#but there’s like super upbeat music and it’s like no we need fucked up string instruments with haunting melodies & the voice acting has to
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#ok ok ok i have been so excited about the nimona movie since i first read it AS A TEEN#watched the teaser and i’m kinda sad it doesn’t look more like ND’s art#*art. i’m curious about the project getting cancelled i hate disney so much#& how much that influenced the style#but also i’m like not particularly impressed with the trailer#i feel like she was such a cool and weird character & i always imagined just an absolute freak#& maybe it’ll grow on me but i’m like. ok the acting in the trailer alone was too clean & predictable#like she was such a super massive freak im sure she’s yelling screaming all the time. like tbh i imagined her speech patterns to be more#like Finn Adventure Time#like i was hoping the movie would be fun and kinda dark and very anti authority etc#but there’s like super upbeat music and it’s like no we need fucked up string instruments with haunting melodies & the voice acting has to#be muttering and shrieking and insane#and Blackheart was also a character of all time for me if they make him and Allister less gay im gonna kill someone#but like gay (repressed / angsty i suppose)#like he isn’t COOL he is ANGRY. i guess haven’t seen him yet but i’m Worrk#AMBROSIUS NOT ALLISTER#*worried#and if the scientist isn’t in it netflix hates women. also if she’s not insane they hate women#dude i’m fucking up these tags so bad
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NME: Miles Kane tells us about introspective new album ‘One Man Band’ and shares single ‘Troubled Son’
By Liberty Dunworth, 18/04/2023
The announcement of ‘One Man Band’ – which will be Kane’s fifth solo album – comes hot on the heels of his 2022 LP, ‘Change The Show’. As the guitarist and singer-songwriter told NME, however, the new release couldn’t come at a better time – aiming to reflect his current frame of mind in the most raw and authentic way possible.
“I feel like that was like the most fitting song to come back with,” Kane said of ‘Troubled Son’ representing the album as a whole. “It’s a song [about how] we all have struggles in our lives, and sometimes we have shit together, sometimes we don’t. It’s like looking at myself in the mirror and acknowledging my faults, my fears, and sort of showing my journey.”
He continued: “I’m trying to figure it out. Sometimes you feel insecure. Sometimes you feel like the king of the world. It’s battling those sorts of [emotions]…‘Shit, am I good enough? Is this good enough?’”
Written at the tail-end of 2022, the 11-track album is balanced on contrast, he explained. It ventures back to the sound of his some of his earlier music – notably ‘Don’t Forget Who You Are’ and ‘Inhaler’ – as a way to create something new. It takes an isolated, emotional theme, and conveys it in a “super upbeat” way, designed for festival stages.
“The whole album is pretty pumping,” Kane told NME. “There was a conscious effort that I wanted to make it super upbeat. I didn’t want any strings. No brass. No piano. I just wanted it to be like what got me into playing guitar. A bit like a song like ‘Inhaler’ on the first album [2011’s ‘Colour Of The Trap’] – I wanted that energy again. That was the objective that we had.”
Set for release on August 4 via Modern Sky and produced by The Coral’s James Skelly, ‘One Man Band’ – as Kane explained – doesn’t simply make false promises of authenticity, it tries to convey it in everything from the album cover and music videos, to the names who collaborated on it.
Kane returned to his roots in the north of England to write the LP, and enlisted help from close friends and family to ensure the most “stripped back and real” result possible.
“Most of it was written up north,” said Kane. “I went to Stockport, wrote there with Tom [Ogden, Blossoms frontman]. Then James [Skelly], who was the singer from The Coral, he produced it. Last year we were having a back-and-forth of sending demos, and we recorded it in December and January in Liverpool.
He continued: “My cousin Ian played drums [so] it is a family affair. It’s the first time we’ve ever all worked together. It’s weird how it just fell into place and it feels right. It probably wouldn’t have worked if we’d tried it when we were younger, [but] it was a really nice experience to feel that support and enthusiasm. It sounds like the fucking Indie Mafia!”
Alongside the long list of musicians who collaborated on the album, Kane also recruited a familiar face for the pub-centred music video of ‘Troubled Son’: YouTuber, streamer and The Inbetweeners actor, James Buckley.
Discussing how the idea for the guest cameo came about, Kane said it stemmed from a want to have the music video be as true to his everyday life as possible.
“He’s my mate. I’ve known him probably since my first album and we had just been out a couple of weeks before. Then he just came down for that video! They’re all my mates, all in the pub – we went for a day and just got pissed,” he said.
“Again, I just wanted something just super real and not too posed. Just showing what I do with mates. Even the artwork, a friend took that and it’s of me, not too posed. I wanted it all to be sort of stripped back and as real as can be, to be honest.”
Looking at the release of ‘One Man Band’ and beyond, Kane insisted that, above all else, he is eager to hit the stage again. “I am itching. I just need to get out there. I’m dying. I’m chomping at the bit, really,” he said, also hinting that he is wanting to rekindle his long-time collaboration with Arctic Monkeys’ frontman, Alex Turner.
Although nothing has been announced as of yet – Kane did confirm that an upcoming appearance with the iconic Sheffield band later this year is “very possible” and something the two “have spoken about” recently.
As for fans Kane and Turner’s own band, The Last Shadow Puppets, the songwriter added that while they will “definitely” revive the project at some point, there are no official plans for a reunion happening “any time soon”.
“We always speak about it,” he added. “It’ll always come up. But now we’re both doing our things, you know? I think when it just falls back into place naturally in terms of being creative, writing songs or whatever together, then that will be the day.”
As for Kane’s other supergroup, The Jaded Hearts Club – which also featured Jet’s Nic Cester, Muse frontman Matt Bellamy, Blur’s Graham Coxon, Jamie Davis and Zuton’s drummer Sean Payne – the promise of new music seems increasingly more hopeful.
According to Kane, the band are considering reforming and turning their focus away from covers and towards writing their batch of original material. However, again to the dismay of hopeful fans, this isn’t due anytime soon. “Probably at some point, we’ll do a little record of some original songs,” he said.
“It is a plan. So I think we’ll have a little dive over there at some point. At the minute, I’ve just gotta keep my head balanced on [though]. But one day I think we’ll do some originals and see if they sound any good.”
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@study-revolution asked: What tips do you have for self-care during the school year? Thx!
hey there love! sorry for such a latelatelate response! i've been going through some stuff recently, ironically. annnnnyway, here's some of my favorite self-care tips, both for the school year and in general!:
never, ever, ever underestimate the power of good music.
seriously. if you’ve just gotten home from a long day of school or a long string of lectures, play some really good, upbeat music and have yourself a fucking dance party. like, just, fucking, dance (and sing, if that’s your thing) man. i have a playlist here that i use when i’m feeling awful and i need to feel better, but feel free to make your own! i update it pretty often :D
alternatively, if you’re really exhausted, put on some super low key, chill music and just lie down and relax. make sure, though, that you have the time to just in case you fall asleep!
ooooo and if you’re feeling really sad and you can’t seem to cry and you need to, listen to sad music for a little bit, cry, and then follow it up with some really good music! it makes me feel much better 💖
music is just amazing okay i’m sorry
NAPS. ARE. SO. IMPORTANT. PLEASE TAKE THEM.
okay if, and only if, you have the time, take a 20-minute or 40-minute nap!
NOT 30 MINUTES; i don’t really know the science behind it, but like, when you wake up from 30 minute nap, you’ll feel even worse, and we don’t want that to happen! :(
note: as much as i say naps are important, make sure that you aren’t messing up your sleep schedule. i definitely keep making that mistake, so time your naps well, and really try to get enough sleep at nighttime. if a lot of you are having issues with that, i can make another post on sleep schedules if you’d like!
another note: if you have depression like myself, try not to sleep all of the time. i know depression can be really draining and exhausting and that it can be hard to stay awake and stay out of bed, and i feel for that, but it will definitely make your depression worse.
baths and showers are your best friends!
i have really bad back pains and anxiety so i fucking LOVE taking warm baths and showers
they don’t have to be super fancy, but i prefer to take nice baths every so often with lush products and such (maybe once every two months)
if you don’t have $65 to spare on some lush products, don’t worry!! you can make some bath bombs/soaps/etc. at home as a replacement!!
here are some ideas for taking relaxing baths/showers:
adding milk, honey, and/or oatmeal (or even just milk and honey soap from walmart) is amazing! just make sure you clean your bathtub afterward if you use actual ingredients!
epsom salt, rose petals, coconut oil, almond oil, essential oils (BE MINDFUL OF THESE), and lavender are all other good things to put in your bath as well!
zen music, candles, and a cup of tea/coffee/lemon water/other favorite drink are also amazing additions 🎂
okay sure: while dancing and bubble baths are amazing things to do to relax, some people just can’t do those things because of mental or chronic illnesses, and that’s totally okay. here at study-nine-nine, we don’t judge people: we’re here to help. that’s why i created some more basic, real, and reasonable things to do to help you take care of yourself:
PLEASE GET MORE THAN AN HOUR OF SLEEP THAT’S SO SUPER IMPORTANT
too many assignments stressing you out? one. thing. at. a. time.
please do not try to do both your french and english homework at the same time. trust me. i’ve tried. that did not end well.
reach out to your teachers!
if your school is anything like mine, your teachers/mentors are seriously always there to help you. try to set up a time after school for some individualized help, or go to their office hour(s) if they have them!
REACH OUT TO YOUR COUNSELORS.
okay so not only is it imperative that you’re getting the academic help you need, it is also imperative that you are getting the mental physical help you need. if your school/campus has a counselor available, do not be afraid to go in and ask for help. that’s what they’re there for.
eat things! (or try to! please!)
drink the liquid sky!! (water)
sorry my little cousin called it that and i thought it was adorable so i’m stealing it now thanks clara
i’m sorry these are so shit, but it’s really all i could come up with. to be honest, i’m not that good at taking care of myself so that’s probably why lol! i hope you enjoyed nonetheless! my ask box is open for everyone if they ever need anything! <3
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youngblood; thoughts
youngblood
fave angsty teen babby
CAUSE I’M JUST A DEAD MAN WALKING TONIGHT
there’s something about luke’s voice that makes me so fml
i think it’s the rasp
like
the rasp
want you back
luke’s falsetto will always get me
tbh this is one of my least faves but it has that repeatability and i fuckin hate myself for replaying this over and over and over
lie to me
;;;;;;; literally no words
everything about it renders me speechless because it itself is an entity, like a timeless queen
it’s so heartbreaking but it’s like they’re trying to hold on and keep themselves together
AND HARMONIES
I COULDN’T HEAR THEM AT THE CONCERT BUT THIS IS SO BEAUTIFUL
lie to me is raw and vulnerable and it’s one of those songs where you really need to take a moment to let it sink in because if you let it pass you by you’re doing it dirty
“now i wish we never met” dAMN STRAIGHT BISH IF WE NEVER MET I WOULDN’T BE HAVING ALL THESE UNNECESSARY EMOTIONS
there’s an innocence to it that i can’t place my finger on
valentine
my Gothic Vampire Baby
it took me awhile but it grew on me and now i’m grooving
this takes gothic sexual to a whole new level
now i want to be a seductress
talk fast
tEcHNo bEaTS
it’s so disco and shoulder wiggles
calum
cAlum
damn straight i’ll give you second i’ll give you a minute a day a month a year a decade my life
i mean
ahem
during the bridge, luke looked like he was going to lead us to liberation and i was like LOLOLOLOLOLOLOL TAKE ME WITH YOU
moving along
is it bad if you’re naked on your sofa???
calum baby anything’s fine
but this song is so like
it’s filled with so many regrets and guilt
but it’s also really problematic, and i feel that that’s the beauty of it because humans are generally problematic and complex in nature
and it’s natural to be really toxic particularly when it comes to relationships
wOw i’m getting real philosophical up here
if walls could talk
this is like some secret rendezvous and i don’t mind getting down
“not everything is so primitive” luke don’t
lyrically, this song is the most cryptic because i can’t seem to get them down
but it’s mainly revolving around want and longing and lust(?)
OKAY BUT IT’S SUPER GROOVY AND I AM DIGGING THIS
a lot of people say that they prefer sgfg and i somewhat agree because sgfg was a real emotional rollercoaster
but youngblood is actually giving us new and young blood, and it’s really different from their previous albums and i think it’s great that they are a band that explores a multitude of genres
better man
straight up i thought
2013 ed sheeran lyrics with 2017 ed sheeran beat/melody
it’s definitely more poppy and sounds like something 1d would release - NO OFFENSE by the way, i love 1d it’s just a comment
it’s not one of those songs which would make me think or want to hear it once more
more
O K A Y
THE STARTING IS A MOVIE
GETTING INTO YOUR CAR AND REVVING THE ENGINE AND ROLLING OUT OF YOUR DRIVEWAY
ughhhhhh this is so good
i don’t even know how to put this into words
it’s one of those songs where it rides on the passion and emotions and you really got to f e e l the music to know
sort of like spitting out random words in order convey how you feel about this song
why won’t you love me
this one really hit me
and it’s so direct with its feelings
it doesn’t hide any hidden messages or feelings whatsoever it’s really just coming out and asking why won’t you love me
particularly when the two have gone through so much
and you think you have a connection but the other just leaves and rejects you
and you get stuck in that turmoil and start wondering why
woke up in japan
oh wow this like some acid trip
i’m imagining technicolour backgrounds
and sensual kisses and touch
i want to wake up in japan like this
empty wallets
this already feels emo
UNEXPECTEDLY UPBEAT
SPEND IT ALL ON ME
god make this my anthem what
MICHAEL
HELLO???????
BELIEVE IN ME B
ghost of you
okay you know it’s getting serious when you hear the picking of the strings
the piano!!!!!!
i imagine someone running in a field for some reason
amnesia pt 2 but the cousin who’s more mature and is looking back on memories and tries to suppress it
this doesn’t feel like a breakup, but more of the other passed on without any warning and now they have to deal with it
yeah sure “ghost” but it’s one of those songs where you have to move on simply because nature tells you to do so
monster among men
STARTING WITH MICHAEL YES MY BOI
the beat is weird
it keeps changing and i’m like eh???????
it slows;;;;;;
i am confused
props to ashton for keeping up with these weird beats thoooo
this song wasn’t what i was expecting
hmmmm it requires a couple of listens before i can really get into it i feel
meet you there
BITCH BODY WORMS FOR DAYS
SOSOSOSOSOSO GOOD
i don’t even know how to classify this kind of rock but it’s so fhaiwuel ahahahahaha kill me
this is so groovy
drumsdrumdrumsdrumsdrums ashton fml
babylon
OH WOOOOOOOOOOOOOOOOOOOOOOOOOOOOW
this is sensual body rolls at its finest
CALUM FUCK ME UP
oml i had some expectations for this song and THEY DID NOT DISAPPOINT
(i know the target version has two extra songs) but this is good way to finish this album
vaguely reminds me of tomorrow never dies
THIS IS CALUM’S SONG GUYS
they���re really taking this whole new album thing to a new level
i want to go higher
such good music we’ve been spoilt
yall i love 5sos and now i just want to implode and explode and combine all the pieces to c o m b u s t
this album’s definitely more mature in the sense where the self-titled album was all about teen love and want and youth, sgfg tackling issues that youth faces, but this is matured where it reflects their age, it’s sort of wild in its own way, but it also has that emotional turmoil where you’re left wondering why you’re so alone and why love doesn’t work out
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Uhm Jung Hwa “Ending Credit” MV Review
I AM NOT WORTHY!!!!
MY NAME IS JACE (aka Felicity B) AND
I
AM
NOT
W O R T H Y!!!!
~The Song~
Ending Credit is a bop, sis. A lowkey, melancholy bop.
But a bop, nonetheless.
Ms Junghwa might have played racketball with my wig with Ending Credit.
She might have run up on my ass with a razor and faded me with Ending Credit.
I might need surgery cause I'm missing the first layer of my skull cause of Ending Credit.
But, you know… A bitch isn't mad!!!
Uhm Junghwa has a voice that you don't really hear a lot of in K-Pop. Her tone is very airy, but she lacks any of the brightness that the typical vocalist has in spades. She has a thinner tone than makes her voice easy to layer and stack, but you know it's her singing. Overall, she has a very distinct voice and after 25 years in the game, she's definitely learned how to harness it to great effect.
Ending Credit, like I mentioned above, has a very sad, melancholic vibe to it. It's a rather upbeat song, but it's more "dancing with tears in my eyes" than PSY's New Face. This is partly due to the New Wave/NuDisco style production, courtesy of Primary and SURAN (who are the absolute last people on Earth I would have expected to be Behind The Music™) and the chord progressions that make up the song.
New Wave is a very bittersweet sounding genre of music. No matter how many major chords you use to write a New Wave song, that shit comes out with a sad, almost nostalgic undertone to it.
But that's okay, because that's clearly the vibe they were going for in Ending Credit. The chord progressions used here are usually used when they're either discussing change that's happened in the past, or a change that's about to happen. There's a "life will go on" feel to Ending Credit, and it makes me wonder if Mrs Junghwa is retiring soon. I mean, she did debut in 1993, so I couldn't be surprised.
Let me say that again - Uhm Jung Hwa debuted in 1993.
Ma'am is touching 50 years of age, and she still makes your faves look redundant.
I have to say that my absolute favorite part of Ending Credit is the bridge - when everything but the synth pad and Junghwa's voice drops out. I freaking tear up every time I listen to that part. It's just so powerful!!
A different kind of vocalist would have gone HAM with the high notes n ad libs on the final chorus, but Miss Junghwa decided to keep it cute n classy, which I appreciate. I do think she could have done a little bit more, but at the same time, it's always from one extreme to the next with these divas.
~The Video~
Ending Credit the video sees Uhm Junghwa at the premiere for what I assume is her final role. The video flits between Junghwa watching herself on screen, and Junghwa dancing about various locations of the theater, looking every bit the powerful diva she is. Ending Credit was shot, on location, at the Universal Arts Center in Seoul, which is super cool because they could have easily replicated all the various locations Junghwa filmed in at a studio. It just adds to the whole concept of the video, sis.
Junghwa's makeup in this video is very heavy (I'm pretty sure it breaks every ~rule~ for a Korean style beat), but it suits the video. It emphasizes her age, but not in a bad way (even though there's nothing wrong with looking your age); she looks like the distinguished actress that everyone aspires to be. Her styling, in general, in this video looks very '80s/'90s which only adds to the finality of the video.
Ending Credit the video is a really cool experience, because it shows off just how amazing of a performer Junghwa is. Most of the shots in this video are solo solo, and she keeps you enraptured. If there's one thing I know about this woman, it's that she O O Z E S stage presence. And even when she has dancers supporting her, your eyes stay glued to her (even though her dancers are all fine as F U C K).
Which, I mean, she's been K-Pop's Dancing Diva™ for 25 years now. You kinda have to know a thing or two about charisma, uniqueness, nerve, and talent to survive that long.
~The Choreography~
Lia Kim (Ending Credit's choreographer) is a fucking genius.
Uhm Junghwa is a competent dancer. She's not BoA level, but she can hold her own, okay?!?!?! And Ending Credit's routine is not overly hard or complex. The moves are somewhat physically demanding (ma'am is up, down, and all around in the first minute of the song; that shit was exhausting to watch live), but I wouldn't say this is the hardest routine I've seen in my six years of K-Pop standom.
Lia Kim is a genius, because Ending Credit's routine is straight up performance art. Ending Credit's routine emphasizes Junghwa's performance ability (like I said above, this woman oozes stage presence), and shows us exactly how she stayed on top of her peers during her peak. Junghwa looks like she's dancing for her life, but also like she's having the time of her life. If this is her "last" role, then she's gonna give it her all and more.
Ending Credit is Junghwa's second video in the Cloud Dreamer of the Nine series that uses all male backup dancers (the first being Dreamer), and idk if that's a Thing™ for her (it's hard to find older K-Pop videos), but it speaks volumes to me?!?!?! I'm so tired of this division in K-Pop where it's like, "boys dance this way, girls dance that way"; and if girls wanna be taken seriously as a dance group, they have to do more masculine styles of dance. Getting beyond the misogyny in that (which you know my nonbinary ass has a lot to speak on), it's just boring as fuck. So it's nice to see Junghwa telling the rules of K-Pop to fuck off.
~Overall and Final Thoughts~
Ending Credit scalped me bald.
Junghwa gives us a whole lot with Ending Credit, sis - the song is so so S O addicting (Primary is more powerful than we ever knew), the video is awe inspiring (and tugs on the heart strings a lil), and the routine is up there with one of the best of the year. Everything was on point. I'm really at a loss for words here, guys; if I was rating this the same way I songs in my Review Roundups, Ending.
Uhm Jung Hwa is fucking badass. She really didn't have to come back to music after she dropped her 2008 mini album D.I.S.C.O. I mean, that era was way before my time, but it's literally one of my favorite minis to just play when I want something fun. She didn't have to start doing music again, because her acting career is probably making her far more money than releasing music ever did. But she really just does not give a fuck about that shit, boo. You can tell this woman loves performing with her whole heart, and she has a team that loves pushing the boundaries of what acts like her ~should~ be doing at her age.
Junghwa is really That Bitch™, and you cannot tell me anything else. She's not overly well known in international K-Pop circles (but then again, not a lot of actual K-Pop legends are), but I highly recommend checking up on her stuff. She was playing hopscotch with her contemporaries' wigs back in the day day the way she's playing with your faves' hairlines now.
Author's Note - this is a review that I left half finished when I halted reviews last month, so I figured I'd go ahead and release it now. I had a much different review planned for today, but I think it'd do far more harm than good if I posted it now. That, and I can't really bring myself to look at it right now. I hope you enjoyed!!
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Great Come Experience Part One
My Experience at Natasha, Pierre & the Great Comet of 1812:
Disclaimer: I’ve sat in banquette seating four times. I’ve been able to see most of the theater, but I’m going to be a little heavy on the Marya D. and Hélène stuff because I’m super gay, and like… Grace McLean and Amber Gray, amirite?
Pre-Prologue:
· So it started with this jaunty music, and the whole cast comes out with the pierogi baskets, and you get dumplings if you wave your arms enough. Also each cast member has a section and converses with the audience for like almost five minutes. It’s great, because you can just talk to the people, and I was in Pearl Rhein’s section twice (fell in love both times, holy shit her eyebrows and wow is she tall). She said she loved my shoes and hair and I felt my soul ascend.
· Oh forgot to mention that while you wait for it to start there’s this upbeat Russian music going on, and it’s great.
· Also during the introductory no cell phones thing, this guy announces it in a heavy Russian accent, and after each thing, the cast goes “нет” and the ones like Pearl Rhein, and Sumayya Ali point to people with their bow strings and you don’t even think of disobeying because if not you’ll be given to KGB and sent off to Siberia.
Prologue:
· It starts once the air siren goes off
· Natasha cries out “No!” when Andrey leaves for war, and there’s this whole necklace exchange, that’ll be significant later.
· And Pierre is just up on the top level in front of the doors.
· He begins to sing, and usually before that there’s raucous applause.
· Pierre sings his verse, and then the whole cast joins in, and it’s a magical moment.
· Then the lights go up, and everyone has shot glasses.
· So each time someone is introduced via their lines, they get a spotlight and take a shot.
· So, during Sonya’s she and Natasha cross arms and take a shot that way, and it’s so cute.
· Whenever Marya takes a shot, she makes a face like “yes, that’s the stuff” and it’s such a beautiful facial expression. Also her hair is what I live for. The updo is so precise, and perfect. I want to do that. Also she’s got these streaks of lighter/greying hairs which I always go crazy for.
· During this, the actor who plays Andrey, is off changing into his Bolkonsky costume (for me it was Nicholas Belton twice, and Blaine Alden Krauss twice when Nick left for personal days three shows before it closed).
· He comes back on in that costume, with his instrument. And it’s really quite funny.
Pierre:
· Immediately they meld into Pierre just after Prologue, and it’s great.
· During this, they’ve all got their shot glasses still.
· When the line “il est charmant, il ne pas de sexe. He is charming he has no sex” the women all twirl around him. And Hélène is front and center spotlighted on the middle “balcony” and she’s just got so much attitude
· Also Marya’s expressions are amazing and I will continue to mention them. Even when she’s just sitting in the background, she’s got such a presence.
· When the line “how many men before good Russian men…” comes up, and Pierre speculates about who leaves tootless and bald, Anatole gets a spotlight and he just scoffs and saunters around stage as if to say “yeah right, not me bitch”
· During that last note, where everyone is going ‘ahhhhh’ it’s so much more intense than the cast recording and they hold it forever honestly. Everyone is gathered on the two “banister” levels of the main stage, and they’re all just intently staring at Pierre, and some are practically hanging over the railings. Hélène is especially like “ugh, this guy”.
Moscow:
· After a pause for applause, we go into Moscow. The ensemble mostly exits, or at least gets somewhere on the outskirts of the stage.
· Marya hands off her shotglass to someone. And as the music starts, she is wandering around inspecting things with a critical eye.
· When Natasha sings her name, she looks just so excited and thrilled. But reins it in to sing her name back.
· When Sonya does her thing, she like starts the “sofia” part like she’s almost forgotten her name. And it’s clear Marya does not like Sonya. There’s a whole backstory on why from the books so go read them.
· �� When she does the “Welcome, welcome to Moscow” she just goes for it, and both Natasha and Sonya visibly jump. The whole audience does honestly.
· She points to various audience members during “faded and fading princesses” “gossips and crybabies”. And it’s great.
· When she does her whole “bring in their things” the ensemble rushes around to grab the extra props and stuff, and they’re so terrified of and respect Marya.
· She goes off down the middle orchestra stage, and Natasha and Sonya do their impression of Marya’s growling voice. It’s so cute.
· When Natasha says “but I can’t bear this waiting” Sonya looks so sad and exasperated. She follows Marya’s path and they meet up in the rear of the theater. They reaapproach Natasha and Marya is leading Sonya by her shoulders, and she’s like over half a head taller than Sonya (Grace McLean is sorta tall, but she’s in heels to further emphasize her stature. And I want those shoes they’re fabulous).
· Oh both Sonya and Natasha are mostly in flats so we see them as delicate and innocent I suppose. It helps with the height comparison.
· When Marya and Sonya get to the top of the stairs that leads to the main stage, Marya sort of pushes Sonya away, and she braces herself against the banister while Marya goes to dote on Natasha.
· They drink tea (laced with rum).
· Oh and something you don’t notice are the Bolkonsky’s. During all of this, Bolkonsky is fiddling with a knife, and visibly trembling (probably some sort of dementia) and Mary is nervously watching, and trying to help but he keeps shaking her off so she reads her bible.
· She also crosses over when Marya mentions her in the song.
The Private and Intimate Life of a House:
· We start with Bolkonsky’s part of the song. He takes a really long pause before “people enjoy me” to stare to his left at the audience and waves creepily/awkwardly. It always gets a laugh.
· When he sings powdered wig, he pats his and a puff of powder erupts from it.
· During “such a majestic and agreeable spectacle” Mary stands from the stair she is on leading up to the mezzanine.
· Then she launches into her haunting part about there being 22 more hours in the day.
· When he starts ordering her around, she looks just so frightened, and does this trembling bow, and Gelsey Bell is an actual goddess.
· When she does her whole “and I have no friends no never go anywhere” she runs across and around the stage wringing and waving her hands tragically. Mary needs a hug. Someone please hug this poor woman.
· The whole “I can hurt you” is said by Mary with such fierceness that she quickly turns to reassurance to the audience that she never ever ever would. And she loves her father so much, but he’s such an abusive asshole. Like fucks sake I’m angry about this.
· So the difference between Nicholas and Blaine seems so much more intense when he sings certain parts like “worthless and dumb”. He really does the shouty, angry old man act well.
· So Mary makes an audience member stand and she pretends he’s her suitor. Then Bolkonsky turns to another audience member and kisses and nuzzles her and it’s hilarious for everyone involved.
· Then the servent (Paul Pinto) who walked hunched almost completely over, brings that table shot glasses.
· The whole “where are my glasses” bit is so so much more frightening live. The first time I heard it (and didn’t know the show at all) I was actually terrified for Mary. And she looks just so horrified, and upset by the entire thing.
· Also during this, the music is haunting, and Marya D. stands from where she’s been sitting and observing (with such a haughty and regal expression) to ominously play the cowbell. It’s such an interesting addition that I didn’t notice the first time.
Natasha & Bolkonsky’s:
· So the servant announces Natasha’s presence, and Mary is just so awkward the entire time.
· They do the chair thing in complete silence. Mary goes over to get her chair (that Hélène has been lounging on this entire time and Hélène moves to drape herself on the staircase. That’s another thing. Hélène even when off focus, just languidly and sensually drapes herself onto surfaces).
· They do their chair thing in the middle of the main table section of the audience. And it’s so tense.
· They both stand when singing their “I don’t like her” verse. Then two ensemble members bring them tea (one is Lulu Fall, and I think the other may have been Shoba Narayan. Pretty sure in fact.
· Then they move to another spot and fake laugh at each other.
· Then Bolkonsky comes out in his underthings and scares the shit out of Natasha.
· Then Natasha tearfully tries to leave and Mary realizes that they fucked up and tries to put it right, but Natasha intensely yells at Mary who jumps back and holds out her hands in defense, so you know this girl has been seriously verbally abused at the very least.
No One Else:
· The lighting changes to this beautiful blue (made even more beautiful by the fact that Dave Malloy is supposedly color blind and can see blue well, but not red so you just sob thinking about that)
· And Natasha looks so much like a princess in this moment. Everything is wonderful and heartbreaking.
· Andrey comes onstage and has a bundle of her letters. It snows over him, and Natasha reaches for him but they don’t touch, and he leaves again. She just looks so longing.
· When I first saw it the last lines about him maybe being in the drawing room and her just forgetting he was there was so emotional and heartbreaking, I just teared up.
The Opera:
· Cue dramatic music change. Marya does her whole “the opera the opera” part and she seems so excited to be sharing this with Natasha and even Sonya. Also the growl though!
· The Servent (Paul Pinto again) is in this emcee costume type thing and it’s so sparkly and extra with a top hat and everything.
· When everyone else comes out you are just so amazed by the costumes. Like wow. In an interview, the designer Paloma Young talked about how they’re meant to look opulent and splendid from a distance, but up close you see they’re cheaply made to represent the false splendor of 19th century Russia and I am so angry they didn’t win best costume design.
· So all of the women have their own unique costume and color scheme. Even the swings get their own unique outfit. It’s fantastic and fits each person so well. So like Lulu Fall is in red, obviously. And Shoba has this orange and looks so beautiful. And Cathryn Wake has a bright blue number, and don’t even get me started on Celia Mei Rubin’s costume. I love her so much and am so happy I got to see her swing on twice.
· Even the two opera dancers have like fancy clothing which they quickly exit to change into their actual opera outfits.
· Both Natasha and Sonya are so enchanted. And Marya gives Natasha that flower for her hair. And she adjusts Sonya’s headfeather thing.
· She’s also so judgmental about Anna Mikhaylovna’s headdress.
· Then Hélène sees Natasha and is instantly drawn in. (Side note: every woman in this show is so gay for Natasha except for Marya D. who is too busy being gay for Hélène sorry I don’t make the rules it’s a thing).
· When the servant does his announcement of the people, Dolokhov saunters around stage, and kisses a woman’s hand and then makes her kiss his. It’s great.
· And Hélène just flounces around twirling and displaying her body and outfit. She’s got two main dresses, and this one is like her main one sorta. So it’s black, with green underskirts, and fringes and it’s so pretty I want one now.
· Side note: Marya actually is wearing something not entirely red. Like it’s got red accents, but is mostly dark with gold patterns that sorta look tinged greenish. Nod to her romantic entanglements to Hélène? Coincidence? I think not!
· And Natasha is so taken with Hélène, it’s so gay!
· When Hélène starts talking to Natasha, Marya and Sonya are over to the side, and when Marya sees what’s going on, she quickly (nearly runs) over to intervene. She places herself between Natasha and Hélène, and looks so huffy when Natasha keeps interrupting. And her whole “woman you should stay far away from” is said without taking her eyes off of Hélène. Like, girl, you make out with her next act. I see your thirst don’t deny it.
· Then the actual opera starts and holy shit is it weird to see live. The two dancers prance about. And both Gelsey Bell and Paul Pinto are the opera singers. Their voices (Gelsey’s especially) are just so haunting, and the noises Gelsey makes are fucking weird, but wow are you just so impressed by it.
· Also, during on point the opera dancer (Mary Page Nance though the first time I saw it Celia Mei Rubin was swinging for Ani Taj) jerks her arms towards herself and pants comedically. It’s really quite funny.
· Holy shit I’ve got a lot to say just noticed. And we’re not done yet.
· Okay, so the opera pauses and we interlude onto Sonya and Natasha who look so bored and confused. And Natasha gets up and waltzes about the stage while Sonya narrates.
· So Anatole makes his entrance and the big doors open and this blinding light surrounds him. The entire cast turns to marvel at this wonder, and audience included they all shield their eyes. Yes it’s that bright. Anatole does this weird head thing to the beat of the music like he’s reveling in the attention.
· He walks down the stairs and starts kissing and nuzzling an audience member then pats the closest male member to her as if to say “good on you mate”
· He goes right to Hélène and taps his cheek for her to kiss him but moves his head to she kisses him on the lips instead. That’s her delighted laugh you can hear on the soundtrack. In the book the relationship is heavily implied to be incestuous. Suck on that George RR Martin. Tolstoy’s already done siblings being weirdly attracted to each other.
· The opera resumes and most of the ensemble has joined in on the show. There’s people on the stairs to the mezzanine wearing these creepy hooded costumes with long fingers. And others dresses as soldiers. And the Andrey actor comes out bloodied while the two dancers tear off his coat and pull long flowy sheets from him to resemble blood. He holds out a crumpled red ribbon towards Natasha who shrinks away terrified.
· During this stuff Dolokhov, Hélène, and Anatole are on the middle level banister part and applaud in slow motion. Marya is seated on the top level and does so as well. She just really loves the opera.
Natasha & Anatole:
· Okay so during this, it’s the two of them in the box together.
· So I’ve been thinking about this for a long time. But, when Natasha sings the part about there being “nothing formidable…not a barrier of modesty I’ve always felt with men” for some reason this makes her attraction to him so much more believable. Because see, she’s a young woman in 19th century Russia where men and women don’t converse this casually. So for her, this is probably the first time a man outside her family has spoken to her like a real person instead of just some woman they must be cordial to. And I hate their relationship so much, but it’s so understandable that this impressionable young woman be taken with someone who actually treats her like someone worth talking to. Like, Andrey has this distant smile and is probably really formal with her, but here this dude is being all approachable and shit.
· Like jesus Christ stop hating on Natasha. You fan girls will jump through hoops to defend Anatole; og fuckboi of the century just because he’s pretty, even though he’s literally at fault so much more in this situation. Like c’mon he’s a grown ass man. Fucks sake…
· So a few more things. He grabs her flower at one point.
· Also, the last line about there being nothing between them has a double meaning. So yes, there’s nothing between them in terms of like space, or something in the way of their mutual attraction, but like also they just met. This relationship is not build on anything substantial so there is like literally nothing really between them.
The Duel:
· Okay so visually I love this song so much. It’s such a fantastic thing, but I kept listening to the soundtrack and that’s what really got me.
· Before it starts Anatole is just upstage and mimes a head explosion motion. It’s great. Like, I hate this character, but Lucas Steele is just such a good actor for the part.
· Okay so Anatole comes back to the Bezukhov household all like ‘c’mon we going to drink tonight’ and Dolokhov comes in with a tray and spins it while pouring what I’ll assume is vodka, but who knows.
· The music gets intense and the seizure lights start. A rave scene in 19th century Russia. Sign me the fuck up. The first time I had to shut my eyes, but the next three times I actually kept them open to watch everything, and it honestly wasn’t bad at all.
· Side note: I love the whole drink with me my love part. It is just a great line.
· So just a few things I’ve seen. One of the ensemble members (I think it’s Josh Canfield) is wearing a leather crotch harness, and green speedo. (Side note: I’m probably going to mess up on who each male ensemble member is because I’m way better versed in the women. I think it’s a side effect of being a huge lesbian…) Mary is wearing these huge aviator/mad scientist goggles (and yes I’m choosing to believe Mary has finally gotten out of the house let me have this). During the chaos so much is happening. So Marya D. is dressed up in this latex catsuit, and a riding crop complete with like a mesh covered boob window thing because Marya is always in something highnecked even as a secret deviant in a druggy club. (So different cast sources claim Grace McLean is actually playing someone called Catya, but costume designer says that “secret deviant… Marya is part of the aesthetic so I choose to believe it really is Marya but she’s disguised with these huge sunglasses. Also she spanks multiple people with that riding crop so like… wow if I didn’t know I was gay before…
· To continue, during this Balaga is going down on Sonya (though technically it’s the actor Paul Pinto who plays a lot of roles, so it could be anyone at this point), someone does a line of “cocaine” (it’s sugar), Josh Canfield just slides across one part of the stage and almost into the table section. And everything is so sexual, and it’s the best. Like Grace McLean goes from humping Josh Canfield, to drinking with Dolokhov. During the climax (ha!) of the scene there’s that whole bit about “the health of married women and their lovers” and I just love this line so much. Hélène is so mocking of Pierre. Some ensemble members mime throwing up into the audience from drinking too much, and Mary is just hugging a banister pole and slumped on the ground. Girl doesn’t get out much.
· Just before the big duel, Marya pulls Anatole aside to give him an impromptu blowjob. Like they exchange the riding crop and hit each other with it, and she gets down on her knees while he unzips his pants but then everything stops and Pierre is like “bitch, don’t touch my wife” to Dolokhov, and everyone immediately turns their attention to that (Grace, Brittain Ashford (Sonya), and a few others slip out to presumably change costume. The ensemble take seats to see the fun, and I was sat right next to Blaine and Heath Saunders while they talked about the duel (everyone is always talking when off-mic too) and he nudged me when the announcer was like “as the adversary’s…” and Blaine said to me “no they have not” and I was just like “not at all” back to him. Wow.
· There’s that whole duel thing, and beforehand, Hélène is like “he will kill you” to Pierre and her voice just breaks. This part of the play is when you can really see just how much more complex their relationship is. Because Hélène’s actions show that on some level she really does care for Pierre’s wellbeing because when Dolokhov is shot she just gasps and you can’t even really hear it, but when Dolokhov shoots, she just gives out this bloodcurdling scream of horror and distress. And for the rest of the scene she’s just in shock, and exits by slowly walking up the stairs. I saw her expression up close, and she was just in shock, and devastated, and it was a turmoil of emotions.
· TL;DR Hélène is not the monster people love to make her out to be. And I love her and will defend her with my life. Fight me.
· While Anatole leaves he mimes finger guns at Pierre, who is so not in the mood.
Dust and Ashes:
· Transition to the big song. Okay, so I love this song so much. For one it’s a beautiful song full of emotion and some great lines (I love “bury me in burgundy”) but also because I have a lower voice (with terrible range I might add) so I can sorta sing along to this one without sounding horrible.
· So, for a bit it’s just Pierre silently in his office area. Then he starts hesitantly playing the chords on the piano. And while I’d agree that Josh Groben’s voice is more pleasing to hear, Dave Malloy sings it with such emotion, and I’d agree his voice is suited to play Pierre’s character better. But both men are fantastic and I loved them both.
· At one point he holds out a book and shakes it at the audience in desperation. It’s so beautiful and during the climax, the entire company is both standing side by side in the mezzanine, and down the two aisles in the orchestra. They sing the “ahhhs” and it’s the most beautiful and haunting thing. Like, if I could just have a picture even of that moment, I’d die happy. You’re so focused on Pierre that you might miss this, but it’s the most beautiful thing ever.
· The song ends with this blue light on Pierre (think back to the color blind thing and you’ll feel things).
Sunday Morning:
· Sonya and Natasha enter. It’s the next morning just after the duel so everything that just happened from Private and Intimate… to now was in like a twenty-four hour period. Maybe even Moscow, but I’m choosing to believe there was some time before Natasha went to visit the Bolkonsky’s.
· They do the candle in the mirror thing, and holy shit. So when Natasha is looking in the mirror, and she sees the man, Pierre returns to his office area, and crosses right behind Natasha so she can see him in the mirror and that is such a brilliant stage direction and I am so shook.
· Her future is Pierre! It’s right there!
· The scene changes so rapidly from Natasha’s distress at seeing someone lying down in the mirror to Marya’s “SUNDAY MORNING TIME FOR CHURCH” and thank you growl voice.
· Then after the brief church bit, Marya goes off to scold Bolkonsky for his behavior and I wish I could have seen Marya tear him a new one because it’s so funny in the books. Grace exits the big doors with such a flourish. She just like turns sidways, holds out her skirts and like floats out the door.
Charming:
· So for this scene Natasha is mostly in her corset and underthings and Hélène just waltzes in. This song is so gay, and Dave Malloy has said it was meant to be, so fuck yeah gay.
· Hélène has on her second dress. This one’s main color is green, with black underskirts. And the coat she has on is so extra. I want one.
· Hélène is so sensual and flounces around, twirling her skirts during this entire song. Amber Gray fuck me up. Her voice is so jazzy, and she’s got the growl down too. Jesus Christ I’m so gay. She just takes over the whole theater, and there is no one else.
· During this, Lulu and Shoba are maids in the household and have a beautiful dress for Natasha to try on. They hold it open and she just ducks into it. I need to be able to dress this easily.
· So, a few things about my favorite parts. “Now a woman with a dress is a frightening and powerful thing” is probably one of my favorite lines. Like fuck yeah woman power. Also, the fact that she effortlessly pronounces “Alliez dans le monde. Plutôt que de dépérir d’ennui!” which according to my French education means something like go into the word rather than perish of boredom, but she completely botches the entire title of the song. Charmante is not pronounced Charmanté. Even if it does sound so much better.
· So Natasha has on her dress, and Hélène just casually rips the necklace Andrey gave her off, and tosses it aside (Pierre catches it, symbolism anyone?) and replaces it with her own necklace. Then they go off to the ball together.
· Also the coat is passed to Natasha at one point and she just loves that coat as much as I do.
The Ball:
· Lemme tell you about the ball. This musical is so disregarding of gender norms like I love it. Like an ensemble member Katrina Yaukey has full armpit hair dyed hot pink it’s awesome. But, right ball. So everyone is in costume. The women all have different tops to their dresses, but the skirts are mostly the same. The inner skirt on most (dunno if its all) comes to mid thigh, and the outerskirts open up and are long and swishy. They’ve all got little lace coverings over their eyes, and mostly different headdresses. So, from what I saw there are a few cat ears, some antlers (Pearl Rhein has such cool antlers). A few are unique and I think the main characters have those. So Mary has this cute weird thing that I’m not sure what it is, but I like it. And Marya has this golden crownlike thing that also looks like it could be wings or something dunno. But it’s unique, and her dress is backless and wow. (Gay much?)
· So, there are no gender norms here. Here there are men dancing with men (They’ve all got mostly the same outfit. A green fancy war uniformlike jacket and bear mask (I think but I’m not sure might have just been the lighting, that Andrey’s is silver while everyone else has gold.) and women dancing with women. And different gender couples too, but sometimes the women are leading, and it’s so fucking amazing and normalized. The first time I saw that I may have teared up just thinking about how casually it’s shown. And in a play about 19th century Russia no less.
· Okay, so it has to be said, but Mary is wearing something so beautiful, and she looks like she’s having the time of her life dancing with Katrina. And I choose to believe it’s actually Mary (not some other role) who is finally getting the adoration and attention she deserves. Katrina spins her around, and dotes on her, and it’s just beautiful. Like she literally lifts her up at one point and spins her. During this scene, not all the women and men lift their partners but Katrina does, and Mary looks so damn happy.
· And Marya is dancing with either a female ensemble member who is Courtney Bassett I think. The veil hides her face, and they were farther away. But wow. Is Marya a good leader. She just sensually circles her partner, and like trails her lips over her shoulders and chest, and wow.
· Also it is a costume tournament and Hélène’s got on these dark angel wings like someone put her in the victoria’s secret show right now.
· But back to the actual plot. So, Natasha and Anatole are dancing and whatever. It’s all very sweet and whatnot, but back to the ensemble.
· So at the climax of the song, the dance couples life each other’s veils and masks and all grab wine glasses with different water levels to change frequency. They dip their fingers in the water, and literally trace the rim of the glass to use them as instruments like what the fuck why did this not win best score and orchestra?!??!?!?! It’s the haunting and soothing sound (yeah I know I’ve used these adjectives a lot, but it’s true). This goes on, and they all stop at the same time except for Hélène who keeps going with a spotlight on her for a bit longer before cutting off with a flourish.
· Oh and another thing, Sonya is not at the ball. Everyone else is in costume, but Sonya is still wearing her white dress, but she comes out to do the wine glass thing.
Natasha and Anatole pledge their love for each other, and scene. 6�1��
#natasha pierre and the great comet of 1812#great comet#natasha rostova#sonya rostova#marya dmitrievna#marya dmitryevna akhrosimova#helene kuragina#anatole kuragin#fedya dolokhov#mary bolkonskaya#andrey bolkonsky#prince bolkonsky#balaga#dave malloy#i love this show more than anything#more than life more than jewels
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Lust For Life Review
*I put this as “personal” and more private because I honestly don’t want to be very public about negative opinions and such and I feel bad that I don’t love the album as much as all of her other albums and felt in a lot of areas that it was lacking - despite having some songs I adore. These are just my personal opinions and I don’t want to be attacked for them! I’ve made an album review for the last 2 albums when they came out and wanted to do one for this one too but was hesitant - which is why it took so long.
13 Beaches (9/10) - Rhyming beaches & peaches is corny but who cares when Lana sounds so beautiful? I love the orchestral intro with the monologue.. it’s just haunting. “Can I let go and let your memory dance in the ballroom of my mind?” *goosebumps* Now that is easily one of the standout lyrics from the album. When she starts belting out the 2nd half of the chorus she RIPS YOUR HEART OUT. The second verse is so beautiful.. the instrumental (aside from the electronic chorus) is so haunting. I get Honeymoon album vibes.
Love (8/10) - A nice and uplifting departure from sadder songs. Not a whole lot goes on with the instrumental aside from a few random noises. The song is beautiful despite a couple corny lyrics “look at you kids, you know you’re the coolest.” But having such a gorgeous, dreamy, and artistic video makes me appreciate the song a lot more (adding a point for the video alone). “mmmm oh oh mmm oh oh oh oh don’t worry baby” literally makes the song for me. I LOVE that part so much and how ambient it is before it goes into the chorus again.
When The World Was At War We Just Kept Dancing (7/10) - When I first heard the snippet of this song I thought it was going to be one of my favorites. I love the acoustic verses so much. So beautiful and nostalgic. I thought the “fucking youth” “fucking truth’ wasn’t necessary. I don’t like how electronic it gets when she sings the song’s title. I do enjoy the message of the song “boys don’t make too much noise and don’t try to be funny” telling them not to harass women. “Is this the end of America? No it’s only the beginning. If we hold onto hope we’ll have a happy ending” <3
Heroin (9.5/10) - This song is really something else. Totally unexpected.. and not totally fitting with this album but in the best way. So dreamy & reminiscent of Barrie James O’Neill’s music. “I’m flying to the moon again”... I can only imagine how amazing this song would sound when high. The way it echoes is so haunting and gorgeous. The 2nd verse gives me UV vibes.. sort of like Sad Girl. I love the guitar added during “like the metal that you hear.” I understand that some fans don’t like the “It’s HOT HOT” part.. it sort of took me off guard at first too but in the right mindset it makes sense. The instrumental & lyrics lend to this sort of manic state of mind & also sort of retro psychedelic.
Cherry (6/10) - I know at least half of the fandom disagrees with me and that this is their fave. I like the guitar and her voice.. but the “yuh” "hey” take away from the verse.. I’d like it a lot better if it wasn’t a synthetic bass.. maybe a bass chello instead? I like how dark the first verse sounds. I think “bitch” and “fuck” are so funny/ corny and take away from the song a little bit (to me.) I feel like this song could easily be a 9 to me if she took out the bitch/fuck, changed the trap beats to a drum, and added SOMETHING to the instrumental.. Imagine more of a UV (guitar) or BTD (orchestra) sound. I feel like the hip hop element just doesn’t fit this song? It’s just my personal opinion. I feel like it has so much potential and has a gorgeous song underneath it all.
Beautiful People, Beautiful Problems (8/10) - This song even starts haunting and deep. The fact that Lana did a song with Stevie is so iconic. “My heart is soft, my past is rough” GOOSEBUMPS. The harmonies & piano backing.. simply beautiful.
White Mustang (6/10) - I feel like White Mustang has / had so much potential. It starts out with Ride / AFFA / Starrey Eyed / Black Beauty vibes.. I like the melody and the way she sings it but the instrumental is so lackluster. :/ It just feels like it’s missing something.. and then the beats sort of take over/ drown the entire song... Like Cherry I also feel like this song could have easily been a 9 or even a 10 for me if this had real strings instead of the snyth & beats it could easily be Ride 2.0 but it fell short :/
Change (8/10) - I feel like we were overdue for a stripped piano song from Lana, like Old Money & Bel Air. I don’t think the song needs anything added to it. I think her voice sounds perfect with piano. I think the message is featured and the song feels intimate and personal. I’m glad her voice isn’t drowned out by beats or anything. I think it’s simply beautiful & I love the “I can taste it turning sour” part.
Lust For Life (6/10) - I’m not big on the talking parts but I do like the doowop vibes. I love the “we’re the masters of our fate..” lyrics & instrumental during that part.. but the chorus is super repetitive & the instrumental is extremely underwhelming to me. I do feel like it sounds like a pop The Weekend song for the majority of it. I do enjoy the instrumental for the 2nd verse & the doowop mixed with Abel’s voice. I think I’d be much more in love with this song if it wasn’t so electronic & repetitive.
Tomorrow Never Came (10/10) - THIS SONG MAKES ME SO EMOTIONAL. I love the instrumental. Her voice sounds so beautiful with an acoustic guitar and then the surf noir guitar comes in and sounds HEAVENLY “Lay lady lay” iHAVE GOOSEBUMPS EVERY TIME. Everything about the instrumental is perfection. Acoustic guitar, bells, surf noir wah wah guitars.. Then Sean Lennon comes in and sounds so much like his father & like a Beatles song and I start CRYING. This song is as nostalgic as it gets. I knew the second I heard the snippet this would be my favorite. I get that some think it’s corny that she sings “now that I’m singin with Sean” but when you think about it, and listen to just how Beatles-like the instrumental is during that line.. it’s just so cool. Like a peice of the Beatles is really in that song.. and as a Beatles fan.. it is crazy!
Summer Bummer (6.5/10) - I did not want to like this song.. at all. I am not a fan of rap. I’m not a fan of the rap in this. I think the “what what what what what what what what what what what what yup what what what what” is extremely annoying and honestly.. terrible. But I like the piano and love Lana’s haunting and “menacing” backing vocals. It’s so catchy / repetitive I can’t help but turn it up and jam in the car. I also love the high pitch “high tops in the summer” and added beautiful sounding instrumental mixed in the with beat towards the end. But I feel like the production could have been a lot better as well.
God Bless America (7.5/10) - I LOVE how this song starts. This song just brings you to New York. I like the instrumental to this song, I just really wish the loud trap beats and gunshots didn’t overshadow it. I would have probably given it a 9 w/o them (and maybe 1 less chorus). I love that she wrote an album for the women in this country. It really shows how far she has come. The bride of this song is fucking gorgeous. Her vocal layers & mandolin(?) and “ohhhs” are heavenly. The last 90 seconds of the song adds so much more it it. It becomes epic and bringing back the spanish guitar and her voice <3
Groupie Love (6.5/10) - This song gives really strong Honeymoon album vibes. I love the guitar part & her voice “and every time I look up I know what you’re thinking of.” Plus I love the lush strings during “groupie loooooove” despite disliking the beat and the wub wub wub wub going into the 2nd verse.
Get Free (10/10) - I did NOT expect this at all. This song is everything. Just everything. No trap beats, heavenly vocal layers, and Doowop vibes. Then she breaks out the surf noir vibes and I’m hearing serious Lana Del Rey aka Lizzy Grant vibes and I’M IN LOVE. This song is optimistic, upbeat, without lacking instrumentals, has a great lyrics/ message.. Every time this song comes on I crank it up and dance / sing along and have to play the song twice. The beach/ seagulls / ambiance at the end.. just the perfect PERFECT way to end the record. I want this song to get a video so bad. This song FREES ME. I thought Tomorrow Never Came was my favorite.. I think it has the best instrumental & is the most beautiful.. but Get Free is my favorite.
In My Feelings (4/10) - I’m sorry.. but I cannot get into this song. I think it’s the worst one Lana’s ever released and the lyrics are super corny, the instrumental could have been on Miley’s Bangerz or Selena Gomez’s.. or Kesha’s old stuff.. or any other pop singer.. It’s easily the black sheep of the album. “I’m runnin on the treadmill” “sobbing in my cup of coffee” “I’m feeling all my fucking feelings” “I’m crying while I’m cumming.” As a 25 year old woman I find it so cringey... maybe 10 years ago I would have found it edgy and cool. “who’s tougher than this bitch, who’s free-er than me.”
Coachella (6/10) - I wasn’t a fan of this song at first but compared to IMF it’s amazing. I have to admit I think it’d be a lot better as an acoustic song. The acapella version she sang on Instagram was gorgeous. I think the synthetic instrumental sounds fairly nice but I do not like the beat at all. Having a song named Coachella is corny enough.. but I could see how she could relate to Woodstock with Father John Misty playing.. his latest album is absolutely brilliant. I would have figured they would have left it off the album or at least added to the instrumental/ production before putting it on the album. I do really enjoy the bride though. “A stairway a stairway. I got a few things I wanna say, what’s it all for, will it be okay?” and her heavenly “oohs’ echoing in an out.
*FYI* This is my own personal opinion..
I’m not an expert. If you’ve been following my blog for years you know UV is my favorite album. I’m into classic rock & indie music and instrumentals can make or break a song for me because I was raised by a musician who showed me some of the most amazing music out there. I don’t care for radio music or most simple music. Everyone is allowed to have different tastes.. I posted this on read more because I know there are people who love simple upbeat fun songs and are going to be pissed that I think IMF is a crappy song and that I’m not crazy about Cherry, Summer Bummer, White Mustang, Groupie Love or Coachella.
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A conversation with Dagny | HumanHuman
Thanks to a discovery by The Indie Curator, we’ve had one eye on rising Norwegian star Dagny for almost two years now. However, things really started hotting up 8 months ago when her debut single “Backbeat” was premiered by Beats 1. The launch of her punchy, high-energy pop hit was swiftly followed by a string of live sessions, festival bookings and of course agrees by our community who know something promising when they hear it.
The sheer vitality of that first single isn’t only a product of the recording studio, as Dagny radiates confidence and excitement as we talk about her sudden rise to popularity, not only in the HumanHuman community but amongst the music world as a whole.
So, I heard you signed a record deal?
Yep!
Can you tell me about that?
Well, it’s a deal with Republic Records in America, which is obviously in my opinion the best company in the world. They’re one of the top record labels, so I’m in company with really great people. It’s a massive compliment! It’s kind of mind-blowing, even when you’re in it, I still sometimes have to pinch my arm. I also signed with Island UK and a company called Propellor Recordings in Norway, which is also amazing and more of an indie record label. It’s really, really exciting and I have a good team.
I feel like everytime I check in on your social media, you’re jetting off to another country or doing something equally cool in the music studio. What has this year been like for you?
Thinking back to a year, nothing was really happening. Around this time last year we recorded “Backbeat”, and we really had no plan whatsoever other than to record music and put it out. I was actually going to go back to Norway and go to school in July, but then at last minute I changed my mind. We ended up staying in London and we released “Backbeat” in September - then everything kicked off! It’s amazing to see how quick things can turn around. Suddenly, we were spending two days in LA and three days in New York and meeting all these people and…. I don’t know, it was really weird! Since then, it’s been an absolute adventure. I’ve been travelling, writing, recording and meeting amazing people. I’m one of those people who is at their happiest when they’re super, super busy. Jumping around from one thing to the next and never really sitting still, so I literally feel like I’m doing what I want to be doing. I’m in the right place at the right time and I’ve learnt so much. I feel like I’m using my whole self and that’s a really good feeling.
Have you had a highlight from the year?
Oh, it’s been good. I think that the trip to LA and writing every day was amazing! Getting up in the morning, going to get a bagel, going to the studio for twelve hours, meeting up with some people and then going home. It was so creative and I was so inspired and meeting all these other creative people; that’s probably a highlight. I mean, there’s been many highlights but that felt like it changed me. It opened up a whole new world that I had never visited before. It’s crazy, but it’s good.
You mentioned “Backbeat” there, did you know you were onto a hit when you first wrote or recorded it?
I get this question a lot actually. Did I know? No, I didn’t. I knew something was different with it. It was the second song that we did that was more this new direction; it was like I had finally taken control and getting a lot more energy into it, which is much more me. I wrote it and I knew that I loved it - it made me excited! The other day I found an email to my management team being like, “here’s my new song, I hope you like it and don’t worry about the title, it’s just a working title.” I had no idea what people were going to think! It was so different from the rest of my music and I knew there was something about it, but I didn’t know it would kick off or anything. At the end of the day, it’s the audience that will either like it or not.
It’s obviously a really upbeat pop song, are all of your songs so positive?
We do a lot of different stuff, but I think they all have that slightly energetic thing about them. Music hits me when it has that sense of hope. It doesn’t have to be a hopeful song, but it just needs to make me feel like something is good. I like those kinds of songs that make me feel uplifted, so yeah, I think there’s probably a recurring theme and I think my outlook will be a part of the soundscape.
“Music hits me when it has that sense of hope.”— Dagny
We’re talking about your new material here, but you were previously known as something of a folk songwriter. What made you change to pop?
I think it’s getting older and taking more control. I did a lot of songwriting with a lot of people and I learnt a lot, but it was all taking over my own sound.
When you were doing the folk stuff, you didn’t feel like you were in control of it?
I was in control, because I was obviously doing it and writing it, but I don’t know if I knew exactly what I wanted. I love folk and country music, and I love a lot of really mellow stuff, but playing that live, it never made me lose myself in any way, like it does when I go on stage now. I’m still learning, but I think I’ve taken more control over this new stuff.
You said that you’re still learning, so what do you think is the most important thing you’ve learnt so far?
Sometimes you have to stick with your own instinct, but also in songwriting, just be honest. Don’t be scared, because they might be stupid ideas, but they also be great! I’ve met some people that made me more confident. Yeah, I met some people that I really vibed with and suddenly we found ourselves in this studio just fucking vibing stuff out and being so excited. It’s like when “Backbeat” happened, we just made a backing beat, put up a mic and I just started singing something! It just came out. It wasn’t so precious in any way.
You’ve changed a lot in that sense then, but have your listening tastes also changed?
Not really, no. Obviously, five, six, seven years ago, it was a different time and Jason Mraz was the biggest thing and I was really inspired by songwriters. I also listen to a lot of pop-heavy stuff though. I think your music tastes naturally develop and grows with you as a person. You discover new things and maybe that inspires you. I used to listen to a lot of folk and country and americana, and I still listen to that. I’ve never really been into what’s current, sometimes it hits you and sometimes it doesn’t, and sometimes you realise that this is your new favourite song and you listen one hundred times on repeat! I think I’ve always had quite a broad music taste.
Do you have a current favourite artist?
Oh, I love Børns! I’m kind of obsessed with him. I actually wrote with the guy who wrote and produced his album with him. I really like his stuff. I secretly want to be a female Børns! [laughs]
That’s a good aspiration! You’ve already said that you’re diverse in your listening tastes and I guess diverse in your career too, as you’ve done folk, pop and you also sang of tracks by Kohib, which is very much EDM.
Oh yeah! I’ve had a lot of projects. When I lived back in Tromsø, I used to pop over to Kohib’s studio and he would play me some tracks and I would vocals for it. It’s nice that you mentioned that, I didn’t expect that at all!
Well, you know I had to give it a listen! Do you think it’s important for an artist to be diverse in their creativity?
Absolutely! You have to challenge yourself. I don’t think you should set so many limits on yourself. I think for me it’s been crucial to find what I want to do now, to try all these things. Sometimes people from a very young age know exactly what they want, but I was never that person! I’m twenty-five and I’m still figuring everything out. I don’t think there’s any shame in that, because some people find things early and for others it takes time. For me, going through all of those phases of doing different music and on top of that growing up in a household with jazz and Brazilian music - it’s been really diverse. For me, that’s all been crucial to land here, to become more confident and to know what I want. It’s been such a learning curve. If you have a project that you love, that doesn’t mean you have to limit yourself to that forever. You’ve got to change, to develop, and I think that’s healthy.
“Sometimes people from a very young age know exactly what they want, but I was never that person! I’m twenty-five and I’m still figuring everything out.”— Dagny
If you could learn from and work with anyone, who would it be?
Ryan Adams. I just love him - his lyrics, his voice, his everything. I’m kind of obsessed with him too. I also really like Feist too. These are people I’ve been listening to for years.
So, you’re currently based in London, what’s your favourite thing about the music scene there?
There’s always stuff going on! I love that. People in London just seem to be playing and playing and playing. You know what, where I come from we were used to the fact that whenever you played, you got paid, and I think that’s really good that musicians are getting paid, that people see the value of music. Then I came here and people are doing five shows a week, and it’s also important to do shows, because you learn so much. There’s so much music in London, it’s very cultured and I love it.
What other differences have you noticed between the music scenes in the UK and Norway?
Obviously, London is much bigger and you can go out and meet people you know at the shows, because it’s a fairly small community, but when I first got here, oh my god, it seemed so massive! I’m still getting used to the fact that when big artists go on tour, they will always visit London, because where I grew up it was maybe once in your childhood. When Spice Girls were on tour, we were lucky that they visited Oslo, which is two hours away from where I lived. Here, you can just pop down to big shows and that’s kind of hard to get used to. Other than that… well, you find that musicians are pretty similar anywhere in the world.
People often use to term “scandi-pop” to describe Northern European artists, but do you think growing up in Norway has influenced the music that you make?
I don’t think I’m typically scandi-pop, because a lot of that is more electronic and it has that Nordic sound. However, I think I’m definitely inspired from being in Norway. You know, when I was growing up most lyrics had something with nature in it or was inspired by the nature around you. I see that with a lot of artists back home, and I pay attention to what people are doing, they lyrically have something about their surroundings and nature that is definitely reflected in their music. I’ve probably moved a little bit away from that now. I’ve also realised that even with the happy songs, there’s something melancholic in it, which is quite Nordic.
Do you have any other key influences? You’ve said nature and melancholy so far.
Well, I was just saying those things in general, I’m not sure how much at the moment my music is inspired by that. For me now, if I was going to narrow it down, I’ve been inspired by chemistry between people and by energy. I know that sounds super pretentious, but I honestly believe that when you meet someone who blows you away, there’s very few feelings that are as strong as that. The whole thing, you know, how you obsess about them, think about them, feel about them. I always write better when I have recently experienced that feeling, and not just like relationships, but also if someone becomes a very close friend. I find that chemistry between people very interesting.
I think we’re all really exciting to hear the follow-up to “Backbeat”, can you give us a hint of what to expect next? Maybe it’s a song about chemistry?
Ah maybe, well there’s quite a few coming up. We’re doing an EP and I hope that people will like it. It’s not going to be like another “Backbeat”, because that has happened and it has it’s own life. I’m very proud of it, but I can’t focus on “Backbeat” every time I go to do a session. Whatever is vibing at the moment, I’ll probably go for it. The EP is quite a mix of different songs, and it will be really interesting to see what people think of it, because I think there’s some good stuff on it. I don’t think I would release something if I didn’t feel like it wasn’t good enough, so you’re just going to have to trust that! I hope that people love it.
https://humanhuman.com/articles/interview-dagny
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Gig Review: Massad - Neck Of The Woods [14/06/19]
After being abroad for around 5 years, Pop artist, Massad, headed to Neck Of The Woods on Friday for his first Auckland gig in quite some time! He was accompanied by the incredible Auckland based artist, Geoff Ong and the stunning Indyah. The night was full of Pop goodness and overwhelmingly good talent from all three artists. It was the perfect night to welcome Massad back to New Zealand shores.
Indie Pop artist, Geoff Ong kicked off the night with his mesmerizing lyrics and smooth pop melodies. This Auckland artist introduced his set with some sweet sounds including 2018 single, Fingerprints, "This next song is one called Fingerprints. It's really special to me because I wrote this in July last year and it made it to Number 3 in the New Zealand charts, which is a total dream come true!" During this tune Geoff compelled the crowd with his insanely good falsetto while killing it on his electric guitar. The crowd were grooving and clapping along to the beat throughout the entirety of his set, Geoff mentioned it was “good to see the fun-ness reciprocated” before he introduced his next song, All Our Hours. The lyrics outlined the themes of expectations so eloquently. “This next song is about living life as a young person in today's day and age. Society is so prescriptive of how we should spend our days and fuck that!” I thought it was great that he addressed the idea that “wasting time” shouldn’t make us feel bad. A lot of us feel the need to be creating and working consistently, but it is just as important to take the time to breathe and relax!
The next song Geoff shared was titled, The Last Song I’ll Ever Write About You, from his 2015 EP, The Boston. It was about how hard it is to get out of a funk, “I kept writing about the same person every time I tried to write a song even though I broke up with them ages ago.” It was an honest track that most likely resonated with a lot of friends and fans in the room. The way Geoff interacted with the crowd was really great to see, near the end of his set, the venue lit up with the crowds phone lights as Geoff got everyone singing along to his track, How Long, Boston. It was so lovely to see such high energy during an opening act. Geoff best describes his music as “Pop music for dorks” as he “never felt like I was cool enough to relate to the people performing Pop music. I figure there must be people out there who feel the same way - my music is for them.” If you’re into artists like half•alive and Two Door Cinema Club be sure to give some of Geoff Ong’s music a listen on Spotify or YouTube.
Indyah graced the stage next with her powerful vocals and was accompanied by some sweet Acoustic melodies from guitarist, Joe. Indyah has grown so much over the past few years as she moved from Nelson to Auckland in 2018 to begin Artist Development with Parachute Music. She released her debut single earlier this May and we are already looking forward to hear next release! As Indyah belted her raspy vocals and smooth pitch shifts, she reminded me of artists like Maggie Lindemann or Sasha Sloan. Her set was very intimate as Indyah sat under a spotlight on a stool - in classic singer songwriter fashion, sharing honest lyrics and stories with the crowd. It was great to see such soul and strong musicianship from such a new artist.
She really has the whole package and it will be incredible seeing what exciting releases and tours Indyah gets up to over the next few years. During the start of her set Indyah introduced her track, Blue, as “The saddest song I’ve written” It was such an incredible song that almost reminded me of a 90’s pop ballad. There was a perfect balance of slower tunes and upbeat tempos as her next track was called, That Night, which was written with some of her friends that had made it to the show. Closing off her set, Indyah, shared her debut single with the crowd “This song is the first single that I put out and I am really excited to play this one. It’s called Truth Or Dare”. This was my first time checking out Indyah and definitely not the last!
The lights dimmed and the crowd roared as soon as Massad hit the stage for his set. A warm spotlight shone through the crowd as Massad began his set with a 12 string acoustic guitar. “It’s been a long time! It is so nice to be back here singing. I’ve been living in London for a while but I’ve got a bunch of new songs for you!” He treated the crowd to a new track, Made To Break. This song outlined the struggles of keeping contact with someone as responses fade and communication subsides. This was my first time hearing Massad live and it was incredible to hear the control in his voice as he shared new stories with dedicated fans and family in the crowd. His next track was called Tainted Love, the falsettos throughout this song reminded me of artists like Jeff Buckley and Tracy Chapman. Sharing new songs must be nerve wracking sometimes, but it was lovely to hear the stories behind each track. Massad introduced the following track, which will soon be titled something along the lines of Primrose Hill or Flow. “My bestie in London, Tanya and I wrote this song together. It’s about this place in London called Primrose Hill. People go there for picnics and sit there in their togs even though there are no beaches there. It’s like that togs, undies ad, but in real life. We wrote this song there on a lovely day during Easter and we have been playing it at shows in London together.”
The crowd were super hyped when Massad headed towards the keys to play some older tracks like Tear My Heart Out, My Heart Won’t Let You Go and The Whistle Song. First up was Tear My Heart Out. It had been 6 years since Massad had played the track but the crowd comforted him as they sang along to every word. Massad’s Nan was in the front row along with his sister and friend, Erin. He dedicated one of the new tracks, Who I am, to his Nan as it was her birthday. Shortly after the song, the crowd were all a part of the classic, Happy Birthday, sing-along which was super wholesome. We were taken on a journey throughout the entirety of Massad’s set as he performed songs that were written when he was 14 through to new tracks that were written over the past few years. It was great to hear the development in his music! “The next song, Let’s Not Pretend, I wrote with one of my favourite people, Lizzie Marvelly. We wrote this song when I was 18. I don’t remember being able to relate to it at that point but it’s cool now because I understand the lyrics a lot more.” Throughout his set, the crowd kept suggesting one of his oldest tracks, Girl Next Door, which was released in 2013. It was super sweet hearing the crowd take over the track and sing along with Massad. Before ending his set with new track, Space, Massad excited the crowd by mentioning when his new music might be released, “I think on the 9th of August I have a new single coming out! After travelling I have loads of new stories to share. I wrote 2 albums and am going to the studio soon! If you’re young or in your twenties just go out and live and make new stories for yourself!” A crowd member even shouted “And if you’re 36! Go out and live!” It was such a motivating and positive note to end his set on which I always appreciate.
This was my first time hearing Massad, Geoff Ong and Indyah live and they were all so captivating. I loved the range of personality and crowd interaction as each set was personalised to the artist. Geoff Ong opened the night with his soulful solo set and lit up the venue with sparkling phone lights while Indyah was a complete powerhouse and shook the stage with her strong vocals. Massad was welcomed back to New Zealand with such high energy and shared a lot of honesty and positivity with the crowd. It was great to hear the new material and stories he had to share with friends, fans and family that attended. It is always a good time checking out the incredibly talented musicians NZ has to offer! If you didn’t make it to Fridays show at Neck Of The Woods then be sure to have a listen to these amazing artists when you get a chance and keep an eye out for Massad’s new music this August.
PHOTOS
Massad | Indyah | Geoff Ong
Massad
Facebook | Instagram | Spotify | Youtube
Indyah
Facebook | Instagram | Spotify | Youtube
Geoff Ong
Facebook | Instagram | Spotify | Youtube
Photographs by Mandie Hailwood
Review by Helena Barnett
#massad#geoff ong#indyah#review#reviews#hailtree#helena barnett#gig#music#live#new zealand#nz#concert#auckland#music photography#neck of the woods
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The Parent Trap (Biadore) [Chapter 2] - Henny
A/N: Hello, Dolls! I’m so happy with all of the positive feedback I’m getting from this story. I’m superduper overwhelmed! Anyway, I don’t know how you’ll take this chapter because it is currently 3:10AM as I write this. So, please enjoy my sleep-deprived and coffee-induced writing.
P.S Do you like my new line breaks? HAHAHA
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Portia woke up with someone poking her side. She grumbled a bit before burying her face further into her backpack which was pressed against the window. She started to doze off again, but the persistent finger or the person attached to it, rather continued to poke her ribs harshly. Portia’s hand suddenly grasped the stranger’s tightly, not even bothering to open her eyes.
“Stop it or I will cut you, Bitch.” She whispered threateningly to the stranger. She let go of the hand and will probably never put a face to it during the whole two weeks.
“Wow, I can’t believe you actually scared off Nick. He’s literally twice your size.” A new voice said. Portia opened one eye and looked at the girl in front of her. Well, the two minutes of not knowing whose finger it was was good while it lasted.
“That was a guy? Man, he had the most feminine hands! I thought I was holding a rose or something.” The girl laughed at her comment, and that made Portia very happy. The girl, name still unknown, reminded her of Bendelacreme with her looks and mannerisms. And, not to mention, the super upbeat tempo while she speaks.
“I like you. I’m Taffy.” The girl introduced herself, a hand reaching out to Portia.
“What kind of name is Taffy? Were your parents like high or something?” She blurted out. Porsche! She can almost hear her Dad’s disapproving tone which is kind of hypocritical, if you think about it: Adore is as shady as Bianca AND he was probably high when he named her.
Because of her mouth, usually, other people would leave Portia and never talk to her again, but Taffy stayed; she also laughed! Again.
“No, silly. It’s short for Taffeta!” Taffy giggled and bopped her nose. Good, Lord.
“Isn’t that like a fabric or something? Your parents named you after a roll of fabric.” At this point, Portia wasn’t in control of what left her mouth. She felt kinda bad, but at the same time felt the need to say it.
“Noo… It means delicate.” Taffy moved her body in a way, as if to say she was, in fact “delicate”.
“Bitch, I don’t know about you, but you’ll always be a roll of fabric to me.” Portia shrugged and the girl shoved her shoulder playfully.
“Okay, okay. Laugh all you want, but I still don’t know your name.”
“Portia.”
“Damn, okay. I don’t know how to make fun of that.” Taffy sighed in defeat. Portia laughed and felt that she was going to like Taffy and it was definitely the beginning of a beautiful friendship.
They continued to talk about whatever they could talk about, mostly the people in the bus. Portia definitely did not humor Taffy when she asked to play I Spy for the nth time.
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“Miss Haylock? We’re here.” Nerissa rolled her eyes and pulled out one of the earbuds stuck in her ears. She jumped out of the car and stretched a bit, taking in the atmosphere of the place in front of her. Music camp, huh. Who would’ve thought her dad would allow her?
“Cut the crap, Uncle Shane! You don’t have to go all formal escort on me.” She said as she walked to where her godfather was, and helped him retrieve her bags.
“You know, your dad says you’re an angel, but you’re a little monster, aren’t you? Not even a thank you, tsk tsk tsk” Shane teased as he carried her duffle bag out of the trunk. Nerissa watched as her uncle moved her bags from the trunk to the pavement.
“Well, I learned from the best. Heh. For what it’s worth, for a twink, you’re pretty darn strong.” She smiled in mock sweetness at the older man whose eyes widened.
“Where did you learn that word?” Shane asked, panicked, bending down to meet the girl eye-to-eye.
“What? Twink?” Nerissa repeated, a slight smirk playing on her lips.
“Yes, and don’t repeat it. EVER.” Shane was shaking her now with his hands slowly gripping her shoulders tighter.
“Hmmm… When I was “sleeping”, I overheard your conversation with– who’s Dan? Or should I say Daddy?” She was full on smirking now as she wiggled her eyebrows suggestively.
“Ughhhh! Roy’s gonna kill me!” Shane threw his head back in despair and the little girl only laughed in delight. Shane regained his composure before he stared into her eyes with his own eyes narrowed.
“What do you want?” He asked and she smiles, pleased.
“Hundred, please. Also, I need new pointe shoes. Hmm… I wonder how I’ll get my new shoes now…” She sighed loudly, her green eyes still holding Shane’s stare as he grabbed his wallet to grab a hundred dollar bill. Nerissa opened up her palm to accept the cash, choosing to ignore Shane’s angry mumbling.
“Now about my shoes…”
“Yeah, yeah. I’ll get you new ones. Roy knows it, right?” Shane asked, no anger in his voice anymore because he truly loves the girl and can’t stay mad at her for a long time.
“Duh! Thanks, Uncle Shane. Love you!” She beamed at the man. Shane rolled his eyes, but kissed her forehead still, whispering a quick “I love you” against her hair. He was about to enter his car when he saw that Nerissa was no longer smiling, but rather frowning with her eyes trained to the ground. He rushed to her side.
“Hey, hey. What’s wrong, Little Duck?” He asked, cupping the girl’s cheek gently to face him. His heart broke when he saw teary green eyes look back at him. “Oh, Sweetheart.” Shane cooed as he pushed a few of Nerissa’s hair away from her face to wipe her tears. He brought the girl into his arms and rubbed her back affectionately, trying to mimic Roy’s movements in comforting the girl.
“What if nobody likes me? And– and nobody wants to be my friend?” Nerissa sobbed which only made Shane’s heart break even more. Sometimes, he forgets that Nerissa was also part Danny and she can’t always put on a brave face like Roy does.
“Then it’s their lost because they’d be missing out! Besides if they don’t want to be your friend then why do you want to become their friend? They’re clearly not worth it, Babe. Unless they gonna pay your bills, pay them bitches no mind.” That brought out a small giggle from the girl which made Shane smile in relief.
“And, remember what I taught you? The one my good friend taught me?– I wish you could meet her, you’d love her.” He asked, the little girl still wrapped in his arms.
“Mhmmm” Nerissa nodded, the twinkle of happiness starting to return in her eyes.
“If they’re mean to you, what do you say?” Shane asked. Nerissa straightened her posture and squared her small shoulders.
“Beat it, Queen!” She said sassily. Shane laughed and hugged his goddaughter tighter. After exchanging quick goodbyes, he rushed back to the car and took another glance at Nerissa who blew him a kiss and waved him goodbye.
“Go get ‘em, Princess!” He exclaimed as he, too blew her a kiss and started his long ass fuck drive back to New York City.
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“WELCOME GIRLS AND BOYS!” The banner greeted them. Portia wrinkled her nose at the stench of sweat and mud. She adjusted her bag up her shoulder and started to walk to the bulletin board.
“Porsche! What bunk are you in? Are we together” Taffy asked as she pulled her suitcase behind her.
“I haven’t checked. I just got my bag from that dog pile over there.” She shrugged and pointed towards a pile of duffle bags near the busses.
“Oh, shit.” Taffy cursed in shock, eyes widening at the amount of kids trying to retrieve their stuff as Portia read the listings.
“Noriega–Noriega–Nor– Here we go: Noriega, Portia. I’m in Strings Cabin!” Portia informed Taffy who bustled over to read the list.
“Michaels, Taffeta… Strings! YESSS!” The girls cheered as they tried to move against the hundreds of teenagers in the place.
“HEY! HEY! Give that back!” Portia heard a little boy’s voice shriek and her head instantly snapped to where the voice called out. She saw a little boy, probably three years younger, jump up and down to reach his bag from the grasp of…oh, Nicholas and his minions. She smirked.
“Portia, don’t! Not now, please?” Taffy begged, knowing what Portia was already planning to do
“This is just going to be quick.” Portia answered as she approached the scene of the crime.
“Hey, dickhead! Don’t you have anything better to do? It’s the first day, for Christ’s sake.” She crossed her arms as she stood in front of the group of boys. That got Nick’s attention, he dropped the bag and approached Portia who didn’t bat an eye.
“Do you really want to go there?” He threatened, getting close to her face.
“Yeah, I do. What are you gonna do about it? Hit me with your girly hands?” Portia snorted and could hear Nick’s friends trying to hold their laughter as the man himself looked taken aback.
“They agree."
“What are you talking about?” Nick asked furiously, throwing a quick glare to his minions to shut them up.
“I’m talking about how your mom’s ‘special’ hand lotion seems to be working well for you.”
“Yo– I–She do–”
“Does she realize that her son’s probably using her stuff to get smoother hands than she does?” She arched an eyebrow at him. His mouth gaped open and close until he huffed and walked away. She smiled victoriously as she walked back to her group of friends.
“Woah, Momma!” Taffy cheered and Portia took a bow before laughing loudly.
“How were you not scared?” The boy she saved from earlier asked, still tensed.
“Oh, I was, trust me. But, like my favorite Drag Queen always said: Never let a Bitch see you sweat.”
A/N This chapter made no sense, but it was fun to write! Ooh. I also plan to add links of the previous chapters below my fics from now on to give you an easier time to catch up with it, if ever. HIHIHIHI bye!
Previous chapters!
Prologue | Chapter One
#biadore#bianca del rio#adore delano#parent trap au#henny#tw bullying#rpdr fanfiction#canon compliant#the parent trap
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Hybrid Theory - 2000
This was an amazing band that took me completely by surprise. My little 15 year old heart didn’t know how to handle it. It was the band I didn’t know I needed. And they were right there at a time when I really needed music that spoke to me.
On this album specifically. Every song spoke to me. Not only that. Everything was so good! This band was different. They were new. They were fresh!
They combined Rock and Rap and did it well! I thought this was it. This was the future of music man!! And the future definitely looked bright, in my little 15 year old eyes.
Almost every song on this album became a hit on the radio.
My absolute favorites are Papercut, One Step Closer, With You, Crawling, Runaway, Myself, In the End, Forgotten and Pushing Me Away.
That literally leaves out 3 songs, which are still great. And they are - Points of Authority, A Place for My Head and Cure for the Itch.
This album went fucking Platinum man. The World.. LOVED this band.
Chester Bennington’s vocals had a nice blend of being swooning and pretty, while also having the ability to create a harder edge, and an unforgettable scream that still gives me chills to this day.
Mike Shinoda was the 2nd vocalist, who was more noted for his rapping mic skills. However, that too was something of an evolution. Eventually Mike sang too and proved to have quite a nice voice, for songs that needed a different flavor.
The rest of the band members were also very good on their instruments. The music was not always complicated, but it certainly was innovative and very creative.
Hybrid Theory was an amazing album, and honestly... I think we’re all better people for having it in our lives.
It’s no secret that I’m super biased about this album. But I’ll try my best to talk about the track list without gushing about every song.
Papercut - We start with an awesome drum sample, and a sweet guitar line that only gets added to with a great verse riff. Mike Shinoda runs us through the 1st verse in an awesome rap and Chester takes over for the chorus. It’s still rapping, but it’s melodic. This was different, energetic, awesome and fun. The song raps in this fashion until we reach the bridge, where Chester takes us away with a great line. “The Sun goes down. I feel the light betray me.”
That’s about it. The familiar raps are layered over this, but the whole thing comes to a building climax before it’s over. And that was just track one!
One Step Closer - This was the major hit on the radio that everyone fell in love with, including me. Great guitar riff, and full-on ensemble build. Chester handles the verse with a melodic rap. It’s not even a rap. It’s just fast singing. This was the typical nu-metal song. Simple guitars underneath more vocally driven parts. And for the moment, it absolutely worked and was done right with these guys. What is most memorable in this song is the break where Chester shouts, “SHUT UP! SHUT UP WHEN I’M TALKIN’ TO YOU!!” I’d be remiss not to bring up the chorus that has a joint energy to it with the singing and fast rapping. “Everything you say to meeee” “Takes me one step closer to the edge. And I’m about to break!”
With You - The flow on this album is great. Mike Shinoda takes over from here, for a nice rap in the first verse. Chester takes on the chorus. The song is heavy for a main refrain (and chorus), but the verses are calm and somber. It pulls at the heart-strings of adolescence. “So even though you’re close to me, you’re still so distant. And I can’t bring you back!” Yep... That was definitely a real teenage feeling for me.
Points of Authority - This one picks up practically from the end of With You. I don’t love the breathing sound effect in the beginning, but Shinoda talks you into a build into the song. “Forfeit the game before somebody else takes you out of the race... Puts your name to shame. Cover up your face. You can’t run the race. The pace is too fast, you just won’t last.” From there, guitars take us away, and Chester sets us up. “You looove the way. I look at you..” And this song goes back and forth between Chester and Mike about a shitty relationship. It was good man. “You live what you learned.” This is exactly what I needed at 15.
Crawling - This was I think, the 2nd major radio hit off of this album, which has been SO Overplayed, that its still heard to this day. People can’t get enough of it. Or just radio stations. I can’t tell. But either way... I used to love this song, when I first heard it. And here’s why.
There’s a nice build with electronic samples and a sweet orchestral string builds us in. Then the guitar takes over and Chester has this awesome melodic scream, as he actually sings notes with a hard edge. “Craaaawling in my skiiiin. These woooounds, they will not heeaaal”. The verse is calm and subdued. Only drums and light synth samples or what-hav-you. Chester sings beautifully. More adolescence. More angst. It’s very good. Each verse builds into the already recognizable chorus. It’s SO easy to learn and just dive right in. You can join Chester right away on a first listen on each chorus refrain. And then the song is over.
Runaway - But then Runaway kicks in. The flow is so smooth, I feel like I’m in a movie. This one became a radio hit, too, and was overplayed as well. Another nice build with electronic sounds, drums and then guitars. The groove is more funky and upbeat, which I appreciate. Chester sings swiftly and the whole thing is very sing-songy. Honestly, I listen back to it, and just sort of makes me happy. Mike doesn’t offer much for back-ups, but his voice is there. “You point the finger at me again!”
Myself - To this day, I still think of this beginning riff randomly. It’s so heavy and awesome. The rest of the song.. is just alright. There’s definitely an anvil in the background, which would rival that of Fear Factory, believe it or not. But this is definitely Linkin Park. The verse immediately goes into rap ballad groove, for Mike to take us away. Chester joins in with an awesome Chorus and Post-Chorus part. The song literally spikes up in energy and comes back down. At least twice. We end on a cool chorus, and this song was very heavy. I’m glad it wasn’t a radio hit though. It makes this one special.
In the End - I fucking LOVED this song. It quickly became the thing that Everyone of my generation, and future generation, wanted to learn on the piano. This was an awesome collab on Mike & Chester’s part. “It starts with one thing...” (I won’t go through it. I’d have to do the whole song.) But good GOD. As a Teenager, this song was my Answer! It spoke to me. I cried to this song man... I fuckin’... ran and hit stuff to this song. I worked out to this song. It has heart wrenching guitars, awesome drums, good build and momentum from the rapping. The chord choices and notes were perfectly placed... Everything WORKED here. And thats why people will always, and forever remember this band as something special.
A Place For My Head - This song somewhat falls short after such a climactic song. It’s always hard to follow up on something great. But still, this one is a decent contender. It starts with bass, which is nice and different. No other song on this album does that. Drums and turn table join in the build to the actual beat. Shinoda takes us away with an interesting rap verse. Chester joins in for a chorus and adds back ups to other verses. It definitely has an angry energy to it, and it shows why it wasn’t a radio hit. Just not catchy enough. But not catchy does not equal not good. Also... There is a very notable break with just string samples as Chester says, “You try to take the best of me, go away.” Then he finally screams “GO AWAY!” Before we’re taken into the final parts.
Forgotten - “From the top to the Bottom!” This song is AWESOME. I love the energy on this song, still to this day. I just don’t like how it ends. Perfect blend of heavy rock and groovy rap. Honestly, this is something that Lost Prophets was copying (or doing at the same time...) on their first album. I really enjoyed this energy. I wouldn’t have mind if they kept on in this direction, but that was not the case. ...the Chorus... is fine. But it’s sort of positive and a little too happy sounding for me. And it just kind of ends on that note, which felt weird. But overall, I didn’t mind.
Cure for the Itch - This one was a weird instrumental, which I really liked a lot. I say weird, because the whole band made it a big point to introduce their special guest, “Mr. Hahn.” Which... didn’t really seem to make much sense at the time. Mr. Hahn comes on the turntable and does all these cool effects with drums, which are definitely interesting. Then there’s a silly sample that says, “Alright now. Wasn’t that fun? Let’s try something else.”
That’s where this piece opens up into something really interesting when strings come in. Piano too.
Mr. Hahn shows us what he’s got, and it’s definitely something special...
It left us on an introspective note as this one fades out into the finale.
Pushing Me Away - That would be, “Pushing Me Away”. it was a great last song, which brought the whole experience together. The perfect, Falling Action to a storybook, if you will.
We had their typical build with a nice sample effect, then the whole group slamming in with an awesome strum on the guitars. Chester sings this one in the lower register, and I think that’s what makes this one very memorable too. Mike Shinoda joins with quick raps underneath that serve as sort of a back-up, which really amplify the song before the chorus chimes in. “Why I never walked away. Why I play myself this way. Now I see.. You’re testing me.. Pushes me away!!!”
It was a beautiful song. And it came to a close at exactly the right time. The first sample sound, which brought you into this song is left alone and closes you out.
And that was the whole album.
Your left with the silence after all that good, solid music.
It practically felt like one great song.
It was so awesome. I loved it. My little teenage self couldn’t get enough of it.
Half a life later, in my 30′s I barely listen to it... But I didn’t forget about it.
This album was a special stepping stone in my life to grow on.
And grow I did. Along with them...
Come 2002, Linkin Park offered something a little different to the table in Meteora. But I welcomed it with open arms.
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FACT Singles Club features a panel of writers rating and slating the biggest new tracks of the last seven days.
Did Singles Club’s Cameron Cook summon Ciara out of marital and baby bliss after suggesting last week that Tinashe may have dethroned her as the current underrated queen of R&B pop innovation? Were the FACT editors unsurprised by the tie for the top spot on this week’s ballot came from two artists making very different music but refuse, in equal measure to compromise their personal vision? Is nu-jazz really the future? All that and more in this week’s Singles Club.
Ciara – ‘Level Up’
Cameron Cook: Last week we talked about Tinashe replacing Ciara as Top 40 R&B’s most underrated innovator. This week, Princess CiCi came flying out the gate to remind us that, nope, she and her abs of steel are still here and won’t be ignored. I have a hard time thinking of another pop star that is so consistently good yet consistently overlooked. ‘Level Up’ is as catchy, bombastic and clever as anything Ciara has released in her career. The only thing that would make it demonstratively better would be if she had used DJ Telly Tellz’s original “fuck it up” hook. But other than that, no complaints. (8)
Caroline Whitley: Ciara, the underrated R&B princess of the century, popped back into the music world with a Jersey Club-inspired bop that is bound to get stuck in my head. Yummy! (7)
Jesse Bernard: A lot of the magic that used to come with a Ciara hit earlier in her career seems to have eluded her most recent one. She’s worked with some heavy-hitting producers over the years but banking on viral success through a social media challenge. She could easily grab our attention with anthemic sultry cut like ‘Body Party’. (6)
Michelle Lhooq: Damn, really not mad at that Jersey Club-inspired beat, which kicks this song up from average radio fodder to excellent club banger. My headspace today was stuck in a cycle of silly insecurities until I heard this, the endorphins flooded in, and all I could think was: YAAAAAS! (7.5)
7
Sarah Davachi – ‘Evensong’
Jesse Bernard: Listening to this song feels as though I’m watching the tide drift in and out, while the moon’s reflection bounces off the water’s surface. The soundscape Davachi creates in just under ten minutes is one of mesmeric ambience. (8)
Michelle Lhooq: So many electronic producers are making ambient music these days to scattershot results, but Davachi – who was never a trend-chaser to begin with – stands out with her meditative, mindful approach to tonal harmonics. Instead of drifting into meaningless nothingness, ‘Evensong’ grounds you into a trance-like, hypnotic state. Something tells me I need to hear this in a giant dome in the middle of Joshua Tree to grasp its true effect. (7.5)
Caroline Whitley: Bury me to this song. No seriously, Davachi created something hauntingly beautiful featuring even more analog sounds than her previous work. (8)
Cameron Cook: This sounds like the soundtrack to a movie where Saoirse Ronan plays a galactic fairy princess sent to Earth to swim around the ocean and transform all our plastic waste into gummy bears. This song didn’t really give me anything but that image. That alone was worth the listen. (6.5)
7.5
Amnesia Scanner – ‘AS A.W.O.L.’
Jesse Bernard: The drum pattern is the only thing that keeps me hooked to this track. It’s alluring enough to generate enough interest in the rest of the album, which I’m sure explores more of the abrasive electronic sound on ‘AS A.W.O.L.’ (5)
Michelle Lhooq: Amnesia Scanner is back, bitches! I couldn’t be more stoked that the Berlin duo is still packing the same disorienting punches as on their previous mind-blowing EPs, while the music video hints at an expanded visual world their upcoming debut album might herald. My friend Andrew Ryce put it best when he recently tweeted, “Amnesia Scanner is the greatest rock band of all time.” (8.5)
Caroline Whitley: I’m gonna come off super uncool for saying this, but I’m not getting anything out of this. Or as my friend said the other day “If I had no association [to PAN] I wouldn’t be listening to it.”(3)
Cameron Cook: First of all, this creepy-ass video is unnecessarily traumatic. I googled to see if Chris Cunningham directed it, which sent me down an Aphex Twin YouTube wormhole, and now I can’t sleep. As far as the song goes, I’m into it – that eerie xylophone really ties the melody in well. Even though we’ve been hearing a lot of down-pitched, distorted vocals in electronic music lately, it’s effectively unsettling and weird here. (7.5)
6
Chance the Rapper – ‘I Might Need Security’
Caroline Whitley: Only Chance could come through with an angry bop that still oozes sunshine and playfulness: the artwork is a deconstructed take on the Angry Arthur Fist meme, after all! (8)
Jesse Bernard: The collection of singles Chance released last Friday was very much a continuation of the exuberant energy displayed through Coloring Book. Personally, I think Acid Rap Chano was him at his lyrical best but this direction makes a lot of sense for someone who’s much happier with life now. (7)
Cameron Cook: Sampling a Jamie Foxx stand-up special from 2002 is one of the reasons Chance is one of the best artists around: he’s so good at constructing layers of pop culture analysis, social commentary, dope hooks and tight rhymes. This totally made me excited for more new Chance tracks in the near future. (8.5)
Michelle Lhooq: Per usual, Chance packs a lot into four minutes. There’s a bounty of politically-charged zingers to choose from here, but as a journalist, “I bought the Chicagoist just to run you racist bitches out of business” was the verse that got me screaming. The Jamie Foxx sample, on the other hand, loses its bite around the 100th repetition and just gets plain annoying. (6.5)
7.5
Brandon Coleman – ‘Giant Feelings’
Caroline Whitley: When I first put this on I thought it had a vaguely Thundercat/Flying Lotus/Kamasi Washington-esque nu-jazz element to it and, boom, turns out Brandon Coleman is Washington’s keyboardist. With its dramatic orchestration it could almost function as some sort of pacifist James Bond theme. (8)
Michelle Lhooq: There’s something sooo LA about this song and video, from the upbeat earnestness of its central message to the outdoor scenes seemingly filmed on hiking trail overlooking the city skyline. Look, I have nothing against open-hearted positivity in music. But there was a point – namely, when Coleman croons, “Sweet love it was designed for you and me / together we must live in harmony,” against giant swells of orchestra strings – where it all just felt like way too much cheese. (3)
Jesse Bernard: A perfectly apt name for this one. I enjoy the way the synths reverberate against Coleman’s distorted vocals and bandmate Kamasi Washington’s horns. Coleman’s debut release is one I’m looking forward to. (9)
Cameron Cook: Thank you for ending this week’s ballot with this slice of uplifting space funk, because I’m desperately in need of all the good vibes I can get right now, what with the Earth continuing to spin right off its axis on a daily basis. This track is heaven-sent. The angelic harmonies and squelchy keyboards sound like P-Funk if they spend a few weeks on a desert retreat, eating smoothie bowls and consuming the finest psychedelic mushrooms the West Coast has to offer. (7.5)
6.9
Final scores:
Chance the Rapper – ‘I Might Need Security’ (7.5)
Sarah Davachi – ‘Eversong’ (7.5)
Ciara – ‘Level Up’ (7)
Brandon Coleman – ‘Giant Feelings’ (6.9)
Amnesia Scanner – ‘AS A.W.O.L’ (6)
Cameron Cook is an American culture journalist currently residing in Berlin, Germany. He would go to the ends of the Earth for Kate Bush. (@iamacameron)
Caroline Whiteley is freelance writer based in Berlin. (@carowhiteley)
Jesse Bernard is freelance music and culture journalist based in Brooklyn and London, still hotsteppin’ in a Nike Air sneaker. (@MarvinsCorridor)
Michelle Lhooq is an LA-based journalist writing about music and weed. (@MichelleLhooq)
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