commonly people in the west sometimes know it from the italian commedia dell’arte, of which you will have definitely seen some of the character archetypes before. i just find it neat that the same types of art pop up in different places seemingly independently of each other. humans are cool.

set

not much to say here, it's pretty bare with just some propwork. thought the screen use was fun and they used it smartly in a couple of transitions.

thought changbin’s bit of ‘interrupting’ the artists was cute and fun. there’s obviously a picasso reference there, and the four technicolour paintings are a reference to andy warhol’s pop art silkscreen portraits, most famously of marilyn monroe, but he also did many other celebrities in the 70s and 80s.

lighting

i LOVED this lighting. super bright and fun, lots of use of colour, obviously. the projections were there to enhance the visuals and weren’t distracting in any way. i thought the transition to black and white/ink with minhyuk was smart and had good contrast, it gave a strong rhythm to build back up to for the climax.

sound

bang chan’s ‘spelling colour with a u’ bit had me SCREAMING with laughter. we spell colour with a u normally bang chan, the americans are the ones that are wrong.

staging

i don’t really have a whole lot to say here, it was pretty straightforward and fun. like i’ve said in previous reviews, i wish they were more conscious of the steadicam direction and would stop showing extended bits of the production crew. at least everyone was wearing full blacks this time.

fun use of the upward angle combined with the groundwork/leg choreo during hongjoong’s verse, that was a highlight for me.

sf9 + tbz + ikon

nothing against this stage, the other one just hit harder for me. bobby is the best rapper on the show and he really carried this stage with his charisma. he’s a fun performer to watch and he knows how to command a space. i'm sure there’s technical notes that people have about the raps themselves, but i'm here looking at visuals as a priority, which i'm sure you’ve all grasped at this point.

costume

these were clearly extensions of these idol’s personal styles, with is a perfectly fine choice, especially for a rap stage where the emphasis is more on authorship. LOVED bobby’s 11yro girl at recess look.

amusing that both rap stages involved paint in some way? loved the backup dancers shooting supersoakers filled with paint at them, but i wish i knew the reason for it? i'm glad i saw this stage first because i would have been underwhelmed by the paint throwing if i had seen this after rainbow bonanza.

set

almost no set at all here, just a few props. i'm not judging as harshly on lack of set this round because these stages are meant to be more about skill than anything else.

lighting

i loved the projections, i thought they were unobtrusive and i admit, i LOVE outer space themed anything.

i liked that they did more concert lighting and had no projections in the first half to put more focus on the performers, it really highlighted the fact that this stage was about them, and not about anything extraneous.

sound

it was indeed a song.

staging

i do wish there had been a bit more control of the space, because it did look very empty at some parts and they could have staved that off by keeping tighter camera shots. this stage is so fucking big, holy shit.

they really brought their onstage chemistry and they looked like they were having a blast, which FINALLY!!

i actually really liked hwiyoung’s opening, i think there was a lot of potential there for some sharp contrast work that i wish had been played through a little more, especially with the cool white light overtop the black costumes. it actually reminded me a bit of the intro in the music video from a rapper i do actually listen to, bewhy’s gottasadae.

glad to see some more use of camera effects with the black and white, but why did they do it over the paint throwing? it just made the trajectory of the paint invisible because there was no colour contrast.

performance stages

sf9 + tbz + ikon

ok obviously im gonna have a lot more to say about the performance stages, nobody is surprised there. this one was the better constructed of the two and my personal pick for better stage, but i actually liked watching the both of them equally.

costume

king shit, literally. we love contemporary hanbok in this house. there was good colour and style distinction between the three of them without clashing.

costume change was fun and neatly blocked, it's pretty common to see backup dancers and chorus hiding quickchanges but i liked how this was a more unusual formation.

taeyang rocking the organza skirt and the big purple eyeshadow, thank you for keeping it cunty as always.

i really liked juyeon’s underlayer look. finally we get a good tbz costume look thats thematically relevant!

set

like all the stages this round, pretty minimal. the setting was almost entirely established through the costumes and the projections, which is some really good designwork. it's pretty much just the litters (the lifted chairs they entered on), and some smaller props. they managed to not make the stage feel empty because there was a lot of projection visuals to compensate, which is difficult to do without being overbearing, but i think they mostly pulled it off.

i originally thought it was gonna be weird to try and mesh the traditional korean architectural aesthetic with the weird mnet deco, but i ended up not noticing it as much as i thought i would.

lighting

like i just said, projections very well done and do a fantastic job of conveying setting without being overly distracting. like with the atz/skz/btob rap stage there’s a really broad range of colour use here that they offset by brightening and properly fill lighting the faces so you can actually see what’s happening.

the use of the strobing lasers and more concert style lighting fit really well with the change in the music from traditional instrument sounds to electronica and the more hiphop/isolated movements.

sound

i liked it well enough! i think it had a good arc that we can see echoed through the rest of the piece, like previously stated in the lighting and movement style.

staging

like i mentioned with the quickchange, there was some really interesting formations using the backup dancers here, especially as a lead toward/away from the camera

having the three of them enter on litters; again, literal king shit, love to see it.

this has a pretty clear narrative that doesnt really need an external explanation, which is good. i have to assume that the burning of the paper with 妃 (concubine) is intended to be a gesture of ‘burning’ the love out of their hearts, but that was the only thing i'm still confused on. this may very well turn out to be a reference to a specific story that i just have no idea what it is, but we’ll see once the subs are out!

i loved juyeons solo bit with the alcohol drinking and the table flip, that was the choreographic highlight for me. i just really wish he would use the other muscles in his face more often. we know youre pretty, you dont have to blue steel your way through all your performances!! take a page out of donghyuk’s book and make some ugly faces, it's good for you!!

i though taeyang’s swordwork was fine, but since i do actually have a decade of sword training i'm very judgemental. it's not bad, he obviously has practiced with the weapon and he knows how to control it, but he doesn’t have the same understanding as someone who has trained with a sword as a weapon and not just as a prop. if we hadn’t seen another stage with swordwork in it i probably wouldn’t have brought this up (that's a lie, i still would have brought it up, i have a third dan), but you can really see the difference between how minhyuk moves with his sword and how taeyang moves. a lot of this has to do with the proper weighting of the blade, which i mention briefly in my second episode review in btob’s section (and also this ask here, where i talk about properly weighted weapons in relation to the gun choreo in sf9’s and ateez’s previous stages); minhyuk is likely using a ‘real’ sword (it’s blunted but still made using proper methods and materials), and taeyang is using a cheaper-made replica (unless you’re doing full contact striking a LOT there’s no way a properly made blade breaks like that. also you would never tape it together hello??? respect the blade). if you know what you’re looking for, you can tell from the movements themselves when someone has training. minhyuk did a load of real training for a film where he was a swordsman, and you can tell; the sword is an extension of his arm, all the movements lead with the tip of the blade first, because that’s your first, your fastest, and your most dangerous point. you do 90% of your cutting with the first eight inches of blade, but it takes a lot of specific training to get your hands and arms to a place where that kind of movement is possible. taeyang’s movements are driven from his hands, which is unsurprising, because that’s where he’s used to his extensions stopping. the tip follows rather than leads. wow this got insanely sidetracked i hope you liked this crash course on swordwork.

this is pretty much what i expected to see from this unit. these three groups all have standout soloists, so i wasn’t surprised to see these three boys as the picks. juyeon and taeyang especially, theyre both from groups that are more likely to do experimental stages and choreography that highlights them as soloists and skilled dancers.

skz + btob + atz

this was a letdown from ateez’s last two stages, because they knocked those out of the park, but it's only fair that they have a bit of a fall. that being said, i did really enjoy watching this for its sheer ridiculousness; i’m forgiving the wolf concept this time because well, it’s wolf. you can't cover wolf and not do a wolf concept, that’s against the law. also, like i’ve said before, i'm all for dark concepts IF you give them thematic weight. is it on the nose? yes. is it thematically relevant? also yes. is it dumb? also also yes, but that’s never stopped a single kpop group in the history of ever.

costume

friendship restored with ateez stylists, rivalry started with skz stylists. the fur shoulder fluffs??? stupid and i love them. perfect in every way. however i keep seeing the same fucking costumes on the skz boys and i will come directly for the stylists at jype if they dont get their shit together. be! more! creative!!!

i really really wish they had gone more 2013 kpop with it, we need more of that ugly ridiculous styling. peniel was actually pretty close, with the overly long tunic and those yellow lenses. very vixx on and on (yes i know they were vampires from outer space, let me live)

i actually thought the wolf gloves were fun? the small bits of uv paint actually worked instead of looking out of place, and i'm glad they put them on wooyoung because the uglier an outfit, the better he pulls it off.

set

same dice, just the long table and the camo net at the beginning, which i thought was unnecessary. the table was useful for levels though, so happy to see they utilized that.

lighting

there is so much happening all the time. lots of lasers. it's definitely aiming for camp territory, and i dont actually hate it as much as i did on my first watch. it actually wasn’t as dark as i thought either, because its mostly lit with blue and amber. but it doesn’t really have that great of an arc and its not really that good on the whole.

the projections are a bit much for me, but that’s only when i'm actually looking at them. true to form, i didn’t even notice the excess of red slashes until like my fourth rewatch because i was too busy watching the performers.

sound

rookie exo my beloved. the original wolf goes so hard for absolutely no reason, so i’m not knocking this stage for being ridiculous. in fact it should have been more ridiculous. i think they did a fine job updating the song for a.....less 2013 sound.

i like that they didn’t bother to live sing the stage even though they recorded vocals for it, it gave them all a chance to actually focus on just the dance.

that being said, i am kind of missing all the adlibs from the original. but even though there’s some strong vocalists in this unit, they aren’t made of the same stuff as baekhyun, luhan, chen, AND d.o.

i literally just realized that peniel had already debuted when this song came out AND is technically exo’s senior because btob debuted like two weeks before exo officially did.....oh no

staging

choreographically this feels a lot more like the skz stages that we’ve seen rather than the ateez ones, so i'm curious as to who the choreographer was.

the tricking was definitely more ridiculous in this one, but i can't really say any of it was there for no reason because it all had elements of fighting in it. the scale of the tricks was quite large though and not very well blended with the rest of the choreo, which ending up making them look awkward. i thought it was a nice detail that they shone a green toplight on the dancers that made up the cliff wooyoung climbed up so that it looked like there was grass on it. cute.

the blocking is lacking a lot of fluidity, and i think that’s partially the scale of the tricking and also the editing, because this editing is TERRIBLE. there’s so much cutting, why is there so much cutting!! haven’t we already learned that longtakes are the best for this???

there’s a lot of stuff here that had good potential but could have been pushed a little farther. i feel like i say this for every mediocre stage, but what can i say, i'm good at constructive criticism.

they should have given more showcase to the tree and the scratching arms; it's the most iconic move!! i also wish they had kept some kind of iteration of the different unit ‘leaping’ in over the exiting one, i always thought that part of the original choreo was really fun and did a lot for establishing them as wolves.

i LOVED peniel entering with all those backup dancers in chains, thats some fucking iconic shit. very ‘im the alpha wolf,’ which is valid because he’s like at LEAST five years older than everyone else on the stage. i wish that instead of being the backup dancers it was the actual members, because THAT would have been an image. theyre all wearing harnesses and collars anyways, just clip em in! he’d be like one of those dogwalkers!

me last week: specifically talking about how krump is an uncommon style in kpop and it's very hard to get right kingdom, throwing the manifesting dodgeball at me for the third time: here would you like a KRUMP SOLO?

if you didnt believe me before that krump is hard to get right, i sure hope you do now. peniel did fine, but you can see how easily you can veer off into looking ridiculous.

some conclusions

i mentioned this really briefly in an ask i got earlier today, but i do think it's important to establish that the two performance units are doing two different types of performances. i can understand why people are underwhelmed by the atz/skz/btob stage and wanted it to be less of a traditional kpop dance stage and more like the experimental stages we’ve been seeing for the last few weeks. and i agree! i think they could have done more with it. but i also think that this kind of stage was a good choice for this particular subunit. unlike with the sf9/tbz/ikon unit, there are not really any standout technical soloists in ateez or skz. ateez has, in my opinion, the highest ratio of dancers with actual stage presence of any of the 4th gen groups ive seen. they’re at a solid 75% for any given performance, and occasionally they can bump that higher depending on the stage. that high of a stat is rare. it's extremely rare for a group to have all its members have good stage presence (i can think of like, maybe two or three?), and to get over 50% is pretty damn impressive. but ateez’s strength isn’t in how good they individually are as dancers, but it's in how well they work together. there’s a reason why they put FIVE of them in the performance unit. one of the first things i said about ateez to hanya is ‘i love wooyoung but he doesn’t stand out when he's not centre.’ which is for good reason!! he’s not supposed to! they all willingly give up centre and take it back when they need to, because they have that charisma. there’s a very cohesive push and pull to watching ateez that speaks to their strengths as performers. dancing in a group where you are all meant to be equal is a very different skill than just being a talented soloist. you have to understand what to prioritize in a different way. taemin dances differently with shinee that he does in his solo career, especially since they’ve been back. he understands when to step back; more often than not i find key to be the standout dancer in shinee choreo.

this is a very long winded way of saying that wolf was a good choice for them even though the stage didn’t turn out as well as it could have. also the fact that they made a cohesive performance at all, with a week of rehearsal and while working with essentially strangers is a feat and speaks to all of their skill at their job. performing in a group is a huge part of kpop, and they did call this the performance stage, and not the dance stage.

i'm not entirely sure on what the breakdown is on why each of the subunits were formed. i know the team sizes are extremely uneven, with sf9/tbz/ikon clocking in at 26 people and atz/skz/btob clocking in at 17 (i'm not counting changsub because he's not there and probably has a scheduling conflict), which is like, a whole extra group of difference. but atz/skz/btob utilizing their whole groups for each of the units (5/3/1 for performance, 1/3/1 for rap, and 1/1/1 for vocal, for 7/7/3 total), verses sf9/tbz/ikon only bringing out six people for these two stages and then six for the vocal stage is......weird? that's over half of their group number that’s not performing. i do think the groups brought out their standout performers and made smart choices with the stages but the balance still strikes me as odd. i do wish tbz had actually done some group choreo because they are very strong group performers and it would have been fun to watch.

ateez really played the long game here, good job boys. teaming up with the group who gets the highest fan votes AND the group with the strongest technical skills? i see you.

i think this is probably too wild of an assumption and is only based on circumstantial evidence but.....i think hongjoong might actually have a lot more creative sway than i previously thought. all the stages he’s been a part of have been very well designed, and i know he provided suggestions for the two ateez stages prior to this... i’m probably thinking too much.

ok you know what i know there were some other points in my brain somewhere but this is already 4000 words so i’m going to stop. if i remember anything else its probably gonna end up in the answer to some of the asks i’m inevitably going to get because i think my opinions on these ones are a little bit more controversial, whoops!

not entirely sure if ill do an extensive review for next week’s stage, because i'm not really a ballad fan and i dont really do vocal reviews, but i could do a quick one. i guess it also depends on what else they put in the episode. we’ll see!!

#kingdom #kingdom review #ateez #btob #stray kids #the boyz #sf9 #kpop analysis #if you read this i hope you like fun facts about theatre and swords!#despite having never seen me hanya managed to clock that hongjoong and i are extremely similar #so that might be why ive jumped to this nonsensical conclusion #also tbh i do have an opinion on why the unit breakdowns are like that but its mean so i will keep it to myself #ok im done now #i patiently await my asks #text #lol forgot to tag #ikon

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evolmaze · 4 years ago

Text

truth or drink

summary - truth or dare never works out, but when you add drinking things just get worse

paring - han x reader ft. twice, the rest of stray kids, bts, and blackpink

genre - fluff, angst, comfort | friends to potential-lovers!au, nonidol!au

word count - 4.6k words

warnings - slight harassment and bullying by O.C. against reader, drinking, very minimal slut shaming of O.C., swearing

masterlist

“I don’t even wanna go tonight,” Dahyun said, laying on your bed. “Who’s even going to be there?”

“The usual crowd I think, us girls, Han and his friends, Tae and his friends, and I think Jennie and Lisa are coming too,” you conclude, putting the finishing touches on your makeup.

“Ooh, I haven’t seen Jennie in ages,” Dahyun commented, suddenly sitting up. “I suppose I can make an appearance.”

“That’s more like it,” you laughed, turning around. “How do I look?”

“Absolutely stunning!” she cooed, “Han isn’t gonna know what he’s missing.”

You scoffed, “I’m not doing this for him, I’m doing this for myself.”

“Sure, sure, and you’re absolutely not wearing that blue sweater because he told you it looked nice on you last week?” she asked, raising an eyebrow.

“Absolutely not,” you declared, though a slight red hue appeared on your face. “Come one we gotta go soon anyway. Party starts in 20 minutes.”

“No one ever shows up right away, Mina and Jihyo said they aren’t coming till closer to eight.” Dahyun whined, going into the closer to change.

“Yeah, but I promised Bang Chan and Felix I’d help set up, so unless you wanna find your own way there, you’re stuck with me,” you laughed, grabbing your jacket off your desk. Dahyun groaned, but reappeared minutes later, ready to go.

“Alrighty, let’s get this show on the road, shall we?”

______

“y/n, Dahyun, so glad you could be here to help!” Felix said as he opened the door, quick to grab a couple of bags from you and Dahyun. “Please, please come on in!”

“Thanks, Lix,” you said, closing the door behind. “Any word on when people are planning to show up?”

“It varies really, Tae and his friends said sometime around eight-ish, Changbin and Minho said they’d be here around 7:30, I’m assuming the girls will be here around then as well?”

“Yeah, Sana just texted me now, said they’ll be here in about 20,” Dahyun said, as she started taking bottles out of her backpack and adding them to the drink table.

“Oh that’s awesome, I’m so excited to see them!” you cheered, going over to help her.

“Excited as you are to see Han?” she teased, nudging your shoulder as she poured a bottle of vodka into a giant container you had bought specifically for wop. Across the room, Felix chuckled as he untangled some cords for the sound system.

“Oh my god, please shut up,” you plead, your face a slight hue of red as you unscrewed your own bottle. “It’s really not that big of a deal.”

“Sure, sure. Felix did you know that she literally hasn’t stopped talking about this party all week, seems a little coincidental that this also happens to be the first party Han has been able to come to since he left to go visit his parents,”

“I’m actually going to kill you,” you muttered, unable to keep a straight face as the two of them laughed. Dahyun may have had a point, Han had left two weeks ago to visit his parents, which meant you hadn’t seem him for a couple weeks due to conflicting schedules. You missed him, missed his jokes, his vibrant personality. You guys had met about six months ago when Dahyun invited you to a party at her place, and ever since then you guys had hit it off.

“Oh leave the poor girl alone won’t you?” Chan said as he entered the room, laptop in hand. “So she has a thing for the kid, it’s not like you two haven’t ever had a crush.”

“Yeah,” you chimed in, gracious for Chan’s appearance. “If I remember correctly Lix you had quite the infatuation for a certain barista down at Two Rivers, right?” You grinned at his red face, and inability to rebuttal, “and Dahyun,” you said, facing her. “Don’t make me bring up the infamous crush you had last fall-”

“Okay!” Dahyun said suddenly, smacking a hand over your mouth. “Point taken! Sorry y/n, you know I think it’s cute that you like him, I think y’all would be cute together! I’ll shut up now.”

You laughed, wrapping an arm around her shoulder, “Apology accepted, sorry for bringing up your past, I promise not to do it again, unless circumstances call for it.” you grinned, running away from her as she chased you with an empty bottle.

______

Music blared from the speakers in the backyard as you sat with Felix and Sana, currently exchanging your thoughts on the latest season of stranger things. “There’s no way Hopper’s actually dead,” you argued, taking a drink. “Why else would they include that clip of him in the promo?”

“I agree!” Sana said, “Plus that’d be so cruel for them to kill him off like that just as he and El were developing a real relationship!”

“Right, and I’d rather die than not see Hopper and Joyce get together, literally made for each other!” Felix agreed, the three of you laughed at his sudden outburst, but sudden stopped as Sana whispered.

“Who invited them here?” you turned towards the entrance of the house, and spotted exactly who she was talking about. Currently talking to Chan and Jennie were two girls who you had briefly met your freshmen year, they were awful; mean and cruel just for their own enjoyment. Unfortunately, at a school so small, circles overlapped, and somehow they ended up at this party.

“God, I hate them,” you muttered, taking another sip of your drink. You turned back around. “Think they’ll stay long?”

“Well Aria has a huge crush on Chan I think,” Felix said thoughtfully, “So yeah unfortunately.”

“Fantastic,” you muttered again, annoyed that you even had to be in the same room as them. It wasn’t that Aria and her friend Soon were ever mean to you directly. In fact, you even used to be friends with Soon a couple years ago, but times change, and so do people. While you had learned more about yourself and learned from your wrongdoings, Soon found Aria and together they adhered to this “preppy-high-school-mean-girl” bullshit attitude that never really wore off.

“Oh don’t be sad, y/n! Look who just showed up,” Dahyun said suddenly as she appeared behind you, wiggling her eyebrows. You rolled your eyes at her as she sat down beside you, but turned around anyway, already knowing who had shown up.

Han Jisung walked through the doors and you hated to admit it, but your heart leaped out of your chest. It had been so long since you had seen him, and not to be cliché, but he was literally glowing. He looked amazing, his hair was still that same raven color you loved. You remembered when he had first dyed it two months ago, he was nervous to go back to a dark color after being blonde for so long, but you had assured him he looked good in any hair color.

“y/n, earth or y/n, hello?” Felix said, waving his hand in front of your face, you jumped, not realizing you had zoned out. Sana and Dahyun laughed as you blushed. “Sorry what?”

“I asked if you wanted to go grab a new drink?” Dahyun laughed, and you look down at your drink.

‘Yeah sure,” you agreed, laughing at yourself as you folllowed her back inside. You crossed the yard, mentally preparing youself to walk by Han, it was dumb, really. He was your friend, there was nothing to be personal about, but you’d be lying if you said he didn’t make you nervous. It wasn’t till a weeks ago that you had even developed these feelings for him, and if it wasn’t for a drunken night at Chan’s, no one would have even known you had felt that way, but when you’re drunk, your filter leaves you, and that night you spilled the beans to Dahyun, Sana, Felix, and Chan over a game of truth or dare. You tried to keep it lowkey, you did, but as you got to know him better, it was becoming harder and harder to avoid it.

Dahyun passed Han and Changbin as they talked on the porch, as you did the same someone grabbed your wrist, “y/n!” Han said, grinning from ear to ear. “Don’t think you could pass me and not say anything!”

You laughed, and looked at Dahyun who wiggled her eyebrows. “Changbin,” she said, looking past you. “Wanna help me grab some drinks?”

“Sure,” he agreed, brushing past you. “Nice to see you, y/n.”

“You too,” you said, taking his seat next to Han. “So, how was home?”

“It was great,” he said. ‘It was nice to see family and celebrate my grandma’s birthday, but I’m glad to be back.”

“I’m glad you’re back too,” you agreed. “Someone needs to be the life of the party.”

“Oh, you don’t think that Jin already has that handled?” he asked, and you both looked into the house, where he was currently, furiously rapping some song on the karaoke machine.

You laughed, “I’ll admit that he’s pretty chaotic when he wants to be, but there’s only one person I know who enjoys starting conga lines at the most random of times. Remember when you started one when we walked to the grocery store? People were so confused!” you said, and he laughed.

“Well I’m glad someone appreciates my antics,” he grinned, taking a sip of his own drink. “What have you been up to since I last saw you?”

“Nothing too exciting, just the usual.”

“Bullshit, I follow your photography page, that place you went last week looked incredible, you’ll have to take me sometime,” he said, nudging your shoulder.

You blushed, “Ahh thanks, it was so pretty, a super nice hike too, you’d love it. The sunset there was incredible!”

“Well we’ll have to make sure we go at night then,” he mused, and you grinned.

“Oh absolutely, when are you free next week?” you asked, hoping to set something up, hanging out with Han one-on-one was a rare and fun occasion.

“Let me check,” he said, pulling out his phone. About to pull yours out, you suddenly hear the music cut out. A chorus of boos and cheers resounded throughout the party.

“Sorry everyone!” Chan said, mic in hand. “Aria and Soon here wanted me to let everyone know, that if you’re interested, there’s a game of truth or dare happening over here.”

You rolled your eyes, poor Chan, you looked over at Han. “Should we go save Chan from an evening of Aria’s torment and neverending questions?”

“Good idea,” he agreed, standing. “Ayo Seungmin, I.N., you guys wanna go play a couple rounds of truth or dare.”

“Why not?” Seungmin said, standing up, with I.N. following suite. Changbin and Dahyun appeared next to you, with a handful of drinks.

“So true or dare, huh?” Dahyun said. “Classic Aria.”

“It truly is her signature,” you agreed, grabbing two drinks from her and handing one to Han. “Let’s get this over with, yeah?”

You made your way over to the firepit where Aria and Chan sat, surround by some others. Jennie and Lisa sat to the left of Chan, while Seungmin and I.N. sat next to them. Soon was next to Aria, and Mina, Jihyo and Sana were next to her. You took a seat in between Dahyun and Han, and Changbin in between you three and Felix. The group waited as a few more people piled in, Jimin and Jungkook taking sets behind Changbin on the brick wall, and Hoseok and Tae taking up seats on the wall as well behind Chan.

‘“Let’s get started, shall we?” Aria said, scanning the group. “Felix, truth or dare?”

______

Numerous rounds had passed since you first sat down, and the rules were simple. If you didn’t want to answer a truth or do a dare, you had to take a shot, but the catch was you only got three shots per game. So far people had jumped into the pool while fully clothed, made out with random party goers, and made prank calls to people who weren’t at the party. So far, you had told everyone which professor you would sleep with if given the chance, called your good friend Solar to tell her her cat had ran away, and told everyone about your most embarrassing moment from 5th grade.

Currently, Tae was attempted to walk along the entire edge of the pool without falling in. “You got this, Tae!” Jimin cheered, getting everyone to start a chant of encouragement. You did your best ro hold in your laughter as Tae slipped at the last second and fell into the pool. A chorus of laughs resounded, and the game continued on.

By now, some people had left to get drinks or eat food, so the only people left were you, Han, Dahyun, Chan, Aria, Soon, Felix, Sana, Seungmin, and I.N.

“Aria, truth or dare?” Soon asked, taking a sip of her drink.

“Dare, obviously.” Aria said, a tone of cockiness in her voice. “Truth’s are loser who enjoy being an open book,” she commented, glancing in your direction. You rolled your eyes, taking another sip of your drink.

“Takes one to know one,” you muttered under your breath, across the fire, Chan chuckled, amused at your lack of filter coming out.

“What was that?” Aria said, obviously irritated that Chan had laughed at your retort.

“Oh, nothing.” you said, looking up at her as she glared daggers into your eyes. “Soon what’s her dare?”

“Aria, I dare you to make out with Chan!” she said excitedly, and the rest of the group, minus Aria, groaned.

“Shocker,” Dahyun said, and you looked over at Chan who looked less than thrilled to be in this position.

“Hey don’t make him do something he doesn’t want to do,” you chimed in, worried about Aria’s influence over your friend.

“It’s okay, y/n.” Chan said, taking a quick shot. “I can handle her.”

You sighed, and took a long sip of your drink as the two of them made out for the next 15 seconds or so, as they pulled apart Aria looked at you. “Yeah, y/n, Channie’s a big boy, he can handle himself. Plus he’d probably prefer a girl with experience anyway, unlike you.”

You rolled your eyes for what seemed to be the millionth time that night, “Sorry Chan, just looking out for you, didn’t want you to get an STD or something.”

Alcohol had this affect on you that sometimes you didn’t realize what you were saying until you had said it, as the words left your mouth, you instantly regretted them due to the way Aria started you down, a look of hatred in her eyes. Around you, everyone lost their minds at your reply, some congratulating you on your comeback, others looking shocked the words even came out of your mouth. You weren’t sure how to feel, on one hand Aria deserved a taste of her own medicine for how she belittled every person she ever met that didn’t meet her standards, but also you were never one to slut-shame, so who knows what came over you. Beside you, Dahyun was laughing so hard she had tears in her eyes, and Han looked so shocked you weren’t sure whether it was a good thing or bad thing.

Aria narrowed her eyes at you, unsure of what had come over you, but sure of what her next move was going to be, ”y/n, truth or dare?”

“Uh-” you started.

“Don’t bother answering, I’ll pick for you since I already know the answer: truth. y/n, tell me, what’s it like to be a lonely virgin, with no romantics pursuits besides having a crush on a close friend who doesn’t even think of you that way?”

The group quieted down pretty quick after that, you stiffened, shocked she had said that, confused how she even knew that, but mostly concerned of where this was going to go. You were sure that if someone took a photo of you now, you would look like a ghost. Aria cocked an eyebrow at you, “Oh y/n,” she feigned concerned. “Cat got your tongue? Need some help with that? Must be tough to like someone who doesn’t even think of you that way, right? Who goes away for weeks and doesn’t even text you? Let alone think of you in any other way besides a friend. You can call me a slut all you want, but at least I get the things I want, I don’t sit around and wait for them to happen like some stupid hopeless romantic. At least boys answer my texts, what do you get? A pity reply to one of your numerous attempts at a real relationship with him?”

“Aria, shut the fuck up.” Dahyun said beside you, you were frozen in spot, so utterly humiliated, but also amazed at her level of intel, how the hell did she find out?

“Why?” Aria asked. “It’s okay for y/n to blatantly slut-shame me in front of my crush, that I can’t expose her in front of hers?”

“That’s not the point-’” Dahyun said, anger seething from her body. You put a hand on your shoulder.

“It’s fine,” you said, trying you best to remain calm. “I mean she right, right? What I did was a low-bow, and I’m truly sorry, Aria.” you said, trying to look as sincere as possible despite your mental stability rapidly declining. “It’s only fair you attack right back, but if you don’t mind, I think we’re pretty even now; I think I’ve heard enough.” You finished, your voicing cracking slightly at the end. You quickly got up, and made your way inside the house, ignoring the calls from the rest of the group.

As you entered the house, you got some looks from everyone you passed. Some concerned, some confused, and some just straight up lost as to why you were running through the house crying.

It was your own fault this had happened, you knew Aria was the type to have dirt on everyone, so why didn’t you think about the fact that’d she have dirt on you? You shouldn’t have even responded to her, no matter how much she got under your skin, Aria always won every battle she started, but you never expected her to rebuttal with things so cruel and close to your heart. You just hoped people were too distracted to piece together the underlying meaning.

Your phone buzzed rapidly in your pocket, a call from Dahyun on the screen. You sighed, and picked up the call. “Hey-”

“Are you okay? I swear to god I’ll kill her for saying those things about you! That was so fucked up, you made one comment and she spilled your entire load of dirty laundry for everyone to hear. Where are you? We should go home, forget-”

“Dahyun, slow down.” you laughed, feeling a little less awful than you did before. “I’m in the bathroom, I’ll be back out in a little bit, no need to have Aria ruin this whole party for us.”

“Oh that’s good, I’m glad your okay,” she said. “Aria’s gone anyway, after her little performance, Soon and Chan convinced her to go home for the night. The bitch was too intoxicated to form a coherent thought after she used them all on you.”

You laughed at that, “Serves her right, I’ll see you soon, okay?”

“Sounds good, bye!” she agreed, hanging up the phone. You looked in the mirror, wiping off your mascara that had run onto your face. You pondered how the rest of the night would go, everyone had heard the embarrassing details of your life, but on the other hand, fuck Aria and fuck her for trying to ruin a perfectly good night. Yeah she every right to be upset at you, but unlike her, you could bounce back from this, you determined. How would things go with Han? You had no idea, you suppose it depending on his ability to read between the lines, and whether or not he was too intoxicated to do that or not.

“It was what it is at this point, I guess.” you said to yourself, accepting your fate, whatever it may be. It was odd, you had always imagined that your crush finding out you like them would be mortifying, but you felt oddly calm, maybe it’s because you knew thing would be okay. You had great friends, supportive friends who would stand by you no matter what, and even if Han did know, you knew him well enough to know he wouldn’t be mean about it, maybe weirded out, but that was only temporary, cause at least then you’d have closure and could move on.

You exited the bathroom, ready to get another drink and hang with Dahyun and Felix, and everyone else if they were still around.

“y/n!” Sana yelled from the end of the hallway, running up to you. “Are you okay? God I can’t believe Aria did that, she’s awful, I’m so sorry.”

“I’m fine, really.” you assured her. “Aria’s a bitch, but it’s not like I didn’t have it coming with what I had said to her.”

“I guess, but she said some really personal things that weren’t her business at all. Everyone knows that she gets around here and there, she even admitted it! You weren’t saying things we didn’t already know,” she said, looking annoyed. “But if you’re fine, then so am I. Wanna grab another drink?”

“Yes, please.” you laughed, following her into the living room. As you were there getting drinks, you assured many people that were at the fire that you were okay, and you didn’t need them to kill Aria for you.

“y/n!” you stopped talking to Sana and Changbin, and turned around to see Chan, he looked frazzled, a look of worry on his face. “Can we talk?” he asked, you bid your goodbyes to Sana and Changbin, and followed Chan back outside.

“What’s up?” you asked.

“First I wanna say I’m so sorry for Aria’s behavior, I know it doesn’t mean much, but she was pretty drunk, but I’m not sorry that I didn’t do anything to stop it. I’m the reason she was even here, and it’s not cool that she did that to you.”

“Chan, Chan, it’s fine, really. Aria isn’t your responsibility, you’re not her dad or boyfriend, so you couldn’t have predicted she would have done that. I accept your apology, but there’s no need for it, truly.” you assured him, and he breathed a sigh of relief.

“Okay, good. The other reason I wanted to talk to you was because of that,” he said, gesturing over his shoulder to the fire. At the fire was Han, Felix and Dahyun sat with him, but he looked distant. It didn’t seem like he was paying them any attention.

“Is he okay?” you asked. You felt bad, this was your fault.

“Dahyun, Felix, and I have been trying to talk to him, get him to come inside, but he isn’t really speaking to anyone. We all figured he might talk to you; but only if you’re comfortable doing so.” Chan explained, you nodded. “Of course, he’s still my friend.”

Chan and you walked over to the fire, and as soon as Felix and Dahyun saw you were with him, they stood up, leaving with Chan. As Dahyun passed you, she whispered in your ear. “I think he’s just confused is all.” You nodded, understanding.

Han didn’t look up as you sat down, just kept staring into the fire. You weren’t sure what to do, it wasn’t as if you had done any malicious to him in any way, but you’d also understand if he didn’t want anything to do with you.

“I’m sorry,” you said, breaking the silence; he didn’t look up. You sighed, “I know you must feel really weird with everything that Aria had said, I swear I didn’t know she was going to say that stuff at all; I honestly don’t know how she found out, but I’m sorry that that indirectly put you in a weird position.”

“Why are you sorry?” he muttered. “It’s not like you asked her to do it.”

“No I didn’t, but what she said involved you, and that’s something you should have heard from me, privately, not in front of all our friends at a bonfire,” you reasoned, nervously chuckling at the hilarity of it all. Who would have thought this was how you night would end? “So, I’m sorry.”

Han put his head in hands, running his fingers through his hair. He sighed, “Why didn’t you tell me earlier?”

“I-uh, I don't know,” you stuttered, unsure of what to say. “I didn’t want to make things weird, change our friendship in any way. I like being your friend, and we hadn’t been friends for that long when I first realized, so I choose not to say anything in order to keep being your friend. If I’m honest, I thought I’d get over it by now.”

“You thought something like that would end our friendship?” he asked, looking up at you. “y/n, that’s crazy.”

“Well, I don't know!” you exclaimed, “How could I be sure how you’d react? We aren’t exactly best friends, and I hadn’t seen you in awhile, so it felt awkward to hang around after she had said that. Figured it would be easier to leave so you wouldn’t be obligated to talk about it if you didn’t want to. I’m sorry if I hurt you, or made things confusing, that wasn’t my intention, I just didn't know what to do.”

“It’s okay,” he said. “I get it, feelings are weird, and you can never be sure how things will turn out, but I still wish you would have said something, don’t you trust me?”

“Han, we may be friends, and I do trust you, but this is probably the one thing I wouldn’t have told you about.” you laughed awkwardly. “Usually people don’t tell their crushes they like them till they’re sure their crush feels the same.”

He blushed, “Ah yeah, that’s a good point, but hey! Who’s to say I don’t feel the same.”

You paused, “You like me?” What was happening right now?

“Well maybe, I don’t know!” he laughed nervously turning an even darker shade of red, and you chuckled. “I feel like we’ve become better friends lately, and I like having you around, like spending time with you. I don’t wanna rush into anything, but I would be down to start hanging out more one on one.”

You smiled, “I feel the same. I don’t want to rush things either, and I’d rather us both be on the same page about it if this does become something in the future.”

“Well I hope it at least means we’ll become better friends,” he said hopefully.

“Me too,” you agreed, feeling a weight being lifted off you shoulders.

“But I could be okay with us being in a relationship too, I suppose.” he mused, pretending to look thoughtful. You laughed, and lightly kicked his foot.

“I suppose I could be okay with that too,” you joked, and he grinned. “Well if you’re up for it, the offer to go hiking still stands.”

“Let’s do it!” he said excitedly. “We can take some sick pics at the top too!”

“Oh absolutely,” you grinned. “I’d love nothing more.” Han smiled at you, a glint of something promising in his eyes. Everything was going to be fine, you could feel it.

______

a/n: hope y’all like this one, it took a different turn than I thought it was going to, but I still like how it turned out!

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path-of-my-childhood · 4 years ago

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Taylor Swift Broke All Her Rules With Folklore - And Gave Herself A Much-Needed Escape

By: Alex Suskind for Entertainment Weekly Date: December 8th 2020 (EW's 2020 Entertainers of the Year cover)

The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency.

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Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore - a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner - delivered.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil - and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums - something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness - something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

ENTERTAINMENT WEEKLY: We’ve spent the year quarantined in our houses, trying to stay healthy and avoiding friends and family. Were you surprised by your ability to create and release a full album in the middle of a pandemic? TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vein, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy? That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies? I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

One of the other unique things about Folklore — the parameters around it were completely different from anything you'd done. There was no long roll out, no stadium-sized pop anthems, no aiming for the radio-friendly single. How fearful were you in avoiding what had worked in the past? I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing? I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Folklore includes plenty of intimate acoustic echoes to what you've done in the past. But there are also a lot of new sonics here, too — these quiet, powerful, intricately layered harmonics. What was it like to receive the music from Aaron and try to write lyrics on top of it? Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

Was it nice to be able to keep it a secret? Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that? Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness? Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story? I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

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

There are a handful of songs on Folklore that feel like pretty clear nods to your personal life over the last year, including your relationships with Scott Borchetta and Scooter Braun. How long did it take to crystallize the feelings you had around both of them into “My Tears Ricochet” or “Mad Woman”? I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"? F---ing fantastic.

And that’s the first time you ever recorded one on a record, right? Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally? I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

That theme continues in the next verse, which is a pretty overt nod to what’s been happening during COVID. As someone who lives in Nashville, how difficult has it been to see folks on Lower Broadway crowding the bars without masks? I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change? It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event? I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor? Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room? I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I wanted to talk about some of the lyrics on Folklore. One of my favorite pieces of wordplay is in “August”: that flip of "sipped away like a bottle of wine/slipped away like a moment in time.” Was there an "aha moment" for you while writing that? I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first. It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

On the flip side, "Peace" is bit more defined in terms of how one approaches a relationship. There's this really striking line, "The devil's in the details, but you got a friend in me/Would it be enough if I can never give you peace?" How did that line come to you? I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn of phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere. Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

When we last spoke, in April 2019, we were talking about albums we were listening to at the time and you professed your love for the National and I Am Easy to Find. Two months later, you met up with Aaron at their concert, and now, we're here talking about the National again. Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future. I can't wait to see what comes out of this interview.

*** For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

#taylor swift #interview #entertainment weekly #folklore album #folklore era #video

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newmusickarl · 4 years ago

Video

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Album & EP Recommendations

My word, the music world has well and truly spoiled us this week!

The past seven days has seen a colossal avalanche of new releases, so much so I’ve barely had chance to keep up with it all. Although this is not the full list of everything from the past seven days, here are the 16 (yes, 16!) new releases I’ve enjoyed the most this week.

As there is so much to get through the rundowns are (mostly) a bit shorter than normal and there is no single Album of the Week, instead I simply recommend checking out whichever album or track sounds most appealing depending on your preferred taste.

So without further ado then, here’s what’s good:

Californian Soil by London Grammar

It’s been four years since the release of London Grammar’s last record Truth Is A Beautiful Thing - an album that I enjoyed, but I’ll admit also left me feeling somewhat underwhelmed coming off the back of their incredible breakout debut, If You Wait. As it turns out, the band themselves were also having a tough time around that period, with front woman Hannah Reid in particular battling relentless industry sexism, as well as the persistent physical pain caused by her fibromyalgia condition. With this being the case, it is amazing that the young indie-pop trio have made it to their third album at all, let alone delivering what is their best work to date.

Opening on a grand, string-drenched Intro, the record soon morphs into the sun-soaked guitars and soaring orchestration of the album’s glorious title track. It marks an early highlight as Reid catches the audience up with the tribulations of the last few years – “I left my soul on Californian soil.” From there the album doesn’t really let up as the band move through a series of career-defining tracks – the gorgeous contemporary groove of Missing, the dance-influenced How Does It Feel, the chilled-out ambience of the dreamy Baby, It’s You and the sublime, stripped-back closer America.

However, the album’s strongest moment comes when Reid confronts music industry sexism head on with defiant anthem Lord It’s A Feeling. Beginning with some twinkly xylophone, before evolving into an atmospheric synth-laced backdrop where Reid pulls no punches:

“I saw the way you made her feel, like she should be somebody else,

I know you think the stars align for you and not for her as well,

I undеrstand, I can admit that I have felt those things mysеlf”

The cutting lyrics against some blinding quiet rave instrumentation leaves quite the impression, as does this sterling record in general. After a slight misstep, London Grammar have well and truly rediscovered themselves and they have honestly never sounded better – a truly incredible album.

If You Could Have It All Again by Low Island

Oxford electo-pop outfit Low Island are another band that have defied expectations to get to this point. This, their debut album, was not recorded in a professional music studio – in fact, the vocals were recorded in a bedroom cupboard of all places. The band themselves don’t even have a manager or a record label. In every sense of the word, they are a truly independent band. For a self-financed, self-produced effort, If You Could Have It All Again is a quite remarkable first outing.

From melodic, uplifting opener Hey Man, the record quickly jumps into spoken word electro punk banger What Do You Stand For, featuring acid-drenched synths and a dancefloor-ready groove. Fans of FIFA 21 will recall Don’t Let the Light In, with the glitchy pulse of recent single Who’s Having the Greatest Time also standing out. That said, it’s the smooth, infectious sway of I Do It For You that still pulls me in the most.

Having followed the band since their early EPs, I’ve been rooting for Low Island for a while now and this is one debut album I was highly anticipating this year. Safe to say, my expectations have been met – this is a fantastic, accomplished record, which leaves me eager to see where they go next.

The Greatest Mistake Of My Life by Holding Absence

There was a time when the difficult second album used to be a thing, but listening to the sophomore effort from Welsh rock band Holding Absence this week, I’m really not sure that exists anymore. After a dramatic and impressive self-titled debut two years ago, the band have wasted little time taking things up a notch, with this new album cinematic and masterfully produced from beginning to end.

From standout singalong anthems like Afterlife and In Circles, to the album’s epic seven-minute penultimate track Mourning Song, The Greatest Mistake of My Life shows a band pushing themselves and driving forward with ambition at every opportunity. In a year packed with outstanding rock and metal albums already, this is most definitely another one you can add onto that list. Soaring, impressive and demanding of repeat listens.

We Forgot We Were Dreaming by Saint Raymond

It’s been six long years since Nottingham-born singer-songwriter Callum Burrows, AKA Saint Raymond, released his debut album. However it seems the time away has been well spent as this long-awaited follow-up finds Burrows in fine form, with this album packed to the brim with catchy, glossily produced indie-pop anthems.

From the brilliant title track that opens the record, to the bouncy riffs of Right Way Round, Talk and Solid Gold, to more subdued and heartfelt moments like Only You, this album will have you smiling, singing your heart out and dancing your troubles away.

Flu Game by AJ Tracey

AJ Tracey may have only been three years old when Michael Jordan was winning NBA championships with the Chicago Bulls, but that hasn’t stopped him making a record influenced by the legendary icon and his famous 1997 Flu Game. Like many others including myself, grime superstar AJ Tracey spent lockdown watching the brilliant The Last Dance documentary, and this record weirdly works as a fantastic unofficial companion, but also just a great summer rap record.

McCartney III Imagined by Paul McCartney

Even if like me you completely missed Sir Paul McCartney’s 2020 album McCartney III, it’s well worth checking out this reimagining, where he has called on the help of some of his famous musician pals. This is a real who’s who line up of guest features including Beck, Khurangbin, St. Vincent, Blood Orange, Phoebe Bridgers, Damon Albarn, Josh Homme, Anderson .Paak and more, making for quite a fascinating mix of sounds and styles.

Moratorium (Broadcasts from The Interruption) by Enter Shikari

And finally on the albums front this week, genre-benders Enter Shikari have released a brilliant compilation of all their lockdown live performances, headlined by an incredible string-tinged acoustic version of The Dreamer’s Hotel and a beautifully stripped-back “At Home” rendition of Live Outside.

Tracks of the Week

Introvert by Little Simz

Wow, wow and wow again. Still fairly fresh off the back of her masterful, Mercury Prize nominated third album Grey Area, this week British rapper Little Simz released the first taste of her next record in the form of this epic and triumphant opening track. At six minutes in length, this majestic and operatic political anthem aims to grab the listener by the collar and shake them awake. Without a doubt, one of the best songs of the year so far, the powerful video for which you can view above.

Smile by Wolf Alice

The second taste of their forthcoming album Blue Weekend, Smile continues Wolf Alice’s pattern for alternating Loud/Soft releases, with this one featuring buzzy guitars, punky vocals and a hypnotic chorus melody.

Beautiful Beaches by James

Although written off the back of the California wildfires that impacted front man Tim Booth’s local community, the lyrics on the band’s latest anthem purposefully offer a dual meaning, giving hope to those dreaming of a post-lockdown getaway and fresh start.

He Said She Said by CHVRCHES

The Scottish trio made their much-anticipated return this week, with Lauren Mayberry also sharing her experiences of sexism on this arena-ready synth-pop banger.

Matty Healy by Georgia Twinn

Georgia Twinn delivers an infectiously catchy break-up anthem, inspired by an ex-boyfriend, who’s most interesting feature was supposedly looking like the 1975 frontman.

Kill It by Vukovi

Underground Scottish rock outfit Vukovi’s new single is so good, they even managed to get KILL IT trending over the weekend of its release. Masterfully produced with big bold riffs and trancey synths, this one just sounds huge.

Can’t Carry On by Gruff Rhys

The latest solo single from the former Super Furry Animals frontman is a stunning, super-melodic tune with an instant chorus you’ll be singing before the track has even finished its first play.

Ceremony by Deftones

One of the highlights off their last album Ohms, the nu-metal rockers have now delivered a cinematic new video directed by horror legend Leigh Whannell. Check it out!

Chasing Birds by Foo Fighters

And finally this week, Dave Grohl and company released a trippy new animated video for this Medicine At Midnight cut to help celebrate 420 in their own unique way. Again, well worth a watch!

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poormeowmeowcollector · 4 years ago

Text

Let me give you my life

Pairing: Loki x Tesseract

Warnings: Major Character Death, Mourning, delusions, mental illness, alcohol, Original Character Death, Odin, fantastic racism

Summary: After Frigga's funeral, Loki starts hearing a voice. It changes their life completely.

Chapter 4: Bridge and Chorus

Chapter summary: the aftermath

Chapter warnings: Odin, Major Character Death, suicide

Chapter note: this chapter is dedicated to @lucywrites02 because she pretended to be a bad bitch yesterday.

Previous chapter AO3

No masters or kings when the ritual begins

The shackles sing as Loki walks towards the throne, fighting back a grin. Odin, on the other hand, sits on his high quality chair, believing to be intimidating.

"You have committed a grave crime against the-" Odin tries to speak, but Loki chuckles.

"I know what I have done, Odin. No need to repeat yourself," they interrupt, using a voice they've been hiding in their throat since they learned how to speak.

And it has so much to say…

"Has your mother taught you no respect for your king?" They yell, their favourite way of speaking to Loki. In all these years, Loki cowarded away at this voice, scared of a physical expression of the anger. This time, he laughs at it.

"Not my mother, and I have no king but myself," they smile, watching a new wave of anger flashing in the old charlatan's face.

"Silence! You never knew how to shut this mouth of yours!" Odin raises his voice, hoping to see the now natural cowering of Loki. The only answer is another laugh.

"Do you really want me to start speaking, Odin? To see who is truly guilty, with all these good dicks and whores listening?" Loki asks, a glow in his eyes as he gestures around as wide as the shackles allow. The harshness of their tongue makes the nobles who watch the "trial" gasp.

"Who taught you this language?" The old man spits, narrowing one eye.

"Apart from your anger? And that old warrior you ordered to teach Thor and me how to survive in a forest? And there are the guards, I can name a few but stitching is a worse crime than murder…" he mutters, acting if like he's chatting with a cup of tea other than being on a trial for murder.

There's no sweeter innocence than our gentle sin

"Enough with your games! Why did you murder Lord Gæirasson in cold blood?" Odin asks the "big question", as if the right answer will lift the charges from Loki's name.

"Because… one, because he was a racist and offended me, to which the punishment is death. Two, because he started a war-"

"You started a war, Loki," Thor interrupts, taking Odin's side, like every time.

"A war had been started. Let's not blame people, Thor. Now where were I? Oh, yeah, at how Gæirasson started a war. Also, he refused to pay his taxes and you know how seriously I took my responsibility of being in charge of the palace's finances. Did war crimes against my people, father would be proud the son of a bitch is dead. And lastly, but definitely not least, a dreadful sense of fashion. Have you seen what his grooms wear? I think I threw up in my mouth when I saw it…" they finish with the rumbling, not even thinking of answering seriously. Odin will execute him anyways, would some fun be so bad?

"I said, enough with the games!" Odin basically screeches, their face going red.

In the madness and soil of that sad earthly scene

"For the murder of a lord, cause of a war and disrespect towards the throne, I Odin Allfather sentence you to a life in the dungeons," he decides.

"Dungeons? Not axe? Did Frigga's ghost or this moron talk you out of killing me?" Loki questions, taking their turn to narrow their eyes.

"If you keep talking, I might change my mind," Odin sighs, rubbing his temple.

"And get rid of this perfect pawn to hold King Laufey from the balls? A shame, really," Loki poutes and shrugs, pretending awfully that he cares.

"I will not stand your disrespect any longer! I had granted you your life, Loki, more than once! You will learn to respect me for it! Take them to the dungeons!" Odin speaks the final order. Four guards grab the chains that lead to Loki's shackles and push him away, forcing him to walk with them

Only then I am human / only then I am free

On the way to the dungeons, Thor stops the guards and demands to speak to Loki.

"Just tell me why, brother. Please. What didn't we give you to make you care so little?" they ask, grabbing Loki's shoulder, just like they always used to do.

"A family. That's what you didn't give me. And that's what I've earned," Loki answers, staring right into his no-brother's eyes, the blue in them and the pale lines that resemble his lightning. They know they won't see Thor from this close ever again, and they deserve a proper last memory.

"Then, I'm sorry. It's late, I know, but remember this, please… I shall visit, whenever I can, Loki. I swear. You shouldn't be in prison all alone," Thor promises. Loki gives only a nod, enough to make Thor dismiss the guards and let them keep walking Loki to his future and last chamber.

The only sign of emotions they allow themselves to show is a sigh, only out of sympathy.

For he knows that his freedom just begins.

Take me to church / I'll worship like a dog at the shrine of your lies

The moment the guards put Loki back into the white vacant cell and take their eyes off them, they cast an illusion of them settling on the floor and staring at nothing. The real Loki is walking up and down the room, waiting for the Tesseract to speak.

"Now?" he asks, feeling it close.

"Now, you need to learn who your family is. Not Odin, not Laufey, your true family, Entropy," they answer.

"What with this name? After all this, can't you call me by my name?" Loki groans.

"I am. You have many names. Entropy, the Chaos Stone, the Death Stone, the Knot… the last one, actually, is the name you're most familiar with, translated to Old Jötunn tongue," they speak, all matter-of-factly.

"You're lying, the Chaos stone is a myth," Loki brushes off the answer.

"It does exist. A black gem, created by billions of ropes, strings and threads tangled together. The hardest one to wield and command and impossible to find. The Jötnar had found it and worshipped it. And when Laufey found out that his son is nothing but a dead baby, he sacrificed the infant for the infant. And Odin found the baby crying in the altar, the gem gone,"

"So I own my life to an imaginary stone, apart from an old piece of shit. What a surprise…" Loki throws their hands in the air.

"No. You are the imaginary stone. In order to give life, the Chaos gem entered your body and never left. You are the flesh of a corpse and the mind of an infinity stone. And it's time to leave the corpse and join us,"

The aimless walking stops, and Loki's heart skips a beat

I'll tell you my sins so you can sharpen your knife

"You made me kill a man, for this?" he asks, glaring at nothing. They don't answer.

"You made me kill a man! Just so I could die!" boiling hot tears streaming down their eyes and slither into their shirt as burning red eyes stare at the empty room for something. "I trusted you! You promised me a family!" he yells between his sobs.

Their feet cannot support them, and they kneel down, turned into a crying sobbing and yelling mess. A hand, created by mist, grabs his shoulder, trying to provide comfort.

"I hate you," they spit, flaring their nose drills as they stare into the blue eyes of the illusion they use to pretend they're close to them.

"I'm sorry, hurting you was… if I could prevent it…" the stone says and gives him a small squeeze. And they mean it. If there was a way to do it without any pain, they would. But it's too late, Loki is already hurt…

Offer me that deathless death

Loki throws themselves into the tightest embrace they ever had, weeping like a baby. "I don't want to die. Please, I don't wanna die. Anything but this, anything, please!" he whispers, diving his head into their shoulder without a thought of holding back the tears.

"Shhhh, you won't die. Not truly. Your mind is the stone, as long as it exists you exist. And the body will stay intact until you need it again. You will be fine, I promise," they whisper, hoping of making them feel better.

"I'm scared, Tessie. I'm so scared, I can't," for a prince, Loki sounds so small, almost like the small child they used to be. Tessie starts playing with his hair, hoping to calm him down, even for a bit.

"It's alright. Everything will be fine, no matter if you do it or not," they shush them.

"If I do it or not?" Loki repeats, sniffing quietly and breaking the hug only to look at the misty blue eyes of Tessie.

"I… you're in so much pain… if you decide that you had enough, you'll be left alone," they explain. Loki nods, still quivering from the crying, but determined.

"No. We got so far. I-I-I'm not giving up," he lets his voice get louder, and then stands up. "What do I do?" they ask, collected once again.

"Get comfortable in a position. And once you're ready, make the ropes appear and let them wash over you," Tessie explains, holding this sympathetic voice. Loki nods and sits back down against the white wall, moving to get comfortable.

Then, with just a thought, the ropes appear and fill him with this calming sensation. Tessie walks closer and cups their cheeks. "See you on the other side, Loki," they smile and kiss their forehead before vanishing.

Loki takes a deep breath, and looks around the cage. He remembers a field day he had when little, a good day. Odin was sleeping on a bench and Frigga was yelling at them and Thor to not get into trouble as Thor dragged Loki, who was just above six, on an expiration of the forest around a castle in Vanaheim. Of course, they returned after the sun was down, with scraped up knees and dirty clothes and Loki had traces of tears in his cheeks because a bug scared him. But it had been, and still is, the best time they ever had with Thor.

He holds tight into the memory as he lets the ropes cover him and closes his eyes.

Good God, let me give you my life

The guards don't know how this happened. One moment, Loki was gazing at nothing and the next…

How does one say this to the Allfather?

The healers walk out of the cage when Thor storms in the dungeons, on the verge of panicking. "Is he alive?" It's all they ask.

The healers won't answer, it's enough to know.

Thor walks in and sits beside what used to be Loki, holding their cold and deformed hand and letting tears run down his face.

Loki doesn't respond, how could he?

He's a statue, as if made from black stone, and his hands covered in stone black ropes, with a faint glow where his heart should be being the only sign that there was once life there.

Loki's face doesn't have the signature smirk, and there's no gleam in their closed eyes. But he does wear a peaceful smile. A smile Thor regrets he had to see this body in order to know that his brother knows finally peace.

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