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urfavnegronerd · 10 months

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agape- nicholas britell

summary: miles is takin down ur braids

published: july 27, 2023

warnings: Grammarly hates me, the patriarchy, a dash of toxic masculinity, miles being a product of that grrah grah boom type masculinity, aave (no im not translating shit for you yall got access to urban dictionary and its not really a warning), i edited it myself so lmk if there are any mistakes

sueñito- little dream, bonito- handsome/ pretty boy, no me importa- i don't care/ it's not important to me

w/c: 1.5 k

reader's black coded cus im black so deal w it <3

i think this something every black boy be needin deep down

“Stop movin, ma”

“It’s knotty,”

“You had these in for how long?”

Silence.

“There's your answer right there, mama,”

“Sorry,”

“Nun to be sorry for, just hold still,”

Currently sitting on the bathroom floor criss-cross apple sauce, Miles was sitting on the toilet, your head between his knees, while he was taking down the frizzy lemonade braids that barely hugged your scalp anymore.

“Miles?”

He hums in response, rat tail comb in one hand, a tub of coconut oil in the other, threading the tail of the comb through the extensions down your back

“You’re the prettiest boy in all of Brooklyn,”

“Shut up”

“Prettiest boy I’ve ever seen,”

“Nuh-uh,”

“Fuck you mean ‘nuh uh’? The little freckles all over your cheeks? Cutest things I’ve ever seen, especially how they’re all slightly different shades, like lil polka dots all over your face, gives me a map a’ where to kiss. The little tiny dimple on the left side of your face? Adorable, 10/10, no notes. Also very kissable." He's still now, staring at the back of your head, using bundles strewn over his shoulder, mouth agape. “Them thick and long ass eyelashes? I could stare at ‘em all day, they look like teeny tiny butterfly wings when you rest your eyes.”

“Shut up,” he whispers, still unmoving, the little dab of coconut oil on his fingers slowly dribbling down his wrist

“Your mind pretty as hell, too, I like listening to what you have to hear when you let me,” you mumble, pressing tiny kisses into his cargo pant–clad kneecap.

“Stop doin that shit, ma”

“What?”

“Talkin all crazy like that,”

“I’m not talkin crazy, miles I’m being honest,”

“You makin me out to be some weak ass lil boy,”

“Miles.” you turn around abruptly, staring at him dead in the eye. “I’m jus being honest wit you. What's going on?”

“It’s nothin, ma, turn around”

“Sueñito. Lemme know what's up,”

“It’s nothin,”

You huff, turning around to face the bottom of the sink again. Silence bellows throughout the bathroom, Miles rubbing oil on your braids to detangle them to later drag the comb in once again and throw the discarded hair extension over his shoulder. The only sound between the two of you is the Marvin Gaye spinning on the record player, rooms away, dull basslines thrumming through the apartment.

“Ion like this,”

“What?”

“Whatever jus happened, we talk about what's bothering us,”

“Ain't nothin botherin me, ma,”

“Then why you start buggin' the second I get to complimenting you?”

“Cus ian wit all that girly shit,”

“Fuck you mean girly shit, I’m jus tryna love up on you Miles,” your nostrils flare as you stare ahead of you.

“Baby, I’m all for that but–”

“Miles, did someone tell you boys can't get that?”

A silence.

“Baby.”

“What?”

“Jus cus you a boy dont mean you don't deserve love,”

“Aint nobody say allat–”

“Shut up Ian done,” you say, swiftly turning around and snagging the oil and comb from his hand “jus cus you a boy doesn't mean you don't deserve to feel shit miles. Ion know what it was like wit your last girl, but Ian her. Okay? You allowed to be a person wimme, you know that right?”

“Ma–”

“Shut up I still ain't done yet. Miles I’m real, I’m right here. real like you, I promise you I’m not goin nowhere right now,”

“You done?”

“Yeah,”

“C’mere,” he motions to his lap, taking the comb and oil out of your hands and setting them on the tiled floor, laying out the discarded bundles.

“ ‘s oil all up on my hands”

“No me importa ma, come up on here,”

Obeying and wiping the excess coconut oil off your hand, you do. Straddling his lap, and looking into his eyes, examining the twinge of sadness in his eyes.

“Talk to me, mama,”

“I want you to know that you deserve love and that you’re allowed to feel some typa way. I want you to talk to me, Miles. I care about you so much and I wanna make sure you’re good. I love hearing you talk, but Ion like havin to beg you to talk to me. I love jus bein in your presence, but I hate feelin like that Miles. I don’t know who told you whatever's going through your head right now but they dead wrong. I wanna know how you be feelin, I wanna know.”

“Why you even talk like this to me?”

“Cus I’m your girl, n I like to kiss up on you and love all up on you,”

At this, he averts his eyes, trying to escape your gaze, his breath audibly speeding up.

“Mm mm, don't do that Miles. Please breathe,”

You plead, subconsciously pressing your middle three fingers under his jaw trying to measure his heart rate. Almost as a reflex to hide from you, he shrugs your hand away from under his jaw and pulls his hoodie over his mouth.

“Nah nah, don't hide from me neither,”

“Ain’t nobody hidin from you,”

“Jus cus you a boy don’t mean you don't deserve them random ass cuddles, or someone to tie up your durag or wash your hair. It don’t mean you shouldn't get flowers or hugs or them lil hickies behind your ear. Don't mean you not allowed to be sad or mad or wanna cry. Now Ion know who told you or made you feel that way but they dead wrong Miles. You allowed to feel with me,”

“Ian some lil boy runnin around though, that shit ain't for me,”

“If you wasn't supposed to feel and acknowledge your feelings, why would you be able to feel them? They there for a reason,”

Still straddled on his lap, he looks up at you with the tiny leverage you have on him. His eyes are big and doe-like, almost as if he’s scared to make this next step, say this next sentence.”

“Ion know why,” he mumbles, voice soft and scared. suddenly he’s kissin up on you, gripping anything he can get his hands on, like he’s making up for lost time, lost feelings. It's urgent and a little rough, though his lips are soft and velvety, a twinge of menthol chapstick on them.

“Yo yo yo, slow down. Ian goin nowhere” you whisper into his mouth, nails gently raking across his neck “ ‘m right here Miles, see?” you ask, guiding his hands to feel on the left side of your chest, right above your heart. “ ‘s my heart under there, I'm right here okay? I’m real, Miles I swear,”

“You’re real?” he whispers, breath shaky and uneven fisting the thin fabric of your camisole under the evergreen zip-up, in an attempt to feel more of your heart.

“You allowed to feel your feelings the same way you feel my heart,”

He still looks astonished, scared, and frozen. suddenly it wasn’t him you were talking to anymore. it was the scared little Brooklyn boy who had all these feelings stored away inside him, unsure of what to do or who to show them to.

“ ‘m sitting right here miles. I’m your girl, okay? This is real, and you are real,”

“I’m real?” tears begin to swim in his eyes.

“You’re real miles. and those feelings in that big heart of yours? Those are real too. And if you let me, I wanna hear all of 'em.”

His body stills once more against you, a small tear gliding down his cheek.

“I love you,”

And then he’s sobbing.

“Sshh, hey it's okay” you whisper, holding him close to your chest. “I love you so much I can’t hardly breathe when I'm around you. It’s okay and you're okay, Miles. I’m real and this is real and you. You are real.” you mumble into his braids, holding him with the protectiveness of a mother with a small child.

He just sat there, his head buried in your chest as he cried quietly, letting everything out. You just sat and let him cry and vent through his tears. All the things he had bottled up, discouraged to show to anyone. Sooner or later the tears slow to a stop, his face puffy and hot.

Gently tugging the ends of his braids, he looks up at you.

“You feel better sueñito?” you ask, dragging the cuff of your sweater to dry his face and pressing butterfly kisses to his cheeks in its wake. He did nothing but nod lazily, seemingly lighter, and nuzzling his face into your chest.

“Lemme finish wiping up your face n then you can be all up on me, bonito, okay?

He just nodded, dropping his head back to rest against the bathroom wall, the half-taken-out braids on your scalp no longer th task at hand. Reaching behind him you grab a baby wipe and swipe the tears and snot off his face, leaving his skin with a glossy finish. Holding his chin up, you look dead in his eyes.

“You so beautiful Miles.”

And this time, he nods.

🩷 reblogs are always appreciated for reach <3

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invisibleraven · 2 months

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You're so cool! / I am?

Flynn/ Reggie

Warnings for offensive terms against both Jewish and Black people

Reggie kept a placid smile on his face as they played while the rest of the school swayed across the gym floor. Sunset Curve had been hired to play the school dance but the principal had given them a strict set list to follow, all stuff that was pleasant and downright boring.

But hey, a gig was a gig right?

At least he was okay with the stupid suits they shoved at them-he was sure Luke was struggling with the tight sleeves, ruffled shirt and cummerbund. All in a terrible powder blue to fit the stupid Enchantment Under The Sea theme the student council had thrown together.

He watched the kids dance, a part of him aching to be out there with them, but the money they got from playing this dance was going towards them buying van to use to tour with the summer. A chance at a big break playing clubs up and down the coast.

Plus... well he could never dance with the girl he wanted. The stupid line down the gym and the strict chaperones with their little minds saw to that.

But he kept an eye on Flynn, watching her, Julie, and Kayla dance around, Willie grinning as he spun them occasionally.

The trouble started when Willie went to get punch, and the other girls went to powder their noses, leaving Flynn on the floor alone.

Reggie saw that slimeball Phelps straddle the segregation line-he always had his eyes on Flynn, liked pulling on her braids, coming too close, making inappropriate comments. Reggie tried to be a barrier, but the guy was a linebacker, and didn't always back off.

Tonight was no exception, as he tried to pull Flynn into a dance, even as she valiantly attempted to shove him away. Reggie panicked a little-none of the teachers seemed to be paying attention; too caught up in smoking, gossiping or taking a nip from their flasks.

He could see that Phelps had a grip on Flynn's arm-one that would surely bruise, and he knew if she slapped him, like her eyes conveyed she wanted to, she would be the one in trouble.

So Reggie did the noble, probably stupid thing, and leapt off the stage, uncaring that it left the song without a bassline. He went over, snatching Flynn into his arms.

"Hands off my girl Phelps."

"Oh yeah, you gonna stop me?" Phelps drawled, an amused expression on his face. "You're a scrawny kike and she's a feisty nig-"

Whatever Phelps was going to say next was cut off by Reggie decking him across the face, laying him to the floor. He massaged his jaw, spitting blood onto the gym floor as he got up, barely missing Reggie's shoes. "Not worth the trouble."

Reggie glared until Phelps slunk away, shaking out his hand before facing Flynn. "You okay sweetums?"

"You are so cool," she breathed.

"I am?" Reggie replied, then straightened up. "I mean, I am! Have to be cool enough for you."

"Well I appreciate it," she said, straightening his lapels. "You gonna be okay to play the rest of the show?"

Reggie shook out his hand again. "I should be okay, but I gotta get back up there before they toss me out. Pity I can't dance with you."

"Maybe later, we can crank up the radio in your car, have a dance under the moonlight?" Flynn offered.

Reggie grinned, nodding before heading back to the stage, picking right up where the band was in the song, even if it ached to play a little more than he would like to admit.

But the pain was worth it with Flynn's shining eyes on him and the promise of their date in his heart.

Though he hoped maybe the band got to skip the next school dance, so he could just dance with Flynn instead.

#filled prompts #ficlet #fleggie #julie and the phantoms

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bananakarenina · 10 months

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30 and Sweet Tarts?

then tell me to leave (and baby I'll go)

the thing is about carrie wilson is that everyone leaves her, eventually. her mother barely stuck around to watch her take her first triumphant steps; she's met her grandparents all of four times and each time made her realize why her father Is The Way He Is.

she's got her dad. but trevor wilson is one person and her dad is another, and sometimes she wishes trevor was the one to leave more often.

she tells everyone she broke up with nick. but that's a lie; he left her too.

she's never been enough for anyone, and she knows it. it's why she tries so fucking hard at everything she does. one day she'll accomplish enough, be enough, and if the people she loves don't notice, well, at least the rest of the world will.

so when reggie peters, julie's weirdo space cadet bassist, asks her out she almost laughs in his face. not because she's laughing at him, but because it's ridiculous he'd want to stick around. he's basically the nicest person carrie's ever met (not that she'll say that out loud) and he's silly and goofy and does shit like wave at every dog he meets on the boardwalk and eat something as simple as hot dogs like they'll be his last meal.

she turns him down. and she expects him to freeze her out; it's what she would do. but he doesn't treat her any different. she can tell he's sad, but he smiles whenever she turns up in the garage studio, and still lends her notes in class, and still cheers from the wings during Battle of the Bands even though he's literally the competition.

months go by. she gets named homecoming queen. it's the loneliest she's ever felt, for some reason. she dances stiffly with nick (god, that's awkward) for the least amount of time they can manage to julie and her band covering "time after time", and after the first chorus nick leaves her standing alone on the dance floor in a spotlight and a plastic tiara.

carrie wilson does not cry in front of her senior class. she doesn't. but she wants to.

and then the music kind of changes. a gasp ripples through the crowd.

straight out of a movie: reggie peters shoulders his bass and jumps off the stage, and julie has to cover the bassline with her keyboard, and he's striding right toward carrie.

"you looked kind of lonely out there," he explains, lowly, as he pulls her into a respectably-distanced dance. "i didn't want you to be dancing alone."

carrie can't help it. she closes that respectable distance.

even years--decades--after: reggie never does let her dance alone.

if you fall i will catch you i'll be waiting time after time

#whew!#i am clearly feeling the Big Gestures so far #this is fun!#jatp sweet tarts #carrie x reggie

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abloodycrow · 8 months

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At first I wasn't fond of I Got The Music but now I yeaH WE GOT THE MUSIC BACK INSIDE LET'S DO THIS, BACK LIKE IT'S EXCLUSIVE, WAVEY LIKE A CRUISE SHIP, LOOK AT JULIE GO, SHE ALL IN THE ZONE, HEADLINING THE SHOW, BASSDROP AND WE GO, AH BOOM CAT BOOM BOOM CAT THAT'S THE SOUND THAT YOU GET WITH THE MARCHING BAND LIKE EYYYYY LET ME HEAR THE DRUMLINE LIKE EYYY THAT BASSLINE CRAY THIS ONE IS RIDICULOUS, WHOA NO SIR THEY CAN'T HANDLE THIS, NO WE ON TOP OF THE WORLD NEVER LOOKED DOWN, WE GOT THE MELODY BACK CAN'T STOP NOW

#jatp #julie and the phantoms

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legolasghosty · 1 year

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“Do you want a hug?", “Come on. Let’s go home.”, and “I feel like I can breathe better with you around.” for juke 💕

Julie let her foot rest on the damper pedal of the grand piano as Luke held out his last note. It sounded good.

When he stopped, she applauded. "Nice one, grab some water," she said, shooting him a smile.

"Thanks Boss," he responded, grabbing for his green plastic water bottle.

Julie shifted her music sheets around while he drank. She'd originally been wary when Ms. Harrison had asked her to give Luke voice lessons as a way to make up some of the credit she'd lost earlier in the year, but it was going better than she'd expected. Luke was stubborn and wouldn't work on anything he didn't see the value in, but he had a lot of passion and clearly wanted to improve. He was so full of life and energy, and at least 99% of it was all focused on music.

"That felt great," Luke exclaimed, capping his water bottle and giving Julie a wide grin. "Much better than in class earlier. You're amazing, Julie."

Julie felt her cheeks warming and ducked her head before Luke could notice. Okay, so maybe she wasn't totally immune to his smile and his arms and how, when they were alone for his lessons, all of his passion for music seemed focused solely on her.

"Or maybe you just don't pay attention during warmups in class," she teased, giving him a smirk before refocusing on her list of exercises to take him through. Better to keep her crush to herself. Dating was way too complicated, and Luke probably didn't like her anyways.

"Nah, it's definitely you," Luke retorted, moving over to lean on the piano. "I feel like I can breathe better with you around."

Julie looked up, expecting to find him giving her that lighthearted, teasing look that he did when he intentionally messed up the names of famous composers just to mess with her. But when their eyes met, she found nothing but sincerity in his gaze. Like he actually meant what he said.

It was disorienting. But... not bad?

Julie quickly stood, breaking eye contact. "You had a bit of a break on the bridge, do you want to work through that?" she asked, nodding to his music stand.

Luke nodded slowly, seeming almost disappointed, and returned to his papers. "Yeah, definitely. I think it was the register shift, I got caught halfway between my chest and head voice."

"Wow, look at you and your technical lingo," Julie commented, smiling as she looked down at the sheet music to check the notes. "Yeah, that's what I heard as well. Let's do some glides through that part of your range to get comfortable with the shift before we add the actual notes and stuff."

Luke dipped his head in agreement and they got back to work.

Ten minutes later, the alarm on Julie's phone that signaled the end of their time went off just as Luke finished running through the bridge. They both jumped at the drum intro of an old Petal Pushers song.

Julie quickly turned it off and stood with a smile. "Guess that's time," she said.

"What was that song?" Luke asked, gathering his music. "That's not your normal alarm. It's good."

Julie bit her lip, considering brushing it off. But it was Luke. He lived and breathed music. He'd understand how music could hurt as well as heal.

"It's called Love Wild, it's one of my mom's songs," she told him. "It was my alarm for ages, but I... I just started listening to it again."

"Oh," Luke said.

Julie didn't dare look up. She'd developed a serious distaste for the pitying expression that always appeared on people's faces when her mom came up. She'd rather not be annoyed at Luke over it.

"It's a good song, it's about loving the people you love and showing it regardless of what other people think," she added softly. She wasn't sure why she was still talking. She didn't usually talk about this stuff. But Luke didn't interrupt. "And the bassline is awesome," she continued, "and the harmonies on the bridge are magic, I swear, and the last couple of lines..."

She trailed off, feeling her throat start to tighten.

"That's awesome," Luke murmured after a minute.

Julie dared to look up at him. He seemed unsure of himself, which wasn't a common look for him, but his smile still seemed genuine.

"Um, do you want a hug?" Luke asked awkwardly.

Julie chuckled. "I'm okay," she assured him, sliding her folder into her backpack.

Luke frowned. "But do you want a hug?" he asked again.

Julie thought about it for a second. She always wanted a hug from her mom these days, but that wasn't possible. Did she want a hug from Luke instead?

"Yeah, that'd be nice," she said slowly.

Luke smiled and stepped forward to wrap his arms around her shoulders. She let herself relax into his embrace. He was warm, his frame a bit shorter than her dad's. It was nice.

"Hey Julie?" Luke asked softly.

"Yeah?" she responded, sliding her own arms around his waist.

"You wanna come to band practice this weekend? Help me not shred my voice again?"

Julie considered for a second. She hadn't done that before. It felt like a new step in their friendship, to take it outside of the school building and into Luke's friend circle. Was she ready for that?

"Sure, send me the info," she agreed.

"Sweet, this is gonna be rad," Luke cheered, letting her go and pulling out his phone.

Julie laughed. "Come on, let's get home before the janitors kick us out," she chuckled, swinging her backpack onto her shoulder.

"Right behind you, Boss," Luke called.

#I... ignore how this prompt came in over a month ago #I'll get to all of them eventually!#I just have no time!#Anyways here's some sucky juke I wrote at 1 in the morning!#going to sleep now #julie and the phantoms #jatp #jatp fanfic #juke #julie molina #luke patterson #legolas tag #legolas filled prompt #not proofread in the slightest #any errors are fully my own fault #Might take this down in the morning #we'll see

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takeasadsongandanalyzeit · 2 years

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I'll Follow The Sun

This recording is from the second Forthlin Road tape, recorded in June/July 1960.

This song would eventually be released on Beatles For Sale. The verses of the original are basically the same, but the bridge is totally different (lyrics and melody).

But the bassline is the same.

This is really interesting, because while the bassline in this version isn’t very loud, once you hear it, it is noticeably more complex than Stu’s usual playing. It’s not a very difficult line to play, so we assume it is being played by Stu, but was more than likely written by Paul. This is suggested by the complexity, and supported by the fact that he kept that bassline for the album version of the song.

The lyrics of the original bridge are:

Well don’t leave me alone out here Have courage and follow me my dear

(Both lines do not end in "my dear" as previously assumed, more on that later).

This is thematically very similar to In Spite Of All the Danger and You Must Write Every Day: needing courage, and being left alone. We believe that John living in Gambier terrace was looming large for Paul at this time, so that may be related. It also has an interesting echo in a much later song.

Here is the Beatles For Sale version for comparison:

youtube

If Paul was already writing basslines at this stage then maybe he was more familiar with the instrument than is usually assumed. This may be an early example of him “muscling in” on another band member’s territory, and could have contributed to the tensions between Paul and Stu. It is also possible that Paul is actually playing the bass here, but we can’t know whether this line was within Stu’s capabilities. Klaus, Pete, and Paul have all defended Stu’s playing, while acknowledging that it was basic.

Paul writing basslines and giving them to Stu could also have fed the idea that he was trying to take over the bass player role. We believe Paul when he says he didn’t want to play bass, but it could have looked a certain way to others.

Mike can also be heard playing ‘drums’ on a guitar case.

There's a short clip that precedes this song on the 2007 bootleg called Strong Before Our Birth, included here for interest:

As far as we can tell this is John (though we considered Paul) putting on a Spike Milligan style silly voice, saying "I need de sun, I do". The "I do" could be Paul, even if the beginning is John.

#the beatles #i'll follow the sun #forthlin road tapes #paul mccartney #stuart sutcliffe #in spite of all the danger #mike mccartney #bass line #jun/jul 1960 #braun tape #the silver beatles #beatles for sale #queer bugs

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kcyars19992 · 7 months

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Search Opener

MUSIC

CULTURE

VIDEO

MAGAZINE

EVENTS

SHOP

10 CRIMINALLY UNDERRATED RAGE AGAINST THE MACHINE SONGS

photograph by Lindsay Brice/Getty Images

Follow Rage Against the Machi…

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text ELI ENIS

July 11, 2022

Rage Against the Machine don't have a bad song to speak of. Throughout their four-album catalog — including 2000 covers record, Renegades — the band's winning formula of righteous, riff-slingin' rap-metal and bird-flippin' attitude aimed toward the powers that be hasn't yielded a single cut that truly feels underwhelming. Still, there're definitely several that don't get their deserved amount of time in the spotlight.

Beyond "Bulls on Parade" and "Killing in the Name," these are 10 incredible, catchy, hard-hitting, lyrically nourishing Rage anthemsthat feel criminally underrated within the general discourse about this iconic band.

"Fistful of Steel"

Rage Against the Machine's 1992 debut is their most universally beloved release, so there aren't too many songs on this front-to-back masterpiece that truly don't get their shine. "Fistful of Steel," however, is one that gets sometimes lost in the outstanding shuffle. It doesn't have a signature one-liner or an animalistic breakdown — just a great riff with plenty of meat on its bones and a groove that swings like a pickaxe hitting cold, hard dirt.

"Township Rebellilon"

"Township Rebellion" is another overlooked deep cut from their self-titled album that's every bit as heavy and incisive as the celebrated bangers that precede it. Its instructive refrain — "Why stand on a silent platform?/Fight the war, fuck the norm" — is a salient retort to anyone who questions the band's productive feistiness. And that screamed climax is chilling.

"Down Rodeo"

Rage's second album, 1996's Evil Empire, boasts one of their most iconic anthems, "Bulls on Parade," but overall, the record is less immediate and more cerebral than their debut, with instrumentation that's built to serve de la Rocha's increasingly dense rapping, and therefore features less of Morello's hard-rock riffing. It can get glossed over for that reason, which is unfair to a funky all-timer like "Down Rodeo," featuring what's perhaps de la Rocha's deepest-cutting lyric — "These people ain't seen a brown-skin man since their grandparents bought one."

"Wind Below"

"Wind Below" is an even more criminally overlooked piece of gold from Evil Empire. Morello's ringing lick sounds like John Carpenter murder scene music, while Tim Commerford's bassline sounds aqueous, bubbly and melt-in-your-speakers sexy. Of course, de la Rocha is up there rapping presciently about trade deals that fucked over workers and calling out corporations like "ABC's new thrill rides of trials and lies."

"No Shelter"

Beyond being a kickass song that sits nicely between the elastic funk of Evil Empire and the hair-whipping rock of the Ballad of Los Angeles, "No Shelter" might be the greatest protest maneuver the band have ever pulled off. It was written for the soundtrack of the 1998 Godzilla film, but rather than submitting a vapid banger to soundtrack reptilian carnage, the track is a vicious takedown of corporate cinema, decrying "the thin line between entertainment and war" and even going so far as to call out the film cutting the check — "Godzilla, pure mothafuckin' filler/To keep ya eyes off the real killer." Righteous.

"Born of a Broken Man"

On 1999's the Battle of Los Angeles, Rage's third and final album of original material, they leaned into many of the more accessible hard-rock elements of their debut, penning stadium-ready rippers like "Guerilla Radio" and "Sleep Now in the Fire" that understandably became fan favorites. "Born of a Broken Man" should be, too. The way de la Rocha's whispery verses explode into full-throated yells when the main riff detonates is utterly thrilling, and the dynamics of this song overall are some of their most subtle and musically rewarding.

"New Millenium Homes"

With a front half as energetic and anthemic as the Battle of Los Angeles', it's no wonder that the album's more subdued side B gets overlooked in the grand scheme of their catalog. That's too bad, because a track like "New Millennium Homes" has the funky-ass riff, catchy-ass delivery, and incendiary lyrics — "Violence in all hands/Embrace it if need be" — to compete with the likes of "Testify" and "Know Your Enemy."

"Ashes in the Fall"

The next song on Battle might be even better. The freaky delay on Morello's squeaky lick gives it a psychedelic, alien-like effect, and the drumming has a jazzy freeness to it that isn't common in Rage songs of this era. Morello goes full Hendrix as the song builds with a jittery unpredictability, and de la Rocha offers up hip-hop meta-ness with his repetition of, "This is the new sound/Just like the old sound." It's a bit experimental, and it pays off.

"Street Fighting Man"

While Rage Against the Machine and the Rolling Stones certainly emanate similar levels of swagger and have a shared love of the blues, the former were always more interested in providing a soundtrack for property destruction than the sex-and-drug-filled parties of the latter. Therefore, it was the Stones' protest jam, "Street Fighting Man," that Rage gravitated to for Renegades. Of all the heavy transformations on the covers LP, the band are content to just boogie here, resulting in one of their most purely fun rippers.

"Darkness"

Before Rage Against the Machine reworked and re-recorded it for the soundtrack to Nineties goth touchstone The Crow, "Darkness" was known as "Darkness of Greed" and appeared on the L.A. political firebrands' 1991 demo tape. But even before that, it was played live in a rawer, more uptempo form by de la Rocha's O.C. hardcore-punk band Inside Out. While still characteristically scathing and seething, Rage's version features a uniquely mellow and jazzy verse instrumentation, making for a true standout.

Rage Against the Machine

Sent from my iPhone

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colincharisma · 11 months

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We Belong by Colin Charisma We Belong is an energetic bass house track with a dutch bassline. Cover Art feat. Stacey Starlight to take you on a galactic voyage. Please Like, Comment & Repost 👍❤️🔥 Lets get this Song into the Clubs! 😎 Release date 15th July on Spotify & Beatport. You heard it here first on Soundcloud. :) Share the love. Thanks guys!

#IFTTT #SoundCloud #soundcloud #music #beats #newmusic #producer #soundcloudmusic #artist #futurehous

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shoshiwrites · 2 years

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while spring is making promises outside — a flower shop AU featuring my OC Jo. Chapter 8/9. Some chapters a little NSFW.

Catch up at the link!

In July, she finds an apartment with Lena, Evie's friend. It's tiny but it's got hardwood floors and it's full of light. The walls are begging to be decorated. With entirely removable installations, of course.

Move-in day somehow turns into a gathering, with Clara and the boyfriend who's no longer a face on the screen bringing beer and a rug for the floor, and Frankie with a cooler and Tupperware for the fridge that still needs to be plugged in, and her and Bill and Joe with the boxes. There aren't many of them, which she feels something about, and maybe the next thing is hope. Fran stops by later with the baby, toddling around the plush flowers and birds of the carpet's design.

A while after they've all left, and Lena's gone to meet a classmate for coffee — in Clara's absence Jo feels obligated to raise an affectionate eyebrow — Joe comes back with a clean shirt and a bunch of dusk-colored roses in his hand.

"You need a record player," he says, switching on the radio.

She makes a face. "Don't tell me you're secretly a snob." They've gotten in play-fights over his cassettes before, the ones he still insists taking with him in the truck on long rides to events. It is possibly very annoying that the truck, old enough to still have a cassette deck, justifies him in this regard.

"I got a friend who fixes 'em up."

"Can you get me a discount?"

"You think I'd make my girl pay for her own gift?"

Her heart jumps at that, without warning. "I'm your girl?" It sounds ridiculous when she says it like that, when she doubts what's standing there in front of her putting flowers in a jar.

"You want me to prove it?"

She exhales, rolls her head back all exaggerated, and he laughs.

"You like it when I say that?"

"Stop," she laughs.

Faintly on the radio behind him there's a shimmering bassline, a drawn-out vocal. "Dance with me?" She doesn't move. "C'mon, gotta practice for the big to-do."

It's not for a couple more weeks, Bill and Fran's wedding. Joe's tux hangs in his closet, under the plastic, and her dress is still back at her old room.

"I'm proud of you," she says, nuzzling up under his chin. The words are so quiet, and only for him. He kisses her hairline in agreement. They sway for a few moments, letting the second stretch. His voice is warm against her ear. "Ma says I'm bringing you to dinner next week or I'm not invited." She freezes a little, and he only holds her tighter. "Hey, she'll love you. I showed my sisters some of your stuff and they're fighting over who gets to hire you first." She's still trying to straighten her shoulders. "Listen," he says, "they'll love you." Because I love you. "You're my girl."

The wedding spills over with joy. The arrangements are huge, orange and red and pink, and beautiful against the ivory. Fran has a crown of roses, and a little matching headband for her daughter. Everything is summer. There's fans everywhere for the heat, cold lemonade at the VFW hall for the reception. Jo hand-lettered the signs, with line drawings of the flowers. She can't hide her smile when she overhears the compliments.

Frankie sidles up somewhere between the hors d'oeuvres and the dancing and squeezes her hand. "We did good," she says.

"Hey, I'm not the genius visionary."

Frankie rolls her eyes, but it's full of affection. "Talent can only get you so far." She's smiling, blonde curls escaping her messy bun. Her voice goes soft after a minute, and low. "It was never about charity, you know that right?"

Jo's surprised to hear the tightness in her own voice. "Yeah."

Bill gets in his I told ya so's about 47 times while they're dancing. Her dress is stuck to the small of her back, the floaty chiffon printed with watercolor flowers, and her hair curls around her ears. Joe tells her she's beautiful; she's happy just to feel like a person, someone here in their body, taking up space.

At some point they all kick off their shoes on the floor. It's all the old hits, the ones that get the grandparents dancing and the ones that make the twenty-somethings reminisce. Somewhere between Frankie Valli and Edwin McCain, he pulls her even closer. She's pressed against his chest, the dress shirt he's pushed up to his elbows.

"I think I love you," she murmurs, quiet enough for only him to hear. It still shakes a little, bare. She can feel the way his hold goes even more tender around her.

"That's good," he says. "Because I'm building you a desk."

"You're what?"

"You'll see it when you're over this weekend." They're not so much dancing anymore as him pulling her along, still caught on what he'd said. He kisses her, when he doesn't hear her say anything. Her nose brushes against the medallion half-hidden under his shirt. "And I love you too." The song ends, but they don't break apart. "You think I woulda hung around that much if I didn't?"

#shoshi writes #jo's tag #while spring is making promises outside #almost theeeere #that moment when you're formatting and joe gets in another line #what is in the lemonade at this wedding that we're being so clear with our feelings #shoshi's au problem

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loser-user-noaccuser · 1 year

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I was tagged by the wonderful gem that is @gardensgatedaisy

And am going to tag @gustingirl @gold-mines-melting and @goldenkiszka (feel free to ignore x)

Nickname: my name is too short to have an actual nickname but family and close friends call me Shaezie, Shaeza, Poss (short for possum) and Bloss (short for blossom)

Sign: Virgo Sun, Sagittarius Moon and Rising

Height: I believe i am in between 5’2 and 5’3?

Last thing googled: A local cafe to see if it’s open on Sundays (it is i am going for brunch with the grandparents)

Song stuck in my head: my head constantly plays mashups so it’s the beginning of WTCF Chorus with the bass line from Seven Nation Army with a bit of Childish Gambino popping in from time to time (it’s a fucking whirlwind of a ride)

Number of followers: i just hit 100

Amount of sleep: Who knows i have always been a shit sleeper and have always been known to sleep over 15 hours if you let me (like literally my mum had to set alarms to wake me up to feed me when i was a baby)

Dream Job: ok so dream job as a kid was either archaeologist or Professional dancer and i was so dang close to being a professional dancer but then the pandemic hit before i moved state and so put that on the back burner and then found out i have bad joints and quit dancing in July of this year after 18 years so now idfk i’m just winging it

Wearing: Bike shorts (what a fucking surprise) and a sports bra

Books that Summarise you: why is this question so hard?? Ummm i have no clue i’m going to ignore this

Favourite song: like of all time? Or current faves? OR song that shaped me as a person?? Bc for all time it will have to be Bat out of Hell by Meat Loaf or Silver Springs by Fleetwood Mac (depending on my mood). Current Favourite is Family Line by Conan Gray or Apathy by Michael Aldag (i love me some sad songs) but for songs that shaped me as a person either Whatsername by Green Day (another fave of all time) or Disenchanted by My Chemical Romance

Favourite instrument: To Play? I loved playing Trumpet but to listen to? It would have to be Bass. Something about basslines (and players) get me going and I can’t explain it

Aesthetic: my aesthetic is all over the place. Retro/Alternative is usually my clothes aesthetic but as for decor its Retro/Nostalgic/vintage

Favourite Author: Rick Riordan (he has been my special interest for like 10+ years) and Taylor Jenkins Reid

Random Fun Fact: i was named after my mums boyfriend who died in a car crash before she met my dad and dad has no idea i was named after him. His name was Shane remove the N and you get Shae she named me after him because my due date was his birthday. My dad still believes that i was named after a soccer player

#tag games

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gooeykit · 2 years

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HE IS FUCKING INSANE‼️

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erenthegreywolf · 2 years

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(part 1) Trigger Warning: Slight Violence, Death (?) =-=-=-=-=-= After the bus incident, Luke made it to the studio unscathed. No one's there when he enters, so he walks over to the piano and lays his songbook on it. The dream is still fresh in his mind, but it doesn't take long for his new song idea to resurface and he's flipping to an empty page. Luke doesn't get very far when Julie walks into the studio. "Oh, hey Luke. I didn't know you were here." She says as she walks over to him. "Hey, Jules. Uh, yeah... I just really wanted to write this song." He responds, deciding to leave out the part about the bus, and pushes his songbook toward her once she was beside him. "What's it about?" Julie asks while she looks over the page. That's all it takes for Luke to completely drag Julie into writing the entire song with him. The lyrics come easy to them with their efforts combined, and they're almost finished with the guitar and some of the bassline when the studio door opens. Reggie and Alex walk in, Reggie stumbling over his own feet and laughing about it while Alex just sighs. "You're such a disaster," Alex mutters, shaking his head as he goes to sit at his drum kit. "Hey! That pebble had it out for me..." Reggie closes the door behind himself and walks over to pick up his bass. "More like your own feet have it out for you." Alex shoots back. Reggie pokes his tongue out at him. "Alright, cut it out and let's get to practice," Julie says as she walks over to the keyboard. Luke just shakes his head with a smile on his face. His friends could be dorks sometimes, he thinks as he picks up his guitar. After they run through most of the songs for their set, Julie suggests working on the drum and basslines for the new song. By the time they finish, it's late and Julie invites them in for dinner. They all accept and follow her inside, getting a warm welcome from Ray and Carlos. They talk for a while after they've finished eating, but soon none of them can put off going home anymore. "I should get going," Alex finally says. Reggie points at him in agreement and then they stand from the table. Carlos tells them goodbye while Ray and Julie follow the boys to the door. "It was great having you boys over. You're always welcome to join us," Ray says. "Aw, thanks Ray," Reggie says, going in for a hug. "C'mon," Alex rolls his eyes as he pulls Reggie out by his jacket. "Wha- Lex!" Reggie whines but lets Alex steer him down the driveway. Luke waves to Julie and Ray before heading down the driveway himself to catch up with his boys. Once all together, they start walking home. Luke quickly starts the conversation about potential gigs until Alex has to split off. Reggie splits soon after, leaving him alone. Luke's too caught up in thinking about when their next gig will be to notice when someone runs up to him. He does notice when a sharp pain shoots through his side when something both enters and exits it. He turns to his left just in time to see a masked man plunge a knife right into his chest before everything goes dark. Luke sits straight up in his bed. Confused, he looks down at his chest in search of something, anything... But nothing's there. That's when he sees them. The same damn boxer shorts he woke up in that morning. He definitely changed them after his shower. This can't be real, it has to be another dream. What was it... A dream inside a dream? Alex mentioned that once before, right? But aren't those rare or something? Then Luke suddenly remembers the song he and Julie were writing. He jumps up and runs over to his desk, grabbing his songbook and flipping it all the way to where the song should be. But it isn't there. A completely blank page faces back at him. Luke lays the songbook back down on the desk in silence, millions of thoughts running through his head. What was he supposed to do now?

#tw violence #jatp #julie and the phantoms #jatp fanfic #fanfic #luke patterson #julie molina #reggie peters #alex mercer #ray molina #carlos molina #jatp timeloop au #jatp alive au #i rushed the end #this got really long #ern writes #i dunno how to continue this

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howaminotinthestrokesyet · 2 years

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I Swear It’s True: Jason Cropper

The original bassist for Weezer was born on June 27, 1971 in Oakland, California. He was a founding member present at the band’s first practice on Valentine’s Day 1992. He recorded with the group on their first three demo tapes before the group officially signed with Geffen Records. During the recording of the Blue Album, Cropper learned that his girlfriend Amy Wellner had become pregnant. This news immediately affected Cropper’s behavior on a daily basis eventually disrupting the recording environment for Weezer. The decision to fire the guitarist came when he arrived in New York for recording without telling anyone with no place to stay. The final decision was up to Cuomo, who made the call without a second thought. Karl Koch, frequent Weezer partner, said, “He wasn't handling it well ... he always said he was fine, and then 20 minutes later he'd be up on the roof of Electric Lady screaming or something." Cropper would later say that Rivers told him that his behavior was putting the recording process into jeopardy, which could not continue. In 2014, the former Weezer member said that he agreed with the decision to dismiss him. In 2019, he elaborated on it saying the fact that his girlfriend visited the studio broken a golden rule set forth by Cuomo. Matt Sharp disagreed saying that it was not one thing, but instead a series of “minor infractions” that caused the decision to be made. Apparently, Cuomo wanted a change to be made before they shot the album cover, instead of after having to explain his presence on the cover. This was a very good decision on his part now knowing how iconic that release has become over time. Ironically, Cropper did receive a songwriting credit on the track “My Name Is Jonas” for the opening bassline. A deluxe version of the Blue Album would be released and the vinyl edition included the track “Jamie” that had guitar and backing vocals from Cropper. Rivers and Jason still remained friends with the latter attending the singer’s wedding in 2006.

After Weezer, the musician and his wife Amy Wellner-Cropper formed the group Chopper One. The single “Free Lunch” would be released in 1995 followed by the group’s debut album, Now Following in 1997. The couple had three children together, but divorce between 2004-2005. After the end of Chopper One, the bassist helped to form the band, Fliptop, which released an ep and played a few local Vans Warped dates. In 2003, he sang the theme song for the short lived sitcom Andy Richter Controls the Universe. Beginning in 2006, Cropper began posting new music on MySpace, while also producing the second album from Atlanta group, Buffalo Alice. He also helped with their songwriting, while even being listed for a short time on their website as the band’s bass player. In 2020, the guitarist appeared on the Rivers Cuomo hosted podcast, Island in the Zoom, as well as We'z Talkin' Weez' 2 podcast analyzing the group’s catalog. In July 2020, he released his first ever solo single, “The Golden Hour.” The vinyl edition of Van Weezer, the band’s 15th album, included the track “I’ve Thrown It All Away,” which was a reworked early 1990’s track that gave the bassist a songwriting credit.

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halfseoulco · 2 years

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THE WORLD EP.1 : MOVEMENT — ATEEZ: A review

Published Saturday, July 30th, 2022 — As a storyteller and as an ATINY, there is something about the world-building in the conceptual architecture of ATEEZ’s THE WORLD EP.1 : MOVEMENT that scratches an itch in the most satisfying way.

Introduction

While I can’t claim to be an expert on the lore of the ATEEZ universe, there is no escaping the fact that there is an entire storyline that has yet to be fully revealed within the eight-member group’s music. The pirate theme has been a constant throughout their discography and music videos, although not always in the realm of seafaring pirates that one usually pictures. A pirate is, after all, characterized as a lawbreaker; and the modern-day pirate doesn’t necessarily have to be one that only sails the high seas. The overarching story underlining everything from TREASURE EP.1: All to Zero (2018) up to the present has laid the foundation for this moment—this movement. ATEEZ has been working towards something big and it’s all about to explode.

Leading Up to THE WORLD EP.1 : MOVEMENT

The stage was set two weeks prior to the album release with “THE WORLD ‘MOVEMENT’ Official Trailer 1” and “THE WORLD ‘MOVEMENT’ Official Trailer 2″, which established some context for the story within the album’s dedicated chapter. Set in a dystopian society in which human emotion is seen as a disease and has therefore been eliminated to protect the people and help them live a perfect life in a perfect world, ATEEZ are hiding in the shadows waiting for the right moment to wake everyone up. Every member has their task, their role to play, with Hongjoong taking the lead as captain in this neo-revolution against a controlling regime. The group also released a performance preview, as well as two teasers (one | two), leading up to the release of the music video for “Guerrilla”. At the time of this review, the “Guerrilla” MV has over 13 million views and climbing.

A Deep (DEEP) Analysis of MOVEMENT

The album begins with “PROPAGANDA,” an intro set to soft pulses in the music that seem to be mimicking the way a machine may come to life after being asleep for some time. “Wake up. Wake up, world. Are you there? It’s time,” Hongjoong’s voice comes in over a scratchy speaker before the instrumentals pick up tempo with a sound reminiscent of the Stranger Things theme song. Following a slew of words like “lies,” “control,” and “surveillance,” the last twenty seconds or so of this skillfully woven introduction shift tonally to create a more hopeful sound.

“PROPAGANDA” transitions seamlessly into “Sector 1,” the sexy sister song to “Answer” from TREASURE EPILOGUE : Action To Answer (2020). Sultry and with a steady heartbeat keeping tempo and tactfully layered autotune, the song quickly escalates into an up-tempo track that stimulates the senses with the added bassline. Based on the lyrics, “Sector 1″ can be treated like a “phase one” of the plan to wake everyone up and reintroduce them to human emotion, as repeated in the chorus by Yunho, singing “I want to know/What is it to love (What does it mean/feel like to love)?”*

“Cyberpunk” is a nice dark melody, gritty and driving, softly sandwiched between two active phases of the group’s plan. The song describes the state of the world under the control of the dictatorship currently holding everyone’s emotions hostage. The chorus has a hypnotic quality that comes from the descending progression of the notes in the lines “I can’t feel/glean anything in this place full of lies/This is a frozen night where everyone is asleep”* and “This place where no one will be sad is full of lies/A night when no one smiles/laughs, this is a frozen night”*. In short, “Cyberpunk” is a numbness that can only be felt in the absence of all other feelings, but there is an awareness of wanting something more.

Given the definition of the word, it’s no surprise that “Guerrilla” takes the crown as the album’s title track. Even the visual imagery displayed in the music video shows the kind of unseen battle tactics ATEEZ uses to "break that wall”—which are, in this case, their “feel”. The song is a declaration in and of itself, proclaiming that they will change the world with their revolution in which “Music is the weapon,” as explained in Mingi’s verse. “Guerrilla” utilizes the kind of vocal technique usually heard in what is dubbed as “screamo,” or even post-hardcore, along with an artful blending of low and high registers, elements of electronic music, and electric guitar and drum lines that drive the song forward, making it an unconventional stand-out within what usually defines the traditional KPOP sound.

Nearing the end of this seven-phase musical plan, “The Ring” presents a dark side of revolution that few consider: What do you do when you win? What do you do when you have the power after fighting to take it away from those who seek to oppress the people? A seductive siren call of a song, “The Ring” has the same tonal qualities as “PROPAGANDA” at times; and expresses a fear of doing inexplicable evil after fighting so hard for good, even with the conviction that you are doing something for the right reasons. At the end of the track, there is a reference that is as clear as day to any Lord of the Rings fan: “One ring to rule them all/One ring to bring them all”. Given The One Ring’s ability to corrupt even the most good-hearted of Men and its purpose in gaining dominion over all life, the message of “The Ring” ties in beautifully, dredging up the uncertainty of, put simply, “Are we the good guys or the bad guys?”

“WDIG (Where Do I Go)” is more of a club track with what sounds like an organ or an organ-like synth simmering beneath the top layer of instrumentals. The follow-up question to the conflict unwrapped in “The Ring”—or possibly even the question that leads to that conflict—“WDIG” expresses the unfurling of a lack of belief in the cause for which they have been fighting this entire time. In fact, they think that it might lead to their downfall. Transitioning into a slow march tempo during the chorus, the song seemingly paves the way for the conclusion of the album.

“New World” has the same feel as those last twenty seconds of “PROPAGANDA,” a kind of hopeful outcome as dictated by the song’s title. It begins with the words “This new world, it’s up to you now/Changing like a hurricane”, hinting that what ATEEZ has been working towards has come to fruition but that what now remains is the work to be done to get everyone acclimated to the changes resulting from waking everyone up. What usually happens after a victory in war is that people who were once used to a certain way of life find themselves having to learn a new way, one that is maybe uncomfortable and difficult. And of course, victors are usually of the mindset that they have set the people free and that they should want the freedom that they are giving them, but what we know from history is that sometimes people don’t adapt well to change and having their eyes opened isn’t always perceived as a good thing. Ignorance is truly bliss at times. “New World” is meant to motivate those who were previously enslaved by the former regime but only time will tell if it achieved its purpose. Yeosang sings, “Wake up world, how do you feel?” as a call back to “PROPAGANDA”; but if we are to read the album as being out of chronological order based on the placement of “Cyberpunk” between “Sector 1″ and “Guerrilla”, then “New World” may not even be the actual conclusion to the story of THE WORLD EP. 1 : MOVEMENT. (We do know that ATEEZ favors the stream-of-consciousness technique in which plot points in the story occur out of chronological order, so this shouldn’t come as a surprise to anyone.)

The Messages Behind MOVEMENT

With song titles like “PROPAGANDA,” “Guerrilla,” and “New World,” the theme of revolution is not lost on the audience, perhaps speaking to a parallel drawn between present-day society and the society depicted in ATEEZ’s universe. Aside from its part in the larger story, the story of THE WORLD EP.1 : MOVEMENT is an epic saga not unlike The Lord of the Rings, in which good is fighting against evil but even good people are capable of evil things. But all in all, the root of the struggle is the preservation of humanity itself and what makes us human—human emotion—but even more so, the role that human emotion can play in the struggle for power. Based on my own interpretation, the actual sequence of events within the album is as follows: “Cyberpunk,” “PROPAGANDA,” “Sector 1,” “Guerrilla,” “New World,” “WDIG (Where Do I Go),” and then “The Ring,” although I still have a feeling that the order of the last two could go either way.

The Sounds of Dystopian Era Rebellion

Musically, this album holds a lot of sounds that are different from what ATEEZ has shown us during their TREASURE and FEVER eras. They delved deep into and explored elements of genres from which KPOP doesn’t usually draw inspiration; and the concept of an advanced technological dystopia has been largely untouched in the industry. Jongho’s impressive vocal range has definitely been pushed to its limits, with vocal runs that showcase his abilities but also his reaching of new heights. The color of his vocals especially lends a haunting quality to each song; and when paired with this emergence of Hongjoong’s screaming creates a full sound palette that is raw and gritty and loud, but also dangerous and seductive—the way power often is. The members’ individual vocal colors also contribute to the push and pull between those two sides, producing a rich sonic portfolio of glorious ear candy.

Conclusion

Personally, I’m very excited to see where ATEEZ takes us next, not only in terms of the music they make for their next record but the continuation of the story that has been coming to life since their debut in 2018.

GENIUS LAB USA RATING: Loudly, keep it loud until everyone opens their eyes.

THE WORLD EP.1 : MOVEMENT Track List:

PROPAGANDA

Sector 1

Cyberpunk

Guerrilla

The Ring

WDIG (Where Do I Go)

New World

*These are my translations.

#GeniusLabListens #ATEEZ #The World Ep.1 : Movement #Album Review #KPOP

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