#wrote some of the lyrics in my ballet studio | Explore Tumblr Posts and Blogs

rad-rat-with-a-tophat · 1 year

Text

day four of @thetheatergremlin's boyf riends week

✨reunion✨

It was the summer before college and Jeremy hadn't seen Michael in two years. In those two years he'd made new friends, got closer with the ones he already had, and started a mildly successful band.

He wrote the songs and was the lead vocalist, but the fact that most of them were about Michael and how he never got to confess to him and how he was still in love was a total coincidence. In his defense he was the songwriter for a midwest emo band, ignoring the facts that they were from New Jersey and he'd written most of his songs before starting the band.

So here he was, about to start his last set in his hometown with his best friends Jake, Brooke, and Chloe. Christine was in the audience shouting their band name, More Than Survive, at the top of their lungs.

Jeremy and Jake were positioning the mics while the girls were fixing their makeup.

"Dude," Jake said.

"This might be our last time performing in Middleborough,"

"Yeah," Jeremy responded, unwanted sadness pooling in his stomach. Him and all his friends were going to New York for star's sake! He was getting out of tiny little town, out of the endless high school classes, and the shitty classmates who made fun of him for his "stupid gay songs"

But in truth, he was gonna miss his little hometown. He was gonna miss all the good memories. Those with Michael and those without.

Damn, two years later and still not over and still not over him, Jeremy thought to himself. Before he could start full-on monologuing to himself, Brooke and Chloe rushed on to the hurriedly built stage.

"Two minutes until the show starts everyone! Two minutes!" The announcer said into his microphone.

Tonight was the perfect night for what might be their last time performing in Middleborough. The sun was setting, the air was humid but there was a perfect breeze, and there was that slight chatter of people enjoying the time they had before returning to the hell known as school.

Just as Jeremy and the rest of his band got settled, Jake with his guitar, Brooke with her bass, Chloe at the drums, and Jeremy at the mic, a sharp buzz came from the announcer's mic before saying, "Hello and welcome everyone to our 14th annual Summer Performance Festival! Starting us off is the two time winner of Middleborough High School's Battle Of The Bands is More Than Survive!"

Looking out from the stage Jeremy felt a calm he only ever did when performing. On stage he felt confident and at peace, things he could never be normally.

"Hi everyone! We're More Than Survive and we'll be performing three songs for you tonight! Each one had been written or inspired by different members of the band! Our first one was prompted by our wonderful guitarist, Jake Dillinger!"

The first song they played was called what the fuck is a ttrpg? Which was written because Jake needed a song about a huge giant crush he had on this one podcaster who had a podcast about Magic: The Gathering, Pathfinder, DnD, and other card games and ttrpgs alike. Jeremy had never listened to the podcast because he wasn't the biggest fan of them, but he had Jake write a letter about everything he liked about the guy and then Jeremy the turned the letter into a song.

The song ended and the audience launched into applause. Jeremy smiled, overwhelmed with appreciation that he started this band. Sure, it was originally because he needed a way to release his pent-up feelings but now others could too! All because of him and his friends! It fucking rad.

"This second song is called is called ride to pinkberry, written by our amazing drummer, Chloe Valentine and mega-talented bassist and back-up vocalist, Brooke Lohst!"

Brooke and Chloe smiled at the applause, neither of them seemed like they were in a midwest emo band. Brooke was wearing pastels with gentle make up, and Chloe looked like modern Regina George with slightly less pink. But anyone who doubted their stage presence was completely wrong. Without them, Jeremy and Jake would just be two losers with okay music but no personality.

Right at the middle of the musical interlude, Jeremy noticed Jake staring at one singular spot in the crowd, mouth slightly ajar. Jeremy turned his gaze towards the spot that Jake was looking at.

There he saw a short, but absolutely shredded guy around their age who had blonde hair with a purple streak which eerily fit into the description of podcast guy in what the fuck is a ttrpg?

Guess podcast guy might return Jake's crush, Jeremy noted, observing the shorter guy's star-struck face.

But then Jeremy noticed the people next to podcast guy.

One of them was a fairly tall girl that he'd never seen who had her phone in her hands, but was still looking at the performance. Then he saw Christine who he guessed must have invited these people.

And then he saw someone who he thought he'd never see again.

A face he hadn't seen in two years, the face of one Michael Mell.

Before Jeremy could have a larger reaction than Oh shit, oh shit, oh shit, the musical interlude finished and Jeremy came back in to finish the song.

"Uhm, now for our third and final song," Jeremy stuttered, the first time he'd done so on stage since his first several sets. "We have a fan-favorite written by y-yours truly, cardigan!"

The crowd erupted into a surprising amount of applause for a local band, none the wiser that Jeremy was on the brink of a panic attack.

They started the song, Jeremy trying but failing to pull his gaze away from Michael, who was staring at him from the start of the song.

"...and i gave you my cardigan and you said that'd you'd give it back,

but now it's two years later and it's clear that i'm never gonna get it back,

but i don't mind, no i don't mind,"

Michael stared at Jeremy, he looked almost the same as he remembered him, albeit taller, older, and a little fuller. But nonetheless he was beautiful in the way that only your oldest friends could ever be."

"...and now i'm sitting here alone, wishing that i was stoned in your basement,

but now it's two years later and i never ever got the chance to say i love you,

and i can't mind, no i can't mind,"

Jeremy knew he was screwed. He just sang a song he wrote about his childhood best friend while making direct eye contact with said childhood best friend. He. Was. Screwed.

The rest of the set passed with a blur, Jeremy couldn't even remember leaving the stage.

"Jeremy," Approached Brooke carefully, gingerly touching his shoulder, "Are you okay?"

"Michael. In the audience," Jeremy gasped, panic catching up to him once the adrenaline of performing started to wear off.

Just then a figure appeared in front oh him.

Michael.

"Jeremy?" He asked, voice a bit deeper than he remembered but otherwise the same comforting sound that warmed Jeremy through his whole body.

"Jeremy are you okay?"

Jeremy laughed, bitter and choked with tears that were starting to form. "I just sang a song about how I'm still in love with my childhood best friend after two whole years in front of that best friend. Do you think I'm okay!?"

Michael considered this for a moment, "Yeah well, that best friend is kinda still in love with you after two years so..."

Jeremy's gaze shot from the floor to look Michael straight in the eye, Jeremy was still taller than him but not by much.

"Oh," He stated simply. "Oh,"

"Yeah, can I hug you?"

Jeremy nodded collapsing into Michael's arms. Their hug felt the way it always did.

Yeah, there would be things that had changed but right now Jeremy was only focused on how good it felt to hug someone who had been missing from his life for the past two years.

#I FUCKING DID IT #by the way while michael and jeremy are catching up jake and rich are making out in jake's car #i'm so proud of this actually #you know those lyrics #i'm the one who fucking wrote #you have to sing them in a certain way that i can't describe though because i'm not gonna make fucking sheet music #anyway #i fucking loved writing this #wrote some of the lyrics in my ballet studio #came out to my sister while writing this because i felt like it for some reason #so that happened #i don't make the rules #bmc #boyf riends #my writing #boyf riends week day four #fanfic #jeremy heere #michael mell

30 notes · View notes

lil-scout-precure · 6 months

Text

Junior Eurovision 2023 detailed opinions before the show. Part 1

Well, as I told you in my previous post where I made my tier-ranking for this year's Junior Eurovision, I will now make a new explanation about my opinion of each song by tier! As my second live-watch JESC, I'm very hyped to see how this year goes since it's more of a ballad edition, I got more than one winner, and well the live decides it all!

Let's start from the lowest to the highest tier!

Tier 5: "I heard better ones in previous years"

🇮🇹 Melissa and Ranya "Un Mondo Giusto"

First of all, I will clarify I don't have any beef with this or other song in low places. I'm more open in JESC, I support the kiddos, and also, the songs are at least decent compared to some songs of the adult edition I really hate or just bore me. But since there are a lot of entries I like from this year, the first one really didn't catch me too much compared to others.

For being their first song in JESC, Melissa and Ranya sing so good in a duo. The raspy voice of Melissa caught me off-guard with the soft singing of Ranya. And somehow, the combination goes well for the song, apart of the main melody and the Italian talent. But for being a ballad between others this year, it doesn't surprise me too much. Like Albania last year with "Pakez Diell". And I regret right now saying Chanel Dilecta's "Bla Bla Bla" was the downgrade of the downgrades after Elisabetta Lizza's "Specchio" in 2021; at least Chanel's song would have been more than welcome in the train of ballads of this year.

I really hope the live version in Nice boosts them a lot. Because they have potential nevertheless. They are nice girls! :D

🇬🇪 Anastasia and Ranina (still Oto and Nikoloz for me) "Over the Sky"

I had better hopes for the Georgian trio this year. Like, it was a surprise for me when GPB decided to call two Ranina finalists, Oto Bazerashvili and Nikoloz Kharati, to join Anastasia Vasadze (Ranina 2023 winner and direct representant of Georgia in JESC 2023) for this edition. And well, a trio already won the Junior contest in 2008 and Ranina always delivers potential winners, so surely they would have a song to get their fourth victory, right?

First with the good things, the song itself is good. Calm and more serene, but good. And the trio really works here, even the boys have their moment to shine! (considering they decided to make Anastasia the main singer and call the male duo "Ranina", something that still bugs me). The music has good potential. And the lyrics inspire me, even the "Ranina, hey!" chant. But with the downsides, not the best song I expected for them after hearing a masterpiece like Mariam Bigvava's "I Believe" last year (and other songs from Georgia in previous editions). Not bad, but softer in vibes than 2022.

Hearing the rumours of two expert ballet dancers joining them for the live version, I think a good staging can deliver this song to a well-placed position still (and if possible, maybe win?). Just to wait.

Tier 4: "Unlikely but potential Top 5/Winners(?)"

🇦🇱 Viola Gjyzeli "Bota Ime"

To think I had this one at the bottom of my list before the revamp. As someone who listened (at work) the Junior Fest 2023, I thought "no way, they gonna choose another Pakez Diell again" due to most songs (and the contest itself) being soft; and "Bota Ime" 's first version didn't surprise me when it won. But when I thought it would be in the lowest place for the list, the revamped version came in the YT channel of JESC and my gosh, what a glow up!

It's still not, as a popular TV phrase in Mexico says, "Que bruto, pero que temazo!" ("What a bop!"). But the studio version gave the song the strength it needed a lot. Viola's voice sounds so whimsical and with class. The entry is way less plain than Pakez Diell at least. And as for the lyrics (the same one that wrote Duje made this? WOAH), if the studio video made them have sense, I wonder how will the live deliver that "own fairyland" feeling I appreciate of the song.

I really hope they keep the vibes and world-setting for the live version. To see them ruining it would be devastating for this song.

🇬🇧 Stand Uniqu3 "Back To Life"

After Freya Skye's SLAY (even if sick bc of cold night ceremony, darn you, EBU) in Yerevan with "Lose My Head", I knew United Kingdom wouldn't play easy. Sure, Mae Muller's "I Wrote A Song" placed at the last places in Liverpool (something I won't forgive alongside LOTL's unfair last place and "Solo" at the grand final >:U), but in JESC they would still give fiery competition! And we have "Back To Life"

A group in Junior Eurovision is always welcome in my list. And Maisie, Yazmin and Hayla (the girls) really got some good vocals and energy for their song! Sure, not too great compared to Freya's entry and queen vibes, but the song itself is awesome (and necessary given the time, when a lot of ballads were revealed)! They remind me a lot of Fifth Harmony imo, maybe by vocals or the entire energy they give in the song.

If the staging and live version can upgrade their entry to a new level than it is already, maybe United Kingdom can get some justice for what they did to Mae and get a good placing!

🇫🇷 Zoé Clauzure "Cœur"

As always, I expect for the host/winning country in a Junior edition to have a good "defender entry", a song that shows the world they're not playing safe just because they won once and/or host the contest. France did it with Enzo's "Tic Tac" (even if the Discord fandom despises him fsr), Armenia with Nare's "Dance!" (and they really ALMOST WON TWICE A ROW like Poland in 2018-2019). And I had my hopes high for France (again XD) after Lissandro's win

For being a French JESC song not written by legend (and idol for some of my mutuals) Barbara Pravi, this one takes the cake for being as French as possible (in a good way) and still be likeable for every audience! Zoe's vocals sound SO CLASSY for someone so young, and the song itself could easily be confused for an adult Eurovision entry (with some tweaks). And yeah, the entry reminds me A LOT of La Zarra's "Évidemment" (another Big 5 robbed entry this year, no wonder she gave everyone the finger and left the Green Room before the end of the votes). Not of my 100% favorites or a song I see winning JESC 2023, but I still love it.

At this point I wonder if they will pull a "Paris/France reference" in the live staging (like La Zarra did this year, queen), because the song itself is so wonderful it screams good live version!

-------------------------------------------------------------------

And that's all for this first part! Next one I will get to the personal wild card tier! See ya!

#esc cause why not #nicky's chatter #junior eurovision 2023 #jesc 2023 #rankings of eurovision

3 notes · View notes

thedepartmentofdiscoveries · 2 years

Text

With the Toyah band:

1980: Sheep Farming In Barnet.

The album was produced by Steve James and future band member Keith Hale. The album's title refers to an actual sheep farm located in the Finchley area of North London. Toyah said: "I just thought the title of the album should be something that doesn't tie [it] down to a particular style or a particular time. I wanted the title to be obscure. (...) It was an enigmatic name".

The album cover was designed by Bill Smith and features a photo of Toyah Willcox at the RAF Fylingdales radar station near Whitby in Yorkshire, in front of the three radomes, with her head posing as the fourth one. To take the picture at a right angle, they had to break into the high security site which was part of the early warning system. The crew got arrested by the guards and escorted off the site. The back cover featured quotations from the book The Prophecies of Nostradamus, which Toyah had read and was hugely inspired by, and information about vivisection, which she is strongly against.

1980: The Blue Meaning.

The album's title comes from blue being one of Toyah's favourite colours, which the singer finds deeply spiritual, with multiple cultural associations. The album cover features a photo taken by Gered Mankowitz at night in front of a Gothic mansion located just outside of Brighton. It pictures Toyah Willcox dressed in a maid outfit and wearing ballet shoes, tied to one of the entrance pillars. Other band members are pictured on the mansion's balconies.

1981: Anthem.

The album cover features a painting by Steve Weston which presents Toyah as a female fairy with wings, carrying the head of a decapitated male humanoid, with pyramids and smoke in the background. The singer explained that it refers to the theme of strength and domination, and that it was inspired by science fiction and fantasy works of such authors as J. R. R. Tolkien and Philip K. Dick. Original vinyl issues of the album came complete with a colour insert featuring photographs of the band wrapped in bandages, with various exposed body parts sprayed gold, and Egyptian themed drawings across the lyrics pages. A picture disc variation, featuring the album's front and back artwork and no sleeve, was also issued at the time.

1982: The Changeling.

The album continued the new wave sound of the band's previous release, Anthem, taking it into a darker, almost gothic direction. Willcox wrote the song lyrics in isolation and the material was recorded at the Roundhouse Recording Studios in the Chalk Farm area of north London in early 1982. The album was produced by Steve Lillywhite using early digital studio recording equipment.

Some overseas editions, such as the Dutch release, featured an additional 'Digital Recording' logo on the cover sleeve. Original vinyl issues of the album came complete with a lyric insert, the background of which featured drawings of circuit boards. Around the lyrics of each song were sections of poetry written by Toyah Willcox, which were not included on the album. The front cover features a photo by Bob Carlos Clarke.

Toyah Willcox reflected that The Changeling "wasn't easy to make, in fact it was the unhappiest of all the album experiences, but that doesn't mean it isn't a good album. Not everything has to come effortlessly for it to be right". "I was quite depressed at the time. (...) I was so angry and so anxious to get away from everything that The Changeling came out as quite a dark piece. (...) I was coming into the studio in very dark moods and incredibly emotional and I cried my way through that album, but in retrospect I think that it's quite a remarkable record". Similarly, Phil Spalding described it as "an album recorded with great challenges, difficulties and tensions, but a great album nonetheless and overall, my favourite Toyah band album".

1983: Love Is The Law.

The phrase "love is the law" is from The Book of the Law, the central sacred text of Thelema, written (or received) by Aleister Crowley. "I was never a fan of what he represented, which was mainly dark, devious and debauched, but I thought the phrase 'Love Is the Law' was possibly one of the most beautiful to ever be uttered because it crosses every social and tribal divide", she said. The title track features guest vocals from Toyah fans camping outside the recording studio, who were spontaneously invited in to chant "love is the law" in the song's chorus. "I Explode" was inspired by the idea that Crowley was so powerful as a Satanic person that he managed to explode and disappear, and is "about intense emotions that destroy the essence of who you are". Cover photography was taken by John Swannell.

First Solo Album:

1985: Minx.

Cover photograph was taken by Terence Donovan.

11 notes · View notes

swanlake1998 · 3 years

Link

Article: Oklahoma’s Gift to Ballet: The Five Moons Ballerinas

Date: August 19, 2021

By: Meryl Cates

A festival at the University of Oklahoma celebrates the impact of these ballerinas on 20th century ballet, honoring their Native American heritage.

At the first Oklahoma Indian Ballerina Festival, in 1957, its founder, Moscelyne Larkin, danced Myrtha in Act Two of “Giselle” and Maria Tallchief performed an excerpt from “Swan Lake.” It was a festival created to honor five Native American ballerinas, all hailing from Oklahoma. But it would take 10 years, and the premiere of a ballet, “The Four Moons,” for the festival to really celebrate the dancers’ heritages as well as their artistry.

As prima ballerinas in the 1940s through the 1960s in major companies, Yvonne Chouteau, Rosella Hightower, Larkin, and Maria and Marjorie Tallchief were transformative artists. This summer, the Five Moons Dance Festival, presented by the University of Oklahoma’s School of Dance, will celebrate their impact on 20th century ballet, honoring the significance of their Indigenous backgrounds.

“The Four Moons” ballet, with a score by the Cherokee-Quapaw composer Louis Ballard Sr., was danced in 1967 at the second Oklahoma Indian Ballerina Festival with four of the ballerinas. The fifth, Maria Tallchief, perhaps the most recognized in American ballet, had retired from dancing and remained firm in her decision not to perform. It was the first time, as professionals, they would represent their own stories as Native American women on the stage.

Without any known recordings of the performance, “The Four Moons” has been fragmented into a few hazy memories, with some clues left by reviewers. Larkin (Shawnee-Peoria), performed a swift and effervescent solo, and then Hightower (Choctaw) appeared in a self-choreographed, playful story. Next came Marjorie Tallchief (Osage), whose elegant variation shifted the atmosphere in the theater, enrapturing the audience. That led into a section by Chouteau (Shawnee-Cherokee) about the devastating Trail of Tears, with delicate yet determined bourrées pulling her heavy heart along, despite her gliding feet.

“I’m very glad we did it,” Marjorie Tallchief, 94, said recently, on the phone from her home in Delray Beach, Fla. “It was amazing, at that time, that they got us all together.”

On a program including works by George Balanchine and Bronislava Nijinska, “The Four Moons” was created to honor the histories of these tribes as they were forced from their land and settled in Oklahoma. The dancers themselves were meant to represent the destinies of the tribes; the original program featured them as four moons in a painting by the artist Jerome Tiger, who was Muscogee-Seminole. They would later become known as Oklahoma’s Five Moons ballerinas. (Marjorie is the only one still alive.)

Audiences loved “The Four Moons,” but some critics stumbled over its convergence of Native American themes and classical ballet, seemingly surprised by a traditional pas de quatre instead of a “corn dance or sun dance,” as The Saturday Review put it.

With so much discussion in the dance world about representation and diversity, the moment for a Five Moons festival seemed right to Michael Bearden, the director of the School of Dance, which was founded by Chouteau and her husband, Miguel Terekhov. Bearden also wanted to involve female choreographers, who are still rare in ballet, and Native communities (there are 39 federally-recognized tribal nations in Oklahoma) through conversations exploring aspects of the Five Moons ballerinas’ careers and lives as Native women.

The festival, which runs Aug. 27-29, will feature works by Stefanie Batten Bland, Annabelle Lopez Ochoa, Rena Butler and DaYoung Jung, as well as Osage Ballet’s “Wahzhazhe,” about the story of the Osage nation, produced by Randy Tinker Smith and choreographed by Jenna Smith.

Russ Tall Chief, who lives in Oklahoma and is related to Marjorie and Maria through his great-grandfather, is on the festival’s planning committee and will participate in one of the lectures.

“I think it’s important for us to remember that Maria and Marjorie and all five of the ballerinas came out of Oklahoma, from small rural reservation communities,” he said. “To have these women of color, representing not just American Indians, but America, on the ballet stage was profound.”

Excerpts from the ballet “Wahzhazhe” will include an opening prayer section, an important tradition of the tribe.

“To us, to Osages, there’s a direct silence about Native America,” Tinker Smith said. “Because every day we face challenges. We have to work harder, try harder and do better, just to have things that non-Indians have. And I think that the timing is perfect for this. To have this legacy of these five ballerinas in our past, that are part of us, really inspires the kids. You can dream and you can follow your dreams.”

In the 1940s, when Chouteau, Hightower, Larkin and the Tallchiefs were beginning their careers, they were proudly Oklahoman, though ballet as an art form was widely considered European.

The only season in which Hightower, Larkin and Marjorie Tallchief were together in Col. W. de Basil’s Original Ballet Russe, 1946-47, the program linked them together by their home state, and distinguished them among the company’s handful of Americans. (Larkin was billed as Moussia Larkina; like many others she had opted for a Russian-sounding stage name, which she soon shed again for Larkin.) Only Tallchief is identified further as “of Indian ancestry, part Osage.”

“It was part of me, it was my name,” Marjorie Tallchief said, acknowledging that being Osage was significant in her career. After a lengthy pause, she added: “Actually, my father made me promise that I would never change my name. I just suddenly remembered when I was leaving, he said, ‘You promise me you’ll never change your name?’ And I said, yes. So I never did.”

Marjorie and Maria grew up in Fairfax, Okla., and it was their mother who encouraged their early music and dance training. The Tallchiefs performed sister act dance routines, first locally — including at the Tall Chief Theater, built by their father Alex Tall Chief, which still stands today — and then in California, where their mother relocated them for better ballet instruction. It was in Beverly Hills that Maria made the adjustment from Tall Chief to Tallchief.

Maria joined the Ballet Russe de Monte Carlo at 17, leaving several years later to join Ballet Society, the company that would become New York City Ballet, after becoming the wife of George Balanchine, its founding choreographer. There she ascended to star status.

Balanchine, who adored America, loved her Osage heritage, she wrote in her 1997 autobiography. But strained cultural characterizations prevailed in the 1944 version of his “Le Bourgeois Gentilhomme,” which included a “Danse Indienne” pas de deux. In a performance crisply preserved on 16 millimeter film, Maria dances quick stylized parallel lifts of her knees wearing a billowy feathered headdress, pompoms and a sash. (Balanchine would later rework the ballet entirely, with no “Danse Indienne.”) Maria went on to important roles in ballets including “Firebird” and “The Four Temperaments,” and became a beacon of American dancing.

Marjorie followed her sister into professional ballet, joining Ballet Theater and then de Basil’s Original Ballet Russe and the Grand Ballet du Marquis de Cuevas in France. In 1956 she was invited to join the Paris Opera Ballet as the first American étoile, the highest rank in the company, commanding classical repertoire with her exhilarating control and lyrical stage presence.

Hightower also made her career largely in Europe, eventually becoming a leading ballerina with the Grand Ballet du Marquis de Cuevas. She was so beloved that when she returned to that company in 1957, after ending a touring contract with Ballet Theater, audiences applauded for 15 minutes during her entrance in “Piège de Lumière.”

These five distinguished Native American ballerinas came out of Oklahoma all within one decade. As students, they frequented some of the same studios and master classes, including in Kansas City and Los Angeles, but in fleeting phases, just as they sometimes performed in companies together during their careers. In several interviews, Chouteau credited her Shawnee-Cherokee heritage as her inspiration to dance. (As a child she toured Oklahoma, her family insisting on the authenticity of each of her dances.) Marjorie Tallchief noted the immense influence the Ballet Russe had on small towns as it made its way through the country.

Chouteau and Larkin would go on to perform alongside the dancers that they once admired from the audience. Chouteau was a leading ballerina with the Ballet Russe de Monte Carlo, which she joined at 14; and Larkin made her career with companies including de Basil’s Ballet Russe and the Ballet Russe de Monte Carlo.

As professionals the Five Moon dancers would each encounter challenges, not only because of the grind of constant traveling, but also because they needed to find their place in the culture of their companies not just as Oklahomans, but also as Native women. Being from the United States, they were perceived by the public and press as demonstrating an overall informality, and possessing an ease onstage. While internationally respected, Hightower was still referred to as a “little American girl” in a Dance Magazine feature. Chouteau recalled her fellow dancers encouraging her to pronounce her name in a more French way, instead of how she grew up saying it in her family. They were Americans in a time when ballet wasn’t exactly American yet.

In an early review written about Maria Tallchief, John Martin of The New York Times noted her Osage heritage and said that “with careful handling,” she might very well “develop into ballerina material.” A decade later, in 1954, she was featured on the cover of Newsweek, with the headline “The Ballet’s Tallchief: Native Dancer,” her Osage heritage used to signal a “new order in the ancient and honorable clan of ballerinas.”

A reframing had occurred, especially in the media — if ballet was now American, it proposed, then here were your truly American dancers. “We were a curiosity,” Chouteau said in an interview in The Oklahoman in 1982, when gathered for the state’s Diamond Jubilee.

Marjorie Tallchief said that in Europe, newspapers mentioned she was Osage, but she thought it was a different treatment than her sister might have experienced in the States.

“They didn’t have anything against me,” Marjorie Tallchief said. “Maybe, but not because of my heritage.”

“Back in the Paris Opera I was the only one who wasn’t French,” she said. “Obviously, they noticed this. It’s very hard to become a dancer at the Paris Opera. So anyone that comes from outside as a first dancer” — or étoile — “I would say there was a little pressure on me because of that.”

Despite every desire to define them, and describe them within ballet’s rigid terms, they established five distinct and powerful careers. “These are American Indian people that have made this impact on ballet,” Russ Tall Chief said. “And that they consider themselves American Indian before they consider themselves ballerinas, I think that’s important. That is part of their vocabulary as dancers. They bring that history of American Indian culture to their dance, and to their interpretation of the way that they see ballet.”

#article #ballet #moscelyne larkin #yvonne chouteau #rosella hightower #marjorie tallchief #maria tallchief #the ny times #thoughts on this article by meryl cates?#i dont like how the article put on emphasis on being 'american'

21 notes · View notes

tillidontneedfantasy · 4 years

Text

A Track-by-Track Breakdown of Taylor Swift’s 8th Studio Album: ‘folklore’

Taylor Swift’s 8th studio album, folklore, starts off with the lie, “I’m on some new shit.” Perhaps to someone who hasn’t been paying attention this would seem to be true. But to those listening, folklore is the essence of her skill and success throughout her entire career stripped down for all to see, but more refined, enhanced, and impressive than ever.

Even prior to her pop-world domination with 1989 (2014), Taylor’s storytelling ability has always been her most compelling strength as a writer. In 2010, she released her third album, Speak Now, penned fully solo to prove to the cynics that she does, in fact, write her own music. And it’s damn good. Widely considered her best song, “All Too Well” from Red (2012) is a five and a half minute epic about love had and lost, all in walks through autumn trees, almost running red lights, dancing round the kitchen, and a scarf reminiscent of innocence, unreturned.

Yet her pop prowess over the last six years perhaps leads to her storytelling being overlooked to those more focused on the music. There is a particular genius in writing a successful pop song, let alone three successful pop albums, that still has hard-hitting lyrics underneath the synth. Take the excellent “Cruel Summer” from Lover (2019) for example. The song is just under 3 minutes, and the production is so enthralling and infectious that it can take such a hold on you, you might miss the tale being told along with it about a fraught summer relationship that was actually just the beginning of her own love story.

But without the pop production, her stories on folklore demand attention. Swept up by a strong wave of creativity and inspiration, Swift secretly wrote and produced this album in around three months with Aaron Dessner of The National, one of Swift’s favorite bands, and long-time collaborator and friend Jack Antonoff. A surprise album is a new endeavor for Swift, as she generally spends months meticulously planning an album rollout. It is refreshing, and as a dedicated, long-time fan of Taylor, it is thrilling. Due to the album cover where she is standing in the woods, and the genre of the album itself, there have been think pieces regarding the “man in the woods” trope and what it means that Taylor seems to be embodying it. As a result of over-exposure, people are unable to stop focusing on her image and the way she presents herself. It’s understandable, as she is a very smart and deliberate businesswoman, and clearly cares about how she is perceived. But with this album, it is clear that none of that was at play. We are in the middle of a pandemic. Her mother has been battling cancer for years. Isolate a creative person in a dangerous world and they will dream up an escape. She understands more than ever how precious each moment is, and does not want to waste another one. The woods being the landscape for the photo-shoot is most likely attributed to the fact that it is the safest place to have one under these circumstances. She’s not pretending she removed herself from society and became enlightened, she didn’t dabble into a more alternative sound to prove anything; she is just sharing stories she wants to tell that she is proud of, and nothing more.

Of course the music of the album is important, but the lyrics are the heart of it all, and I wanted to focus on them. Upon its release, Taylor explained in a foreword that the album was a mixture of personal and fictional accounts. The beauty of stories is that once they are shared, they never live one single life; each person who consumes a story interprets it uniquely, and the story becomes a multiverse, with different meanings and outcomes than what initially drove the pen to the paper. As explained by Swift in a YouTube comment prior to the album’s release, three songs on the album are all one story, which she has dubbed “the teenage love triangle.” The three points of the triangle are “cardigan,” “august,” and “betty.” But if someone had not seen her say that, they might not have figured it out. Maybe they’d interpret each song as their own story, and connect it to their own. Taylor knows this. It is why she loves storytelling and is why she is so good at it. The album itself is a mirror ball, shimmering with every version of the stories being told, reflecting a bit of each person who listens. These are my interpretations, but they can mean whatever you make of them.

1. the 1 The melody of this song helps set the scene; picture yourself skipping rocks on a lake, reminiscing on the one that got away. “the 1” is about learning to assimilate into a life without them, resentfully accepting that they might be moving on, too. She ruminates on what went wrong and what could have been. In a very Swift fashion, she puts the blame on herself when she sings, “in my defense, I have none / for digging up the grave another time.” Perhaps this song is fictional, perhaps it’s a revisit of a past feeling or relationship, but its relatability makes it feel real and present. She searches for explanations, restraining herself from asking, “if one thing had been different, would everything be different today?” But it’s good she didn’t ask, because she’d never find the answer, anyway. Best lyric: “We never painted by the numbers, baby, but we were making it count / You know the greatest loves of all time are over now.”

2. cardigan (teenage love triangle, part 1: betty’s perspective) “When you are young they assume you know nothing,” Swift sings in her smooth low-register on this Lana del Rey-esque single. “But I knew everything when I was young,” she asserts. They say wisdom comes with age, but there is wisdom lost, too, of what it felt like to be young; but she has held onto it. In this track, the narrator (Betty) is looking back on her relationship with someone she once loved (James, as name-dropped in “betty” later on in the album). Her insight on his character was always spot on; she knew he’d try to kiss it better, change the ending, miss her once the thrill expired and come back, begging for her forgiveness in her front porch light. As soon as she was feeling forgotten, he made her feel wanted, his favorite. The ending in question is unclear, whether she granted him her forgiveness or not. But what is clear is Taylor’s understanding of the pull of young love, the intensity, the immortalization of all the smallest of details, the longing to be someone’s favorite. It’s why we look back on it so often, read stories and watch films about it, even as we grow old. It’s the cardigan we put back on when we want to be Peter Pan and remember what it was like to fly with Wendy. Best lyric: “You drew stars around my scars / but now I’m bleeding.”

3. the last great american dynasty The story of Rebekah Harkness and her destruction of the last great American dynasty, Standard Oil, is documented in this track, as each verse covers a different part of Rebekah’s life, going from a middle class divorcee to one of the wealthiest women in America by marrying into an empire. Swift paints Rebekah as an outcast, the Rhode Island town blaming her for her husband’s heart giving out. Rebekah used her inherited fortune on her ballet company, throwing lavish parties with her friends who went by the “Bitch Pack,” playing cards with Dali (Yes, as in Salvador Dali. It’s not clear if they actually played cards together, but her ashes were placed in an urn designed by him), and feuding with her neighbors. Then, fifty years later, Taylor Swift bought that very house and ruined the neighborhood all over again, bringing with her the triumphant return of champagne pool parties and women with madness, their men and bad habits. It’s a note on how women will be blamed for tarnishing what is sacred to men rather than celebrated, specifically when its related to wealth and power. They will call them mad, shameless, loud. But just like Rebekah, Taylor learned to pay them no mind, and just have a marvelous time. It is also interesting to note that Rebekah went by Betty. Perhaps Taylor felt inspired by and connected to her and gave her a whole backstory, and thus the birth of “the teenage love triangle,” or maybe it’s just a coincidence; but that’s the fun of it all. Either way, this track is a standout showcase of how Swift has truly mastered her craft as a songwriter. Best lyric: “Holiday House sat quietly on that beach / free of women with madness, their men and bad habits / and then it was bought by me.”

4. exile ft. Bon Iver You know that feeling when your parents are fighting and it’s upsetting you but you can’t help but listen? That’s kind of what listening to this song feels like. Bon Iver’s Justin Vernon co-wrote the track, and he lends his gorgeous vocals to play a man who has been exiled by his ex who has moved on with someone else while he desperately tries to understand where it all went wrong. The bridge is particularly poignant, both proclaiming, “you didn’t even hear me out,” while talking over each other. He thinks he was expected to read her mind, but she is adamant that she gave him plenty of warning signs. Miscommunication is one of the most common downfalls of a relationship, and the emotion in Swift’s and Vernon’s voices really draws you into the argument with them, transporting you back into your own exile from people you once called home. Best lyric: “I couldn’t turn things around / (You never turned things around) / ‘cause you never gave a warning sign / (I gave so many signs.)”

5. my tears ricochet Taylor describes this song in the foreword as “an embittered tormentor showing up to the funeral of his fallen object of obsession.” If you know enough, you can put the pieces together that the tormentor is Scott Borchetta, the head of Big Machine Records, and the funeral is of their professional and personal relationship. Taylor was the first artist ever signed to Big Machine. Borchetta and Swift had to trust each other in their partnership for it to be a success, and oh, how it was. But prior to Lover’s release, Taylor announced that she would be signing to Republic Records as her contract with Big Machine had ended and Republic offered her the opportunity to own all of her masters moving forward and negotiate on Spotify shares for all their artists. It all could have ended amicably there, but then Scott Borchetta sold all of Big Machine, along with Taylor’s masters from every album prior, to Scooter Braun. Braun manages some of the biggest stars out there, and had previously managed Kanye West. Taylor publicly spoke out about this purchase, stating that she was not made aware of this before the announcement, and how much of a betrayal it was considering she had cried to Scott before about Scooter’s mistreatment of her. Taylor has continued to be vocal about this, and so she sings, “I didn’t have it in myself to go with grace.” There is a lot to unpack in this song, but the main takeaway is that this betrayal hurts him just as much if not more than it hurts her, because his career was built on her achievements. He buried her while decorated in her success, becoming what he swore he wouldn’t, erasing the good times for greed, all just to be haunted with regret for pushing her out and stealing her lullabies. The pain is palpable, and it is notable that this is song is placed at track 5, the spot generally reserved for the most vulnerable on the album; it shows that there are different types of heartbreak that can shatter you just as much as those from romance. Best lyric: “If I’m dead to you, why are you at the wake? / Cursing my name, wishing I stayed.”

6. mirrorball On Lover’s “The Archer,” Taylor expresses her anxiety over people seeing through her act, her own grief at seeing through it herself, wondering if her lover does and whether he would stay with her regardless. “mirrorball” is about the act, one of the more obviously confessional songs on the album. She talks about how a mirror ball can illuminate all the different versions of a person, while also reflecting the light to fit in with the scene. Taylor’s critical self-awareness is heart wrenching, and it’s clear that the anxiety that surrounds the public perception of her is still prevalent. She describes herself as a member of a circus, still on the tightrope and the trapeze even after everyone else has packed up and left, doing anything she can to keep the public’s attention. It hurts to hear the desperation in her voice, but there’s hope in the song, too. She is speaking to someone (we can assume her long-term boyfriend, Joe Alwyn) and thanking them for not being like “the regulars, the masquerade revelers drunk as they watch my shattered edges glisten.” In 2016, the height of Taylor’s fame and subsequently her farthest fall from grace, all the people who pretended to be her friends and attended all her parties celebrated her (temporary) demise, continuing to dance over her broken pieces on the floor. But he stayed by her side as she put herself back together. And so now, when no one is around, she’ll shine just for him, standing even taller than she does for the circus. Best lyric: “I’m still a believer, but I don’t know why / I’ve never been a natural, all I do is try, try, try / I’m still on that trapeze, I’m still trying everything / to keep you looking at me.”

7. seven Her voice gentle and haunting, Taylor recalls the freedom and innocence of her childhood in Pennsylvania. She asks to be remembered for how she was, swinging over the creek, before she learned civility when she would scream anytime she wanted, then letting out a very pretty one. She sings to her old friend soothingly about taking them away from their haunted house that their father is always shouting in, where they feel the need to hide in a closet, perhaps literally, or figuratively, or both. They can move into Taylor’s house instead, or maybe just to India, just be sure to pack their dolls and a sweater and then they’ll hit the road. She can no longer recall her friend’s face, but the love she had for them still lives in her heart, and she wants it to live forever through story. Just in the way that folklore itself blends reality and fiction, but the truth within it passes on, so will the purity of that love and friendship. Best lyric: “Please picture me in the weeds / before I learned civility / I used to scream ferociously / any time I wanted.”

8. august (teenage love triangle, part 2: the other girl’s perspective) If you had to assign the feeling of longing to a song, it’d be “august.” It’s when you’re teetering at the edge with someone, unsure of where you stand with them, clinging to anything they give you and doing anything just to raise your chances, “living for the hope of it all.” August, the last month of summer, its heat causing it to slip away the fastest in a haze before reality hits. This track is a display of how sometimes losing something you never had causes an even deeper ache than losing something that was yours, and Jack Antonoff’s signature production intensifies the emotion even more. It’s the story of shattered hope, and the longing for the days where it could still fuel you. Best lyric: “To live for the hope of it all / cancel plans just in case you’d call.”

9. this is me trying “this is me trying” is like a drive through a tunnel at night, hearing your loudest anxieties and insecurities echo all around you, caving in. The track is another apt insight into Swift’s struggles with her self-image, with the pressure she puts on herself, so much so that she sometimes pushes herself too close to the edge, her fears luring her out of the tunnel and down, down, down into her own cage, stunting her own growth and keeping those who care out of reach. She tells us how she was “so ahead of the curve, the curve became a sphere.” Every action has an equal, opposite reaction, meaning that she was pushing herself so hard, she rolled back to where she started, and now has to reset. This could be referring to the period between the end of the 1989 era and the release of reputation (2017), or a different time in her life, or just a general sentiment. It doesn’t really matter, though, because no one’s growth is a neat, straight line; growth is jagged. Just like any of us, Taylor will always have to face new obstacles, new pitfalls, new reasons to get back up. She sounds most vulnerable as she cries, “at least I’m trying,” and you feel comforted knowing someone so beautiful and successful has to push herself to try, too, and yet that motivates you more to try yourself. Best lyric: “They told me all of my cages were mental / so I got wasted, like all my potential.”

10. illicit affairs A quiet, slow-build testament of the passion, the tragedy, the secrecy, the inimitability of a romance that shouldn’t exist, “illicit affairs” demonstrates how you can ruin yourself for someone from just one moment of possibility or truth, quite like the narrator of “august” does for the hope of it all. An illicit affair can be many different things: infidelity, forbidden love, a love that can never be fully realized, a relationship that is inherently wrong but electrifying all the same. It’s a reminder of what so many of us would do just to see new colors, to learn a new language, even if the one moment of enlightenment destroys us forever. We might lose the iridescent glow but we don’t forget it; we carry it with us, but must be careful to remember its blinding effect, to remember how fatal the fall is from the dwindling, mercurial high. Best lyric: “Tell your friends you’re out for a run / you’ll be flushed when you return.”

11. invisible string Clearly the most outright autobiographical track, “invisible string” is the plucky pick-me-up needed. The song is like sunshine, as Swift endearingly links all the little connections between her and her boyfriend, Joe Alwyn, since before they even met. She compares the green grass at the Nashville park she’d sit at in hopes of a meet-cute to the teal of his yogurt shop uniform shirt, and gives a nod to her smash hit “Bad Blood” from 1989 with the delightful line “bad was the blood of the song in the cab on your first trip to LA.” She reasons these coincidences as a fateful, invisible, golden string tying them together since the beginning, always destined to meet at the knot in the middle. She thanks time for healing her, (a callback to “Fifteen” from Fearless [2008]), fighting through hell to make it to heaven, transforming her from an axe grinder to a gift giver for her ex’s baby (the ex in question, Joe Jonas, and his wife Sophie Turner, happened to have their first daughter two days before this album’s release). As she has on her previous two albums, she uses the color gold to illustrate how prized their love is to one another. It’s sweet to know in all the gloom that the string has not been severed, and the trees are still golden somewhere. Best lyric: “Cold was the steel of my axe to grind for the boys who broke my heart / now I send their babies presents.”

12. mad woman Throughout her entire career, Taylor Swift has defiantly defended female rage, all the way back from throwing a chair off a platform on her Fearless Tour during the impassioned “Forever & Always,” to her patient, vengeful reliance on karma in reputation’s lead single, “Look What You Made Me Do,” to her most recent tackling of the matter on Lover’s last and final single, “The Man,” where she explores society’s acceptance and encouragement of angry men yet disdain for angry women. “The Man” is catchy and upbeat, and a fun thought experiment into how Swift’s career would be perceived if she was a man, something that is even more interesting to think about now as she releases an album in a genre heavily dominated and lauded by males. But on “mad woman,” she further explores the creation and perception of female rage, though masked under a smooth, haunting piano melody, her vocals subdued, taunting. In the album foreword, she describes the inspiration behind this song as “a misfit widow getting gleeful revenge on the town that cast her out.” This could be the continuation of Rebekah “Betty” Harkness’s story at her Holiday House in Watch Hill, RI, and how she further alienated herself from the rest of the neighborhood as they cast stones at her for the collapse of the last great American dynasty. (Or perhaps Daenerys Targaryen’s descent as the Mad Queen played a part in the song’s inspiration, as Swift has spoken of her love for Game of Thrones and her character specifically.) Taylor herself could also represent the widow, her music and masters as her love lost, and the men behind the crime as the “town that cast her out.” In the first verse she sings, “What do you sing on your drive home? / Do you see my face in the neighbor’s lawn? / Does she smile, or does she mouth ‘fuck you forever’?” It’s the first f-bomb of Taylor’s career (though a much more playful one will come two tracks later in “betty”) and it speaks volume. Taylor has received a lot of condemnation for expressing her anger at their transaction, for calling out their greed for what it is. Some view Swift’s stance on the ordeal as petty and trivial; they see the men as orchestrating a good business deal, and Swift as the girl throwing a tantrum. Ask any woman, and they can tell you about a time a man told them they were crazy for being justifiably angry; it only makes us angrier. “No one likes a mad woman,” Taylor states, “You made her like that.” Swift underscores that here, how they will poke and poke the bear but then blame it for attacking, as if they had never provoked it at all, and how dare it defend itself. Just as they blamed Rebekah for her husband’s heart giving out, they somehow manage to blame Swift for not being allowed to purchase the rights to her own work. And yes, she’s mad, but the song is measured and controlled; she’s used to her anger now, and knows just how to wield it. Best lyric: “Women like hunting witches, too / doing your dirtiest work for you / It’s obvious that wanting me dead has really brought you two together.”

13. epiphany This is another track Swift provided some background on, stating it was inspired by her “grandfather, Dean, landing at Guadalcanal in 1942” during WWII. The first verse paints this image, while the second verse depicts a different kind of war, happening right now, fought by doctors and nurses. She speaks of holding hands through plastic, and the escape folklore has granted you suddenly lifts. Watching someone’s daughter, or mother, or anyone suffer at the hands of the COVID-19 pandemic, just as watching a soldier bleed out, helpless, is too much to speak about. As she points out, they don’t teach you about that vicarious trauma in med school. We are living in a tireless world with barely any time time to rest our eyes, but too much going on while we’re awake to make sense of any of it. “epiphany” is a cinematic prayer, pleading for some quiet in order to find an answer in all the noise. We’re still waiting for that glimpse of relief. Best lyric: “Only twenty minutes to sleep / but you dream of some epiphany / Just one single glimpse of relief / to make some sense of what you’ve seen.”

14. betty (teenage love triangle, part 3: james’s perspective) It makes sense that a song reminiscent of Fearless would exemplify some of the best story-telling on folklore. The final puzzle piece of the teen love triangle, “betty” is a song sung by Swift from the perspective of the character of her own creation, James, attempting to win back his true love, Betty, who he slighted in some way. He proclaims that the worst thing he ever did is what he did to her, without explicitly stating it. Though the infamous deed is unclear, here’s the information we collect from this song: James saw Betty dancing with another boy at a school dance, one day when he was walking home another girl (from “august”) picked him up and he ended up spending his summer with her yet still loved Betty, and though he ended things with his fling and wanted to reconcile with Betty, he had returned to school to see she switched her homeroom (James assumes, after saying he won’t make assumptions. Classic men). So in order to make it up to her, he shows up at her party with the risk of being told to go fuck himself (the second and charming “fuck” on the album! Which is repeated!). Upon his arrival, there is a glorious key change (ala “Love Story”) and all the pieces fall into place for the listener; we realize Betty is the girl singing in “cardigan” as he lists the things he misses about her since the thrill expired, like the way she looks standing in her cardigan, and kissing in his car. He’s 17 and doesn’t know anything, but she knew everything when she was young, and she knew he’d come back. The way I see their story conclude is that she led him to the garden and trusted him, but as they grew older they grew apart, but the love she had for him never faded completely. Listening to this song is like being back in high school, whether you were the person who did someone wrong or the person so willing to forgive in the name of young love, or Inez, the school gossip, you’re right there with them. The other great thing about this song is that it is sung to a girl, and though it is set up so we understand it is most likely from a boy’s perspective, it doesn’t have to be. It’s really great that girls in the LGBTQ community can have a song in Taylor’s voice to fully connect to without changing the pronouns or names (even James, which is unisex and is one of the names of the daughters of Blake Lively and Ryan Reynolds, Taylor’s close friends, mentioned in this song). That is the beauty of folklore: the infinite ways a story can be told, perceived, retold from a different perspective, and told again. Maybe you’ll hear it from Inez. Best lyric: “But if I just showed up at your party / would you have me? Would you want me? / Would you tell me to go fuck myself, or lead me to the garden?”

15. peace One of the most beautifully solemn songs of her career, “peace” echoes the same fears explored in “Dancing With Our Hands Tied” from reputation; will the person she loves be able to weather the ever-present storm that comes with the life of a superstar, but also dwells within herself? Will holding him as the water rushes in be enough? Will giving him her wild, a child, her sunshine, her best, be a fair consolation? Presumably another confessional track and about Alwyn, Swift puts him up on a pedestal, praising his integrity and his dare to dream. She proclaims that she would die for him in secret, just as she told him she’d be on her tallest tip toes, spinning in her highest heels, shining just for him in “mirrorball.” She highlights some of the greatest gifts of love, such as comfortable silence and chosen family. She knows what they have is special, but she also knows the value of peace, the ultimate nirvana, and does not want to deprive him of that. It is so deeply relatable- to me, at least- to feel like you can give someone so much of yourself but know it still may never be enough, and to fear either losing them or robbing them of something better. But looking at what they have together, maybe peace is overrated. Or maybe, she’s looking for peace in the wrong places. The calm is in the eye of the storm, and sometimes, there’s nothing more freeing than throwing away the umbrella and soaking in the rain. Best lyric: “I never had the courage of my convictions / as long as danger is near / and it’s just around the corner, darling / ‘cause it lives in me / no, I could never give you peace.”

16. hoax The truest enigma of the album, the closer, “hoax” is a devastatingly dark ballad about the uncertainty, or perhaps incredulity, of someone’s love for you, a love that is your lifeline. The lyrics are ambiguous, which gives way to a plethora of interpretations. Perhaps she is speaking about a hypothetical situation that has yet to happen (and hopefully doesn’t) in which someone she loves and trusts betrays her. Maybe she is talking about a relationship, real (hopefully not) or fictional, in which despite the torment it brings her she holds onto it for dear life. I’m most inclined to believe that the song represents her difficulty in accepting that someone is willing to love her through such dark periods, that their love must actually be a hoax, but she chooses to believe in it anyway and uses it as the motivation to rebuild her kingdom, to rise from the ashes on her barren land. And even through the downs that come at some point in every relationship, she can still see the beauty in it all. Yes, their love is golden, but waves of blue will crash down around any partnership, because life does not exist without them. So even when things are as blue as can be, she’s at least grateful it’s with him. Best lyric: “Don’t want no other shade of blue but you / no other sadness in the world would do.”

Although we still have yet to hear the deluxe track, “the lakes,” as a fan of Taylor for almost 12 years, it feels so obvious that this is her strongest work yet. The storytelling I fell in love with on Fearless as a teenager (which, much like folklore, was highly inspired by imaginary situations and real emotions) is even sharper now as we have both grown into adults. The music on this album might not be everyone’s speed, and that’s okay. But it allowed Taylor to dip back into what made Fearless such a success: using pieces of her own truth and the whims of her imagination to develop a multi-faceted narrative that becomes universal. During her Tiny Desk concert, before performing “Death By A Thousand Cuts” from Lover, Swift explained the anxiety she felt around the possibility of stunted creativity when people would ask her what she would write about once she was happy. Taylor has released an abundance of beautiful, fun, complex love songs since the start of her relationship almost four years ago now. But “Death By A Thousand Cuts,” which is a fan favorite, helped her prove to herself that she can still write a killer breakup song while being in a happy, fulfilling relationship; the song was the last track written for Lover and was inspired by the film Something Great on Netflix. And so it makes perfect sense that Taylor used folklore to continue exploring this new avenue for songwriting. All of her discography and all of her life experiences have culminated to the folklore moment: as all the best artists do, she will never stop finding inspiration in hidden corners of this dark, mystical, wondrous universe, and falling in love with new ways to share those wonders. And that love will be passed on.

DISCLAIMER - REVIEWER’S BIAS: I love Taylor Swift more than any person in my life, yes including my parents, they are aware and have accepted this fact long ago ❤️

149 notes · View notes

deejadabbles · 3 years

Text

A Thousand Songs (Atem/Yami x Reader)

Chapter Two: Leave Out All The Rest

One /// Two /// Three /// Four /// [Five Coming Soon]

Summary: You knew that you and your band could make it big. Not only that, but stay together while doing it; the five of you were family, after all. The only problem was that despite all your musical talents...none of you were particularly good at lyrics. After years of struggling to put out your first full album, the solution finally made himself know in chance meeting on an empty stage.

Rock Band AU, Atem x Reader, gender neutral reader.

A.N. In case they weren't gay enough in the last chapter, Yugi and Jonouchi are boyfriends in this series <3 Is it a bit unrealistic to think they could be in a band and remain happy n healthy in their relationship? Probably. Do I care? No.

"This ain't working at all- and I told you it wouldn't!"

Yugi sighed as his beloved boyfriend tossed his phone on the table and leaned back in his metal folding chair.

Immediately, Yugi picked up the phone and handed it back to Jonouchi. "You can't dismiss them on looks alone," he scolded in a light tone.

Jou looked aghast, "He looks like he sacrifices cats on Sundays!" He waved the screen at Yugi, which displayed a bearded man who cast a purposeful scowl at the camera. He had lots of tattoos and piercings on top of the studded leather clothes, but that just made Yugi more annoyed with his boyfriend.

"People can say the exact same thing about me!" He waved a hand, encompassing his leather pants, studded belt, collar-style choker, and the tattoo on his arm.

Honda let out an unsure hum as he scrolled through his own phone, "But you're still a cinnamon roll under all that leather, Yugi, I'm not sure this guy is. Don't think he's a bad dude or anything, but I don't think he's the right fit for us," he turned his phone so everyone else sitting at the table could see, "just look at the titles of the songs he sent."

Okay, Yugi would concede that the examples the applicant had sent were a little...extreme, the title "bled like a pig" stood out in particular, but he still thought the boys were being a bit judgy.

"I think I'm gonna agree," you mumbled, "these are pretty heavy."

"You wrote a song called "we are broken" that sounds pretty heavy," Yugi countered, not unkindly though still trying to play the middleman.

"Okay, heavy isn’t the right word,” you conceded with a frown as you looked over some rather grotesque lyrics, “yup, “ edge lord ” is more fitting. Just look at the contents of the songs."

At the suggestion, Yugi scrolled down the application on his own phone, passed the profile pic and down to the bottom of the "examples of my work" section. ….okay, you guys had a point. Yugi doubted that the guy actually performed blood sacrifices, but his song style was definitely a little too demonic.

"Alright, I'll send him a thanks but no thanks note."

As Yugi brought up his email app to do just that, Anzu let out a frustrated sigh and scrubbed her hands over her face. "That was, what, the sixtieth-something application we've gone through?" she groaned, setting her phone down too, “It’s been over a month, and we haven’t gotten anywhere.”

"I still can't believe we got so many responses to our ads," Jonouchi grunted.

You set your head on your hand, expression dropping and making the dark circles under your eyes look more pronounced, "Everyone's pretty eager to join a band, now if only getting fans was as easy as getting people who wanted in on the fame prospect."

"All this work would actually be worth it if we found someone who even remotely appealed to us," Honda commented, "But everyone's just a little too…"

"Hardcore?" Anzu offered, then looked over at you, "Nah, you’re right, edge lord-y seem to fit most of them. I think that's the real thing, our band name probably makes people think we're more broody and grim than we actually are. We have plenty of darker themes in our stuff but everyone else seems to take it just a bit too far than our tastes go."

You ran a hand over your eyes, “Anyone else feel like we’ve wasted five weeks looking these applications over?”

"Hey, I'm sure we'll find someone soon though!" Yugi chimed in, a valiant attempt to elevate the mood. You and Jonouchi were always saying (much to his embarrassment) that he was everyone’s ray of sunshine, so surely he could salvage the night’s mood. “We just have to keep trying, I’m sure the right person is just around the corner!”

Anzu threw him an appreciative smile, “You’re probably right, Yugi, but I think I’m done looking for the night, it’s pretty exhausting.” She leaned back in her chair more, stretching her arms over her head.

“It’s probably a good time to call it quits now anyways,” you offered after glancing at the time, “If I hurry home now I can catch a shower before my shift starts.”

Everyone mumbled and nodded their agreements at that, followed by the five of you meandering around the room to get your stuff together. Honda offered to drive you back to your apartment like usual and everyone waved goodbye to each other in the tiny parking lot of the studio, Jou and Yugi climbing into Jou’s truck, Anzu into her beat-up car, and you and Honda zipping away on his motorbike.

It wasn’t until Yugi and Jonouchi were back at their place and Jou was cooking their dinner that Yugi realized something with great annoyance. After dumping the content of his backpack out on their bed, rifling through his desk drawer, and scouring the floor, Yugi wandered into the living room/kitchen area with a frown.

“Hey, sweetie, have you seen my adapters?”

Jonouchi looked thoughtful as he stirred the contents of the pan, “Uh, you mean the ones you use for your turntables? Haven’t seen them since the last time we rehearsed, that was what, three days ago?”

Yugi mumbled a curse under his breath, double-checking the tables and other spots he might have absentmindedly set them. Nothing. “Darn, I must have left them at the theatre yesterday.”

“Sure they aren’t in the studio?”

“No, I looked to make sure I’d have them when we rehearse tomorrow, but they weren’t there, that’s why I had it on my mind to find them when we got home.” Yugi shrugged and checked the time, thinking. After making up his mind, he grabbed his purple jacket from the armchair, “It’s okay though, if I hurry I should be able to sneak back into the theatre to get it. I think some members of the orchestra practice together tonight, and even if they aren’t the janitor should still be there.”

Yugi bounded across the tile floor as he slipped his jacket on, jumping up to place a kiss on his boyfriend’s cheek before turning to the door.

“I won’t be long, be back before dinner’s done!”

“You better,” Jonouchi called as he grabbed some spices from the cabinet, “I ain’t fixing this masterpiece for one!”

Yugi chuckled and closed the door behind him, as if he’d miss a chance to taste his boyfriend’s amazing cooking.

There was barely any need for a jacket as he walked down the sidewalk, but the vanishing sun assured that it would probably get colder by the time he was walking back home. Although their apartment was a bit far from the band’s studio, the location at least allowed Yugi easy access to his other work place: Domino City’s “Pegasus Theatre”. It was a popular spot for the upper crust of Domino, since they not only hosted ballets, but a talented orchestra as well. Yugi and Anzu both worked there, Anzu as a dancer in the ballet, and Yugi in the sound department, providing tech aid for the shows. Well, for the ballets at least, the natural design of the theatre meant that he wasn’t usually needed when the orchestra played.

Yugi's assumption proved right and he found the door of the employee entrance unlocked. The sound of chatter greeted him as he approached the stage area, signaling that the orchestra was packing it in for the night. He took a brief glance at the stage as he walked up the rows of seats- he had to be quick, as there were only three lingerers, two chatting as they headed for the door and one quietly packing away his violin.

Yugi bounded up the narrow staircase to the sound booth, opening the door and crossing the room to the little employee cubbies. He found what he was looking for quick enough, after pushing aside his spare jacket and snack bag. The beat-up altoids case rattled, but Yugi made sure to double-check that the adapters were actually in there. They were and he sighed in relief, pushing the other contents back into the cubby before turning.

He peered out the booth's window to see if the violinist was still there, and to Yugi's surprise he was not only still in sight, but the man had actually lingered after packing away his instrument. Standing in the very center of the stage, the man was looking out at the empty seats, then trailing his eyes up to the magnificent red curtains.

Yugi smiled to himself, figuring the man was just having a moment of wonder or taking in a daydream during his moment alone, and Yugi couldn't blame him in the slightest. Yugi was slower when taking the steps down, letting the man have his moment before he ruined it by walking by.

Again though, Yugi found himself surprised. His pace slowed, the sound of a melodic voice carrying through the theatre like a wave that had Yugi stopping dead in his tracks.

I dreamed I was missing

You were so scared

But no one would listen

Cause no one else cared

After my dreaming

I woke with this fear

What am I leaving

When I'm done here?

The voice was deep, the rumble of a serene storm, almost haunting in a way.

So, if you're asking me, I want you to know

Yugi’s feet were moving before he even noticed and he soon stood on the red carpets leading to the stage.

When my time comes

Forget the wrong that I've done

Help me leave behind some reasons to be missed

And don't resent me

And when you're feeling empty

Keep me in your memory

Leave out all the rest

The violinist stood there, lost in his own world- or rather the words of his song. His eyes were closed, listening to a chorus of instruments only he could hear as his hands moved in short but meaningful gestures.

Don't be afraid

I've taken my beating

I've shared what I've made

I'm strong on the surface

Not all the way through

I've never been perfect

But neither have you

So, if you're asking me, I want you to know

The chorus of the song came again and Yugi finally snapped out of his reverie long enough to pull out his phone. With quick thumbs he searched the beautiful lyrics he had never heard before, wondering why he didn’t know the song.

No results came up, the song was unknown.

That only got Yugi’s attention more, and he gazed back up at the man, whose voice was filling with more and more emotion with every lyric. His fist clenched at the front of his shirt, over where his heart was, eyes screwed shut as he continued to pour his heart out to the empty theatre.

Forgetting

All the hurt inside you've learned to hide so well

Pretending

Someone else can come and save me from myself

A pause, an intake of breath, and Yugi found himself hanging on to every second the man gave.

I can't be who you are...

...I can’t be who you are

The singer drew out the last lyric in a prolonged, sorrowful note; breathy as he bowed his head, the song- his raw expression, finished.

Instantly Yugi found himself clapping, bounding down the red aisle between the seats to the stage. He only felt slightly guilty when the other man jumped in fright.

“That was amazing! Your voice is amazing- that song too!”

The man (who Yugi only now noticed has a similar hairstyle to his own) stared back at him with wide eyes, body stiff. “Uh- oh I- thank you. I...didn’t realize anyone else was here.”

The man’s speaking voice was deep too, and anyone could guess that he’d have a powerful set of pipes. Yugi was still too excited to pay the man’s nervousness much mind as he practically hopped to the foot of the stage.

“I didn’t mean to startle you- but I couldn’t help it, that was awesome! Did you write that song yourself? I googled some of the lyrics and nothing came up.”

The man took a while to respond and Yugi wondered if his dark complexion was hiding a blush. Eventually, though, the violinist/singer cleared his throat.

“Y-yes, I wrote it. I’ve never sung it in front of anyone though.”

“Do you write a lot of songs?” Yugi pressed and again it took his new friend a moment to respond.

“...Sometimes. I suppose it’s a bit of a hobby. Listen I-”

Finally, Yugi actually realized just how rude he was being with his aggressive ramblings, “Oh, gosh I’m sorry! I’m bombarding you with questions like some weirdo.” He gave a nervous laugh and to his relief, the man’s posture seemed to relax a little- though he still seemed a bit embarrassed. “My name’s Yugi, by the way, I’m one of the sound techs.”

The man gave a nod of his head, “Atem, I’m a violinist in the orchestra.”

“And a totally awesome singer, you’ve got some real talent,” Yugi reiterated, but pressed on before the man could get too bashful again, “The reason I asked you so many questions is because I think it’s fate that we met like this! See I’m in a band, we’re trying to put out our first full-length album but- honestly, we’re aren’t very fast at pumping out new songs. We’re great with coming up with the music, but the lyrics always get us stuck. We’ve actually been looking to hire a ghostwriter for our songs, but none of the people we’ve found seem right- but that song was amazing, just the kind of stuff we like!” Ignoring the unreadable expression on Atem’s face, Yugi dug out his cardholder and passed one of them up to Atem. “I don’t wanna blindside you more than I already have tonight- sorry about that again, but, I really think you’d be a perfect fit for us. Think about it, and if it seems interesting to you, come talk to me.”

Atem looked the card over for a second, before peering back at Yugi, “I’ve never really put my songs out there, it’s just a private hobby, I don’t want you and your bandmates to get your hopes up.”

Yugi waved off his concern, “Don’t worry about that. Like I said, just think about it, okay?” He didn’t move, nor look away from Atem until the man finally nodded in agreement. “Awesome! Take your time and come talk to me once you’ve thought about it some.” His outgoing steam was starting to run out, his bold and somewhat rude actions finally starting to catch up to him. In a sudden burst of embarrassment, Yugi brought his hand up to scratch at the back of his head. “Anyway, I’ll let you go now, I’m sure you want to get home or get on with your night. It was nice meeting you, Atem!”

And with a wave, Yugi was heading for the door, leaving a rather bewildered Atem in his wake.

#atem x reader #yami x reader #yugioh x reader #yugioh #Atem #yami yugi #band AU #Yugioh Band AU #series: a thousand songs

16 notes · View notes

angelthefirst1 · 3 years

Text

The ballerina begins to dance again in fifteen minutes...

Last season I was extremely hopeful that perhaps masked Ninja would end up being Beth and that a big reveal would be similar to Morgan at the end of Coda-not far from finding team family, taking his mask off and revealing that he was indeed still alive. Providing us with a repeat Coda. Anyone that has been followed my posts over the years knows that I believe the actors use social media to give hints as to what is coming in the show, and that specifically-Emily's side projects since she's been gone, are planned by AMC and deliberately picked for her to symbolically shadow TWD. Thinking about some of the projects she has worked on, they include... The following-where she is a member of a cult and she is killed like this...

Same overall theme to Alpha who had "A following"with the whisperers, and is killed in the same way. The flash (self explanatory)

Ten days in the Valley-About a missing girl The concussion-About a lady who gets a blow to the head. The Knick-About a brilliant surgeon who pushes the boundaries of medicine. If Beth is to survive her gunshot, she would at some point need medical attention. Forever-about a medical examiner who is immortal and studies the dead. In TWD universe we have seen examples of studying the dead/immortality, at the CDC in season one, and Milton in season three-who is a researcher and scientist, and we see hints of something similar happening with the helicopter group too. Love on the sidelines, which-as the title suggests would indicate her love story is on the sidelines. Being played quietly PPP Bullet proof Picasso-also self explanatory...

The messiah (Beth has always been portrayed as a sacrificial Christ figure) she sacrificed herself for Noah while wearing the cross bracelet. And we believe she will rise again and as with Jesus there was an empty tomb and Beth we saw no grave. All of these could well be symbolic of Beth's story in part... And then there's some of Emily's songs which many in the past have speculated are about Bethyl. Songs like Last chance and more recently her song played on the TWD The Turtle and the monkey which played in episode 1005 (10+5=15) So keeping all this in mind...when I saw her post this...

About doing ballet and getting stronger, my mind at the time was focused on Ninja and I hoped she was learning to fight like Ninja and perhaps was just saying she was learning "Ballet" to cover for leaning marshal arts. But after re-watching 510 (5+10=15) the other day I saw Maggie open the music box and my mouth fell open and my brain exploded...

How did I miss this connection???

I suddenly remembered Emily's new album called THE SUPPORTING CHARACTER (PPP)

And her new song called 15 minutes (5+10=15) in which she becomes the BALLET DANCER.

Carl hands Maggie the music box in 510 and says "I found this when we were looking for water" (water = looking for the Lord-I'll explain this further down) Maggie "What is it?" Carl "I think it's used to play music" Carl "It's broken, I thought you might like it" Maggie "Thanks Carl"

Emily's new single/album is produced by SEAHORSE SOUND STUDIOS which is also represented in 510 (5+10=15) by this...

The walker trapped in the car in 510 is release by keys with a yellow seahorse. It’s trapped in the yellow "Seahorse studio" and even looks to have pointed toes like a ballerina and possibly a nod to ballet shoes to match...

Daryl, when he sees this car, deliberately runs away from it and goes on his search for WATER and comes across this dead deer

Time and again in this show (and others) whenever a deer dies (Christ) a person lives. If the deer lives-the person dies. Carl, Rick, and Magna's group prove this-just to name a few. In biblical symbology, deer represent devotion, and safety in God's care. Deer are a symbol of thirst and longing for the Lord. (Beth) Old testament David wrote about God, “As a deer longs for flowing streams (Water), so my soul longs for you. Jesus said "whoever drinks the water I give them will never thirst. Indeed, the water I give them will become in them a spring of water welling up to eternal life.'" Understanding the eternal water that Jesus speaks of will make more sense of 510 and why they were so desperate for water and then get drenched in it.

It's all about Beth (Jesus) return.

So for those who perhaps don't fully understand or haven't heard the gospel of Jesus Christ it's basically this. Mankind broke God's moral law (The ten commandments-Don't lie, steal, dishonor parents, commit adultery etc...) The payment for breaking even one of God's laws-even once is eternal death. God became a man (Jesus) who was free of the fallen nature and so was sinless. He sacrificed himself to pay the fine or penalty that was owed to mankind, having broken God's laws. So he died on the cross, but because he sacrificially paid for the sins of the world that were not his, God raised him to life and he defeated death (He wasn't owed the death penalty) He defeated death not just for himself but for all who ask him to take their place or payment. Water is life for humans so the reason Jesus calls himself the living water that springs to eternal life is because his water (sacrifice) if accepted brings eternal life to the drinker. So if a person lives (eternally) it's because Christ dies in their place, and they receive the eternal water Jesus has offered them. Beth was heavily portrayed as Christ, and Daryl (like old testament David) was longing for Beth when he went looking for water and he found the dead deer. Indicating Beth was indeed alive, he just didn't know it.

Emily's new song, video clip and album has heavily included symbolism of Beth from 510. including Beth being water and also the music box/ballerina. 510 (5+10=15 minutes) The water aspect is shown-or not shown i should say, by her album art cover. Which depicts her in the dessert (showing a lack of water just like the group in 510) but Emily is wearing the same pink that is found inside the music box. With the white shoes a nod to the white skirt.

And this post Emily made about getting stronger at Ballet...

Was a repeat of this scene with Daryl and Maggie...

Daryl "She was tough, she didn't know it-but she was".

The music video for 15 minutes is depicting the music box in 510. The video clip is very short and on a repeat loop, just like the ballerina in the music box it spins round and round.

youtube

For added emphasis i have hummed part of the music-from the music box that plays at the end of 510, and combined it into the introduction of Emily’s song, (please excuse the bad humming) but oddly the two fit together. whether that’s just pure luck or not, i don’t know but i found it interesting.

youtube

In the video, Emily is dressed as a ballerina in the background but doesn't actually dance, it's a different ballerina dancing. Just like the music box ballerina represents Beth, but isn't actually her.

In photo’s Emily posted of the Video shoot, we see a ballerina dancing in front of oval lights-a hint to the oval mirror from the music box in the background.

Some of the lyrics to the song also made my ears prick up. Such as this...

youtube

While filming the small video clip for Fifteen minutes Emily posted some Instagram stories, which also tell Beth's story and I will go into below. Watch it and then read below.

youtube

This may seem to be an unplanned impromptu video, but it's not. Everything in this clip is scripted and planned. Every action and word is repeating Beth and Daryl scenes. I'll point it out to you line by line... "Jacob's playing the piano, in my music Video that's coming soon" a reminder of Beth (music) playing piano and the music box playing again soon.

Jacob throughout this conversation is stuffing his face. Repeating Daryl doing the same in Alone.

Emily "Do you want to add to that?" Is a play on "What changed your mind?"

Jacob "Yeah you're gonna love it" (Daryl was trying to tell Beth he loved her)

Emily "What else? Ya think it's gonna be pretty good" Another play and repeat of the "What changed your mind" line, good people, and Beth playing “Be good” on the piano. Jacob "It's beautiful"

Emily "Thank you" repeating the thank you note. (In the background while Emily says thank you, we hear someone shout ooohhhh repeating the oh moment)

Emily laughs and says "what if you'd said no" which i think is a play on Daryl saying nothing to Beth when she asks "Don't you think that's beautiful?" Emily "Do you have some notes for the song?" A play on the thank you note. Jacob says he doesn't have any notes, repeating Daryl telling Beth she doesn't have to leave the thank you note.

Emily "Okay GOOD, because it's already mixed and mastered. Another mention of good.

Jacob ends the short clip with another reminder of the good theme by saying "The good thing is..." and it ends there abruptly, just like Beth and Daryl's story ending on the good people theme abruptly. This whole clip is a playful version of Beth and Daryl's main plot points from Alone.

Considering Emily posted about her ballet teacher saying she was getting stronger. I really find it odd that Emily doesn't actually dance in this video, she is just in the background.

I mean... she was apparently taking Ballet lessons and then does a ballet themed video clip-that would be a perfect opportunity to show some moves in. But it seems the Ballet theme video actually serves a different purpose-to tells us beforehand that the music box ballerina is about to start dancing again...

Hopefully you can all see the connections here, and it's provided you with some much needed hope that Beth the music box ballerina is about to dance again soon.

I do want to give a shout out to Emily Kinney Info on Instagram who is amazing at archiving all Emily's posts and provided me with some Instagram stories, clips and photos, which would have been lost in time.

#team delusional #team defiance #bethyl #beth greene #beth is alive #musicbox #ballerina

13 notes · View notes

bananaofswifts · 4 years

Text

By : Callie Ahlgrim and Courteney Larocca

Taylor Swift released her eighth studio album, "Folklore," on Friday.

Swift surprised fans by announcing its release just one day in advance — and less than one year after the release of her acclaimed seventh album "Lover."

"Most of the things I had planned this summer didn't end up happening, but there is something I had planned that DID happen," she wrote on social media. "And that thing is my 8th studio album, folklore. Surprise!"

She described "Folklore," stylized in all lowercase, as "an entire brand new album of songs I've poured all of my whims, dreams, fears, and musings into."

Much of the 16-song tracklist — 17 on the deluxe edition — was cowritten and produced by The National's Aaron Dessner. Smaller pieces were cowritten by Bon Iver, Jack Antonoff, and someone named William Bowery. Antonoff also produced five songs.

Insider's music team (reporter Callie Ahlgrim and celebrity and music editor Courteney Larocca) listened to the new album on our own, jotting down our initial thoughts track by track.

Almost immediately, we were forced to reckon with the fact that "Folklore" might be Swift's best album yet — potentially even better than "Red," which previously seemed like it couldn't be topped. We were stunned with the mature, poetic, stunningly understated collection of new songs.

Here is what we thought of each song on "Folklore" upon first listen. (Skip to the end to see the only songs worth listening to and the album's final score.)

"The 1" is the best album opener Swift has had in years.

Ahlgrim: "I'm doing good, I'm on some new s---" is a wild way to begin a new Taylor Swift album. This is going to be different.

This is easily the best intro song she's released in years. "The 1" far surpasses "I Forgot That You Existed" on "Lover," "...Ready for It?" on "Reputation," and "Welcome to New York" on "1989" in terms of sheer quality.

It's also an engaging scene-setter; I find myself gently rocking back and forth, eyes closed, smiling without realizing. It's only the first song and so far, I am totally grasping the woodsy aesthetic of this album. I'm already ready for more.

Larocca: I would argue that there hasn't been a strong album opener on one of Swift's albums since "State of Grace" on "Red" in 2012. "The 1" breaks that curse.

I was vibing from that very first piano note, but when Swift comes in and warmly delivers the first line of the album — "I'm doing good, I'm on some new s---" — it became evident this project wouldn't be anything like the rest of her discography.

As far as "The 1" goes as a standalone song, it's incredibly solid. Swift has a breezy attention to rhythm as she paints a tale of a the-one-who-got-away romance. I truly, truly love it. This might end up being an all-time favorite track.

"Cardigan" is beautifully influenced by Lana Del Rey.

Ahlgrim: I heard "Cardigan" first because I watched the music video before I listened to the album.

Right off the bat, I was struck by the Lana Del Rey melody in the chorus; I jotted down "folksy 'Blue Jeans.'"

Swift has actually cited Del Rey as an inspiration in the past, so this makes sense — and that particular shade of nostalgic, haunting glamour really works for Swift's voice, so I'm overall very impressed with this direction. I am more than amenable to a "Red" meets "Norman F---ing Rockwell!" album experience. On my second time around listening, sans music video, "Cardigan" already feels richer coming after "The 1."

This time, I'm struck by small lyrical details like "Sequined smile, black lipstick," a clear callback to her past eras, and "Tried to change the ending / Peter losing Wendy," an effective way to evoke young love and innocence lost.

I also think the song's central refrain, "When you are young they assume you know nothing," is clean and sharp and — especially given Swift's public struggles with sexism and years-old contracts — extremely poignant.

Larocca: I had the thought that Swift listens to Lana Del Rey after hearing "Miss Americana and the Heartbreak Prince" on last year's "Lover," but now I know for sure that Del Rey is an influence on Swift.

While "Cardigan" isn't what I thought this album would be like sonically, I'm overjoyed at how clearly singer-songwriter this album already is. I've been waiting years for Swift to make a lyrical marvel set to acoustic, warm, folksy instrumentals and it's here.

(And while I expected something different sonically, I am not mad at all by the backing instrumental choices here.)

"The Last Great American Dynasty" proves Swift is a natural storyteller.

Ahlgrim: Personally, I love Storyteller Taylor, so this is quite literally music to my ears.

There are so many delicious details here to unpack. The first verse, with its subtle sexist whisperings about Rebekah Harkness ("How did a middle-class divorcée do it?" and "It must have been her fault his heart gave out"), is a truly savvy way to set up for the song's eventual reveal.

Rebekah spent her time partying with friends, funding the ballet, playing card games with Salvador Dalí, somehow "ruining everything" — and her Holiday House was "free of women with madness" until Swift herself moved in.

That twist in the bridge is poetic genius. When the final chorus adjusts to the present day, underscoring the parallels between Rebekah and Swift, I'm forcefully reminded of an iconic bridge when Romeo finally proposed and changed everything — but Swift has evolved past daydreams of pure white dresses and fathers giving permission.

Larocca: I'm immediately taken back to 2012's "Starlight" when "The Last Great American Dynasty" starts. Thankfully, this song ends up being a lot better than "Starlight," which always felt more like a filler track on "Red" to me.

I love a lot here: the casual use of "b----," the acute attention to detail ("She stole his dog and dyed it key lime green"), and every version of this line: "There goes the maddest woman this town has ever seen."

I had a marvelous time listening to this song.

"Exile," featuring Bon Iver, is one of Swift's most successful duets to date.

Ahlgrim: Swift and Bon Iver, aka Justin Vernon, are two of the best songwriters alive today, so this song was destined to be breathtaking.

Swift has historically had difficulty allowing her voice and vision to coexist with a featured artist; her collaborations often leave me feeling like she should've just delivered the whole song herself.

But Swift and Vernon were able to weave their lyrics together so gracefully, I was left feeling grateful for his presence. His rich, rustic tone and those iconic hummed harmonies lends the regretful song an added coat of sincerity.

The production here is generally fine, but the layered instrumentals in the ending really bring the song together. I love a dramatic exit.

Larocca: When I see a "featuring Bon Iver" on a track, I instantly assume Vernon is going to come in with his high falsetto. So it was almost jarring that the song starts with Vernon sounding like a lumberjack dad who hasn't left the woods in a decade.

That didn't end up being a detriment, though. Swift sounds delicate on her verse, and their vocals contrast nicely later on the track.

This one also brings to mind her collab "The Last Time" with Snow Patrol's Gary Lightbody. The line "I think I've seen this film before and I didn't like the ending" is also reminiscent of "If This Was a Movie."

I'm obsessed with the clear influences Swift's previous discography had on these tracks, which have also so far felt completely unique to her catalog.

"My Tears Ricochet" is an extraordinary display of Swift's songwriting powers.

Ahlgrim: First of all, "My Tears Ricochet" is an incredible song title. Let's take a moment to appreciate that.

In fact, pretty much every line of this song is arresting.

Much of it feels both familiar and rare, like you know exactly what Swift is singing about, but hadn't thought to put it in those words before — which is, in my opinion, the mark of any good piece of writing but especially a breakup song. You can relate to the emotion, if not the particular details. You can hear the pain. It almost plays like a funeral march.

What a gift it is, what an exhilarating experience, to feel like you're listening to a poem being recited in real-time.

Larocca: Any true Swiftie knows that track five is reserved for the most vulnerable moment on the record, so I went into "My Tears Ricochet" ready to be sad.

I am endlessly impressed with how Swift managed to bake the word "ricochet" into this song so effectively. She also ditched her traditional song structure for this one, and instead built the track from peak to peak, utilizing clever lyrics along the way to tell an epic, devastating story, almost obviously calling back to the most beloved track five of "All Too Well."

I'm calling it now — this one is going to age like a fine wine. As all of Swift's best breakup ballads do.

"Mirrorball" is several strokes of genius.

Ahlgrim: This song gives me intense Clairo vibes, and I mean that as a very high compliment.

It's so fun and refreshing to hear Swift slip into different musical styles, and this shimmery take on alternative-bedroom-pop highlights her soft vocals and nuanced songwriting supremely well.

Also, my Leo sensibilities are fully under attack by this bridge: "I've never been a natural, all I do is try, try, try / I'm still on that trapeze / I'm still trying everything to keep you looking at me." Oof! Just tag me next time.

Larocca: This one is so pretty! Swift's vocals sound better than ever as she spins on her highest heels across a glittery daydream.

"I'm a mirrorball / I'll show you every version of yourself tonight" might be the thesis statement of this entire album. So far, "Folklore" feels both diaristic and vague; detailed and completely anonymous.

Fans will be debating for years whether this album is about Swift's own life, or if it's simply really great storytelling pulled directly from her own mind. In the end, it doesn't really matter.

Because as all of Swift's best songs do, these songs will attach themselves to listeners in completely new ways, showing them elements and stories from their own lives.

"Seven" is pure whimsical magic.

Ahlgrim: This is playing make-believe in the garden when you're too young to feel self-conscious; it's poetic and nostalgic and full of awe in such an unpretentious way.

I wouldn't change one thing about this song. Swift's whispery high register sounds divine, and at this point in the tracklist, her rhythmic delivery in the chorus hits like a shot of espresso.

Right now, I'm wondering if it's possible for Swift to maintain this intrigue and momentum for another nine songs. There hasn't been a misstep to speak of, and I remain wholly beguiled. Can it last?

Larocca: The beginning of "Seven" sounds like Swift listened to Marina's "Orange Trees" on repeat before showing up to her songwriting session. Fortunately, "Orange Trees" is the only song I like on Marina's "Love + Fear" so I will gladly accept this inspiration.

Swift continues to impress with both her vocals and her sense of rhythm on "Seven." I also personally love space imagery so the line "Love you to the moon and to Saturn" is a standout line.

"August" will go down as one of the best songs in Swift's extensive repertoire.

Ahlgrim: I'm immediately catching hints of Phoebe Bridgers and girl in red in Swift's delivery. And I simply adore the idea that Swift has spent the last few months sitting at home, daydreaming about summertime humidity and listening to music by queer indie-pop girls.

In an album full of songwriting expertise, this song has some of Swift's best lines yet: "August sipped away like a bottle of wine / 'Cause you were never mine" actually hurts me.

In my notes, there simply sits this valuable insight (yes, in all-caps): "WANTING WAS ENOUGH. FOR ME IT WAS ENOUGH TO LIVE FOR THE HOPE OF IT ALL." This song has my favorite bridge on the album so far.

In terms of production, "August" is exquisite. It's lush and layered without feeling overwhelming at any point. It builds to the perfect level then recedes, like a wave.

Also worth mentioning: It can now be considered a historical fact that any time Swift mentions a car or driving in one of her songs, it's a perfect song.

Larocca: While listening to "August," I texted Callie and said, "I can't wait to finish the album so I can relisten to 'August.'" It's an instant favorite.

This is also the first track on the album that seems directly inspired by our current state. Not because she's expressing fear or singing about being bored at home, but because she so easily slips into a reflection of a relationship that ended years ago with a newfound wave of wistful nostalgia.

When quarantine started, it seemed like a million lifestyle articles came out explaining why everyone suddenly felt compelled to text their exes and why we're so invested in looking back instead of forward right now.

"August" validates those feelings with zero judgment, letting its listener know that yes, it's totally normal for you to be overanalyzing that quasi-relationship you were in back in college that never made it past graduation. Am I projecting? Maybe, but that's debatably what Swift's music is best utilized for.

I'm also going to be thinking about this song's bridge and outro for the rest of my life.

The National's influence can be felt on the stunning "This Is Me Trying."

Ahlgrim: "This Is Me Trying" quickly strikes a more sinister tone than its predecessors — still nostalgic and wistful, but carrying an edge, like a threatening secret.

Ironically, this one was co-written and co-produced by Jack Antonoff, not Aaron Dessner, though I can really hear The National's influence here. I'm getting strong wafts of songs like "Pink Rabbits" and "Dark Side of the Gym."

Based on Swift's own words, we can speculate that "This Is Me Trying" is a fictional tale, built around the image of "a 17-year-old standing on a porch, learning to apologize." And, as previously stated, I'm a big fan of Storyteller Taylor, so I'm into it.

The song's darker tone mingles really well with Swift's imagery; when you're a teenager, and you make a mistake, it can feel like the end of the world.

Larocca: "This Is Me Trying" is precisely what I imagined this album sounding like when I found out Swift collaborated with the National's Aaron Dessner and Bon Iver.

But I'm glad she was strategic about her use of echo and also finally paid attention to the tracklisting from a sonic standpoint. This haunting soundscape is reminiscent of 2014's "This Love" and comes in right when you need it after the yearning daydream of "August."

I'd also like it to be on the record that the line "I got wasted like all my potential" ruined me and this song is a win for that lyric alone.

"Illicit Affairs" is a glowing example of what sets Swift apart from her peers as a songwriter.

Ahlgrim: The expert songwriting on "Illicit Affairs" reminds me of the as-yet unseated queen in Swift's discography: "All Too Well."

Swift is a master of wielding specific details like weapons: "What started in beautiful rooms / Ends with meetings in parking lots," she sings. "Leave the perfume on the shelf / That you picked out just for him." These are the sorts of images that set Swift apart, and they're especially strong when she punctuates their delivery with a little growl in her voice.

This song has real power. I have chills.

That power is magnified in the third verse, similar to how "All Too Well" builds to a crescendo: "Don't call me 'kid,' don't call me 'baby' / Look at this godforsaken mess that you made me."

Certainly, "Illicit Affairs" is more restrained than Swift's iconic arena rock ballad, but goddamn that last verse hits hard.

Larocca: The way that she says "him" in the second verse shook me out of my skin in the very best way. And "Don't call me 'kid,' don't call me 'baby' / Look at this idiotic fool that you made me" will go down as one of her best breakup lines of all time.

It's been a minute since Swift delivered a painstakingly beautiful breakup ballad, and the fact that this album is littered with them is, simply, a gift.

"Illicit Affairs" has growing power and will likely become one of those tracks that fans form a strong emotional attachment to over time.

"Invisible String" is Taylor Swift at her most Taylor Swift.

Ahlgrim: "Invisible String" is a feast of Easter eggs and callbacks.

"Teal was the color of your shirt" reminds me of the line about Joe Alwyn's blue eyes on "Delicate," and her reference to a dive bar is similarly familiar. "Gave me no compasses, gave me no signs" recalls the push-and-pull on "Exile."

"Bad was the blood of the song in the cab" is undoubtedly a reference to Swift's 2015 single "Bad Blood," while "One single thread of gold / Tied me to you" feels like a nod to Swift's description of love's "golden" hue on the "Lover" album closer "Daylight."

This song is sprightly and sparkly and certainly nice to listen to, but its real strength lies in these details.

Swift is weaving many different stories on this album, many connected by a sort of "Invisible String," tying different pieces of her life and your life and other lives together. It ends up feeling like a growing plant with far-reaching roots, or a sentient treasure map.

Larocca: I'd be lying if I said there weren't multiple points throughout this album where I worried that Swift and her boyfriend Joe Alwyn had broken up.

Thankfully, "Invisible String" is a rosy, wide-eyed ode to love. The plucky guitar paired with Swift's soft vocals is a sound I want to live in, which is fitting since this track feels like coming home.

Every small detail, from the nod to Alwyn's time spent working at a frozen yogurt shop in his youth, to the color imagery that paints every inflection of Swift's adoration (especially the single thread of gold) come together to lay the holy ground Swift's relationship walks on.

Also, the image of Swift mailing Joe Jonas and Sophie Turner gifts for their expectant first child brings about an unbridled sense of joy.

"Mad Woman" is yet another highlight.

Ahlgrim: Every time I think I've heard the peak of this album's songwriting potential, Swift manages to surprise me.

Case in point: "Do you see my face in the neighbor's lawn? / Does she smile? / Or does she mouth, 'F--- you forever?'" Whoa.

And another, for good measure: "It's obvious that wanting me dead / Has really brought you two together." I texted Courteney, "Did she really just say that??"

This song is sublime on its own, but the way it ties back into the perception of female freedom and "madness" on "The Last Great American Dynasty" makes it even better. "Mad Woman" is definitely a personal favorite so far on this album, if not in Swift's entire catalog.

Larocca: "Mad Woman" will forever hold the honor of being the first song in which Swift says "f---" and for that, we should all be thankful.

I was also so wrapped up in the storytelling of this album, that it took a minute for this to even register that this is likely about the Scooter Braun and Scott Borchetta / Kanye West and Kim Kardashian West ordeals of Swift's past. These callouts used to be so obvious, that I greatly appreciate the subtlety and restraint here.

It almost feels like these feuds were a lifetime ago, but this track does an excellent job at showcasing how anger and pain can leave an indelible mark on you. Swift went mad years ago, and that's just an accepted part of her narrative now.

But for the first time, her rage sounds like freedom.

"Epiphany" doesn't stand out.

Ahlgrim: There are some really interesting vocal moments on "Epiphany," but so far, this is the only song I haven't felt captivated by. It's a bit snoozy, and a bit too long.

This song clearly references war, the loss of a loved one, and the coronavirus pandemic, which makes it lyrically intriguing at best — but distressing at worst. I don't mind letting the overall effect waft over me, but this won't be a song I revisit outside the context of the album.

Larocca: "Epiphany" is the only track on "Folklore" that didn't immediately grab me. It's essentially a war drama in song format, so some people might like it, but I truly couldn't care less about war movies or war songs! So it's not my favorite, but it makes for pretty background music.

"Epiphany" does have another benefit though: Now, whenever some random dude erroneously claims Swift "only writes songs about her exes," fans have a clear song in her discography that they can point to and be like, "That's not true. This one's about war."

That's not to say Swift needed that — anyone who has been paying attention understands she's quite possibly the best songwriter of her generation.

This just happens to be further proof of that fact.

"Betty" is a charming callback to Swift's country roots.

Ahlgrim: "Betty" is like the best, sauciest song from Swift's 2006 debut country album that no one got to hear. It has sonic and lyrical similarities to hits like "Our Song" and "Tim McGraw," plus some name-dropping stuff like 2008's "Hey Stephen," plus a little harmonica thrown in for good measure! I love that for us.

"Betty" also appears to complete a three-song story, recalling details from "Cardigan" and "August" to close the loop on Betty and James, a couple in high school with some infidelity issues.

Looking back, it feels like "Cardigan" was told from Betty's perspective, while "August" was told from the perspective of a sort of "other woman" character. Now, we get James' side of the story. This is high art, folks! This is peak Storytelling Taylor!

"Betty" is also, like, very gay? I know it's easy to assume that James is a male character, but Swift herself was named after James Taylor, so she could be referring to herself. The song also references someone named Inez; James and Inez are the names of Ryan Reynolds and Blake Lively's daughters.

Plus, in retrospect, the idea of whispering "Are you sure? Never have I ever before" during a summer fling seems pretty gay to me.

I'm not saying the story of Betty and James would be better if it was written about sapphic lovers, but I'm not not saying that.

Larocca: This one is gay, and if you try to tell me otherwise, I will simply ignore you.

But Courteney, it's from the perspective of a guy named James. James and the other character, Inez, share the same names as Reynolds and Lively's kids (will leave it up to you to decide if that means their third daughter's name is Betty). James is their daughter. Get out of here with your antiquated ideas about which names connotate which genders.

To me, the James named in this song is a woman and a lesbian and this song is for the gays. I will not be saying anything else or accepting any feedback on this opinion, thank you.

"Peace" is honest and raw.

Ahlgrim: This song's intro sounds like LCD Soundsystem had a baby with "The Archer." The gentle guitar riff is also lovely.

With Dessner's echoey production, Swift's voice sounds like a warm little fire in a cave — fitting, since she sings in the chorus, "I'm a fire and I'll keep your brittle heart warm."

OK damn, I'm getting really emotional. This songwriting is beautiful and haunting. "Peace" perfectly captures the ambient dread of feeling your partner slip away, of wondering whether love can be enough.

Larocca: If you're a "Call It What You Want" stan, you're going to love its mature older sister "Peace."

I will hereby forever be thinking about the parallels between "But I'm a fire and I'll keep your brittle heart warm" with "He built a fire just to keep me warm" and between "Family that I chose, now that I see your brother as my brother" with "Trust him like a brother."

Also, "Would it be enough if I could never give you peace?" has the same emotional impact as when Swift changes the lyric in "The Archer" to "I see right through me" and that's meant as the highest form of compliment.

Swift's vocals are so crisp, that guitar riff is so stunning, and these lyrics are so gut-wrenchingly vulnerable. A perfect song, through and through.

"Hoax" is unlike any other album closer in Swift's catalog.

Ahlgrim: I don't know if Swift is going through a traumatic breakup, but if she isn't, the woman is one convincing creative writer.

The National makes some of my favorite music to cry to, so when I heard Aaron Dessner had co-written and produced much of this album, I knew I was in for some glossy cheeks. Until now, I think I've felt too captivated by Swift's artistry to really let myself get there.

But finally, "Hoax" is making me cry.

This is heart-wrenching stuff for anyone, but for a fan and student of Swift's work, this is like reading a friend's diary entry.

"Don't want no other shade of blue, but you" must be a reference to "Delicate," in which Swift sings: "Dark jeans and your Nikes, look at you / Oh damn, never seen that color blue." Later, she croons, "You know I left a part of me back in New York," perhaps regretting the move to London that she detailed throughout "Lover."

"You knew it still hurts underneath my scars / From when they pulled me apart," recalling the public shaming she endured and demons she exorcised on "Reputation." "But what you did was just as dark." Like I said before: Whoa.

Personally, I love having a good cry set to moody music, so I appreciate Swift's soul-bearing. "Hoax" is one gut-punch of an album closer.

Larocca: Swift has a habit of ending her albums on an uplifting, hopeful note and I always eat it up. But if "Folklore" hadn't made it clear by now that it should be consumed differently than any of her previous works, "Hoax" brings that message home.

Instead of reveling in all the ways that love has made her stronger, happier, or more whole, "Hoax" deconstructs everything Swift has learned about love and leaves a bleaker picture about how maybe even the best of relationships hurt.

But at its most tragic, this love still isn't something Swift will ever let go of: "Don't want no other shade of blue but you / No other sadness in the world would do."

Finishing a Taylor Swift album has never been so devastating.

Final Grade: 9.7/10

#taylor swift #folklore #review

50 notes · View notes

blankdblank · 3 years

Text

Hobbit Soulmate Pt 26

Five feet off the ground in a grand jete you could catch the sliver of light backstage hinting that another person had snuck into your set. All week among the other cast members from Elektra Jennifer Garner took to watching your dance numbers thrilled to see just how talented the littlest of the extras actually was off set. For Daredevil in café’s you had been building some interest as a stray kitten had taken to you. A slipped pet here and at the first roll of thunder the kitten came onto set through the fake street and into the café luring attention from the other extras and main pair of actors at its trot to your costumed self to climb to your shoulder and burrow in your hair. Spending each day since following you about until you took it home to the ranch with you to keep it safe.

Hours you had been here and this was the third number you had filmed, out of the eight numbers you were doing well on time and were due for another before being sent home for the others to film their roles on the secondary sets. Again Richard was in the audience, merely with a camera aimed at him recording his reactions while his gangly self ‘snuck’ into the shows that the ringmaster would end each number by shouting at you.

Changing again you sat on your makeup chair pressing your thumbs into the sides of your left hamstring feeling the same twinge you had felt for the past two days. Inches from tearing your muscle the filming of your non dance scenes in the first half of the film had been recorded after a slipped chord from a fight scene for Elektra had you on the verge of tears and on a crutch to rest your leg. The doctor had cleared you to work, unlike the other stunt man who fractured his collar bone when his wiring failed as well. For what you loved about the film the endless strain of the ballet side of this had you deciding that your last touring show for ballet was just that, your last. Another film could be tolerated but the endless weeks of shows would have to stop if it could end up weakening your body in other roles requiring you to be at your peak.

Everything hurt but with a helping of some heating cream the muscle loosened up and you were able to complete the day. Once changed however if your decision hadn’t already been made you felt relieved to find a voicemail on your phone from your grandparents hoping that you would focus on films before you did face an injury like your grandfather had nearly lost his own career to. They fully agreed dance films were acceptable but the near possible break or worse to your leg had them rethinking their plans for you knowing the pain of those injuries all too well.

Wrapped with a heating pad and elevated in an empty chair the leg rested while you watched Richard and your father pull dinner together. Again Richard glanced your way asking, “Feeling better?”

“Little bit. Oh, I got a call earlier.” That had the pair looking your way, “Babu and Babushka about my leg, suggesting I retire from performing ballet.”

Your Father settled a hand on the counter, “Wow. Never thought I’d hear that.”

You shrugged, “They remember their own injuries and with it being my lower leg that could have been worse they think it best if I stick to ballet films and not full touring shows.”

Richard, “Are you okay with that?”

You nodded, “Funny thing is I was thinking it through the morning, and then on lunch I got the message.”

Your father nodded, “Have you called them back?”

“Not yet, no they said they had to be up early for a fundraiser. I’ll call them on their tomorrow at a reasonable hour.”

Richard nodded and asked, “Any word from Lee yet?”

“Uh, nope, after that screen test thing he said he was off to the airport.”

Your father asked, “To where?”

You shrugged, “No clue. He is a man of mystery this month and up to something. I hope it’s a role ‘cuz he’s been a bit, not off but just, distant I guess since hearing about the filming here.”

Richard chuckled saying, “My guess being he’s planning on visiting. Oklahoma’s not far, right?”

Your father shook his head, “Bout half a day drive depending on how far you want to go. Does he know where we live?”

“I, don’t know. Think so, he mentioned sending a snow globe or something.”

Your father chuckled and said, “We’ll keep an eye open for any teens lurking about.”

While days were spent filming nights were all your own. A special request while word you had worked with Howard Shore in the last minute drop of the uncooperative sound crew you were hired. Now on top of acting, singing, playing the violin and dancing lead the score was now yours. Though it didn’t come out of nowhere as you had provided the music for the dance numbers while in the first rehearsals before filming when the former crew had all but refused to grant the director anything to work with beyond a metronome beat. Just like before hums were not foreign on set and even Richard found himself joining in while you kept notepad on hand to write down all you had popping into your head.

Distraction was needed while word spread that Daredevil would be split into two films, one for him and another for Elektra and there was so much doubt on how little your part would be dwindled to if visible at all. Alternating day and night shoots often found you here in the music room, up with violin in hand or at the piano playing to a cassette recorder singing along the words you came up with. In Russian, French and Gaelic you would sing with a fourth you hummed, both operatic and lullabies to barely over a whisper. Each helped through with lyrics by Richard and your father when hearing you were stuck.

The best song though, the one you loved came out like air and sent chills down the spines of all who heard it on the business side of the film beside the beaming Director, even in the rough cut needed to be rerecorded in an actual studio. Down Below, My Bedfellow, the name of the soaring signature song played in your ride away to the new future at the end of the film. A duet with Richard he worked his way into by bringing over his cello he had sent for from England weeks prior to sit up and play with you, adoringly filling in more blanks on the song from his own heart. More time, that was what it was, even when joined in on by your father who copied note for note the song as you wrote it notes and all, simply beaming at the love song dripping with the love and adoration you shared on and off the screen. Soon enough it all was re-recorded in studio topped off with a full choir your family was all to eager to join to bring your project to life alongside the full orchestra to fill in the rest of the score as well led by you.

All this while you were given more snippets in Daredevil, even to the point where you were in the background at the big fancy party right before Elektra’s father is killed. Fittings for that however put your groggy humming self in the path of Colin Farrell alongside another for your stewardess costume, an extra role making you a blonde and granting you a couple lines at least confirmation by the Director you would not be cut at least entirely from the division of the original film. Also confirming that in said groggy interactions with Colin you had made another friend who was altogether impressed on how you could go from napping to bright eyed and bubbly for the action call at the drop of a hat. A friendship ending with a trading of emails, due to his frequency of changing his number, when schedules split you up again making lunches or dinners as a group were impossible to manage.

Sure enough while you received the third call of the day concerning the About A Boy premier the next day the doorbell had your head tilting to the door that your father had stood up from his place reading on the couch while Richard toweled off from his shower to wash off the makeup from his neck and face. “Oh man.” The words had you smirking but not as much as the voice saying them.

Softly you sighed hearing the voice through the phone still speaking to another in the room for the third try to somehow argue that you would somehow be able to fly out to England and make the premier anyways starting in ten hours. They hung up promising to work some magic making you roll your eyes and toss your phone onto the couch by your feet to lay your arms over your face tilting your head back a moment onto the arm of the chair you were lounging in after work. “Long day?”

Easing your arms down your head turned in your lifting twist to stand up for a hug from Lee, who melted around you, “There you are, trying to be all sneaky.”

“Hey,” he said pulling back, “How else am I supposed to keep you on your toes?” After stealing a glance at your father on his way to the kitchen, he whispered, “You never said he was so big, and your uncles are all the same size, went to the big house first and they sent me here.”

“Well they won’t eat you.” You giggled out making him smile wider at you, “You drove all the way here?”

“Yes, only have a week off,”

Your father came back with handfuls of sodas he passed one each to the two of you and sat down again in his former spot luring Lee to sit on the end near your chair, “Good, if you need a place to crash you are welcome here. Got the spare Murphy bed in the office.” Glancing your way he opened his soda asking, “Everything alright on the phone Pumpkin?”

“Ah, just someone trying to reverse the rotation of the earth so I could somehow make a flight to London and be there for the premier in ten hours while also being on set tomorrow out here. Said they’d work some magic.”

Lee chuckled asking, “Which premier is this one?”

“The one with Hugh Grant, About A Boy, I’m just one of the random single moms he dates there barely a week I doubt I’ll be a huge blip on screen. Anyways there’s one in New York in two weeks if they insist while I’m off out there for the Enough film with Jennifer Lopez.”

Lee, “You’re working, how could they be mad for you missing it?”

You shrugged again taping your nail on the top of your soda, “Who knows. Highly doubt I could have any significant chunk of the film with a week of footage. I mean, there’s Hugh, the kid, the kid’s mom and a future girlfriend, Rachel something. That’s the main cast. Love interest number four, can’t be that-,”

Richard came out and smirked patting Lee’s shoulder, “Had a hunch you were dropping in on us.”

Lee grinned at his move to claim your soda and open it for you, to spare your fake nails still on from the set, then pass it back on his way to get a drink himself and sit down between Lee and your father. “How could I miss a chance to see you guys again. And I do have to say,” looking at you he said pointing at you, “I’ve seen Lord of the Rings five times. Can’t help it and can’t wait for it to be out on tape.”

Richard chuckled, “You and me both, and eventually there will be an extended cut edition as well with extra scenes I am waiting for.”

Lee smiled at you asking, “How is filming going? Leg better?”

“Yes, much better. Filming is good, another week left.”

Lee wet his lips asking, “When is it out?”

“Early next year. Certainly be a film to add to my books.”

Lee chuckled, “Hey, I played burlesque dancer, so, not that odd of a choice.”

You nodded giggling, “Oh yes, ballet dancing Selkie.”

Your father said in your sip on the soda, “Certainly original.” Making you smile lowering the can.

“You are coming?” rolled onto your side your eyes cracked open registering Jennifer Lopez’ voice.

“This about the premier?”

“Ya, you had that job but you’ll be off then, right?”

“Yup, just flew into New York last night.”

A sharp exhale sounded through the line as your face settled into your mattress while Richard shifted to rest his head on your back cuddling closer again refusing to miss a moment of your final week together before he was due back in England. “Oh that’s good. How’d your flight go?”

“More of a rollercoaster than a flight. All bumps and then there was some hail, had to land in Tennessee and wait two hours to continue on to New York.”

“Oh that sucks,”

“Not really they have nice ribs there. How’s it with you? Heard you had a tv thing, Letterman?”

She chuckled, “Yes, been crazy with the press for this thing, but work is work. When are you doing press for yours?”

“If I do, maybe the winter. Which winter in Russia should be lovely. Have to enjoy sweater weather.” Making her chuckle again.

“Yes, yes you do.” After a moment she asked, “I heard something, you, don’t have an agent yet?”

“No, agent’s want money and I don’t get paid for last year’s work for another couple months until the first film is out of theaters and the others staggered for the same.”

“You don’t have any money, like, at all?”

Weakly you chuckled replying, “My rent is paid through the year, cash saved for my phone and food, just don’t have retainer fees level cash. Rich’s agent though tends to share what he hears about me for London work.”

“Like for couple jobs?”

“Not yet, but that’s what he’s aiming for. People there know I know him so I helps to draw attention to Rich too.”

To the continued use of his name he pressed a kiss into your back and nestled closer lifting the covers to help fight the next draft blowing through the apartment. “That’s good. I just want you to do well.”

“I know, thank you for that. I got people, just not big people. Tons of tips flow my way.”

You could almost hear her smirk in asking, “You got people?”

“I got people. Everybody has ears Jen.”

“Oh I know that. Always gotta be careful what you say and to who.” Making you smirk as she missed your point meant to mean that your latest tips had come from a delivery guy you went to school with who fired you a message for what the latest job he went to was looking for in a female lead. It was an interesting part but the request of swallowing a live octopus for the audition had you tapping out when they insisted it was the big marker for the female lead you were assured to be perfect for.

“Yes, from what I hear I do have to ask how is your fifth love child with your seventh fiancé?” Making her laugh at the combination of all the titles in the gossip rags, “I do hope I’m invited to this wedding you’ve skipped me for the last three.”

“I promise you, I get married you will be right up front… Hmm?” She asked someone else near her who said something making her pause to say, “I gotta go hun, but I will see you on the red carpet.”

“Yes you will, have fun.”

“I will, you too hun. Bye, Bye.” Hanging up allowing you to set down your phone and sigh settling back into your mattress.

Behind you Richard rumbled groggily, “You missed the best part sharing your people bring the best snacks.”

In a giggle you rolled over and he eased you down with a loop of his arm around your side planting his lips warmly on yours, “Some people don’t realize how helpful delivery guys can be for big tippers and old schoolmates.” Claiming another kiss then settling your forehead against his to get a bit more sleep with your still drowsy teddy bear clinging tight to you.

Clad in a simple indigo velvet short sleeved dress over black tights and your glittery heeled ankle boots you stood fixing your hair into a ponytail as Richard fashioned his tie. Nice and simple you dressed for the About a Boy premier and shouldered your phone to fix your mascara answering the call confirming the car sent for you was downstairs. It had been relentless with several confirmations this week you were indeed free and shouldering the crème clutch with cute accenting folds in the fabric over the top flap. Right off Richard claimed your hand locking up to walk with you to walk down to the car. With a grin you kindly greeted the driver who looked you over then flashed an awkward grin to Richard who shook that off and climbed in after you keeping hold of your hand.

Everyone you seemed to talk to shared a sense of relief. Hugh especially once Rachel, who you hadn’t met on set had come to greet you after having heard about you, came to greet you, leaving an interview to do so. “There you are,”

“Why do I feel like I’m in the Principal’s office?”

To that he chuckled and shook his head patting your arm, “Not at all. Simply, we heard you were working on another international film.”

“Yes, sorry, it was the last week of filming. I didn’t think you would miss me at the premier.”

“Miss, how could we not miss you?” His gaze shifted to Richard who was now grinning to himself and his hand outstretched, “I’m sorry, where are my manners, Hugh.”

“Richard,” naming himself in their hand shake that dropped to Hugh’s mouth opening.

“Richard, yes, Jaqi talks about you nonstop.”

“Not nonstop,” you replied bashfully.

Hugh nodded teasing you, “Yes non stop, often had to stop her on set forgetting her lines and gushing about her handsome Mate she couldn’t wait to get home to.” Hugh’s name was called and he said grinning at you both, “See you inside, have to go and keep talking about myself.” Turning to his interview again leaving you to be met by Nicholas and Toni, the mom and son in the film you spent so much of your blip with.

Nicholas hurried over and drew a giggle from you in his tight hug, “You’re here! They said you were working on a film!”

“Finished that last week, sorry,” Toni folded around you in the hug you patted her side on at the extent your arm could reach, “Hey Toni. It really couldn’t have been that bad.”

Sighing back her answer she said, “We missed you. Wasn’t the same without you. It’s a great film. You’ll love it.”

Nicholas said, “You did very well, bit odd hearing you without the accent though.”

His eyes shifted to Richard making you say in an adorable pat on his middle making him smile adoringly at you, “Oh, yes, this is Richard.”

Toni drew in a breath, “Richard! Of course!”

“I was not that bad.” You muttered making him chuckle through her handshake seeing you brush your curled bangs from your face.

Toni said, “Of course not,” then nodded to Richard who chuckled again easing his arm around your back at the group of aids hoping to move you onwards.

Walls of flashes captured your pose snuggled at his side resting your hands over his on your middle, later to be taken as a sign to hide a possible bit of jewelry on a certain finger before you were pulled aside for a brief interview followed by your rejoining Richard to head inside. Lowly in the dark of the theater leaned in you whispered to yourself, “It’s a decent part.” Not for the quality but how big your role was, not just another love interest but one of the connecting characters to blend his dating life into meeting the mom and son eventually becoming a family to Hugh’s character. On top of your lap Richard’s hand folded knowing you felt bad for missing the premier for your blip of filming that somehow now was irreplaceable if cut out to make the plot work how it did.

One after party somehow led to an interview from the magazine and papers at the first premier with that duo of writers eager to complete the cast interviews that was fully grateful you agreed to complete the full set. You guessed it had to be the management of the film who had shared the news because everyone knew you were working on some international film that they now were dying to see what had kept you from the suspected successful hit of a film with such a big star in the lead and amazing actresses to boot.

Unique was the word you used to describe the film hoping to not drive people off by describing it and thrilled to the core Richard, who was seated beside you got a snippet and a few questions as well he wondered how it would play out into this article. Either way he was excited to see if they would make the cut and if so what others would say on what was printed. Keeping you close through to your walk back up to your apartment again parting only to change and drop into bed to sleep before his flight the next day.

Cutouts of the articles on the film were added to your collection and in a long sleeved grey dress over black tights and the same glittery heels you were ready for the premier of Enough. This one you knew for a fact to be a blip yet all the same again you went and smiled for the pictures both alone and in the group picture for the full cast two seats from the aisle you were seated and in a slip out to avoid the first beating scene you went to the toilet. Leaned up against the wall you pulled out your phone needing a distraction for a few minutes and at the voicemail notification you clicked on it and listened to Peter’s voice playing over the line.

The simple reminder for your flight date and travel information came with his adding, “Gimli, I can’t wait for you to be out here again I have something I wanted to speak to you about. Just, uh, call me back when you get this and confirm you’ll be here on time, or hopefully your on time which is a few days early. Stay safe, Gimli, love you and hear from you soon.”

Quickly you dialed back flashing a grin to the woman washing her hands as you walked to the other end of the room. “Hey Peter, out in New York, I know I’m written as flying out in two weeks but Dad flew in last night and we got a good deal to fly in a week early if that’s good for you. I gotta get back, but, love you, see you in a couple days when we land. Bye.” Hanging up you stuck out your tongue a moment fighting the feeling it had tried to stick to the roof of your mouth and went back to find your seat again.

Domestic abuse films were never easy for you to sit through, you hadn’t faced it personally but a woman you used to work with and one of your friends in High School nearly didn’t make it to graduation for how bad their home situation got. All the same Jennifer played it well and even though it was a bit predictable that Slim would choose to kill her husband it was still a good film and although a bit deflated you still went to the after party to try and perk up again before heading home to sleep.

Straight across the headlines on the paper you took with you to the airport had the new cast of King Kong to begin filming in the next year. Devouring each detail you read through the article mainly telling you what you already knew of Peter’s devotion to the hope of one day filming King Kong. He had miniatures and even a script from a try years prior he shelved to work on Lord of the Rings when things didn’t work out. Colin Hanks, Jack Black, Adrian Brody and Naomi Watts were among the names you could recognize alongside Jamie Bell and Andy Serkis, the rest were vaguely hinting to possible actors the names belonged to.

While all your mind could circle on was the listed story of Ann Darrow’s life, a down and out girl working Vaudeville to try and survive the Great Depression hoping to one day work with her favorite writer who ends up on the adventure of a lifetime. The quote from Peter stating her as a girl from the big harsh city of New York, naïve with a strength she wasn’t aware of yet to be tested soon. Remembering Naomi from The Ring you couldn’t help but be a little hurt for losing the role no doubt you wouldn’t have gotten anyways. Sure as it was being filmed in New Zealand this would be another extra role film for you. And you supposed in your turn to the side to take a nap after tucking away your paper and curling around your father’s arm that this would be another epic that would leave you far from noticed on screen for the work you put into it.

Pt 27

@himoverflowers, @theincaprincess, @aspiringtranslator, @sweeticedtea , @thegreyberet, @patanghill17, @jesgisborne, @curvestrology, @alishlieb, @jogregor, @armitageadoration, @fizzyxcustard, @lilith15000, @marvels-ghost, @catthefearless, @imjusthereforthereads, @c-s-stars, @otakumultimuse-hiddlewhore, @mariannetora, @shes-a-killer-kween, @ggbbhehe4455, @xxbyimm (Hobbit x oc)

X all Rich. A - @abiwim, @deepestfirefun, @thestorybookmistress

X Lee P - @tigereyesf

#Richard Armitage x Reader OC #Filming #Daredevil/Elektra filming #Enough #About A Boy premier #Traveling

9 notes · View notes

peace-coast-island · 3 years

Text

Diary of a Junebug

Rock and roll the night away!

What better way to escape than getting lost in music? Headphones on, thoughts off - nothing like some good bops to help get you through the day.

KK Slider's been looking into expanding his musical repertoire so he's been playing around with different genres in hopes of creating a brand new sound. And that's how rock and roll night came to be!

Joining us on this musical adventure are Sonja, with her siblings Robbie and Tiffy, and cousin Bubba. It's been ages since Daisy Jane and I have last hung out with Sonja so it's nice that she and her fam dropped by for a visit. I've hung out with Robbie and Bubba a handful of times while this is the first time I've met Tiffy.

Sonja's been meaning to stop by the camp for a while but life has gotten busy. She also wanted her dad and stepmom to come along too but then something came up so they were unable to make it at the last minute. Same thing for her grandma, though to be honest, camping isn't really her thing so it's probably for the best that she didn't come.

Old Thelma Lou may come across as a cantankerous old lady but she really is a nice person once you get to know her. Underneath that rough exterior is a protective, dedicated, and tough mother figure who wants what's best for you, even if she kinda has a hard time showing how much she cares about you. We video chatted with her before the concert and she's still the same old Thelma Lou, keeping an eye on her children, grandchildren, and their friends in her own unconventional ways.

We also chatted with Buzz and Skeeter, both who are doing well. The reason why they weren't able to join us at the camp is because Skeeter's pregnant again. She and Buzz were going to have a boy last fall but there were complications and the baby was stillborn. So far things are moving along smoothly, but to be safe, Skeeter's on strict bed rest. In about four months, Sonja, Robbie, and Tiffy will have a little sister!

Sonja has been busy working on her graphic novel, which she plans to release in the fall. She's a freelance graphic designer and illustrator, known for posting relatable and funny comics online. I love her art - it's got a sketchy and loose style that's sorta minimal yet super expressive. When I got into digital art, I took some inspiration from Sonja's work by using pencil brushes for line art and the gouache brush for coloring.

After working in the studio for hours on the book over the past several weeks, Sonja felt she could use a change of scenery - which was the main reason why she wanted to come to the camp. She also wants to get back into using traditional mediums like painting so she brought along some canvases and paints. The great outdoors is perfect for finding inspiration when you're in a rut!

Robbie runs a fix-it shop in Elmstown with two of his friends. His specialties are clocks and anything that has a lock thanks to his grandma and dad - Thelma Lou likes collecting clocks and Buzz's a locksmith. He's the reason why the family saves so much on repairs - Robbie and his friends can pretty much fix anything! Elmstown is pretty far but I'm keeping his business card in case I need something fixed like my computer since that'll be more cost effective than sending it to the store where I'll probably get overcharged.

It's a good thing we have Robbie here to help KK Slider with the equipment. He had some old amps and guitars that he'd been meaning to get fixed but since they were custom made, it's hard to find parts that need replacement. Thankfully, Robbie never leaves home without his toolbox and with his magic, we were able to improve the stage setup.

Bubba's still living with Thelma Lou, though he's in the process of moving out to his own place. He's not leaving Rayetown though, just moving to the other side of town so he can be closer to the post office. Along with delivering packages for the citizens of Rayetown, Bubba's also a drummer and occasional lead singer for The Cogwheels, a local band that regularly performs at the Chili Bowl.

Thelma Lou and Bubba have a sweet relationship. He's the oldest of the Harp grandchildren through Thelma Lou's daughter. His parents pretty dumped him on Thelma Lou's doorstep when they moved halfway across the country, which wasn't very nice of them. His mom and grandma have a stormy relationship so that explains why Thelma Lou's kinda overprotective of him, and in return he respects her a lot. Recently though, Bubba and his mom have been keeping in touch sporadically - thanks to Uncle Buzz and Aunt Skeeter. As for his dad though, since he walked out on his mom, he hasn't heard from him in years, which he feels is probably for the best.

And there's Tiffy, the youngest (so far) of the grandchildren. She's seven and a half years old and likes to sing and dance. This is her first time being away from home for a couple days so she's pretty excited about it. Plus, she gets to spend time with her siblings, something she always looks forward to since they live far from home. By the time she was born, Sonja and Robbie had already long moved out of Rayetown. Up until Tiffy came along, Sonja and Robbie rarely visited home, a deliberate choice that they both kinda regretted but at the same time felt it was necessary.

Tiffy's looking forward to the new baby - and she's absolutely certain that things will work out this time. She was really bummed about what happened with her brother, especially since she always wanted a little sibling. Buzz and Skeeter had been trying for years to have another kid - they didn't have Tiffy until about six years into their marriage - and that was after being told many times that they missed the boat. It's a good thing they didn't give up or else Tiffy wouldn't be here today!

While helping KK Slider set up for the concert, we also went sightseeing outside the camp. Now that the weather's warming up and the sun's staying out longer, we can venture further out. The first place we went was the mountains, where Sonja was inspired to pull out her canvases and paints. She's been working on landscapes and backgrounds so it was the perfect opportunity. Since she had a lot of fun doing that, I figured we could do the same in other places outside the camp like the woods or the meadows.

As they were testing out the equipment, KK and Bubba were jamming out while Tiffy danced. She definitely inherited Buzz and Skeeter's dance skills! Tap dancing and ballet are her favorites and she definitely wants to branch out to other forms of dance. Her parents are looking into more dance classes for Tiffy, which she's excited for. One of the reasons why she's looking forward to having another sibling is so she can have a dance partner in the future. Imagine, Tiffy and her little sister, dancing together!

Later, Robbie joined in on the jam session, playing the bass. Apollo, Static, and Cherry joined in as well, and before we knew it, all of them were writing new songs that eventually became the setlist for the concert! Sonja later got into the jam session after Daisy Jane showed her around the cabin and her studio. I sense a collaboration between the two in the near future...

Around 5 we finished setting up for the concert and began preparing for a barbecue dinner. By the time all the food was set up, it was time to rock and roll! I have to say, KK and the campers really outdid themselves with the stage setup. It was a mix of performances by KK Slider and jam sessions by us. The concert was an awesome experience!

In the span of one hour, Bubba and KK wrote Road Ode. KK came up with the intricate melody that's a perfect fusion of his signature sound along with elements of classic rock. Bubba came up with the lyrics, taking inspiration from his relationships with his mother and grandma. Easily one of the highlights of the night.

Apollo sang lead on a number he co-authored with KK Slider titled Old Man Blues. It's a bluesy rock and roll tune with a catchy guitar riff that's stuck in my head as I write this. The light show visuals really add to the vibe of this song, elevating it to another level.

Static and Cherry performed Heavy Metal Ballad as a trio with KK Slider - another song that was just finished today. The song was actually three different compositions that merged into one. Cherry has been playing around with a cool heavy metal beat for a while. She had a good thing going on but had trouble turning it into something, so she put it aside in hopes of finding the right spark to kick it off. Static came up with lyrics for the chorus, originally through a little ditty he called Lightning Muses. And like Cherry, he had something but couldn't figure out what direction he wanted to take it. Then along comes KK Slider, who saw the potential in these two wildly different compositions. Somehow, with his verses and additional melodies, he created an instant hit!

In an unexpected surprise, KK Slider got Daisy Jane and I on to perform a new KK original as well as a couple songs from Lilac and the Cadillacs. The new song, Sky Blue Twilight, is a collaboration between me, Daisy Jane, and KK Slider. It was something we came up with a while back, and I had almost forgotten about it until today. I'm pretty rusty from songwriting but working on this piece was pretty fun! I really should get back into writing music...

Sonja, Robbie, and Tiffy also joined Bubba on stage for another new song, titled All That Rock 'n' Roll. Tiffy sang lead vocals with Sonja on the keys and Robbie on bass. Along with being a fantastic dancer, Tiffy's a great singer! I filmed the whole thing for Bubba so he can send it to Thelma Lou, Buzz, and Skeeter. I have to say, KK Slider and Bubba make a great songwriting team!

Another fun song is Violet Blaze, an upbeat rock and roll tune by KK Slider, Candi, Kabuki, and Spike. KK Slider really outdid himself on that guitar solo! With riffs like that, there's no other song fitting to be titled Violet Blaze. What one can't put into words, music expresses it - one just has to listen and feel.

And of course, in between the new songs were KK Slider classics, but remixed. It's amazing how changing up the genre can give well known songs a fresh makeover! That's what I love about KK Slider's music - the versatility. In terms of reinventing his sound while staying true to himself, I'd say KK Slider succeeded with flying colors!

Aside from Tiffy and the early risers, the rest of us have been rocking and rolling way past midnight. I'm still a bit buzzed from the concert, which just ended less than an hour ago, so I'm gonna unwind for a bit before going to bed.

#animal crossing #animal crossing pocket camp #Diary of a Junebug #headcanon ramble

2 notes · View notes

thonghyuckies · 5 years

Text

Dance Class | Mark Lee

Summary: A soulmate au in which whatever you write on your skin shows up on your soulmate’s skin. Your soulmate is just as chaotically busy as you.

Note: I seriously wrote this at like 12 am - 1 am and I’m posting this without proof reading, so it’s by no means my best work, but I hope you enjoy nonetheless.

Words: 1k

Busy, busy, busy.

That’s all you ever thought you would be.

From waking up at 4 am, to teaching dance classes until 9 am, heading to rehearsals from 9 in the morning to 9 at night, singing and dancing with all your might for those 12 hours, getting home to finish extra work, and still trying to make time with your friends, barely even getting to bed before 2 am.

Luckily for you, your soulmate happened to be someone who could relate to your situation. You didn’t know much about him in the beginning, other than his schedule was just as busy as yours. In fact, the day you connected, his schedule materialized itself onto your arm, throwing you off your balance, setting you up to be late. When you later scrawled “What’s going on?” on your arm out of frustration, you didn’t expect a genuine response. ‘Soulmates?’ was written out in semi-messy letters. You spent the entirety of that night writing on any open space of skin, learning that he lived an equally chaotic and performance based lifestyle.

You learned that he performed often, usually busy dancing with groups he mentioned, 3 different groups apparently, along with writing his own music that he performed whenever he could. He even explained that when he wasn’t able to sleep, he’d stay up until sunrise writing his lyrics. He was basically the cooler version of you. While you were classically trained, he was self taught in a street style of dancing.

You and Mark spent nights up late talking to each other, praying not to get ink poisoning from all the writing. One unfortunate night, you were feeling particularly exhausted, venting all your emotions onto your skin, one thing you didn’t know, though, was that when tears smudge out the ink, it appears exactly that way on your soulmates arm. You fell asleep before Mark had seen, and while you slept, Mark spent the night writing encouraging messages everywhere he could reach. Saying things like ‘I believe in you’ and ‘we’ll make it through together,’ bringing you motivation to get up the next day, making sure to write a thorough ‘thank you,’ over your heart for him to see.

From then on, you both sought out to always encourage each other, understanding each other in dazed exhaustion, complaining about certain dance moves

You always sort of figured you’d meet purposefully, deciding a location through writing and going, but fate had a really funny way of playing with soulmates.

You woke up one morning when out of nowhere, on your left arm was written: 7:15, dance class at studio.

He never took dance classes, it made you smile, thinking that maybe you inspired him to learn a bit more classically. You managed to write a small ‘?’ beside the note, before moving on to get ready for the classes that you had to teach. You smiled while getting ready, knowing that Mark would be in a dance class at the same time as you were teaching.

With one last check of your left arm for a reply, you slung your bag over your shoulder to head to the studio. Going through the day in your mind, chugging down the coffee you picked up on the way, you listed out ‘Ballet, Tap, Hip Hop, Musical Theater’ along your arm besides Mark’s own note.

Ballet was a class usually filled with dainty and young girls and a select few younger boys, which went on as usual, teaching them a small routine full of the more basic moves, assisting them in their early morning class. That class was quick, only 30 minutes, followed by the 45 minute tap class. These kids were older, ranging from around 12 to 15, you could teach them more advanced things and maybe even manage to get them to tap at once to music.

At 7:15, you taught hip hop. Usually this class was filled with 15 to 17 year old girls looking to learn to dance to impress their class crushes. Today was different, though. Behind a 16 year old girl who frequented the class, walked in a rather tall and handsome man you assumed to be in his 20s, despite his childlike eyes. You held back a laugh at the sight of a grown man in your class of mostly teenage girls, until your eyes trailed down to his arms, seeing the same exact writing on his arm that you spotted on yourself that very morning.

You were quiet for just a moment until you mustered up the courage to walk closer, knowing he hadn’t spotted you quite yet. With a meek voice, you whispered “Mark?” and no surprise, he turned around.

He looked at you, eyeing up your arms, “(y/n)?” you could swear his eyes were welling up with tears and you couldn’t even blame him, you had already let a tear go rolling down your cheek. The teens around you were quick to notice the situation, some whipping out phones to film the two of you, one girl running out to find another teacher to take control of the situation.

At that point, you didn’t even care. You just stayed, examining the face of your soulmate, now standing in front of you. After a few seconds of just staring, he let out a laugh, a smile gracing itself on his face and causing his nose to scrunch up in a way you could only describe as the sweetest. He was quick to grab your face in his hands and wipe away the small tears that had fallen from your eyes, immediately pulling you into a hug. You didn’t hesitate for a moment to wrap your arms around him like you’d known him forever.

Mark took a moment then, pulling you so he could look at your face again, “fate really caught me this time,” ending the line by pressing a sweet kiss to your lips, forgetting every other person and cell phone in the room.

2K notes · View notes

blackkudos · 4 years

Text

Sidney Bechet

Sidney Joseph Bechet (May 14, 1897 – May 14, 1959) was an American jazz saxophonist, clarinetist, and composer. He was one of the first important soloists in jazz, beating trumpeter Louis Armstrong to the recording studio by several months. His erratic temperament hampered his career, and not until the late 1940s did he earn wide acclaim.

Biography

Bechet was born in New Orleans in 1897 to a middle-class Creole of color family. His older brother, Leonard Victor Bechet, was a full-time dentist and a part-time trombonist and bandleader. Bechet learned several musical instruments that were kept around the house, mostly by teaching himself; he decided to specialize in the clarinet (which he played almost exclusively until about 1919). At the age of six, he started playing with his brother's band at a family birthday party, debuting his talents to acclaim. Later in his youth, Bechet studied with Lorenzo Tio, "Big Eye" Louis Nelson Delisle, and George Baquet.

Bechet played in many New Orleans ensembles using the improvisational techniques of the time (obbligatos with scales and arpeggios and varying the melody). He performed in parades with Freddie Keppard's brass band, the Olympia Orchestra, and in John Robichaux's dance orchestra. From 1911 to 1912, he performed with Bunk Johnson in the Eagle Band of New Orleans and in 1913–14 with King Oliver in the Olympia Band. From 1914 to 1917 he was touring and traveling, going as far north as Chicago and frequently performing with Freddie Keppard. In the spring of 1919, he traveled to New York City where he joined Will Marion Cook's Syncopated Orchestra. Soon after, the orchestra traveled to Europe; almost immediately upon arrival, they performed at the Royal Philharmonic Hall in London. The group was warmly received, and Bechet was especially popular. While in London, he discovered the straight soprano saxophone and developed a style unlike his clarinet tone. His saxophone sound could be described as emotional, reckless, and large. He often used a broad vibrato, similar to what was common among some New Orleans clarinetists at the time. On July 30, 1923, he began recording. The session was led by Clarence Williams, a pianist and songwriter, better known at that time for his music publishing and record producing. Bechet recorded "Wild Cat Blues" and "Kansas City Man Blues". "Wild Cat Blues" is in a ragtime style with four 16-bar themes, and "Kansas City Man Blues" is a 12-bar blues.

In 1919, Ernest Ansermet, a Swiss conductor of classical music, wrote a tribute to Bechet, one of the earliest (if not the first) to a jazz musician from the field of classical music, linking Bechet's music with that of Bach.

On September 15, 1925, Bechet and other members of the Revue Nègre, including Josephine Baker, sailed to Europe, arriving at Cherbourg, France, on September 22. The revue opened at the Théâtre des Champs-Élysées in Paris on October 2. He toured Europe with various bands, reaching as far as Russia in mid-1926. In 1928, he led his small band at Chez Bricktop in Montmartre, Paris.

He was imprisoned in Paris for eleven months. In his autobiography, he wrote that he accidentally shot a woman when he was trying to shoot a musician who had insulted him. He had challenged the man to duel and said, "Sidney Bechet never plays the wrong chord." After his release, he was deported to New York, arriving soon after the stock market crash of 1929. He joined Noble Sissle's orchestra, which toured in Germany and Russia.

In 1932, Bechet returned to New York City to lead a band with Tommy Ladnier. The band, consisting of six members, performed at the Savoy Ballroom. He went on to play with Lorenzo Tio and also got to know trumpeter Roy Eldridge.

In 1938 "Hold Tight, Hold Tight (Want Some Seafood Mama)", commonly known as "Hold Tight", was composed by Bechet's guitarist Leonard Ware and two session singers with claimed contributions from Bechet himself. The song became known for its suggestive lyrics and then for a series of lawsuits over songwriter royalties.

In 1939, Bechet and the pianist Willie "The Lion" Smith led a group that recorded several early versions of what was later called Latin jazz, adapting traditional méringue, rhumba and Haitian songs to the jazz idiom. On July 28, 1940, Bechet made a guest appearance on the NBC Radio show The Chamber Music Society of Lower Basin Street, playing two of his showpieces ("Shake It and Break It" and "St. Louis Blues") with Henry Levine's Dixieland band. Levine invited Bechet into the RCA Victor recording studio (on 24th Street in New York City), where Bechet lent his soprano sax to Levine's traditional arrangement of "Muskrat Ramble". On April 18, 1941, as an early experiment in overdubbing at Victor, Bechet recorded a version of the pop song "The Sheik of Araby", playing six different instruments: clarinet, soprano saxophone, tenor saxophone, piano, bass, and drums. A hitherto unissued master of this recording was included in the 1965 LP Bechet of New Orleans, issued by RCA Victor as LPV-510. In the liner notes, George Hoeffer quoted Bechet:

I started by playing The Sheik on piano, and played the drums while listening to the piano. I meant to play all the rhythm instruments, but got all mixed up and grabbed my soprano, then the bass, then the tenor saxophone, and finally finished up with the clarinet.

In 1944, 1946, and 1953 he recorded and performed in concert with the Chicago jazz pianist and vibraphonist Max Miller, private recordings that are part of Miller's archive and have never been released. These concerts and recordings are described in John Chilton's biography Sidney Bechet: The Wizard of Jazz.

With jobs in music difficult to find, he opened a tailor shop with Ladnier. They were visited by musicians and played in the back of the shop. In the 1940s, Bechet played in several bands, but his financial situation did not improve until the end of that decade. By the end of the 1940s, Bechet had tired of struggling to make music in the United States. His contract with Jazz Limited, a Chicago-based record label, was limiting the events at which he could perform (for instance, the label would not permit him to perform at the 1948 Festival of Europe in Nice). He believed that the jazz scene in the United States had little left to offer him and was getting stale. In 1950 he moved to France, after his performance as a soloist at the Paris Jazz Fair caused a surge in his popularity in that country, where he easily found well-paid work. In 1951, he married Elisabeth Ziegler in Antibes.

In 1953, he signed a recording contract with Disques Vogue that lasted for the rest of his life. He recorded many hit tunes, including "Les Oignons", "Promenade aux Champs-Elysees", and the international hit "Petite Fleur". He also composed a classical ballet score in the late Romantic style of Tchaikovsky called La Nuit est sorcière ("The Night Is a Witch"). Some existentialists in France took to calling him le dieu ("the god").

Shortly before his death, Bechet dictated his autobiography, Treat It Gentle, to Al Rose, a record producer and radio host. He had worked with Rose several times in concert promotions and had a fractious relationship with him. Bechet's view of himself in his autobiography was starkly different from the one Rose knew. "The kindly old gentleman in his book was filled with charity and compassion. The one I knew was self-centered, cold, and capable of the most atrocious cruelty, especially toward women." Although embellished and frequently inaccurate, Treat It Gentle remains a staple account for the "insider's view of the New Orleans tradition."

Bechet died in Garches, near Paris, of lung cancer on May 14, 1959, his 62nd birthday, and is buried in a local cemetery.

Bechet played a jazz musician in three films, Serie Noire, L'Inspecteur connait la musique and, Quelle équipe!

His playing style was intense and passionate and had a wide vibrato. He was also known to be proficient at playing several instruments and a master of improvisation (both individual and collective). Bechet liked to have his sound dominate in a performance, and trumpeters found it difficult to play alongside him.

On June 25, 2019, The New York Times Magazine listed Sidney Bechet among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Awards

DownBeat magazine Hall of Fame, 1968

Discography

Singles

"Texas Moaner Blues", with Louis Armstrong, 1924

"Cake Walkin' Babies from Home", with Red Onion Jazz Babies, 1925

"Got the Bench, Got the Park (But I Haven't Got You)", 1930

"Blues in Thirds", 1940

"Dear Old Southland", 1940

"Egyptian Fantasy", 1941

"Muskrat Ramble", 1944

"Blue Horizon", 1944

"Petite Fleur", 1959

#05/14

3 notes · View notes

drowning-in-dennor · 5 years

Text

To Know

Henrik and Stellan answer questions about each other. (Warning: Crass jokes, sappiness, many, many innuendos.) All the questions were taken from here.

[Stellan picks up the sheet of paper, glaring at it as though personally offended. Henrik, laughing, swipes it out of his hand and adjusts the camera.]

Henrik: Hey, everyone! Today we’re doing some sort of challenge. I honestly don’t know what this is, but... yeah! Let’s do this!

[Staring nervously at the camera, Stellan reaches over to take Henrik’s hand.]

Stellan: Yeah, let’s get this over with.

Question One: Describe them when you first met.

Henrik: Cute!

Stellan: Annoying.

[Henrik pouts and stares at Stellan.]

Stellan: You walked up to me while I was reading and went, “yo, is that H.C. Andersen?”, then proceeded to grab the book out of my hands. Asshole.

Question Two: How tall are they?

Stellan: A hundred and eighty-three centimetres.

Henrik: One seventy-nine.

Question Three: What’s their ancestry background?

Stellan: Yeah, this one’s obvious.

Henrik: Easy.

Stellan: Danish-Swedish, born on Gotland.

Henrik: And Stell’s Norwegian-Icelandic, grew up on Svalbard.

Question Four: When’s their birthday?

Henrik: May seventeenth.

Stellan: June fifth.

[They look at each other. Henrik cracks a grin.]

Henrik: Don’t ask about the year. We don’t remember.

Question Five: What’s the first thing they’d buy if they won the lottery?

Stellan: Enough cloth and thread to clothe an army, along with probably all the embroidery supplies the world has to offer.

Henrik: A butter factory.

[Stellan groans, smacking his forehead.]

Stellan: No.

Henrik: Hold up, what?

Stellan: I’d probably use it to buy some land and grow stuff. Or I’d buy those big oil companies and order them to switch to natural resources.

Henrik: That’s my Stell, always caring about the environment.

[Henrik leans over to kiss Stellan on the cheek.]

Question Six: What’s their favourite band?

Henrik: Stellan’s not a band person.

[Stellan rolls his eyes.]

Stellan: Our band. And yes, we have a band.

Henrik: You bet your ass we have a band! It’s the best one in Europe, if you ask me.

Stellan: Please don’t remind me.

Question Seven: What’s their favourite meal?

[Henrik grins suggestively.]

Stellan: I know what you’re going to say, don’t say it.

Henrik: My a-

Stellan: Don’t you dare.

Henrik: My apple tarts. Seriously, he asks me to make them all the time.

[Stellan hides his face in his hands and mumbles something.]

Henrik: We can’t hear you, babe!

Stellan: Sosekjøtt. This fucker next to me really likes it when I make sosekjøtt.

[Pincing Stellan’s cheeks, Henrik laughs as his hands are swatted away.]

Question Eight: What’s their favourite physical feature about you?

[Stellan turns red.]

[Henrik laughs, nuzzling Stellan and dodging a poke to his nose.]

Henrik: Aww, no need to be shy about it! You know you like my hands, especially when they’re-

[Stellan gestures at the camera.]

Stellan: Apparently Henrik likes my smile, so I’d say my... mouth?

Henrik: Yeah, they look great when you’re-

[Henrik yelps as Stellan kicks him from under the table.]

Question Nine: What’s their favourite personality trait about you?

Stellan: That’s a lot to choose from, but I think he likes that I’m calm and collected.

Henrik: You’re right! And, uh, I know you like that I’m funny, don’t you?

[Reluctantly, Stellan smiles at Henrik and nods.]

Question Ten: What type of clothing looks best on them?

Henrik: Stellan really, really likes it when I wear suits, even when he steps on my feet and messes up my nice shoes.

Stellan: One look at Henrik’s camera roll will tell you that he goes batshit when he sees me wearing his jackets or scarves.

[Henrik scrolls through his phone, showing the screen to the camera. An album, titled ‘Stell wearing my stuff’, is shown.]

[Stellan grabs Henrik’s phone.]

Stellan: You have an entire six-hundred-and-eighty-eight-photo album of me? Why am I asleep in so many of these?

Henrik: I couldn’t resist, you look so cute!

Stellan: Why do I have on nothing but - delete those!

Question Eleven: What word describes them best first thing in the morning?

Stellan: Bleary. Once, he thought I was having a nightmare, yelled in Danish and ‘reassuringly’ grabbed my face, the dumb shit.

Henrik: Dopey.

Stellan: Excuse me?

Henrik: You’re like a confused kitten!

[Stellan kicks him under the table again.]

Question Twelve: What would they say is their worst physical feature?

Henrik: Stell complains about his left middle finger a lot. It’s crooked from holding a pen all the time, but it just makes it even more dramatic when he flips people off.

Stellan: He doesn’t like how pointy his nose is, which I never get.

Question Thirteen: What’s their best talent?

Stellan: Embroidery.

Henrik: Writing.

Stellan: Henrik’s tapestries are amazing. He works so hard on them and they’re all masterpieces, and-

[He suddenly remembers that he’s being filmed, and looks down, flustered.]

Question Fourteen: What are they terrible at?

Henrik: Huh, that’s a hard question.

Stellan: Oh, I’ve got many answers.

Henrik: Hey!

Stellan: Saying the right things at the right times.

Henrik: Keeping his desk clean.

Stellan: Once, Tino was venting to me about how he lost his favourite book, and Henrik just burst in and was like, “’tis I, the guy who wants to die.”

[Henrik slams his head down on the table.]

Henrik: Yeah... let’s not talk about that.

Question Fifteen: What’s their perfect pizza?

Stellan: We don’t eat pizza.

Henrik: Yeah, Stell would sooner go hungry than order it.

Question Sixteen: What’s their favourite alcoholic beverage?

Henrik: Most of the time Stell gets akvavit, but I know he really likes champagne when we can get it.

Stellan: Beer. If not for the health risks, I’m pretty sure Henrik could drink beer all the time.

Henrik: My favourite’s Gammel Dansk, actually, but you’re not far off!

[Stellan claps the table, his other hand going to cover his mouth.]

Stellan: Fuck!

Question Seventeen: What’s their favourite cuisine?

Stellan: Pretty sure it’s Dutch.

Henrik: Norwegian...?

Stellan: You’re wrong.

[Henrik stares at him.]

Henrik: But it’s all you cook!

Stellan: They’re family recipes, dummy. My favourite’s Japanese.

Henrik: Well, I eat Norwegian almost every night!

[Stellan glares at Henrik and gets up from his chair, walking away.]

Henrik: Wait, come back!

Question Eighteen: What’s their favourite Disney movie?

Henrik: The Little Mermaid.

Stellan: Frozen, even though people think it’s my favourite.

Henrik: I thought you’d like it because of the trolls!

Stellan: You all are delusional if you think trolls are going to give you valid relationship advice.

[Henrik laughs, clapping Stellan on the shoulder.]

Question Nineteen: What’s their most-used curse word?

Stellan: Dammit, fuck it, or anything with an “it”.

Henrik: Shit.

[Stellan looks at Henrik as though enlightened.]

Stellan: Shit, you’re right.

Henrik: HA!

Question Twenty: What adjective describes them in the bedroom?

[Henrik grins perversely and leans over to whisper to Stellan, who glares at him and desperately tries to cool down his reddening face.]

Henrik: Contained. Wild, but the controlled type. Does that make sense?

Stellan: ...dangerous.

[Stellan tries not to fall off his chair.]

Henrik: Aw, yeah, my danger makes stuff really exciting!

Stellan: Shush.

Question Twenty-One: Which one’s funnier?

[Stellan points at Henrik.]

[Henrik points at Stellan.]

[They both stare at each other for a moment before laughing.]

Question Twenty-Two: Who dances better?

Henrik: Stell, hands-down. He teaches ballet at the local studio.

[Stellan shows a video of Henrik dancing to the camera, stifling his laughter.]

Stellan: The only type of dance Henrik can do is awkward dad dancing, solely to embarrass Harald.

Question Twenty-Three: What nicknames do they give you?

Stellan: No.

Henrik: Come on, just tell ‘em!

Stellan: Nei.

[Henrik whispers to him again, and he sighs.]

Stellan: Kanin. It means ‘bunny’, apparently.

Henrik: He’s so old-fashioned! Sometimes when I’m working on my tapestries, I hear Stell go, “darling, can you get me some coffee?” or something like that, and it’s so cute. But again, at night he calls me ‘Mas’-”

Stellan: NO.

Question Twenty-Four: Who uses the Internet more?

Henrik: He shitposts. A lot. For a bestselling author who writes for Disney, you wouldn’t imagine him to be on the Internet a lot posting stuff like “I brewed some leaf juice”.

Stellan: Henrik really only goes online to look for photos or buy stuff.

Question Twenty-Five: If they’re on YouTube, what are they watching?

Stellan: Videos of the songs I wrote lyrics to, or dead memes. I caught him playing the ten-hour loop of “Yee” the other day.

Henrik: He listens to ancient music.

[Stellan crosses his arms indignantly.]

Stellan: They’re from the nineteen hundreds, that’s hardly old. Uncultured pencil.

Henrik: Pencil?

Stellan: Uncultured shit, if that’s what you prefer.

Question Twenty-Six: If they could travel back in time, where would they go?

Henrik: The fifties.

Stellan: The Viking age, clearly.

Question Twenty-Seven: What do they have too much of?

Stellan: Photos, most of them of me.

Henrik: Notebooks.

Stellan: Those notebooks are filled with important drafts!

Henrik: Well, those photos are of important people!

[Henrik sniggers as Stellan blushes for the umpteenth time.]

Question Twenty-Eight: Which of their pickup lines really got you?

Henrik: “You’re amazing.”

Stellan: You still remember that from ten years ago? That’s barely even a pickup line.

Henrik: Of course!

Stellan: “If you need somebody to cuddle with, I’m always down for it!”

[Henrik grins and wraps his arms around Stellan.]

Question Twenty-Nine: What’s their favourite emoji?

[They both take out their phones to type.]

[Stellan shows his first.]

Stellan: ♡. He’s ridiculously sappy.

[Henrik shows the emoji on his screen.]

Henrik: Stell doesn’t use emojis, but the emoticon he sends the most is (._.).

Question Thirty: Draw your partner.

[Henrik draws a simple sketch, displaying it proudly.]

[Stellan draws a stick figure.]

Henrik: Holy crap!

Stellan: I’m good at writing, not drawing. Now shut up.

...

Henrik: So, that’s the end of the challenge, and I hope you liked it!

Stellan: I certainly didn’t.

Henrik: Bye!

Stellan: Thank goodness it’s over.

#aph dennor #APH Denmark #APH Norway #aph fanfiction #my writing

9 notes · View notes

seokjins · 7 years

Note

"jungkook gave nothing during performance" that's a fucking lie and you know it. why are you hyung line stans so bitter and so fucking petty? bad mouthing jungkook for the number of fucking hearts in a vlive??????? are you serious??????? WHO THE FUCK CARES ABOUT THAT. why can't you appreciate all of bts equally??? and what i mean is STOP BLAMING MEMBERS FOR WHAT FANS DO. there shouldn't even be "hyung line stans" and "maknae line stans", that's so stupid. jfc grow up

first, have u even been in my dance tag ??this isn’t me hating on jungkook. i’ve been dancing for thirteen years and i know what i’m talking about when i say that he gave nothing during that performance.

he was tired and it was a bad run which is fine by my standards bc bts relies heavily on him during tour, but he shoudln’t have that many people fawning over him instead of hobi and gushing about his dancing like they KNOW what they’re talking about. he missed a huge eight count during his solo that both jimin and hoseok DE👏LI👏VE👏RED👏 jungkook looked like he didn’t know the choreo at times !!!! his dancing was all internal !!!!! no stage presence!!!

2) we’re bitter and petty bc we have a right to be. i’m not hating on any members, but i’ve been around in stan culture for a longass time and i’ve experienced stuff like this across all fandoms and ur weed aunt is tired of this. maknae line stans are easily three times the size of hyung line fandom. most of them are immature and only have eyes for their bias, and while i definitely agree that there shouldn’t be a split in the fandom, it must be noted that hyung line stans are trying to make up for the disparity, not dig the trenchlines deeper

maknae line doesn’t need more support. the hyungs do. how many birthday projects does taehyung have? how many fansites? how many people screaming for maknae performances compared to the others? the WINGS tour sold out of solo maknae merch while seokjin and namjoon had the most left over. people routinely ask hoseok during his vlives where the other members are, even to the point where he doesn’t broadcast by himself anymore and also gets these comments while he’s in the bts+ chatroom. it isn’t about “supporting bts as a whole” anymore, it’s about delivering the respect that the hyungs deserve bc they routinely get pushed aside for the more popular members.

the reason i’m so vocal about these issues is beacuse i know what it’s like to be pushed into the back. i know what it’s like to dance in the last row, farthest from the audience, do your best but get stunted for people who are prettier and younger and more popular. it’s awful when people say they love your ballet company….just not YOU, but rather some other girl in the front

hoseok is CONSISTENTLY shortsighted for his dancing abilities and namjin are always called out. as someone who’s been pre-professional for six years, it annoys me to no fucking end when fans who have NO DANCE EXPERIENCE or ENTERTAINMENT INDUSTRY experience try to speak over me! like fuck you! you don’t know anything except saying negative stuff about hyung line and trying to pass it off like you know what you’re talking about! newsflash! you don’t!

stop trying to parade around with your “chest pumps” and “isolations” and your 1 hour hiphop class you take on saturday nights or the 1MILLION dance studio videos you binge on during the weekends and expect that to make up for over a decade of experience. that’s just rude to 1) professional dancers 2) me, a bitch 3) hyung line, who are already too good for u

i can only imagine how it feels to be in a fansign and have dedicated “ARMYs” who manage to purchase enough albums to attend, but then ignore a member bc they aren’t their bias. namjoon has even said “now that you’ve talked to me, you can go talk to [your favorite] in the group” …. isn’t that one of the saddest things you’ve heard? what the fuck? how is that even ok?

hyung line, hoseok/namjoon/seokjin, in particular are fucking AWARE that they have the least amount of fans. they can see it in the crowd. you can hear it during concerts. during the hyyh epilogue tour, people should’ve been chanting seokjin’s name, but instead it was mixed in with a ton of fans screaming for yoongi and taehyung. namjoon has about 2 fansites compared to maknaes’ 200. people are DISAPPOINTED when they get their photocards and namjoon apologized to fans who received his when they opened their albums

hoseok watches youtube videos: reactions, their own M/Vs, stages, performances, etc. he knows, for sure, that his solo stuff isn’t as popular. he’s seen the view counts and all the comments. maybe he’s not fluent in english, but he seems to understand most of what people are saying, and it’s not like you need translations to read the comments that are literally just “JIMIN 😍😍😍” or “OMG TAETAE” or “KOOKIE 💞💞”

i can’t believe it’s a struggle to get BME to 10m (we didn’t make it in time for hoseok’s birthday) and kim namjoon, who gained international recognition for his mixtape by renowned rappers in america during a period of time where bts was barely even peaking in the charts & finally put his foot out their in the music industry on his own & is a lyrical n musical genuis & set the bar That Much Higher in an industrialized music world where krappers aren’t ever rappers before they become trainees & take the mocking that he got from both korean fans and underground rappers for joining bighit and debuting & wrote/performed lyrics in eng..a language he taught himself….. rhyming them w KOREAN and hasn’t even gotten his M/Vs to 10m either??

the problem isn’t hyung line stans who don’t appreciate the whole group (they, in fact, are more likely to be ot7 supportive compared to maknae stans, let’s not forget), but it’s “fans” who don’t bother respecting the other members. hobi and namjin all know they’re unpopular compared to the rest. why can’t you be nice enough to give them something special bc maknaes have an overabundance of this treatment?

#anon #replies: inbox #anyway i'd apologize for going off but this message is exactly what i needed so that i could say all this shit and people won't come at me #and accusingly call it 'unprecedented'#while i agree w your point that there shouldn't even BE a divide in the fandom at all #(that is completely 100% valid and i support it)#it's not hyung line stans' fault for hyping up their faves #it's those who are solo stans or strictly maknae line ARMYs who are blind to the other members that need to be called out #ur anger is misplaced here #the majority of the bad beans are not w me #though there will always be Some

1K notes · View notes

auskultu · 6 years

Text

Leonard Cohen: Beautiful Creep

Richard Goldstein, The Village Voice, 28 December 1967

And the child on whose shoulders I stand   whose longing I purged  with public, kingly discipline  today I bring him back   to languish forever,  not in confession or biography,   but where he flourished   growing sly and hairy   — Leonard Cohen (‘The Spice Box of Earth’)

AN ELEVATOR man with hairy hands grumbles “shit,” as he takes me up. It is a massive mid-town hotel, in steep decline. The corridors are long and lit occasionally, like a cardboard coal mine. Humid ladies in black lace seem to peer from every transom, and old men with their backs turned lurk in every shadowy corner. There is a smell of stale cigars, or is it piss? I knock politely on a wafer-thin door, and wait.

Finally it opens, and Leonard Cohen, Canada’s most acclaimed young poet and novelist, offers a seat and some coffee. He has been listening to a tape of the half-completed album on which he will soon make his debut as a pop star (a year ago that would have given even me pause, but not today, when Leonard Bernstein picks the hits and the Partisan Review talks about “Learning from the Beatles”). His verse—collected in slim volumes perfect for pressing roses—so unabashedly romantic that it sits among my New Directions paperbacks like some later day Ossian from the North.

With Annie gone   whose eyes to compare   with the morning sun.  Not that I did compare,  but I do   now that she’s gone.  — ‘For Annie’

No wonder Allen Ginsberg huffed out of a meeting with Leonard Cohen muttering, “This place looks like a ballet set.” There is a sinewy quality to those muscular images as they stretch across a page. There is a shameless agility to those leaps and conceits, which seems ethereal next to the boog-a-loo of modern verse.

But Leonard Cohen is a Visceral Romantic and he can hit you unawares because his emotions are recollected with anything but tranquility. He suffers gloriously in every couplet. Even his moments of ecstasy seem predicated on hours of refined despair. Leonard does not rant: he whispers hell and you must strain to hear his agony.

The fact is, I’m turning to gold, turning to gold.  It’s a long process, they say it happens in stages.   This is to inform you that I’ve already turned to clay.  — ‘The Cuckold’s Song’

Today, he faces me across a hotel room with the sun shining second hand in the windows down the block. The drapes are as florid as his verse. In fact, the room could be the set for most of his poems. The bedspread is faded, and you can hear the toilet. Atop the bureau is a seashell ashtray, embossed with Miami palm trees. To this pasteboard Chappaqua, Leonard Cohen has added only a Madonna decal for the mirror, and a terrible cold.

His front pockets bulge with tissues and Sucrets. The cold seems appropriate; his nose aches to be filled anyway. It is a huge nose, etched by some melancholy woodcarver into the hollows of his cheeks. He wipes it and wheezes gently as we hear a tape of his song, ‘Teachers’.

Though he claims he has always written with a typewriter for a guitar (“I sometimes see myself in the Court of Ferdinand, singing my songs to girls over a lute”), Leonard Cohen has been spending this past year or so creating lyrics with real melodies. He made his pop debut recently as Judy Collins’ beautiful person. Her choice was inspired; Leonard Cohen has written her best material—songs of love and torment powerful enough to be fairy tales.

And just when you mean to tell her  That you have no love to give her  Then she gets you on her wave length  And she lets the river answer  That you’ve always been her lover.  And you want to travel with her  And you want to travel blind  And you know that she will trust you  For you’ve touched her perfect body with your mind.  — ‘Suzanne’

“I think my album is going to be very spotty and undistinguished,” he says in greeting. His eyes sag like two worn breasts. “I blame this on my total unfamiliarity with the recording studio. They tried to make my songs into music. I got put down all the time.” He sits back on his bed, folds his hands in his lap, and lets his voice fade into an echo of itself: “It was a continual struggle… continual… they wanted to put me in bags. I thought I was going to… crack up.”

He is modestly addicted to cracking up. References to breakdowns past and future dot his conversation. He seems to judge periods in his life by his failure to cope with them. His favorite words—or those he uses most frequently—are “wiped out” and “bewildered.”

“When you get wiped out—and it does happen in one’s life—that’s the moment… the REAL moment. Around 30 or 35 is the traditional age for the suicide of the poet, did you know that?” (You look around for razors, pills, sharp edges, or easy plunges.) “That’s the age when you finally understand that the universe does not succumb to your command.”

That moment magnified into theme, is the chief concern of his major novel, Beautiful Losers. It is a multisexual love story, ecstatically, lyric like his poems, but deeply committed as prose to expressing its theme through an accumulation of detail. Its protagonist, a petty researcher, is victimized by the love of his wife and of his best friend. They control his life: soothe him, fuck him, teach him, cuckold him, and ultimately destroy him. Their triangle, joined on all sides, is further complicated by Catherine Tekakwitha, an Indian saint who fixes herself in the protagonist’s consciousness as an extension of his wife (also an Indian) and his own suffering. Martyred by the suicides of both his lover-tormentors, our hero is left to ponder the moral of Catherine’s life: suffering is madness, but it is also the sacred ground where Man encounters God. Somehow, we are all fated to walk that ground, is Leonard Cohen’s message. To embrace that agony of communion is to live with grace.

It begins with your family But soon it comes round to your soul.  Well, I’ve been where you’re hanging  I think I can see where you’re pinned  When you’re not feeling holy  Your loneliness says that you’ve sinned.  — ‘Sisters of Mercy’

He was born in Montreal, to a wealthy Jewish family. “I had a very Messianic childhood,” he recalls. “I was told I was a descendent of Aaron, the high priest. My parents actually thought we were Cohenim—the real thing. I was expected to grow into manhood leading other men.”

He led himself through McGill, where he studied literature with Oxonian aplomb. A professor published a volume of his poetry on the University press, and Leonard Cohen became a writer. It was, he insists, “as accidental as that.” Because if he had had a choice, he would have become a revolutionary. But he approached radicalism with a bad cold, and a thorough knowledge of the Tonette. Though the Montreal Communists fascinated him with their paranoia and their certainty, he was less than embraced by his chosen confreres. “They saw me as a symbol of the decline of the enemy,” he recalls. “I never had that heroic revolutionary look. There was a certain openshirted quality I could never duplicate, I always looked different, maybe because my folks owned a clothing factory.”

Today, he wears poet’s gray, and a soft worker’s hat hangs on his closet door. He is getting old; the trousers of his cuffs are automatically rolled. He watches you jot that down in the middle of a point about politics and you wonder if he knows you plan to use it.

“I’m not a writer coming to music in the twilight of his youth,” he says suddenly. You look up. He begins to discuss the rock scene, then and now. Once, he thought Elvis Presley the first American singer of genius. Once, he played a Ray Charles record till it warped in the sun. Once, he thought of himself as Bob Dylan’s ancestor. “It wasn’t his originality which first impressed me, but his familiarity. He was like a person out of my books, singing to the real guitar. Dylan was what I’d always meant by the poet—someone about whom the word was never used.”

Until a short time ago, Leonard Cohen had never heard Dylan. He has spent much of the past seven years in a cottage on Hydra, Greece. He still returns there regularly for replenishment, the way F. Scott Fitzgerald’s heroes should have gone back to the Midwest. It keeps him from making too many scenes outside himself; that seems to be the scene he can make best.

Anyhow, you fed her five MacKewan Ales   took her to your room, put the right records on,   and in an hour or two it was done.   I know all about passion and honor  but unfortunately, this had really nothing to do with either:   Oh, there was passion I’m only too sure   And even a little honor  but the important thing was to cuckold Leonard Cohen  I like that line because it’s got my name in it.  — ‘The Cuckold’s Song’

“I wrote ‘Beautiful Losers’ on Hydra, when I’d thought of myself as a loser, financially, morally, as a lover, and a man. I was wiped out; I didn’t like my life. I vowed I would just fill the pages with black or kill myself. After the book was over, I fasted for ten days and flipped out completely. It was my wildest trip. I hallucinated for a week. They took me to a hospital in Hydra. One afternoon, the whole sky was black with storks. They alighted on all the churches and left in the morning… and I was better. Then, I decided to go to Nashville and become a song writer.”

He came to New York instead, thanks to a lady who is now his manager. And here he is—slaving over the songs he calls “Eastern Country laments,” trying to make them sound the way they read. Things are happening for Leonard Cohen. ‘Suzanne’, his best known lyric, made the charts on a vacuous cover version by Noel Harrison. Two recent compositions appear on the latest Judy Collins album. And Buffy Sainte Marie will include selections from Beautiful Losers on her next LP. Sometimes the two visit Saint Patrick’s, where there is a bas relief of St. Catherine on one of the Cathedral doors. Buffy puts daisies in the statue’s hair. “She sees the suffering in Catherine,” he explains. “She feels the thumping on the sky.”

If his forthcoming album is a good one, Leonard Cohen may well become one of history’s odder choices for pop stardom. But the men we deem to worship are never ordinary; that is the one passion they must guard against. If the time is ripe for a guru with a cold in the ego, Leonard Cohen’s modest agony will stand him in good stead.

“My songs are strangely romantic,” he admits, “but so are the kids. I somehow feel that I have always waited for this generation.” He pulls out a letter from a young girl who wonders over his unremitting despair. He frightens her because she senses that he has achieved an understanding of life, but he is sad despite it. She prays that the comprehension she seeks will not bring her such misery. She prays for him, and for herself, that he is really blind. And she ends by calling Leonard Cohen a “beautiful creep.”

Real tears form in the corners of his eyes, but modestly, they do not flow. He sighs for real. “That’s what I am—a beautiful creep.” He excuses himself and you grab for the letter when he is gone. That too is real.

Beautiful creep! You can’t help hearing him in the toilet; he pisses in quick panting spurts. You want to put him to bed with hot milk and butter, turn up the vaporizer, and kiss him good night.

And you want to travel with him   And you want to travel blind   And you think maybe you’ll trust him  For he’s touched your perfect body with his mind.  — ‘Suzanne’

#Leonard cohen #poetry #folk #singer songwriter #1967 #1960s #sixties #60s

8 notes · View notes