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thatscarletflycatcher · 10 months

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So you have heard Rick Astley was the unexpected sensation at Glastonbury this year...

and you'd like to get a taster of his music, but you don't know where to start, because you are only/mostly familiar with Never Gonna Give You Up?

This post is for you!

I'll give you a quick overview of his discography, and a recommendation of what I think are the best tracks of each album and why. Aggregated playlist at the bottom of the post.

Whenever You Need Somebody (1987)

This was Rick's debut album, and the one that included Never Gonna Give You Up. If you have heard the piece of trivia that says "if you drop the pitch Kylie Minogue's I Should Be So Lucky, it will sound like Rick Astley"... there's a very easy explanation for that: both were composed by Stock Aitken Waterman, a trio of music producers that wrote several of the most well known eurobeat hits of the late 80s and early 90s (i.e. You Spin Me Like a Record), based on the principles of... well, being very generic and catchy. Half of the tracks of this album were written by them.

Thematically the album is strangely obsessed with cheating, cheating women, and being in love with cheating women, and being heartbroken over them. I don't know what to tell you, sometimes I forget how common this was around that time for the romantic ballad outside of the US (?)

Anyways, of the 10 tracks of the original album, the best (and also most Never Gonna Give You Up-like) are Together Forever, Don't Say Goodbye, and Whenever You Need Somebody.

The album closes with a cover of When I Fall in Love, that to me feels very out of place. Perhaps it was one thing Rick himself was dead set on singing?

This album had a 15th anniversary expanded remaster in 2010, including 3 ""old-new"" songs and 4 remixes (one of them is an extended version of NGGYU). I'll Never Set You Free is remarkable for being one of the creepiest songs this side of Every Breath You Take.

The 2022 remaster:

This one includes one "old-new" track that is a severe earworm, My Arms Keep Missing You (it does deserve the THREE remixes it gets in this album), several remixes of other songs, three instrumentals, AND, most notably for me, three "reimaginings" of NGGYU, Together Forever, and Whenever You Need Somebody as slow piano ballads, very very worth listening if you are into that sort of thing (these were first released in the compilation album The Best of Me (2019)).

It also includes a new version of When I Fall in Love, that really highlights Rick's growth as a singer and an artist, very worth comparing the 1987 to the 2022 one.

The remixes and "old-new" tracks in these anniversary editions come from compilation albums Rick Astley - 12" Collection (1989) and Dance Mixes (1990).

2. Hold Me In Your Arms (1988)

If you liked Whenever You Need Somebody (1987), then Hold Me In Your Arms (1988) is just the thing for you, because it's more of the same, but louder, catchier, and now with less cheating obsession! This time it's 3 out of the 10 songs that are SAW written, one is a cover of The Temptations' Ain't Too Proud To Beg, and the remaining 6 are all by Rick himself, but the tone doesn't shift that much between them.

The first half of the album is non-stop top danceable tunes: She Wants to Dance With Me, Take Me To Your Heart, I Don't Want To Lose Her, Giving Up On Love (big involuntary "I'm killing off Sherlock Holmes" moment for Rick, the not giving up didn't even last a year :P), and Ain't Too Proud to Beg; the second half is not as strong, but also not bad either. It definitely helps that the tracks are ordered in such a way as to slowly slow down till the beautiful sweet soft ballad that closes the album and gives it its name: Hold Me In Your Arms.

I Don't Want to Be Your Lover, the penultimate track, is the first song that feels more like what Rick writes and sings as a more mature artist.

The 2010 expanded remaster is just remixes of some of these songs, I'll Be Fine (which is, quality wise, between the rest of the tracks of the second half) and My Arms Keep Missing You, again.

The 2022 remaster includes even more remixes, reimaginings of She Wants To Dance With Me and Hold Me In Your Arms (I'm not a big fan of either, but they are interesting, as they are much more modern ballad sounding) and instrumental versions of Take Me To Your Heart and She Wants To Dance With Me.

3. Free (1991)

Almost like a pun, this is Rick's first album "free" of SAW. He even grew out his hair! (probably one of the rare cases of a guy to having gorgeous hair that somehow suits his face horribly). The tone moves away from the 80s eurobeat hit into the soul-ish + gospel-ish ballad, which seems to be more like the territory he feels comfortable in. It's a bit of an "experimental" album, in the sense that he's trying new things and new sounds, but it's all very tentative, and the unsure footing is noticeable.

Even so, Cry For Help, written and sung by him was a hit all the same, although it isn't a favorite of mine. In general it's difficult for me to pick favorites here; none of the songs stick out to me as particularly good or particularly bad. If you like slow ballads, you will probably like Cry For Help, Wonderful You, and Behind the Smile. Really Got a Problem is a first sample of a "social" song in his repertoire. Move Right Out, Never Knew Love, and The Bottom Line are more the essence of what his music evolved into later on, whereas In The Name of Love, Be With You, and This Must Be Heaven are dead on the sort of generic adult-contemporary of the early 90s.

4. Body and Soul (1993)

This album takes a more... lounge-ish turn I do not relish. You'd say, okay, but what sets Rick Astley apart from the general adult standard lounge music of whatever decade he sings in? Difficult question to answer, as all questions about vibes are. To me it is a mixture of A) cringe is dead, long live cringe B) earnest feeling C) plain, direct and sometimes quirky lyrics D) It sounds like he's having a good time singing them.

I just cannot really buy the constant "baby" and "lover" in Everytime, for example. And while none of the songs in this album are bad, most of them aren't even fun. Body and Soul and Enough Love I think are the two most interesting tracks here.

That same year, Rick got on hiatus.

5. Keep It Turned On (2001)

This comeback album is a bit of a rarity -it was released in Germany, but never in the UK (although some of its tracks made it to compilations later on), and it's therefore rare to find, which is a pity, because I think it is one of his best!

It is also one of the most early 2000s sounding things ever. It is to 2000s eurobeat and pop ballad what Whenever You Need Somebody and Hold Me In Your Arms were to 1980s eurobeat and pop ballad, so if you are into it, this whole album will be for you.

I have a particularly soft spot for Sleeping, and the way it just sounds like what a 2001-2007 summer night sounded to me; it's very nostalgic. The lyrics, just like the ones in the ballad Breathe, give heartbreak what I perceive to be a more mature tone that I like much more than the treatment it gets in previous albums.

Other highlights are the very danceable Wanna Believe You and Keep It Turned On (this last one a very pick me up song), and on the ballad front, I think Romeo Loves Juliet has the most delicate, enjoyable sound, but Full of You has better lyrics.

6. Portrait (2005)

This album is a collection of covers of classic pop standards, so there isn't much rickness to it at all, and it is to me, personally, a skip; while I usually like Rick's covers in other albums (and I think his reimaginings of the SAW songs are interesting) these are... off. I just don't think the style he picked for them suits at all.

Between this and his following album, Rick released two independent singles: Lights Out (2010) and Superman (2012) which I think are both peak Rick and worth a listen; earnest, simple feeling and catchy sound.

7. 50 (2016)

This is my favorite Rick Astley album, and it seems I'm not alone in this! It was the first album of his to be number one since his debut one. He sung AND played all instruments for it, and it really feels like a personal project, that brings the artist close to the audience.

From the very title you know you are in for something: the 50, Rick's age in 2016, is a tongue-in-cheek homage to Adele (whose albums have all been titled after her age at the time of release), that also speaks of this sense of being a middle aged artist in an industry and particularly a genre or family of genres that leans so heavily into youth and coolness.

In 50 Rick leans on instead of shying away from the fact that he's not young (In either the heartfelt "Don't fake it, I can't take it/My heart is, close to breaking/It reminds me of my youth" or the humorous "I got to thirty and you show a little wrinkle/One more big plate/Now I'm putting on weight/Skinny jeans but nobody's fooled"), cool, or detached, but that doesn't make him jaded, heavy, or self important; the songs of this album are filled with a sense of hope, gratitude, generosity, and... fun. It's a curious marriage of the lighthearted beat of the pop that made him famous, and a mature version of the soul-ish style he seems to love and that he tried first in Free. Although there isn't a single skip in this album for me, the most representative, and that have what in my opinion is the best sound, are Keep Singing, Angels On My Side, Wish Away, Pieces, I Like the Sun, Let It Rain, Let it be Tonight.

8. Beautiful Life (2018)

There's little I can say about Beautiful Life in general, other than characterize it as an echo of 50. Same ideas, same themes, same tone and sound.

The highlight tracks are: Beautiful Life, Last Night on Earth, Rise Up, and Try.

Since Beautiful Life, Rick has released a compilation album (The Best of Me, 2019), a few remixes and a couple new singles; of those singles I'd highlight Giant (a true banger), Every One Of Us, and Unwanted.

Rick's next album, Are We There Yet? releases in October this year (2023).

#Rick Astley #music #discography overview #nostalgia

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humansofnewyork · 1 year

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(10/15) “They don’t give you a pamphlet for it. When they start to click over into adulthood; it’s like a little death. I’ll never forget the day I brought home a Star Wars Lego set. I poured it out on the table, and started to organize the pieces. Jack was maybe five. He pushed my hand away, and said: ‘No Daddy, I do it.’ Oh man. There should be a pamphlet for that. Don’t get me wrong, it’s amazing to watch them grow up. Every few months you get to say ‘hello’ to a new person. But you have to say goodbye too. I remember dropping Jack off for his first piano lesson. I printed out the sheet music for Summer, Highland Falls. I slipped it into his binder, and said: ‘This is Daddy’s favorite song. Wouldn’t it be amazing if you could learn it?’ He rolled his eyes. I said: ‘C’mon, just one song.’ And he’s like: ‘Dad, please stop.’ I said: ‘OK, OK. Just keep it in your binder. In case you change your mind.’ He never changed his mind. But he did start writing his own music. He’d hear a song that he liked, on YouTube, or one of his video games, and he’d lock himself in his room for hours. When he came back out he’d have a written a whole new version. With different chords. It was like: ‘Wow!’ I was proud of him, yes. Of course I was proud of him. Did I wish it had been both of us in that room, singing Summer, Highland Falls?’ Also yes. But no matter how far he clicked over into adulthood, I’d get him back for five glorious weeks a year. We didn’t have a fireplace in our apartment. We’d put the Christmas tree next to a window, and leave the window open. Jack would decorate a plate. Then on that plate we’d put out Santa’s favorite cookie, a big Linzer tart. Also happens to be my favorite cookie. I’d take a big bite of the tart and make some crumbs, and I’d drink the milk. Then the next morning he’d knock on our door at six o’clock, screaming: ‘He came! He came!’ It drove Tabatha crazy. Every Christmas, she’d say: ‘It’s out of control. You’re out of control. This is the year we have to tell him.’ Second grade, third grade, fourth grade. Every time: ‘This is the year.’ But I’d always say: ‘Not yet. When it’s time, it’s time. But one more year. Just give me one more year.”

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taste-in-music · 5 months

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My Top 30 Songs of 2023

Hello everyone! Welcome back to my annual countdown of my 30 favorite songs of the year. 2023 had a lot of great music releases, and I’m so excited to recount the songs I returned to this year. And now, let us commence with the list!

Here are 10 additional honorable mentions: "Wide Eyes" by Loviet, "I Cry When You Sleep" by Pearly Drops, "Dreamgirl" by Father Koi, "My Love Mine All Mine" by Mitski, "Batman Song" by Cat Missal, "The Neighborhood" by Grace Enger, "I Been Young" by George Clanton, "Bright Red" by Ryan Beatty, "Dumbest Girl Alive" by 100 Gecs, and "The Narcissist" by Blur.

30. Angora Hills by Doja Cat: “Angora Hills,” a hit off Doja Cat's latest album Scarlet, is airy yet effortlessly self-assured, trading between quick-spit rap verses and a chorus of kitteny coos. But don’t get too lost in the sparkling keys and cutesy voicemails. There’s a spark, an edge, a darkness lurking in the murky bass and ominous synths which lends the song a greater intensity. “'Cause love is pain but I need this shit,” Doja Cat raps on the second verse, playing out cleverly rhymes romantic fantasies with an exhibitionist spin. “I wanna show you off,” she suggests on the song’s chorus, the red-hot desire roiling just beneath the surface.

29. Slut! by Taylor Swift: I think everyone was a little surprised hearing “Slut!,” the first vault track on 1989 (Taylor’s Version). When I first saw that title, I thought I was in for a catchy package of sassy one-lines and circa-2014 pop feminism. Instead, we got a tenderhearted ballad of wispy synths and Swift’s insightful musings on love in the limelight. Commentary does creep in (“Everyone wants him, that was my crime,”) but Swift focuses more on choice imagery of a love worth risking it all for: aquamarine swimming pools, thorny roses, and lovedrunk confessions. Sometimes, the most defiant thing is knowing that no matter how people might try to strip you of dignity, they’ll never be able to take your love away from you.

28. Nothing Matters by The Last Dinner Party: All-female British rock outlet The Last Dinner Party made a splash in 2023 with their confrontational yet exuberant debut single “Nothing Matters.” For a song with such a nihilistic title, it packs a punch of gravitas and a wry sense of humor. Lead vocalist Abigail Morris knows just when to heighten the melodrama, stretching the word “sailor” into “say-lahr” and belting the final refrain to the high heavens: “You can hold me like you held her / And I will fuck you like nothing matters.” In the music video, the group stomps around a gothic mansion in frilly petticoats and leather boots, tearing up feather mattresses and lip synching down to a camera positioned six feet deep in a grave. It all exhibits a keen ability to balance out the toughness with a cheeky wink, making it clear the group is only just getting started.

27. Running Out Of Time by Paramore: Much of Paramore’s sixth album This Is Why tears into the absurdity and stress of modern life. On “Running Out Of Time,” Hayley Williams captures the breakneck speed of life accelerated by packed schedules and the 24 hour news cycle, describing a self-destructive ouroboros of trying to catch up with the clock, doing her best to do good and always coming up short. “Intentions only get you so far,” she sings, “What if I’m just a selfish prick…?” It captures the stress and self-doubt, but also the conviction to keep moving forward despite it all. Williams provides a spirited performance as always, her vocals cutting through a pop rock groove that provides just enough energy to keep you from falling down the doom spiral completely.

26. Designated Driver by Taylor Janzen: Taylor Janzen’s debut album I Live In Patterns offered up several tracks which balanced heartfelt lyrics with propulsive pop flourishes, but it was “Designated Driver” that maintained the most momentum for me throughout this year. Atop a steady thrum of shimmering synths, Janzen unpacks her mixed feelings on being the "dependable friend," cracking under the pressure like a windshield. As the song builds, Janzen unveils the self-doubt eating away at her, where the raw emotions draw the other person in to detrimental effect: “you put your trust in a daydream / ’cause you love this dying part of me.” Janzen has the acute ability to put language to even the most obscure shades of anguish and giving them a more anthemic spin. “Designated Driver” is the song you can blast to get you through the grief, even as the toxicity shrinks away in the rearview.

25. One Of Your Girls by Troye Sivan: “One Of Your Girls” is a song so smooth that it’s easy to miss the melancholy which saturates its sparkling chords and clever lyrics. Troye Sivan taps into unrequited desire atop a lush, bassy thrum, describing a love interest who “everybody wants,” but who needs to keep their queerness covert. Sivan ushers in the song’s sing-along chorus with a languid sigh, glazing his voice in vocoder to keep the ache at bay: “Give me a call if you ever get desperate," he relents, "I'll be like one of your girls.” Pair it with a gender-bending music video, and you’ve got a song that delves into just how far a person might go obscure the hurt and save face.

24. I Need A New Boyfriend by Charly Bliss: It’s been four years since Charly Bliss’s last album Young Enough, and in 2023 they blasted back onto my radar with the scuzzy, snarky single “I Need A New Boyfriend.” This time, Charly Bliss sprinkle their anthemic rock sound with a touch of hyperpopping, bleep-blorping synths and churning electric guitars. Frontwoman Eva Hendricks laments her loser lover who grouches through parties and gives backhanded compliments, her observations both witty and scathing: “It took me three years but I finally figured it out / I’m just too fun for him,” “’Cause even though we had a five year plan / I couldn’t stay with him another minute.” By the song’s riotous end, you’ll also have the conviction to kick such soul suckers to the curb.

23. Feather by Sabrina Carpenter: It’s rare that a bonus track from a deluxe edition from an album is the source of a pop artist’s ascent to stardom. Rare, but not impossible. Case and point: “Feather,” the floaty bonus track from the deluxe edition of Sabrina Carpenter’s fifth album emails I can’t send. A downy kiss-off about leaving an ex in the past, Carpenter dreamily narrates the steps to her ghosting process over a softly strut beat of key glissandos and memorable ad-libs. It’s the humorous side of “Feather” that makes it a notable hit in Carpenter’s catalogue, the touches of sarcasm cut through the sweetness and showcase her multifaceted charisma as a performer. That little chuckle she lets out as she says “I’m so sorry for your loss” is the stuff superstars are made of.

22. LEFT RIGHT by XG: There was a handful of weeks back in the spring where every iota of my brain space was taken up by XG. The global girl group broke through with videos of the group’s rappers adding their own verses onto iconic modern beats, (group leader Jurin’s verse over ROSALÍA’s “SAOKO” is a bop and a half.) In a departure from the bombastic samples and in-your-face performances of those videos, XG takes a subtler approach on “LEFT RIGHT,” an ebullient blend of R&B and pop that goes down easy but has the same insidious ability to get stuck in my head. The lyrics are goofy yet earnest enough to make up for it. This boy has the narrator’s heart “Spinnin’ round and round / Just like my Pirellis, burning on the ground.” When a love is so strong it can pull you any direction, you’ve got no choice but to kick into gear and let the vibes carry you away.

21. Hummingbird by Metro Boomin ft. James Blake: When I took my seat in the theater to watch Spiderman: Across the Spider-Verse, the second installment in Sony’s stunning animated superhero franchise, I knew the music was going to slap, (the needle drop for “What’s Up Danger” from the first movie is one of my all-time favorites.) While the soundtrack has many a banger, it was ultimately the tender hearted “Hummingbird” that I latched onto. James Blake lends his silky soft vocals to wistfully pine for a love that always remains just out of reach. Metro Boomin elevates the distance Blake describes with spacious and spacey production, dappled with piano and a chirpy sample of Patience & Prudence's "Tonight You Belong to Me." It’s a love song that spans time and space, across the Spider-Verse and well beyond.

20. Patty's Diner by Upstate: “Patty’s Diner” by Upstate came to me via a recommendation from a friend, (shoutout @bellamysgriffin) and I don’t know whether to thank or throttle her for it, because it’s one of the most potent tearjerkers I’ve heard in recent memory. Upon my first listen, I found the song to be starkly understated, nothing but a plucked guitar and traded verses from both lead vocalists. The central character is Patty, a diner owner who passed away from cancer. Now, her memory lives on in late-night radio commercials and fading recollections of her kindness, all recounted with a melancholy shrug. In its staggering simplicity, “Patty’s Diner” captures something potent about the grief we hold for loved ones: it can come with a smile as well as tears. Take a page from Patty’s book and keep pushing forward. What else are we supposed to do?

19. There It Goes by Maisie Peters: On her sophomore album The Good Witch, Maisie Peters writes a lot about the breakup experience. A whole number of spunky kiss-offs from that record could’ve landed on this list, but as the autumn chill locked in for the final months of the year, I found myself more and more drawn to the album’s penultimate moment of reprieve. “There It Goes” shows Peters letting go of the relationship by pivoting towards self-improvement. Atop a warm strummed guitar groove, she lists off the steps to reconnecting with her friends and herself: going to yoga class, reading novels, stumbling through the streets of Stockholm. Much of The Good Witch focuses on the thunder of emotions which come from heartbreak. “There It Goes” is the calm after the storm. It demonstrates the much harder to describe but no less essential development that happens after growing apart: growing up.

18. Only Love Can Save Us Now by Kesha: On her latest album Gag Order, Kesha pivoted from the party anthems that put her on the map in favor of a sparer, darker sound. Then halfway through the album, “Only Love Can Save Us Now” swings in to prove that Kesha can still serve up a barn-burning banger if she wants, and thank god she does. On “Only Love Can Save Us Now,” Kesha unloads a list of unapologetic declarations over a typewriter-clack beat, each line wry and searing: “Yeah, I'm possessive / Maybe I'm possessed, bitch / Fuck yeah, I'm selfish / Shut up, eat your breakfast.” The chorus kicks in with a rollicking guitar, gospel choir, stomping drums, and jangly pianos which all lend a folksy intensity. “I don’t got no shame left,” Kesha sings in the song’s final moments, “Baby, that’s my freedom.” It’s a moment of deft catharsis on an album so heavily defined by what it holds back, a defiant invitation to exorcise your regrets and then invite your demons to come and join the dance party.

17. Mother Nature by MGMT: It’s been five years since MGMT’s last album Little Dark Age, and it feels like I’ve lived a whole lifetime since then. “Mother Nature,” the lead single off their fifth album Loss of Life, shows that MGMT have seemingly grown as much as I have. The song is warm and welcoming, built from sunshiny strummed guitars I’d usually expect from Alex G or Big Thief. But the stargazing, larger-than-life scope of the group’s past work remains, merging the mundane with the magical. “I wrote the fairytale on the midnight drive,” Andrew VanWyngarden sings in the song’s opening moments, “Wanting to know if I'm more than alive.” The rest of the song walks this line between enchantment and ennui, alluding to a greater darkness looming just beyond the horizon. The bridge makes a swing for the anthemic, describing a castle siege over scuzzy wails of distorted synth, a last swipe for hope “before the fantasy is cast into the fire.” I can’t wait to hear how “Mother Nature” fits into Loss of Life, but it’s a song that is determined to live life to the fullest, even in the most barren of landscapes.

16. brrr by Kim Petras: Over the past few years, Kim Petras has become one of the pop landscape’s most audacious players, knowing when to wallop her listeners with unrestrained discussions of sexuality and when to play it coy. She finds a perfect balance between these realms on “brrr.” Built off a beat of squelchy synths and throbbing bass, “brrr” is equal parts daring and alluring. Petras addresses a love interest who puts up thick walls of ice around their heart and makes it clear that she sees right through the charade. “I’m not one to be afraid,” she lilts teasingly on the pre-chorus. Instead of being put off, she buys in, the implication clear as she delivers the title line with a wink and a smirk: “...you think you’re so cold, brrr.” Leave it up to Petras to make even the iciest of imagery steamy as hell.

15. labour by Paris Paloma: It starts with a low male voice, way back in the mix, counting her in on four. Then, the storm clouds roll in. On social media, “labour” by Paris Paloma has been deemed an anthem of female rage, but unlike the immediate, memetic quality of its viral peers, “labour” understands that rage needs time to simmer before it explodes. Paloma airs out every grievance of how this women’s work batters us in body, mind, and spirit, ruthlessly recounting bursting capillaries, cracked skin, every bullshit archetype and patriarchy-serving expectation thrown our way. Paloma knows that at the end of the day, no amount of spectacle could hit harder than the all-too-simple truth at the song’s core: “It’s not an act of love if you make her / you make me do too much labour.” Her vocals layer and layer until the final chorus slams into you like a tidal wave of anger, and by the song's final moments, Paloma has made the narratives made to hold us back into something wholly her own.

14. Nymphs Finding the Head of Orpheus by Nicole Dollanganger: Of all the tales Nicole Dollanganger spins on her album Married In Mount Airy, “Nymphs Finding the Head of Orpheus” is by far one of the most elusive. Dollanganger offers up a foreboding atmosphere of feather-light strings and dark ambient reverb. The imagery centers on rebirth, the baptismal potential of a tepid pool, bodies reclaimed by nature. It has little to do with the gory bacchanal of the mythical moment in the title, but the insinuation remains, seeping in at the seams to suggest violence and regeneration as potentially interconnected. On an album so concerned with all the evils of men, perhaps the most terrifying thing of all is what lies beyond our standard perception of human actions, of nature locked in shadow. On "Nymphs Finding the Head of Orpheus," Dollanganger offers a glimpse of this disembodied face in the darkness, one we’ll never be able to truly know.

13. Sandrail Silhouette by Avalon Emerson: "Sandrail Silhouette" opens DJ Avalon Emerson's album & The Charm, reintroducing a new side of her craft. A departure from the electronic spin of her past work, the song feels organic yet gleaming, constructed of a move-and-shaker groove of rich strings, shuffleboard keys, and gloaming skids of bass. Emerson’s vocals waft over the landscape with the calming timbre of someone telling a bedtime story, stringing lyrics together like beads on a friendship bracelet. It’s an environment that’s easy to get lost in, so much so that it hit November before I even bothered to ask, what even is a "sandrail silhouette?" I have no clue, but it’s not so much about the words themselves as it is about the feelings they evoke, a wistful nostalgia that is aching yet hopeful. This feeling comes across in obtuse details (“Go ask a sequoia”) and stunning clarity alike (“Tell me I got more time / When all my friends are having daughters.”) Like the yearning for the past Emerson describes, my love for this song is hard to put into words. It’s easier to just sit back and let myself feel it.

12. WHAT A MAN by DEBBY FRIDAY: “WHAT A MAN” by DEBBY FRIDAY simply slams so fucking hard. I don’t know what else to say. From the very first listen I came to immediate conclusion that it slammed into oblivion and was one of my favorite songs of 2023. "WHAT A MAN" unfurls like an erotic noir thriller, all churning bass and musings on a love that’s slipped the narrator’s fingers. DEBBY FRIDAY’s lyrics are obtuse yet evocative, contributing to the seductive atmosphere: “I held a heart / It wasn’t mine / When he came looking / I wasn’t kind.” Stacks of escalating synths ratchet up the tension until all hell breaks loose on the back of a scorching electric guitar solo that’d make Andrew Lloyd Weber’s Phantom of the Opera jealous he didn’t come up with it first. It’s the kind of song that rips loose and is over all too fast, asking for forgiveness in the aftermath of ruin, and never, ever permission.

11. Top Dog by Magdalena Bay: Hands down the best pop song of the year to reference Laura Dern, a race that should by all means be a lot more competitive than it is. From its opening references to the actress, synth pop duo Magdalena Bay make it clear that this isn't a song where they're going to be taking themselves too seriously. Everything about "Top Dog" oozes lackadaisical confidence, all with a cheeky wink to the listener. Against a backdrop of strummed guitars, they pepper in samples of cameras snapping and, fittingly, dogs woofing. Not only that, but they also add in a healthy dose of aughts nostalgia with a synth palette that feels directly pulled from dial-up bleeps, Motorola ringtones, and 8-bit power-ups. Mica Tenenbaum’s vocals are a pitch-perfect balance of airy nonchalance and self-satisfaction, traversing through the goofy canine metaphors without once sounding like she’s forcing a punchline to land. It makes for a song that’s loopy, loping, and effortlessly fun.

10. Honey by Samia: It’s hard to pin down what makes the title track of Samia’s sophomore album so special. “Honey” is subtle yet anthemic, an ever-growing conviction coming into fruition over the song’s duration. “I’m not scared of sharks / I’m not scared to be naked / I’m not scared of anything,” Samia sings in the song’s opening moments, going on to narrate a continual climb towards self-confidence and determination. My favorite detail is the gradually growing backing chorus which appears and reappears with more intensity with each new iteration of the song’s main refrain. “It’s all honey,” Samia repeats, over and over at the song’s close. All the times I’ve listened to this song, and I still haven’t pinned down an exact meaning for that line, but maybe that’s the point. The nonchalance, the uncertainty, the acceptance that no matter where life takes us, it's sure to be sweet.

9. Welcome To My Island by Caroline Polachek: In the opening moment of Desire, I Want To Turn Into You, Caroline Polachek shows off the titanic potential of her voice, letting out a dexterous, breathtaking belt that warps and careens into the stratosphere. Even if the song was just comprised of its first thirty seconds, it’d probably still be on this list. But then, of course, there’s the rest of “Welcome To My Island,” a facetious introduction to the sonic space Caroline Polachek will go on to explore over the rest of the album. Over a glimmering, twitchy beat, Polachek half-raps, half-belts a series of pitches for her personal paradise of waving palm trees and placid oceans. On the song’s bridge, she gets more vulnerable, revealing the pathos amongst the phthalo blues: “I am my father’s daughter in the end,” she sings like she’s on the brink of tears, “no nothing’s gonna be the same again.” But when the groove snaps back over an outro of brassily tuned guitars and defiantly chanted “hey hey hey”s, it’s clear that Polachek’s island is worth booking an extended stay, self-doubt be damned.

8. bad idea right? by Olivia Rodrigo: “bad idea right?,” the second single on Olivia Rodrigo’s sophomore album GUTS, followed on the heels of operatic ballad “vampire” by not following it at all. Like the preceding sophomore single “deja vu,” it’s snarkier, wonkier, and (in my opinion,) way more engaging. While Rodrigo undeniably knows how to pen and pull off a dramatic power ballad, her comedic chops deserve recognition too. On “bad idea, right?” she chattily recounts a night of terrible decision making, tossing out hilarious, memorable one-liners at a dizzying rate: “…you're callin' my phone, you're all alone / And I'm sensing some undertones,” “I only see him as a friend / (The biggest lie I ever said,)” “I just tripped and fell into his bed.” The production ups the ante with a strutting bassline, ad-libs which drive every line home like Rodrigo’s inner monologue coming to life, and a squealing guitar solo in the song’s back end. " All in all, "bad idea right?" captures the tumultuous clownery that having a crush conjures up, self-aware embarrassment colliding with lovesick horniness that makes you look a wealth of poor choices the eye and brush it off with a “fuck it, it’s fine.”

7. Echolalia by Yves Tumor: Echolalia is baby babble, the sounds humans make when they don’t have a grasp on language, but still need to communicate some innate need. On their latest album Praise A Lord Who Chews, But Which Does Not Consume (Or, Simply, Hot Between World,) Yves Tumor taps into these primal urges, transmogrifying them to a cosmic level through the medium of phychedelic rock. Such is the case on slow burning second single “Echolalia,” a hazy whirlwind of devotion and desperation. “Looked up to god,” they sing in the first verse, “You looked so good.” Tumor’s voice stays in their husky lower register, gritted out with hushed intensity over an alluring blend of gleaming synths, burning bass, and heaving breaths. “The way I’m thinking, is this unnatural?” they inquire in the song’s final moments, then lay their hesitations to waste in the heat of the moment, “you look so magical." At its most intense, “Echoloalia” strips away the set dressing of pretty words and veneers, unveiling the desire, hunger, and everything that simmers just below the surface, begging to break free.

6. Casual by Chappell Roan: I’ve long bemoaned how many a great pop album has been brought to a screeching halt by a ballad haphazardly thrown in to make things more “emotional.” A pop artist holds genuine promise to me when they’re able to clear this hurdle and make an album’s slower moments just as compelling as the bops. I'm glad to announce that Chappell Roan pasts this test with “Casual,” a mid-album on her debut album The Rise and Fall Of A Midwest Princess. On "Casual," slower pace of the song provides space to let Roan's simmering frustrations with a one-sided situationship reach a breathtaking boiling point. Roan pines for something more official with a girl who insist on having “no connections,” pointing to front seat cunnilingus sessions and dinner dates with her maybe-belle’s parents as proof that they're much more than a casual fling. Eventually, Roan just can’t take it anymore. “I hate that I let this drag on so long,” she confesses at the top of her lungs, “you can go to hell.” It’s testament to Roan’s promise as an emergent pop force that she can establish compelling stakes which make the emotions of her ballads tangible, never skippable.

5. A&W by Lana Del Rey: I already gushed about “A&W” back in March for how it showcases Lana Del Rey’s versatility as a performer, her veracity as a lyricist, and her astuteness in curating her personal history. As the year progressed, “A&W” kept pulling me back into its tumultuous depths, trying to parse its meaning and always falling just a bit short. Over the course of the song’s two-part structure, Lana Del Rey deftly maps a trajectory from childhood innocence to reckoning with how the world will wolf women down without mercy, their physical bodies exploited as their humanity goes unseen. “It's not about havin' someone to love me anymore,” Del Rey states, “No, this is the experience of bein' an American whore.” Lana Del Rey has grappled with these themes of for her whole career, walking the line between nostalgic recollection and ironic deconstruction, but on “A&W” they sharpen into focus and hit both the heart and gut like never before. That switch up into the second half of the song still sends a chill down my spine every time it’s ushered in on the back of those skittering trap drums and roiling bass. “A&W” is everything that makes Lana Del Rey Lana Del Rey, it's alluring, eerie, it’s Venice, bitch, and it’s one of her best songs, period.

4. Boy's a Liar Pt. 2 by Pinkpantheress ft. Ice Spice: When I listen to “Boy’s a Liar Pt. 2” by Pinkpantheress featuring Ice Spice, I feel the popular music landscape shifting beneath my feet. A strange thought to have about a song that’s so pointedly small in scope. Even with the Ice Spice verse extending the length of “Boy’s a Liar,” the song just barely exceeds two minutes. Given such restrictions, the amount of detail both artists manage to cram in is nothing short of impressive. Pinkpantheress jam-packs the beat with bouncy synths and a drum pad which races like a fluttering pulse. Ice Spice spends most of her verse telling off the useless titular liar, but adds in a one-two punch of vulnerability near the end with a heartened confession: “…I don't sleep enough without you / And I can't eat enough without you / If you don't speak, does that mean we're through?” “Boy’s a Liar Pt. 2” is more than just a rare remix that exceeds the quality of the first installment. It’s the bona-fide hit of the TikTok generation that feels fully born of the app’s tendencies, it’s mile-a-minute pacing, nostalgic skew, casual intimacy, and brutal honesty all rolled up into an inescapable earworm. I’d take part three in a heartbeat.

3. Psychedelic Switch by Carly Rae Jepsen: Throughout her career, Canadian pop connoisseur Carly Rae Jepsen has captured love from all angles, rendered its scope of e•mo•tion in a slew of shades. “Psychedelic Switch” off her latest album The Loveliest Time shows her setting the disco ball to spin, covering the entire spectrum of light and color in one go. Over a pulsing, dance-floor ready beat, she swirls together metaphors with the precision of a gourmet mixologist, taking odds and ends of all things dreamy to capture the onset of a whirlwind romance. This love is like a psychedelic trip. It’s like lucid dreaming. It’s like meditating. It’s sunsets and paradise and coming home. It's the all-encompassing rush of euphoria that only pop music can capture. Jepsen finishes off the concoction with a dash of sighing violins, a twist of bass throbbing like a heartbeat, and a couple drops of reverb-washed ad-libs. Every one of Jepsen’s album cycles has the fan-favorite standout to add to her growing canon, and from the very first listen I knew “Psychedelic Switch” had cemented itself within her ranks of cult classics.

2. Not Strong Enough by boygenius: When Lucy Dacus, Phoebe Bridgers, and Julien Baker announced their first full-length project as the singer-songwriter supergroup boygenius, the record, (the record,) had the aura of something larger than life, a culmination of three generational talents celebrating their chemistry as collaborators. If there is any song on the album that captures this magic, it’s “Not Strong Enough,” a song which burst out of the gate sounding like an instant classic. “Not Strong Enough” chronicles the search for identity amidst uncertainty, the line “I don’t know why I am / The way I am” may just be its driving force. And boy does it drive, as the singers search for clues listening to The Cure while drag racing down canyon highways, skipping old exits, roving out in search of a meaning that may never materialize. This freedom and frustration culminate on the bridge, where Dacus’s mastery of vocal dynamics takes center stage. “Always an angel / Never a god,” she sings, starting off with a whiff of timidity before escalating to belt it up to the heavens, backed up with stunning harmonies from her peers. An angel may only ever be second-best, only ever identified through its relation to a higher power, but that just makes the journey towards self-actualization more transcendent.

1. Sepsis by Blondshell: For the longest time, I was determined to put any other song but “Sepsis” at the number one spot on this list. Initially, my pick from Blondshell’s self-titled debut was “Kiss City,” an amazing song, but sadly not the one I played over and over, screaming along because the lyrics hit too damn close to home. Much of Blondshell grapples with addiction, and on “Sepsis,” Sabrina Teitelbaum explores how the validation one gets through situational flings is one hell of a drug. Atop the ebb and flow of electric guitar, she interrogates the tendency to keep returning to a man she should be avoiding, a dick with a front-facing cap who’s bad in bed. Still, she keeps coming back, pissed therapist be damned, because “if I’m in love, nothing hurts.” Teitelbaum hones these observations through the metaphor of curing ailments and fast-acting sickness, “he’s going to start infecting my life / it’ll hit all at once like sepsis.” It’s a metaphor which exposes how self-destructive these habits are. “What if I’m down to let this kills me?” she howls at the apex of the bridge before, the sentence slurring into a frustrated scream as the entire song tumbles back into a cavalcade of fiery chords. If there’s anything “Sepsis” and my relationship to it proves, it’s that confronting these unhealthy habits is difficult, but essential. Sometimes, you’ve got to recognize that these coping mechanisms aren’t a “cure” and are only “making it worse.” It’s only then that true healing can begin.

Thank you so much to anyone who has interacted with this blog over the past year. I hope you all are having a happy holiday season!. My top 10 albums list should be out soon. See you then!

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talknerdytome18 · 7 months

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After studying for my HSC, it's time to drop my 10 hot takes about HSMTMTS. (For the love of my sanity, do not go after me Twitter lurkers. I already dealt with your bs back in April)

Disclaimer: THESE ARE MY OPINIONS. For the love of my sanity, do not come for me if we don't have the same opinion. Got it? Good, let's go!

I prefer S3 over S4. Yes, S4 was hilarious and had some of the best songs (Over Again, CIWYW, Dreams Don't Die, etc), but I feel S4 focused too much on romantic relationships rather than friendships. S3 gave us different platonic dynamics such as Ricky and Carlos, Kourtney and Carlos, Kourtney and Gina, Ricky and Jet and the Tercet. S4 kind of failed to serve on these dynamics and instead, focused too much on romance. S3 was also just buzzier and I was so hyped for it because of the camp environment, but S4 is still great!

Mack and Dani were unnecessary. I understand that not everyone needs to have a major arc, but these two were just nonexistent and weren't needed. I expected that they would play major roles due to the hype, but all they did was cause some drama and then vanish until the finale. How boring is that? At least Mack was interesting, while Dani was just Knockoff Lily.

JETNEY DESERVED MORE SCREENTIME. Do I even need to explain? It feels like we got nothing of them and I hate it so much! All we got was an implied endgame when it was being hyped that Jet would confess his feelings for Kourtney, but he didn't even do it??? SPINOFF WITH JETNEY IS A MUST SO WE CAN SEE THEM AS A COUPLE.

4x06 was a great episode, BUT GOD THE INCONSISTENCIES WERE ANNOYING ME. I really hate to say this, but the Kourtney and Ashlyn scene didn't make much sense because Kourtney knew that EJ and Nini were auditioning for HSM! SHE WAS WITH THEM AT LUNCH WHEN THEY WERE TALKING ABOUT IT! I love this episode primarily because of Over Again but God, that writing was LAZY.

I would speak on the cheating plotline, but that would turn into a full essay, so I will just summarise it: AWFUL. Literally just awful and if they wanted to make Seblos drama that badly, then I would have done more with Seb's coming out dilemma with his dad.

Scream... listen, I know that Ricky had just received some big news about Gina, but Scream was not that good. Maybe they told Joshua to sing "pretty", which usually works with ballads, but it doesn't work with Scream. Scream is meant to be angsty as Troy is meant to be angry that people are telling him what his future should be. However, Ricky sings it too soft and it feels very weak, which is a shame because this song was so anticipated and I felt very disappointed by it. This is not to discredit Joshua's talent because he still did a great job! However, I would not listen to his version of Scream in my free time, rather I'd put on the OG instead.

WE DESERVED I DON'T DANCE ON THE SHOW. MISSED OPPORTUNITY.

Maddox and Jet getting reduced to love interests made me so sad. I get they were recurring this season but they were so fleshed out in S3 and I wish they had more to do besides being love interests. Also... we didn't get their last name... RUDE.

Antoine and Big Red getting together in the end felt like it was just so everyone (excluding Emmy) had a partner at the end. Antoine has never been my fave so I don't really care for him and Big Red.

I don't care what anyone says about Seblos: They are still my fave pairing and nothing S4 did convinced me to hate them. I've been a loyal Seblos stan since 2021 I ain't leaving them anytime soon.

That's it. Now time to cry about Legal Studies! - Em

#hsmtmts #opinion #hot take #ricky bowen #gina porter #ashlyn caswell #maddox hsmtmts #kourtney greene #jet hsmtmts #seb matthew smith #seblos #jetney #mack hsmtmts #dani hsmtmts

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snowysakusa · 6 months

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going down the brocedes rabbit hole pretty quickly, so i decided to make a taylor swift playlist-

can i call this a brocedes fic with taylor swift lyrics? cause it kinda is just that... anyway lets get down to it.

okay how about:

invisible string Cornelia Street Sweet Nothings Maroon champagne problems tolerate it coney island peace exile All Too Well (10 Min) The Archer The Great War Say Don't Go this is me trying You're Losing Me my tears ricochet Breathe Is It Over Now? The Way I Loved You I Bet You Think About Me Now That We Don't Talk

Here's the 'story'

1. invisible string / like a prologue (lewis' version perhaps)

Time, curious time Gave me no compasses, gave me no strings Were there clues I didn't see? And isn't it just so pretty to think All long there was some Invisible string Tying you to me? Time, mystical time Cuttin' me open, then healin' me fine Were there clues I didn't see? And isn't it just so pretty to think All along there was some Invisible string Tying you to me? A string that pulled me Out of all the wrong arms right into that dive bar Something wrapped all of my past mistakes in barbed wire Chains around my demons, wool to brave the seasons One single thread of gold tied me to you (...) Time, wondrous time Gave me the blues and then purple pink skies And it's cool, baby, with me And isn't it just so pretty to think All along there was some Invisible string Tying you to me?

unrelated to this narrative but: Cold was the steel of my axe to grind For the boys who broke my heart Now I send their babies presents (literally lewis sending presents to nico's daughters, i screamed)

2. Cornelia Street / Lover song, can't imagine it ending, prologue 2 (nico's version)

We were a fresh page on the desk Filling in the blanks as we go As if the street lights pointed in an arrowhead Leading us home (...) Memorize the creaks in the floor Back when we were card sharks, playing games I thought you were leading me on I packed my bags, left Cornelia Street Before you even knew I was gone But then you called, showed your hand I turned around before I hit the tunnel Sat on the roof, you and I (...) Walk me back to that apartment Years ago, we were just inside Barefoot in the kitchen Sacred new beginnings That became my religion, listen I hope I never lose you I'd never walk Cornelia Street again Oh, never again (...) That's the kind of heartbreak time could never mend

3. Sweet Nothings / Beginnings, sweet nothings leading them on

I spy with my little tired eye Tiny as a firefly A pebble that we picked up last July Down deep inside your pocket We almost forgot it Does it ever miss Wicklow sometimes? They said the end is coming Everyone's up to something I find myself running home to your sweet nothings Outside, they're push and shoving You're in the kitchen humming All that you ever wanted from me was sweet nothing Industry disruptors and soul deconstructors And smooth-talking hucksters out glad-handing each other And the voices that implore, "You should be doing more" To you, I can admit that I'm just too soft for all of it

4. Maroon / They're loosing themselves here, the start of hurting each other

The burgundy on my T-shirt when you splashed your wine into me And how the blood rushed into my cheeks, so scarlet, it was The mark you saw on my collarbone, the rust that grew between telephones The lips I used to call home, so scarlet, it was maroon When the silence came, we were shaking blind and hazy How the hell did we lose sight of us again? Sobbin' with your head in your hands Ain't that the way shit always ends? You were standin' hollow-eyed in the hallway Carnations you had thought were roses, that's us I feel you no matter what The rubies that I gave up

5. Champagne Problems / consequences, mellowness, public view of their feud

You booked the night train for a reason So you could sit there in this hurt Bustling crowds or silent sleepers You're not sure which is worse Because I dropped your hand while dancing Left you out there standing Crestfallen on the landing Champagne problems You had a speech, you're speechless Love slipped beyond your reaches And I couldn't give a reason Champagne problems Your Midas touch on the Chevy door November flush and your flannel cure "This dorm was once a madhouse" I made a joke, "Well, it's made for me" How evergreen, our group of friends Don't think we'll say that word again And soon they'll have the nerve to deck the halls That we once walked through One for the money, two for the show I never was ready, so I watch you go Sometimes you just don't know the answer 'Til someone's on their knees and asks you "She would've made such a lovely bride What a shame she's fucked in the head, " they said But you'll find the real thing instead She'll patch up your tapestry that I shred

6. tolerate it / nico pov, he's had it, begging for acknowledgement

I sit and watch you reading with your head low I wake and watch you breathing with your eyes closed I sit and watch you I greet you with a battle hero's welcome I take your indiscretions all in good fun I sit and listеn While you were out building other worlds, where was I? Where's that man who'd throw blankets over my barbed wire? I made you my temple, my mural, my sky Now I'm begging for footnotes in the story of your life Drawing hearts in the byline Always taking up too much space or time You assume I'm fine, but what would you do if I Break free and leave us in ruins Took this dagger in me and removed it Gain the weight of you then lose it Believe me, I could do it If it's all in my head, tell me now Tell me I've got it wrong somehow I know my love should be celebrated But you tolerate it

7. coney island / lewis pov, doesn't understand what changed, grief towards the relationship

Break my soul in two looking for you But you're right here If I can't relate to you anymore Then who am I related to? Did I close my fist around something delicate? Did I shatter you? And I'm sitting on a bench in Coney Island Wondering, "Where did my baby go?" The fast times, the bright lights, the merry-go Sorry for not making you my centerfold Do you miss the rogue Who coaxed you into paradise and left you there? Will you forgive my soul When you're too wise to trust me and too old to care? 'Cause we were like the mall before the internet It was the one place to be The mischief, the gift-wrapped suburban dreams Sorry for not winning you an arcade ring And when I got into the accident The sight that flashed before me was your face But when I walked up to the podium I think that I forgot to say your name When the sun goes down The sight that flashed before me was your face When the sun goes down But I think that I forgot to say your name Over and over

8. peace / decisions and confessions

Our coming-of-age has come and gone Suddenly the summer, it's clear I never had the courage of my convictions As long as danger is near And it's just around the corner, darling 'Cause it lives in me No, I could never give you peace All these people think love's for show But I would die for you in secret The devil's in the details, but you got a friend in me Would it be enough if I could never give you peace? And you know that I'd swing with you for the fences Sit with you in the trenches Give you my wild, give you a child Give you the silence that only comes when two people understand each other Family that I chose, now that I see your brother as my brother Is it enough? But the rain is always gonna come if you're standing with me Would it be enough if I could never give you peace?

9. exile / conflict within themselves

I can see you standing, honey With his arms around your body Laughin', but the joke's not funny at all I think I've seen this film before And I didn't like the ending You're not my homeland anymore So what am I defending now? You were my town Now I'm in exile, seein' you out I think I've seen this film before I can see you starin', honey Like he's just your understudy Like you'd get your knuckles bloody for me I think I've seen this film before And I didn't like the ending I'm not your problem anymore So who am I offending now? You were my crown Now I'm in exile, seein' you out I think I've seen this film before So I'm leavin' out the side door So step right out, there is no amount Of crying I can do for you All this time We always walked a very thin line You didn't even hear me out (you didn't even hear me out) You never gave a warning sign (I gave so many signs) I never learned to read your mind (never learned to read my mind) I couldn't turn things around (you never turned things around) 'Cause you never gave a warning sign (I gave so many signs)

10. All Too Well (10 Min) / Recap of everything that went down, trip down memory lane, receipts for combat (11. the archer)

And I, left my scarf there at your sister's house And you've still got it in your drawer even now And I can picture it after all these days And I know it's long gone and that magic's not here no more And I might be okay but I'm not fine at all You almost ran the red 'cause you were lookin' over at me Your cheeks were turning red You used to be a little kid with glasses in a twin-sized bed And your mother's telling stories 'bout you on the tee-ball team You told me 'bout your past thinking your future was me 'Til we were dead and gone and buried Check the pulse and come back swearing, it's the same After three months in the grave And then you wondered where it went to as I reached for you But all I felt was shame And you held my lifeless frame And I know it's long gone and there was nothing else I could do And I forget about you long enough to forget why I needed to 'Cause there we are again in the middle of the night We're dancing 'round the kitchen in the refrigerator light And there we are again when nobody had to know You kept me like a secret, but I kept you like an oath And maybe we got lost in translation Maybe I asked for too much But maybe this thing was a masterpiece 'til you tore it all up Running scared, I was there I remember it all too well And you call me up again just to break me like a promise So casually cruel in the name of being honest I'm a crumpled up piece of paper lying here 'Cause I remember it all, all, all Too well They say all's well that ends well But I'm in a new hell every time You double-cross my mind The idea you had of me, who was she? A never-needy, ever-lovely jewel Whose shine reflects on you That's what happened: You You who charmed my dad with self-effacing jokes Sippin' coffee like you're on a late-night show But then he watched me watch the front door all night Willin' you to come And he said: It's supposed to be fun Turning 21 Time won't fly, it's like I'm paralyzed by it I'd like to be my old self again But I'm still trying to find it But you keep my old scarf from that very first week 'Cause it reminds you of innocence And it smells like me You can't get rid of it 'Cause there we are again when I loved you so Back before you lost the one real thing you've ever known It was rare, I was there I remember it all too well And did the twin flame bruise paint you blue? Just between us, did the love affair maim you too? 'Cause in this city's barren cold I still remember the first fall of snow And how it glistened as it fell I remember it all too well Just between us, did the love affair maim you all too well? Just between us, do you remember it all too well?

11. The Archer / pre-climax

Combat, I'm ready for combat I say I don't want that, but what if I do? 'Cause cruelty wins in the movies I've got a hundred thrown-out speeches I almost said to you Easy they come, easy they go I jump from the train, I ride off alone Dark side, I search for your dark side But what if I'm alright, right, right, right here? I wake in the night, I pace like a ghost The room is on fire, invisible smoke And all of my heroes die all alone Help me hold onto you I've been the archer I've been the prey Screaming, who could ever leave me, darling? But who could stay? Can you see right through me? They see right through me I see right through me All the king's horses, all the king's men Couldn't put me together again 'Cause all of my enemies started out friends Help me hold onto you I've been the archer I've been the prey Who could ever leave me, darling? But who could stay? You could stay Combat, I'm ready for combat

12. The Great War / self explanatory, climax. screaming, crying, throwing up (but well see 13 & 14)

My knuckles were bruised like violets Sucker punching walls, cursed you as I sleep-talked Tore your banners down, took the battle underground And maybe it was ego swinging You drew up some good faith treaties I drew curtains closed, drank my poison all alone You said I have to trust more freely But diesel is desire, you were playin' with fire And maybe it's the past that's talkin' Screamin' from the crypt Tellin' me to punish you for things you never did So I justified it It turned into something bigger Somewhere in the haze, got a sense I'd been betrayed Your finger on my hair pin triggers Soldier down on that icy ground Looked up at me with honor and truth Broken and blue, so I called off the troops That was the night I nearly lost you I really thought I lost you There's no morning glory, it was war, it wasn't fair And we will never go back To that bloodshed, crimson clover Uh-huh, the worst was over My hand was the one you reached for All throughout the Great War Always remember Uh-huh, we're burned for better I vowed I would always be yours 'Cause we survived the Great War

13. Say Don't Go / turnaround

I've known it from the very start We're a shot in the darkest dark I'm standin' on a tightrope alone I hold my breath a little bit longer Halfway out the door, but it won't close I'm holdin' out hope for you to Say, "Don't go" I would stay forever if you say, "Don't go" Now I'm pacin' on shaky ground Strike a match, then you blow it out Oh no, oh no, it's not fair Why'd you have to (why'd you have to) Make me want you (make me want you)? Why'd you have to (why'd you have to) Give me nothin' back? Why'd you have to (why'd you have to) Make me love you (make me love you)? I said, "I love you" (I said, "I love you") You say nothin' back Why'd you have to lead me on? (Oh) Why'd you have to twist the knife? Walk away and leave me bleedin', bleedin'? Why'd you whisper in the dark Just to leave me in the night? Now your silence has me screamin', screamin' go" I would stay forever if you say, "don't go" But you won't, but you won't, but you won't

14. this is me trying / nico, post-retirement-ish, rough patch, regrets

I've been having a hard time adjusting I had the shiniest wheels, now they're rusting I didn't know if you'd care if I came back I have a lot of regrets about that I just wanted you to know That this is me trying They told me all of my cages were mental So I got wasted like all my potential And my words shoot to kill when I'm mad I have a lot of regrets about that I was so ahead of the curve, the curve became a sphere Fell behind on my classmates, and I ended up here Pouring out my heart to a stranger But I didn't pour the whiskey And it's hard to be at a party when I feel like an open wound It's hard to be anywhere these days when all I want is you You're a flashback in a film reel on the one screen in my town And I just wanted you to know That this is me trying (...) At least I'm trying

15. You're Losing Me / the end, melancholy, relationship finale pt.1, friends? we're not friends vibes

You say, "I don't understand, " and I say, "I know you don't" Do I throw out everything we built or keep it? I'm getting tired even for a phoenix Always risin' from the ashes Mendin' all her gashes You might just have dealt the final blow Stop, you're losin' me I can't find a pulse My heart won't start anymore For you 'Cause you're losin' me How can you say that you love someone you can't tell is dyin'? I sent you signals and bit my nails down to the quick My face was gray, but you wouldn't admit that we were sick And the air is thick with loss and indecision I know my pain is such an imposition And you know what they all say You don't know what you got until it's gone How long could we be a sad song 'Til we were too far gone to bring back to life? I gave you all my best me's, my endless empathy And all I did was bleed as I tried to be the bravest soldier Fighting in only your army Frontlines, don't you ignore me You're losin' me Stop (stop, stop), you're losin' me Stop (stop, stop), you're losin' me I can't find a pulse My heart won't start anymore

16. my tears ricochet / the final blow, relationship finale pt.2, dead and gone and buried

If I'm on fire, you'll be made of ashes too Even on my worst day, did I deserve, babe All the hell you gave me? 'Cause I loved you, I swear I loved you 'Til my dying day And if I'm dead to you, why are you at the wake? Cursing my name, wishing I stayed Look at how my tears ricochet You know I didn't want to have to haunt you But what a ghostly scene You wear the same jewels that I gave you As you bury me I didn't have it in myself to go with grace 'Cause when I'd fight, you used to tell me I was brave And I can go anywhere I want Anywhere I want, just not home And you can aim for my heart, go for blood But you would still miss me in your bones I didn't have it in myself to go with grace And so the battleships will sink beneath the waves You had to kill me, but it killed you just the same Cursing my name, wishing I stayed You turned into your worst fears And you're tossing out blame, drunk on this pain Crossing out the good years

17. Breathe / cause and effect, acceptance

I see your face in my mind as I drive away, 'Cause none of us thought it was gonna end that way But it's killing me to see you go after all this time Now I don't know what to be without you around And we know it's never simple, Never easy Never a clean break, no one here to save me You're the only thing I know like the back of my hand, Never wanted this, never wanna see you hurt Every little bump in the road I tried to swerve And sometimes it doesn't work out, Nothing we say is gonna save us from the fall out I can't, Breathe, Without you, But I have to, Breathe, Without you, But I have to

18. Is it Over? / resentment, bitterness, both sides, in your face type of vibes

I slept all alone You still wouldn't go And did you think I didn't see you? There were flashing lights At least I had the decency To keep my nights out of sight Only rumors 'bout my hips and thighs Was it over then? And is it over now? When you lost control Red blood, white snow Blue dress on a boat Your new girl is my clone Let's fast forward to three hundred awkward blind dates later If she's got blue eyes, I will surmise that you'll probably date her You dream of my mouth before it called you a lying traitor You search in every model's bed for something greater Oh, Lord, I think about Jumping off of very tall somethings Just to see you come running And say the one thing I've been wanting But no

19. The Way That I Loved You / reminiscing, flashbacks

He is sensible and so incredible And all my single friends are jealous He says everything I need to hear, and it's like I couldn't ask for anything better He respects my space And never makes me wait And he calls exactly when he says he will He's close to my mother Talks business with my father He's charming and endearing And I'm comfortable He can't see the smile I'm faking And my heart's not breaking 'Cause I'm not feeling anything at all And you were wild and crazy Just so frustrating, intoxicating, complicated Got away by some mistake and now I miss screaming and fighting and kissing in the rain It's 2 a.m. and I'm cursing your name I'm so in love that I acted insane And that's the way I loved you Breaking down and coming undone It's a roller coaster kind of rush And I never knew I could feel that much And that's the way I loved you

20. I Bet You Think About Me / again with the reminiscing of the past, their lives, a bit of knife digging in the wound, I bet you think about me while thinking about them, double sided sword there

3 a.m. and I'm still awake, I'll bet you're just fine Well, I tried to fit in with your upper-crust circles Yeah, they let me sit in back when we were in love Oh, they sit around talkin' 'bout the meaning of life And the book that just saved 'em that I hadn't heard of But now that we're done and it's over I bet you couldn't believe When you realized I'm harder to forget than I was to leave And I bet you think about me You grew up in a silver-spoon, gated community Glamorous, shiny, bright Beverly Hills I was raised on a farm, no, it wasn't a mansion Just livin' room dancin' and kitchen table bills But you know what they say, you can't help who you fall for And you and I fell like an early spring snow The voices so loud sayin', "Why did you let her go?" Does it make you feel sad That the love that you're lookin' for Is the love that you had? Now you're out in the world, searchin' for your soul Scared not to be hip, scared to get old Chasing make-believe status, last time you felt free Was when none of that shit mattered 'cause you were with me I bet you think about me in your house With your organic shoes and your million-dollar couch I bet you think about me

21. Now That We Don't Talk / they still check in on each other, instead of talking, the end

You went to a party I heard from everybody You part the crowd like the Red Sea Don't even get me started Did you get anxious though On the way home? You grew your hair long You got new icons You didn't have to change But I guess I don't have a say I call my mom, she said that it was for the best Remind myself the more I gave, you'd want me less I cannot be your friend So I pay the price of what I lost And what it cost I don't have to pretend I like acid rock Or that I'd like to be on a mega yacht With important men who think important thoughts Guess maybe I am better off Now that we don't talk And the only way back to my dignity Was to turn into a shrouded mystery Just like I had been when you were chasing me Guess this is how it was to be Now that we don't talk

i tried to make this short- i tried and did not succeed.

when i listen to songs i see stories and i connect them, all that jazz. I saw this.

i apologise to everyone who's normal about brocedes, im not apparently.

#brocedes #f1 #lewis hamilton #nico rosberg #im not okay #that post that went this narrative fits both nico and george kinda killed me dead gone died #brocedes edit #mine #i think i hallucinated this whole thing tbh #my ramblings

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kalena-henden · 1 month

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Lee Je Hoon's Chief Detective 1958 starts today. Can't wait to watch! I enjoyed him in Taxi Driver and really want to watch through his filmography eventually.

Lovely Runner is knocking my socks off! Byeon Wook Seok and Kim Hye Yoon are killing both the comedy and the drama. Wook Seok is the cutest loser in love! The mystery and unexpected twists are fun and interesting. I hope this quality storytelling continues. I'm on the edge of my seat.

I only have 3 episodes left of Love Me Love My Voice which has been wonderful and heartwarming. I love the main romance but the friendships and secondary romances have been given ample time to shine as well. I'm always here a good found family. I really like how the dramatic readings and song perfomances have been carefully woven into the story to further the character development. Definitely recommend.

Now we come to our debrief on The Smile Has Left Your Eyes. Whoa, what a rollercoaster. The first half was interesting with many characters' selfish and dark intentions mixed with a little mystery were set up in contrast to our optimistic, self-sacrificing female lead. However, the second half drowned in major events happening and then being dismissed as if they never happened, multiple secret keepers refusing to tell the secret multiple times an episodes even when asked point blank when the answers could stop so many bad things from happening, and the existential dread I felt about what the big reveal was going to be only for it to completely dismissed. (FYI I found out what I thought was going to be the big reveal IS the actual reveal in the darker Japanese version it's based on.) After episode 14, I wasn't sure I could continue watching the show. But after a night of uneasy sleep, I decided to finish it the next morning on double speed to get through it. I did watch the last 10 minutes at regular speed. While there were some well done things about their relationship in the second half, it couldn't save the show for me even though I went in knowing this was not an HEA. Overall, I was just left feeling angry and exhausted. As a Seo In Guk fan, this was a show I had long wanted to see, just to find out what my opinion on it would be. I'm sad that the SIG fanmeet has been post-poned, hopefully I will be able to make the next date. But this means I feel okay to stop my SIG show binging so I will not be watching Hello Monster anytime soon. I'm actually impressed with how much of SIG's filmography I've already seen (7 shows as a ML, 4 shows as a cameo, and 1 movie). I'm pretty sure it's more than I've seen any other kdrama actor or actress.

After a bad experience at the new dentist yesterday, where the hygienist manhandled my teeth and they tried to upsell me on services, I was in need of a comfort rewatch. I've been thinking alot about Lee Jun Young lately and decided to break out the first thing I ever saw him in, Imitation. I was only going to watch a few favorite parts from an episode or two and ended up binging my favorite parts of most of the series. lol I really hope his upcoming Cinderella romcom with Pyo Ye Jin is going to be good.

I slowly picked Vigilante back up again this week and was excited to see Lee Joon Hyuk's character finally emerge to add a boost of energy and chaos to the story.

Now that I've got some time and the second half of the series has finally dropped, I will continue watching Chae Jong Hyeop's Eye Love You.

#chief detective 1958 #lovely runner #love me love my voice #the smile has left your eyes #imitation #eye love you #kdrama #kalena watches tv #kalena watches kdramas #tv #tv list #kalenapost

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maliceincandyland · 1 year

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James (Pokémon) & His Inner Demons

James is a gangster who struggles with depression and has a paralyzing fear of commitment, but he’s a fighter.

James’s Past

TW: Abuse

James grew up wealthy, but left home when he was around 10. His private tutors were physically abusive whenever he got something wrong or showed emotion (AG147). His ex-fiancée, Jessibelle, was emotionally, physically, and sexually abusive. We see her try to r*** him onscreen and she’s done it in the past (Japanese version: “This is... the same stuff... you used last time.” English dub: “This is just like... This is just like... last time.”). His parents help her assault him because he’s only useful to them as someone who can produce heirs. They also didn’t let him have toys. He collected bottle caps in secret, but his mother threw them away whenever she found them (XY85).

In my opinion, James seemed to imply that he doesn’t want kids, with anyone, because of his parents’ abuse. That is, in SM46, Ash’s friend Lillie says that it’s unfair that her toxic mother expects her to bend over backwards for her. In the Japanese version, James says to Jessie, “Such is the fate between parents’ relationships with their children.” I take that to mean that he doesn’t like the idea of having kids, because only two episodes later, Professor Burnett drops the hint to Professor Kukui that she wants kids and he blushes. (As for Jessie, she’s never fantasized about having kids.)

James met Jessibelle at a ball abroad in his social circles. He got excited that someone noticed him for once and he thought she was pretty. In the DP series, so like half-way through the Pokémon series, he says that he was in “love” with her (Japanese and dub versions say “love”) but she broke his heart. He says this was the primary reason that he left home (DP153). Physical harm was one thing but manipulating his feelings hurt much more. When talking about this, his voice sounds like he’s going to cry, and he smiles when he recalls writing her a love letter. This makes me think that in DP, he thought that some part of him was still in love with her. Curiously, when James sees Jessibelle for the first time in years (Kanto 48), a jazzy noir-sounding song plays that’s called “Hiya, Hot Stuff!”

Of course, it isn’t love. Attraction, sure. But, during DP, he still had PTSD from her abuse, so any ‘feelings’ for her after they first met would be Stockholm Syndrome. I think the other reason that he thought he loved Jessibelle is because he doesn't (or didn't in DP) know what love is. Fortunately, he's quite sure that he is no longer in love with Jessibelle (Kanto 48, DP2, DP117, DP153). Even though he hates balls, because of Jessibelle, he manages to be Jessie’s date at a ball (a ball for regular people; not aristocrats) (XY105). He doesn’t enjoy it, but he doesn’t complain out loud, for Jessie’s sake. She has a great time at the ball.

After leaving home, James applied to Pokémon school and met Jessie, who was also applying (Kanto 9, Kanto 48). It would’ve been immediately obvious to him that she looks exactly like Jessibelle. We know that he knows that she looks like Jessibelle (DP153). He could have had genuine feelings for Jessie when he met her. But I think part of him would’ve wanted to have her replace his first love. The catch is that her looking like Jessibelle probably made/makes physical contact, uh, challenging.

James didn’t pass the school’s entrance exam. Jessie did, but she chose not to go (Japanese version of Kanto 9). So they joined a biker gang (Kanto 36, Kanto 48). At some point, they parted ways until they were adults. Jessie ended up joining Team Rocket. Then James joined and seemingly volunteered to be her partner. She was a femme fatale known as The God of Death, so she was always in need of a new partner, as no one wanted to work with her.

Although there are different ways that this flashback can be interpreted, it seems like Jessie and James recognized each other and that Jessie was upset with James (like if he left her or if they had a fight). I interpret it as him having left her because later on (in the Japanese version) he confesses that he tried to outrun his past and has been running away his whole life.

If James joined Team Rocket for Jessie, then that’s a rather grand gesture, because, in Pokémon, gangsters are highly stigmatized. They can leave Team Rocket any time they want to, but they would have trouble finding a job and a significant other. They could change their identity, but that would also be hard on a person. Never, ever telling their significant other and friends who they are and knowing that they wouldn't be accepted. The red "R" on their uniform is almost literally a Scarlet Letter. Three of Jessie and James's friends left Team Rocket, but they started their own businesses and made no attempt to fit in with ordinary society.

In any case, being in Team Rocket empowers James with a sense of confidence (DP139), and he seems to enjoy the military exercises (DP137).

Barbed Wire Fences

James’s traumas affect him throughout the series, but he becomes less and less affected over time.

On the positive side, James has strong boundaries and won't hesitate to cut people who cross them out of his life (Kanto 48, DP153, SM58). He does not allow others to manipulate him, play mind-games with him, or rope him into their drama.

On the other hand, when Jessie tries to get him to talk about how he's feeling, he typically ices her out (DP54, DP55, DP70, DP165, XY85, SM58, ATBAM 9, etc.). In DP117, Jessie saves him and his first instinct is to pretend that he doesn't care. She then tells him to stop lying, and he cuts it out.

When Jessie and James became partners in Team Rocket, he was standoffish. While his heart was in the right place, he was averse to accepting help. Jessie offered him her food ration because he didn't eat anything all day (she didn't either, as she gave the rest of the ration to Meowth), but he turned it down. Then she insisted, so he took it. She tried to keep him from falling in a river, but he intentionally let go of her hand. She tried to keep him from falling down a chute, but he let go of her hand. Anticipating that, she grabbed his wrist, and he got mad and insisted she let go. She refused, and he was moved.

However, he seems to have mostly moved past shutting out loved ones, as he is brutally honest about what he thinks, in SM58.

Heart of Darkness

James’s inner darkness also seems to affect his ability to be a Trainer.

A Pokémon is mostly an extension of its Trainer (ex. JN72). They pick up their Trainer’s mannerisms and interests because Trainer and Pokémon are bonded through their hearts. Sometimes the bond between Trainer and Pokémon is so strong that they can psychically sense where the other one is (XY28, XY30, XY68, ATBAM6). The Gym Leader Korrina calls this being “soulmates” (Japanese version of XY30).

When Pokémon battle, they connect their heart with that of their Trainer. They siphon some energy from the Trainer (a lot of energy if they do a Z-Move, G-Max, or Mega Evolution) and feel each other’s emotions. That’s what they mean when they say that a Trainer has a heart that’s true or a heart that’s pure. Trainers can also send energy to their Pokémon in other situations, like while riding the Pokémon (ex. XY53) or when the Pokémon needs energy to heal (ex. XY105).

Pokémon attacks are relatively weak if Trainer and Pokémon don't connect to each other's hearts, or if the Trainer's heart doesn't feel love. For instance, in AG177, Jessie and James Tag Battle Ash and Brock, using Pokémon on loan from Team Rocket Headquarters. It starts off well for Jessie and James. But battling seems to bring out the true feelings in their hearts because they start arguing about personal issues between them. The Pokémon, even though they don't belong to Jessie and James, start arguing with each other too, because their hearts are connected with Jessie and James for the time being.

In the SM series, characters learn Z-Moves, which are special moves that use the Trainer's auric energy to fuel the attack. The Kahuna (Gym Leader, basically) of Melemele Island, says that Z-Moves allow people to feel a Trainer's emotions, because it brings out a Trainer’s aura. Ash's friend, Kiawe, says that to use a Z-Move, a Pokémon and Trainer's heart have to become one, and then their combined feelings turn into energy that can be used in battle. But they can't be just any feelings; they have to be feelings of love for all living things. When using Z-Moves, they are to focus on their love of community, love for their fellow man, or love of Pokémon.

James's aura would not feel pleasant. It would be full of pain, fear, resentment, betrayal, and loneliness. It reminds of Howl’s Moving Castle when Howl’s depression is triggered. His hair turns black, green slime comes out of him and covers his skin, and dark spirits emerge from the shadows. Actually, the first analogy that came to mind was that feeling James's aura would be like blasting "Down With The Sickness" by Disturbed, but that's neither here nor there.

James makes a point of telling us that he’s black-hearted. In the BW series motto, he says he's "The pure heart of darkness" (Dub: "With thunderous emotion") who is "The hammer of justice in a black universe" (Dub: "Thrusting the hammer of justice down onto the black darkness of the universe."). In the SM series motto, he says he's "An exquisite talent and the perfect gentleman. A disciple of evil fighting back against this tragic world." (Dub: "The nobly heroic man of our times. The master of darkness fighting back against a tragic world.")

In mottos, the darker imagery is afforded to him. The clearest examples are in the BW series. We see James with black darkness behind him; and white light behind Jessie. We see James with a dark purple aura and a black background; and white light behind Jessie. We see James colored all-black and against a white background; and Jessie all-white against a black background.

In the DP series mottos, we see James stomping or hitting the ground and causing earthquakes or volcanic eruptions. We see Jessie soaring through the sky with whirlwinds, gentle wind, or gentle winds carrying rose petals (autumn leaves in AG188). We even see James with hellfire behind him and Jessie floating above him towards celestial white light coming from the heavens.

James's darkness isn't just metaphorical either. He's a mad scientist and a computer hacker who can get pretty lost in the madness. In XY124, he hadn't slept for three nights because he was too obsessed with building his mecha. If Jessie weren't around to balance out his darkness, I’m sure he would end up consumed in darkness and madness.

Though Z-Moves require special crystals (Firium-Z for Fire attacks, Normalium-Z for Normal Type attacks, etc.), the attacks are still depicted as directly correlating with the Trainer's personality. James has Darkinium-Z and can use a Dark Type Z-Move called Black Hole Eclipse. Unlike other Trainers, Jessie and Meowth can also add energy to the attack since the bonds between Jessie, James, and Meowth are inseparable. However, this is really James's Z-Move and he is also able to do it by himself.

In contrast, Jessie has Mimikium-Z and uses it for a Z-Move called Let's Snuggle Forever. It's more like 'Let's snuggle forever because I'll suffocate you to death,' but it's pretty cute compared to Black Hole Eclipse. It's a Fairy Type move with a cutesy pose. James and Meowth are able to power it up with her.

Acquiring a Z-Crystal seems to require a test of character. Before getting Darkinium-Z, Jessie and James tell some petty thieves that they deserve better than their toxic friend who threw them under the bus. Jessie and James have a shot at getting the crystal, but their Pokémon all get knocked out, so they rush to their Pokémon instead. Ultimately, they do get the crystal anyway.

When James Tag Battles with the Gym Leader Gardenia, they lose; and she says that the main problem was that Trainer and Pokémon weren't in sync so they weren't battling as one. James loved Cacnea dearly, so how could that be? Maybe it's that James's heart is covered in darkness and this type of connection isn't possible for him. Maybe only Dark Type moves work for his dark aura. Maybe he didn't open himself up to others enough at that point in the series (DP54). Indeed, in the next scene, Jessie tries to get him to talk about his feelings and tells him to stop lying to her about being "fine." He just doubles down on saying that he's fine.

To answer that, consider * how * James learns Black Hole Eclipse. In order to learn it, James has to do some Jungian shadow work (SM58). That is, he has to have an honest conversation with his Pokémon, Mareanie, about what he will and will not tolerate in a friend (he detests emotional manipulation, drama, jealousy, people who are controlling, etc.). His terms are unconditional. Him telling Mareanie what to expect puts them on the same page and allows them to connect their hearts, now that James's shadow self isn't blocking the way.

♪ I Wanna Do Bad Things With You ♫

Jessie and James used to camp out and rent cabins, so they traveled light and could pack up and go at any time. They were lost souls wandering the earth. But then they get an apartment together in Vermillion City and make it homey. We see them travel to lots of countries, yet always returning to their apartment when they’re back in Kanto.

They even start a podcast (JN106) and YouTube channel (JN115), WhamBam-Z (dub: DumDumDum-Z) as Charm Deluxe (dub: Cosmic Charm Deluxe), Princess (dub: Princess), and Blue Bruise (dub: Bluesilocks). According to the Narrator, they continued thereafter to be content creators in addition to being in Team Rocket (JN106).

James even sacrifices his bottle cap collection to make pins as podcast freebies and sacrifices his PokéBall collection to give as podcast grand prizes. Jessie and Meowth had never understood his love of collecting things. To them, things only have value if you can use them or hock them for cash (XY85, SM4). But they understand what a huge sacrifice giving up his collections is, and are moved. James is moved that they appreciate the sacrifice, and that they see his collections as having value, just as he has always seen them as having value (JN106).

Nevertheless, for someone who's so afraid of getting close to people, living together must be a difficult adjustment for James. It used to be one of his worst fears (AG147). At the end of the series, they have a fight and James is very standoffish. I think that it’s mainly brought on by the stress and fears from them settling down together, because that’s the big change in their life in the SWSH series. It’s taking things to the next level. I could see that triggering his depression and making him build up walls.

Jessie is concerned that his heart isn't in being a gangster anymore. James is deeply offended. The viewer, at first, might think that he’s being defensive because he knows she’s right. However, we find out that she’s completely wrong and just projecting her fear that he will lose interest in being a gangster. He’s actually upset because he’s completely devoted to their job and to her. He’s insulted that she could lose faith in him.

Until they find new Team Rocket partners, they still have to work together. Since they're Field Agents who aren't out in the field, they work at Headquarters for a while. Interestingly, on one of their breaks, James drinks a Granbull canned coffee (so, Red Bull Cold Brew Coffee), which is a drink that Jessie once bought him, to show him that she wasn’t upset that he backstabbed her (SM132).

Jessie, James, and Meowth individually go off to do the same villainous scheme. Perhaps this is the same type of heart bond that allows Ash and Pikachu to sense where each other has gone when they are apart (ATBAM6). The fact that they had the same plan moves Meowth to tears and makes Jessie and James smile. They realize that the three of them are inextricably linked, and what initially linked them was their love of villainy. While Meowth is included in this bond, Trainers can have heart bonds with their Pokémon; but, as far as energy bonds between humans go, Jessie and James are the only characters shown to have one. Moreover, Jessie and James have promised to be at each other's side even in the afterlife (DP117).

Jessie and James used to cycle through lots of successful normal careers. In the finale, besides podcasting and YouTubing, they cast away their previous careers and embrace what truly brings them passion. Not always success, but passion. The thing that brought them close together in the first place - doing deliciously bad things together.

You can check out my Jessie character study here

You can check out my Team Rocket music playlist here

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fallenclan · 6 months

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okay, I have a few songs in mind for that Otterslip pmv! Just to let you know what to expect between all of these :) Give me your thoughts on these songs, I love these all dearly and really want to create something with all of these.

Toba the Tura by Forgiven Durden

Introduction to the Show by ミラクルミュージカル (Miracle Musical)

Alternatively, I use the Hawaii Part II Part II demo for Introduction to the Show because that version goes so hard. 10/10 demos. The piano is so crisp.

Time Machine by ミラクルミュージカル (Miracle Musical)

I will be using either the 1st or 2nd demo if I decide to do this song. The polished version on the official record won't do for Otterslip.

The Rockrose and The Thistle by The Amazing Devil

Worms by Viagra Boys

Poplar St by Glass Animals

I'd have to do this one carefully. Might have to edit my own version of the song for the pmv

I will be watching this post, so if anyone has more ideas.... then please share them in the replies or smth :)

-🎲

YOUR MUSIC TASTE IS SO GOOD. all of these songs are fantastic and they fit Otterslip so well,,, i've listened to almost all of them before but i still had to make myself a little playlist to refresh my memory and listen to them with the context of Otterslip in mind. devastating btw, in the best possible way. putting my thoughts below the cut bc they might get a little long!

Toba the Tura:

SUCH a good song. especially for Otterslip. a few lyrics that really stood out to me.

THE LAST ONE ESPECIALLY. that whole ending monologue just SCREAMS Otterslip. the girl he loved vacating to a new place? his daughter dying and going to the afterlife. a mountainous wall of stone to separate themselves from him??? its. a fucking mountain. they live in a mountain. theirs would be the light, his would be the dark. oughghghghg sobs and wails and cries forever

Introduction to the Snow:

what if i cried. man this song is so fucking SAD. and also not in a way. would work fantastic if one wanted to do a really lonesome depressing take on Otterslip's exile. im picturing an animatic with very few pov changes, just Otterslip maybe watching the stars or traveling through the outside of Fallenclan's territory, up until "you'll live forever tonight" and the piano afterwards, then i'm seeing lots of glimpses of his past life in Fallenclan, and the events leading up to Stormsight's death. ougghh

Time Machine:

GOD THIS WORKS SO WELL WITH HIS EXILE. "you'll have enough time to spend some time alone" HES LITERALLY ALONE. dice anon youre going to turn me into an Otterslip apologist. hes literally leaving today

The Rockrose and the Thistle:

jaw drop. a friend of mine introduced me to this band a while back but HOW HAVE I NOT HEARD THIS ONE. this song fits Otterslip so good its crazy. here's a couple lyrics that stick out to me

i'm definitely seeing some hints of Grassroot in this song. maybe he's singing it to her, maybe she's singing it to him, idk but shes There. ouches

Worms:

i've never heard this song OR this band before and it fucking RULES so first off thanks for pointing me in that direction. second OUGH i can see the Otterslip here. no lyrics in particular stand out to me but the Vibes... man the vibes they fit so well. i can see him singing this to Stormsight, esp since the "the same worms that eat me will one day eat you too" has such a threatening sound to it,,

Poplar St:

MY HEART. god this is so good and it works so well. again no lyrics really stick out to me in particular but MAN. the stress on "free falling love addict" is getting to me. considering Stormsight fell to his death. ouch.

conclusion! these are all fantastic song choices and you are a fucking genius. i'm almost temped to something with Toba the Tura myself, except i know I'd never finish it lmao. and as a side note, if you've never heard the Chonny Jash covers of a lot of Miracle Musical songs i would highly recommend. they aren't for everyone but personally I like them better than some of the originals, even.

and back to the topic of Otterslip: here's all the songs I have on his playlist at the moment (though i will be adding. probably all of the ones youve suggested.) in case you wanted more inspiration or simply some good tunes to listen to.

ty for your wonderful ask!!! you have given me much to think about...

#fallenasks #fallenmusic #dice anon

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louisupdates · 7 months

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Louis Tomlinson Talks ‘Rough’ Treatment From Fans

Lars Brandle | 10/26/2023

As a member of One Direction and solo artist, Louis Tomlinson has seen more tears and wailing than a veteran midwife. Sometimes, that hysteria shifts into overdrive, with gripping, shirt-ripping and knocks to the body.

The British pop singer is used to wearing bruises as badges, the result of close encounters with overeager fans, he tells Australia’s commercial radio network Nova.

Leaning into the pit, “it’s by far my favorite part of the show,” he shares with Nova host Smallzy. “The minute you walk out to stage you feel that adrenaline. But literally the closer you get to the crowd, the more of that adrenaline you feel and by the end of the show, yeah I get down in the pit and just kind of immerse myself. And that feeling is absolutely amazing.”

There’s a line, he admits. And it’s sometimes crossed. “I kind of like getting in there and it feeling a little bit rough. I like that. That’s part of it. When they start ripping the clothes off me, it gets a little bit on top, you know? But yeah, is what it is.”

Zooming in from a rainy Berlin, one stop on his current European tour, Tomlinson reveals he’s “got a fat bruise on the back of the arm from the from the other night,” all because “some girl got me in the grip.”

Tomlinson also discusses his star turn in the feature-length documentary, All of Those Voices, which dropped on Paramount + earlier this month. There’s times in the life of a pop star “when it’s been incredibly liberating and times when it’s been tough as well. I’m hoping it gives an honest portrayal of that,” he explains. Was anything cut from the final edit? “Maybe some bad banter or shit jokes,” he quips.

The former 1D star also answers a smattering of fan questions — does he read DMs from randoms (occasionally), will there be a live album or new rock version of “Back to You” (no comment, but he does hint at something in the works), and the song he’s most proud of (“Saturdays.” There’s “something about it live, it feels special”).

Tomlinson’s tour reaches home soil next month for a run of U.K. and Ireland arena shows, in support of Faith In The Future, his second solo album.

Faith In The Future debuted at No. 1 on the Official U.K. Albums Chart last November, for his first solo leader and fifth including his work as a member of One Direction. In the United States, Faith In The Future debuted at No. 2 on Billboard’s Top Album Sales, and at No. 5 on the all-genre Billboard 200, his highest-charting set yet on both tallies.

#louis tomlinson #louis press #billboard article #26.10.2023 #fitfwt23: australia

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nayeonline · 3 months

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Ari's K-Pop Roundup: February 2024 (Twice, Le Sserafim, BabyMonster, JYP Family, BIBI + MORE)

If there's a comeback coming up you want to see talked about in March's roundup, drop me a message/ask and I'll make sure to include it :)

I Got You + One Spark - TWICE (With YOU-th)

GIF credit: @femaleidols

Twice are officially back lets fucking go, the girls are here.

Unfortunately for TWICE, only one girl group can have a good release at a time in JYP apparently, and NMIXX have snatched that privilege from them in this instance (Fe3O4: Break is a 10/10). The concept teasers for this era were super interesting and really beautiful actually, kind of reminiscent of 2018 LOONA and the ASAP - NewJeans music video, but its JYP, so naturally that vibe was completely absent from the music videos whatsoever, but I digress. The pre-release, 'I Got You' is a thrumming, synth fueled track that attempts to be anthemic, but doesn't quite meet the bar. It's pretty catchy, sure, and the lyrics are actually reasonably good, but it feels slightly uninspired and very dated. The y2k trend's days may be numbered, but its still a bit early to be referencing 2015 in our 2024 tracks, in my opinion at least. While I see the appeal, this track really doesn't blow me away, and I don't see myself returning back to it much in the near future.

The title 'One Spark' suffers the same pitfalls as 'I Got You' if not even more so. Maybe it's just me, but I found the hook to be so unbelievably boring, and the rest of the song felt wholly pedestrian in its construction. It's really quite frustrating that a song this dull got past the many rounds of production required to be released, because the producers for it are certified hit makers, and TWICE are far too talented to be releasing insultingly boring music. The music video is all about TWICE being timeless, which they are, but if they keep releasing subpar title tracks like this, that's not how they will be perceived by the average kpop listener. It's a shame, really, but with JYP's track record over the last couple of years, I can't honestly say I'm surprised. It's not unlistenable, but it's hardly up to TWICE's standard.

What's even more frustrating is that the b-sides are actually really fun, 'Rush' is evocative of PinkPantheress and is super cute, 'New New' is such a punch up from 'One Spark' that's far more exciting and catchy, and 'Bloom' is gloriously ethereal and kind of giving Chungha realness - its SUCH A FUCKING HIT. Even 'You Get Me' that I assumed was going to be the apparently obligatory end of album ballad turned out to be a laid-back, easy going finale that is both catchy and well produced. How is it possible that the two least exciting songs on the record are the only ones promoted??? Literally any of the b-sides could have been the title, especially 'Bloom' which I will be treating as the title track in my delusions. Great b-sides, boring promoted tracks, JYP doesn't know what they're doing yet again, what's new.

Easy - LE SSERAFIM (EASY)

A little bit Rosalia, a lot a bit Tyla, with a healthy dose of platinum blonde Chaewon, this is Le Sserafim doing CONCEPT better than pretty much everyone else in the industry right now.

Right off the bat, this is leaps and bounds ahead of 'Unforgiven', which had its moments, but generally failed to make an impact. 'Easy' is an effortlessly cool R&B trap track that's heavily inspired by the afrobeats trends in western pop. It's stylish, exciting, and suits Le Sserafim well - this is how to develop a musical style while not abandoning your roots. The overall metaphor that harkens to a swan on a lake (pure elegance on the surface, intense effort below) is interesting and works for their concept, but the actual lyricism in this song is utterly nonsensical. Maybe I'm just being dumb, but does 'pull up and I rip it up like ballet' actually mean? There's an English version out, which is somehow even more unintelligible, but I digress.

Lyrics aside, I like this track a lot, and the music video is utterly gorgeous. Does it live up to the heights of 'Antifragile'? No, not really, but it's definitely up there with 'Fearless', in my opinion.

The b-sides were okay, not bad, but not especially exciting. 'Smart' was easily the most exciting out of the trio, but I don't see it having the longevity of 'Blue Flame' or 'EPATBW'.

Great title, slightly dull mini album - I am seriously excited for where Le Sserafim goes sonically, they and NewJeans are undoubtedly the trendsetters of the 4th generation, and I can't wait to here more of their stuff.

Like Magic - JYP, Stray Kids, ITZY, NMIXX

GIF credit: @thankyou-taeyeon

If you are ever in doubt that capitalism is destroying music, feel free to give this one a stream. Genuinely awful.

Bam Yang Gang + Sugar Rush - BIBI

requested by @a-moth-to-the-light

Bibi is such an exciting idol. Her music is consistently exciting and innovative, and rarely dull. 'Bam Yang Gang' is such an honest, realistic, and in many ways comforting song that is as simplistic as it is perfect. It's a little nonsensical, and oddly relatable. Not sure what the rat thing in the music video was about, but on the whole, it's a beautiful, hilarious, highly enjoyable song, and I'm so happy it is charting so well in South Korea.

'Sugar Rush' is a little less my speed, but it is successful in what it sets out to achieve. The production is trappy, synthy, and feels a little bit NCT 127? This kind of concept is difficult to pull off, and when some idols do it, it comes off as kind of goofy, but Bibi pulls it off 100%. Not really my thing, but a fun song nonetheless.

(also yena and soyeon make cameos in the mv so that's fun)

Stuck In The Middle - BABYMONSTER

'Batter Up' was a huge grower for me, originally I found it a bit dull and uninspired, but I'm a dancer, and sue me, the dance is fun, so naturally I ended up streaming it a bunch while learning the choreography, and now I think I enjoy it. It was undeniably a controversial release though - the comparisons with blackpink inevitably flooded in, the whole drama with Ahyeon being on hiatus and potentially being fully out of the group was a total shit storm, and there were zero performances on music shows to boot. Not sure why that last one happened, BabyMonster do not have the kind of influence to chart with longevity without domestic promotions but me being confused at YG's creative directors is literally nothing new.

Then we got 'Stuck In The Middle', an slightly bizarre English ballad with decent (if a little vapid) lyricism, and 'Moonlight Sunrise' meets Kwangya esque music video sets. I'm not going to do my monthly rant about how shit the vast majority of kpop ballads are, and how boring this song is, but I will say this. BabyMonster currently has no clear concept that sets them apart from their predecessors and everyone else in the industry, and outside of the YG bubble of ad boosted music video views, this song was unsuccessful. It went utterly undiscussed by the wider kpop fanbase, and has minimal streams on Spotify for a big three group. I don't say this to rub it in the faces of the girls and their fans, if anything, I am hugely upset that young women this talented are under a company so stuck in the past. YG needs to get their act together if they actually want a shot at creating blackpink the sequel, because what they're doing right now is not working.

Since the release, it's been announced that the it girl of the group, Ahyeon, is making a return for the first mini album, 'BABYMONS7ER', thank god for that, and apparently YG is now labelling all songs released thus far as predebut tracks, which is actually hilarious, they have no idea what they are doing.

Good luck babymonster, I think you will need it.

BONUS:

Super Lady - (G)-IDLE: (I know this was a January release I just forgot to talk about it ok) kind of iconic ngl; some of the English lines were questionable but the song is fun so lets move on; not sure why the song is only like 2 minutes literally nobody wants short songs

DNA - YENA: (requested by @a-moth-to-the-light) Yena is such a strong performer, but I think the production team let her down with the mixing of this song. The vocals should have more layers, or at the very least, be louder than the bass line. Overall though the song is super fun, and super Yena. I love the j-rock influences, I love Yena's gorgeous vocal colour; she is a soloist I am always sure to keep up to date with. It is so evident in her performances that she loves the music she is releasing, and for me at least, that's enough.

Holssi + Love Wins All - IU: Love wins all had a beautiful music video although the song itself felt a bit boring, but Holssi was unexpectedly groovy and understated - I can feel that it's going to majorly grow on me.

Diamond - TRI.BE: I was very pleasantly surprised that this song is actually really good? I haven't really tuned into their discography since the whole 'pretty savage' plagiarism stuff, but this is such a fun song that is impressively unique to them considering most groups of smaller companies like them tend to follow what the bigger groups are doing. Maybe I should check them out more - any tri.be stans reading, lmk some good recommendations :)

Young Posse Up - Young Posse: As a british teen, this sent me into fight or flight lmao

That's all for February, feel free let me know your thoughts on the comebacks discussed (or any I didn't mention) in the reblogs or comments, I'll look forward to reading them. Make sure to check back in for next months roundup but yeah thats it so byeeeeeeeeeeee

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