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bylertruth3r · 3 months

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Mike and Will literally share shoes (and Will might be sleeping in Mike's room) and might not be dating yet when they start dating they're gonna share a whole closet and flirt with each other about how good they look in each other's clothes and just being obnoxious (I will rewatch those scenes so many times) what if they're sharing/swapping shoes because it's the 80's and they're in a really homophobic and conservative town and if they want to give little hints that they're dating and want to openly show it (to at least their friends) they have to be subtle about it? and maybe when they're at home they share clothes without feeling like they have to be careful with how they act around each other and can be openly affectionate (like them in s2)

Thank you for pointing it out @cler1csfink

Confirmation that they're the same shoes and they're both size 10 so yeah they're sharing shoes

and Mike brought these shoes from Hawkins which means the puma suede belong to Will

and in a leaked footage El and Mike broke up/ were already broken up because Mike says "we'll still be friends" and "i wanted to tell you first" which makes me think he might have came out to her (and in that video he was literally wearing his boyfriend's shoes)

video from @nowmemoriees

in s1 during that scene on the train tracks they're friends and in the leaked video they were wearing similar clothes to what they were wearing in that s1 scene where they were friends and could trust each other. i think Mike's gonna come out to her (as gay) there which would explain why El was crying, and why Mike said "i wanted to talk to you first", in s1 Mike said "friends tell the truth" to El and in s5 it's Mike's turn to be honest about himself and maybe he'll tell her he's in love with Will or maybe he'll tell her that he's dating Will

it's the same song that played when Robin came out to Steve, obviously Steve had a crush on Robin but she's a lesbian and can only love him platonically while even though Mike tried to love El romantically he couldn't do it because he's gay and he didn't even bother to close his eyes and kiss her back

plus in a deleted script it says he was mad at himself

and the song playing when Mike and El were kissing in s3 "can't fight this feeling" is about someone being in love with their friend and not knowing what to do about it while already being in a relationship with someone else so it's about Mike being in love with Will and not knowing what to do so he represses it and pushes him away to get over him but then realizing it's not working (which is something he realized at the end of s3) and he's gay and he want on a double date with Will and Lumax after that

and Mike in s4 was trying to be normal and might be into new things (men, because dnd is not new)

and

and in s4 "in the closet at rink o mania" started playing Mike took what Will said "and us?" as romantic and felt the need to clarify that they're friends and Will said they used to be best friends and the camera panned back to Mike plus synth music is his thing since he has "Smalltown Boy" (gay song) as his first song on his spotify playlist, it's a song about a gay man leaving his homophobic town to start a new life and Finn said he wants Mike to leave Hawkins

and he has a "one way" sign pointing to his closet because he's gay and closeted and in his room he has a poster of a shirtless man while the others (Steve, B*lly, and Lucas' "friends") all have women posters because they like women

Mike being obsessed with Superman? and him having a poster of a shirtless man while Steve, B*lly and the tigers all had posters of women in bikinis (because they like girls) Will has a skinny pink panther poster in his room which symbolizes his type in men (Mike) Mike has a shirtless man poster and a buff male dragon poster which symbolizes his type in men (Will) (he's not really buff but he's stronger than Mike) they're each other's type and love each other plus you can see Mike looking at Will's arms during some scenes

also in s3 he was happy about Dustin having a gf and asked him about her but then in s4 when he "finds out" Will has a crush on a "girl" he doesn't ask him about "her" and acts distant (he was pretending he didn't care but he was jealous) and he asked Will about the painting because he was hoping it was for him (it was)

and he realized Will loves him back in the van scene, Mike wants to feel needed and Will needs him, Mike felt lost without Will, Will felt lost without Mike, Will loves him, Mike loves him back, they both think the other doesn't love them, they will prove each other wrong in s5 when Mike finds out Will lied about the painting and loves him back, they love each other the way they want to be loved

and he was so happy to see Will drew a heart on his shield

which is literally an engagement ring, no hands because they'll be more than friends in s5

they've been filming a lot at that farm.. and Ross and his wife said that they enjoyed eyewitness

and Lukas and Mike both have internalized homophobia (Lukas was dating a girl to be normal and then he breaks up with his gf and starts dating Philip,his male best friend)

and if this leak is actually correct there would be another parallel

because in eyewitness Lukas gets injured and his boyfriend stays with him and he kisses his forehead, Lukas' dad sees it (he's ok with it), it would explain why Karen was at the hospital and why they needed an ambulance on the set, so if this leak is true then Will's gonna kiss Mike's forehead and Karen is gonna see it (that would mean Mike and Will are already dating)

and in s2 Mike stayed with Will at the hospital so now it's Will's turn

they've been filming a lot at that farm.. and Ross and his wife said that they enjoyed eyewitness and they filmed at like 3 or 4 different farms (one of them has swings) and they're literally filming at one right now

more s5 leaks and Mike and El staying friends after the break up and Mike being worried for Will <33 and Mike and Robin bonding over their partners being in danger

Will is wearing one of Mike's shirts in s5, Mike wore something similar in s3 it's a gap shirt and Eddie said Mike wears gap shirts and Will has never worn something like this in the previous seasons and he didn't bring that many clothes back to Hawkins so he's gonna have to wear Mike's if he's staying at Mike's (the Wheelers added 2 chairs to their breakfast table and Will's tiger plushie is in Mike's room, it makes me think that they're already dating in the scene because Will is wearing blue yellow and green which are Byler's colors

Noah liking another byler edit? fork found in the kitchen. pic from @iamforbyler from here . there are hints that Mike and Will's first kiss will be in s5 episode 7 (during Jopper's first kiss there were boxes that said MW705, Mike and Will s5 episode 7) they definitely told him to promote Byler again to introduce Byler as boyfriends to the GA and Millie is not promoting mlvn anymore and when they asked her what her favorite pop culture couple was she said the couple from twlight instead of mlvn

Will's wearing Mike's black jeans, the blue shirt looks like something s2 Mike would wear but the undershirt looks like Will's in s4. he's just stealing his boyfriend's clothes atp because Will has never worn black jeans before and he's wearing blue (Mike's color) and Mike's the only one in the party who has worn black jeans and Will might be staying at Mike's because his tiger plushie was in Mike's room and the Wheelers added 2 chairs to their breakfast table plus Will has to stay at Mike's since he doesn't have a house in Hawkins and the cabin is too small for all the Byers to live in.

maybe he's wearing Mike's black jeans from s5 instead of the s4 ones but either way they're still Mike's jeans since Will has never worn black jeans before s5 and Mike has, Will is stealing his boyfriend's clothes, plus Mike is wearing Will's shoes in s5 <33

Byler is so obviously gonna happen even without all those proofs because they gave mlvn the stancy storyline of Nancy not being able to say "I love you" to Steve because she's in love with Jonathan and they didn't give that storyline to Jopper, Lumax and Jancy or even Duzie which are healthy couples who don't lie about who they are to each other and never felt unloved by their partners, and Mike wants to feel needed and Will needs him and El doesn't and Millie said El realized she's her own superhero and that she's gonna figure out who she is without Mike and Millie is not promoting mlvn anymore

Mike and Will spent s3 acting like they were the exes because in s2 Mike was overly affectionate with Will but he stopped doing that when he got a gf because he saw what he did as romantic so in his mind being affectionate with Will even just hugging him or just holding his hand like he did in s2 would be cheating because he's in love with Will and he's gay

Mike becomes less and less interested in El the more feminine she becomes, it becomes more difficult for him to pretend he's straight i mean he "fell in love" with her when she looked like a boy and people kept calling her a boy..

Mike probably thought she was a boy at first, everyone kept calling El the boy with the buzzcut at first in s1 and Mike said "that's not Will" instead of "that's a girl" and interesting thing is the more feminine El becomes the less interested in her Mike becomes, he probably thought El was a boy at first and she was wearing a yellow shirt (Will's color) maybe she reminded him of Will?

I mean Mike being gay aside who would you rather for him to be with?

A, with someone who doesn't understand him and he feels like he has to change himself to be with and who makes him feel insicure?

B, with someone who he feels like he can fully be himself with and who understands him and who puts him on the first place and makes him feel loved? B right? with Will

Jancy had their "we're just friends" moment and they kissed in 2 and Jopper had their "it's just 2 friends getting together for a nice dinner" moment and they kissed in s4 , Lumax had their "she's not my girlfriend" moment and they kissed in s2 and Byler had their "we're friends, we're friends" moment (started by Mike who doesn't know Will is gay) and they'll kiss in s5, there were no moments like these between Dustin and Lucas because they're not in love with each other

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trash-heron · 2 months

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Red Dragons; Or, the problems of adaptation and the early serial killer procedural

Red Dragon (1981) has the distinction of being the most frequently adapted Thomas Harris novel in the Hannibal Lecter "quartet." Despite the universal recognition of Jonathan Demme's Silence of the Lambs (1991), with iconic performances from Jodie Foster and Anthony Hopkins, and the more recent cult status of the series Hannibal (2013), which draws from all four books, it's Red Dragon, in some ways the most "obscure" Thomas Harris novel, that has lived three, arguably four, different lives onscreen over three decades.

Manhunter, visually, is an 80s noir feast set to atmospheric synths, but works within the newly established slasher genre as it attempts to make its own mark. The 1980s were truly the decade of the slasher flick, or the first wave thereof, and Red Dragon had to contend with expectations set up by the likes of Freddy Krueger and Michael Myers. Although this isn't a write-up about the history of slasher films, the basic premise I am going with is that the early slasher serial killer was portrayed as monstrous and, compared to our favorite killers today, one-dimensional antagonists. When I think about the origins of the slasher genre, I always think about the way the ineffectual psychologist in Halloween (1978) describes his former patient's "devil's eyes," behind which lived something "purely, simply evil." Dr. Loomis is dogged in his determination to impress upon the local authorities that Michael Myers is a force of nature who is unreachable by psychology, the study of the human mind. Furthermore, the slasher flick was unconcerned with the elements of the procedural: like in other horror subgenres, law enforcement are disposable foils that demonstrate the danger of the "monster" and the vulnerability of his targets and/or come in at the end to mark the conclusion of the spectacle (until the sequel, that is).In many ways this just seems like a quirk of history. I've been operating under the assumption that when Red Dragon came out in 1981, Thomas Harris introduced a type of story to a media landscape that had scant precedent for the serial killer mystery or procedural, distinct from the related nascent slasher horror subgenre, unlike today when a plethora of "murder shows" benefit from the success of this formula. Hannibal "the Cannibal" Lecter, the ur-murderer of the Thomas Harris fictional universe, became a cultural archetype that looms over modern crime television and film as he does over the investigations of beleaguered law enforcement officials in both Red Dragon (1981) and Silence of the Lambs (1988). When Michael Mann brought this first "Hannibal" novel to the screen in 1986, he too was breaking ground, to mixed reactions. Manhunter (1986), which lamentably lost its "Red Dragon" title due to studio publicity decisions, is both ahead of and a product of its time.

Manhunter, and Red Dragon generally, is not a slasher flick. In fact, beyond the deliberately provocative reporter Freddy Lounds and a few men with barely any screen time who are killed off in brief fight scenes, the Great Red Dragon doesn't kill anyone at all. At the very least, no one is murdered in his signature serial killer style. The ritualistic murders occur before the film (and novel) begins, and the narrative revolves around understanding the mind of the serial killer and preventing him from killing again. At the same time, the conventions of the slasher film seem to limit the directions the film can go. Both Francis Dolarhyde and Hannibal Lecter (or "Lecktor") in the film have fairly opaque inner lives and limited screen time, while Thomas Harris notably does delve into the mindset and motivations of the "psychopath," positioning the killer as a subject of psychology, rather than an exception to it.

Furthermore, Manhunter's revised ending reframes one of two major female characters as a recognizable "final girl," and relegates the other to only existing in Will Graham's "happy ending," out of reach for the killer. This is the opposite outcome of the actual ending in the novel, and always seemed a bit tacked on to me, and not for artistic reasons. Will Graham can't actually end up broken and haunted because there has to be a clear demarcation between the serial killer "monster" and the "real" people who survive him. Blurring that distinction is, arguably, the "point" of Red Dragon. Michael Mann, perhaps, couldn't adapt the novel's conclusion "faithfully" because the conventions of this kind of psychological thriller weren't established, and did the best he could, introducing new building blocks for the "serial killer" archetype but not successfully pitching them to the wider public. Manhunter was not a financial or critical success upon its release, and refining the Thomas Harris "blueprint" was left to Jonathan Demme's Silence of the Lambs (1991), which made the strategic and hugely significant choice of allowing Hannibal Lecter to become a breakout character.

The next adaptation of the novel Red Dragon has seemed to me, frankly, like a bit of a cash grab. The 2002 Brett Ratner film, starring Edward Norton and Anthony Hopkins, capitalized off of the success of Silence of the Lambs and the release of a new Thomas Harris Hannibal Lecter novel. This film was for those who missed Manhunter in the 1980s, which many did, and those who considered a prominent Hannibal Lecter played by Anthony Hopkins essential to an adaptation, which many also did. The most recent adaptation of Red Dragon is the cult hit drama Hannibal (2013), which focuses on the main characters of the novel, Hannibal Lecter and FBI profiler special agent Will Graham, and can arguably be seen as two different adaptations of the novel. Both of these more recent adaptations are more coherent and recognizable as exemplars and/or subversions of the serial killer procedural, playing off of the tropes introduced to the genre by the source material itself, like a particularly grizzly and morbid ouroboros.

So, we have many points of data to consider if we wanted to determine what makes a good adaptation of the novel Red Dragon.

Ironically, for a story that laid important groundwork for a whole subgenre of film and TV, Red Dragon is hard to adapt and definitely hard to update. (So is Silence of the Lambs for that matter, but that is a whole other kettle of fish.) To my mind, the main two difficulties stem from both a strength and a "weakness" of the original novel.

A strength: Harris takes advantage of contemporary technology to create a clever mystery at the center of the novel. The problem: this particular bit of technology was only truly at home in its first 1986 adaptation, Manhunter. Both Red Dragon (2002) and Hannibal (2013) had to make compromises to adapt the central plot device. Red Dragon (2002) avoids the issue by simply setting the film in the 1980s, relying on the audience's knowledge of VHS technology of that time, which, since it was 2002, was more or less assured for an R-rated movie. Hannibal (2013) sidesteps the issue more or less entirely by making the "mystery-solving" pieces functionally irrelevant. (At one point, Hannibal Lecter makes a dismissive reference to the killer using "social media" the way the original story used VHS and the matter never comes up again.) To date, this central plot twist has never been successfully adapted for contemporary audiences in the 2010s - or 2020s for that matter. The 2010s show itself, in its choices, implicitly makes the argument that the technical "mystery" elements of novel weren't really all that important to its overall message. Depending on your point of view, this argument is successful. However, this argument also depends on the irony that the creators of the show can dispense with the set pieces of the serial killer procedural and take artistic license because the source material introduced those expectations into the genre to begin with. Tradeoffs all around.

Another challenge to adaptation is sometimes considered a "weakness" of the book: after the real "plot" of the novel vis a vis Will Graham's hunt for the "Tooth Fairy" begins, Harris makes the bold choice of adding the point of view of the serial killer du jour himself, diving into the eponymous Red Dragon's motivations and experience, which almost takes place in a parallel universe apart from that of Will Graham, Lecter, and the BSU/BAU until both narrative threads collide in the climax. The problem: this choice "derails" the suspense of the whodunit and adds character development for a relative stranger to the reader. Every adaptation of Red Dragon changes the structure of the plot so that the parallel storyline of Francis Dolarhyde, the Red Dragon, is pared down and interspersed with the main narrative (usually) earlier on. Every adaptation has decided that Thomas Harris's precise plot structure isn't actually essential. This judgment call is also ironic: Thomas Harris apparently "flubs" the standard conventions of the serial killer procedural that did not yet exist because he was in the middle of inventing them.

But, we may ask, isn't this the nature of adaptation? The answer: of course it is. Adjusting plot mechanics based on the period of the adaptation and restructuring the pacing for film/television are some of the most basic changes one can make when adapting a book for the screen. However, that does open up interesting questions of theme and intent. What is essential to the Red Dragon story? What is it, in the end, all about?

Leaving aside all caveats about the subjective nature of interpretation or the possibility of a work being "definitively" about anything, I believe there are two broad interpretations of the novel and all existing adaptations favor one or the other.

Red Dragon is a novel about how much monster there is in a, well, man and vice versa: the fate of the soul is at stake. This is a clear theme of Will Graham and Hannibal Lecter relationships in every iteration: to catch a particularly "monstrous" killer requires understanding said killer, but if you understand them too well, what does that say about you? And, more importantly, where does that leave you? (In the original Will Graham's case, nowhere good, with a broken marriage and an existential crisis, or, when we catch up with him in the sequel, in the Florida Keys, now a miserable drunk. For the modern Will Graham of the 2010s series, TBD.) Empathy itself instills horror, which is a fairly complex idea to explore in the late 1970s when Thomas Harris was writing the novel. (In fact, I will always find it remarkable that Thomas Harris had the foresight to research the methods of criminal profilers at the FBI at the beginning of the discipline and the BSU itself, getting in on "the ground floor" for better or worse for horror fiction and actual forensic psychology.) It's also very cross-media, as identification with violence on screen (and the "male gaze" itself) were emerging as key features and problems of film available to critique. The focus on "video" and boundaries between self and other in the novel seem very prescient.

Alternatively: Red Dragon is a novel about the limits of personal transformation. Thomas Harris seems preoccupied with the idea of ritual murder as an alchemical process motivated by the desire to become something "transcendent." (While one can see the mystical whimsy in a man thinking he's becoming a dragon, a figment of William Blake's imagination, "Buffalo Bill's" or Jame Gumb's desire to transform "into a woman" in a somehow "not-trans" way in Silence of the Lambs falls egregiously short and reflects more on a failure of imagination on the part of Thomas Harris and his readership than anything else.) I find the metaphysical aims of these serial killers interesting for two reasons. First, sexual sadism is de-emphasized as a motive, which is not typical of the serial killer archetype of the time: the most prominent serial killers in fiction (such as in early slasher films) kill because of some perverse urge, as an extension of the "evil" men they are or were made to be. Their murders aren't about anything. Both Francis Dolarhyde and Jame Gumb , in contrast, think they are setting out to accomplish something and that the brutality of their actions is beside the point. This is what constitutes their insanity, as this is clearly not true.

The actual nature of their murders and the ugly psychoanalytical implications of their compulsions are the ultimate limitation on their aspirations to "becoming." No matter what they think is going on their heads, they direct their violence toward women, and it is women who ultimately put an end to their reigns of terror. (Molly Graham and Reba McClane in Red Dragon and Clarice Starling, among others, in Silence of the Lambs.) The female characters serve as a "reality check" for the dreamy, bloody men of the books, which is earnestly ham-fisted on the part of Thomas Harris but also significant for the genre. Arguably none of the women in the first two Hannibal novels play the role of "final girl," that is, an "innocent" woman who acts as audience surrogate and restores socially acceptable norms at the end of the film. (The focus on such a "good girl's" experience means you can take a comfortable distance from the murderer and put yourself in the position of "victim." You are also anticipating that she will be spared in some way, which restores a sort of moral balance to the universe: the other victims in some way "had it coming.") In Red Dragon, the active female characters are not sorted into the "virgin/whore" dichotomy: in fact, even the actual sex worker character (Freddy's girlfriend) remains unscathed, and her feelings are more relevant to the other characters than her occupation, humanizing Freddy postmortem. The victims and potential victims, almost all of them mothers, clearly did nothing "wrong" and their sexual objectification is placed squarely on the shoulders of the men watching them. The women left standing at the end of the novels don't just "escape" the killers: they're the ones who put the killers down despite the male characters' inadequacies, and they, unlike a Jason or a Michael Myers, stay down.

Of course, I think both broad themes are very present and active in Red Dragon, and, probably unsurprisingly, Hannibal Lecter is something of a cipher for both threads. If our main concern is coming to terms with our empathy and capacity for violence (or "men's," I suppose), Hannibal Lecter nimbly eludes being a subject of empathy, instead setting himself up as the observer and interpreter of other killers. His insight into other people is certifiably superior: he's literally a renowned psychiatrist. The possibility of a Hannibal Lecter raises the stakes enormously for our own navel-gazing, as we are not just wondering, along with Will Graham, whether the wicked deeds of others might appeal to us, but are actually facing up to the reality that the killer has been beside us as a peer all along, not the subject of scrutiny. If our main concern is the limitations of personal transformation, Hannibal Lecter is a very sharp foil for our doomed killers because while he can easily identify the signs of a transmutation complex, it isn't especially relevant to him personally. Hannibal Lecter doesn't kill and eat people because he's turning into anything. As he famously tells Clarice Starling as she attempts to interview him, "Nothing happened to me. I happened." He already is what he is, rooted in sensual reality - like the women in the books - and he is merely indulging his appetites and aesthetics. This, I think, is why he prevails and why he can make himself at home on the side of our woebegone detective protagonists when he feels like it. Hannibal Lecter is never doomed: he can always happen to you.

Manhunter favors the first tendency, and is not particularly interested in Francis Dolarhyde's "Becoming" as the Great Red Dragon. This allows for a very intense and nuanced meditation on identification and the role of empathy that artistic representations of violence invoke. The focus on "seeing" gains a whole other dimension in the context of film, as there are many interesting things going on with perspective and scene composition. 2002's Red Dragon favors the second tendency, if I had to make the judgment call. Although the film is probably the most "faithful" adaptation of the events of the novel, I do think you can come away from the film not remembering that Will Graham has any particular problem/gift of heightened empathy or that losing himself by identifying with Hannibal Lecter or Francis Dolarhyde was ever a serious possibility. (Even at the climax, when Graham to a "violent" place he ends up taking on the persona of Dolarhyde's abuser, not Dolarhyde himself, which is entirely an invention of the film.) What the film does emphasize is the quixotic journey of Francis Dolarhyde, giving quite a lot of room to his backstory as well as his inner conflict between his deadly, "spiritual" inclinations and his romance with Reba. Also, and most importantly, this is the one adaptation of Red Dragon that actually allows Molly Graham to kill Francis Dolarhyde when he tries to make the Graham family another ritual sacrifice. There's an intentional symmetry in the novel between the murders and Dolarhyde's ultimate demise at the hand of the desirable "mother," which really underlines the juxtaposition between the story Dolarhyde is telling himself and what he's actually been doing.

Perhaps this is me tying a bow on it all by claiming that Bryan Fuller's Hannibal (2013) manages to incorporate both major themes, but I do think it's very interesting to at least think of the series as two different adaptations of Red Dragon. The first adaptation is obvious: the second half of season 3 "does" Red Dragon, and honestly gives fantastic depth to Francis Dolarhyde's inner world and his quest for transformation through death. However, I also think you can view the entire series as a whole as an adaptation of Red Dragon. I say this because the main bulk of the existing seasons of Hannibal cover the period of Will Graham and Hannibal Lecter's relationship prior to Lecter's capture, which is only depicted (in exposition) in the novel. Aside from the incorporation of various plot points and characters from the novels Hannibal (1999) and Hannibal Rising (2006) in season 2 and season 3, one could place the (first) three seasons of Hannibal entirely in the world of Red Dragon. I think this is especially suggested in the first episode, which opens with Will Graham doing a visionary walk-through of a family annihilation that pretty much exactly hearkens back to his first major scene in the novels and the films: later in the episode, Graham's inner monologue about imagination and taste - the first substantive insight we get into the character - is rewritten as dialogue between Graham, Jack Crawford, and Hannibal Lecter. So, even while the plot of the series begins at a different point in time, stylistically, we're back at the beginning of Red Dragon anyway. This interpretation allows for a lot more flexibility if we're looking for major themes coming from the source material. Identification and empathic intimacy are the animating features of the central Will-Hannibal dyad: at the same time, the psychic landscapes Will Graham (and to a lesser extent characters like Alana Bloom or Bedelia du Maurier) explore alongside Hannibal Lecter are tied up in questions of transformation and limitation.

In the series, Lecter not only pinpoints the urges to "become" in other killers but also becomes deeply invested in Will Graham's capacity for metamorphosis as an expression of identification and intimacy. If, as I've suggested previously, Hannibal Lecter exists as a grounded corrective to the soulful longings of murderers who wish to change through the deaths of others, this seems like a contradiction on its face. However, if we take this interpretation of Hannibal Lecter in the novels into our viewing of the series, the tension between Hannibal and Will sharpens into a very intimate exchange of knowing and refusing to know one another. Hannibal Lecter seems to have no interest in Will Graham becoming something or someone else via the alembic of murder. When he tempts Will, he is not (ultimately) encouraging the profiler to look away from the world to some impossible dream that would mark him for death like the other murderers they hunt together. Hannibal Lecter is very interested in Will Graham becoming a killer, that is, embracing all of who he already is with clarity and insight, which is a transformation rooted in psychology and is also entirely possible. Will then resists self-knowledge, or bringing his self-knowledge into the material world. Hannibal resists his own identification with another human being, and realizes (a bit too late) that there may be a way to bring Will down to Earth (and closer to him) without destroying him, as he inevitably does - gleefully - to his other proteges and projects.

No adaptations of Red Dragon have embraced the novel's ending. In the end of the original novel, Will Graham is left in the hospital, resigned to the fact that he's lost his wife and stepson, and drifts into a drug-induced dream state, where he doesn't dream of "Molly leaving" or Dolarhyde, but rather visits a memory from the time shortly after he'd killed Garret Jacob Hobbs. He remembers visiting Shiloh, the site of a particularly bloody battle in the American Civil War, and has an epiphany. At the time, he'd considered the battlefield "haunted," but now realizes that it is, in fact, "indifferent." In the natural world, there is no mercy, "we make mercy": "There is no murder. We make murder, and it matters only to us." Graham accepts that he has the capacity to "make murder; perhaps mercy too." Murder, however, is what he understands. He wonders if "vicious urges" in humanity and the "dark instinctive knowledge" of those urges could act as a vaccine against the "virus" of violence, allowing for the possibility of civilization that has "overgrown the basic reptile brain." He doesn't settle on an answer, but does believe he was wrong about Shiloh. "Shiloh isn't haunted - men are haunted. Shiloh doesn't care."

Granted, this would be hard portray on screen. A filmmaker would have to resort to voice over, perhaps, or merely suggest where Thomas Harris declares. Another option would have Will's epiphany take the form a letter to Hannibal Lecter, an answer to a message Graham never receives. In this letter, which Jack Crawford destroyed, Lecter says we live in a "primitive time," "neither savage nor wise. Half measures are the curse of it. Any rational society would either kill me or give me my books." He wishes Graham a "speedy convalescence," and hopes "he will not be too ugly" after recovering from the wounds the Great Red Dragon gave him. "I think of you often," he writes, and then writes his name. Lecter believes "half measures" are the true poison: Graham, if he knew his dream was a reply to his counterpart, would perhaps take the position that "half measures" are the antidote, a strategic ambivalence that, perhaps, makes mercy as possible as murder. Such a reply, however, would lack conviction. It would, however, betray that in the end this is a conversation vulnerable to distance and time and that there is no appeal to a higher power or state of enlightenment, just to one another. Perhaps the last scene of "The Wrath of the Lamb," the final episode of season 3 of Hannibal, is the closest we'll come to seeing a cinematic portrayal of this conclusion. The profiler taking the serial killer into his arms, where they hold each other like lovers, and then throwing both of them off a cliff and into the sea. Not a half measure at all.

In the meantime, all of these versions of Red Dragon are worth a look.

#nbc hannibal #hannibal lecter #will graham #manhunter 1986 #red dragon #thomas harris #silence of the lambs #slashers #francis dolarhyde #murder husbands #essay #fadserver #hannibal meta

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ckret2 · 2 months

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i know you’ve talked about bill’s music tastes before, but do you have any head cannons for other characters’ music tastes?

i.e. do you think mabel would listen to vocaloid?

Mabel: here's what we know about her tastes.

She loves Dream Boy High; Dream Boy High's VCR tape design has nods to Jem & the Holograms, which has a million songs per episodes; Mabel has Xyler & Craz play synth music to defeat Bill; Mabeland plays 80's music. She's into extremely 80's-sounding synth-heavy pop. The music she plays in dream realms is the music closest to her heart. This is the core of her musical tastes.

There's something subtly, inexplicably different about music made for cartoons vs contemporary popular music, even when they're trying to portray the same genres. I can't describe what that quality is, but it's there. Anyway, if the core of Mabel's musical tastes is rooted in or near Dream Boy High, then she probably listens to other 80s cartoon soundtracks.

She's into 2010s acts that are throwbacks to late-1990s boy bands. She'd probably also like actual 90s boy bands.

She's fluent in modern top 40 music—which is no doubt where she she picked up Sev'ral Timez. I see her as the kind of kid who just keeps the radio on all the time. (And I do mean the radio—she didn't get a phone til the end of last summer, we see her with CDs, she probably had a radio long before she tried streaming.)

She's also fluent in classic rock ballads, but it's not her preference. She's a "grew up listening to the radio stations her parents picked on a car ride" kid. I suspect her dad plays 70s/80s pop in the car (cementing her primary musical tastes) because there's another Pines into synth pop so I've decided it's genetic, and her mom plays the classic rock. Mabel knows Don't Start Unbelieving from Mabel & Mom karaoke nights.

Dipper: if Mabel grew up listening to her parents' picks on the car radio, so did he. This is where he picked up his love for BABBA. From this we can deduce that, if their dad is the 70s/80s pop music parent, their dad probably drives them around more than their mom. I think you could safely give him other disco bands as well.

He plays the sousaphone but every band kid I've ever known treats band more like a musical sport than like a musical genre—the super passionate ones might practice extra and might watch other bands' performances, but they didn't just sit around listening to marching band music for fun. However, he also practices during the summer, even though he's in another state and obviously not participating in any summer band activities, which suggests an unusual passion for marching band. I still don't think he just listens to marching band music for fun but he probably keeps hearing songs and going "oh wow I've never heard the original before, only the band version."

He picked up a couple of indie folk bands to try to impress Wendy but he's not super into them.

Ford: He was on the absolute cutting edge of new wave & synth pop in the 80s. He was into the obscure stuff. Somewhere in the shack is a pile of cassettes by new wave acts the rest of the world has completely forgotten. He and Mabel trade music recommendations: he gives her the obscure as hell stuff and she tells him about all the cool new* (*post-1982) bands he never got to see. Mabel prefers peppier songs and he prefers moodier songs but there's a HUGE overlap between their tastes.

In a better, portal-less world, Ford's taste in new wave would have had time to drift into dark wave and cold wave, and from there slid over sideways to discover goth rock. There's an unhatched trad goth somewhere in his soul. He should have been listening to Sisters of Mercy, Bauhaus, and The Cure. He should have gotten a black trench coat because he thought it would make him feel cool, not because he was an interdimensional criminal on the run. It's not too late for him to discover it now, but by now he should have made it miles beyond the major 80s goth rock acts, gone down half a dozen increasingly obscure genre alleys, and be burrowed deep into some weird sub-sub-sub-genre of EBM you and I have never heard of.

He has a love/hate relationship with All Star.

Stan: He liked hanging out at a 50s-themed diner in the 70s. He likes 50s music. I also think he picked up a fair amount of Spanish-language 50s rock-and-roll while abroad. Once like five years ago Soos overheard Stan playing a record and singing a song Abuelita plays and it cemented his ambition to reverse-adopt Stan as his dad.

Soos: Popular hip hop and anime/video game soundtracks. Every rap song he knows has been on the Billboard Hot 100 but on the other hand he has the demo version of the extended version of the ending theme of an anime from 2001 that was never fully released outside Japan and he's probably got a fifteen-minute story about why he knows this song even exists. He's puzzled through the shipping info of a Japanese CD website to get the official soundtrack of the most dogshit anime you could imagine. He's spent a week pouring through anime convention forums trying to track down a song he overheard someone use as their background music at a cosplay contest. Lots of 8-bit.

Wendy: You know the stomp clap hey genre? That. I have nothing further to add, you know what I'm talking about. Her heart yearns to escape to hipster city. She didn't even like Robbie's music when they were dating, she just thought it was cool he made it.

I'm not gonna go through every character I have headcanons for, you don't need all that on one post. Anyway, have a work in progress playlist. It's rigorously organized. "😀😀😀 Character Name 😀😀😀" is what each character would like listening to, "😀 Zodiac Symbol 😀" is songs about each character, "🪐🪐🪐 Flatland 🪐🪐🪐" is backstory stuff, "🌎 Earth 🌎" is either songs I need on this playlist for the vibes or songs that belong in one of the other categories but I haven't sorted them yet. Some of the sections are still empty. I think this is forgivable since the playlist is already 11 hours long.

#anonymous #ask #gravity falls #headcanons #music

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octaviasdread · 10 days

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I hereby conduct this tortured poets society album meeting in all of its mania and sorrowful blues as I move from unhinged impressions to unhinged first-listen analysis because I am incapable of saying less.

(and to all the Aimees i’m so sorry but that’s on Kim)

This Anthology is taking me so long to process, but nothing feels like the first jarring moments of I Can Do It With a Broken Heart - the cacophony and flashes of a birthday breakdown bopping to 80s arcade game synth. It's crumbled cake and mascara streaks when Bejewelled is actually a delusional Mirrorball,

and The Secret Garden reference in I Hate It Here, oh god, she’s so me:

I hate it here so I will go to / secret gardens in my mind / people need a key to get to / the only one is mine / i read about it in a book when I was a precocious child

I need to come back to that. But the whirlwind of Who’s Afraid of Little Old Me? Plans cancelled. IM THE ONE barricaded in the bathroom with a bottle of wine, actually. It's me chained-up in that poor things victorian mourning dress shrieking elegies in my tortured nightingale screams.

She's Grammys Taylor looking at the crowd of her peers rolling their eyes, she's the litany of snide jokes diminishing her success, and the children, sisters, friends, and girlfriends of those who wronged her loudly singing her songs.

so i leap from the gallows and i levitate down your street / crash the party like a record scratch as I scream / who’s afraid of little old me

i was tame i was gentle til the circus made me mean / don’t you worry folks we took out all her teeth

ohhh, the throwback to Speak Now and the significance of MEAN. The song and its titular word show how childish language encapsulates that pointless spite and the bone deep hurt mean behaviour breeds - but now she’s a phoenix risen, and they hurl her youth and her downfall back in her face - word for word, surprised face - its the dark side the The Lucky One, of not escaping the cage of fame games.

you lured me and you hurt me and you taught me / you caged me and then you called me crazy

i wanna snarl and show you just how disturbed this has made me / you wouldn’t last an hour in the asylum where they raised me / so all you kids can sneak into my house with all the cobwebs / i’m always drunk on my own tears isn’t that what they all said?

PUT NARCOTICS IN MY SONG took me out. This album is funny in the most sardonic and absurdly humorous ways,

like the classic cowboy western guitar strings in her crime songs (I Can Fix Him, No Really I Can - pistols drawn), but especially the ones leading into Fresh Out The Slammer. Fucking genius, and to follow on with static sounds at 2:26ish to the house where you still wait up, is exactly the kinda detail I adore.

Naively, I thought Florence was done with me after Florida!!! It's a lyrical meme for single 20 & 30 somethings who moved away from home,

my friends all smell of like weed or little babies / and the city reeks of driving myself crazy / little did you know your home’s really only / a town you’re just a guest in

and the haunting morphs from the ghost of your girlhood into the catalogue of decisions and delusions which get you through adulthood. Yet it feels almost like an interlude within the song when

me and my ghosts we’ve had a hell of a time / yes i’m haunted but i’m feeling fine / all my girls got their lace and their crimes / and your cheating husband disappeared/ well no one asks questions here

appears like an alternative pov for No Body, No Crime with the girls and their ghosts and their pacts made over wine. Every Action has an Equal Reaction. Run away to Florida, or Texas, and lose yourself to lose the heartbreak. Its self-destruction, it's trauma-healing, bonding, and its breaking.

(what a song for an angsty girl collab, problematic girl in hand with problematic girl, lyrically and thematically, maybe the real love story is the friends we make along the way.)

And that wasn't even the last of it. It's Florence 2.0 with B side Cassandra, but instead of Dance Fever, its Taylor’s glorious mythology with all the allusions, parallels, intertextual and lyrical ruining of my mind:

when the first stone’s thrown they’re screaming / when its burn the bitch they’re shrieking / when the truth comes out its quiet

so they killed cassandra first cus she feared the worst / and tried to tell the town / so they filled my cell with snakes i regret to say / do you believe me now?

No apologies anymore. A girl given the gift of prophecy by Apollo, the GOD OF POETRY, is cursed with her prophecy never being believed: Burning all the witches even if you aren't one, indeed. She saw the truth of the Trojan horse, and the Trojans insulted her. Rep snake branding and the current cultural view of KK and Ye. I don't need to say anything else.

i was in the tower weaving nightmares / twisting all my smiles into snarls

the family the pure greed the christian chrous line / bloods thick but nothing like a payroll / bet they never spared a prayer for my soul

I literally played that THREE times before I got over it enough to finish my first listen,

and i’m still thinking about Clara Bow and that Stevie Nicks tambourine we collectively freaked over from the Spotify installation, and all the silent movie speculation from the track title release.

you look like Clara Bow in this light - you look like Stevie Nicks in '75 - you look like Taylor Swift

Three women whose public profession became entangled with their pain. Silver Springs. Boyfriend songs. The jokes. Clara Bow.

Clara feared being left behind by 'talkies.' Miss Americana. The fear of 30 bringing death to a woman's Hollywood/Musical career,

beauty is a beast that roars down on all fours demanding more / only when your girlish glow flickers just so / do they let you know?

Three women who beat the odds - three women whose talent, craft, and popularity carried them through.

But there's something more to unpack here with cycles and patterns - of the past endlessly repeating. It's the transient nature of fame and our fleeting view of beauty mapped out in the untouchable, ever-changing, and culturally worshiped moon.

It's a body of physical craters, a natural body we call discovered, and fight to claim. We project emotions and create rituals of worship - you're the new god we're worshipping. Endless stories are told about her, but we can never fully see the moon with human eyes. Eclipses, shadows, - 'half moonshinе, a full eclipse' - half-truths and half-moons:

this town is fake but you're the real thing / breath of fresh air through smoke rings / take the glory, give everything / promise to be dazzling

There's a play on light and a play on words in the repetition of Dazzling, shining so bright so blindingly bright. Who is dazzled? Who is doing the dazzling? There's an instability between Director - Public - Star. It's Hollywood lights, No one in my small town thought I'd see the lights of Manhattan / No one in my small town thought I'd meet these suits in LA.

She beat the 'War Big Machine' - but for me, there's ambivalence and illusion on all sides of the final lyrics, you've got edge, she never did / the future's bright, dazzling.

(and ‘Edge’ is particularly ironic when you consider the songs on this album…)

Moving again into the B Side, it's Taylor's departure from Invisible string, red strings of fate, and golden threads à la the golden chain of fate in Charles Dickens, A Tale of Two Cities that strikes me.

First, I thought her writing was a complete departure from the themes of destiny and fate, but then, The Prophecy:

cards on thе table / Mine play out like fools in a fablе

it isn't an absent symbol; it transformed. It's the evermore forest amped to the max. Witches, folklore, fairy-tale and fable - a homeric epic. Its the hero's journey distilled as she opens the song with a move from 'full throttle' adventure, to slowing down 'Hand on the Throttle' to appeal for Supernatural aid at the hero's transformative fall.

and it was written / I got cursed like eve got bitten / a greater woman wouldn't beg / but I looked at the sky and said / please I've been on my knees / change the prophecy

Lover asking Traffic Lights becomes spending my last coin so someone will tell me, and this might be the most slept-on heartbreaking line. Her search for reassurance can't be framed as an arbitrary musing anymore. It can't be dismissed as a mere thought on her drive home, or something triggered throughout the day - its intent. It's a quest for answers, a plea, a last-ditch hope difficult to deny.

and I sound like an infant / feeling like the very last drops of an ink pen/ a greater woman stays cool/ but I howl like a wolf at the moon / and I look unstable /

gathered with a coven 'round a sorceress' table / a greater woman has faith But even statues crumble if they're made to wait / i'm so afraid I sealed my fate / no sign of soulmates

She's asking for a gift from the Gods, and when the God's won't answer, she plunges straight down from heaven or Olympus into the self seizure of power in witchcraft. And when it fails, she descends further - Spending my last coin so someone will tell me it'll be okay - paying mortal fortune tellers, even if they lie.

The song leans on figures without redemption, on the Eve's, on the women cursed and punished, and those who scream like infants rather than enduring burdens and pain in silence. She's poisoned, infected like Aurora from the wound of the pricked hand with dreams of him. Is this a punishment?

She's infected, cursed like Eve got bitten, [lyric of all time!!!!] but does a monster always do monstrous things? Who is the monster? Who is the folkloric, the literary Mad Woman? Perhaps she's written from the desperate, the scarred, and the wronged.

and the transition into another tale with Peter? As in Peter losing Wendy? Is it an epilogue to the Betty trilogy? or a different use of the metaphor?

and I didn't wanna hang around / we said it was just goodbye for now /said you were gonna grow up / then you were gonna come find me / words from the mouths of babes / promises oceans deep / but never to keep

The triangle is echoed in love's never lost when perspective is earned, reflecting the different povs of Betty, August, and James, and placing Peter as the new conclusion - the shelf life of those fantasies has expired / lost to the lost boys chapter of your life/ the woman who sits by the window/ has turned out the (porch?) light.

Promises wear out. Wendy's window closes, and so does this chapter in her life.

my lost fearless leader / in closets like cedar / preserved from when we were just kids / is it something I did? / the goddess of timing / once found us beguiling

is also - intentionally or not - Narnia coded. Is the storybook collecting dust in her closet? Or is the closet still holding a portal to another fairytale land accessible only in youth, another home you can't return to (and another folklore parallel with mtr, anywhere I want just not home).

Side B is so harmonious with ttpd being the end of a chapter as the anthology moves through all the seven stages (or Taylor playlists) of grief.

The Manuscript, the signing of the autopsy, is the Death of the Author. It's the Roland Barthes realisation of All Too Well reborn in joy and fan culture, the story isn't mine anymore, of the Eras - 'I hope you hear these songs and think of this night' - Tour. She knew what the agony had been for - art. connection. - and its these things that create the hope lost in ttpd's journey through mania, disorientation, loss and despair. It all leads to healing, nothing left but a manuscript.

So many thoughts from listen no.1 and they’ll probably change, but i’m so exhausted from this 31 song rollercoaster that I'm just gonna let this sit. death of the author, I guess.

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bengiyo · 8 months

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Only Friends Ep 4 Stray Thoughts

Last week, Boston played to win and achieved his goal of hooking up with Top again. Nick moved in with Sand and secretly recorded audio of Boston's hookup with Top. Boston convinced Top that Mew is lying about being a virgin and playing games with him and Ray. Mew is playing this virgin card too hard and is now losing. Ray continues to play hard for Sand, but threw him away to run to Mew. Cheum is the only one properly focused on their project. Yo is the only person in a stable relationship.

Yes, show. Remind us about how loudly Top was moaning in that car. He was present for that.

"Emergency Contact." Loving the names of these episodes.

I like the choice to use a 4:3 aspect ratio for the past sequence. Khaotung would have been just as beautiful in the 90s.

Man, I hated calls like this. You feel so powerless, but you feel like you have to do something when you think your friend is going to harm themselves.

Oof. We called that Ray has been like this for a while, and this was as sad as I thought his depression would be.

I feel bad for Mew. It couldn't have been easy to reject Ray when he's in a constant emotional spiral. You want to help your friend, but you also don't want to give him false hope.

Boston is such an ass for recording them. I get the curiosity and how it probably felt like a joke at the time, but he used it in such a malicious way.

Mew is unsubtle, but you end up being that way when you have a friend who's always intoxicated. They miss cues.

Mew needed to set that boundary with Ray. He can't get used to taking advantage of him like that.

We didn't get to see Mark and First work together much in Moonlight Chicken. I like the rapport they built for these characters. Sand is like, "Boston? Really?"

Okay this 80s style synth track sent me into orbit. I'm obsessed.

Top is good at this game they're playing.

Big bass drop on the question about the model plane.

It's interesting in this A-B shot with Ray begging Sand to let him spend the day with him that they put Sand center frame when we see his face, but he's almost offscreen when we see Ray. It feels like Ray is crowding him.

I hate that I'm getting used to Ray being drunk all the time.

I like that Sand can clearly state how he feels. Sucks that he knows he's falling for a problem.

Damn, Top destroyed Boston in that elevator, and not in a way Boston hoped for.

Top is still getting his on the side, but he's not messing around with Boston anymore. Mew really think he has this man on lock because he wants that virgin ass so bad.

Unsurprisingly, Nick is not afraid to go through this man's phone.

So, Boston gave a reasonable proscription against taking photos, but that only makes Nick more jealous because of the Top photos. Boston says Nick is always welcome, but that's dependent upon Nick being nice and lovely. He ain't ready for Nick.

He said, "It's Mr. Nick, if ya nasty."

Top is so fascinating. As soon as he understood what Nick wanted he took total control of that conversation, and he literally ends the meeting looking down on Nick.

So Top definitely fucked one of Sand's boyfriends. That beef felt specific and personal.

Thank you for confirming that, Sand.

Ray really came over here to piss with Mew after trying to snuggle back in with Sand. This man is a mess.

Yes, Mew, share your big secret that your friend still has a crush on you and you kissed once.

"I'm not an addict." Gurl.

Now, Mew. You already have an addict as a friend. Why would you even consider using transactional sex to encourage your would-be boyfriend to quit? I thought you were supposed to be the smart one.

Top is rich. He does not care about the little hit he just threw away. It's a small price to pay for victory.

No penetration? Oh lord I'm about to get trampled by the disk horse.

"I only have you." Top is now winning.

Damn, I can't even really believe that Top actually cares about Mew's feelings.

Oh, Sand. You know, and yet he's just too charming. I get it.

Looks like we're setting up for the spiral next week.

TOP IS BACK TO LIVING UP TO HIS NAME! Incredible week for him. He decimated every single character he encountered.

Mew, you lost, baby; he played you.

Nick and Boston, both of your half-formed plans looked tired this week and you both need to retool.

Sand and Ray, you are the only two straightforward characters and I am so looking forward to the havoc you will wreak when you are finally pushed over the edge.

Sand, you in particular will be my champion; you keep telling everyone exactly who you are and they keep fucking with you. Let me know when you need your bat, king.

#only friends the series #only friends meta #thai bl #bl series #Ben watches

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randomvarious · 8 months

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Chicago House Playlist

Alright, folks, here's something that's been a long time coming: a playlist of house tunes that came from the city that gave birth to the global phenomenon in the first place, and also kickstarted the whole evolution of electronic dance music as we currently know it. When house music began, most dancefloors had moved on from disco to a mishmash of post-disco, boogie, hi-NRG, dance-pop, synthy funk, electro, freestyle, and a whole lot of other stuff, but there was something different that started to brew itself into a movement during the mid-1980s among a predominantly black, gay crowd in the city where disco had first been symbolically murdered in 1979.

And eventually, it became known as house music, named after both The Warehouse, the place that the genre's godfather, Frankie Knuckles, would have residency, and the posters that would be hung up to advertise the venue's events, which referred to 'house parties' and 'house music.' The Warehouse would open up in the late 70s and close in the early 80s, but in 1983, Frankie would open up his own club, The Power House, which would then change its name to the Power Plant, and then change its name again to The Music Box, after another legendary house DJ, Ron Hardy, would take up residency there.

So, a lot of this playlist channels the greatness of some of those halcyon Chicago house days. And so much of it is just pure, primordial dance music bliss; lighthearted, unserious, super fun, revolutionary grooves. There was an amateurishness to a lot of it back then that gave it a significant level of goofy charm, and that's something that seems to have gotten mostly left behind as the music continued to grow into the 90s. Songs like "Move Your Body," by Marshall Jefferson, which opened with this rich and clanging, jauntily unpolished piano rag of sorts, was so infectious, and his plainly bad, but passionate singing voice that would follow that iconic intro couldn't help but be adored too. And the song on this playlist that currently comes after that one, "Love Can't Turn Around," by Farley "Jackmaster" Funk & Jesse Saunders, is in much the same vein, as featured vocalist Darryl Pandy goes over-the-top berserk to start his second verse, making for another song that you really just can't resist 🥰.

Another total favorite of mine on here is one that was produced by Frankie Knuckles himself: "Let the Music Use You," by the Night Writers, which is a near-eight minute masterpiece that has a divine, string-pad-and-bell-laden beat that immediately shows you why Frankie was revered as such a master of his own craft. And that beat gets paired beautifully with Ricky Dillard's soft and tender, heartfelt vocals too.

And then there's Kevin Irving's "Children of the Night," which features his excellent, soulful voice on a beat that combines string pads with prickly electro stabs, and was made by Larry Sherman, the founder of the most important label in the history of Chicago house itself, Trax Records, which has also caught a lot of flak over the years for its shady business practices.

A couple more notes: first, be forewarned that the track that starts this playlist is another tremendous classic, "Mind Games," by Quest— which features the voice of Liz Torres and some great and dreamy freestyle-type synth work—but even though it's on Spotify, it is, unfortunately, pretty damn scratchy. Luckily, I was able to include a much cleaner version on the YouTube version of this playlist, though 😊. And second, I like to keep these playlists as chronologically ordered as possible, but I couldn't, for the life of me, figure out when Screamin' Rachael's "Bip Bop" was actually made. It has an aggressive male rap vocal on it that's reminiscent of Turbo B's on Snap!'s "The Power," so it could be from that early 90s period, but I really don't know. So I just put it at the end, where it will stay until I one day possibly figure out when it was actually created.

This playlist is ordered as chronologically as possible and links are provided below to songs that have been posted about previously in order to give them more context:

Quest - "Mind Games" Marshall Jefferson - "Move Your Body" Farley "Jackmaster" Funk & Jesse Saunders - "Love Can't Turn Around" On the House - "Pleasure Control" Housemaster Boyz - "House Nation" Ralphi Rosario - "You Used to Hold Me" Night Writers - "Let the Music Use You" Dalis - "Rock Steady" Kevin Irving - "Children of the Night" Bam Bam - "Where's Your Child?" Paul Johnson - "3rd Dimension (Remixed by Armando)" Screamin' Rachael - "Bip Bop"

And while there are some incredible moments in that Spotify playlist, I still have way more Chicago house music to show you in the YouTube version. Some tracks that stand out in this bonus crop are the first one, the silly and campy "Undercover," by Doctor Derelict, which has about 3,500 plays on YouTube across a couple uploads; another one from Frankie Knuckles, which is a rare remix of his very popular "Baby Wants to Ride" that has ~31.6K plays, and features some political opining from vocalist Jamie Principle, and even a detouring interpolation of "America the Beautiful" in its second half (😆); and then one from a later era of Chicago—'99, to be exact—called "Testing & Balancing," by Jimminy Cricket, aka James Curd, that has around 170 plays and liberally samples from Al Green's soul classic, "Love & Happiness."

Doctor Derelict - "Undercover" Jungle Wonz - "The Jungle" Steve "Silk" Hurley - "House Beat Box" On the House - "Ride the Rhythm"Libra Libra - "I Like It" Paris Grey - "Don't Make Me Jack" Liz Torres - "Can't Get Enough" Frankie Knuckles - "Baby Wants to Ride" On the House - "Let's Get Busy" Mister Lee - "Come to House" Jimminy Cricket - "Testing & Balancing"

And this playlist is also on YouTube Music.

So, with the Spotify version of this playlist, we currently have 12 songs that total an hour and 16 minutes, and with YouTube, we're at 23 songs that total 2 hours and 24 minutes. Clearly, there are a whole lot more goodies in that YouTube one.

And if you want a Chicago house playlist that's a bit shorter, I have one that's made of stuff that's solely from the 80s too.

1980s Chicago House: Spotify / YouTube / YouTube Music

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

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ankiebitez · 9 months

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Obey Me! with a goth Mc

lucifer, mammon, leviathan, satan

notes:

this was written with the like 80s trad goth style in mind so like big teased up hair, bold makeup and clothes, etc. plus some of my own experiences bc I've been into alternative stuff since i was a kid and i live in the south so

i don't think there's anything gender specific in here but i mean. this is mostly just self indulgent and i am a guy so idk if i should put gn or male reader but ehhh i might go back later and add some stuff specific to a male/masc reader bc there's like crumbs of male mc content

im gonna try to do the other brothers and side characters too if i can but i just felt like posting these for now bc i need some time to think of stuff for the others

Lucifer:

probably wouldn't care much or think much of it when you first show up

i feel like he would like some kinds of goth music and it might be one of the things that helps him warm up to you

he would probably like more of the melodic types though, probably not too into the like 80s synth type stuff

anyone that makes fun of you for how you dress and look is gone immediately. no questions asked, they're just gone.

if he's close to you he might let you try doing his makeup and hair ONCE with enough begging, but will immediately wash it off and say to never do it again. (even though he secretly liked it)

i could see him listening to rosetta stone and christian death probably

mammon:

probably got scared the first time he saw you if you do like extreme makeup and everything

"lucifer are you sure that's a human?"

wont say anything to you about it though

after he warms up to you (like within 10 minutes) he loves it though

i feel like he'd be okay with some goth/80s music but wouldn't pay it much mind to have favorite artists, would probably like a good few songs separately though

would let you try to do his makeup and hair whenever you want, would complain about it but wouldn't mean it and would blush the entire time you do his makeup

wouldn't mind doing goth related stuff with you as long as it's not too scary

finding, altering, dyeing, or styling clothes? he'll totally help

going looking for records? he'll go with you

going to goth clubs? he'll totally go with you and he'll probably have a good time

if you want him to watch horror movies or something though, he'll do it but you're gonna have to hold him probably

would probably say the "damn i want a goth gf/bf" thing to attempt to flirt with you unironically

is like ur guard dog anyone that makes fun of you is getting chased down the halls of rad

leviathan:

probably wouldn't care much when you show up

would probably still consider you a normie and would be surprised if you told him goth people get made fun by other people in the human world

would defend you from anyone that makes fun of you or tries to, he's summoning lotan

thinking about when a alternative creator i like said something about solidarity between alternative people and people that are into anime stuff and then said in the 2000s when she was 14 someone made fun of the dude she was dating for liking anime and she "defended his honor" by beating the shit out of him THATS YALL

admires you for dressing how you do and asks you how you have the confidence for it

i could see him listening to some goth stuff but opposite to lucifer he likes more of the goth synth type stuff

would listen to like softcell (not sure if they're considered goth but i like them and i feel like he would so-) or she wants revenge

satan:

oh he's in love

has read about the human world goth subculture before and knows a lot about it but he definitely wants to talk to you and ask you about it personally

if you like reading gothic literature he's IN LOVE he would love to read it with you

would like more of the classic and melodic kinds of goth music

he probably wouldn't mind going to a goth club with you every once in a while

would be fine watching horror movies and stuff with you

he would 10000000% do the gomez and morticia arm kisses thing

he might let you try doing his hair and makeup every once in a while, wish he had longer hair and he'd remind me of sean brennan in the 80s when he had the long blonde teased up hair

i could see him listening to rosetta stone and london after midnight

#obey me #obey me shall we date #om! satan #obey me satan #om! lucifer #obey me lucifer #om! leviathan #om! mammon #obey me leviathan #obey me mammon #obey me x mc #obey me x reader #obey me x male reader #obey me x gender neutral reader #obey me mc #ankiebitez works

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mendelpalace · 2 days

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Answering Some Asks

I recently sent some questions over to @thirtytwoelvismovies - who requested that I answer them myself in turn. So here we are:

What's a recent piece of media you've connected with?

Probably the most recent media that I connected with is the "Anthology of the Killer" series of games by thecatamites. I played through most of them in two days last year and they quickly became an all-time fave. Inspired by everything from Richard Sala's comics, to 80s new wave design, to surrealist art, to zine culture, to the endless repetition of long-running detective and horror fiction. They're also short and have a lot of fun writing.

2. What's something you'd LIKE to collect, but don't currently have?

I don't have a ton of room or disposable income at the moment, so there's lots of things I'd like to collect if circumstances were different. The first thing that comes to mind for some reason would be the 1981 pinball table Black Hole, which has a hidden second playfield that's upside down. Expensive and requires a lot of upkeep, but it'd be so cool.

3. What's the last album that you listened to?

TEETH OF GLASS - La sonagliera della morte (2024). Gloomy minimal synth/ambient inspired by giallo cinema and Italian gothic horror. Courtesy of the Heimat Der Katastrophe label, who publish a lot of dungeon synth, minimal synth, etc.

4. How are you doing?

So-so, truth be told. My depression has been getting to me lately and I've had a lot of anxiety about the future. I've been feeling very stagnant for a while now and I think I need some change.

#Ask Memes #thirtytwoelvismovies #Bandcamp

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bitter69uk · 6 months

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“John Blaylock! The hunger has given him everlasting life – until now! PRAY for him!” “Miriam Blaylock! She “feeds” one day in seven on the unsuspecting … and soon she will turn into something that you will never forget no matter how long and how hard you try. FEAR HER!” Pictured: David Bowie and Catherine Deneuve, the stars of seductive 1983 cult horror flick The Hunger. Don’t they suggest an impossibly chic 1980s synth pop duo? Can’t you imagine Deneuve huskily warbling French-accented lyrics over Bowie’s icy keyboards? Anyway, heartfelt thanks to everyone who attended the Lobotomy Room cinema club’s second presentation of The Hunger last night (26 October). Wow – who could have anticipated there was such a “hunger” for this movie? (Sorry!). Quick reflections on having watched The Hunger two weeks in a row at Fontaine’s: I can recite lines of dialogue by heart now (“No ice!” “I’m afraid you’ll find me mostly idle … my time is my own.” “Are you making a pass at me, Mrs. Blaylock?” “She’s that kind of woman. She’s … European”). It felt apt that the two screenings coincided with Deneuve turning 80 (she was born on 22 October 1943). As I explained in the intro, The Hunger is set in Manhattan and feels persuasively like a “New York” movie but 95% of it was actually filmed in London. It’s amazing how seeing a few yellow taxi cabs convincingly evokes NYC! And finally, The Hunger must be one of the most smoking-est films ever! Every character is a chain-smoker wreathing themselves in plumes of smoke (including doctors standing around in their white lab coats! Unsurprisingly, as a French woman of her generation Deneuve in real life is an inveterate lifelong smoker. Reportedly if anyone ever tells her “You can’t smoke here”, she calmly replies, “How much is the fine? I’ll pay it.”). I’ll be announcing the November film club selection shortly!

#lobotomy room #the hunger 1983 #horror movies #lesbian vampire #bela lugosi's dead #cult cinema #lobotomy room film club #catherine deneuve #david bowie #susan sarandon #lgbtqia #halloween 2023 #lesbian vampire movie

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lu-inlondon · 1 year

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Hob has to admit that, even though he tries to stay up to date with current trends, his taste in music never much got the memo. But that's always been the case. It is terribly annoying to get into something, twenty years after he could have had the live experience.

Or, in this case, fourty years. Though he had liked the music in the eighties well enough at the time.

It's Saturday morning and despite the mountain of housework he has to get through if he intends to find any of his stuff or dishes to eat from in the last week of exams, he is in a fantastic mood. The weather took a turn for cold and rainy but his flat is cosy and warm, he managed to find an unused cup to make himself some tea and a playlist with all the 80's hits is playing in the background.

Of course, this is not the sole reason for his good mood. It doesn't even cover a fraction of the reason why he looks like the sun's shining out of his arse at seven on his first proper day off in weeks.

Before Hob's never been one to remember much of his dreams. Ever since he and Dream were sort of dating (they hadn't discussed the terms and conditions yet, and as long as both of them were happy as is, he didn't feel the need to push the topic) that happened more and more. Just last night, he'd spent a part of his sleep walking with Dream through his realm, being shown around and introduced to a variety of creatures.

It had been utterly fascinating!

The best part though was that Dream had let slip, that he had been working more in the last days so that he might spend today with Hob in the Waking World. He knew that - aside from some housework - Hob intended to do nothing but laze around.

So of course he's in a good mood, belting along to a playlist that at least somewhat betrays his age. How else can it be?

(Hob had also noticed that the number of 80's songs circling the topic of dreams was surprisingly high. He had never noticed that before but now it made him think of Dream all the time, painting a big smile on his lips.)

It's his luck that the inn's still closed and no one is around for a noise complaint, because with questionable synth pop he gets through his dishes in record time. Cleaning the bath is done in a fraction of the time it usually takes him - only delayed by the thought if he could persuade Dream to relax in the tub together - and the feather duster that's no longer made of actual feathers makes a wonderful improvised microphone for his one-man interpretation of Sweet Dreams.

Which is, unbeknownst to Hob, how his own Dream finds him.

The song ends and Hob uses the brief interlude before the next one starts to actually dust off some of his books. He knows that one too, and he can't help but grin because of course it reminds him of Dream.

He stumbles over the first few lines until he catches the rhythm, swaying to it, moving on to the next bookshelf.

There's not a minute, hour, day or night that I don't love you You're at the top of my list 'cause I'm always thinkin' of you

Further into the song, he's much more secure lyric-wise, and even though he knows his voice is croaky at best - missing the whiskey he uses to prepare for karaoke nights at the pub - he gives it his all.

Yes, Dream is absolutely on top of his list of things he plans to do today, even if that sounds a bit crude. And he has been thinking about him for the past two hours, his thoughts never straying far from the entity/man because as soon as his mind wandered to other things, the music in the background conveniently reminded him of his love.

Not that Hob minds. Quite the opposite actually. He just hopes his daydreams made it to his love's realm so that he might profit a bit from Hob's good mood.

He throws himself into the beginning of the chorus - a thousand kisses are most certainly not enough - spinning around to get to the next bit of his living room, when he finds Dream standing in the corner, watching him with a bemused smile.

Now, at this point, he probably should stop singing, but then again Hob's never been afraid to make an arse out of himself in the name of love. And he knows that Dream - even though he won't admit to it - loves cheesy displays of affection. The cheesier, the better, in fact, and Hob has had more than six centuries to practice.

So, non-feather duster repurposed to serve as a microphone again, he grins at Dream. Trying to get a laugh out of his love makes Hob do a very exaggerated and nearly indecent wriggle with his hips as the second verse begins.

He doesn't have to go to work today but that's neither here nor there as he yells at the top of his lungs:

Well, who needs to go to work to hustle for another dollar I'd rather be with you 'cause you make my heart scream and holler

It does not elicit one of Dream's rare laughs, but Hob gets a fond shake of the head for his troubles.

Well, that won't do. He can be even worse and thankfully the chorus is starting again.

Only in socks, he slides across his hardwood floor, performing a spin that nearly sends him tumbling into his coffee table. Dream grabs him before Hob can hurt himself, and he uses it to immediately draw Dream into his arms.

The feather duster is quickly discarded in favour of holding Dream close and trying to get him to swing to the rhythm too. He's reluctant, but Hob's nothing if not stubborn, and not even - or especially - the collective unconsciousness can't withstand his charms, slowly beginning to move with him.

A thousand kisses from you is never too much

Hob croons along to the music, closing his eyes to really give it his all. When he opens them, Dream is smirking at him.

"Well, that really is not that much," he says with barely contained amusement.

"So you agree then?" Hob asks, his cheeks starting to hurt from how wide he's grinning. "I knew you were a smart one."

Before Dream can say anything along the lines of just how much knowledge he contains, Hob places a quick kiss on his lips. Might not be that much, but it's a start.

By then, the chorus has started up again, and he can belt the line that really makes him heady.

A million days in your arms is never too much I just don't wanna stop

Dream crooks his head, looking at him with brightly shining eyes. As stoic as his expression might be, Hob knows what the slow twinkle in the starry eyes of his love means.

"You know that is more than two thousand and seven hundred years, yes?" Dream asks carefully, and even though he doesn't mention it out loud, Hob knows that there's a deeper meaning to the question.

He could question it, but he won't allow for either of their worries about doomed past relationships to ruin this perfectly good day that's about to get even better if he has a say in the matter.

"Yup," he informs his love carefully carding his fingers through the mess of black hair on Dream's head to pull him closer. "Still isn't enough though, love."

The kiss that follows borders on desperate. He isn't quite sure if this is Dream's doing or his own, but he hopes it gets his point across: What's two thousand and seven hundred years when he wants to spend eternity with this impossible being in his arms?

Hob's loved him for six centuries, what's twenty-seven more?

They break from their kiss mostly for his benefit so he can catch his breath, the blush high on Dream's cheeks nearly making him lose it again. The song's long over, the next one on the playlist is nearly done as well, but Hob couldn't care less. He's done cleaning and he wants to spend the rest of this day - and every single one that follows - holding Dream and kissing him.

His love doesn't seem to mind, safe for one request:

"Can we listen to it again?"

@karalynlovescake I offer you fluff to make up for the 80's angst from last time

#writing tag: the sandman #my stuff #dreamling #hob gadling #dream of the endless #dream x hob #dreamling playlist ficlets #see I even remembered to put the song in the post!#songfic #I had many feelings about this but I left out the angsty part #listen to it and think about the 'When I was scared to touch you' part for the angst #it fits them very well I think #Spotify

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eddiessidegirl · 1 year

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Small Moment

Summary: Reflecting on your relationship and cuddles with Eddie

Pairing: Caregiver!Eddie x little!reader

Warnings: Standard 18+ for my blog. This is a fluff piece, very self-indulgent. Mentions of CGl dynamic, use of pet names and feelings of insecurity. Let me know if I missed anything!

Word Count: 775

A/N: I’m sorry it’s short but I like how it turned out, and it’s where my headspace is right now. Please enjoy!

MetalheadMunson is typing…

You wondered what the two of you were going to talk about tonight, your subjects always varied. From music to movies and books and everything else in between. Eddie has messaged you first, noticed you 6 months ago in a subreddit for Hawkins; lamenting about the lack of anywhere good to eat and listen to real music. The two of you clicked instantly, and you’d become fast friends. It didn’t take long before you met in person, the local diner to be exact. From then on you talked day and night, in person and online. You learned he liked anything 80s metal and 90s grunge, Eddie tolerated your Taylor Swift and 80s synth preference, but secretly you think he enjoys it. Both of you love horror movies, many nights spent watching slashers and gory films cuddled up on the couch.

The only thing that had taken awhile for you to tell him is about how you coped with your trauma from childhood by regressing and doing childlike things like coloring, playing with stuffies and sleeping in your cute dinosaur PJs. Eddie came across your mountain of stuffies and the crayons one day after 4 months and asked about it. You’d been scared to tell him, worried he’d think less of you. But he didn’t. In fact he scooped you up and plopped down on your bed demanding you tell him everything. And you did, for 2 hours, he asked genuine questions and said he’d be willing to try, which he did ever so wonderfully.

Your screen dinged, taking you out of your thoughts.

‘Princess?’ This followed a few other messages from Eddie, tell you about a date he had planned and some more concerned ones when you hadn’t replied. ‘Earth to my little one’

You smiled, ‘m’here, sorry Daddy, got distracted…’

‘Need me to come over?’

‘Yes please’

Not 20 minutes later you could hear his van coming down your street. You’d changed into comfy clothes and met him at the door. Opening it before he could knock. His face beaming when he saw you. Large hands cupped your cheeks and placed small kisses on your forehead, nose tip followed by your lips. “Let’s go to the couch, munchkin, you can tell me what’s got my girl all preoccupied.”

Following behind him, you waited for his body to be on the cushion before making your way onto your ‘throne’ aka his lap and nestled in. His face nudged your neck, inclination for you to talk.

“I dunno. Just got in my head a little, thinking about us and how you put up with me and my…little-side” you’d always struggled with your self worth and why a guy like Eddie would wanna be with you. Women in town would kill to be with him. Especially since he was a few years older than your 25, 5 years to be exact, eddie being 30 meant women were throwing themselves at him trying to get the local bassist to settle down. But for some reason he picked you.

“Oh, sweetheart, baby…” he crooned softly, pressing kisses to your cheeks, soothing you by rubbing your forearm, “no, it’s ok I don’t ‘put up with you’. I’m with you because I love you and I wanna take care of you.” He rocked you side to side quietly shushing you, butterflies erupted in your tummy. “As for you being little, it’s what make you, you. You’re special and wonderful and it’s something I cherish about you. You trust me to take care of you.” His long hair tickled your cheeks as he nuzzled your face. “I couldn’t be happier to be your Daddy.”

One more kiss was pressed to your temple, your worries soothed for now. Warmth flooded through you, he always knew exactly what to say when you needed it. Now you had just one thing on your mind, “Daddy, can we watch Onward?”

“Of course, Princess, whatever you want.” With a light squeal and giggle, you settled into his chest, never even making it more than 30 minutes into the movie before you were sleeping in your protectors arms. He on the other hand was engrossed and happy just to be with you

“Of course, Princess, whatever you want.” With a light squeal and giggle, you settled into his chest, never even making it more than 30 minutes into the movie before you were sleeping in your protectors arm. He on the other hand was engrossed and happy just to be with you.

PLEASE SUPPORT WRITERS ON TUMBLR BY COMMENTING, REBLOGGING AND LIKING; ITS HOW WE FIND NEW READERS!🖤

#stranger things #eddie munson #stranger things 4 #eddie munson x little!reader #caregiver!eddie #caregiver!eddie x little!reader #cgl dynamic #eddie munson fluff #eddie munson imagine #eddie munson x female reader #eddie x reader #eddie stranger things #eddie munson drabble

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tomorrowxtogether · 7 months

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Tomorrow x Together Talk Rocking Out, Voguing and Why They Loved Making Their New Album (Exclusive)

The K-pop stars had a ball sampling genres from new wave to metal on their latest release, 'The Name Chapter: FREEFALL'

The themes of Tomorrow x Together's latest album may be about facing the realities of adulthood, but making it was a sweet indulgence for the K-pop stars — and listening is sure to be one for their fans.

The 10 tracks on the group's third full-length album, The Name Chapter: FREEFALL (out Oct. 13), represent an almost shockingly diverse range of genres, from indie rock and new wave to disco and metal. Yes, metal.

Getting to experiment with their sound and break out of some pop stereotypes, they say, was their favorite part of the process. "We really love to try out new genres and I think that's why a lot of people are enjoying our songs," Hueningkai, 21, tells PEOPLE.

"I think nothing's more fun than experimenting with a new genre. We don't want to be confined to a single one," Taehyun, 21, adds. "I think we have our own team color and we can put our color into different genres, so I want to go down this path and keep on trying new ones."

The five-member group — which also includes Soobin, 22, Yeonjun, 24, and Beomgyu, 22 — have dabbled in more rock-influenced songs in the past, in particular on The Chaos Chapter: FREEZE, which spawned the head bang-worthy "0X1=LOVESONG (I Know I Love You)." But the opening track of FREEFALL, "Growing Pain," goes much harder.

Their latest single, "Chasing That Feeling," is just about the antithesis: a driving, synth-filled '80s pop track that would feel at home as an OST for Stranger Things. The song also provided the group with the opportunity to try out another new genre — this time, in dance.

"For the choreo of our lead track, we added some voguing into the dance. I think that was a new challenge," Yeonjun explains.

"Back for More," their collaboration with Brazilian superstar Anitta, has a decidedly disco vibe, which they were able to showcase at the MTV VMAs in September. While they were "a little bit nervous because we were performing our pre-release song for the first time," says Soobin, he got a boost of confidence from a famous friend.

Bebe Rexha, who was also in attendance, and Soobin become friendly after realizing they were mutual fans. So when his nerves flared up at the award show, he says, "Bebe would smile at me, and it felt like somehow she's rooting for me without speaking. I think I kind of relied on her and I was very thankful for her energy."

Their most memorable performance of the summer, however, was likely in Chicago, where they headlined Lollapalooza, a festival they'd performed at for the first time on a smaller stage just last year.

"I think it was very meaningful that we got to showcase our songs and our music to a bigger crowd. It's our second time around, so I think we had more fun and we were enjoying the stage more," Hueningkai says. "I remember that [the fans] were using their flashlights on their phones to make the light for us, so that was something that I will hold dear to my heart."

The group involve their fans in every part of their work — not just when performing in front of them, but keeping them at the center of the creation of their music as well.

While the members were involved in composing and writing the songs on this album, as they have for their previous releases, one track stands out as incredibly personal to the group: "Blue Spring," a song composed for their fans, known collectively as MOA (for Moments of Alwaysness).

"I wrote the track for the song, and all of the members participated in writing the lyrics," Beomgyu says. "I think that's why we could really tell MOA it's about how we feel about them. I think it's really special that we get to write our own songs and talk to MOA straight out of our hearts."

The Name Chapter: FREEFALL is available to stream now.

#txt #tomorrow x together #231014 #article #people #soobin #yeonjun #beomgyu #taehyun #hueningkai #freefall #the name chapter: freefall

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imnottheonlyone · 3 months

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what happened to high school?

When I was young, I thought high school students were so cool and grown up. I watched as they started driving, dating, having sex, and going to parties and I couldn't wait to be that fun age. Now that I am in high school, where has the fun gone?

As people have realized, generations are starting to look younger and younger. When you imagine a senior in high school, you often don't imagine the people that I go to school with. Their baby faces haven't gone away and the growth spurts have not hit yet. Part of the appeal of high school is the feeling of adulthood and maturity, not only in the classes you take or your social endeavors, but in the way you look. I don't know if it's because there isn't as much of an age gap between myself and a senior in high school now, but when I was little, they just looked so old. I don't see that anymore.

Also, technology is nowhere near new and exciting. It's a part of our everyday lives and I will resent that for the rest of my life. While it comes in handy for teaching and grading, and Google is a major plus, it shouldn't be our only source of school these days. I rarely get assignments on paper and honestly, I wish they were. I want physical copies and mementos from my high school days. Not to mention, I don't even have a real school identification card. It's in an app.

When social media and technology was new and exciting, it acted as a third space for teenagers. Like malls and roller rinks in the eighties and nineties, Tik Tok, Instagram and Tumblr are the "hang-out spots" for teenagers in the late 2010s and 2020s. In the early to mid-2010s, teenagers still went to malls and roller rinks to hang with friends while also adjusting to the new online world. It was a place for teenagers to communicate their ideas and express themselves. Now it has become a part of everything. I almost never have conversations where someone doesn't whip out their phone mid sentence

Also, we have no defining trends for our generation. Social media has brought forth something called the microtrend. A song, make-up look or body type will be a trend for two weeks before out short-attention spanned peers decide it's not interesting or cool anymore and move on to something else. While the nineties had grunge and glamor and the eighties had acid wash denim and big hair, the 20s has....leggings? And Utah curls? What I mean is, when you think of the 1990s, a specific image comes to mind. Grunge music and dark eye make-up. When you think of the eighties you picture big curly hair and neon spandex. When you think of the 2020s, nothing in specific comes to mind because we can't decide on one thing. Nothing is interesting or cool enough anymore. We live in such a capitalist, consumerist society that once we engage in something too much, it becomes boring and we have to find something else. Social media and influencers only amplify that. I don't know if it's Gen-Z's push-back on being categorized or defined by anything, or if nothing is good enough anymore.

And don't even get me started on the music. In the 20th-century, different music trends came and went. In the 70s hair metal and power ballads became huge. In the 80s glam metal, synth, and pop started to materialize and in the 90s alternative rock, grunge, nu metal, and boy-bands made their breakthrough. This overbearing control of the music industry made music a novelty and allowed teenagers to be a part of a subculture. When punk came about in the 70s and goth in the 70s and 80s, it allowed teenagers to interact with another and create relationships because of the subculture they identified with. This made high school the stereotypical version we see in 90s and early-2000s movies. The goths sit over here and the popular kids sit over there. Even in the 90s with grunge and the 2000s with emo. Though to come it seemed “clique-y”, it made making friends and self-expression more cohesive and less stand-out. Even into the early 2010s, those who liked pop punk, didn’t hangout with the kids who like mainstream pop or trap beats.

With the rise of the influencer and easy access to higher paying or earning jobs, anybody can make music, even if they’re horrible at it. Content creators online put out singles or albums that sample the same beats as everybody else and have the same dense and shallow lyrics, where it is obvious they’re trying to sound deep and meaningful but they’re fully missing the mark. It’s hard to want to claim a genre or use a specific sound or style of music to identify your generation or simply the people you hangout with. New music doesn’t have that power anymore. New major music genres have not been pioneered since the 90s with grunge and nu metal. People that are making music aren’t creative and the creatives aren’t making music.

The things people listen to and the way that they dress says a lot about them. For teenagers, it has said everything about them. However in the last ten years, social media and technology has ripped those ideals away from us. Nobody wants to be perceived as one thing. They want to be everything and nothing is good enough to define anybody anymore. Tik Tok has ruined the essence and the glowing aura that once was the teenager.

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danganronpa96 · 6 months

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Hi Lenn! According to you, who would each DR69 and DR96 character listen to (musically speaking)? Who would be their favourite artist/favourite song? (just a silly question to distract me from chapter 4) (you guys need to pay my therapy/j)

Btw, thanks a lot, both to you and Rexx, for everything you do for the fic! I love your writing and also the amazing art!🫠❤️ We’ll patiently wait for chapter 5, but I’m sure it will be FANTASTIC, as always🥹 love ya🫶🏻

It’s funny how I received two similar music asks in a row, but because this one is actually a different question on the topic, I can answer this one separately!

However, since even the last music post had me in agony (/j), I don’t think I’m going to go through every single character’s individual favourite song and artist, and moreso just their music taste (especially since some characters would canonically listen to music from cultures or genres I don’t listen to or know much about myself).

DR96

Hayasaka - most people would say classical, but my big brain (/lh) has bestowed the headcanon ever: vocaloid. I think it would be funny if this man had a secret love for the music, walking to work listening to the most depressing or cutesy song known to Earth. His favourite producer would probably be wowaka (rip) or 40mp.

Kurumada - that kind of grunge, heavy beat, but sort of depressing music? Not trap per say, but like r&b and rap. Or whatever is playing at the gym at the time, sometimes a song will get added to his workout playlist if it sounds good enough.

Mai - she’s that kind of pop girl, but also likes some more sombre songs here and there. Definitely indulges in songs with playful and or sensual lyrics.

Walter - (this is where my disclosure starts to show) Like classic, 50-80s songs. Jazz and blues, or something he can sing along to on the radio.

Jesse - hip-hop, trap, some heavy metal, rock, techno and house music. Anything with a stanky-ass beat (/lh) and Jesse will probably listen to it.

Saiki - I’ve given him the headcanon that he listens to hyperpop, speedcore and breakcore. I got the idea from another tumblr post that said he’d use loud, scratchy music to try and block out the thoughts of other people. It’s implied that’s what he was listening to during chapter 3 as well!

Kaidou - what we all listened to when we were 13 and wanted to be edgy. Also fandom songs (I know this isn’t nationally accurate unless there are hardcore jp fandom song fans lol), and video game OSTs that make him feel powerful.

Retsuko - heavy metal, obviously. But, I think she also likes pop and idol music, considering her history with that, hehe

Natsuki - vocaloid hardcore to the max (some favourite producers be like deco*27 and syudou). Also J-pop/idol music (and some video game OSTs).

Yuri - now I think she would like some classical music, considering her whole elegant aesthetic. I think she’d personally like piano and violin arrangements though, since they are relaxing to listen to while reading. I think she would be convinced to listen to some J-pop after Natsuki begs encourages her.

Hiroshi - he would be a classical guy too, but he would also enjoy some video game OSTs (since he’s kind of a certified gamer if you consider the novels and that chibi anime thingy).

Brian - anything past 1996 would be periodically inaccurate, but I feel like he’s the type of guy who’d try to listen to anything if someone recommended it to him. I think he’d enjoy new-age, or something relaxing on par with the vibes of his game’s OST (synth… rock? I’m not a genres expert).

Bojack - it’s either something really depressing or really sexual and there is just that scale and nothing else

Latte - canonically, folk and symphony since I think that’s the sort of music Parfaedia has. Although, she’d also listen to jazz and dance (she that type of teacher to play music in class all the students try to grin and bare because no one listens to it anymore /lh)

L - whatever music is scientifically proven to enhance focus. Classical? Some jazz? I feel like L likes to work in silence, but with music on the bare occasion.

Ena - something that we would not be able to comprehend if we heard it. Lyrics that sound like 14 different languages all mashed up together. Instruments that shouldn’t exist. Voices that shouldn’t exist. The same song that runs for 4 minutes on the first play, 15 seconds on the second, and 2 hours on the third. Or just webcore/weirdcore instrumental music lmao

DR69

Luigi - calm jazz and swing, I also think he be into acoustic arrangements.

Mario - I think he’d listen to energetic music to get himself pumped up. But also enjoys the folk music of the mushroom kingdom.

Peter - I would say 50-90s songs, ranging from classic hits to goofy ass songs (like the Rock Lobster bit)

Brian - I think he’s into ska, jazz, and blues. Also very pretentious with his music taste lol

Miku - Pop, dance, techno and electronica are her mains, but she can dabble into any genre. Likes to support and listen to her other fellow voice synth’s music.

Teto - rock, but also some dance/pop. Secretly enjoys listening to Miku’s songs (as long as she’s not around)

Nagito - nicher artists of alt and synth. I don’t think he’d be into mainstream music. Also depressing lyrics are his go-to lol

Sans - ironically, the stankiest beat you’ve ever heard and penis music (rubber band). Unironically, some smooth tunes akin to Nastablook’s music taste.

Parappa - rap, hip-hop, r&b and dance. Could unironically make a great rap over the instrumentals of ‘A Pimp Named Slickback’.

Fluttershy - Equestria folk music, acapella and that musical-type genre they have in the show’s music.

Ayano - whatever her Senpai is listening to. So, I would assume the latest trending J-pop mostly.

Ashley - rock and alt. Emo type beat. Mainly female vocals. One or two heavy metal songs. Any other warioware cast member will die upon listening to any of it lol

2D - his favourite band is canonically The Human League, so other new wave and synth-pop stuff too.

Mr. Krabs - sea shanties, unironically. He probably sang a lot of them while on the navy.

Dedede - (I have no Kirby lore but I must scream) I feel like he’d play classical music in his castle to give off those regal king vibes. But he’d also enjoy energetic music like his boss battle themes.

The Conductor - western and western movie soundtracks. Also some smooth jazz and soul. I like to think he likes the sounds of the piano the most, from the ‘heart to heart’ OST

Also, TYSM for the lovely words!! I’m so happy to hear how much you’ve enjoyed the fic so far! 😭❤️

#sorry for the ch4 therapy as well (rest in peace and love on planet Earth)#remember some of these mfs don’t live on Earth so if you asked them if they listen to ado or metallica or bladee #they’d be like ‘who’#but it was fun to think about this stuff hehe

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