#little freak lyrics analysis
Note
Omg what are your thoughts on little freak?
Hi, darling! ❤️
So, I was keeping this ask in my inbox because the truth is, even though it’s probably my absolute favorite — like get-the-lyrics-tattooed favorite — Little Freak is the one song that seems to be hovering just above my comprehension.
Every time I think I understand one little line, my understanding of it shifts the context, and the song morphs into another thing altogether, and I’m back to square one. So, fair warning, my interpretation isn’t going to be remotely cohesive and will probably evolve the longer I have the song in my life (I’m already second guessing this as I edit), but for now, this is how I think of it.
Little Freak — a (tentative) reading
Overall, there’s a sense of femininity, sexualization, and youth to the imagery of the lyrics that won’t leave me — that’s been the one constant in my understanding of the song (and part of why I feel like I connect so deeply to it): it sounds like a song I would sing to my younger self (although for very different reasons).
Little freak, Jezebel,
You sit high atop the kitchen counter
— we know ‘Jezebel’ is a Biblical reference, and connotes shamelessness and licentiousness. Jezebel is a temptress (connoting a sense of intention in her seduction) and ‘sitting high atop the kitchen counter’ is likely a reference to being put on a pedestal, or being just out of Harry’s reach. This is my first clue that the song is about Harry, because: (i) we know he often sings about himself in the female perspective, and (ii) there’s an immediate sexualization of this young character (let’s call her Little), exactly like how Harry was immediately sexualized at such a young age.
Stay green a little while
You bring blue lights to dreams
— to say someone is ‘green’ is to say they’re naive, innocent, or inexperienced, which fits really well with the Jezebel imagery, and in that context, bringing ‘blue lights’ to dreams is likely a reference to blue films (porn). Almost like a warning, like an older sibling trying to protect her, Harry is telling Little to stay innocent for just a little longer, even though she L’s already (unknowingly, unwillingly, or both) being coveted by strangers.
Starry haze
Crystal ball
Somehow, you’ve become some paranoia
— Initially, I thought of the first two lines as throwaway lines, placed there for lyricism, but as everything is with Harry, it now reads very intentional to me: translated, I read this as a peek into the future (crystal ball) through the veil of fame (starry haze), Harry saying that Little has become a paranoia can be two-fold: (i) that Harry’s femininity has become something threatening that he has to keep a secret, and/or (ii) that Harry has become constantly paranoid about how the people around him read into his motivations (people thinking he’s a flirt, he’s a womanizer, he sleeps with everything that moves) and it makes him hyper aware of the way he moves in the world, so as not to encourage that image of himself.
Wet dream just dangling
But your gift is wasted on me
— linked to the first four lines, this sounds like Harry is repeating a line he’s been told (that he’s a wet dream), but the gift of being a “sex symbol” doesn’t do anything for him (maybe because he’s queer, maybe because he’s in a committed relationship, maybe because he just doesn’t relish in that kind of attention). This reminds me so much of the way older men (like Howard Stern) talk about Harry — how they expect him to be sleeping with every young thing and have this wild rockstar life, and how different Harry is from that.
This is also the first line in which Harry refers to himself (me), which makes it easy to mistake Harry and Little as two different people — a signature Harry writing move where the nuances in pronouns can lend so many different layers to one line.
I was thinking about who you are
Your delicate point of view
I was thinking about you
I’m not worried about where you are
Or who you go home to
I’m just thinking about you
— I connect to the chorus so much because it’s such a vulnerable set of lyrics. There’s a purity and an innocence in the intention that’s clearly not often given to Little, who, prior to this, has always been objectified. Here, Harry shifts the perspective: he talks about Little in a way that has nothing to do with her physicality (not worried about who you go home to) but astutely focuses on her person (who you are), her mind (her point of view), and her as entire being (just thinking about you).
More specifically though, ‘your delicate point of view’ really tugs at my heartstrings, because those of us who know, know: Harry is strange, and has likely always felt strange — from his fluid taste in clothing, his nerdy obsession with all things music, his love of obscure instruments, his weird creative vision — they’re what makes him such an enigma, such a good artist. But it’s very likely that a younger (Littler) Harry wouldn’t see that as a good thing; would think he was, for all intents and purposes… a little freak.
Did you dress up for Halloween?
I spilt beer on your friend, I'm not sorry
A golf swing and a trampoline
Maybe we'll do this again
Tracksuit and a ponytail
You hide the body, all that yoga gave you
Red wine and a ginger ale
But you would make fun of me, for sure
— @twopoppies pointed out that entire stanza reads like Harry referencing very specific and significant personal memories, and I agree. Additionally, I think these are memories that have maybe clued him into or defined his coming to terms with his femininity. For example, the Halloween line makes me think of when he was young and so amazed that he was wearing tights, and how definitive of a memory that seems to be for him. Tracksuit, ponytail, and yoga makes me think of him at around 19-20 (the Four era, when he would’ve already been working with Harry Lambert) where I can imagine he was coming into his interest in fluidity and fashion, but his exploration of that was probably curtailed by the image he had to keep up for 1D.
I disrespected you
Jumped in feet first and I landed too hard
A broken ankle, karma rules
You never saw my birthmark
— this is the stanza that I feel hovers above my comprehension, because while I’m sure that it ties the first two stanzas together to make the story cohesive, I haven’t been able to find an interpretation that clicks all together for me. What I do find incredibly interesting is that, the way the song is written hints at a feeling of a missed connection. Without any deeper knowledge of who Harry is, it would be easy to see a scene playing out of Harry meeting a beautiful, younger girl at a party, and her slipping through the crowd and him never seeing her again but still thinking about her from time to time.
With the deeper knowledge of who Harry is, and how he writes, the image is similar, but the younger girl isn’t a romantic interest — she’s the younger version of himself that he hasn’t been able to (or allowed to) get to know and discover fully, that keeps slipping through the crowd as he decides whether he should try to catch her or let her flee, though the idea of her, their missed connection, and who they are together as a whole being, still haunts him.
236 notes
·
View notes
Note
"you never saw my birthmark" do you think he said that because all of his life, he have never, ever turned his back to someone....?
Oof. Interesting thought. Harry is very loyal, so you could be onto something. 🥹
24 notes
·
View notes
Text
Little Freak, my lyric analysis 18+ (Harry is very sexual & metaphorical with double entendres everywhere in many songs, but many don’t understand)
#harry styles#lyric analysis#little freak#harrys house#larry stylinson#larries#larry is real#louis tomlinson#tpwk#writer and poets
6 notes
·
View notes
Text
little freak - a close reading
alright, okay. i’ll give the same disclaimer i put at the top of every post that concerns a song that i know means a lot to a lot of people, especially if those meanings are so diverse. this is my interpretation, the way that i see the song, and it’s just one of many. consider it as such if yours is entirely different, bc that’s more than okay. i discuss it in a very queer context, all about gender and identity, so i am aware that my own experience deeply comes into play here. in any case, i hope it serves as a nice read, and i’d love to discuss this mind-blowing song some more with you all :’)
harry’s house, track 6
LYRIC ANALYSIS
Little freak
Jezebel
You sit high atop the kitchen counter
Stay green a little while
You bring blue lights to dreams
Starry haze
Crystal ball
Somehow, you've become some paranoia
A wet dream just dangling
But your gift is wasted on me
“freak”: outcast, ‘unnatural’ person, freak shows historically a place where queer ppl could find refuge and a home (// ‘peculiar’ boy)
“little” in front of it: endearment; talking to a young/inexperienced person
Jezebel
biblical figure. deeply negative connotation in the christian trad. someone who worships false prophets or pretends to be a “servant of God” while actually being a pagan. historically, (probably) a figure who simply stuck to her own beliefs/identity and was killed for it. bc Jezebel wore make-up before her death, christians associated wearing make-up with vice, with manipulation
now, symbolises promiscuity, sexual immorality, esp. “sexually promiscuous or controlling women”
parallels with old-fashioned ways to (negatively) describe queer people, especially queer men: ‘sexual inverts’, ‘sexual deviants’ etc. - living life differently and being condemned for it
-> deep female connotation here
“you sit high atop the kitchen counter”
“high”: under the influence of drugs / out of reach, away from others, observing
childlike - adds to feeling that it’s about a younger person
kitchen: home, at home, in a house - childhood/at other people’s homes
if she’s sitting on top of her own kitchen counter, it seems like she’s there without actually ‘working’ in the kitchen. not cooking or washing up, just daydreaming/watching/being: inverted stereotype of a woman in the kitchen
+ at home in the kitchen? just likes to be there, no matter what. queer: love for and attachment to things that aren’t traditionally associated with your assigned gender. harry’s love of cooking, being in the kitchen
“stay green a little while, you bring blue lights to dreams”
green - blue he just had to didn’t he: nod to the fandom, acknowledgment of people who see him (more) for who he is (x)
“stay green”: stay young, innocent - theme of growing up, changing
blue light: a thing that usually keeps you awake (if you’ve watched a screen before bed, f.e.) - half awake? daydreaming, dreaming...?
stay young, stay you, because you make dreams interesting/breathe life into dreams
for me, connection to ‘little green’ by joni mitchell: story about her daughter that she gave up for adoption - sweet, tender song for someone who you don’t really know, but you actually know on a deep, intuitive level, bc she’s part of you. lyrics about stars, the moon, blue eyes. a long, happy life. a bright future. harry’s reference to it symbolises (for me) how at this point in his life ‘little freak’ was someone who he only thought about, who he could only think about bc she was mostly unknown, but was still part of him. and no don’t come talk to me about this song then could also be seen from the pov of harry talking about/to a child he wishes for and how he would then treat her no no no don’t do it
a cut bc this shit is long okay! peace <3
“starry haze, crystal ball”
looking up, up at the stars - as if they contain the answers -> astrology, connection with the universe
“haze”: it’s unclear, a blur - can’t see the future, can’t see the bigger picture (yet)
crystal ball: trying to see the future. so desperate for answers when you’re younger (<-> “there’s things that we’ll never know” - fine line)
-> elements all throughout hs3 of astrology, psychic powers, ‘otherworldly’ techniques to look at the self/past/future - acceptance of deeply human way of looking at the world, opposed to cut-dry scientific approach (// following intuition, esp. about identity, gender,...)
‘little freak’ is sat high atop the counter -> she has a better overview, and he’s looking up at her, not yet fully realising she contains the answers
“somehow, you've become some paranoia; a wet dream just dangling”
“paranoia”: worried, panicked (seemingly) for no reason - think other ppl are judging
obsession, something always in the back of his mind
“a wet dream”: she’s a dream, but a very tempting one, and she’s right there, up for grabs. if he could only get over his fears - get atop the kitchen counter with her, dare to let go and go higher up
“but your gift is wasted on me”
he doesn’t dare to join her. her gift, which is who she is, her identity, was wasted on him. his own queerness, which is right there, and there for him, is ‘wasted’ bc he’s afraid of being judged, of being a freak
I was thinking about who you are
Your delicate point of view
I was thinking about you
I'm not worried about where you are
Who you will go home to
I'm just thinking about you
Just thinking about you
“thinking about who you are”: do you know who you are? - still full of wonder as to who this daydream is, this person in the back of his mind
“delicate point of view”: so soft, so gentle, about this ‘part’ of him - she’s sat up high, has the point of view of someone higher up, the overview. she holds the answers. “delicate” like the nuanced, intricate lives of (queer) people who fully accept their own complexities, own depths. also delicate like something that is fragile, something that can break if it were to jump off the kitchen counter
“i’m not worried about where you are” // i don’t know who/where she is - she
he’s telling us that she’s not an entity he’s jealous of, or who can leave, bc she’s him. she’ll always be there. - “i’m not worried”: comfort, peace, security
Did you dress up for Halloween?
I spilled beer on your friend
I'm not sorry
A golf swing and a trampoline
Maybe we'll do this again
Tracksuit and a pony tail
You hide the body all that yoga gave you
Red wine and a ginger ale
But you would make fun of me for sure
“halloween”:
childhood
gay holiday. when you can dress up as whatever you like, for many ppl a moment of liberation bc they can finally dress as themselves - they’re not wearing a costume. (so the answer to this question would even be “no”) // dorothrry
“i spilled beer on your friend”:
jealous or protective act - stay away from her
if it’s little freak’s friend, it’s a queer friend. “i’m not sorry” - spilling beer on someone as a way of attracting their attention in a clumsy, flirty, teenage way - attracting the other queer person’s attention. + “your friend” then means that the friend was drawn to her, his queerness, from the start
“a golf swing and a trampoline”:
calculated movement, strategic game. business meetings, grownup conversations, tactics <-> free, loose activity. childhood + jumping, trying to go high up in the air, trying to fly
“and”: i am this AND that
in the context of the beer spilling: talking to someone new (and queer) is a jump in the unknown as well as a well thought-out interaction, involving tactics as well as guts, and the urge to be free
“maybe we’ll do this again”: move for second date, part of convo with new friend / apprehensive, careful, shy, hopeful
“tracksuit and a pony tail”
again, (perceived, expected) opposites combined in one: tracksuit: streetwear, baggy clothing, masc. <-> ponytail: femme. put together, care for appearance. or: long hair, but it’s out of the way, not let down (yet)
“you hide the body all that yoga gave you”
wearing that tracksuit
hiding your body in your clothes: very gender
yoga: practice that connects your mind and body. controlled, balanced, calm // trying to find answers/identity in connections, in the bigger picture
“red wine and a ginger ale”:
alcohol and no alcohol - more balance in opposites
his drinks of choice? hers? his and the friend? hers and the friend?
red wine, earlier he spilled beer: red wine representing her? (brit. culture: Men drink Beer, Women drink Wine)
“but you would make fun of me for sure”: not in the context of all the opposites/balances, i think. more in the friend - spilled beer - do this again line. “maybe we’ll do this again?” “yeah, well, as long as you don’t spill beer on me next time!” stunted, dorky flirting. (remind you of something?)
entire verse symbolises how intertwined his (gender) identity and his interactions with others, especially in his love life, are. the traits he hasn’t properly learned how to balance yet, and his insecurities, coming into play when meeting new people, especially someone who has him all flustered
I disrespected you
Jumped in feet first and I landed too hard
A broken ankle
Karma rules
You never saw my birthmark
“i disrespected you”: i ignored you, i ignored an entire part of my identity
“jumped in” <-> high atop the kitchen counter. away from her, towards a standard, on the ground, ‘normal’, trying to be the norm, someone that isn’t him
“landed too hard”: tried too hard and it backfired, it hurt him
// if the truth tell, darling, you fell like there ain't enough dying stars in your sky - only the brave
“karma rules”: again, unseen powers that are at play in the universe, things humans don’t understand; secret structure to life. if you go against your intuition, what you know to be right in your heart
“birthmark”: you never saw me at my barest point, my most naked self. you never saw me be reborn, you didn’t live to see my queer birth
trauma changed him, made him lose her, the original ‘little freak’, who was soft and innocent. he still grew and changed, was (re)born, but now his queerness, his identity, is colored by that pain
SYNTHESIS
SOOOoooooOOOOOooo. It’s painful and it’s beautiful. Harry tends to do that with his most intimate songs. As you can see, I see this song entirely as one about gender and identity. When I first heard it, and I’d seen some posts about how it might be a love song for his s/o, I didn’t completely get it. I couldn’t get into that interpretation, it felt off to me. And then I read this post by @swimmingleo and it all clicked.
To me, Harry is speaking to a younger self. Someone he used to know very intimately, yet distantly. (Very ‘Little Green’-ish.) His younger queer self, that was always there, but he didn’t engage with yet. He looked up at her, in wonder, not yet realising that he should join her up there and finally see the world from her point of view. Finally see where so many answers lie. Delicate, because it’s so complicated and nuanced. It’s about a time in his life when he was still figuring out who he was, seeing all these ‘opposites’ that simultaneously held true within himself, that came together and were contained by him. Feeling the urge to fit in and choose. Which he did, choosing for the jump down instead of the climb up with her, resulting in a loss of self. There is loss in this song, but more than anything love of someone, in particular love of himself at a certain time of his life. Before puberty, before figuring shit out. A simple, tender love for your younger self.
I think this is a very universal feeling, but especially for queer people, to have a complex relationship with that younger self. During childhood, you were truly yourself, because it was before you understood what it was to control/suppress your impulses or feelings. Growing up, and going through puberty, can be insanely jarring and scary, especially if you stop feeling at ease in your own body. Social customs start dictating what you should like and look like, and sometimes you loose sight of who you really are, or sometimes you even intentionally hide. You start to feel disgusted by yourself, especially if it includes urges that deviate from the ‘norm’. It’s hard to feel tenderness for your (pre-)pubescent self, especially to muster up some understanding instead of harshness, concerning mistakes you made. Because of this younger childhood self that they so desperately wanted to stuff away to fit in. So, in this respect, Little Freak is a triumph. Of being patient, kind and tender to that self that fucked up, because they were figuring it out. Just like everyone else. It got you to where you are now, and made you who you are now, which is a complex, beautiful person. It’s also an homage to that queerness that was always there. That queerness that isn’t understood when you’re that young, but that you were also not afraid of yet. The one that slowly grows with you until you’re ready, when you stop being scared of it again.
In this album about home, love, change, childhood and identity, I think it makes the perfect centerpiece. It’s written from the point of view of someone with a deep acceptance of himself, someone who feels at one with who he was when he was a child, and sees how he evolved to who he is now. Someone complex and queer, who needed to get high up on that kitchen counter in order to see it all, and understands what it took for him to get there. It’s him reminiscing his childhood, his period of late blooming, and recognising, acknowledging, all of it in its complexities, which are only visible to him now. It’s a love song for the trans identity.
Little Freak and the Peculiar Boy, a one-person show.
#lyric analysis#little freak#my posts#okay well OKAY#i knew this one was going to be intense and YES INDEED IT WAS INTENSE#wow
216 notes
·
View notes
Text
Little freak, Jezebel
You sit high atop the kitchen counter
Stay green a little while
You bring blue lights to dreams
17 notes
·
View notes
Text
Little Freak: An unsent love letter
I just really fucking love this song man. Here's me crying about it.
TL;DR/summary of sorts
If I had to use one word to summarise this song, it would be "close". Close, because it's close to the heart, it's about how close he is/was with that person. And close, because to me, its closure, the song closes a chapter, but still keeps the person close to his heart.
Verse 1:
Little freak, you jezebel,
You sit high atop the kitchen counter
Now I'm gonna be honest, I don't really know what 'Jezebel' might actually mean here, because from what I know, Jezebel could be a biblical reference meaning "shamless" or an "imprudent woman". It feels a little detached from the rest of the song, but he sings about how this person is a "little freak", and very plainly, how they sit on the kitchen counter.
Stay green a little while,
You bring blue lights to dreams
Saying something is "green" means it's new, fresh, young. He's asking the person to be green, just for a little while longer. In the rest of the song, he sings about how he's just thinking about this person, nothing beyond. He loves this person, and regardless of everything, he wants them to occupy his thoughts but in a love-filled, "young" or an in manner that isn't tainted by hatred because this person never actually loved him the way he did, because he's not worried about that. And then, he goes on to sing about how this person made him feel, how they were. How they made everything seem special, how they brought "blue lights" or just something special to his regular dreams.
Starry haze, crystal ball
Somehow, you've become some paranoia
A wet dream just dangling
But your gift is wasted on me
Crystal balls are associated with the future, looking into the future, which seems like a "starry haze" with this person. A hazy future, or an uncertain future is usually worrying, but this person makes that hazy, uncertain future seem starry, which to him, makes he person a "paranoia", because they make a uncertain future, a "dangling" wet dream, something he wants because he loves it so deeply but not knowing where it is going to lead to, a starry prospect. But he also sings how their "gift" is wasted on him, how he thinks he isn't worthy of the starry prospect, whatever it would be.
Chorus:
I was thinking about who you are
Your delicate point of view
I was thinking about you
I'm not worried about where you are
Or who you will go home to
I'm just thinking about you
Just thinking about you
I'm like pretty sure I'm gonna get one of these lyrics tattooed at some point because you can literally hear it: It comes from somewhere deep in his heart. He's thinking about this person, how they were, and funnily, how they would see things. In a delicate point of view, in great detail, in a gentle way. In ways he could never. Now this part, is what brought the "unsent letter" vibes to me. He's speaking to this person, but not directly. Not to their face, because time has seemed to have passed, and they may not feel the same way anymore, but he still loves them. This person could be anywhere but with him, but he isn't letting hate or spite or the fact that his dream of having this person in his future in a certain way remained unfulfilled taint the love he did feel for them. He is not worried about where they are, who they are with, or who's in his place, he's just thinking about this person, letting them occupy his thoughts, because albeit one-sided, what he did feel for them was deep, and for them only.
Verse 2:
Did you dress up for Halloween?
I spilled beer on your friend, I'm not sorry
A golf swing and a trampoline
Maybe we'll do this again
Tracksuit and a ponytail
You hide the body all that yoga gave you
Red wine and a ginger ale,
But you would make fun of me, for sure
He doesn't know what the other person had "dressed up for halloween" once again, this indicates that it has been a while, and he doesn't know what they have been up to, they aren't in touch. They had mutual friends, and he's singing about how he met one of them. He's secretly hoping, the mutual friend talked to them about him, even if it was a complain that he spilled his beer on them. He's craving to be back in that person's life the way he was before. He wants to go golfing and go on trampolines, he wants to spend time with them like they did before (we had some good times didn't we?) and he says, he hopes they will do it again someday (it's not the end I'll see your face again). He sings certain details about this person, things only someone close would know, like how this person would hide their figure, or do regular yoga, how they mostly wore tracksuits and kept their hair in a ponytail.
Now the next lines make me wanna die a little on the inside. He sings about red wine and gingle ale, and it's not because it meant something between the both of them, nor did it remind him of them directly, it reminds him of how they would make fun of him for that. He didn't just know this person and loved them inside out he also knew how they were specifically with him and how even if he tried to, he could never hate or forget them because once again, intimacy.
Verse 3:
I disrespected you
Jumped in feet first, and I landed too hard
A broken ankle, Karma rules
You never saw my birthmark
EVERYTHING ABOUT THIS VERSE. EVERYTHING.
For the first time in the whole song he's not just reminiscing what they had, not just thinking about them, he's reminiscing what they don't have and why they don't. It's like the climax of a story, it's the build-up leads to the turning point, where he feels like the reason they don't have whatever the the starry-hazed future was is because he disrespected that person by rushing in. Almost as if he's saying he ruined thing because he loved them too much and it wasn't right because there wasn't the same amount of love, the same amount of need for the other person which threw things off. Imbalance, because he "landed too hard", and as a result, he "broke his ankle", hurting himself. He was the one who disrespected, landed too hard, he takes all the blame, how only he's the reason he's hurt, not the other person not feeling the same intensity of love. He doesn't blame the other person for not letting him in, he's not mad at them, nor does he feel like they were a bad person for doing so.
But what he does feel, for the slightest bit, in the deepest way possible, is regret. Seeing someone's birthmark is intimate. It's only between them, it's for no one else to see or know. It's letting someone in, it's letting them see every nook and cranny, every twist and turn, everything about you inside out. (Spreading you open is the only way of knowing you who?).
He saw everything about them, but they never saw his birthmark, and never will.
The whole song is intimate, something only the other person would understand, but feels like its being told to us even though it is addressed to the person. But this one line feels like we're being let in on a secret, because the other person doesn't know this. It's like a murmur to himself, the part of the letter he gets choked up because he regrets it, the part he doesn't en up putting on the letter because no matter how he says it, they will never see it the way he did, or they way he hoped they would.
Outro:
Just thinking about you
Just thinking about you
'Little Freak' is like a letter written to a person who once was everything, you knew everything about them, and you had let them in too, but they never did, never will, and it's long lost. It's written in great detail, it's bittersweet, it's mature, but most importantly, its loved-filled reminiscence. Neither of what it could have been, nor of what it was, it's just reminiscence of the person themself, of what they had left, how nothing could ever change what he felt for this person, even if they never see each other ever again.
It's everything spilled out, but it's an unsent letter- It never reaches the other person. It's just him, and the last of what they were etched into his mind. He's just thinking about them.
#arrow.txt#i just. this song means sm to me and its literally perfect and amazing and just UGH#anyways brainrot yay#harry's house#little freak#lyric analysis
51 notes
·
View notes
Text
DAYLIGHT - lyric analysis
Harry’s House: track 5
(read as: me trying to make sense of the gazillion thoughts running through my head )🥄🍯
SOFT TW - implications of unaliving due to gender related thoughts, drugs.
“I’m on the roof
you’re in your airplane seat”
i’m high. and alone. ‘you’ (the partner) is away. travelling.. touring.
HS3: im on the roof
Keep Driving ~ jump off the roof
HS2: (s)he takes a boat out imagines just sailing away
HS1: they told me that the end is near
“I was nosebleeding
looking for life out there”
nosebleeding- drugs
looking for life - searching for hope
“reading your horoscope”
ties in to Little Freak
“starry haze, crystal ball”
looking for life out there - reading horoscopes - consulting crystal balls -
searching for hope. bc somehow you’ve (she- gender H) become some paranoia.
“you were just doing cocaine”
this ‘you’ is H themselves. bc their partner is away. ‘airplane seat’.
doing drugs in the kitchen brings us again to-
Little Freak - ‘you sit high atop the kitchen counter’
‘high’ in the kitchen. drugs. drugs to forget gender things. to make.. Her .. go away.
“you never listen
i hope you’re missing me by now”
She (lives in daydreams w me) says - i hope you’re missing me.
“if i was a bluebird, i would fly to ya
you’d be the spoon
dip you in honey so i could be sticking to ya”
if i could fly, id be coming right back home to you.
“sticking to ya” - never wanna be alone. you make this feel like home.
“Daylight, you got me cursing the daylight” x 3
“Ain’t gonna sleep ‘til the daylight”
2 perspectives
1. romantic ~ can only be together in the dark. closeting
2. gender ~ can only be my most authentic self, most vulnerable, when no one’s watching.
“Out of New York
I’m on my comedown speed”
comedown - feelings of the effects of a drug gradually wearing off.
Kiwi - “Its NY baby always jacked up,
Holland tunnel for a nose its always backed up”
“im gonna pay for this”
“We’re on bicycles
Saying, “There’s life out there”
Second mention of ‘life out there’ but this time its almost as if he’s trying to convince himself/someone.
Bicycles ~ Matilda.
“you were riding your bike to the sound of ‘it’s no big deal’”
pretending to be fine. convincing yourself you’re fine.
Defenceless- “you don’t have to keep on being strong for me and you.
Acting like you feel no pain you know i know you do”
“you’ve got the antidote
i’ll take one to go-go, please”
gender. theres no antidote. therez no cure for being who you are. you cant change.
“things i cant”
“i cant change”
there’s no antidote for this curse.
loving you’s the antidote.
you’ve got the antidote.
“Get the picture, cut out my middle
You ain’t got time for me right now”
This is very gender. Cut out my middle.
another interpretation could be - photoshop. don’t have time. snip snip. edit edit. womanizer boom.
[pre- chorus repeats
chorus repeats ]
ends w pre-chorus
“if i was a bluebird, i would fly to ya
you’d be the spoon
dip you in honey so i could be sticking to ya”
https://twitter.com/cliffordmebf/status/1528870039910088705?s=21&t=x2cKsfv2V-Yw85D-pzG98g
View on Twitter
#harry's house#harry styles#hs3#hsh#daylight harry styles#daylight#little freak#matilda#lyrics analysis#sign of the times#she#she harry styles#golden#louis tomilson#defenceless
25 notes
·
View notes
Text
lyrical analysis of love you forever
or, breaking down ricky's love (confession) for gina
we're a little under three months out from the series finale of high school musical: the musical: the series. I've spent those months freaking out over rina and appreciating the beautiful arc they got in s4 that closed out their story over the course of the series. there are a million special moments that rina has in s4 (I mean, a rain kiss? can I have this dance? a duet together about their commitment to each other despite uncertainty? we really got it all) but one definitely stands out among the rest. love you forever is ricky's declaration of love for gina that he sings to her at her press conference for her new movie that, as far as he knows, is about to send her across the world. this post is gonna be a line by line analysis of the lyrics, as well as talking about everything that brought them to that moment and that made it special. enjoy <33
I've been wishing on a falling star for too long
this line opens the song and is such a beautiful callback to when there was me and you, the song ricky all but serenades gina with in 1.06 (the lines it references: I thought you were my fairy tale / A dream when I'm not sleeping / A wish upon a star / That's coming true). wtwmay is a song that gabriella sings after troy's betrayal in hsm and when ricky sings this line, to me, it represents a callback to his past relationship with nini. he was holding on to nini and that relationship too tight, wishing on a falling star. as gabriella says, wishes on stars just "don't come true" and for ricky, this relationship ultimately ended in failure. however, as much as this line signifies the crash and burn nature of that relationship, it's also a reference to the start of his relationship with gina in that bunker room as he strummed on a guitar, in a similar fashion to love you forever, to these lyrics.
I've been running, I don't know what from
this line references the conversation that ricky had with ej in 4.05 when ej forces ricky to reckon with the fact that he runs away from those he loves when faced with hard realities and that this tendency hurts both those around him, but also hurts him. it's incredibly full circle when you pair this with the fact that ricky is singing the song on the guitar ej gave him after they sang speak out, where ej tells him that "you'll probably get more use outta this than me" (4.05). i think it's really cool that this line also references gina's similar character flaw of running when things get hard, which she also sings about in second chance (Maybe I'm safer when I'm on the run / No time to open up my heart / Maybe I'll hide behind my walls again / Instead of tearing them apart) (also important to note that second chance is non-digetic and ricky has never heard gina sing these lyrics). so fascinating that ricky and gina have the same habit of running, with ricky running back to things that are familiar and gina pushing forward to leave things in the past before they can hurt her.
But you and I've become a sacred kinda home
this is one of my favorite lines of the song, especially because this theme of finding a home is such a critical cornerstone for both ricky and gina's arcs throughout the show. ricky's home life in s1 turns on its head when he discovers that his parents are separating. pairing this with his breakup with nini nearly sends him into a spiral, but he finds a new home of sorts in the theater program, telling gina "it's just nice to have somewhere to go after school every day, y'know" (1.05), which she herself resonates with, affirming his feelings.
of course, at the beginning of s2, we find out that ricky and his dad are moving to an apartment after his mom moves out. this drastic shift, the loss of his childhood home, is again disorienting, and again paired with changes with nini, what with her moving to denver. in 2.02, he tells nini that she is his home, which is really interesting, placing that kind of pressure on her. but what's even more interesting is that he knows he's moving, knows from the beginning of 2.01, and yet nini does not find out about his new home until 2.03 on valentine's day, months later. this is juxtaposed to gina showing up to his apartment that same episode. it's especially special that ricky is placed in the same situation that gina typically faces, the unpacking and getting accustomed to a new space. it is those undertones that serve as the undercurrent for their conversation. the apartment is in disarray when gina arrives, and remains that way for much of the season. gina, however, is endeared by the messy environment of the apartment and jokes along with ricky to put him at ease. by the time we return to it in s4, it's (naturally) much more lived in, with clothes strewn about, pictures of gina, and aptly placed posters lining the wall of ricky's room.
as I mentioned earlier, ricky calls nini his home in s2. this line says that he and gina together have become a home of sorts for each other. singing this to gina is important for ricky, but it also speaks to the unpredictable nature of gina's childhood, where she moved from city to city, never staying in one place for more than a few months, which she tells ricky in 1.05. by the end of s1, we think that she has to move again, something that's harder for her now that she's made connections with the wildcats, namely with ricky. as we see in the flashback scene in 2.06, she tells ricky that she wouldn't quit on them if not for her move, that they would essentially remain close if she weren't leaving salt lake. of course, she doesn't leave and instead moves in with ashlyn. it's her first taste of stability that she can really remember, but as she tells carlos in 2.04, she feels out of place living in a house she doesn't own and with a family that isn't hers. these feelings culminate in gina wanting to leave, a subplot we see primarily in 2.05 and 2.06. after revealing to ashlyn what she said to ricky opening night of hsm, ashlyn sings home from beauty and the beast to gina, telling her that she has a home with ashlyn, not just physically, but within their friendship. there is so much symbolism in that one scene that we don't have time to get into but this moment definitely shifts gina's perception of what a home can look like. in s3, we learn that her mom is moving back to salt lake city where she'll be staying long-term to allow gina to complete her time at east high. in fact, it's in this very house that we get our first scene of rina in s4, with ricky sneaking into her window. one's room is a reflection of oneself, and ricky and gina are all over each other's rooms, both literally and figuratively, throughout the season. combining this with the connection between the two that only strengthens over the course of the season, it comes as no surprise that ricky sees his and gina's relationship as a sacred home.
I'm in love, I'm in love, I'm in love and I know it / No net, no fear, right here in this moment
my twitter account was littered with theories and thoughts and hopes for ricky's love confession to gina, but whether it was public or private, planned or spontaneous, the one thing that I knew I wanted was for ricky to say that he is in love with gina. so on august 9th when ricky got to the chorus of love you forever, tears started pooling in my eyes because the confession, which was already literally perfect, delivered my biggest wish. one of my favorite aspects of the song is how much it reflects their journey because these are all the words that ricky would tell gina in some big speech, evidenced by him practicing all throughout 4.07. but when it comes down to it, after references to moments between them and beautiful metaphors, it builds to him telling gina not only does he love her, but that he's in love with her. there's no doubt in his mind of this fact. the sky is blue, the sun shines, and ricky bowen loves gina porter. so much of ricky's love for nini was tied to fear, especially a fear of change. that his love for gina transcends fear, that he is confident in what he tells her both shows his growth in romantic relationships but also in how much gina has redefined what it means to love someone for him.
I've never been more sure of what I got, yeah / Cause this is so much more than puppy love, so
continuing with the theme of confidence, ricky tells gina that he's never been more sure of what he's got in their relationship. I know I'm bringing rini up a lot but that relationship is a perfect frame of reference for how much ricky has changed when it comes to love. both his singing of I think I kinda you know in 1.01 and his love confession to nini in 1.10, while genuine, are riddled with stuttering and uncertainty ("I think", "I don't know", etc.). when you compare the ricky of 1.01 and the ricky of 4.08 and how he attempts to use song to profess his love, the differences are stark, and that's the point. as he all but said in 3.08, everything he's known about love has been changed by gina and that is reflected in love you forever. I love the puppy love nod and think it's narratively important for so many reasons. for one, it's a reference to their first date, as well as to gina's childhood. in that vein, it seems to mirror what gina tells ricky in 4.02, that mack was a crush of her childhood. calling what they have "more than puppy love" also nods to their growth, not just over the course of the series, but even throughout the season. from dealing with scrutiny in the fallout of the documentary to gina's increasingly busy schedule to their temporary pause to gina nearly moving across the world, they've been faced with many problems, and while they didn't handle all of them perfectly, they handled them together and came out that much stronger.
I'll say it first, no matter what the cost / Here I am full heart, full stop / I love you
in 3.05, ricky talks to jet following the fallout of the real campers of shallow lake drama. he asks jet what he's running from and tells him that sometimes when feelings are hard to articulate, it helps to sing instead. with love you forever, we see ricky taking his own advice. I love that ricky is insistent that he tells gina "I love you" first, both because he wants to rectify mistakes from his last relationship, but also because gina says, in a talking head, that she doesn't want to be the first to say "I love you," (4.06) further cementing the connection that rina has. it also affirms that there is no doubt in either of their minds that they love each other and want to say it to each other. it's also important to note that ricky understands the risk of singing this song at this point in time. for all he knows, gina is about to board a plane that will be taking her to the other side of the world for six months. however, he sings this song, affirms his love for her, no matter the cost, because he just wants her to know. he loves her in salt lake, he loves her in new zealand, and he loves her forever. ricky sings that he is there with a full heart, full stop I love you. in an interview after s3's finale, tim federle, the showrunner, states that while nini will always have a small part of ricky's heart, gina has a way of making hearts race. this line, to me, symbolizes the notion that gina is his heart, that his love for her encompasses it. there's a beautiful analysis of ricky being gina's heart canonically that I think helps tie all of this together, establishing that gina is ricky's heart, just like he is hers.
of course, I would be remiss to not talk about the full stop of it all. as we see in a flashback in 4.06, ricky opens up to gina in their first meeting about how he struggled saying I love you to nini, his ex. after hearing this, gina presents him with a possibility you can tell he's never considered: "maybe you just don't love her, full stop." ricky stutters in response, but doesn't fully negate gina's statement, in fact telling her that he's "kinda" planning on telling nini through song later that night outside her window (ironic that this plan doesn't pan out for him twice in the show, both here and in 2.03). that he brings up this notion of full stop, where there's no room for doubt, in his confession for gina further proves how deep and real and true their love is for each other. super small thing before I move on but I love how "I love you" gets its own special moment of pause in the song to fully communicate the gravity of such a statement.
I never knew that I could feel so sure and so strong /How can three old words feel so brand new?
Again, this idea of being sure comes up again in this second verse/buildup to the chorus. ricky has done the love confession before. he's been in love before. but again, with gina, it's different. it's deeper, more strong, more secure. and so when he says these words, in a situation that mirrors his audition for hsm, of course it feels different. in that auditon, he was singing nini's words back to her. love you forever, in contrast, is all ricky. those three words do feel new because now he's singing them to gina and for gina, where previously he sang them for himself. also a really cool note about the parallels between ricky's audition and love you forever is that tim federle released the initial script for love you forever, and one of the descriptions writes that ricky "launches into the audition of a lifetime." this song, this confession, is the start of his forever with gina. of course these words feel new.
Mm, so rare, so real right here in this moment / And I'm starin' at the only thing I want, so
I tear up hearing ricky say that the love that he has for gina is both rare and real. both ricky and gina, at different points throughout the show, cast doubt on love. ricky says in a talking head in 1.01 that love is dead (fun fact: ricky is wearing the same denim jacket from that talking head during love you forever teehee). gina, in the 4.06 flashback, calls love lame. their faith in love ebbs and flows throughout the show, but once they are together, there's no question. it's why ricky encourages the seblos reconciliation in 4.06 or why gina tells jet to confess his feelings for kourtney in 4.08. if they've found this beautiful love in each other, where they got a second chance on love in every sense of the words, why wouldn't they want that for everyone else, for the people that they love?
the second half of this lyric, of ricky "staring at the only thing he wants," is my absolute favorite line of love you forever. ricky's eyes are naturally drawn to gina in nearly every episode of the show, whether she's looking at him or not, whether they're speaking or not. even before he recognized those feelings in himself, we could see it because she was always the apple of his eye. this rings especially true during love you forever, where ricky does not take his eyes off of gina the entire song, except when miss jenn turns the lights on. gina is the center of his universe and who he has been drawn to since she entered his life. there was a tweet after s4 aired that stated that ricky looks at gina as though he's falling deeper in love with her every time and this line captures that.
I wanna finish what we started in the stairwell where we met
the bridge opens with this line and it's so fitting. to suggest that committing to loving each other forever is finishing what they started when they had that first conversation in the stairwell is so insane and will always make me spiral when I think about it. this line all but confirms that ricky and gina began to fall for each other in that moment. that their conversation in the stairwell is what catalyzed their respective character arcs also all but confirms that they're soulmates, that there was an invisible string that connected them, inexplicably tying their fates together forever.
I wanna live like I have never even heard the word regret
both ricky and gina have instances that they look back on and wish they had done things differently. gina says so explicitly in 2.05 when speaking to kourtney. she alludes to her goodbye to ricky after hsm's opening night, stating that it was something she wishes she could take back. in 3.06, ricky tells jet that he wishes that he didn't let color war gina slip through his fingers, suggesting that he would've done things differently if he were more cognizant of his feelings for her. ricky never wants to feel like that again, that he's missed his chance with gina due to fear. he wholeheartedly embraces his love for her because he knows what it was like to live without it and doesn't want to live in a world where gina isn't his reality.
I wanna scream what's in my heart and I won't ever take it back
ricky and ej's duet in 4.05 is about speaking your truth and speaking even when it's hard. the song even has a line about "screaming out." where in speak out, screaming out solicits no sound, ricky singing this line in love you forever is him being able to vocalize the feelings in his heart. he also commits to never taking these words back. his feelings for gina are eternal and everlasting. this is important for gina to hear because words have always been unreliable to her. people that she cares about, whether her mom or jamie or even e.j., have made verbal commitments to her at one point or another, and each one of them has later reneged on that commitment, whether intentionally or not. ricky can say these words, can say "I love you" to gina, because he's been saying it through his actions the entire show. gina doesn't always trust words, but she trusts actions. ricky has more than proven his love for her, and it's this continued declaration through his works that allows these words to ring true for her.
'Cause I love you feels a lot like high school and forever after that
I made this observation a couple weeks ago but this line is so fascinating. when the season first dropped and I heard the line, I was a tad confused. what does it mean for love to feel like high school? I was listening to the hsm3 soundtrack when it all clicked for me. in high school musical, the final song they sing in hsm3, the last line is "I want the rest of my life to feel just like a / High school musical" with this line, ricky is basically saying that he will love gina for the rest of his life. throwing in a hsm reference is also incredibly fitting given that they've just completed the first night of their run as troyella, further cementing their legacy as the troyella of the show. i love that, even when the bridge is repeated, ricky and gina are the only ones to sing these lines. when the bridge is sung for the third and final time, ricky and gina are now together on stage singing the words "I"m in love, I'm in love, I'm in love" to each other in between the lines of the bridge. the song closes with ricky singing "I love you feels a lot like high school" with gina singing "and forever after that." I love this ending for two reasons: ending the song with rina singing together re-emphasizes that they're in love, and in love together (for the first time), as tim mentions in an interview. I also love it because even as the wildcats join to sing the bridge near the end of the song, ricky and gina are the only people to sing the lines "I'm in love x3" and "I love you feels a lot like high school." even though their friends step in to sing some lines, ultimately, the song is a love song for gina, about gina, and that's why it ends with her. as tim (love how much I'm referencing him) mentioned in an interview, rina is the beating heart of the romance of the show, and their friends coming in to sing along to ricky's love song for gina fully solidifies this.
#hsmtmts#ricky x gina#gina porter#ricky bowen#rina#rina hsmtmts#gina x ricky#my loves#gina porter x ricky bowen#hsmtmts spoilers#love you forever#lyric analysis#high school musical the musical the series#wow this got so long#like crazy long#i wasn't expecting it to get this long#but i'm not surprised#given that i could talk about rina for hours#i hope at least one person reads this#cause it took forever LMAO
162 notes
·
View notes
Text
Spoilers!!!
"Loser Baby" frame analysis (1/3)
(With lyrics)
I feel obligated to do this with all of my ships.
So!
With the power of two sugar free redbulls, skinny pop and the homoerotic audacity the makers gave me!
Lets do this!
Red = Husk
Pink = Angel Dust
Purple = Both
Normal = My commentary
[HUSK]
So things look bad, and your back's against the wall
Your whole existence seems fuckin' hopeless
You're feelin' filthy as a dive bar bathroom stall
Can't face the world sober and dopeless
You've lost your way, you think your life is wrecked
Well, let me just say you're correct
So, Angel just let lose he wants to self destruct to the point of being too broken for Valentino to want him. He has a outburst and Husk is the only one there to see it.
So what does kitty boi do?
Sing a song, of course.
But where Charlie would sing something encouraging and positive...Husk wants reality. He knows Angel plays a role to deal with all the messed up shit he's in. He showed Husk a sliver of his true self. And Husk knows he cant break that wall, Angel has to.
So he engages by slapping him with that reality, snapping him out of his funk.
[ANGEL DUST]
Wait, what?
[HUSK]
You're a...loser, baby
Angel gets into Husk's space often to flirt/piss the bartender off. So why not return that energy to Angel when he's vulnerable and unassuming?
Angel often grabs his face, making Husk face and look at him by force. Husk doesn't go that far.
Just his finger on his nose. Just enough contact to get Angel's attention and make sure he's paying attention to his words.
A loser, goddamn baby
You're a fucked up little whiny bitch
Husk needs more of a reaction, so why not casually insult him?
Angel often thinks this about himself; but Husk says it out loud.
[ANGEL DUST]
Hey!
And Angel is full on reactive, listening and giving Husk his full attention. It worked.
[HUSK]
You're a loser, just like me
[ANGEL DUST]
Thanks, asshole
[HUSK]
You're a screw's-loose-boozer
An only one-star reviews-er
You're a power-bottom at rock bottom
But you got company
Husk is successfully shifting Angel's sadness out, but also getting on his level, however, notice how his head is lower than Angel's.
Angel often sees himself as powerless. Looked down upon. And Husk takes a moment to look up at Angel, showing him he doesn't see him as lower, he sees him as an equal. "You've got company."
His issue wasn't Angel being a porn star or promiscuous, like others and even other hotel staff/patrons do. It was him putting on a mask and not being himself towards Husk.
Fun thing about cats, they show thier belly to only those they trust. So Husk laying on the filthy ground with his belly to Angel's back, he's allowing himself to be vulnerable right back. (My cat did the same before biting the shit out of my hand, the little demon spawn.)
[ANGEL DUST]
This supposed to make me feel better?
[HUSK]
There was a time I thought no one could relate
To the gruesome ways in which I'm damaged
But lettin' walls down, it can sometimes set you straight!
We're all livin' in the same shit-sandwich
Husk then sits next to Angel, closer and on his level.
They're in similar situations. Not just being in Hell, but signing themselves away.
[ANGEL DUST]
I sold my soul to a psychopathic freak
Angel angrily points out the obvious, but to him, its more than a fact. Its a shameful truth he hates. Husk laughs because "same!"
[HUSK]
Haha! And you think that makes you unique?
Get outta here, man!
He holds a hand out to Angel to help him stand, but its more than that. It's understanding. The loss of control under someone, to one's vices, to ones self destructive wishes.
83 notes
·
View notes
Text
The Haylor Bible
Links for all things Haylor. From song to music video analysis, to theories and stories. This is an ongoing project from the Haylor community.
Timeline
Haylor timeline summary
Updated Haylor timeline on twitter
2nd updated Haylor timeline
Year of “shooting your shot”
When HS gave TS the airplane necklace
Harry’s 1989 era IG posts
Reputation timeline
Anne being a Haylor
Harry’s Another Man playlist
Music Video
Wildest Dreams
Style/Perfect
Adore You
Falling/cardigan
As It Was mv
Late Night Talking mv
Daylight mv analysis
Daylight mv analysis part 2
Satellite mv analysis
Satellite mv analysis part 2
Songs
Fools Gold Lyrical analysis
Sign of the Times analysis
Seven analysis
Medicine analysis
Still the One analysis
Wildest Dreams and Cruel Summer interpretations
Back for You analysis
Only Angel
Cornelia St., Lover and Paper Rings
The Very First Night
Death by a Thousand Cuts analysis
Not So Typical Love Song analysis
The 1
Exile
This is me trying
Happiness analysis
…Ready For It analysis
1989 album
As It Was
Little Freak
New Years Day
Snow on the Beach
Begin Again
Glitch
Now That We Don’t Talk
Is It Over Now?
Olivia
End of the Day
Peter
Guilty As Sin?
Chloe or Sam or Sophia or Marcus
Theories
HS and TS twin flame journey
HS and TS twin flame dreams
Daylight mv. Was it almost Two Ghost 2.0?
May 20th-date of significance
November 15th-date of significance
Haylor dates of significance
How Gerry Rafferty’s Right Down the Line (Harry’s inspiration and pre show playlist staple) is the basis for much of Harry’s Haylor writing.
Fine Line (the song) as Harry’s barometer
Harry adding Stockholm Syndrome to the LOT set list 2023 European leg
I Wish You Would/Already Home
Why is To Be So Lonely rare?
Why is All of the Girls You Loved Before Haylor?
Haylor signs in 2023
Did Haylor collab and what 1D songs are Haylor
Something I’ve Been Waiting For and Endlessly leak
Sweet Disposition (a Haylor story)
She’s the One BTS story
Harry’s Haylor tattoos
Is the Satellite mv a response to Question…?
Is Mastermind about Harry?
Variations in handholding
September 28th
Unspoken dialogue
They can say it in a song
Harry referencing Taylor’s older songs
Harry thinking about Taylor
No place like home (Harry & Taylor using “home” in their songs)
Secret language
“No shoes”
Jewelry
Colors
Haylor “pay for it”
TS questions for HS
TS & HS using “drive” in their songs
TS & HS using “wine” in their songs
TS & HS using “summer” in their songs
TS & HS using “red lipstick” in their songs
TS & HS using “stay” in their songs
TS & HS using “New York” in their songs
TS & HS using “daydream” in their songs
TS & HS using “hallways” in their songs
TS & HS using “flying & planes” in their songs
Songs of significance
Words by Gregory Alan Isakov
Miscellaneous
Other Haylor master post
Another Haylor master post
Another Haylor master post
Haylor tarot readings
Haylor playlist “most amazing unspoken dialogue ever”
175 notes
·
View notes
Text
Harry Styles & Taylor Swift
Timelines and themes are here
Part 1: 1D/Red - Fine Line/Evermore: Songs by Album/ title
One Direction tag
Taylor Swift Album tags: Red, 1989, Reputation, Lover, Folklore, Evermore, Midnights.
Harry Styles Album tags: Self-titled HS1, Fine Line, Harry's House.
Harry Styles Unreleased tag
Taylor Swift non-album track tag
Songs by album - Part Two - Harry's House Onward
Harry's House
Music for a sushi restaurant
Grapejuice
As it was
Daylight
Little Freak
Matilda
Keep driving
Satellite
Boyfriends
Love of my Life
Midnights
Lavender Haze
Maroon
Question…?
Glitch
Snow on the Beach
Bejewelled music video
Labyrinth
High Infidelity
Sweet Nothing
Hits Different
You're Losing Me
The Tortured Poets Department
TTPD Prologue has 3 Muses
Fortnight and fortnight music video
Tortured poets department Title Track
Guilty as Sin?
Down bad
Florida!!! (Texas?)
But daddy I love him detailed analysis
Guilty as sin?
loml (detailed analysis) or loml (lyric cards)
Imgonnagetyouback
Chloe or Sam or Sophia or Marcus
Peter
Prophecy detailed analysis
22 notes
·
View notes
Text
Michael After Midnight: "Sir Psycho Sexy" by the Red Hot Chili Peppers
youtube
For April Fool’s 2024, I decided to do a bit inspired by Todd in the Shadows called Ford Analyzes Tunes And Song Stuff, or FATASS for short (a little nod to how Todd’s moniker can be shortened to TITS). Basically people would send me a song, and I would give some wacky analysis or review of the song that was probably the opposite of my actual, genuine opinion. For example, for Nickleback’s “Photoraph,” I claimed the entire song was actually a bittersweet gay romance. It was a fun exercise in crafting absurdity from even the most mundane or stupid lyrics. But it did leave me wanting to review a song for real… and what better than one of my favorite songs of all time?
The Red Hot Chili Peppers are a band that need no introduction, but I’ll do it in case some of you out there don’t listen to good music and/or hate California: RHCP is a funk/alternative rock band formed in 1982, though they didn’t really cement their status as one of the best bands around until their release of the alt rock classic Blood Sugar Sex Magik in 1991, an album that produced the personal and powerful “Under the Bridge,” the hard rocking “Suck My Kiss,” and the all-time banger “Give It Away.” It’s a fantastic album, one of the most influential of its time, and many regard it as RHCP’s best work—including the band’s bassist, Flea. I’m certainly inclined to agree; it’s a nice middle ground between their heavily funk-influenced early work and their later more radio-friendly rock tunes. Don’t get the wrong idea here—they were, and still are, a very good band—but I think in my opinion the 90s were the decade where they really stood out from the crowd as trailblazers in the rock scene.
With that out of the way, it’s time to single out my absolute favorite song on the album to talk about: An eight minute long track titled “Sir Psycho Sexy.” With a title like that and an impressive length to match, you know you’re in for something bonkers, and I’d say the song delivers in spades; it’s a funky rap rock epic that is hornier than almost any song before or since. The rizz the titular Sir Psycho Sexy of the song displays is beyond that of any mortal man, and it is simply glorious. This song is also a song that inspired one of my Ocs—Flynn Dangerfield from the Rhine City series my wife and I are working on. If you’re unfamiliar with the character (and you shouldn’t be, the rough drafts for the story are pinned at the top of my blog), this is like if Alex Hirsch said Dipper and Mable were actually inspired by Flowers in the Attic.
If you don’t believe me, then read on as I riff on one of my favorite songs and showcase the brilliant lyrical insanity of a 90s rock band that was likely high as a kite while writing this. Also, this is your warning: These lyrics are insanely NSFW. This isn’t nearly as bad as the last song I riffed on, “Pregnant Pussy,” but it’s up there. You’ve been warned.
So this song is sort of a story, and every story has a main character. And what a character we have here; Sir Psycho Sexy is his name, and getting pussy is his game. How does one introduce such a man?
A long, long, long, long time ago
Before the wind, before the snow
Lived a man, lived a man I know
Lived a freak of nature named Sir Psycho
Not a bad way to start things. Lead singer Anthony Kiedis really sets up Sir Psycho as some ancient, powerful force of nature, a being who has existed as long as there were babes to fuck and who is so eternal he was there before wind or snow. Mind you, this is before we get into all of his insane sexual feats and astounding prowess with the ladies, so we have the coolest guy in the universe right here. Let’s see what else there is to say about him:
Sir Psycho Sexy that is me
Sometimes I find I need to scream
Oh. Ok then. So Anthony Kiedis is Sir Psycho Sexy. This is either self-insert Mary Sue fanfiction, or it’s an autobiographical tale describing things that actually happened. Let’s be super duper charitable and call it the latter. At any rate, the fact he just likes to scream sometimes is universally relatable.
Still, you may not be convinced how good the song is from this opener, as it can come off as blatant wish fulfillment fantasy. Thankfully, the second verse opens with the greatest lyrics ever written by a human hand:
Deep inside the garden of Eden
Standing there with my hard on bleedin'
There's a devil in my dick and some demons in my semen
Good God no that would be treason
This is absolutely blasphemous, disgusting, degenerate, explicit, and one of the funniest fucking set of lyrics to ever be in a song. “There’s a devil in my dick and some demons in my semen” is not a phrase you hear every day, and it certainly won’t leave your head after you hear it. And don’t worry; things only get better from here!
Believe me Eve she gave good reason
Booty looking too good not to be squeezin'
Creamy beaver hotter than a fever
I'm a givin' 'cause she's the receiver
I won't and I don't hang up until I please her
Makin' her feel like an over achiever
I take it away for a minute just to tease her
Then I give it back a little bit deeper
So I don’t know what could be expected, but Sir Psycho plowing the Biblical Eve is probably not the sort of thing you could imagine when first popping in to listen to this song. When you take into account his ancient nature from the first verse and the fact he’s got his boner dripping blood in Eden in the first few lines of verse two, this is really the only logical next step though. The real question here is, is Sir Psycho supposed to be Adam, or has Sir Psycho tied up Adam to watch as he busts in Eve more times than should be humanly possible? If he’s “Makin’ her feel like an over achiever,” I’ve gotta imagine he’s not stopping after round one, two, or even three. I do like the detail that Sir Psycho won’t give up until he pleases her; it’s very cool and considerate that he cares enough about his lover to ensure her satisfaction too.
I got stopped by a lady cop
In my automobile
She said get out and spead your legs
And then she tried to cop a feel
Verse three begins with an extremely sad case of police brutality and sexual assault. Poor Sir Psycho was just driving along, minding his own business, when he’s pulled over for no crime whatsoever; the cop just wanted to fondle him. These lyrics really say a lot about our society, and the state of the police force in America when even gorgeous immortal studs aren’t safe from the pigs.
That cop she was all dressed in blue
Was she pretty? Boy I'm tellin' you
She stuck my butt with her big black stick
I said, "What's up?" now suck my dick
Some interesting tidbits of information here: Sir Psycho enjoys being pegged, and he has a death wish. What kind of absolute madman says that to a cop that has them at his mercy? Does he really think he can turn the tab--
Like a ram getting ready to jam the lamb
She whimpered just a little when she felt my hand
On her crotch so very warm
I could feel her getting wet through her uniform
Proppin' her up on the black and white
Unzipped and slipped, "Ooh, that's tight"
I swatted her like no swat team can
Turned a cherry pie right into jam
Are we sure this man is Anthony Kiedis and not British Prime Minister David Cameron? Cuz he sure does like fucking pigs! Sir Psycho, with his ancient pornomancy powers, takes “fuck the police” to a whole new level, completely turning around whatever situation he’d gotten himself into.
And now we get a shift in the instrumentation, and the lyrics kind of mellow out and almost feel a little romantic(at least in a 90s funk rock way):
Hello young woman that I love
Pretty punk rock mama that I'm thinking of
Hold me naked if you will
In your arms in your legs in your pussy I'd kill
To be with you, to kiss with you, I do miss you
I love you
Lay me down, lay me down, lay me down, lay me down
Lay me down, lay me down, lay me down, lay me down
Descending waves of graceful pleasure
For your love there is no measure
Her curves they bend with subtle splendor
This part genuinely feels so tender and, while it is extremely horny, Sir Psycho seems especially reverent of this woman, this amazing “punk rock mama.” I kind of think this segment pulls the entire song together, giving us a brief respite from the more overt sexuality and into something that genuinely sounds sweet, albeit in a decidedly horny sort of way.
Of course, we soon get back to Sir Psycho’s usual escapades in the final verse:
Now I lay me down to sleep
I pray the funk will make me freak
If I should die before I waked
Allow me Lord to rock out naked
And after this, we get kinky before wrapping up this song and heading to an extended instrumental outro:
Bored by the ordinary time to take a trip
Calling up a little girl with a bull whip
Lickety split go snap, snap
Girl gettin' off all in my lap
The tallest tree the sweetest sap
Blowin' my ass right off the map
Ooh and it's nice out here
I think I'll stay for a while
So full disclosure, this really, genuinely is one of my favorite songs of all time, and perhaps my favorite RHCP song. It’s so audacious, in-your-face, and unabashedly horny, and in a day and age when people seem hellbent on removing sex from art, it’s nice to go back to a simpler, sluttier time and jam out. Is the length a bit excessive? Sure, probably, but length like this is all Sir Psycho is capable of.
The song is honestly not too dissimilar from the last song I reviewed, “Pregnant Pussy” by UGK… at least in terms of audacity. Where that song was trying to be as disgusting and depraved as possible to get a reaction from the listener, essentially being the nastiest troll song you’ll ever here, this song is just very upfront with its sheer horniness. It only barely eases you in, with the opening leading right into blasphemous boasting and dick blood, and it just never stops. It slows down a bit in a couple parts, but overall it really is just an unrelenting force. The song’s length isn’t something you ever really feel, because it just goes from one dirty lyric to the next.
But I think the most important thing the song does is remind us we all have a little Sir Psycho Sexy inside us, and we all have been standing the garden of Eden with our hard on’s bleeding while there were devils in our dick and demons in our semen. Maybe the real dick devils were the friends we made along the way.
10 notes
·
View notes
Text
BELIEVE 4 LEAVE ANALYSIS ( PART 1/2)
Eating noodles*
Uhm, since Believe 4 leave is coming out soon, might as well watch the translated lyrics for fun.
Song start playing*
"To the thing that you can't see, is there really an end to all of that?"
Noodles drop*
Ya know what, eating is needed, but analysis this song is more important right now!
Uhm...so, *wear my weird-looking but cool-ass glasses on* let's get into it shall we? ALKALOID P? MayoiP?
So before we actually get into the song lyrics, I would like to remind you something about Mayoi.
He's a little freak, a little cute freak that most of the fans can relate to.
Mostly because of his low self-esteem, he gets scared easily and goes from "Haha" to "I SHOULDN'T HAVE LIVE ANYMORE" really quickly.
Few of the first chapters from the main story until recently, even if it is a small thing, he did change. He doesn't usually talk that much, not even in any conversation with other members or outside people in ES.
He's in his own world, his own thoughts for most of the time. If he did say anything, it was either praising others, talking badly about himself, or simply a scream, panic for help.
But later on, he talks more and more, more open about himself. Even if he still has that low self-esteem within him, he's happy that everyone didn't push him away.
And the song covers up some of that Mayoi character in it! It really hit the right spot if you look close enough.
From the first line:
It not really a happy feeling, it more of an unsettled situation where Mayoi couldn't know if any of this going to end of continue to suffocate him to death.
I think this is talking about his first time going out to the outside world and couldn't easily run away like all the other time ( he run away from the hospital once ).
Tatsumi going to catch him back, Hiiro can sense him present, his form has being review to the world outside. But more importantly, he got a Unit to be in, he can't no longer be the phantom that ghost this place with no hope and being agony in his own world anymore.
With that thought in mind, he have to chose, to move forward or giving up and continue hiding.
At first, Mayoi didn't have the chose but to go along with other members, he's being push to continue:
the word "Binoculars" here is not only represent for a binoculars the Airship cool MV, but also about look into the future far ahead.
As he whispered: "I can't really do this, can i? I'm not that good of a person, how can a hideous person like me even deserve a place of happiness like them."
But in his hand was a binoculars, a device to look for the far distance, a further future, even if it was something small and hard to detect, he did in-fact, want to be as beautiful and fill with joy as them.
Yet he fill with nothing but anxious
But he didn't stop, he continue, in his head scream pain and agony yet he show no sigh of stop.
Because everyone still needs him, the team need him to help with their training, Tatsumi needs him to help with his yet to completely recover leg. Hiiro and Aira still need a person to relied on when Tatsumi wasn't around.
He can't stop now! ALKALOID NEED HIM!
I love this line sooooo muchhhhh, it not just about Mayoi, it about ALKALOID itself. About Tatsumi, about Aira and about Hiiro:
We're be able to dream! And we'll continue to dream from this every moment on!
Yes! they accept that their just stupids little bastard, but in that way, if stupids bastard like them were allowed to dream big? They won't stop now!
They announced that, this is all just a beginning
And the journey may be rough, but they won't scare to try out, if that what helps them achieve their long lasting dream.
Than we shift back to Mayoi:
As his little dream now is no longer a small bit of hope, but something that he himself and ALKALOID are chasing with.
He's not alone.
The ALKALOID are with him.
Ah fick that! They said: "We go on this journey with risk at hand!"
Maybe we'll fail, but with that mistake, we'll do it better next time.
And the next lyrics! They are also my favorite!
It LITERALLY about how fourth members represent for, and it even more meaningful when you read the main story!
Hiiro: Was despair when his brother leave him but find hope in ALKALOID.
Aira: Despair for love, you can spot this very easy from the fact that Aira don't really like himself that much, he scare and hate and just a little boy finding his way, so ALKALOID gave him love! The love that he deserves.
Ok...I'm so sorry but Tumblr don't allowed me to put more than 10 pic in here. BUT FOR THE LOVE OF ALKALOID I MUST!
THIS WILL BE 1/2 PART, YOU CAN FIND THE 2/2 PART ON MY PAGE. ( if can't, just use the analysis about b4l tag down there )
THANK YOU FOR READING THIS!
#ensemble stars#kazehaya tatsumi#tatsumi kazehaya#mayoi ayase#ayase mayoi#amagi hiiro#hiiro amagi#aira shiratori#shiratori aira#alkaloid enstars#analysis about b4l
10 notes
·
View notes
Text
it is 2am and i am feeling so much sam winchester love rn so here is a list of taylor swift songs i think resonate with him:
1. Anti-Hero
I feel as tho all the lyrics work towards his character.
Mr. Samuel “It’s me, Hi, I’m the problem it’s me… everybody agrees,” Winchester
I should not be left to my own devices -> Dean constantly implies that Sam shouldn’t be left to figure things out on his own. He does this so much that Sam actually confronts him about it, multiple times.
I wake up screaming from dreaming -> Sam used to wake up from his visions freaked the hell out.
The second verse is also very fitting; he always felt like a freak or monster compared to everyone else.
2. Clean
DEMON BLOOD !!!!!!
I think it works really well for his addiction arc because the song is about toxic relationships (aka RUBY).
The drought being the worst -> Being locked in Bobby’s panic room.
The flowers that we grown together died of thirst -> The powers that grew and developed during his addiction and slowly disappeared when he was sobering.
I screamed so loud but no one heard a thing -> Sam was shouting and banging for hours down in the panic room and no one came to check on him until he was quiet.
Ten months older, I wont give in. Now that i’m clean, I’m never gonna risk it -> He never went back
3. Nothing New
Honestly, the whole reason this song is on the list is because of the lyric:
How can a person know everything at 18, but nothing at 22 -> Sam left for Stanford at 18. That was his first taste of freedom; it was his first time deciding something for himself. He was his own person. He had finally escaped. But, then at 22, Dean came and brought him back in. Jess dies. Everything feels lost again.
In general, I think Sam has lost of teenage girl vibes to him tho. This is probably self projection, but I think its true and this is MY analysis so <3.
4. My Tears Ricochet
This song is about Sam and John’s Stanford fight, and general dynamics that they share.
This one is going to get it’s own in depth, dedicated post <3 but some highlights are:
Even on my worst day, did i deserve, all the hell you gave me -> Sam was a child. No matter how arrogant or frustrating he could be, John should have never been so harsh on him. Telling your kid to never come back just because he wants to go to college is INSANE.
And I can go anywhere I want, just not home -> THIS LINE IS SO AHHHHHHH SAMMY.
Cursing my name, wishing i stayed -> John. John. John. Cursing Sam to never return, while simultaneously wishing he had never left.
Cause when I’d fight you used to tell me I was brave -> Parallel, John telling Sam he being brave on a hunt VS John condescendingly saying Sam was being brave for standing up to him.
You had to kill me, but it killed you just the same -> John realizing that Sam might have to die if nothing changes. John giving that responsibility to Dean by giving his life for Dean’s; selfless selfishness.
5. Mirrorball
Mr. Samuel “And when I break, it’s in a million pieces” Winchester
I’m still on that tightrope, I’m still trying everything to get you laughing at me -> Sam continuously tries to do his best under every circumstance. Even though most of the people around him have such little faith in him. He won’t stop trying.
And I’m still a believer, but I don’t know why -> His faith is God and the stereotypical Christian religion in general throughout the series fascinates me. He has very little reason to keep his faith, but he does. Even in later seasons, I think it was s11, when he prays and believes that Lucifer’s visions are actually messages from God.
I’ve never been a natural, all I do is try try try -> Sam doesn’t actually know what he is doing. He uses his training, but that only can get you so far in mental battles with Lucifer or physical battles with God. He does what he thinks is right. He just wants to help.
6. This Is Me Trying
This is also in the works of developing its own post. Highlights include:
I didn’t know if you’d care if i came back, i have a lot of regrets about that -> Sam never got to know if Dean wanted him back. All that time spent at Stanford he had to wonder if his father and brother actually missed him or not.
Could’ve followed my fears all the way down -> This just screams Lucifer trauma to me
THEY TOLD ME ALL MY CAGES WERE MENTAL, SO I GOT WASTED LIKE ALL MY POTENTIAL -> *violently screams and shakes* The visions, Demon blood, Hallucifer, literally anytime Sam is struggling it is brushed off as him being too worked up about it. Dean literally COMPLAINED to Bobby about how much work it was that Sam was mentally ill. LIKE DUDE.
AND MY WORDS SHOOT TO KILL WHEN IM MAD, I HAVE A LOT OF REGRETS ABOUT THAT -> Sam does say shit that is hurtful. He does shit that is bad. It’s usually out of frustration from someone else’s actions towards him. AKA it’s usually towards Dean, when Dean belittles him.
pouring out my heart to a stranger, BUT I DIDNT POUR THE WHISKEY -> Sam vs Dean (this is NOT me belittling Dean’s alcoholism bc i get he has an issue)
That this is me trying, AT LEAST IM TRYING -> Again, Sam is just doing his best.
And it’s hard to be at a party when I when i feel like an open wound -> Sam has to just behave and go through his life normally even when he is struggling with abandonment, addiction, 180 years of every abuse imaginable and unimaginable, guilt, and just so much suffering.
It ’s hard to be anywhere when all i want is you, you’re a flashback -> Sam’s feelings about Jess. I constantly think about that scene in the impala when he tells Dean that he still thinks about her. It had been like twelve or more years. Its so painful.
—
please excuse my typos
i am yet but just a girl
<3
#im so insane about sam#i lovelovelove his character#i don’t understand people who don’t#i am such a sam fan i cannot understand hating him#supernatural#sam winchester#spn#castiel#please talk to me about supernatural#dean winchester#sabriel#sastiel#chuck shurley#sammy#sam winchester to me is pspsps to cats#sam spn#sam antis are crazy <3#sam and dean#taylor swift and supernatural#sam girl#sam posts#sam winchester hurts me#jared padalecki
11 notes
·
View notes
Text
SD: Dream a Little Dream of Me ~ 2014 Sochi Winter Olympics
For the sake of this not becoming a university length dissertation, in analysing this program I am going to focus on discussing the textbook example of musicality they display in this performance. (Though there is so much to love about it from costumes to skating technique, but the musicality is 1000 chefs kisses 🤌).
This is going to be a bit tricky to break down in gif form, so please if you feel it necessary jump back and forth between watching the video and this analysis.. I’ll do my best to bring it to life through text!
Before that I really do have to comment on their performance quality and showmanship, and it’s not like this performance is an outlier as a supreme example over their other performances, but it is just such an easy to understand example of what being a truly gifted performer is. In more lyrical/contemporary programs, it’s more subjective and can be said to be too over or under done, this program however.. it’s like they’ve been pulled straight out of a mid century movie. It’s hard for me to say what is their best dance style because they really do excel at them all, but this really is just.. as close to perfect as you can get. Its fits them so well. They have the EXACT amount of expression needed to carry the story, the tone, the movement, interaction with each other, and are able to make it visible for the judges, audience close up, watching on TV, and way in the back row of the arena. This is what we call in the theatre/dance world ‘projection’- that encompasses how long you have to hold an expression for, what angle your head needs to be at, how much to squint your eyes, how much you interact together/to each other as opposed to the audience. Their field of performance is unique bc they have essentially 5 sides they are performing to - 4 sides of an arena and the cameras. Most dancers/ stage actors have just the front. There is never a moment or angle from which VM aren’t being watched.
I can’t even begin to explain how rare a quality and ability to perform like them is, let alone find the one other person in the world as equally charismatic as you and have that performance relationship work- perfect compatibility. Tessa is a freaking superstar. She’s so absurdly beautiful, she has the most gorgeous sparkling eyes and infectious smile. Her face just reads soooo well from an audience POV. It sounds harsh to say but some people just do not have the face for this- and it’s not about being attractive or beautiful- it’s just the ability to read expression. Having features in proportion to all the expressions you need to portray. Same with Scott. It really can not be said enough what a once in a lifetime gift he is to the world of dance/theatre/ performance, LET ALONE skating. I am not exaggerating: he (within their field) is akin to Fred Astaire. Not to get stereotypical, but it is just rarer to find a male performer with that kind of natural charisma, either there are more who have it and are bullied out of it bc dancing/performing is considered “girly” or they don’t have the mentors around them to see that untapped talent/potential for it to be come what it can be. And even THEN it is so incredibly rare to find. There are phenomenal male actors and dancers, but I can’t think of any- out of literal movie actors, that invoke leading man, all-round talent… just that kind of performer you don’t see anymore. Scott optimises vintage style not vintage values on the ice and in their partnership. Scott would not be out of place in the mid 1900’s classic cinema is what I’m trying to say-that kind of performer doesn’t exist anymore and there is something nice about watching watching VM, even with IDing moving in the direction it’s going now, to look back not even 10 years ago and watch this team so brilliantly skate a more traditional style of performance, and also be able to perform modern/current themes and music. VM HAVE NOT had a perfect or easy journey by any means, but by their own retelling they were incredibly fortunate to have families, coaches, mentors who nurtured them exactly how they need to be to fulfil their incomprehensible amount of talent. (Back to S) I am just so moved by him everytime I manage to draw my eyes away from T to just watch him- and the reason why I struggle to stop watching T: bc HE IS MAKING ME WATCH T.. seriously. Challenge yourself to just watch him, and see everything he does himself to shine and also make her shine.. I just can’t comprehend it. He is just so incredibly rare and a freaking gift of a performer.
To bring it back to this exact program and performance now.. I think it is one of the better examples where both of them are equally as stunning, charismatic, equally shine. S was born to be this kind of dancer.. I think is what I’m saying. It just looks so easy for him, it’s not a deep, complicated character like don jose or Christian, but it is a character none the less and is one that he just fits so perfectly. Thinking about how perfectly he expressed Farrucas which was fiery and had this internal rage that manifested as passion and love- he even more perfectly expresses this charming, handsome, leading man with stunning posture and exquisite lines. Everything he does looks easy. I love that BESP commentary where they say “he NEVER looks as though he’s got a problem” he’s doing the most complicated skating in the world to the highest quality, while partnering T seamlessly and with a smile on his face. He just gets that a huge part of his job is to make her look good. It’s not about him- it’s about her. Sorry but it is, and he FREAKING GETS THAT and has not one microfibre of resentment over that, you never see him cringe or wince or get mad at her for messing him up. This goes back to their inspiring work ethic and empathy towards each other and being the best team possible, but to be such a selfless male partner- and be that selfless when he is as good as he is… to have no resentment over that and never wish he’d been a singles skater to have the spotlight for once- nope-he doesn’t want that. Ughhh..
I know that seemed to get off track but it really does go into it- that lack of ego, when you can just be so free to perform bc you love it and you get to do it with the person you love more than anything- all that shows when they dance.
OKAY…
Back on track now.
I’m going to try to hit the big/most inspiring musical moments. (Obviously I’m not gonna hit all of them) (Apologies in advance for my attempt to text-verbalise musical accents).
On this little trumpet (I think it is excuse me if I mix up instruments), you can hardly see it, but S throws T’s arm up and its not her arm that’s expressing that full trumpet trill, but his left arm as he drops it down after throwing hers up. He also give a bit of that smirky face as he does so. Starting with this musical moment bc its so perfect but you barely see it- it’s that kind of attention to detail that is so under appreciated in this program.
Included in this one gif so I don’t waste any: the helicopter spin. This is so subtly iconic and I know I’ve read someone else point out the brilliance of this moment musically, but just let me throw in my own thoughts.
So on the lyrics “Sycamore trees”, that’s over two counts of music. T has her leg extended for one count, and S has his extended for two counts. The second count, with the sound of the music the key drops on “more”, so he continues that spin but goes to a bent supporting leg for the completion of the turn . Together they do the first part of the turn with their legs in second then S finishes it by ronding it derriere. It’s also the dynamics with the way he rounds his leg to the back… he ‘milks’ it to the end of the count.
They use A L L their music. Every single part of it. The counts, the notes, the accents, the syncopation, the breathes in the voices, the character of the voices. This is the brilliance of the choreography but a huge part of it is on VM to express the music like this- this kind of supreme musical expression is unique to VM- they hear music differently to most human beings-let alone figure skaters.
All these little indulgent body movements on the kind of ‘scats’ in the singing. They start off with accenting in the upper body, then as they need to get around the corner to be ready for the step sequence, they continue that same rhythm with their feet- they aren’t just doing the steps necessary to get them in the right spot, its like they’ve got that groove of the dance in their bodies and continue it from their upper bodies to their feet.
Its also how much they emphasise these accents. There’s one movement S does with his head, now he could’ve really thrown his head back, but instead he does a much smaller head movement that is just so perfect for the style of dance they are doing- its the restraint they show as much as it is the complete commitment and abandon to the moment.
The exact same thing a little later halfway through the non-touch step sequence (so I won’t gif it but you can go watch it). I know this got pointed out- I’m pretty sure by Kurt- about how S watches and reacts to T- its him watching her that informs how he does his steps-his steps are his reply to her- as if they were having a conversation - this is one of the biggest examples of Scott being a perfect partner. That they are doing the same choreographed steps but its performed like a conversation-letting her movement inform how he performs his.
The second half of the step sequence is just ….. i really can’t keep using the word perfect (insert the arthur fist clench meme that they were SCREWED on this score). All on one foot. The first few steps are again as if having a conversation he is responding to her saying “a huh, a huh, ok watch this” and they do that last twizzles, then…. PERFECTLY skid out along with Louie stretching out that “oohhhh” lyric, and S’s little shoulder shrug like “damn, you’re good”. (Also mirrors the skid in the finnstep that comes later). I’m not really the biggest fan of when figure skaters.. kinda acknowledge their surroundings mid program.. ie interacting with judges directly, using the boards.. but surprise surprise I love how vm do this here- they kinda go ‘oh shit, gonna run out of room’. I think again bc its so musical and is in the character of the dance it works.
This is a little off topic, but I, with all the in-depth blogging I’ve done on them, really haven’t appreciated: HOW FREAKING GOOD OF A SKATER IS TESSA!!!! Like.. of course, she’s the best ice dancer if all time, a 3x time oly champ, 5 olys medals, 3 world champs, some of the best skating skills ever, (I wrote this before their CSHOF speech) but I don’t even think of her as a skater, and yet Scott I do. I’ve been thinking about this a lot recently and even though I watch her skate on a daily basis, I don’t think of her as being part of the sport of skating.. like I can’t imagine hearing skating terminology come out of her mouth; worlds like ‘rocker’ ‘counter’ ‘spiral’ types of jumps.. I have heard her say ‘twizzles’ and ‘axel’ but it’s just this really weird thing that I don’t associate her with the sport. I probably do Scott bc he coaches, but VM together even I don’t see them as being part of that figure skating infrastructure.. its weird, maybe it’s a generational thing- like I don’t associate them with other famous skaters from before their time (that’s normal I think) but even other skaters in other disciplines from their time- Yuna, Mao, etc.. maybe bc I’ve studied them so long and feel close to them on a personal level, other skaters are more foreign to me but VM are just people. Its weird.
So when I really focus on T doing steps like this, its like ‘how does she do that’. Maybe its bc (and sorry I don’t mean this to sound pretentious) but I really relate to her and see a lot of myself in her, so if I imagine myself skating I wouldn’t have a clue what I was doing, so I think ‘but how can she do it?’
Ok, enough of that, that’s for me to work out in therapy (hahahahahhah 😅)
*MOMENT TO SAY HOW PERFECT THESE TWIZZLES WERE PLEASE GO WATCH THEM ON REPEAT*
The ending of the twizzles- that little clap scott added, as he watches her. (I really don’t like clapping in FS. Except VM- I’m bias you know that) They talked a little in the stupid show about the story of this program- though I feel that’s kinda just to set the scene of it- once that’s done they (maybe) and the audience can kinda let go of that very literal telling of them being on this date and he showed up late and he’s gotta try and charm her.. once that’s established they are really just performing- and I appreciate that bc a) it’s a sport and they have to get the required elements done, but also its not this cheesy, pantomime kinda thing- they perform as though they know the audience is smart enough to understand that without it being spoon fed the story, then they can just wow us all with their dancing. You could just so easily imagine them on stage doing this dance (a version of this dance) they could be on a broadway stage in tap shoes and these exact costumes performing this duet and they would not look out of place-they have such wonderful showmanship they almost look out of place in a sport arena- that’s how good they are! But as I’ve mentioned before, the way they approach their programs, from costumes to structure, seamlessly bridges this divide between the stage and arena-their costumes are athletic and do not impede their skating and also don’t look like idiots dressed in outrageous over the top costumes in a sports arena.
I can’t gif the whole finnstep pattern but god I’d love to!
Firstly a more general comment: and I’ve probably said this before, but something I really love about VM’s skating and all their programs (marina programs and Montreal programs) is the where they put and how they perform the set pattern within their short dances. Some teams I feel hide their patterns in the program by not using highlights in the music, not starting it at the start of a phrase of music, putting it in a weird/unnatural place within the program. I love how VM usually have a different track, and if not, brilliantly edited musical transitions into and out of their patterns. Here in DALD there is a fantastic, fanfare-like musical transition into the instrumental music for the Finnstep, there’s this ramp up to it.. and it’s like this incredibly satisfying beat drop moment as they start the first step in the pattern.
That sharpness of their heads on these first steps. The look to each other then the syncopated ‘down up’ I have watched this whole event but I can’t remember what every single team did, but I remember there were a few attempts to add heads and arm variants in here, but the majority were slower- not really with the music. VM’s is just right on with the style and musical accents. The coordination to do those heads while doing those steps is so hard, it’s so fast and there is so much to concentrate on.
Lastly on this gif is T’s twizzle. NO OTHER GIRL turned this fast. It is such a fast movement anyway, and so many fall behind on that musically. I don’t even know how T does it that fast- how her blades doesn’t stuck is beyond me (an example of why Scott said she is the greatest skater he has ever seen ✅). You can see S is giving her everything he can give her to do that turn super fast- strong hand/finger hold above her head, keeping a secure hold around her torso to keep her on centre, and he stays looking at her the whole time-there’s never a moment they aren’t communicating. The way they bring out the joy and lightness in this instrumental music with their skips and high jetes. THEY ARE ON ICE.. HOW IS THIS POSSIBLE???
Sorry to get off topic again, but this is an example of how they work with their limited height difference: In this dance, they seem to have much more height differential. You can especially see that in her twizzle. I can’t comment on exactly how it works between them (and it’s all they’ve ever known) but I like to think S does an enormous amount of work in these pattern dances to make himself taller- he does this but ‘growing’ taller-not literally but in terms of elongating through his spine as much as possible without straining his neck and shoulders. He has superior posture (B A L L E T). His form in holding tessa is impeccable. He is supporting her and is so strong that he not being dragged down in supporting her, she in turn is so strong she could basically do all these steps un-partnered- she is not grasping onto him in the slightest. He is also just so light through his steps, he does not appear heavy. I’m sure off ice he has phenomenal balloné (bouancy in his jumps) so these steps can appear so easy and eleveated while completing every edge and turn to perfection (did you read that right judges!?!?!?)
Moving on..
The sharpness of their feet- T’s turns on the ‘5,6,7, and 8’ counts. (Im sorry I don’t know what the turns are called) but she goes ‘back, forward, back, pick’ its just soooo musical. Both their picks to cou de pied are exactly the same- same shape, same timing. Exquisite
The beautiful lean on those two crossovers as she passes under his arm, then the skid stop is so.. extreme, yet calculated. They are sooo good they can do the craziest shit on ice-not just do the required steps but push the boundaries of whats possible technically- something no other team since them has done. On these quick step flicks they just look stunning, the hold he has on her to make her appear so high and sparkling- not pushing her down.
Im obsessed with the slow, drawn out choctaws, then quick snappy twizzles.
These last steps on the diagonal (not part of the Finnstep pattern) where they hop on one leg and face each other is my favourite part of the program. Omg how precious. This is an incredibly mature program (as are all their competitive programs) but this moment here has such an essence of child-like joy and humour. It goes quick so you cant see their faces but I sense their smiles at each other here was a micro moment for them to look at each other out of character- one of those checking in moments. I don’t know, I just love it, its so pure.. also the addition of another quick step jeté- I think this might be there one there’s a picture of them mid air from Scott’s side so you can barely see T bc they are so in sync.
The button ending with that drop back. Right on the music. Just perfect. Then that little look he gives her like ‘damn straight kiddo’ 😏
It’s not just the dancing and the steps, but also musicality in terms of energy. They’ve just finished the finnstep which is probably the fastest of all the CD’s, then through their energy they tone it down to give layers to the program- this I think helps in making the SD feel like a free dance- that it is not just all one level for 2:50 minutes. I feel so many other teams and their their choreographers/coaches miss that in creating programs by not highlighting moments properly- there is no artistic transition out of the compulsory portion so it all blends into one. VM’s programs highlight all their elements without feeling like useless connecting steps between elements. So I love after the dip back, they have their kiss moment and the next little bit through Cheek to Cheek up till the lift is relatively more chill and indulgent- while not letting up/ having a break. Its like he’s won her over, he’s been so charming and can dance and treats her beautifully, now its just like, ‘ahh, how lovely’ now its about ‘dancing cheek to cheek’.
Their lifts are god tier. They are the best ice dance lifters to ever exist (along with best ice dancers everything else). I won’t go on about the technical aspect of it rn.
Everything that goes on before T gets into her scorpion (thats the position she’s in when he spins) is crazy, then once he starts rotating- the way his speed kinda revs up with the music. Its hard to here but there’s kinda this background ‘da da da da da’ that speeds up and they match it perfectly. Its incredible.
And lastly. I don’t think they had hit that ending right on the music all season, and here: they did perfectly! I think that was part of his ‘yes’ in the ending pose.
#well would ya look at that it became a university length dissertation#to quote T: ‘oopsie daisy’#sd: DALD
12 notes
·
View notes
Note
hi, i absolutely love your masterpost about waterloo to anywhere! so thank you so much for that! do you know if there are similar things done with babyshambles songs or have you done this with romance at short notice? i know there aren't as much references, but still some
Hey anon!
First of all, thanks for reading this silly blog :')
I definitely do see song analysis posts every so often, but they're hard to go back and find because tumblr search really reaaaally sucks. (if I see any I'll try to reblog them here) However, if you're relatively new to this fandom like I am, these posts by @missoneminute are required reading:
peter+carl+lyrics+demos
lyrics+love notes
(and honestly even this joke post helped me learn a lot)
Please do note that Marta has said she wrote these quite a while back though, so doesn't stand by absolutely everything in them anymore, but I think they still hold up pretty freaking well.
& there's no reason not to do your own theorising!! that's half the fun. I think it does help however, to keep in mind that Carl podcast quote re: "we spent years writing little bits in songs to take a dig at each other, or to say that we love each other", and know that a lot of the time a song isn't going to be solely about each other, and might just have one specific bit that's a hidden message or reference. (er the podcast is somewhere, I'll dig it up at some point)
As for me, I'm not sure I could do this specific format for any other album tbh. The reason I picked WtA is because, whilst they're always writing about each other, I've just never seen it in such a high concentration like it is on here. I mean, this is (more than) every second song if you're delusional. Crazy stuff!! However, if you're looking specifically at Romance at Short Notice, I'd direct your attention to: Faultlines, Blood On My Shoes, Kicks or Consumption, and Plastic Hearts (hear me out: the "cold cold hearts" line here is directly echoed by Glasgow Coma Scale Blues, the "are you listening?" is very killamangiro, and "why can't I move on" is self explanatory...)
I'll more-than-likely keep posting lyrics/lyric parallels that I think are about them though, it'll just be in a less organised format.
#even whilst writing this up evidently i cannot help but go 'wait uh. does this sound like its abt peter to u guys????' lmao.#asks#anonymous#u know what is worth taking a serious look at actually. both their first solo albums. some weird stuff goin on there for sure.
2 notes
·
View notes
Last Seen Blogs
thebestgoddamnbroccoli
assassin
gwandaa
Gwandaa 🪐
bl-dorama
BL 💗
maplebars
art blog
corriequotes
Corrie Quotes