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CABIN FEVER - Aaron Dessner: Producing folklore and evermore

Sound On Sound Magazine // March 2021 issue // By Tom Doyle

The pandemic gave Taylor Swift a chance to explore new musical paths, with two lockdown albums co-written and produced by the National's Aaron Dessner.

Few artists during the pandemic have been as prolific as Taylor Swift. In July 2020, she surprise-released folklore, a double-length album recorded entirely remotely and in isolation. It went on to become the biggest global seller of the year, with four million sales and counting. Then, in December, she repeated the trick with the 15-song evermore, which quickly became Swift's eighth consecutive US number one.

In contrast to her country-music roots and the shiny synth-pop that made her a superstar, both folklore and evermore showcased a very different Taylor Swift sound: one veering more towards atmospheric indie and folk. The former album was part-produced by Swift and her regular co-producer Jack Antonoff (St Vincent, Lana Del Rey), while the other half of the tracks were overseen by a new studio collaborator, Aaron Dessner of the National. For evermore, aside from one Antonoff-assisted song, Dessner took full control of production.

Good Timing

Although his band are hugely popular and even won a Grammy for their 2017 album Sleep Well Beast, Aaron Dessner admits that it initially felt strange for an indie-rock guitarist and keyboard player to be pulled into such a mainstream project. Swift had already declared herself a fan of the National, and first met the band back in 2014. Nonetheless, Dessner was still surprised when the singer sent him a text "out of the blue" last spring. "I mean, I didn't think it was a hoax," he laughs. "But it was very exciting and a moment where you think it's like serendipity or something, especially in the middle of the pandemic. When she asked if I would ever consider writing with her, I just happened to have a lot of music that I had worked really hard on. So, the timing was sort of lucky. It opened up this crazy period of collaboration. It was a pretty wild ride."

Since 2016, Aaron Dessner has been based at his self-built rural facility, Long Pond Studio, in the Hudson Valley, upstate New York. The only major change to the studio since SOS last spoke to Dessner in October 2017 has been the addition of a vintage WSW Siemens console built in 1965. "It had been refurbished by someone," he says, "and I think there's only three of them in the United States. I heard it was for sale from our friend [and the National producer/mixer] Peter Katis. That's a huge improvement here."

Although the National made Sleep Well Beast and its 2019 successor I Am Easy To Find at Long Pond, the band members are scattered around the US and Europe, meaning Dessner is no stranger to remote working and file sharing. This proved to be invaluable for his work with Swift. Dessner spent the first six weeks of lockdown writing music that he believed to be for Big Red Machine, his project with Bon Iver's Justin Vernon. Instead, many of these work-in-progress tracks would end up on folklore. Their first collaboration (and the album's first single), 'cardigan', for instance, emerged from an idea Dessner had been working on backstage during the National's European arena tour of Winter 2019.

"I sent her a folder and in the middle of the night she sent me that song," Dessner explains. "So, the next morning I was just listening to it, like, `Woah, OK, this is crazy."

On The Move

As work progressed, it quickly became apparent that Swift and Dessner were very much in tune as a songwriting and producing unit. There was very little Dessner had to do, he says, in terms of chopping vocals around to shape the top lines. "I think it's because I'm so used to structuring things like a song, with verses and choruses and bridges," he reckons. "In most cases, she sort of kept the form. If she had a different idea, she would tell me when she was writing and I would chop it up for her and send it to her. But, mostly, things kind of stayed in the form that we had."

Dessner and Swift were working intensively and at high speed throughout 2020, so much so that on one occasion the producer sent the singer a track and went out for a run in the countryside around Long Pond. By the time he got back, Swift had already written 'the last great american dynasty' and it was waiting for him in his inbox. "That was a crazy moment," he laughs. "One of the astonishing things about Taylor is what a brilliant songwriter she is and the clarity of her ideas and, when she has a story to tell, the way she can tell it. I think she's just been doing it for so long, she has a facility that makes you feel like you could never do what she's capable of. But we were a good pair because I think the music was inspiring to her in such a way that the stories were coming."

Swift's contributions to folklore were recorded in a makeshift studio in her Los Angeles home. Laura Sisk engineered the sessions as the singer recorded her vocals, using a Neumann U47, in a neighbouring bedroom. Live contact between Swift, Sisk, Dessner and Long Pond engineer Jonathan Low was done through real-time online collaboration platform Audiomovers.

"We would listen in remotely and kind of go back and forth," says Dessner. "We used Audiomovers and then we would have Zoom as a backup. But mainly we were just using Audiomovers, so we could actually be in her headphones. It's powerful, it's great. I've used it a lot with people during this time. Then, later on, when we recorded evermore, a lot of the vocals were done here at the studio actually when Taylor was visiting when we did the [Disney+ documentary] Long Pond Sessions. But Taylor's vocals for folklore were all done remotely."

Keeping Secrets

Given the huge international interest in Swift, the team had to work with an elaborate file-sharing arrangement to ensure that the tracks didn't leak online. Understandably, Dessner won't be drawn on the specifics. "Yeah, I mean we had to be very careful, so everything was very secretive," he says. "There were passwords on both ends and we communicated in a specific way when sharing mixes and everything. There was a high level of confidentiality and data encryption. It was sort of a learning curve.

"I'm not used to that," he adds, "'cause usually we're just letting files kind of fly all over the Internet [laughs]. But I think with someone like her, there's just so many people that are paying attention to every move that she makes, which can be a little, I think, oppressive for her. We tried to make it as comfortable as possible and we got used to how to get things to her and back to us. It worked pretty well."

Drums & Guitars

For the generally minimalist beat programming on the records, Dessner would sometimes turn to his more expensive new analogue drum generators - Vermona's DRM1 and Dave Smith's Tempest - but more often used the Synthetic Bits iOS app FunkBox. "There's just a lot of great vintage drum machine sounds in there, and they sound pretty cool, especially if you overdrive it," he says. "Often I send that through an amplifier, or through effects into an amplifier. Then I have a [Roland) TR-8 and a TR-8S that I use a lot. I also use the drum machine in the [Teenage Engineering] OP-1. So, a song like 'willow', that's just me tapping the OP-1."

Elsewhere, Dessner's guitar work appears on the tracks, with the intricate melodic layering on 'the last great american dynasty' from folklore having been inspired by Radiohead's In Rainbows. "Almost all of the electric guitar on Taylor's records is played direct through a REDDI DI into the Siemens board," he says. "It's usually just my 1971 Telecaster played direct and it just sounds great. Oftentimes I just put a little spring reverb on it and sometimes I'll overdrive the board like it's an amplifier, 'cause it breaks up really beautifully.

"I have a 1965 [Gibson] Firebird that I play usually through this 1965 Fender Deluxe Reverb. So, if I am playing into an amp, that's what it is. But on 'the last great american dynasty', those little pointillistic guitars, that's just played direct with the Telecaster through the board."

Elsewhere, Aaron Dessner took Taylor Swift even further out of her sonic comfort zone. A key track on folklore, the Cocteau Twins-styled 'epiphany', features her voice amid a wash of ambient textures, created by Dessner slowing down and reversing various instrumental parts in Pro Tools. "I created a drone using the Mellotron [MD4000D] and the Prophet and the OP-1 and all kinds of synth pads," he says. "Then I duplicated all the tracks, and some of them I reversed and some of them I dropped an octave. All manner of using varispeed and Polyphonic Elastic Audio and changing where they were sitting. Just to create like this Icelandic glacier of sounds was my idea. Then I wrote the chord progression against that.

"The [Pro Tools] session was not happy," he adds with a chuckle. "It kept crashing. Eventually I had to print the drone but I printed it by myself and there was some crackle in it. It was distorting. And then I couldn't recreate it so Jon Low, who was helping me, was kind of mad at me 'cause he was like, 'You can't do that.' And I was like, 'Well, I was working quickly. I didn't know it'd become a song."

Orchestra Of Nowhere

Meanwhile, the orchestrations that appear on several of the tracks were scored by Aaron's twin brother and National bandmate, Bryce Dessner, who is located in France. "I would just make him chord charts of the songs and send them to him in France," Aaron says. "Then he would orchestrate things in Sibelius and send the parts to me. I would send the parts and the instrumental tracks to different players remotely and they would record them literally in their bedrooms or in their attics. None of it was done as a group, it was all done separately. But that's how we've always worked in the National so it's quite natural."

On folklore standout track 'exile', Justin Vernon of Bon Iver delivered his stirring vocal for the duet remotely from his home in Eaux Claires, Wisconsin. "He's renovating his studio, so he has a little home studio in his garage," says Dessner. "It was Taylor's idea to approach him. I sent him Taylor's voice memo of her singing both parts, and he got really excited and loved the song and then he wrote the extra part in the bridge.

"I do a lot of work remotely with Justin also, so it was easy to send him tracks and he would track to it and send back his vocals. I was sending him stems, so usually it's just a vocal stem of Taylor and an instrumental stem and then if he wants something deeper, I'll give him more stems. But generally, he's just working with the vocal layers and an instrumental."

Vernon also provided the grainy beat that kicks off 'closure', one of two tracks on evermore that started life as a sketch for the second Big Red Machine album. "It was this little loop that Justin had given me in this folder of 'Starters', he calls them. I had heard that and been playing the piano to it. But I was hearing it in 5/4, although it's not in 5/4. 'Closure' really opened everything up further. There were no real limits to where we were gonna try to write songs."

Given the number of remote players, Dessner says there were surprisingly few problems with the file swapping and that it was a fairly painless technical process. "It was pretty smooth, but there were issues," he admits. "Sometimes sample-rate issues, or if I happened to give someone an instrumental that was an MP3, that sometimes lines up differently than if you send them an actual WAV that's bounced on the grid. So, sometimes I'd have to kinda eyeball things.

"If there was trouble it started to be because of track counts. I probably only used 20 percent of what was actually recorded, 'cause we would try a lot of things, y'know. So, eventually the sessions got kinda crazy and you'd have to deactivate a lot of things and print things. But we got used to that."

Soft Piano

Aaron Dessner's characteristic dampened upright piano sound, familiar from the National's albums, is much in evidence throughout both folklore and evermore. "The upright is a Yamaha U1 that I've had for more than a decade. Usually, I play it with the soft pedal down and that's the sound of 'hoax' or 'seven' or 'cardigan', y'know, that felted sound. It kind of almost sounds like an electric piano.

"I always mic it the same way, just with two [AKG] 414s, and they're always the same distance off the wall. I had a studio in Brooklyn for 10 years and then when I moved here, I copied the same [wooden] pattern on the wall. And the reason I did that is 'cause of how much I love how this piano sounds bouncing off that wall. It just does something really special for the harmonics."

When on other folklore songs, such as 'exile' or 'the 1', where the piano was the main sonic feature of the track, Dessner played his Steinway grand. "A lot of times we use a pair of Coles [4038s] on the Steinway, just cause it's darker. But sometimes we'll have the 414s there as well and choose."

Keeping Warm

On both folklore and evermore, Taylor Swift's voice is very much front and center and high in the mix, and generally sounds fairly dry. "I think the main thing was I wanted her vocals to have a more full range than maybe you typically hear," Dessner explains. "'Cause I think a lot of the more pop-oriented records are mixed a certain way and they take some of the warmth out of the vocal, so that it's very bright and it kinda cuts really well on the radio. But she has this wonderful lower warmth frequency in her voice which is particularly important on a song like `seven'. If you carved out that mud, y'know, it wouldn't hit you the same way. Or, like, `cardigan', I think it needs that warmth, the kind of fuller feeling to it. It makes it darker, but to me that's where a lot of emotion is."

Effects-wise, almost all of the treatments were done in the box. "There's no outboard reverbs printed," says Dessner. "The only things that we did print would be like an [Eventide] H3000 or sometimes the [WEM] CopiCat tape delay for just a really subtle slap. But generally, it's just different reverbs in the box that Jon was using. He uses the Valhalla stuff quite a bit and some other UAD reverbs, like the [Capitol] Chambers. I often just use Valhalla VintageVerb and the [Avid] Black Spring and simple things."

In some instances, the final mix ended up being the never-bettered rough mix, while other songs took far more work. "'cardigan' is basically the rough, as is `seven'. So, like the early, early mixes, when we didn't even know we were mixing, we never were able to make it better. Like if you make it sound 'good', it might not be as good 'cause it loses some of its weird magic, y'know. But songs like `the last great american dynasty' or 'mad woman', those songs were a little harder to create the dynamics the way you want them, and the pay-off without going too far, and with also just keeping in the kind of aesthetic that we were in. Those were harder, I would say.

"On evermore, I would say 'willow' was probably the hardest one to finish just because there were so many ways it could've gone. Eventually we settled back almost to the point where it began. So, there's a lot of stuff that was left out of 'willow', just because the simplicity of the idea I think was in a way the strongest."

The subject of this month's Inside Track article, 'willow' was the first song written for evermore, immediately following the release of folklore. "It almost felt like a dare or something," Dessner laughs. "We were writing, recording and mixing all in one kind of work stream and we went from one record to the other almost immediately. We were just sort off to the races. We didn't really ever stop since April."

Rubber & Vinyl

Sometimes, Dessner and Swift drew inspiration from unlikely sources; `no body, no crime', for instance, started when he gave her a 'rubber bridge' guitar made by Reuben Cox of the Old Style Guitar Shop in LA. "He's my very old friend," says Dessner of Cox. "He buys undervalued vintage guitars. Stuff that was made in the '50s and '60s as sort of learner guitars, like old Silvertones and Kays and Harmonys. These kinds of guitars which now are quite special, but they're still not valued the same way that vintage Fenders or Gibsons are valued. Then, he customizes them.

"Recently he started retrofitting these guitars with a rubber bridge and flatwound strings. He'll take, like, an acoustic Silvertone from 1958 and put a bridge on it that's covered in this kind of rubber that deadens the strings, so it really has this kind of dead thrum to it. And he puts two pickups in there, one that's more distorted and one that's cleaner. They're just incredible guitars. I thought Taylor would enjoy having one 'cause she loves the sound. So, I had Reuben make one for her and she used it to write `no body, no crime'."

Another friend of Dessner's, Ryan Olsen, has developed a piece of software called the Allovers Hi-Hat Generator which helped create the unusual harmonic loops that feature on `marjorie'. "It's not available on the market," Dessner says of the software. "It's just something that he uses personally, but I think hopefully eventually it'll come out. I wouldn't say it's artificial intelligence software but there's something very intelligent about it [laughs]. It basically analyses audio information and is able to separate audio into identifiable samples and then put them into a database. You then can design parameters for it to spit out sequences that are incredibly musical.

"When Ryan comes here, he'll just take all kinds of things that I give him and run it through there and then it'll spit out, like, three hours of stuff. Then I go through it and find the layers that I love, then I loop them. You can hear it also on the song 'happiness', the drumming in the background. It's not actually played. That's drums that have been sampled and then re-analyzed and re-sequenced out of this Allovers Hi-Hat Generator."

The song `marjorie' is named after Swift's opera-singer grandmother and so, fittingly, her voice can be heard flitting in and out of the mix at the end of the track. "Taylor's family gave us a bunch of recordings of her grandmother," Dessner explains. "But they were from old, very scratchy, noisy vinyl. So, we had to denoise it all using [iZotope's] RX and then I went in and I found some parts that I thought might work. I pitch-shifted them into the key and then placed them. It took a while to find the right ones, but it's really beautiful to be able to hear her. It's just an incredibly special thing, I think."

Meet At The Pond

Taylor Swift finally managed to get together with Aaron Dessner and Jack Antonoff in September 2020 for the filming of folklore: the long pond studio sessions, featuring the trio live-performing the album. It also provided an opportunity for Swift to add her vocals to some of the evermore tracks.

"It did allow us to have more fun, I think," says Dessner. "Y'know, drink more wine and just kinda be in the same place and have the feeling of blasting the music here and dancing around and just enjoying ourselves. She's really a lovely person to hang out with, so in that sense I'm glad that we had that chance to work together in person.

"We were using a [Telefunken] U47 to record Taylor here," he adds. "Either we were using one of the Siemens preamps on the board, which are amazing. Or I have Neve 1064s [preamps/EQs] and we use a Lisson Grove [AR-i] tube compressor generally."

One entirely new song, `tis the damn season', came out of this face-to-face approach, which Swift wrote in the middle of the night after the team had stayed up late drinking. "We had a bunch of wine actually," Dessner laughs, "and then everybody went to sleep, I thought. But I think she must have had this idea swimming around in her head, 'cause the next morning when she arrived, she sang 'Us the damn season' for me in my kitchen. It's maybe my favourite song we've written together. Then she sang it at dinner for me and my wife Stine and we were all crying. It’s just that kind of a song, so it was quite special.”

National Unity

One key track on evermore, 'coney island', features all of the members of the National and sees Swift duetting with their singer Matt Berninger. "My brother [Bryce] actually originated that song," says Aaron Dessner. "I sent him a reference at one point - I can't remember what it was - and then he was sort of inspired to write that chord progression. Then we worked together to sort of develop it and I wrote a bunch of parts and we structured it.

"Taylor and William Bowery [the songwriting pseudonym of Swift's boyfriend, actor Joe Alwyn] wrote 'coney island' and she sang a beautiful version. It felt kind of done, actually. But then I think we all collectively thought, Taylor and myself and Bryce, like this was the closest to a National song."

Dessner then asked the brothers who make up the National's rhythm section, drummer Bryan and bassist Scott Devendorf, to play on 'coney island'. Matt Berninger, as he often does with the band's own tracks, recorded his vocal at home in Los Angeles. "It was never in the same place, it was done remotely," says Dessner, "except Bryan was here at Long Pond when he played. It was great to collaborate as a band with Taylor."

No Compromise

folklore and evermore have been both enormous critical and commercial successes for Taylor Swift. Aaron Dessner reckons that making these anti-pop records has freed the singer up for the future. "I think it was very liberating for her," he says. "I think that's the thing that's been probably the biggest change for her has just been being able to make songs without compromise and then release them without the promotional requirements that she's used to from the past. Obviously, it comes at this time when we're all in lockdown and nobody can tour or go on talk shows or anything. But I think for her probably it will impact what she does in the future.

"But I also think she can shapeshift again," he concludes. "Who knows where she'll go? She's had many celebrated albums from the past, but to release two albums of this quality in such a short time, it really did shine a light on her songwriting talent and her storytelling ability and also just her willingness to experiment and collaborate. Somehow, I ended up in the middle of all that and I'm very grateful."

INSIDE TRACK - Jonathan Low: Secrets of the Mix Engineers

Sound On Sound Magazine // March 2021 issue // By Paul Tingen

From sketches to final mixes, engineer Jonathan Low spent 2020 overseeing Taylor Swift’s hit lockdown albums folklore and evermore.

“I think the theme of a lot of my work nowadays, and especially with these two records, is that everything is getting mixed all the time. I always try to get the songs to sound as finalised as they can be. Obviously that’s hard when you’re not sure yet what all the elements will be. Tracks morph all the time, and yet everything is always moving forwards towards completion in some way. Everything should sound fun and inspiring to listen to all the time.”

Speaking is Jonathan Low, and the two records he refers to are, of course, Taylor Swift’s 2020 albums folklore and evermore, both of which reached number one in the UK and the US. Swift’s main producer and co‑writer on the two albums was the National’s Aaron Dessner, also interviewed in this issue. Low is the engineer, mixer and general right‑hand man at Long Pond Studios in upstate New York, where he and Dessner spent most of 2020 working on folklore and evermore, with Swift in Los Angeles for much of the time.

“In the beginning it did not feel real,” recalls Low. “There was this brand‑new collaboration, and it was amazing how quickly Aaron made these instrumental sketches and Taylor wrote lyrics and melodies to them, which she initially sent to us as iPhone voice memos. During our nightly family dinners in lockdown, Aaron would regularly pull up his phone and say, ‘Listen to this!’ and there would be another voice memo from Taylor with this beautiful song that she had written over a sketch of Aaron’s in a matter of hours. The rate at which it was happening was mind‑blowing. There was constant elevation, inspiration and just wanting to continue the momentum.

“We put her voice memos straight into Pro Tools. They had tons of character, because of the weird phone compression and cutting midrange quality you just would not get when you put someone in front of a pristine recording chain. Plus there was all this bleed. It’s interesting how that dictates the attitude of the vocal and of the song. Even though none of the original voice memos ended up on the albums, they often gave us unexpected hints. These voice memos were such on‑a‑whim things, they were really telling. Taylor had certain phrasings and inflections that we often returned to later on. They became our reference points.”

Pond Life

The making of the National’s 2017 album Sleep Well Beast and the setup at Long Pond were covered in SOS October 2017; today the studio remains pretty much the same, with the exception of a new desk. “The main space is really big, and the console sits in the middle,” says Low. “In 2019, I installed a 1965 WSW/Siemens, which has 24 line‑in and microphone channels and another 24 line channels. WSW is the Austrian branch of Siemens usually built for broadcast. It’s loaded with 811510B channels. The build quality is insane, the switches and pots feel like they were made yesterday. To me it hints at the warm haze of a Class‑A Neve channel but sits further forward in the speakers. The midrange band on the passive EQ is a huge part of its charm, it really does feel like you’re changing the tone of the actual source rather than the recording. Most microphones go through the desk on their way into Pro Tools, though we sometimes use outboard Neve 1064 mic pres. Occasionally I use the Siemens to sum a mix.

“We have a pair of ATC SCM45 monitors, which sound very clear in the large room. The ceiling is very high, and the front wall is about 25 feet behind the monitors. There are diffusers on the sidewalls and the back walls are absorbing, so there are very few reflections. Aaron and I will be listening in tons of different ways. I’ll listen in my home studio with similar ATC SCM20 monitors or on my ‘70s Marantz hi‑fi setup. Aaron is always checking things in his car, and if there’s something that is bugging him, I’ll join him in his car to find out what he hears.”

Low works at Long Pond and with Dessner most of the time, though he does find time to do other projects, among hem this last year the War On Drugs, Waxahatchee and Nap Eyes. When lockdown started in Spring 2020, Low tacked up on supplies and "had a bunch f mixes lined up". Meanwhile, on the Eest Coast, Swift had seen her Lover Fest our cancelled. With help from engineer aura Sisk, she set up a makeshift studio which she dubbed Kitty Committee in bedroom in her Los Angeles home, and began working with long-term producer nd co-writer Jack Antonoff. At the end of April, however, Swift also started working with Dessner, which took the project in different direction. The impressionistic, atmospheric, electro-folk instrumentals Dessner sent her were mostly composed nd recorded by him at Long Pond, assisted by Low.

Sketching Sessions

The instrumental sketches Aaron makes come into being in different ways," elaborates Low. "Sometimes they are more fleshed-out ideas, sometimes they are less formed. But normally Aaron will set himself up in the studio, surrounded by instruments and synths, and he'll construct a track. Once he feels it makes some kind of sense I'll come in and take a listen and then we together develop what's there.

"I don't call his sketches demos, because while many instruments are added and replaced later on, most of the original parts end up in the final version of the song. We end up in the final version of the song. We try to get the sketches to a place where they are already very engaging as instrumental are already very engaging as instrumental tracks. Aaron and I are always obsessively listening, because we constantly want to hear things that feel inspiring and musical, not just a bed of music in the background. It takes longer to create, but in this case also gave Taylor more to latch onto, both emotionally and in terms of musical inspiration. Hearing melodies woven in the music triggered new melodies."

Not long after Dessner and Low sent each sketch to Swift, they would receive her voice memos in return, and they'd load them into the Pro Tools session of the sketch in question. Dessner and Low then continued to develop the songs, in close collaboration with Swift. "Taylor's voice memos often came with suggestions for how to edit the sketches: maybe throw in a bridge somewhere, shorten a section, change the chords or arrangement somewhere, and so on. Aaron would have similar ideas, and he then developed the arrangements, often with his brother Bryce, adding or replacing instruments. This happened fast, and became very interactive between us and Taylor, even though we were working remotely. When we added instruments, we were reacting to the way my rough mixes felt at the very beginning. Of course, it was also dictated by how Taylor wrote and sang to the tracks."

Dessner supplied sketches for nine and produced 10 of folklore's 16 songs, playing many different types of guitars, keyboards and synths as well as percussion and programmed drums. Instruments that were added later include live strings, drums, trombone, accordion, clarinet, harpsichord and more, with his brother Bryce doing many of the orchestrations. Most overdubs by other musicians were done remotely as well. Throughout, Low was keeping an overview of everything that was going on and mixing the material, so it was as presentable and inspiring as possible.

Mixing folklore

Although Dessner has called folklore an "anti-pop album", the world's number-one pop mixer Serban Ghenea was drafted in to mix seven tracks, while Low did the remainder.

"It was exciting to have Serban involved," explains Low, "because he did things I'd never do or be able to do. The way the vocal sits always at the forefront, along with the clarity he gets in his mixes, is remarkable. A great example of this is on the song 'epiphany'. There is so much beautiful space and the vocal feels effortlessly placed. It was really interesting to hear where he took things, because we were so close to the entire process in every way. Hearing a totally new perspective was eye-opening and refreshing.

"Throughout the entire process we were trying to maintain the original feel. Sometimes this was hard, because that initial rawness would get lost in large arrangements and additional layering. With revisions of folklore in particular we sometimes were losing the emotional weight from earlier more casual mixes. Because I was always mixing, there was also always the danger of over-mixing.

"We were trying to get the best of each mix version, and sometimes that meant stepping backwards, and grabbing a piano chain from an earlier mix, or going three versions back to before we added orchestration. There were definitely moments of thinking, 'Is this going to compete sonically? Is this loud enough?' We knew we loved the way the songs sounded as we were building them, so we stuck with what we knew. There were times where I tried to keep pushing a mix forward but it didn't improve the song — 'cardigan' is an example of a song where we ended up choosing a very early mix."

The Low Down

"I'm originally from Philadelphia," says Jonathan Low, "and played piano, alto saxophone and guitar when growing up. My dad is an electrical engineer and audiophile hobbyist, and I learned a lot about circuit design and how to repair things. I then started building guitar pedals and guitar amps, and recorded bands at my high school using a minidisc player and some binaural microphones. After that I did a music industry programme at Drexel University, and spent a lot of time working at the recording facilities there.

"This led to me meeting Brian McTear, a producer and owner of Miner Street Studios, which became my home base from 2009 to 2014. I learned a lot from him, from developing an interest in creating sounds in untraditional ways, to how to see a record through to completion. The studio has a two-inch 16-track Ampex MM1200 tape machine and a beautiful MCI 400 console which very quickly shaped the way I think about routing and signal flow. I'm lucky to have learned this way, because a computer environment is like the Wild West: there are no rules in terms of how to get from point A to point B. This flexibility is incredible, but sometimes there are simply too many options.

"l met Aaron [Dessned] because singer-songwriter Sharon van Etten recorded her second album, Epic [2010] at Miner Street, with Brian producing. Her third album, Tramp [2012] was produced by Aaron. They came to Philly to record drums and I ended up mixing a bunch of that record. After that I would occasionally go to work in Aaron's garage studio in Brooklyn, and this became more and more a regular collaboration. I then moved from Philly up to the Hudson Valley to help Aaron build Long Pond. We first used the studio in the spring of 2016, when beginning to record the National's album Sleep Well Beast."

Onward & Upward

folklore was finished and released in July 2020. In a normal world everyone might have gone on to do other things, but without the option of touring, they simply continued writing songs, with Low holding the fort. In September, many of the musicians who played on the album gathered at Long Pond for the shooting of a making-of documentary, folklore: the long pond studio sessions, which is streamed on Disney+.

The temporary presence of Swift at Long Pond changed the working methods somewhat, as she could work with Dessner in the room, and Low was able record her vocals. After Swift left again, sessions continued until December, when evermore was released, with Dessner producing or co-producing all tracks, apart from 'gold rush' which was co-written and co-produced by Swift and Antonoff. Low recorded many of Swift's vocals for evermore, and mixed the entire album. The lead single 'willow' became the biggest hit from the album, reaching number one in the US and number three in the UK.

"Before Taylor came to Long Pond," remembers Low, "she had always recorded her vocals for folklore remotely in Los Angeles or Nashville. When I recorded, I used a modern Telefunken U47, which is our go-to vocal mic — we record all the National stuff with that — going straight into the Siemens desk, and then into a Lisson Grove AR-1 tube compressor, and via a Burl A-D converter into Pro Tools. Taylor creates and lays down her vocal arrangements very quickly, and it sounds like a finished record in very few takes."

Devils In The Detail

In his mixes, Low wanted listeners to share his own initial response to these vocal performances. "The element that draws me in is always Taylor's vocals. The first time I received files with her properly recorded but premixed vocals I was just floored. They sounded great, even with minimal EQ and compression. They were not the way I'm used to hearing her voice in her pop songs, with the vocal soaring and sitting at the very front edge of the soundscape. In these raw performances, I heard so much more intimacy and interaction with the music. It was wonderful to hear her voice with tons of detail and nuances in place: her phrasing, her tonality, her pitch, all very deliberate. We wanted to maintain that. It's more emotional, and it sounds so much more personal to me. Then there was the music..."

The arrangements on evermore are even more 'chamber pop' than on folklore, with instruments like glockenspiel, crotales, flute, French horn, celeste and harmonium in evidence. "As listeners of the National may know, Aaron's and Bryce's arrangements can be quite dense. They love lush orchestration, all sorts of percussion, synths and other electronic sounds. The challenge was trying to get them to speak, without getting in the way of the vocals. I want a casual listener to be drawn in by the vocal, but sense that something special is happening in the music as well. At the same time, someone who really is digging in can fully immerse themselves and take in all the beauty deeper in the details of the sound and arrangement. Finding the balance between presenting all the musical elements that were happening in the arrangement and this really beautiful, upfront, real-sounding vocal was the ticket."

A particular challenge is that a lot of the detail that Aaron gravitates towards happens in the low mids, which is a very warm part of our hearing spectrum that can quickly become too muddy or too woolly. A lot of the tonal and musical information lives in the low mids, and then the vocal sits more in the midrange and high mids. There's not too much in the higher frequency range, except the top of the guitars, and some elements like a shaker and the higher buzzy parts of the synths. Maintaining clarity and separation in those often complex arrangements was a major challenge."

In & Out The Box

According to Low, the final mix stage for evermore was "very short. There was a moment in the final week or so leading up to the release where the songs were developed far enough for me to sit down and try to make something very cohesive and final, finalising vocal volume, overall volume, and the vibe. There's a point in every mix where the moves get really small. When a volume ride of 0.1dB makes a difference, you're really close to being done. Earlier on, those little adjustments don't really matter.

"I often try to mix at the console, with some outboard on the two-bus, but folklore was mixed all in the box, because we were working so fast, plus initially the plan was for the mixes to be done elsewhere. I ran a couple of mixes for evermore through the console, and `closure' was the only one that stuck. It was summed through the Siemens, with an API 2500 compressor and a Thermionic Culture Phoenix and then back into Pro Tools via the Burl A-D. I will use hardware when mixing in the box, though mainly just two units: the Eventide H3000, because I have not found any plug-ins that do the same thing, and the [Thermionic] Culture Vulture, for its very broad tone shaping and distortion properties.

"The writing and the production happened closely in conjunction with the engineering and mixing, and the arrangements were dense, making many of the sessions super hefty and actually quite messy. Sounds would constantly change roles in the arrangement and sometimes plug-ins would just stack up. So final mixing involved cleaning up the sessions and stemming large groups down."

Across The Rubber Bridge

The Pro Tools mix session of 'willow' has close to 100 tracks, though there's none of the elaborate bussing that's the hallmark of some modern sessions. At the top are six drum machine tracks in green from the Teenage Engineering OP-1, an instrument that was used extensively on the album. Below that are five live percussion tracks (blue), three bass tracks (pink), and an `AUX Drums' programming track. There's a 'rubber bridge' guitar folder and aux, OP-1 synth tracks, piano tracks, 'Dream Machine' (Josh Kaufman's guitar) and E-bow tracks, Yamaha, Sequential Prophet X, Moog and Roland Juno synth tracks, and Strings and Horns aux stem tracks.

"Most of the drum tracks were performed on the OP-1 by Aaron. These are not programmed tracks. Bryan Devendorf, drummer of the National, programmed some beats on a Roland TR-8S. I ran those though the Fender Rumble bass amp, which adds some woofiness, like an acoustic kit room mic. There's an acoustic shaker, and there's an OP-1 backbeat that's subtle in the beginning, and then gets stronger towards the end of the song. I grouped all the drum elements and the bass, and sent those out to a hardware insert with the Culture Vulture, for saturation, so it got louder and more and more harmonically rich. There is this subtle growing and crescendo of intensity of the rhythm section by the end.

"The 'rubber bridge' guitars were the main anchor in the instruments. These guitars have a wooden bridge wrapped in rubber, and sound a bit like a nylon-string guitar, or a light palm mute. They're very percussive and sound best when recorded on our Neumann U47 and a DI. On many of those DI tracks I have a [SPL] Transient Designer to lower the sustain and keep them punchy, especially in the low end. There's a folder with five takes of 'rubber bridge' guitar in this session, creating this wall of unique guitar sound.

"I treated the 'rubber bridge' guitars quite extensively. There's a FabFilter Pro-Q3 cutting some midrange frequencies and some air around 10kHz. These guitars can splash out in the high end and have a boominess that's in the same range as the low end of Taylor's vocal, so I had to keep these things under control. Then I used a SoundToys Tremolator, with a quarter-note tremolo that makes the accents in the playing a bit more apparent. I like to get the acoustic guitars a little bit out of the way for the less important beats, so I have the Massey CT5 compressor side-chained to the kick drum. I also used the UAD Precision K-Stereo to make the guitars a bit wider. The iZotope Ozone Exciter adds some high mids and high-end harmonic saturation sparkly stuff, and the SoundToys EchoBoy delay is automated, with it only coming on in the bridge, where I wanted more ambience."

Growing Pains

"Once we had figured out how to sit the 'rubber bridge' guitars in the mix, the next challenge was to work out the end of the song, after the bridge. Taylor actually goes down an octave with her voice in the last chorus, and at the same time the music continues to push and grow. That meant using a lot of automation and Clip Gain adjustment to make sure the vocal always stayed on top. There also are ambient pianos playing counter-melodies, and balancing the vocals, guitars and pianos was the main focus on this song. We spent a lot of time balancing this, particularly as the track grows towards the end.

"The vocal tracks share many of the same plug-ins and settings. On the main lead vocal track I added the UAD Pultec EQP-1A, with a little bit of a cut in the low end at 30Hz, and a boost at 8kHz, which adds some modern air. The second plug-in is the Oeksound Soothe, which is just touching the vocal, and it helps with any harsh resonance stuff in the high mids, and a little in the lower mids. Next is the UAD 1176AE, and then the FabFilter Pro-Q3, doing some notches at 200Hz, 1kHz, 4kHz and close to 10kHz. I tend to do subtractive EQ on the Q3, and use more analogue-sounding plug-ins, like the Pultec or the Maag, to boost. After that is the FabFilter Pro-DS [de-esser], taking off a couple of decibels, followed by the FabFilter Saturn 2 [saturation processor], on a warm tape setting.

"Below the vocal tracks are three aux effects tracks, for the vocals. 'Long Delay' has a stereo EchoBoy going into an Altiverb with a spring reverb, for effect throws in the choruses. 'Chamber' is the UAD Capitol Chamber, which gives the vocal a nice density and size, without it being a long reverb. The 'Plate' aux is the UAD EMT140, for the longer tail. These two reverbs work in conjunction, with the chamber for the upfront space, determining where the vocal sits in the mix, and the plate more for the depth behind that.

"At the bottom of the session is a two-bus aux, which mimics the way I do the two-bus on the desk. The plug-ins are the UAD Massive Passive EQ, UAD API 2500 compressor, and the UAD Ampex ATR102. Depending on the song, I will choose 15ips or 30ips. In this case it was set to 15ips, half-inch GP9. That has a nice, aggressive, midrange push, and the GP9 bottom end goes that little bit lower. There's also a PSP Vintage Warmer, a Sonnox Oxford Inflator, plus a FabFilter Pro-L2 [limiter]. None of these things are doing very much on their own, but in conjunction give me the interaction I expect from an analogue mix chain."

#Aaron Dessner #bryce dessner #Jonathan Low #the long pond studio sessions #making of #folklore album #evermore album #interview #about taylor #taylor swift #songwriting #producer #evermore era #folklore era #Sound on Sound Magazine #scans

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13uswntimagines · 4 years

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Always Yours (Christen Press x Reader)

Request: Christen Press x reader based on a song "hold me while you wait" by Lewis Capaldi

Author’s note: Hey dudes, so i couldn’t get this idea out of my head. I’m not sure how well it actually follows the song, but this is what made sense to me. I hope you enjoy! hit me up with Requests, Questions or if you just wanna say hi!

Christen sighed contently, settling back against her fiance, watching whatever boring reality show the team had chosen for the night. She reveled in the feeling of the women below her, glad that everything had finally worked out for the better. Everything was perfect, well almost. There was still a little twinge at the back of her mind that reminded her of the one person she had hurt more than the rest.

“Have you guys seen this video yet? The fans are going crazy,” Kelley asked, pulling the women out of her thoughts. Tobin grabbed the outstretched phone, holding it so Christen could see it.

“Is that Y/n,” Christen questioned, her breath leaving her when she saw your form on the small screen. The image was grainy, but it still made her heart stop to see you on stage. To see you following your dreams.

“Yeah,” Kelley smiled at them, wiggling her eyebrows at Christen.

“Why are the fans sending it to us?” Tobin mumbled, her eyebrows furrowing. As far as the fans knew, you hadn’t spoken to Chris since college.

“just watch” Kelley shrugged.

*******

You smiled out at the audience as you stepped to the front of the stage. Their clapping and cheering were almost as loud as the pounding of your heart in your ears. You would never get enough of this feeling, and you wondered if it was the same one that she had every time she stepped onto the pitch.

“Damn you guys are loud,” You laughed, the crowd roaring back. You shot them a cheeky smirk, pulling the acoustic guitar strap over your head and pushing the stray hairs that had fallen into your face back.

“Do you mind if we get serious for a few minutes?” You asked into the mic, receiving a cheer of approval in response. As much as the fans loved you upbeat stuff, they went even crazier when it was just you, them, and your trusty guitar.

“Ok, cool.” You smirked, beginning to pluck the opening chord to the next song in your set absentmindedly.

“So, the past few years have been kinda a rollercoaster ride for me. You know, I met this person, and they were my… everything.” You stated, a wistful, faraway look taking over your usual charming smile.

“And sometimes I thought that they could love me too, but they could never make up their mind, and I settled for them just being there. I settled for them letting me hold them while they figured out what they wanted,” Your voice turned sad and bitter. You had wanted her more than anything on the planet, but she didn’t know if she wanted you or Tobin, and you wondered how close you were to be a thing. But she had chosen, and the heavy piece of paper tucked into your back pocket was like a knife in the balloons holding your Dream.

“Today I got an invitation to their wedding,” You gave the audience a bitter laugh, shaking your head. “So this song is for them. An apology if you will, that I can’t make their wedding,” You finished quietly, changing to the chord progression for Hold Me While You Wait.

****

“Holy shit,” Christen whispered, her eyes wide as the song began. It wasn’t her first time hearing it, but the emotions of this performance were off the charts. She could feel the heartbreak that permeated the song. It was the story of an almost relationship that tore you to pieces. An almost relationship that you tied yourself in knots to make work. The almost relationship you had with her.

“She’s not usually this emotional,” Christen mumbled, her eyes wide.

“The fans all think that you’re the one who made her this emotional. They think you two are the ones she dedicated the song to,” Kelley said quietly, shaking her head.

“She never said that,” Tobin grumbled far too quickly. You were always her biggest competition, and you had been there for Christen when she wasn’t. When she was being an ass about commitment.

“She didn’t have to,” Kelley rolled her eyes. So maybe she still had a little resentment about how the way things ended between her teammates and her best friend.

“They’ve been speculating that the whole album is about Chris for months,” Tobin clapped back. It had started with an old photo of the two of you from college. An old photo that wasn’t supposed to ever see the light of day, and now they wouldn’t leave her alone about it. Your fans weren’t as crazy as some, but she was tired of being called out for being the one to come between you and Chris. “But it seems kinda petty to me,” Tobin groaned. You were usually the first one to tell the fans to leave them alone. You usually didn’t stoop to their level.

“If it is, she has a good reason. Chris kept her on the hook for months,” Kelley spat back.

“It was hard not to,” Christen spoke quietly after a few minutes.

*****

Memory

“Just stay awhile,” You said from the bed, pulling the sheets tighter around you. You always hated this part, it made you feel dirty, used. She would beg you to come and then walk out like you were nothing more than a call girl. Ever since college, you were the one who would pick up the pieces that one Tobin Heath left behind. The one who held her while she made up her mind.

“Y/n, I can’t stay,” She rolled her eyes at you, pulling her clothes on.

“Yes, you can Chris. I love you so much, and I’ll do my damndest to show you every day,” You pleaded. Why couldn’t she see that you were the better option? The more healthy option. Tobin could never make up her mind. She didn’t want a real relationship unless it was convenient for her, and Christen just couldn’t seem to let her go.

“I love her Y/n,” “and she loves me back, and she’s finally ready,” Christen said, finally turning to look at you.

“How many times has she said that before, and how many times have you ended up right back here with me?” You huffed back, thinking about the thousands of times this had happened before. The thousands of times Christen had told you the same thing and then called you crying because she hadn’t been right. For a while, it had been fine with you. It had been alright because you got to hold the girl you had been in love with since you were kids while you waited for her to make up her mind.

“Just don’t” She spat in your direction. Going from sweet to cruel in a second flat.

“I’m trying to protect your Chris,” You growled back, standing from the bed.

“Don’t make this harder for me then it already is,” She mumbled lowly. And you sighed.

The wait was over, and so was Christen’s desire to be held by you.

“Turn around Chris,” Your voice was barley above a whisper. You knew that this would tear you apart, but you needed to hear it. You needed to know why. You opened your arms for the woman, who shot you a quizzical look.“Tell me more about her, something I don’t know,” You mumble, pulling Chris back into your arms, for what you know will probably be the last time. You buried your nose into her neck.

“She scrunches her nose up in her sleep,” She said, running her fingers through your hair, soothing you.

“Hmm,”

“And she loves kids. Like she goes out of her way to make them happy,” You could hear the smile in her voice, and you swallowed the lump in your throat, trying to enjoy your last moments with the woman you loved.

*****

You stepped away from the mic when the song was over, taking a gulping breath after the final note. Your chest heaved in a way that was unusual for you, and you casually wiped the tears out of your eyes. You weren’t an overtly emotional person, only able to articulate what you were feeling through song. You blinked a few times, stepping back up to the Mic.

“Tell her thank you for Paris,” You hummed out the words that would probably get you into trouble, but right now you didn’t care. You knew this day was coming, but that didn’t mean you were ready for it. At least you knew that Tobin wouldn’t hurt her again.

*****

“She’s crying,” Tobin said in shock. She had never, ever seen this much emotion out of you, even when you had come to say goodbye.

“What happened in Paris? She never told me, and she won’t talk about it,” Kelley asked, her eyebrows furrowing. Christen and Tobin shared a look.

*****

Two days before the Woman’s World Cup

“Chris is going to freak when she realizes that your here,” Tobin mumbled, settling down in the seat across from you. You had picked a cute cafe for this conversation. A conversation that you really didn’t want to have, but you felt you needed to.

“I didn’t come to see her, I came to see you,” You husked out, taking a sip of your coffee.

“That’s a first, I was like 99% sure you hated me,” Tobin leaned back in her chair in shock. The two of you had a tumultuous relationship to say the least. She was always chasing Christen, and you were always the one who cleaned up the fallout.

“No Tobin, I don’t hate you.” You started, looking off into the distance, trying to control your emotions. You knew that this was inappropriate, but you had to be sure. You had to know.“I just… I need you to tell me one thing,” You finished, glancing back at your cup, adamantly not making eyecontact with the woman in front of you.

“You flew to Paris to ask me a question?” She questioned in disbelief. She thought you would have fought harder. That you would have come to make a scene and try to win the girl that you had held for so long. She took in your form, defeat visible in every movement you made. You weren’t the same person you had been all those years ago. It was like your sunny personality was gone.

“Yeah, “ You nodded, finally looking into Tobins worried brown eyes. She could almost see the cracks in your soul. The piece of you that Christen had taken with her when she chose Tobin.

“Ask away,” She said with a wave of her hand.

“Do you love her?” You asked seriously. Clenching your fist on the table. You needed to know. All your efforts would be worth it if she did. You would be able to live with yourself if she did.

“Of course I do,” Tobin said in exasperation.

“No Tobin, do you love her so much that you feel like you can’t breathe without her. Like you’re in the dark, and she lights you up?” You grabbed her hand, looking her solemnly in the eyes.

“I love her so much that it terrifies me, that I don’t think I could live if she didn’t choose me,” She responded, with as much honesty as she could muster. You nodded back, sitting back in your seat and taking a sip of your drink.

“Promise me something?” You requested after a few seconds of silence. She waved her hand again. You gave her a thoughtful look. “That you won’t let her go…”

“I already bought the ring. I was gonna give it to her after we win,” Tobin admitted with a blush. You nodded again.

“Don’t wait,” You said quietly, placing a 50 on the table and walking away. Tobin watched you go, shaking her head. She would never understand why you had settled for being Christens play thing.

*****

8 Hours after they won the World Cup

“You can’t waste your life like this,” Christen rolled her eyes as she entered the hotel lobby. She was in france.

“Who said it’s a waste?” You smirked back, standing and placing your hands in your pockets.

“I did. You just flew to Paris for me to turn you away,” She huffed back, approaching you and pulling you into a hug. No opportunity to make her smile was a waste to you.

“I wish that I could change your mind,” You hummed into her neck, refraining from placing your usual kiss on her neck.

“I know,” She said back resolutely.

“I didn’t come to ruin your night, just to tell you congrats,” You mumbled, pulling back so you could look at her, sending her the widest smile you could.

“I don’t know if I believe you..” She quarked her eyebrows up at you.

“I just wanted to give you this and congratulate you on your big win champ. I always promised to the first copy of my album,” You laughed, pulling the the first copy of your first album ever out of your back pocket. It was funny, even now she was holding you while she waited for Tobin to be ready to go celebrate with her.

“Take it. I signed it and everything,” You said quietly, pushing the square plastic that held the key to your future into her hands. No it wasn’t like the art that Tobin made, but it was yours.

“Y/n” She started. Placing her hand flat on the plastic, shaking her head.

“At least it’ll sell on eBay if you don’t want it.” You gave her a sad smile, placing the album that she had inspired into her palm and turning away. “If you ever need to… talk, just call me,” You said over your shoulder, leaving the Hotel. Trying not to think about how this was probably the last time you would ever see her.

*****

“She told me to Marry Chris,” Tobin murmured thoughtfully, squeezing the women in her arms that much tighter. She was lucky and she she knew it.

“I didn’t know that,” Christen smiled, leaning back and placing a kiss on her fiance’s lips.

“Yeah, she said that she wanted you to be happy, and us fighting over you wasn’t making you happy,” Tobin nodded, brushing a strand of hair from Christens ear. Even in your worst moment, all you wanted was for the girl of your dreams to be happy. That was what love was, to want the best for that person, even if it wasn’t you, and to hold them until they knew what they wanted.

“What did she write in the album she gave you?” Kelley asked, pulling the couple out of their sappy moment. Christen blinked for a moment.

******

Christen’s hands were shaking as she watched you walk away, almost like a drug addict coming down from the high. She glanced down at the album in her hand, aptly named “the heartbreak hotel”. You always did have a flare for dramatics. Her lips quirked up at our loopy handwriting.

Together or apart, we both accomplished our dreams. Thank you for allowing me to hold your for as long as you did. Both our waits are over, and i wish you nothing but happiness.

Always yours,

Y/n

PS. say yes to your happy ending.

#uswnt x reader #uswnt imagine #uswnt imagines #christen press x reader #christen press imagine

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fy-2pm · 3 years

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[Interview] 2PM's Taecyeon 1st Look Magazine

In "Vincenzo", going back and forth as the foolish intern lawyer and the cold-blooded sociopath, Ok Taecyeon has added tension. Another side of him begins.

Q: It has been approximately one year since your last acting piece and you're back with the drama <VINCENZO>. Did you watch the first episode?

T: Of course, I really enjoyed watching it. Actually, I don't know much about the part without my appearance until I watched it on TV. So, it's like something new to me. Watching the first episode, I realized I am in a project that's much bigger than I thought.

Q: What's your reaction?

T: Overall, it was fun. However, there were many scenes with the comical elements came out stronger than I thought. As this is the work from scriptwriter, Park Jae-Beom, I expected some comical elements to some extent but most of them, I didn't even think about it.

Q: Like you said, scriptwriter Park Jae-Beom is someone who will address the social issues in a comical way. What's it like to work with him?

T: While I was reading the script, I thought the writer has something he wanted to say. He wanted to bring out social criticism through his piece of work. Actually, the black comedy genre needs to be more comical so that it won't be too heavily weighted. It's not easy. The scriptwriter managed to solve this without placing too much weight on this. Personally, I am very impress.

Q: At the drama press conference, Director Kim Hee Won told us that she worked very hard on each character to the extent that it took her 6 months to do casting. Why do you think Ok Taecyeon became Jang Jun Woo?

T: I think the biggest reason is my good health. From Director Kim's perspective, bright and healthy image matches with Junwoo's character. She said I should be able to explore and express this character well.

Q: Actually, I thought Jang Junwoo would be very different to the Ok Taecyeon that we know for a long time.

T: When I first received the script, I thought, "Should I be doing this?" because Jang Junwoo and I have a lot in common. The very first scene for Junwoo is riding an electric scooter, which made me feel if someone is hiding a camera to film my real life. I like to ride it all the time (laugh). However, as the story unfolds, it is more than just Junwoo's foolish out look. I'm going to show a different side of me, so I am paying a lot of attention in my acting.

Q: With a different side, what would that be?

T: I think Jang Junwoo is someone with many sides and shadings. It's character that goes back and forth between cold and hot bath. I keep thinking, "Can I express it like this?" I am thinking into each and single details. Personally, I have never acted like this before, so I'm expressing it in various different ways under the directions from the director. Viewers will be able to see this, I wonder how they will accept it.

Q: Personally, I think your "Tikitaka" with senior lawyer played by Jeon Yeo Bin was impressive. I'm looking forward to see the chemistry between you two. (T/N: "Tikitaka" means "the situation whereby someone does something and the other supports with efficient responses")

T: Actually I tried to get to know each other better. She's an actress who receives well and so, we are in sync when say our script lines.

Q: Jang Junwoo is an intern who just took his first step into the society. What was Ok Taecyeon like when he first started? Let's talk about the old days.

T: When I first started working... It was already 15 years ago (laugh). Back then, to me, everything was fun. The very first time I earned my own money was when I did some modelling. At that time, I didn't have a manager, so I took the bus with heavy stage makeup. I also went to practice just like that. However, everything was really fun. At that time, my parents were in the US and I came back to Korea alone. One of the fun things is to tell them each and everything I did for work.

Q: <VINCENZO> will be meeting global viewers via Netflix. Will the global viewers be able to relate to the story?

T: For sure, I don't think there's anything you can relate to it. This is because it is a black comedy where they are pointing out the current problems in Korean society. However, if you look at it at a wider scope, the definition of a dark hero is the same in any society. Viewers with their conventional thoughts and curiosity will have questions as to why things are not resolved by the law. I think this is where <VINCENZO> will attract the global viewers.

Q: You have been an actor for more than 10 years. When was the first time, you are convinced about this?

T: I think it was at the time when I was filming the drama <WONDERFUL DAYS>. One day after shooting a scene, the writer praised me for doing well. While I was filming, I thought, "Am I doing it okay?". I didn't know I would get a good compliment. After the filming, I was able to feel the relief of my nervousness, which I have never felt before. For the first time, I thought, "Is this the charm of acting?"

Q: When you first dream of becoming an actor to now, is there any difference?

T: Well, I think we should use the expression "When I first started" rather than "When I first dreamed" about it. I think I really started not knowing what was really going on. With the thought that I am working with nice people, every time I go to work, I will think about how I can contribute to make it interesting and fun in the filming. I thought about how I can express more. I think it's about time for me to think about how to make my characters look new.

Q: Actually, there is no right or wrong answer for acting. Sometimes, there are different opinions but what kind of choices do you have to make?

T: Personally, I will analyze the characters and prepare a lot of things. Sometimes, I will approach the director. Times like that, I will follow the director's instructions. Of course, there are also times when I have my own thoughts. However, no matter how I act, it doesn't mean much if it gets edited out later. I came across an actor who doesn't look at his acting at all on the monitor. If he sees his own acting, he would be forcing his acting without realizing it. So when he the director says it's okay, he is okay with it, too. After hearing that, I thought that was right too.

Q: What attracts you when you look at a piece of work?

T: Personally, I think how the story flows is important. Next is, what can I show with this character? I will look into it.

Q: What's the joy living as an actor?

T: While you get to play different characters every time, you can also break down people's prejudice. I think this is the part with the most fun. So I think it's important to take on new challenges with something new. I am always thinking how to keep people's attentions and to what extend people can take when I do something outrageous.

Q: If so, what does actor Ok Taecyeon want to show with his acting?

T: Honestly, instead of showing a completely different side of me, I am trying to focus on what I already have and I'll increase all aspects little by little. I was watching my acting to look for the character's flow and what the character is missing all at once. I'm trying to do that (laugh).

Q: By the way, at the end of last year, 2PM announced their group comeback at a live. How's the preparation going?

T: We're preparing but I'm not sure if we can make a comeback this year (laugh). We are planning but there are situations overlapping so we need to organize that.

Q: Since 2016, it's been 5 years since your last group album. Personally, anything you want to show us?

T: As all our members are composing songs, we all have different ideas. Like what music to use as our title song? We cannot make a start unless we find our direction. Actually, once the title song is decided, it will progress from then on, but members haven't come to a decision yet. Recently, our first round of gathering failed (laugh).

Q: Define Ok Taecyeon in a few words. What words are appropriate?

T: A lot of people said the words "healthy" or "vitamin C" (laugh). Personally, I like all of them. However, if I put them all together, I hope I can become the "Happy Virus." Doesn't matter where I go, I want to give happiness to many people. As a singer who is acting, if you watch me act and you can feel the comfort and happiness from my heart that would be great.

Q: I think you have achieved this. Everyone in the site here today is happy. Thanks to Taecyeon.

T: Really? Then, that's all. What. Hahaha...

Trans @JLML718

#2pm #taecyeon #p: photoshoot #e: magazine #e: interview #1st look #1st look korea #Vincenzo #korean actor #korean singer #kpop #k drama #march 2021 issue

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binderclipdocs · 3 years

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Hello! I’m wondering what your take is on Dear Friend (and especially “I’m in love with a friend of mine”?) I find the song a little confusing, and I’ve read a lot of different interpretations. I really love your films and I know you’ve done a lot of research, would love to know what you think. Thanks!

Thanks for your appreciation, anon! I love Dear Friend and am happy to share my thoughts on this haunting, mournful, mysterious song!

I’ll be the first to admit the lyrics are confusing (like so many McCartney songs!), mostly by virtue of the fact that Paul uses “friend” twice in a row. Are there two friends, or only one? By using the word “friend” on top of each other as he does, it suggests either a single friend (the titular “Dear Friend”) in two situations OR two friends, in separate/competing situations.

Dear Friend, throw the wine

I’m in love with a friend of mine

Really, truly, young and newlywed

Of course, everyone is entitled to their own opinion, interpretation, fantasy, etc. and no one but McCartney himself can definitively declare precisely what he meant with this song. But it’s my opinion that Paul was saying the latter; that he is in love with his friend and new wife, Linda. This is my conclusion after having deeply researched this period extensively for TWO documentary series (McCartney (2020) and Understanding Lennon/McCartney), an opinion that obviously no one is required to entertain and anyone is free to discard. But for those who are interested, I’ll share my reasoning below.

Firstly, this is NOT an attempt to disprove that Paul was ever in love with John or vice verse. They both used this term publicly and therefore probably/possibly did privately with each other as well. But Paul’s statements in April, 1970 pretty clearly spell out the situation:

“Personally, I don’t think John could do the Beatles thing now. I don’t think it would be good for him.

John’s in love with Yoko, and he’s no longer in love with the other three of us. And let’s face it, we were in love with the Beatles as much as anyone.”

So John and Paul were “in love” (with each other as people, or the Beatles as a concept, or Lennon/McCartney as a team, etc) for a long time. But by 1970, they both have new spouses and new lives and are following different paths. Here’s a brief recap of the events that led to this statement:

In a now-famous meeting in September 1969, John told Paul that he was leaving the Beatles and wanted a divorce. Whether this was an idle threat designed to scare/hurt Paul, or a real desire on John’s part is open to interpretation, but Paul, for his part, took it seriously.

Allen Klein asked John not to go public with his decision to leave the group and John happily and uncharacteristically agreed to sit on this “news” indefinitely. Paul subsequently disappeared for 6-8 weeks, mourned the loss of the band privately in Scotland, and then began working on his first solo album. Communication between John and Paul fell apart at that point, and John began a campaign of maneuvers - possibly engineered or facilitated by Klein - to bring Paul back into the Beatles’ fold and force him to submit to Klein’s management and John’s leadership. Backed into a proverbial corner by John, George, Ringo, Yoko and Klein, Paul played the last card he had: he quit.

In April 1970, Paul made the split official (deliberately or accidentally? YMMV) with the release of his first solo LP, and attempted to finalize the divorce with an uncooperative John for the remainder of the year. As is pretty well-documented, Paul tried for a quick and amicable split, requesting a release from the Beatles’ contract. But after John was unresponsive and Allen Klein advised him to set duplicitous legal traps that would prevent Paul from separating from the Beatles, Paul (as advised by his lawyers) decided to sue for divorce by the end of 1970.

By 2020, even the most casual Beatles fans know two basic truisms: 1) that Paul loved John always and 2) that Paul didn’t want the band to break up. Of course there’s more to the story than just that. We have also been told repeatedly that John “left Paul,” but this is not the whole truth either.

Essentially what John did was yell “I’m breaking up with you!” and then block the door every time Paul tried to leave.

As late as September, 1971 John is still saying publicly that he hopes Paul will return.

Int.: Let's talk a bit about Paul's aversion to Klein. From what we've read it seemed as if this wasn't there in the beginning, even though Paul wanted the Eastmans to run things. But it came on later as things progressed. And yet despite this, we gather that Klein was still hoping that Paul would return to the group.

John: Oh, he'd love it if Paul would come back. I think he was hoping he would for years and years. He thought that if he did something, to show Paul that he could do it, Paul would come around. But no chance. I mean, I want him to come out of it, too, you know. He will one day. I give him five years, I've said that. In five years he'll wake up.

[Narrator voice: Paul did not came back.]

Yes, Paul loved John. No, Paul didn’t want the Beatles to break up.

But when John said he wanted out, Paul took him seriously, respected his decision, never made a single attempt to woo John back and showed up 6 months later with a moving van and divorce papers.

When you hear Dear Friend out of context -knowing only that Paul loved John and was sad after the breakup- it’s not wholly unreasonable to think maybe Paul was declaring his eternal love for John here:

I’m in love with a friend of mine really, truly, young and newlywed

But when you experience Dear Friend in the proper context, that interpretation sounds less and less likely. Here’s Paul:

April 21, 1970

“I’m not blaming her. I’m blaming me. You can’t blame John for falling in love with Yoko any more than you can blame me for falling in love with Linda.

We tried writing together a few more times, but I think we both decided it would be easier to work separately. I told John on the phone the other day that at the beginning of last year I was annoyed with him. I was jealous because of Yoko, and afraid about the break-up of a great musical partnership. It’s taken me a year to realise that they were in love. Just like Linda and me."

Summer 1970

Paul writes John a 12-page letter requesting that they “let each other out of the trap.” John’s response was a picture of himself and Yoko with a balloon drawn above his head saying “How and Why?”

Paul responded: “How? By singing a paper that says we hereby dissolve our partnership. Why? Because there is no partnership.”

April 16, 1971

PAUL: “We used to get asked at press conferences, 'What are you going to do when the bubble bursts?' When I talked to John just the other day, he said something about, 'Well, the bubble's going to burst.' And I said, 'It has burst. That's the point. That's why I've had to do this, why l had to apply to the court. You don't think I really enjoy doing that kind of stuff. I had to do it because the bubble has burst-- everywhere but on paper.' That's the only place we're tied now.”

Nov 11, 1971

MM: But John said to me that what you’d done in bringing the [court] trials up and everything was what they all wanted, that you’d just done it a lot earlier than they would have done.

PAUL: Well if that’s true, well… well, come on! That’s – see, I’ve told you… The joke is, though, that we don’t have to do trials. It’s not necessary. If the four Beatles signed a bit of paper, or even ripped the old contract up and said, “This contract is no longer valid, we all hereby said it, we all legally direct the shareholders…” the whole thing, to wind it all up, we could do it. And if that’s really what he wants, he could do it this minute. [snaps fingers]

Furthermore, Paul was deeply in love with Linda during this period, as reflected by: the songs on both McCartney and RAM, the testimony of those around them at the time and by Paul’s own recollections. The first few years of Paul and Linda’s marriage was their honeymoon period, their era as newlyweds. It was certainly an awful time for Paul in many respects: the business battles of the Beatles were excruciating and extremely stressful and the loss of his three best friends was heartbreaking. Furthermore, the rock press had largely turned against him (sometimes viciously so), and John & Yoko (and Allen Klein) were painting him as a traitor to the counterculture and a villain for destroying the Beatles with his granny music, giant ego and overbearing personality. Paul and Linda were extremely isolated, partially by choice and partially by force.

But even though this was a terrible time for Paul in many respects, he was extremely happy with his new family. He later described this period with Linda as one of the happiest periods of their life. Paul has said numerous times Linda (along with nature and horse-riding) brought him out of depression after the Beatles ended and gave him the strength to push forward with his solo career, at a time when many were rooting against him (and a literal cult was forming that claimed he was DEAD and had been replaced by an inferior imposter- let that sink in for a moment!). He has been consistent about it over the years, and reiterated it as recently as 2020:

UNCUT: Tell me about the guy in the photo n the McCartney sleeve. He looks happy.

PAUL: I was really happy, yeah. The Beatles had become such a business machine, and with the arrival of Allen Klein the whole thing, every day was very unpleasant.

UNCUT: So there you were on the farm, finding solace in a new family...

PAUL: Yes. I had a little place in Scotland. So we just went out there. “It’s so remote, no one can be bothered trekking all the way up here for a meeting.” It was a good period. We grabbed our freedom- you know what, we seized the day! Also, I had a new baby; I’d not been a father before, so I was very happy.

In December of 1970, John gave his infamous Lennon Remembers interview to Rolling Stone. According to the liner notes of the Wildlife reissue from 2018 (and confirmed by the timing of the demo), Paul composed Dear Friend in reaction to John’s comments in that interview (not How Do You Sleep, as is commonly believed). But he sat on the song for awhile and didn’t record it until late 1971 (for inclusion on Wildlife). Judging from the tone of Too Many People and other songs on RAM, Paul’s initial sadness, confusion and disappointment gradually morphed into (or perhaps swung back and forth between) anger and defiance, accompanied by a taunting and/or gloating tone. Having gotten Dear Friend out of his system, it seems it simply didn’t fit thematically on RAM. Perhaps after the release of HDYS, Paul was deflated and despondent enough to return to Dear Friend? Perhaps Jealous Guy tempered or calmed Paul’s anger?

Or maybe it was just a genuine attempt to turn the heat down. We know that immediately following its release, John and Paul agreed (seemingly at Paul’s insistence) to quit bickering in public.

In any case, Dear Friend is a complex songs with a spectrum of emotions. Unlike Jealous Guy it is not apologetic; it’s mournful but also incredulous and slightly accusatory. Paul appears to be calling John’s bluff: Do you really believe all the bullshit you’re spewing?

Are you a fool, or is it true?

The John Lennon of Lennon Remembers is without hope or faith, denouncing everything he ever believed in and everyone he ever trusted -with the notable exceptions of Allen Klein, Phil Spector and Yoko. Paul clearly loves John and hopes to salvage their relationship, but Dear Friend was written at a time when John was being manipulated and exploited by people he later admitted were misplaced “daddy figures.” While Klein and Spector turned out to not be the most reliable friends to John, Paul certainly seems to know and understand John’s vulnerabilities and motivations better than most. As he sings in the demo:

Are you afraid? Or are you blue?

So why does Paul mention that he’s newlywed and in love with Linda? Firstly, because he is, and he wants to celebrate with his best friend. We know Paul’s desire was for the two couples to make peace and be friends. Pour the Wine. Clink glasses and celebrate their new marriages together.

PAUL: Dear Friend was to do with John, a bit of longing about John. Let’s have a glass of wine and forget about it. A making up song. (July 2001).

This is precisely what the two couples did in December of 1971, immediately following the release of Wildlife.

JOHN: We were both nervous, the four of us were nervous. I hadn’t seen him for a long time. I’d spoken on the phone [with him]. Uh, it was alright, you know. It was alright.

This is precisely what happened again throughout 1974 (with John & May Pang this time around), which John affectionately called their “Beaujolais evenings.”

Admittedly, It may seem odd for Paul to mention that he is happily married (and in love with another “friend”) in a make up song to John. Until you think about the romantic tension between John and Paul and Paul’s bold public recognition of it with this statement: “It’s taken me a year to realise that they were in love. Just like Linda and me.” Paul acknowledges here that John is in love with Yoko and wants John to acknowledge his love for Linda as well.

In Dear Friend he’s communicating that there is nothing to fear; they are secure in their respective marriages, there is no need to be hurt or angry or jealous anymore. We’re no longer partners, but we can still be friends. “Let’s have a glass of wine and forget about it.” A softer, gentler version of: Wake up, John. It’s over. Sign the fucking papers already.

So I think of Dear Friend as an olive branch, but not the groveling type some apparently do. And I most definitely do not think it was a signal to John that Paul was still in love with him, despite being newlywed to Linda.

I suppose it might seem a bit brutal for Paul to be singing about loving someone else in a song to John (although he’s done it before and I think John has done the same). But I honestly think it is something Paul believes John needs to hear and accept at this point; that he is “really, truly” in love with Linda and that he’s not about to divorce her or run after the first “blonde with big tits” as Allen Klein so charmingly suggested.

By September 1971, John still hasn’t seemed to accept Linda, or Paul’s relationship with her:

John: Paul always wanted the home life, you see. [... long, rambling story about being terrified when Paul got a job in 1961 and for a second looked as if he might abandon John and the group]

All the other girls were just groupies mainly. And with Linda not only did he have a ready-made family, but she knows what he wants, obviously, and has given it to him. The complete family life. He's in Scotland. He told me he doesn't like English cities anymore. So that's how it is.

Int.: So you think with Linda he's found what he wanted?

John: I guess so. I guess so. I just don't understand . . . I never knew what he wanted in a woman because I never knew what I wanted.

With comments like this John seems (IMO) to be twisting himself into knots trying to rationalize Paul’s choice of Linda, practically wondering aloud what could she give him that I couldn’t? He still seems unwilling to face or accept what Paul begrudgingly accepted and admitted years before: that his partner fell in love with someone else.

Here’s 76 year old Paul reminiscing about this tender, bittersweet time in his life, happy and in love with his wife and young family and simultaneously in deep pain over losing his dearly beloved best friend:

I remember when I heard the song recently, listening to the roughs in the car. And I thought, ‘Oh God’. That lyric: ‘Really truly, young and newly wed’. Listening to that was like, ‘Oh my God, it’s true!’ I’m trying to say to John, ‘Look, you know, it’s all cool. Have a glass of wine. Let’s be cool.’

“Let’s be cool.” Not “Please take me back,” not “Ignore my just-for-show marriage, I’m still in love with YOU.” To me, Paul is saying “I’m really, truly in love with my friend and new wife, can we please just be happy for each other? It’s all cool.” And for the record, I don’t find this sentiment any less loving on Paul’s part because I don’t think Paul being in love with his own wife (which he was), detracts from his love for John in any way. Again, I agree that the lyrics are slightly ambiguous, and perhaps this is meaningful too. It could be that the lack of hard boundary between the two friends (John and Linda) reflects how much Paul loves them both; they certainly aren’t positioned as opposites (i.e. I love her but I hate you). Instead they’re both part of the imagined celebration; Paul wants them all to share the wine together- and he wants them to tolerate (love) each other.

I think the traditional narrative doesn’t account for all of this because the traditional narrative does not acknowledge that John has any feelings for Paul in the first place. How in the world could Paul be asking John to “be cool” and accept the new situation when John didn’t even care about Paul in the first place and had been trying to get rid of him for years? This perception - of John gleefully blasting Paul with HDYS and Paul replying that he’s in love with John - has taken hold in many minds and has picked up a lot of steam in recent years with so-called “jean jackets” because they fundamentally believe that Paul’s love for John was one-sided. They cannot comprehend that Paul would ever tell John to “cool it” or back off in any way (even in 70-71) because they take the surface story at face value: John dumped Paul for Yoko and heartbroken Paul spent the rest of his life desperately trying to win John back. This is the narrative depicted in virtually every book I’ve read. My analysis is based on my own research, not this narrative.

I would invite readers of this post to watch (or re-watch) ULM (particularly volume 3 ) for a more comprehensive study of John and Paul’s relationship.

Lastly, after doing my own independent research for McCartney (2020), I found that the Paul McCartney described by the musicians and collaborators in Paul’s life was dramatically different from the person depicted in books like Man on the Run. My films are free from narration and commentary; I rely on first-hand interviews and information from the people involved, and in my opinion there is a great deal to be learned about Paul from the way he relates to others, especially through music. And although the McCartney series is about his solo career as opposed to his Beatle career, I would definitely recommend it to anyone who is interested in Lennon/McCartney for the insights they could gain.

Thank you very much for this ask- hopefully there aren’t too many typos!

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itsamejin · 4 years

Text

this love || yoongi angst

Summary: A story through the years detailing your relationship with Yoongi and all the ups and downs that came with dating an idol.

Warning: cursing, sexually suggestive content

Genre: angst, fluff, idol!yoongi, artist!yn

Pairing: Yoongi x female!reader

Premise: Based on the song ‘This Love’ by Taylor Swift. Reader is an artist.

Commission Request: @minyoongail

Word Count: 7,681 words

—

You met Yoongi when he was just a trainee, ready to take on the world and bursting with energy to get on stage. He had visions of grandeur- him living in a beautiful mansion, wearing name-brand jewelry, cruising in rare sports vehicles. When times were simpler, he’d promise that you’d be there with him, indulging in the glitz and glamour that came with his fame. He’d be an idol and you’d be his muse. Yet under all those pretenses, under all those empty promises, he was just Yoongi.

He was a guy who walked in and out of your life as easily as ocean tides come and go on the shore. He taught you how to fall in love, fall out of it, and rekindle it all the same. It was a sort of beautiful asphyxiation, being wrapped up in his lifestyle and learning to accept the consequences that came with dating a celebrity.

You wonder even now as you search his name on the internet, if you had any regrets. After all, you lost too much to be with him.

—

April 2013

A first meeting meant everything to you, especially when it came to your clients. You didn’t accept jobs from weirdos who didn’t respect your craft and you definitely hated impatient ones who badgered you to finish your pieces as quick as possible.

Big Hit was a happy medium and had hired you as a contract employee after reviewing your portfolio. Although the style of work they wanted from you was not at all what you specialized in, you were happy that they treated you like an actual employee and not some sort of machine. Plus, the pay was good.

You were asked to work on some cute animal characters for an upcoming boy group that you weren’t terribly familiar with, maybe stumbled on a vlog of theirs that you forgot about. You were intrigued by the slew of trainees that sat in front of you, their palms clenched out of anxiousness.

“I’m [Y/N], one of the digital artists that will be working with you guys from now on,” you introduce yourself politely to the seven bright-eyed boys in front of you.

You were in a room with other staff members, discussing the concept of the “Hip Hop Monsters” your graphics team was working on. This was a planned project lasting over a span of years and would eventually result in collectors edition items. It made you giddy just thinking of the royalties you’d earn from it all.

“I’d like it if the animals took after us,” one of the boys suggested shyly, slightly intimidated by the large number of corporate employees there were in the room for something that seemed so trivial. “I think our fans would like the characters more if they kind of resembled our personalities and stuff...”

You nod along to his suggestions, staring at his jersey to notice that the member who spoke up was Rap Monster. It was cute how they all wore clothes with their names on them. That’s one way to attract attention, you suppose.

“Any other suggestions you guys have for us?” you ask, jotting down notes and making rough sketches as they talk amongst themselves.

“I’d like it if,” a somewhat husky voice starts and you can’t help but stare into the guy’s eyes as he speaks, “my character was a turtle.”

You burst out into a fit of laughter along with the other staff members. He had said it with such a straight face and with so little enthusiasm, yet you could tell from his slight blush that he was serious. He was cute in the way that he wasn’t trying to be.

“You resemble one,” you grin at him, drawing out a small turtle with a cute beanie on your iPad, like the one he wore in front of you. You show it to him. “Something like this?”

“Exactly that!”

He breaks out into a gummy smile, one so bright that it hurt your heart to stare at him for too long. Now you were the one left flustered. He realizes how enthusiastic he was and got embarrassed once again, scratching the back of his head to avoid eye-contact.

“S-sorry, for shouting. It looks good.”

You bite your lip from forming too big of a grin. You still had to remain professional after all.

“You’re welcome,” you smirk slightly as he goes back to trying to look cool. You can’t help but doodle his name on your iPad even as the other members shared ideas for their own animals.

Suga, Suga, Suga.

You smile to yourself. It does have a ring to it.

—

June 2013

Yoongi sees you in the hallways sometimes and wants to say hi, but he can’t because other people are watching. Though, that isn’t the only reason.

He tells himself every day that he’ll muster up the courage to go talk to you, but every time he sees your face his legs turn to jelly. Yoongi was busy with debut stages recently, but he found some free time in his schedule to approach you.

Yoongi was never the shy type, more reserved if anything else, but you had something that enamored him- intrigued him. He wanted to know who you were other than the cute girl he was stuck in meetings with from time to time.

As you sat there on your desk, Yoongi lingered in an area nearby. He would give you his number today and if things didn’t work out then that would be that. There was no need to be all shy about this; it’s not like this is his first time asking someone out.

He strides over to you with feigned confidence and you look up after a minute, not noticing how his shadow loomed over you. He sees that you’re working on realistic portraits of the members and not the cutesy characters he usually sees you drawing.

“Hi,” he says curtly, trying to seem disinterested though he was the one that approached you first.

“Hello,” you smile up at him.

Suga.

“You draw really cool stuff,” he says to break the awkward tension. “You should show it to the CEO. I’m sure we’d have cooler concepts for our albums with your work.”

You look up at him, a happy glint in your eyes. He was complimenting you, although avoiding eye contact to seem a little less nervous than he really was.

“Well, I’m just a contract worker so I don’t think I really have the authority to start up new projects out of nowhere,” you say with a smile on your face at how flustered he looks. “I feel like you’re here to ask me for something. Am I right?”

He looks away for a split second, coughing to alleviate his nerves. He was a grown man for fuck’s sake, why was this so difficult?

“I was actually wondering if you could come give me some opinions about some art that I drew,” he lies through his teeth, just trying to find a way to get you in a more private area than the corporate floor teaming with watchful gazes. “I’ve been trying to start a new hobby.”

You chuckle slightly, seeing right through his words. You stand up to amuse him.

“I’d be happy to.”

He leads you to a studio filled with whacky knick-knacks and dim lighting, not necessarily the best place to draw. You know by now that he just said those things as an excuse to be alone with you.

“So where’s this masterpiece?” you tease slightly at his nervous expression. How did a guy who looked so deadpan have such a giddy personality?

“Well actually,” he starts off, palms already sweaty. “I-It’s not here right now, but I think I left it at the dorms. Maybe if we exchange phone numbers I can text it to you.”

He tried to appear nonchalant, but his hands moved as if he was doing a public speaking presentation. Yoongi thought he was doing great, though growing a little more nervous at how you were giggling.

“You know, Suga,” you start teasingly, “My number is in the company directory. Feel free to text me anytime.”

Yoongi slightly cringes hearing his stage name. He loves it, don’t get him wrong, but he didn't like hearing it come from you. He didn’t like the unfamiliar aspect that came with using his stage name- like you two only went by professional terms.

“Call me Yoongi,” he says with genuine confidence this time. “I like it better when my friends call me Yoongi.”

You nod, relieved that you could finally know this cute guy’s name. Truth be told, you were snooping around his conversations with other people to figure it out.

“So we’re friends?”

Yoongi nods, sitting down in his rolling chair.

“I’d like to be,” he grins, patting the sofa, hoping you’d take a seat with him.

And you do.

—

Present

It’s hard to work efficiently when you’re no longer in a corporate space. There’s no boss to check up on your progress nor is there a nosy coworker trying to see what you’re doing from the corner of their eye. You missed the hustle and bustle of an office floor, but it was nice exploring your creativity through freelance work.

You tap your digital pen onto the table repeatedly, looking at the reference image over and over again. It was a sick joke played by the universe to have been commissioned to draw your ex-boyfriend’s idol group, but you couldn’t refuse the hundreds of dollars the ecstatic fangirl was willing to give you. Truth be told, she might have offered too much pay, but you took up her offer anyway. Money is money.

Yet a face you’ve touched so often, a person you’d been with for years felt so unfamiliar to you. It wasn’t like you were drawing him realistically either. The client wanted anime-style figures that resembled them, looked enough like the boys to display it as her Twitter header. In the end, it’s still too difficult to draw. The rest of the members were lined up and sketched perfectly, but there was a blank area where Yoongi’s face should’ve been.

Your wrists hurt from the constant drawing and erasing so you set it down to massage your hand from cramping. In moments like these, you hated your job.

Ting.

A message notification popped up on your phone that laid beside your iPad. You usually left it silent when you were working, but you opened yourself up to distractions when drawing this particular piece. Whoever thought it was a good idea to specialize in celebrity artwork? You pick up your phone and smiled softly at the text.

hey, can I come over?

—

March 2014

“Happy birthday to you, happy birthday to you, happy birthday dear Yoongi, happy birthday to you~~”

You cheer on with the rest of the boys in their cramped dorm. Somehow you had gotten close enough with them to be at this level of comfort, sitting crisscrossed and shoulders touching with Jungkook and Seokjin. Yoongi blows out the candles and claps his hands, a little sad that another year passed by so quickly. He kept glancing at you who was focused on cutting the cake like the perfectionist you were.

He couldn’t help but feel like time was running out, like if he didn’t confess to you now then it would never happen. Yoongi took off the beanie he wore and ruffled his hair. He was feeling anxious all of a sudden.

“Dude don’t do that your dandruff is gonna get everywhere,” Hoseok whines. “The cake is gonna be decorated with your dead skin cells.”

“Go wash your hands,” Jin commands and Yoongi could only roll his eyes.

“Relax, I don’t even think we’re gonna have cake anytime soon when this slow-poke is taking forever to cut.”

He flicks your forehead as you glare up at him.

“I could so easily throw this in your face, but I choose not to,” you stick your tongue out at him and he scoffs.

“I’d like to see you try.”

All the members groan out of annoyance.

“Oh my god they’re having a lovers quarrel again,” Jimin yawned. “Aren’t you guys sick of arguing?”

Yoongi freezes at his words. Lover’s quarrel. That was a nice way to put it.

“They’ll stop arguing when Yoongi finally-”

Taehyung was cut off as Yoongi swipes three fingers worth of frosting from the cake and lathers it all over Taehyung’s face.

“You talk too much,” Yoongi shakes his head and soon chaos descended. Cake flew in places it shouldn’t have and ended when Namjoon knocked over a glass of water, managing to break it on the floor tiles. In the end, no one got cake.

Yoongi and you were laughing amongst yourselves at the kitchen sink, washing off some of the bits that got onto your shirts.

“I’m so sorry about your cake,” you say through your chuckles. “I’ll make it up to you some time.”

Yoongi only smiles.

“Yeah, you can treat me on a date,” he replies a little too boldly. You look at him in shock, not quite processing his words.

“A date?”

He nods.

“We should go out sometime.”

You purse your lips to prevent the huge grin about to be displayed on your face.

“We should.”

—

Present

It was subtle, the way it all started. You trace over the features you drew so far, only getting to his eyes. Yoongi and you were innocent lovers for a while, keeping your trysts a secret from everyone in the company except his managers and the members. A few of your friends knew, but none of them knew BTS well enough to be all that surprised. It wasn’t all that rare to go out with a celebrity in your line of work.

You almost miss those days when he was unrecognizable. After your friends realized who he was after he hit it big globally, you felt like a secret of yours was displayed to them. Your love was supposed to be private, but his fame left very little room for privacy. You missed when you were the only one that knew of him and maybe it’s selfish to think that way, but you were past the point of being selfish.

You text back.

yeah, can't wait to see you

—

Jan. 2015

Yoongi lays you down on the couch gently. His hands caressing your sides underneath the thin material of your shirt as he pulls you in closer to his kisses. This felt different from other nights, different in that there was nothing around to stop what would come next.

He pulls away from you slightly, panting from the lack of oxygen.

“Are you sure?” he asks, drawing circles on your hip with his thumb. He was only supposed to come over to help you unpack some stuff for your new apartment and here you were, pinned on the couch and sweating from the close contact.

You nod back in response, not finding the right words to get him to continue. He pulls your shirt over your head, peppering kisses on your neck and atop your breasts. He fixates on your neck languidly, biting as he sees fits.

There was a pause as you felt him press up against you and you knew then that there was no making it to the bed. You would have your first time with him on this newly moved-in couch.

The clothes dropped to the ground as his touches get more impatient, more desperate. It all passes by like a blur and you could only remember the pleasure that came with his long fingers, the satisfaction you felt when he was inside you. The climax of it all made you realize that you loved him, truly and without regret. He holds you in his arms when you come undone, flashing a satiated smile as you look up at him. It’s like the stars were in his eyes.

“How do you feel?” you ask him, worried he was already drowsy. You didn’t want to have to sleep on the couch naked.

“Satisfied,” he says with a smile on his face.

You can’t help but swoon, his eyes fixated on you. At least for now, he was yours He wasn’t Suga, a rapper. He was Yoongi, your boyfriend.

It didn't matter to you that he was struggling to make a name for himself in this cut-throat idol industry or that he would spend countless nights cursing as one of his numerous tracks get rejected. None of that was in your mind. Only he swam through your thoughts. Only him.

“I love you,” he sighs out. He was the first to say it.

“I love you too,” you reply back and he holds you tight against him.

He’s nuzzling himself in your hair, his chest pressed up against you so his heartbeat can synch with yours. He loves this, can’t get enough of it. He catches your lips and once again you are whisked in the pleasure of it all. This is it. This is what love is.

—

Present

The piece is finally finished and you send it off to your client, hoping she doesn’t ask for revisions because you can’t handle another second of drawing his stupid face. His soft skin, his tiny moles, his gummy smile...

It's not like you hate him. It’s just... a certain contempt lingers after a breakup from a long-term relationship. It’s the type of resentment that can’t really be explained. You don’t want to see him, but you catch yourself watching his videos on Youtube. You don’t want to think about him, but you hope he thinks about you. You don’t see yourself ever getting back together with him, but you don’t have his phone number blocked.

It’s a sort of paradox you catch yourself in and you wonder if you could ever get out of it. Will Yoongi ever escape your mind?

can't wait to see u too babe

—

Aug. 2016

Yoongi hugs you from behind, his face scrunched at the nape of your neck where several marks were made from last night’s events. Your eyes stayed focus on the TV in front of you, still impressed by your own ability to afford one in your bedroom at your salary.

“BTS' SUGA drops new music video for his song and mixtape Agust D...”

The news anchor drones on and you could barely hear her through the sounds of Yoongi’s soft snores. His hold on you grew tighter as he hears his stage name from an unfamiliar voice and it makes you giggle slightly at how different the edgy music video being displayed was from the same person wrapping you in his arms so tightly.

“Babe, wake up. I have work to do,” you whisper into his hair and he only shakes his head back in response.

“No,” he mutters, pulling you into him closer. You roll your eyes, managing to pry off one of his hands as you sit up on the bed.

“Don’t you have studio stuff to do today?” you ask him, searching for a shirt to wear.

He shakes his head as his eyes start to flutter open. You both reeked of alcohol since you opened a bottle of wine last night to celebrate the release of his first solo work. He was proud of it and you were proud of him.

“Can you turn that off, I’m getting a migraine,” he whines, covering his head with a pillow. You opted to wear Yoongi’s shirt instead of your own since you couldn’t be bothered to walk to the other side of the bed to find it. You smiled at his laying figure, cooped in a fetal-like position. He was still naked, but you were with him long enough to no longer be phased by that sort of thing.

“From one bottle of wine?” you tease slightly. “I think you’re losing your touch, Agust D.”

You chuckle as he throws the pillow on top of his head towards you.

“Don’t call me that,” he pouts, “It feels like you’re making fun of me.”

You stand up from where you were, stretching out your back as you make your way to the door.

“That’s because I am,” you smirk, “You know you’re saved on my phone as Sugar?”

He gives you a glare.

“It’s Suga,” he says, attempting to add some intimidation to his voice. It doesn’t work because all you do is stick your tongue out at him.

“Whatever sugar.”

He chuckles lightly and watches the silhouette of your figure exit his view. Yoongi can’t help but mindlessly follow after you.

As you exit towards the kitchen, you can’t help but hear the television from the bedroom.

“Suga has recently been caught up in a dating scandal with Suran, the solo artist, who sang with him in a song...”

Your head snaps up from those words, your skin crawling with goosebumps. You make it into the kitchen but with a heavy heart and no appetite.

“What’s wrong?” he asks, passing by you to pour himself some water.

“Nothing,” you say, though you sounded bitter. He caught on quite quickly. You were jealous again.

Yoongi heaves out a deep sigh and sets the glass of water down. He comes over to your angry figure and gives you a soft hug, laying his head on top of yours as if to comfort you. You try to pull away but he keeps you close.

“I’ll tell them to drop the rumors, okay?,” he says, genuinely enough to make you believe him. “I don’t want us to fight so early in the morning.”

“You promise?”

He pulls away.

“I promise,” he says, brushing a hair away from your face. “Let’s not think about those rumors right now. You and me both know they’re not true.”

You were never one to forget so easily.

—

It was around 2016 when you had stopped working at Big Hit. They halted the Hip Hop Monster brand and your contract was expiring with them anyway. You went from living a kush office life to struggling freelance worker in a matter of a second. It also meant that Yoongi and you would be spending less time together. His busy schedules couldn’t permit him to stay with you longer than a few hours and his presence slowly started to disappear from his side of the bed.

It was like a sinking ship, what you had with him. The pain starts off slow, unnoticeable. You’ll still laugh and keep up appearances as time passes, but you could tell there was an ominous atmosphere that wasn’t initially there in the relationship. Your screams start to grow silent as more problems start to stack on top of each other. It’s then when you hit the iceberg. It’s then when it all starts to fall apart.

He was still good for you, you convinced yourself, even as the currents swept you out under your feet.

—

Dec. 2016

“What the fuck do you mean you’re not coming?” you yell through your phone. You were sitting on the floor of your living room, holiday decorations strewn around the apartment. He promised he’d come spend a day off of his winter promotions to be with you.

“You know how hectic the end of the year gets with promotions,” he says in quiet hushes. “I can’t do anything about it. This is my job.”

You suck in your cheeks to prevent yourself from yelling. From the sound of it, he was in public.

“Yoongi, I called out of talking to a really high-paying client,” you say through gritted teeth. “And I still came home. Why am I the only one making sacrifices?”

He sighed at the other end. He didn’t have the patience to deal with you today.

“Look, can you stop being so fucking needy. I don’t need this right now.”

He couldn’t tell from the phone call, but your heart broke at the word. Needy. He thought that you were needy.

“I’m already stressed out as it is,” he continues through the phone. “I don’t need you up my ass all the time.”

“I’m not gonna wait for you,” you reply, tears threatening to spill over. “I’m going to sleep and you’re gonna get rid of all the shit you have in my apartment. I’m sick of you, Yoongi.”

He scoffs.

“I’m sick of you too.”

Yoongi hangs up, about ready to hit the wall when Jimin comes to calm him down. Small things that were never meant to be taken seriously built up until it was ready to crash down.

When Yoongi comes at night to visit you, he sees that you’re asleep on the couch. He sits next to you, pulling you into his arms.

“I’m sorry baby,” he whispers quietly. “I’ll do better.”

You nuzzled closer to him, comforted by words you forget the next day. Even when you woke up with a bad neck and Yoongi snoring onto your skin, you couldn’t find a way to stay mad at him. You knew, deep down, that some way or the other you’re gonna find yourself arguing about the same thing next week.

—

Present

Junghoon comes to pick you up. Junghoon, your boyfriend.

He’s a little uptight and too stern for his own good, but has a good heart and a knack of giving great gifts. You met him from working in the same industry, a 3D graphics designer for several video game companies. He was a new addition to your life, your relationship only about three months old.

You were warming up to him slowly, thankful for finally having a consistent presence in your life. He always made time for you, never used work as an excuse, and didn’t act cold just for the sake of acting cold. Junghoon was sweet in the way that Yoongi used to be when he wasn’t such a massive celebrity.

It was a relief to have someone like Junghoon in your life that didn’t walk in and out of your door without much of a thought to even say goodbye. Your life with him has been a tad bit dull, but you don’t mind all that much. Junghoon’s made you feel secure in ways that Yoongi couldn’t.

—

May 2017

“Your boyfriend is winning a whole ass award across the world and you’re having ramen with me?” Chaerin sighs. It’s typical for a best friend to judge the actions of the other.

“Yeah and?” you reply snarkily, swirling your chopstick around to find the perfect clump of noodles. “I’m not the top social artist according to Billboard, what’s it have to do with me?”

She rolls her eyes at you.

“I don’t know, you could at least watch him win the award?” she suggests. “The live stream is literally happening right now. Your boyfriend is making history and you don’t even care!”

You look at the clock on the restaurant wall. It was nearing 2 o’clock and your client meeting would be starting soon. You were in high demand as a graphic artist recently and as far as you were concerned, that was the only thing on your mind at the moment. You stare back into your bowl, suddenly losing your appetite.

“The apartment is lonely without him,” you admit sadly.

He bought one for himself and had you move in. ‘It’s easier to not get noticed by the tabloids,’ he convinced you. The modern sleekness of his penthouse was a nice change to your lifestyle, but you missed the comfiness of your small studio apartment. It was often too cold when he wasn’t around.

“You could watch it with me?” Chaerin suggested. “Yoongi’s probably so sad that his own girlfriend doesn’t even want to watch him win such a major award.”

You bite down on your chopstick harshly.

“Well he didn't even want me to come with him so I don’t wanna hear anymore about him from you.”

Chaerin squinted her eyes in your direction.

“Well I mean I get where he’s coming from. He’s still an idol, [Y/N],” she scolds. “It would be a massive risk to take you with him.”

You shook your head disapprovingly, pushing the bowl away from you.

“I’m not an idiot, Chae. It’s not like I was asking to be on the red carpet with him, I just wanted to be there waiting in the hotel room after the show. Two nights ago he suddenly backs out and says I shouldn’t come.”

Chaerin’s jaw dropped out of shock. That wasn’t what she was expecting at all.

“Did he say why?”

You stare down at your nails, your heart growing heavy as a long pause of silence takes place. It would be better to be honest, right? You shouldn’t have to pretend like everything’s okay when it clearly isn’t.

“He said he wants space,” you say, careful not to get choked up. “So I’m giving it to him.”

You clutch your thigh instinctively, remembering how Yoongi had brought that up with you just nights before. You two weren’t happy and that he needed to figure himself out before the relationship gets any worse. It’s just a break or whatever bullshit he spouted.

She scoffs.

“What is wrong with you two?” she asks, genuinely concerned. “You are not the type of person to take a break in a relationship.”

You stare bitterly into the reflection of your soup.

“I just don’t think I’ve been happy for a while,” you reply, taking a sip of your water that was left untouched for a better half of the night. “I don’t think he is either.”

—

Sept. 2017

The break lasted for months and you wondered if it was really even a break at all. It felt more like a break up if you were honest. He’d text once in a while and video call you when he was free but other than that it felt like he became a stranger, just another celebrity billboard you walked past on your way to a client’s workplace.

You’d draw sketches of him countlessly, in fear you’d forget how his face looked in real life and not through a low-quality screen. You etched every baby hair, every small blemish he’d hide with makeup. It was your method of not forgetting who the real Yoongi was because honestly, you didn’t know anymore. You didn’t know him.

Trrrringggg.

The sound of your doorbell could be heard all throughout your apartment. You stood up from where you sat on the bed, leaving the sketchbook of his face on the comforter. You weren’t expecting any visitors, but surely enough, Yoongi stood in front of you with a lopsided grin on his face.

“Hey.”

You let him in, not uttering a single word. He looks different now. His hair was black, thank god, but his face was a little softer than you were used to. You remember him being so paranoid about turning bald just a few years ago and here he was, no bald spots to be found. He looked healthy.

“It’s been a while,” you respond, hugging your arms close to your chest, uncomfortable that he was in your presence. It was his apartment technically, but you lived in it more than he did. He opted to stay in the dorm ever since he issued that idiotic break.

“I miss you,” he says in a lowly voice and you almost believe him. Almost.

You scoff.

“It seems like you’ve been having fun without me though,” you say through gritted teeth. “I thought you still wanted space?”

He shakes his head and brings his hand to touch your arm.

“No,” he swallows his saliva. “I miss you.”

You could feel his sincerity, but you can’t help but not trust him. He’s been viciously cold to you, but you find yourself pulling him closer anyway.

“Don’t ever do that again,” you threaten. “It’ll really be over then, Yoongi.”

He sighs into your hair. He loves you. He does. But he doesn’t know why it’s so hard to express it.

“I promise [Y/N]. I won’t leave.”

—

Aug. 2018

He buys you flowers, your favorite kind. It’s a small gesture, but it has you jumping into his arms all the same. It shows that he still cares somewhat. It’s been a while since he’s last shown it.

He holds you closely, appreciating the softness of your body and how you curl perfectly into him.

“I want to stay like this,” you say mindlessly, just relishing in his presence.

You’re not mad at him today and he’s not frustrated with you. It’s a high point in your relationship.

“Me too.”

His words are simple but it warms your heart nonetheless. Yoongi looks at you with twinkling eyes and for a moment you think that this could last forever and that it will last forever. You kiss him slowly and he reciprocates.

It reminds you of your first time, slow and careful- like you were the last person he’d ever want to hurt.

His love, although painful at times, was good to you when you needed it to be.

—

July 2019

Yoongi’s gone again. He’s on tour, as usual, and not giving you any updates. You were getting sick of it. The constant waiting, the constant insecurities that ate you up inside. You weren’t built to endure this kind of torture.

Suga. Suga. Suga.

It rolls off the tongue but it feels disgusting coming out of your mouth. His stage name, a persona. He starts to resemble that name more and more as the days go by. You hear it so much now that it no longer registers as an actual word.

You call him.

He doesn’t pick up.

Again.

No answer.

You’re about ready to throw the phone at the wall until a soft ring was heard from the small device. You take the call immediately, smiling as if you passed the hardest difficulty of a video game. The grin would soon be wiped away, though.

“Why’d you call?” he grumbles from the other line, loud music blasting in the background.

“Why weren’t you picking up?” You sound bitter. You don’t care.

“I’m out right now,” he says, exasperation laced in his voice. “I’m not in the mood to talk.”

Clearly, he just wasn’t in the mood to talk to you. Yoongi was at a party or a club or wherever he could possibly be in the streets of Shizuoka at 10 p.m.

You just wanted to chat, check on him as a good girlfriend would. He’s been complaining that you haven’t been in a while. You thought this was what he wanted- for you to care.

“I just wanted to see if you were doing okay,” you sigh. “How’d the concert go?”

“Good,” he says, clearly distracted. “Some of us snuck out of the hotel rooms to let loose for a bit.”

You nod as if he could see you.

“So you’re partying?”

You could hear him laugh at the other end, but it wasn’t from your comment. Someone else was making him laugh. Someone with a light and dainty voice, whiny as she got closer to Yoongi.

“Yeah, I guess you could call it that,” he says, clearly distracted. “Listen I’ll call you back, okay?”

You feel a lump stuck in your throat. There are no words left to say. The foreign girl on the other end giggled harder at whatever Yoongi was saying and it felt like you were invading their privacy- as if she was his girlfriend and you were nothing. You hung up, your mouth feeling dry as the tears poured down.

You see a text from Yoongi just a few seconds into your wallowing. You sniffle as you read it.

don’t misunderstand. nothing’s happening rn i'm just having a bit of fun.

This time you really threw your phone at the wall.

You go to your iPad that’s sitting untouched on your desk. You open your drawing app and just let the anger in the stylus take you from there. You draw a rough sketch of a couple on the edge of a beachside cliff. The woman seems to be falling into the water as if she was pushed. The guy’s hand reaches out to her, but you can’t really tell if he was trying to grab her or if he was the one that let her go in the first place.

As the tears spilled onto the cool surface of the iPad, you sob harder. Nothing could be fixed and everything still felt broken. It was meaningless, sleeping in his bed and wearing his clothes when he was all the way in Japan snuggling up to girls that were probably much prettier and much more willing to understand his lifestyle.

You look around the penthouse he had bought for the two of you, beautiful wide panel windows and modern furniture. It mostly looks empty, everything nice and tidy as if no one lived here. It had such a stark contrast to that of his old life when he shared rooms with other members and had no place to really put his keyboard except the studio. You smiled at the memory of you all hovering around the small coffee table in the cramped living room eating ramen.

Maybe it was your fault for falling behind, for letting the world around you build up and not follow in Yoongi’s tracks.

—

Present

You guess it was then when the relationship had passed a point of no return. When everything that felt right had started to feel incredibly wrong. You tolerated his presence rather than bask in it. You heard him speak but couldn’t bother to listen. Maybe you were petty, but more than anything you were angry.

You were angry that he could break you that badly and you would still forgive him for it.

You stare over at Junghoon who’s cooking you up something on the stove. This is what you needed.

—

Nov. 2019

Yoongi was back from some big-name award show that you didn’t watch. You heard he won Artist of the Year or whatever, the accolades that he’s collected no longer having meaning as the days pass. Why be happy for him when he himself showed no signs of excitement? This was routine. He expected the awards at this point.

You walked towards him. Yoongi looked angry, though you have no idea why.

“Hey, I made dinner to celebrate,” you tell him. Yoongi’s sitting on the couch, scrolling through the congratulatory messages he received from other industry stars. He looked like he needed to get something off his chest.

“I’m not hungry,” he mutters. “Just leave it.”

“Are you sure?”

He scoffs. It was a simple question.

“Not in the mood.”

You give him a pointed look and sit next to him.

“Why are you never in the mood for anything?” you ask him. “It’s just food Yoongi. I just want to eat with you.”

You don’t see it properly but he rolls his eyes.

“Just drop it okay? Today’s a good day, I don’t need you to ruin it.”

You suck in your cheeks.

“Ruin?”

Yoongi sighs heavily.

“You know that’s not what I meant,” he starts, facing you. “Why do you have to be so dramatic over everything.”

You grit your teeth.

“Dramatic?” your voice quivers. “I didn’t know feeling hurt was being dramatic.”

His gaze softens and he touches your arm lightly.

“Sorry, I didn't mean it like that.”

You shake your head, feeling your eyes dampen at his words.

“I hate your apologies, Yoongi,” you say in a hushed tone. “They don’t mean anything anymore.”

He’s shocked, not really sure how to respond. You were never one to confront him, especially when he was angry. Instead, he holds your hand softly. He was terrible at comforting people.

“Yoongi are you really sorry?” you ask abruptly. It was a question you’ve been meaning to ask for years now.

His grip on you tightened and you can’t quite read his expression, but you can tell that it’s not a positive response. He looks conflicted and he shouldn’t have to be if he really was. You force him to let go of you.

“I am,” he says, knowing he answered a little too late for his words to not seem suspicious.

“I don’t think you are,” you reply sadly. “You say sorry more than you-”

say I love you.

He doesn’t let you finish the sentence because he knows. He knows what you’re trying to say.

“I am,” he says with more sincerity, but he looks at you with an unreadable expression. “I just don’t think it’s enough at this point.”

“What’s not enough?”

You were confused. Is he still talking about whether he's apologetic or not? Or is it something entirely different?

“I do love you,” he says with a certain conviction in his voice, “and I always will, but it feels like nothing’s working out.”

Yoongi doesn’t look at you and focuses on the leather of the fancy couch. He doesn’t say anything but you know what this means. He’s about to stand up, but you grab onto his wrist.

“This is your apartment,” you say before he could say anything to break your heart even further. “I’ll leave.”

“[Y/N], no,” he says. “You don’t have anywhere else to go. I’m just gonna stay over at the dorm. I just...”

Your eyes get blurry from the tears. Even now it felt like he was looking down at you. Nowhere to go. It was like he pitied you.

“...need to go clear my mind,” he finishes the sentence, standing up to grab his coat.

You shake your head and stand in front of him. He’s usually like this. A coward. A bumbling fool who would rather avoid problems than face them head on.

“I need you to stay, Yoongi,” you cry out. “I need you to actually stay for once and comfort me.”

He looks at you, mouth open but no words come out. He smiles sadly and walks toward you, kissing your cheek.

“I don’t think I can do that anymore, [Y/N],” he says and you watch him leave as easily as he walked in.

It’s not like he ever comforted you in the first place.

—

The break up happened silently over a late-night phone call a few days after he disappeared on you. You packed up your things, stayed over at Chaerin’s house, and braced yourself for what was to come. It should’ve happened sooner, you admit, but your heart still sinks when he speaks.

“I just don’t think either of us is willing to try anymore,” he says solemnly. “We’ve been on and off for the past few years and I don’t think it’s healthy for either of us to continue.”

You agree, just wanting the call to end quickly so you wouldn’t have to hear his voice any longer. It hurt to have to listen to him rationalize breaking your heart.

“I don’t think we should be together anymore, [Y/N],” he says, not even a tiny bit choked up. “I think we’ve... outgrown each other.”

You knew what Yoongi really meant. He’s outgrown you.

“I think so too,” you say rigidly. Short and simple. You left nothing to be desired. “Let’s break up.”

Yoongi looks at his phone, slightly disappointed. He wished you would fight back, maybe rekindle something in him that he’s lost over the years. Yet you were silent on the line and he just had to accept it- that there was nothing left to be saved.

“Take care, okay?” he says softly because in the end he still cares- he just doesn’t want to anymore.

“I will,” you reply, ultimately hanging up the phone. You collapse onto a bed unfamiliar to you. Yoongi would no longer sleep beside you, no longer reach over to hug your side and whisper sweet nothings in your ear. He was gone and you had to accept that maybe he was never yours in the first place.

His last words replay in your mind.

Take care.

That was the most concern he’s ever shown you in the past few weeks. You almost scoff at the absurdity of it all. You don’t notice how truly broken you were until the tears start streaming down your face. You see the image of him through blurry eyes and you wonder how you could let Yoongi leave such a permanent scar on your heart.

—

Present

“Do you like your eggs runny or no?”

Junghoon asks as you approach his figure. You hug him from behind and smile at his warmth. Safe.

“Just a little runny,” you reply.

He smiles and nods, turning off the heat and grabbing some seasoning from your cupboard. You detach yourself from him when you realized what he was grabbing.

“Babe that’s not salt. That’s-”

Sugar.

You stop yourself from saying it and Junghoon looks at you with concern. He chuckles at your stoic state and ruffles your hair.

“Cat got your tongue or what?” he asks, grabbing the right container this time. “Maybe I should’ve asked if you like your eggs sweet instead, huh?”

“I’ve never tried that combination before,” you say teasingly. “Why don’t you test it out for us.”

He clicks his tongue at you and splashes some salt on your face.

“I’ll pour sugar all over you if that’s what you really want.”

You laugh half-heartedly. A simple word shouldn’t affect you this much but you find yourself get more teary-eyed as it repeats in your head. It wasn’t fair to Junghoon that you were thinking of your ex in his presence. It wasn’t fair to you either.

You feel a vibration from your pocket and you pull it out to serve as a distraction from your wallowing thoughts. It’s a text.

From Sugar.

—

A/N: This was so hard to write because my mind has just been empty these days but I’m so glad it’s done now >_< Thank you to @minyoongail for requesting this story. I’ve been bumping to the Taylor Swift song now because of this commissions T^T I recommend you all to listen to it. I tried to write this in a different style from my other works so I hope this is still readable for you all LOL

I’m closing commissions temporarily to focus on the ones I have now and to also start writing my own stuff. Let me know how you feel about this, I appreciate all types of comments and criticisms <3 Look forward to Part 2!

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queen-of-my-goofball-army · 3 years

Text

Why YOU should give Rush a chance

Okay, so right off the bat, this is not going to be like my other posts on my blog. This is not a post about some show that has captivated my interest or anything at all related to animation. If that's not your cup of Dot rambling coffee, than I would highly recommend you take your L right now and come back for your regularly scheduled programming in a few days.

Are they gone? Okay cool! For those of you that stuck around past my forewarning let me tell you about my newest special interest to join my now growing music love affair with 80's and 90's Rock n Roll. For those of you that don't know, I'm guessing that most of you do not know what Rush even is. If you are not somehow on the autism spectrum or know a lot about music in general than this band will be entirely unknown to you. Rush is a three man progressive rock band born in Canada made up of three incredibly amazing men Gary "Geddy" Lee, his best friend since he was 11 years old Alex Lifeson, and last but most certainly not least, the amazingness that was Rush's drummer and songwriter Neil Peart. Together, the three of them changed the world of progressive rock through Geddy's unique vocal qualities, Alex's incredibly underrated shredding guitar skills, and Neil's immaculate drums and lyrics. I am here to tell you, yes YOU reading this length rambling message in three sections to keep this fair. Each member will get their own sections and I will try my hardest to keep personal bias out of this. I also just watched Rush: Beyond The Lighted Stage yesterday with my mom so I will mention some things that we talked about during it to try and sell people.

Geddy Lee:

* Geddy has one of the most unique voices in all of rock music. This will most likely be the thing that turns off the people that do listen to me and wind up listening to a couple of songs. He has had a lot of critics for his higher pitched voice usually yelling lyrics. However, I love his singing voice. It is filled with energy and power to it. His voice has a weight to it that not a whole lot of other people can really nail if they really want to.

* You want to talk about sheer talent? How many of you all know lead singers that are a one and done kind of singer? They can play one instrument and they're done? Well shove them aside because Geddy can play not only bass guitar but a double neck bass, synthesizer, and piano. Yeah I think all you haters can stand aside because this man will always be amazing technically.

* So many of lead singers in my opinion, think that they own the band. Because they get to sing the songs right? That means that they get to make all the important decisions and they can't ever do anything wrong. Well for those of you that know Rush, you will remember the synthesizer era. The era of new wave Rush where Geddy shelved his bass guitars for his synthesizer. This caused a small rift between Lee, Lifeson, and Peart who were not at all fans of the way that the synthesizer was going. While Geddy was having a fun time with it, he shelved the synthesizer almost for good and went back to his roots. I don't know many other lead singers that would put up something that they were legitimately having a good time with just for his bandmates.

* Geddy's just general goofball personality is something that continues to make me chuckle. Since he and Alex have known each other for practically ever (they met when they were 11) and have been there for each other for most of their lives they have very similar energy's.

Alex Lifeson:

* Alex Lifeson is an underrated guitarist. There I said it. I feel like of the three of them (Geddy, Alex, and Neil) Alex gets talked about the least due to the fact that Geddy also plays guitar. While it might be a different brand of guitar some people forget just how genuinely face melting his solos are. I could listen to his riff in Tom Sawyer all day long I swear. I'm still working my way through every Rush album in chronological order (I'm just now finishing A Farewell To Kings an absolutely beautiful album.) But his skills are not one to be downsized and I think he is an amazing, amazing guitar player.

* You want to talk about the group goofball? If Geddy is goofy, you look in the dictionary this man is the pure definition of a hilarious and quirky character. When Rush was FINALLY indicted into the Rock N'Roll hall of fame in 2013, after Neil and Geddy's beautiful and moving speech's about how important this means to them, Alex gets up there and his entire speech is spoken in very animated BLAHs. But what's really funny is that if you watch carefully he is actually trying to tell you a story. It's a story about how they all got there past the critics that tried to stop them along the way.

* I love the relationship between Alex and Geddy especially. They're just both such unique kinds of people but they have similar quirks and traits that are evidence of decades upon decades of friendship. I get massive big bro vibes from watching the three of them play together and it's really touching that they never let the fame go to their heads.

* While watching the documentary, I found myself in awe of just his general personality. He was a jokester and the life of the party, and even if sometimes Neil was exhausted by his presence it was obvious that he loved his bros.

Neil Peart:

* If you are asking me, the heart and soul of Rush, was their drummer Neil Peart. Neil wasn't just their drummer though, he also wrote all of Rush's songs after their first album together. Neil grew up probably the biggest bookworm to ever bookworm. He was a socially awkward kid it seemed since he was always reading as his parents explained in the documentary (more on this laster). This resulted in lyrics that are absolutely gorgeous in any context and sound like literature themselves. One of my favorite Rush songs is their song Rivendale themed to Lord Of The Rings.

* Peart was one of the most technically amazing drummers of all time. I don't think I'm saying new information when I say that. He has been praised for not only his technical prowess but the intensity of how he played as well. He was a force of nature when you put him in front of a drum kit. The drum solos in Rush are not easy. They are technically extremely difficult and always leave me to collect my jaw from the floor.

* Lyrically speaking, his lyrics were so intelligent and beautifully worded that it's hard to focus on them sometimes. I've listened to Fly By Night I can't tell you how many times just within the last few months. They are so unique, so beautiful, just so Rush. I can't think of any other word to describe them other than Rush. Nobody else could have written lyrics like these other than Neil himself. Even though he's gone now (Rest In Power you absolute Mad Lad.) I still feel like his music will resonate with millions of future generations to come. It could be the year 3000 for all I care and people will still be jamming to Tom Swayer, just you watch.

* Lastly about Neil himself, this is of the opinion of my mom and I, and you heard it here first, I think that Neil was aspie. He was the quietest of the three of them, he hated getting spotted by fans while the other two seem to tolerate it, he was constantly stimming with his drumsticks on and off the stage by spinning them around his fingers, he was totally nerdy and antisocial, he loved literature more than anything else growing up and would rather have a book in his hands than go out to a public place with his classmates, and he grieved in a different way than most people do. When his wife and daughter passed away, he hit the road with his motorcycle and most often Geddy and Alex wouldn't hear from him for months at a time. They had cute little nicknames for each other that Neil would always sign the postcards with. It was a different one every single time.

Thanks for listening to me ramble on this day guys! I really appreciate it, I know that this hasn't been your regularly schedule Dot programming but I really appreciate you sticking around! Give Rush a listen to if I've piqued your interest you will not regret it.

#Rush band #geddy lee #neil peart #alex lifeson #music #rambling

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cherry-interlude · 3 years

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Lana Del Rey Album Songs Ranking (Remade)

It’s been a few years since I ranked all of Lana’s (album) songs so I wanted to do it again. This is all my OPINION, which I’m sure some people might disagree with, but you don’t have to agree with it. This is also a very long post.

Don’t Let Me Be Misunderstood

This cover song is just a little too drab and uninteresting to me, and I never listen to it. After the brilliant, sprawling, sexy, heart-breaking tracks on Honeymoon, this feels like a tacked-on track just to plump up the album. It feels simply like a cover.

For Free

Though this is a well-made song, with three brilliant women owning the track, it again just feels like a cover. It fits in well with Chemtrails, but by the time I get to this song I’ve had my fill.

Breaking Up Slowly

It just feels repetitive and simple, something only to have on in the background while my attention is diverted. It’s a good song and a nice attempt at bringing Lana’s country music in, but it does little to keep me interested.

God Knows I Tried

This song is filler. Jammed between the jazzy softness of Terrence Loves You and the pop favourite High By The Beach, this track just feels like it was sort of shoved in. It doesn’t even feel completely right on Honeymoon, instead a throwaway song that bridges Ultraviolence and Honeymoon whilst not fitting in with either album.

Though perfect for the credits of a Hollywood movie, 24 has plenty of flair but nothing of substance. The lyrics aren’t as imaginative as most of Lana’s music and I’m not surprised this song found itself near the end of the album.

Lucky Ones

Personally, this song irritates me. It's sickly in its lyrics, sugary in the romance and classic Lana tropes of dangerous men and Lana starstruck by them no matter if they’re ‘careless cons and crazy liars’. The little flair of the verses and the overtly sweet chorus really irks me, especially following the brilliance that is Lana’s first ‘Del Rey’ album.

Coachella

It is a rushed track, sounding completely unfinished and hurried with an unconvincing track beat. Polished, it would be brilliant – but it sounds like Lana thought of the song (which sounds promising in the video where she sits in the forest and sings) and had to force it to ‘fit in’ with the trap-pop tracks on Lust For Life. The lyrics are thoughtful, if not cliché, but it could have been done better.

This Is What Makes Us Girls

It just doesn’t appeal to me. Maybe because I can’t connect to the lyrics in any way, I just don’t feel anything when I hear this song and choose to skip it. That being said, the demos are pretty fun.

God Bless America

As much as it’s a song honouring women during a period of time when feminism was being shaken, it doesn’t quite feel like Lana’s heart is in it. The patriotism is uneasy considering she was removing herself from the American flag and its associations, and the anthemic feel never lifts. It’s a sweet song, but never goes deeper than surface level.

Religion

Though fairly sexy and haunting – her unshaken faith to her man, her drawling voice – this delicate track is too simple and sombre for me to get completely into it. I always want to skip and get to my favourites.

In My Feelings

It’s great Lana has a bad-girl, bad-bitch, fuck-you pop track but this, like Coachella, feels unfinished. It has the vibe of work in progress, and the vocals are still messy (surely intentionally, though it doesn’t always come across that way) as well as trying slightly too hard. It doesn’t compare to Fucked My Way Up To The Top.

Beautiful People Beautiful Problems

The verses don’t match up to the choruses and I feel nothing – not empowered or emotional – when listening to this song, but it is a beautiful duet between Lana and Stevie. Their voices really are divine together and though I don’t listen to this song much, the demos are even better.

Change

Mostly because it freaks me out, this is a song I don’t often listen to. With a basic structure yet long, meandering lyrics, Lana broods over the state of America at the time, which can make for depressive listening. Though it’s a pretty enough song, it’s seriousness is too much to bear sometimes.

Blue Velvet

Sometimes too slow, Blue Velvet doesn’t inspire multiple listens in me, but it is a gorgeous cover and absolutely a showcase of Lana’s vocals.

Diet Mountain Dew

A cheeky little track that won many over, it still is hard for me to fully get into it. However, it ages like fine wine and is a wonderful step into the Lizzy Grant unreleased tracks (especially with the many, sometimes even better demos).

Burning Desire

It’s a messy song, with Lana’s vocals shaky and the instrumental not quite up to scratch, but this song is certainly a guilty pleasure and great for getting into the sexy mood. The car metaphors are a bit much, especially considering it’s for a car advert, but if you get past that it’s a song to add to your freaky playlist.

Money Power Glory

As powerful and dark as this song is, with incredible instrumentals and Lana at her most dynamic, I barely remember the lyrics of the verses, instead waiting for the rich choruses.

Swan Song

A gentle track that has a lot of untapped power behind it, this is a quiet stormer of a song that has a lot of heart and grace. It may be a filler track, but it is definitely better than some.

Bartender

Even more gentle is the confessional, piano-led Bartender, which is a sweet little love song stripped back much like Lana’s simple romance where she sneaks out to see her lover. The main (and probably ridiculous) thing that keeps me from falling in love with this song more – though I’m already pretty amazed by it – is the very quiet sound of feedback that comes and goes, a fuzzy noise that is very subtle but distracting enough for me.

The Next Best American Record

This song would be higher if it was Architecture – the gorgeous, well-thought stunner that wowed us all when it was leaked. The lyrics are less fractured relationship and more wishy washy, wiping away the gritty sadness that made Architecture so beloved (at least to me). Now it’s been made ‘happier’, it’s hard to tell what the song is – is Lana happy with her lover or is she sad like in the unreleased version? Is this a break up song or a celebration of the romance? What does it mean now that it is both of them that are obsessed with writing? It’s something for me to certainly explore more, but it is paled in comparison to the original.

When The World Was At War

This track grew on me, with the hidden lyrics, fun vocals and hopeful message. Lana knows how to make a song that lifts your mood and this is certainly one of them.

Guns and Roses

I used to despise this song – finding it boring and dull. However, after giving it a listen years later, it is in fact a beautiful song with a gritty feel that is perfect for Ultraviolence. It fits in perfectly with the album and the extended tracks, and though it isn’t the strongest lyrically, the vocals and dreamy feel is thrilling.

Lolita

I choose to listen to this song without the underage character – or romantic connotations of her – in mind, instead seeing this song as a grown woman trying to charm an older man. However, as I have grown older – and read (and loved) the book several times more – I feel more inclined to distance myself from this song. It’s a fun, perky pop track but it definitely feels dated.

Dance Till We Die

Lana sings of her connection to other famous female singers and her daughter’s chosen name, making this a very personal pop song that also reminds of When The World Was At War for its hopeful and ultimately positive edge. It is a little slow but incredible touching, and the bridge is so kickass you can’t help but dance along.

Not All Who Wander Are Lost

This is a very sweet little song that again showcases the more positive side of Lana’s music, rather than the heartbroken and distressed women she tends to play. Though it is a filler song it’s a very pretty one and so catchy.

Wild At Heart

Wild At Heart is similar to Not All Who Wander Are Lost in that it’s a departure from a tragic femme fatale, instead a love song that also mimics Swan Song in that she considers leaving fame for her lover. What makes it even better is how Lana samples How To Disappear, a much sadder track, and twists it into something happy with this ultimately more upbeat album.

Radio

Like Diet Mountain Dew, Radio is another perky tune that is more than just a catchy filler. It’s a little bit sassy and has an edge to it (with the expletives and how her life is sweet not like sugar but cinnamon) that keeps it from being too frothy. Speaking of Lana’s newfound fame, it’s a nice break from the love ballads and tragedies peppered throughout Born To Die.

Without You

Shockingly dramatic, Without You is the ultimate symbol of Lana’s older music – a woman who could only feel happy unless her man was in her life. She has definitely moved on for the most part from wailing her demise at losing her lover but Without You is still glamorous, catchy and perfect to singalong to.

The Other Woman

This is one of Lana’s best covers – Nina Simone’s song about being the other woman and how it is in fact lonely and heart-breaking. Lana makes the song her own, her vocals stunning and lo-fi with instrumentals that are perfect for Ultraviolence.

How To Disappear

I feel that the live version of How To Disappear, where she sung it on stage before it was released with its real instrumental, is the superior version. It’s stripped back and tender enough to feel the emotion thoroughly, but the album version doesn’t disappoint. It’s one of many great tracks from (what I think is) her best album, and has a great story within it.

Fucked My Way Up To The Top

Lana’s satirical, sexy and stirring Fucked My Way Up To The Top was just tongue-in-cheek enough to keep from being too much of a cliché. Perhaps based on her real experiences but definitely a fuck-you to anyone who critiques her for owning her sexuality, it’s a little bit controversial but an incredible song.

Tomorrow Never Came

This song, which is a gorgeous duet with Sean Ono Lennon and a nice nod to 20th century music, subverts expectations that it is a sad song by in fact including a happy ending. I love how it can make you cry with both sadness and happiness, and tells a sweet story that paints pictures of parks and country houses.

Yosemite

The long-awaited Yosemite didn’t disappoint, and though it took a while to grow on me it became a classic and somehow familiar track. It’s impossible to not sing or dance to it and wouldn’t be out of place in Lust For Life.

Hope Is A Dangerous Thing

It’s quite slow – the Change/24/Old Money of Norman Fucking Rockwell – but it is clearly a personal and well-thought song that references Lana’s great inspiration Sylvia Plath. Lana’s deft at getting her thoughts out in song and I think though it’s not a song I often listen to, it is beautiful.

Honeymoon

The sweeping violins, dramatic vocals and the dangerous undercurrent makes Honeymoon crackle with electricity. It’s an amazing introduction to an album that once again has dangerous men, bad girls who get hurt but are strong again and amazing instrumentals. Though it’s not the best song from the album, it sets the tone perfectly.

Million Dollar Man

Like Without You, it’s another song of complete devastation, which Lana has grown from in her music. Million Dollar Man shows some great vocals and lyrics, and gets the emotion out perfectly whilst honouring the music that inspired her.

Old Money

The verses are pretty enough but they don’t catch my attention the way the choruses do. The slow, steady song took a long time for me to really appreciate but it’s impossible not to feel some kind of emotion when Lana lets her lover know she will be with them whenever they need her.

Sad Girl

Like The Other Woman, Sad Girl shows how being the other woman has it’s downfalls but appreciates the sexy, exciting side of it – how alluring her man is and how much of a bad bitch she may be. Once again, it’s a pure Ultraviolence song that shows Lana’s vocals and music in the best way whilst showcasing the classic caricature of the femme fatale.

Dark Paradise

Strangely upbeat for such a sad song, Dark Paradise is great to dance to but also something that makes you want to cry. Lana’s vocalisations and dramatic lyrics don’t quite compare to some of her other songs but Dark Paradise is iconic.

Summertime Sadness

The slow-burn, emotional gut punch that is Summertime Sadness is always a classic and one of Lana’s best. Though it is far from my personal favourite it is absolutely an outstanding song and the perfect example of Lana’s most well-made and well-delivered songs.

Gods and Monsters

The strained Gods and Monsters is a great tale about the evil side of fame, which Lana never quite delves too deeply into but gives a metaphorical and mildly personal nod to. Gods and Monsters is one of those songs that has you singing along and feeling strong.

Carmen

Carmen is a beautiful, sad story that feels rich and luxurious despite its harrowing lyrics of an alcoholic star. The French bridge adds to the decadence and it feels like a dirty alcohol bottle wrapped in silk, from the tentative verses to the unnerving chorus.

Born To Die

One of Lana’s original pop chart tracks, this is a song that never grows old. It’s one of the blueprints of the Lana Del Rey era and deftly shows her vocals whilst setting the tone for the pessimistic, romantic star in the early 2010s.

Salvatore

Opening with laughing – or crying – Salvatore has an eerie feel to it, though it is completely erotic in feel (enough to ignore some of the simpler lyrics). It is a song that feels dreamy, much like the rest of Honeymoon, but passionate and reminding of some of her older music (from the vocals in the bridge that have a Lolita/Fucked My Way Up To The Top feel to them to the continued trope of bad boys and glamour).

Flipside

Dirty, gritty and quite contained, Flipside is a song that I wished had more attention. It’s not her most imaginative song but there’s something about it, from the gloomy guitars to the hushed vocals, that have me wanting to sing it over and over. It also is one of her great fuck-off songs, as sympathetic as it is resilient.

Doin’ Time

Lana really turns this song into her own with the summery instrumentals and the pop edge she is so good at. It’s surprisingly one of her best covers and a fresh-feeling track that isn’t bogged down by emotion or maudlin music.

Lust For Life

Breathless and oh-so-romantic, Lust For Life is one of those songs that was perfect for the charts, and a key piece in Lana’s turn into becoming more positive. However, as fun and lovely as this song is, the demos are a whole other ball game. A little more ethereal, they fit Lana much more perfectly and it’s sad she dismissed the witchy feel for a song that is brilliant but generic.

Love

One of Lana’s warmest and most refreshing songs, she looks at love with fondness and dedicates this track to her ‘kids’. She knows her fans well and to make a song that references them (much like Happiness Is A Butterfly’s nod to her ‘babies’) makes this song all the more pleasant.

The Greatest

Lana’s vocals are put to good use in this intimately-written song. She speaks her mind in her reminiscence of the past and the worries for the future, all with a storming chorus that is certainly one of her best.

Love Song

Tender and almost tentative, Love Song is one of those tracks that is romantic through-and-through. It’s stripped back enough to feel like it really is a private song for only her lover’s ears, just as confessional as Cinnamon Girl and Bartender.

White Mustang

Short but sweet, this song has all the makings of a Lana Del Rey song, harking back to the Born To Die days with her imagery and fallen love affair, but it is spiky enough to be part of her later music where she starts giving less shits. The whistling and race cars are a nice touch, displaying her play on words snugly.

Dark But Just A Game

Sort of jazzy, Dark But Just A Game is ever-shifting and never quite settles on a particular sound. It’s cohesive, however, and clearly states what Lana is thinking in a way that works with the rest of Chemtrails. It’s pretty sexy as well, which doesn’t hurt the enjoyability factor.

High By The Beach

The wooziness, the carelessness and the growth from a woman begging to be put in a movie to a woman who is able to do as she pleases. Lana stumbles and swears through the song but knows exactly what she wants – and it isn’t disappointing men or stalking paparazzi.

Let Me Love You Like A Woman

Some may think it much slower and more boring than a lot of her tracks, but I think it’s a tidy, sweet track. Lana plainly states her love, urges her man to run away with her and lets her emotions (and voice) do the talking.

Summer Bummer

Lana is as restless as a hot summer in this song and it works. Her brisk-paced yet soft-voiced lyrics and gorgeous imagery gets my pulse racing, and ASAP Rocky’s verse works well for it. Though it would have been interesting to get a full, solo Summer Bummer, Rocky adds an edge to this song and compliments his ‘lover’ well.

Groupie Love

Much more flowery and wide-eyed, Groupie Love is like a contradiction. Lana’s passionate dalliance with Rocky’s god-like star opposes the relationship in Summer Bummer (uncertain) but both are just as secret. Groupie Love has the edge of being ultra-dreamy and demonstrating pure love – and lust – without the messiness.

American

It’s a filler track that has potential for much more. It’s an adorable song, almost cautious in its lead-up to the satisfying chorus, and is filled with Lana tropes galore. Following Lana’s stressed Ride and coming before the darkly sensual Cola, American is a breath of fresh air.

National Anthem

What an anthem it is. It’s simply provocative and one of her most classic tracks. Mixing love, money and fame together with a bit of sex thrown in, National Anthem is precisely what Lana’s America seems to be.

Is This Happiness?

It’s muted, mournful and resentful, questioning a relationship that Lana wants to keep but at the same time doesn’t. This is one of Lana’s best sad songs, tearful as it is still adoring beneath the exasperation.

Art Deco

Art Deco is purely dreamy, a song to bathe in. The lyrics are a little bit simple but Lana’s vocals and the flowing, aquatic music is the perfect hook.

Terrence Loves You

Lana’s jazzy song is delicate, letting only her voice and the saxophone dominate. With references to David Bowie, Lana pines for someone who hurt her badly, but she soothes herself with music the way plenty of her fans do when listening to her records.

White Dress

The vocals were a surprise at first – high, strained whispers – but they definitely grew on me. Painting a picture of young Lana loving life and dreaming of bigger things, it’s nostalgic in lyrics but also reminds of some of Lana’s old work – her unreleased tracks where she would serve coke and fries.

Chemtrails

It gets better as it goes on, growing and twisting from a song to sunbathe to into a restless, darkening track. It has the best vibe for an idealised world with something a bit off, and the imagery of pools, jewels and schools grounds Lana into a (very, very rich) normality rather than the glamorous star she always liked to portray.

13 Beaches

Opening with a quote from Carnival of Souls, Lana takes High By The Beach to the next level. She goes from sticking her middle finger up to the paparazzi to simply wishing she would be allowed to live her life without them hounding her. It’s a matured approach that uses sound interestingly, with beeps and whines adding a strange texture to the song.

Cola

The controversial line was intended as humour, but strangely it works. Even if Cola is satire like Fucked My Way Up To The Top, Lana owns the ‘other woman’, the patriotic singer, the sexy and unashamed woman who says what she thinks without caring of the consequences. It’s an iconic song, even if you have to turn the volume down to not offend.

Black Beauty

The unreleased version is ten times more emotive, with its stripped back and lonesome feel, but the album version is just as good. The ultimately loving but unhappy lyrics are full of stunning imagery, and this is a song that would have been perfect with a music video.

Body Electric

Blasphemous as much as it honours icons, Lana sinfully owns Body Electric. The bridge is a bit out of place but Lana’s eyebrow-raising approach to religion and sexuality is genius.

Off To The Races

The best demonstration of Lana’s vocals, Lana plays the glam girl without a care just as well as the Lolita-type, needy lover in this ode to money and her man. The soaring bridge is stunning, and the swirling violins add an air of Hollywood to it.

Bel Air

Completely overlooked (in my opinion), Bel Air is an apologetic song of redemption, a shining and honest track that is as touching as much as it is hazy and tranquil. With soft piano and the sound of children opening and closing the song respectively, it’s set apart from Paradise with a pureness that Lana pulls off well.

Ultraviolence

Controversial at the time and still controversial now, Ultraviolence is about being weak, about giving in to love no matter how toxic. I don’t entirely support the lyrics but it’s a stunning song, lo-fi enough to feel uneasy and haunting. When you shut off from the lyrics, you get a simply beautiful track.

Pretty When You Cry

Lana’s imperfect, close-to-tears vocals are wonderful in this song, and she really lets her emotion shine through. The pained guitar and Lana’s increasingly distressed singing are enough to get you feeling exactly as she does.

Florida Kilos

Fun. Fresh. Freeing. Lana’s ode to drugs is simply something to dance to and sing, and she somehow manages to get the sunny feeling across even with the Ulraviolence-esque grunginess. It’s one of my favourite songs of Lana’s because it’s just so happy, which is a nice departure from some of her heavier tracks.

Cherry

Many people’s favourite – Cherry. It was my favourite of Lana’s for a long time, dripping with sex appeal and sadness but with a cute dance to compliment it. It had all the right stuff wrapped up in a tidy, compact box and the imagery is lush. I still love this song but since then we’ve had the ‘Cherries’ of her next few albums, Cinnamon Girl and Tulsa Jesus Freak. Like these, Cherry was a song that seemed set apart from the rest of the album and was a novel take on her typical music.

California

Simply for It's meaningful, raw lyrics – promising to be there as soon as he wants her, much like in Old Money – California is a sun-soaked dream with a very honest approach. Lana isn’t completely devastated, or begging for her lover to return. She is sad but realistic, and only wants the best for him. It’s beautiful and sad with a crazily addictive chorus.

West Coast

The shift from fast-paced, grungey, whispered verses to sprawling, drawling choruses – complete with weirdly sexy beeps towards the end of the song – shook us all, and it’s one of Lana’s most interesting songs. Lana honours the West Coast but also her man, in love with the music scene as much as she is with him.

Shades of Cool

The snide verses. The gradually growing music. The guitars. The explosive chorus. The nuclear bridge. The absolutely perfect timing and pacing. Shades of Cool is flawless, another Sad Girl but with much more power, emotion and music.

The Blackest Day

The Blackest Day needs more attention. Cold in places, almost lost, but then wounded in the chorus, The Blackest Day rolls with the emotions and is the kind of song that makes you want to fall apart and sob. Which is good, in a way, as it shows how brilliantly Lana conveys emotion.

Freak

Cult-like and haunting, this is the sexy predecessor of California. Lana swoons and tempts in this track, from her harmonising to her pouting “take it to the back if you really wanna talk” - not to mention the rest of the song in its entirely, all elements married together to create the perfect seductive track.

Music To Watch Boys To

Like Art Deco, Music To Watch Boys To is fairly aquatic and dreamy. Like Freak, it has that cult vibe (the chanting of the bridge). However, this song is perfectly its own, from the mix-up of vocal styles to the shifting tone (sad to smug to obsessively in love).

Norman Fucking Rockwell

What an opener. Norman Fucking Rockwell lets the actual singing and lyrics do the talking, the instrumentals pushed back enough to let Lana’s gut-punching first line (“God damn, man child, you fucked me so good that I almost said I love you”) and her blue yet annoyed insults to her Norman Rockwell do the talking.

Mariner’s Apartment Complex

It’s a song for yourself and for the people you love. Lana is strong enough to take care of herself, to be her own guidance – and to take on her lover’s problems too. It’s an empowering song, so distant from a lot of her discography, and I adore the nautical references and the hopeful message.

Brooklyn Baby

Satire again, but it still works. Lana plays a (fairly cringey) and somewhat self-absorbed, over-confident singer who is too cool for her own boyfriend, but she does it well. From saying how she wished people didn’t judge her, to the freedom the seventies gives her, to the warm guitars and upbeat tone, to the backup vocals of Seth Kaufman, Brooklyn Baby is a song to remember for all the right reasons.

Ride

Ride is one of Lana’s best, if not the best. With her devotion to America and her open thoughts about needing other people to make her feel good and happy, Lana knocks it out of the park with the superb step up from Born To Die.

Video Games

Video Games is just beautiful, plain and simple. Lana’s low voice, telling a flowing story of the simplicities of true love, are removed from her ‘famous singer’ image she constantly tried to portray and instead open up to the heart of what she has always sung about: love and its many forms, good or bad.

Get Free

The new take on Ride was a pleasant surprise. From changing the lyrics to show she wants to move on and be happy to (silently) name-dropping her influences, Lana’s manifesto was a personal song that we could all resonate with. The outro of the beach was the perfect closer to Lust For Life, and Get Free summarised the album which took her from sad girl to someone who could let herself move on.

Heroin

Heroin is no doubt one of her best. It’s tense and dark, referencing Manson and (allegedly) a friend she lost years ago. Lana lets herself dive into her worst thoughts headfirst, not so much dreamy as it is nightmarish, but still comes out the other side dreaming of marzipan and ready to move on.

Tulsa Jesus Freak

The third of the ‘Cherries’, Tulsa Jesus Freak goes straight to a happy place. Where Cherry was angry and Cinnamon Girl was cautious, this track dives into being comfortable with her man. It was just as passionate as the other two songs but about religion, sex and self-satisfaction.

Blue Jeans

Plucking guitars, crying violins and Lana weaving a tale about a gangsta who left her, without explanation, and the hurt that follows. Similarly tied to Dark Paradise, Blue Jeans is the next level of that, her tough-girl spoken verses dismissed as the choruses open up and she pours her heart out.

Cruel World

Lana is on top-form on this song, furious, maddened, sad, taunting – she hits every emotion with style. Lana grows more and more unstable as the song goes on, invoking images of a woman scorned and no longer taking that shit, but she still has a fragility about her as she comes undone that is tied directly to her Ultraviolence era.

Happiness Is A Butterfly

This song goes through many stages. She is unsure, not knowing how her lover feels. She is optimistic, elated as she tries to capture the butterfly. She is dismissive, no longer caring if she might get hurt – she loves too much. She is pissed off, sick of being treated badly. She gives in, simply wanting to dance and just be happy. The flow of this song is constant, a little messy, but it has the beautiful message pinned to it: to keep trying to be happy and do what you love.

Fuck It I Love You

I love the music video version more than the album version, the latter being more stripped back. Fuck It I Love You just gives in to emotion, acknowledging Lana is hurt, her lover is hurt, but that doesn’t mean she doesn’t love him. She simply lets that feeling take over.

Cinnamon Girl

Cinnamon Girl touched me like no other Lana song has. Where Cherry was a mixture of emotions, good and bad, angry and loving, devastated and thrilled, Cinnamon Girl was about cautious optimism. Lana urges her lover to give in, and she knows – smiling as she sings it – she wins.

Venice Bitch

Venice Bitch just has that soothing, unhindered feel to it – and not just from the nine minutes of pure music and vibe. Lana dedicates this song to the kind of love that is just wholesome and homely, all whilst touching on her insanity, her ever-lasting love for America and the modern world (her live streams). It feels nostalgic yet contemporary, and adding the “fucks” and “bitch[es]” helps keep this song from being to sugary sweet but instead what it is – an honest love song rooted in the idealised and the realistic.

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